A useful production brief tells someone what you are trying to make and what already exists. It can include a rough vocal, a phone recording, a few lines of lyrics or a demo with sounds you intend to replace. Polishing the introduction for three weeks is optional.
For one-on-one work with me, the first application asks who you are, how many songs you are planning, whether you need mixing and mastering, and how to reach you. We can discuss demos and references on the call. The notes below help you prepare for that conversation; they are not extra form requirements.
Describe the record in one sentence
Begin with the intended experience. “A quiet first verse that becomes a huge, messy hook” is a useful direction. So is “A short rap single with almost no melodic movement.” You do not need to translate your idea into production terminology before someone is allowed to understand it.
Then say who is performing and what the record is for. One single, a connected EP and a song that must work with a live band raise different questions. If the wider project is undecided, say which song you want to solve first.
Avoid stuffing the opening sentence with every genre you enjoy. You can send the complicated version too. Give it a clear starting point.
Send the strongest evidence of the idea
Choose the demo or voice note that best explains the song, even if it is technically rough. Label it with the song name and date. If several versions matter, explain the difference: one has the preferred melody, another has the structure you want.
Identify the parts you consider settled. The hook lyric might be final while its melody is open. The bass rhythm might be essential while the sound is temporary. This helps avoid spending the first session replacing the one thing you wanted to keep.
If you already have recordings, note what they are: a scratch vocal, a final lead, a purchased beat, original instrumental tracks or a guide performance. Detailed exports can wait until the workflow is agreed. The vocal handoff guide covers that later stage.
Give each reference a job
Send a small selection of references with timestamps and a sentence about each. For example:
- Reference A, first verse: the vocal feels close and the backing leaves long gaps.
- Reference B, chorus entrance: I like how suddenly the energy changes.
- Reference C, outro: the drums disappear while the vocal keeps going.
Also say what you do not want from a reference. You might love the dry drums and dislike the bright lead sound. That distinction prevents an entire track from becoming an instruction by accident.
References should explain qualities you want to explore in your own record. You can combine ideas from very different songs. Explain the connection rather than sending fifteen links and a handshake emoji.
Separate priorities from open questions
Make three short lists: keep, change and unsure. “Keep the melody; change the drum feel; unsure about the second verse” is enough. Rank the two most important decisions so the conversation has an order.
If the problem is “the chorus does not lift,” describe when you notice it and what you wish would happen. You do not have to prescribe a new synth or a particular compressor. A useful outcome gives the producer room to suggest a solution.
For a catalog beat that nearly works, first identify whether the problem is your vocal’s placement, the structure or the instrumental itself. The beat-selection guide can help you describe the gap before deciding on custom work.
Put the practical details in the same note
Include the number of songs, where each stands, any planned collaborators and which parts of the process you want help with. Mention mixing and mastering if they are part of the project. Give a budget range if you have one, or say you need to understand the scope before setting it.
Distinguish a real delivery deadline from a hoped-for release date. Explain anything already booked, such as a vocal session or video shoot. Include who will collect feedback and approve decisions if several people are involved.
For SLAKIN custom projects, scope, workflow, budget and terms are discussed before work begins. This guide does not set a price, delivery schedule or ownership agreement; those need to fit the actual project.
A short brief you can adapt
One single. I have a hook melody and a rough first verse; the attached voice note has the current version. Keep the hook melody and the pause before its last line. I want a sparse verse and a much wider chorus. Reference A is for the drum feel; Reference B is for the chorus contrast. The demo sounds are temporary. I need production and want to discuss mixing too. My vocal session is booked for [date]; the release date is still open. My available budget is [range], and I will collect feedback from the other vocalist.
Replace the brackets with your details and leave unknowns marked as unknown. Bring that note to the project conversation. It is enough to begin making decisions together.