I personally find the one-on-one setting comfortable since I can play most of the back-up instruments myself, and don’t have to coordinate schedules with a drummer, guitarist, etc.  It is necessary that one of you can at least play basic keyboard parts.  The more live instruments you can play, the better, but you will have to use Virtual Instruments to pick up the slack. You can get by using V.I.s for most anything except guitar, and have satisfactory results.

Before I get to my advice, I’d like to note that these ideas can be applied to other forms of musical or creative relationships, but these are the things I noticed in this particular type of project.

First, make sure you work with a singer/songwriter whose music you actually like!  This might seem obvious, but it needs to be emphasized. You will be putting a lot of creative energy into the songs, and you should be excited about the end result.  Don’t try to work with certain artists just because they seem popular or bankable. These things are great, but will wear their welcome when you realize that you hate their music.

Even if you love their music, you might not gel with them in the studio.  In a one-on-one  relationship, personality clashes can come to the forefront quickly, so it’s probably a good idea to start out with a small project like a three song demo before you prematurely commit to making an entire album with this person.

Before you arrange or record a single note or lyric, it’s best to verbalize exactly what kind of relationship you and the writer want to have for the project.  I’ve had some experiences where writers bring incomplete songs and want as much of my creativity as possible. Most of the time, though I fulfill the producer’s job of focusing on the writer’s vision and help bring it to life. Here are some questions you need to be thinking about:

How much creative control does the writer want to have?
How much does he want you to have?
What kind of input does he want from you?
Are suggestions for changing lyrics out of the question?
When and how long does he want to work?

Throughout the song, clarify with your writer what his vision of the song is: what he’s trying to say with the lyrics, what emotions he wants to convey through the instrumental. You need to be on the same page or else you will quickly butt heads.  If you come a crossroads in the production or arranging of the song, make sure you can logically state your case. “My idea sounds cool, and your idea sucks” does not cut it, and will lead to the end of friendships and collaborations alike. Keep in mind that music is subjective, and that the writer’s opinion is just as valid as yours. 

Unless the songwriter is interested in learning more about home recording, try to keep the sessions music-based and not get too technical. For instance, if you can’t find that “perfect” synth or sampler patch for what you had in mind within a few minutes, skip it, and come back to it later.  Things like this will most likely bore the songwriter to death. Leave that stuff for yourself when you’re tweaking the mix by yourself. If keep making make sure you and the songwriter are on the same page, he will learn to trust your judgment.

Just remember that the most important element in this close working relationship is compromise.