For larger projects that aren't always done hourly (like mixing a song, an album, producing a song, full-song recording and editing) it is common and encouraged to have an agreement and set project expectations. 

Expectations Go Both Ways

It's a common practice for producers to define expectations for themselves and their own operations, but often, they overlook doing the same for their clients.

Setting expectations should be a two-way street—both you and your client need to be on the same page from the start. Make sure that this is all in writing. It doesn't need to be an official signed contract but having it in writing is crucial.

Talking about expectations typically begins during the sales conversations, then it gets more firmly established during pre-production planning, and should be mostly solidified before you start the project but it can continue throughout the duration of the project.

Keep in mind: expectations might evolve as the project progresses due to changing circumstances. Don’t let this throw you off. What’s most important is that any adjustments are clearly communicated and mutually agreed upon.

The Four Core Areas of Expectations

1. Timeline. Establish key dates for every phase of the project right from the beginning—this applies to both you and the client. For example, when will you be writing the song? When will you be recording? When will mixing begin? When will mastering begin? When is the planned release of the song?
   

2. Communication & Support. Make sure there’s a shared understanding of how and when your client should reach out to you. For example, should they be calling you or texting you or emailing you? This can be helpful to keep conversations organized but also to keep the environment stress free. If one time a client contacts through email and the next time it is a text, it can get hard to remember what was said. Also, if a client always calls, but you are in the studio, it is likely that their sound is off. It can be difficult to respond or worst case, it can be disruptive.
   

3. Scope of Work. Both sides should be crystal clear on what’s included in the project and what’s required to get it done. If the scope changes—whether that means services, revisions, team involvement, or workflow—a conversation should happen before moving forward.
   

4. Creative Vision. Define the creative direction from the outset. Make sure both you and the client are aligned on how the final product should look and sound, and ensure that vision is achievable based on what the client can bring to the table.

How to Adjust Expectations

If you need to adjust expectations, make sure the new changes are clear. A good way to do this is to restate the original agreement then provide a reason for the change then agree on new terms. 

For example, maybe you are already at the mixing phase but the artist wants to redo the pre-chorus. The pro-chorus should already be done and approved by the artist if you have started mixing. This will likely change the original plan and agreement. So state that this is not what the original plan was which creates more work and time to complete the project. You are willing to redo the pre-chorus but you would like to be compensated for the additional time and work it will take to complete these unplanned changes. 

Once again, make sure this is in writing. Having things in writing makes it so no one can say that they were unaware.

Managing project expectations has a hidden benefit too. Of course, a well managed project will make it easier, faster, less stressful and more enjoyable but one of the most important aspects is the producer and client relationship. 

Relationships are what build fruitful careers. A client that just wanted to do one song can easily turn into a client that does multiple albums when everything goes smoothly.  Don’t overlook the long term potential.