Rick Rubin Talks his Philosophy to Recording Music

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Born in Long Beach, New York in March of 1963, Rick Rubin is perhaps the most influential music producer of the last half century. He has set the soundtrack of multiple generations and helped launch the careers of some of the most important artists in history. This robust list contains the likes of LL Cool J, Public Enemy, the Beastie Boys, and the Red Hot Chili Peppers. Rubin has also resurrected the legacy of multiple icons including Johnny Cash, Aerosmith, and Tom Petty.      

Along with partner Russell Simmons, Rubin co-founded Def Jam Recordings in 1984 while still attending New York University. The extraordinary impact that Def Jam has had transcends the world of entertainment and can be genuinely recognized as a pop culture innovator. But more than his executive abilities, Rick is known for his magic touch when it comes to music production. It is a formula that still confounds the recording industry considering Rubin is not a professional musician or a trained engineer. The nine-time Grammy winner also insists that “the audience comes last.” It is an unconventional approach to say the least, but one cannot argue with his 40 plus years of undisputed success. Here, Rubin discusses his unique philosophy to recording music.

“It’s going to sound interesting”

Early on we would try to make things sound like things we liked; it does not work. But if you take whatever it is and make it sound like the best it can possibly sound, it’s going to sound interesting…Typically, using the things you have and making the best of what those things are – instead  of trying to turn them into the thing that you wish they were – is a really good way to go.

“There are no right answers”

Whatever they are, it is always case specific and there are no right answers…There’s not a right or wrong. There might be a right or wrong for a song or for a project, but there are no rules like that.

“Made up rules”

There’s a real freedom in knowing that none of the rules about “the right way to do it”, none of those are real. Those are all made up rules, and you can discard all of them. You can use them if they’re helpful but as soon as they get in the way, discard them.

RR TP

“The less I can do, the better”

The idea is having the biggest impact on the work with the least amount of fingerprints. I want the work to be wholly the artist’s work. The less I can do, the better, provided it’s the best work the artists have ever done in their lives. My role is to support the artists in doing the best work of their lives. Again, if it’s needed, my fingerprints are all over it, but my preference is to have as little involvement as possible.

“Of the mind not to do harm”

I think more often than not, the people involved in the making of art who are not the creator do more harm than good. So, I’m very much of the mind not to do harm. I don’t think that I know everything. I don’t think that my opinion necessarily has more validity than someone else’s.  

“I don’t want to convince anyone of anything”

I share my opinion…I don’t want to convince anyone of anything. I would like to state what I see, and then it’s up to the artist to take that information and use it as they wish.

RR MJ

“That’s most of my job”

My involvement is purely about taste. It’s not about technical skill. It’s not about technique unless there’s something that I noticed in the past that I shared, like, “Oh, I remember so-and-so did it like this. Do you want to try that?” That would be the extent of something either technical or musical. But other than that, it’s more, “This is the part that’s interesting to me. This is the part that’s less interesting to me. Is there any way to make this part that’s less interesting as interesting as this part?” That’s most of my job.   

“It’s a true thing”

We’re making something with our hearts and souls, and then we’re sharing it with the world. And if people like it, it’s great, and if they don’t, we wouldn’t change it, because we’ve made it with our hearts and souls. And it’s true. It’s a true thing we’re doing.

“The audience doesn’t know what they want”

The audience comes last. The audience doesn’t know what they want. The audience only knows what’s come before… If you start making decisions based on what you think they’ll like, you’re going to water it down.

RR4

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