Milwaukee’s Music Producers

Despite the shift to home recording, they still play a crucial role

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There might be as many definitions of “music producer” as there are people who claim the role. Some will stamp a recording project with their own personality while others offer an intuitive transparency to bring out the best in the artist. Nowadays, with the easy availability of home recording technology, many musicians opt to do it themselves. We asked five veteran Milwaukee music producers a question: In an age when anyone can make a recording, what’s the role of a producer?

Jeff Hamilton

Selected Discography: Violent Femmes, Paul Cebar, John Kruth, Chief, Floor Model, De La Buena, 20 Watt Tombstone, Codebreaker, Beatallica and True Heart Susie.

Even though, traditionally, the producer is responsible for getting the project done on time, on budget and the liaison between label and artist—the basic need for a producer is still to provide an objective ear for the artist. Some artists are fine producing themselves; others prefer having someone else make the final decisions. There isn’t a wrong way to record. 

The Violent Femmes comes to mind because it was full-on producing in the traditional sense. I booked the studios (while we were on tour), was responsible for the budget, interfaced with management and label, was liaison between the principal artists and guest artists, set up the microphones and equipment, I played multiple instruments on the recordings and oversaw the mastering. 

A great memory [with the Femmes] is when we did a four-five song session in Nashville at Brown Bear studios—on a show day no less! I set up everything before the band got there. We all sat at our stations and did a little jamming to set levels and adjust placement. Gordon Gano then said to everyone, “OK, here is the song,” and he showed all of us the songs. We did a run through then a couple takes, and that is the record [album], We Can Do Anything.  Live recording including lead vocals; after the musicians literally just heard the songs! Now that’s old school!

Mike Hoffmann

Selected Discography: The Verve Pipe, Willy Porter, Victor DeLorenzo, Carnival Strippers, The Carolinas and The Spanic Boys.

The role of a producer is at its core still the same; the title is derived from the word product. My job, as it was the job of all those who produced me through the years, is to create a viable commercial product. Of course, the onset and takeover of digital audio formats changed the value and control of marketing an audio product. In other words, I am still hired to create music that is what we call radio friendly, and I stay very busy because I still do it better than most.

The music market in the last 20 years has changed, and its value has narrowed and decreased.

With tech the way it has become, remote recording is a beautiful reality. I cut drums anywhere I think sounds great. So yes, anyone can get the gear and record their band, but having the luxury of a person onboard who knows how to shape and blend people and arrangements to a fine result still requires people like me. Eventually, bands that have tried it themselves but feel like the song is still not right knock on my door. Putting those final touches to instill a strong vibe are essential to drawing attention to your music. I’ve been produced by some of the best in the world, and their styles and techniques were like magic dust in the control room. I took it all in. I think that’s the way it works, you just absorb and pass it on.

Paul Kneevers

Selected Discography: Michael Bolton, Present Music, The Blow Pops, Wilderness of Pain, Lova Nova, Lupinaire, The Lovelies, The Electric Hellfire Club, Morta Skuld and Little Blue Crunchy Things.

Musicians are a crafty lot. They are hard-working, used to being flexible, handle diverse responsibilities with ease. These folks are thrifty and try to make the best of their craft in any way they can. I started as a musician, a singer-songwriter. I did my first studio session at Solar Studios in 1976, when I was 16 years old. What does a producer do that makes them worth hiring?

Rules and responsibilities for audio producers:

1. Make the best record they can.

2. Make that record on budget.

3. Create a positive, creative environment for all band members, so that they may achieve the best possible performance they can do.

4. Mediate differences of opinion, in order to refer to rule #1

5. Provide proper amenities to motivate artists. This category is very open-ended. Refer to rule #1.

6. Provide choices in equipment, techniques and technology that inspire the artist.

7. Invite and inspire guests, when applicable to refer to rule #1.

8. As part of the producer’s portfolio, provide additional networking, marketing and other support for the artist’ release upon completion.

I do also like to work with young bands. Recently, I got to co-produce albums with Distant Cuzins and Wax Lips, both very young bands. It is always a blessing to help new artists find inspiration in things I may have to offer. One of the albums I am working on is by Dave Roberts, an artist who I have worked with since 1991. In September 2020, the music we co-produced received over 32,000 Spotify listens. I have over 400 albums as an audio engineer and producer, and still counting. I’ve slowed down a bit, but this year, I will still do over two dozen records, and release several of my own.

Shane Olivo

Selected Discography: Eric Blowtorch, Meltwater Pulse Collective (Janalyn Rose, Murphy Kaye, Brett JB, Fe True, D Wiz, Ku Mays, Mark Soriano), The Newloud and Red Knife Lottery.

The role of the producer in the record-making process is the same as it’s always been. The producer’s role is to help the artist elevate their art to the highest level it can be. This role manifests itself throughout many integral and wide ranging facets of the recording and songwriting process. The producer helps determine the good or “magic” takes from the mediocre. The producer helps shape the ineffable aspects like “vibe,” “feeling” or “sound” of the recording. In addition to these aspects, another key element is bringing the correct energy to the sessions, energy that lifts people up when they need it.

I think a producer today is just as important, because what a real producer specializes in isn’t something that is the subject of any “How to” YouTube video, because it is not just one thing—it is many things and each artist requires a slightly different combination. The problem of finding a great producer is still as difficult as it has always been. Because it’s a combination of the ineffable which is not always completely present in a large population of the people.

Currently, I’ve been working on hacking the role of producer with the express intention of creating better artists. I have a group of diverse songwriters I frequently work with of all ages, from 23 to 48. We’re collectively called Meltwater Pulse. Over the past three years, we’ve repurposed digital product management solutions designed for business such as Trello, Discord and Whereby to solidly fill in all aspects of effective producing and artist development. Reducing the weight of having all jobs fall to one individual, instead dispersing it to a small, talented group. Meltwater Pulse is about to drop a new cycle of songs, which means every week for four weeks or so, a different artist releases a new song. With each single the artists release, there’s real tangible growth that can be heard. It’s inspiring to me.

Gary Tanin

Artists worked with include: Roger Powell, Victor DeLorenzo, Daryl Stuermer, The Reedy Buzzards, Jack Spann, Peggy James.

In an age when anyone can record and produce their own recordings, that does not mean they should. As a producer, one tries to be sensitive to the moment of an artist’s great performance when it arrives. It’s also knowing when to say no, when not to do more. It comes from having years of hands-on producing and listening experience. Artists and bands would do well working with a record producer because it would supply grounding, training and a knowledge base.

Today, the ultimate responsibility falls on those of us still in the music business to educate a generation fixated on technology and immediacy. The recording equipment marketing targets novices on the ease of making a great recording in your bedroom. This is, at the very least, an oversimplification and does many a disservice.