CONTENTS

PRODUCER CROSSTALK
By Rob Putnam
roducer Jim Kaufman segued into production and songwriting by
way of being a musician. When it came time for his band to record
Pa demo, the task fell largely to him. Ultimately, he transitioned into
producing full time when he became friends with Charlie Clouser, who was
then the keyboardist with Nine Inch Nails. For several years he assisted
Clouser in the studio and it became increasingly clear that Kaufman had
discovered his career path. Kaufman now maintains studios in both L.A.
and Sedona, AZ, but spends most of his time in the former. He also writes
frequently in Nashville, where he co-owns the company, The Song Factory.
“My job is to create longevity for an artist, not just to produce a hit or a
single record,” Kaufman says of his approach. “The way I do that is to understand
who they are at their core. It’s
about showing them to their audience
in their purest form, especially with a
debut record.”
Kaufman is an advocate of studio
experimentation. He recalls one time in
particular when this approach paid off
while working with a Nashville group.
“When we started working on a song, I
suggested that we try as many different
versions in as many different keys as
we could,” he says. “We rewrote choruses
several times and walked down
as many paths as possible until we
were sure we’d picked the right one.
“The record is made in the writing
lab,” he adds. “Pre-production is writing
and setting it up. Recording is getting
it down; when you go in and you’re
ready to hit red, you know exactly what
you’re going to do. There’s always
room for experimentation, but as far as
JIM
KAUFMAN
From Artist to Producer-Songwriter
The three most important
things he’s learned as a
producer are:
the bones of the song, that should be done before going into the studio.”
This producer’s favorite piece of gear is his Neumann U47 microphone.
“When recording digitally, the transients aren’t softened like when recording
to analog,” he says. “Using warm preamps and tube compression softens
the transients, which makes the sound more warm and organic. The U47
tube and the tubes inside the preamps and compressors help me achieve
this while recording in the digital platform. The whole ‘fix it in the mix’ philosophy
is the worst thing you can do. It has to be good on the way in.”
Kaufman finds that his biggest challenge is differentiating himself from
the slew of producers who have emerged with the advent of inexpensive,
accessible home-recording options. “One of the ways I set myself apart
is by being very detail-oriented,” he asserts. “I also focus on the song.
That’s what the whole business is based on. I’m extremely careful that I’ve
explored all avenues to be sure I’ve done what’s right for the artist.”
To young songwriters and producers, Kaufman counsels persistence
and dedication. He emphasizes that they should write as many songs
with as many people as possible. “Co-writing is the key,” he says. “As a
producer, you have to find bands. Don’t tie yourself into making albums
right away. Make one or two songs, learn how to be in the studio and know
your gear.”
Kaufman’s current projects include work with Nashville band Future
Thieves. They’re looking at labels and he anticipates a deal soon. Kaufman
is also producing Arizona outfit the Black Moods. His latest project is his
solo record, entitled Jim Kaufman – A Party of One, which is planned for
release in coming weeks.
Contact Jim Kaufman, jim@jimkaufmanproductions.com
20 November 2013 musicconnection.com