Describe the (new) role of a producer in 1960s rock music, making specific references to the careers of Phil Spector, Berry Gordy (Motown), and Brian Wilson.

Answer 1

With the advancement of studio technology in the 50s and 60s, people who made albums began to experiment more. Recording near the beginning of the 50s did not involve a standard mixing console. "Mixing" was just moving microphones around and adjusting preamps. If the drums were too loud, you'd move the microphone further away. The tape machines being used at the time were only capable of one or two tracks.

With the invention of four track and eventually eight track tape decks, the opportunity for innovation appeared. Building off the work of those prior to them, they created ways to use a studio to create novel aural effects.

For example, Motown built the first bass DI (direct input). When "My Girl" by The Temptations came out with its DI bass intro, it shocked the world. No one had heard a bass so cleanly recorded before.

Phil Spector, with the addition of more tracks, was able to record more instruments. He used this to record huge ensembles doubling parts to create the "Wall of Sound". Brian Wilson loved Spector's work and used similar techniques.

The technological advancements allowed for a new position in the studio: the producer. The producer became the person making artistic decisions as informed by the technology available to them. From there, the engineers would follow the producer's lead. Recording was no longer just a band playing in a room but an artistic process of its own with limitless potential for experimentation and creativity.