As a studio owner, engineer and executive producer (not the same thing as a producer) I've done a few of the things producers do, but mostly I've observed the production process, profited from good production, and dealt with the consequences of bad production.

What is a Producer?

Any person who participates in one or more of the following is acting as a producer, even if they aren't officially called that:

1. Deciding on the type and purpose of the recording.
2. Choosing what songs will be on it.
3. Making changes in the lyrics or structure of any songs.
4. Arranging the songs. For example, deciding what instruments to use, and what they'll play.
5. Hiring and rehearsing any other artists who'll be on the album.
6. Selecting a recording studio and/or engineer.
7. Critiquing the performances.
8. Communicating with the engineer and other artists.
9. Generally overseeing the project.

Some producers do all of these things. Others only one or two. For example, if all you do is ask a friend, colleague, or the engineer to critique something (and I'm asked to do that a lot) you are technically putting them in the role of producer.

Should You Have a Producer?

By now it should be obvious that this is not the right question. Every album has a producer. The question is, should the producer be you, or someone else?

In my experience working with artists in the early stages of their career, only a handful have done a good job of producing themselves.

So, if you don't know or can't afford a full-fledged producer, at least have a trusted, knowledgeable friend or colleague critiquing the project as it progresses. In some cases that person can be the engineer, but remember that engineering itself usually requires their full attention.

To encourage you to have some sort of outside producer, here's what often happens without one:

1. The recording lacks direction and focus, and fails to bring out the artist's strengths.
2. The musical elements don't go together well, making for difficult, if not impossible, mixes.
3. A lot of time is wasted on superfluous takes because no one is there to tell the artist "Great! That's it!" Artists themselves are never satisfied.
4. Weak songs get recorded because no one is there to tell the artist which songs are better than others. Artists typically feel their songs are like their children, and can't bring themselves to reject any.
5. The other musicians suck because the artist didn't know better ones, or didn't know how to get them.
6. The other musicians haven't been adequately rehearsed before they come to the studio.
7. The musical elements don't get recorded in the proper order. For example, to keep the rhythm steady it's important to record any drum and bass tracks before most of the other tracks. Not everyone knows that!

   I could go on, but you get the idea.

What to Look for in a Producer

At a minimum a producer should be:

1. Reasonably knowledgeable musically.
2. Someone who likes and respects your music and talent.
3. Someone you generally see eye-to-eye with, but who will be honest with you and not afraid to disagree.

For your early recordings you'll probably only be able to afford people who meet the minimum requirements. After that, you may be able to afford increasingly experienced, talented and even famous producers. But they still must fulfill the three minimum requirements!

One final warning: Your producer should never be your "significant other." Love is deaf as well as blind.