Here's how you can effectively convey your creative ideas to artists and engineers in the studio.

While having clear intent is an important attribute, the tendency to protect egos in collaborative settings can sometimes overshadow this aspect. Nonetheless, I agree that clear intent is essential as it sets the foundation for a transparent and effective collaborative effort.

I think it’s crucial to put the song above all. I find that studio sessions where everyone has decided to check their egos at the door always yield the best results. If someone is in the room they’ve more than likely earned the right and respect to be there. (Aside from entourage and the occasional random, but that’s another article in and of itself but I digress.) Now I do still believe that tact and delivery are important. We are all still creatives, and most of all, human, at the end of the day. As long as everyone keeps their intentions pure and no one rises above the song, studio sessions should be a good way to collab and sharpen skills. The great Madame Badu said it best, “I’m an artist and I’m sensitive about my $#I+!”

Active listening is a critical skill in the studio. Pay close attention to feedback and remain open to the perspectives of artists and engineers. This doesn’t mean compromising your vision but rather integrating their expertise to enhance it. When they speak, give them your full attention, acknowledge their input, and ask questions to clarify their points. This collaborative approach fosters an environment of mutual respect and can lead to innovative solutions that might not have been reached through one-way communication.

I don’t think it’s just about one person strictly adhering to the input of another as much as it is everyone being open to input from each other. At the end of the day everyone plays a different part and has a different view and perspective. At the very least be willing to try anything. It never hurts to try something and if it doesn’t work, no harm no foul. Producers and engineers tend to have an ear that could be useful to an artist, yet an artist can bring a certain flair to the performance of the song that any seasoned producer will recognize and know when to “get out of the way of the artist”. Mutual respect is key. That starts at the very beginning of picking and choosing who you’re working with. Choose wisely if you can help it.

All it takes is a mutual understanding. Try to understand what the client really wants, what kind of sound and what kind of timbre.... If the artist really knows what he wants, he will be able to tell you. Your task as a sound designer and engineer is to understand and interpret it correctly using the equipment. Communicate, ask questions and help each other. Listen to each other.

Working with a reference in studio work is very important. It is important for the artist, sound engineer, arranger, composer and producer. A reference is a point of reference. When you can't clearly explain this or that action you need to do, or a sound, or a musical technique, it's always easier and more effective to show it, to give it a listen. When working in the studio at any stage - recording, arranging, mixing - everyone, from beginner to professional, uses references.

Visual aids can be incredibly effective in conveying complex ideas. Consider using diagrams, mood boards, or reference tracks to communicate the vibe or structure you're aiming for. This can help bridge the gap between different perspectives and ensure everyone is aligned creatively. To take it further, leverage tools like Canva or Milanote for mood boards, or even apps like Splice for reference tracks. These visual elements don’t just communicate what words can’t—they build a shared understanding of the project’s direction. Whether you’re aiming for a high-energy vibe or a more laid-back groove, the right visual aids can make all the difference in bringing the team together.

From my experience in recording studios with other artists and engineers, I’ve learned that many creatives hold back their true opinions to avoid hurting feelings. This reluctance to provide honest feedback can lead to a final product that everyone is dissatisfied with. It’s very crucial to offer constructive feedback openly (and be willing to receive it equally as openly), without fear of backlash, as this fosters better collaboration and ultimately leads to a more refined and appreciated end product.

My key aspects of constructive feedback in this context: Specificity: Constructive feedback should be detailed and focused on particular elements of the music. For example, instead of saying “the mix is bad,” you might say, "the vocals could be more prominent in the mix to balance with instruments". Actionable Advice: The feedback should include clear suggestions on how to improve.This might involve recommending certain techniques or tools, like adjusting EQ settingsor reverb effects. Balanced Perspective: This helps the recipient understand what they are doing well and where they can focus their efforts to improve. Objective and Non-Judgmental: The goal is to foster a collaborative environment where everyone feels encouraged to improve.

Patience is a crucial attribute, as I’ve seen in sessions where I had to sit through input that didn’t resonate with me. Allowing the other creative to fully present their idea before discussing its fit for the project was key. This patience ensured that feedback was given respectfully and constructively without resulting in any unnecessary resistance thereby maintaining an amicable work environment.

Story time: I remember being a part of a studio session with a multi platinum selling artist at the time. Their creative process was nothing short of odd. They would literally do everything to divert themselves away from the session as much as possible in the hopes of finding the inspiration for the next line or idea. I realized at that time that expecting things to be so typical of what you’d imagine a session to be can sometimes create a rigid environment and lock you in creatively. But being patient and flexible allows for the magic to happen organically. Sometimes it’s ok to go out and grab a bite, play a game, and shake up the energy in the room a bit. Strive to make sessions flexible, chill, and low pressure to allow flow of energy.

You don't need to be a psychologist to realize that the person you are working with at the studio or engaged in a common project is not exactly nice and kind to you. You can always tell. By the tone of communication, the voice, the words a person speaks. After all, sometimes the same meaning can be conveyed in different ways and word combinations. If you are working in the studio with an artist - show him that you are ready to cooperate with him and are sincerely worried about how everything will go. Show him that his material is not just money for you, but that you like it and you are ready to help make the song even better.Be friendly.