Alexander Hannah
Music Production in the Creative Industries Portfolio:
Qualifications and Experience Required to Enter Music Production:
Music production is a profession that is extremely flexible in terms of how you want to
start, and as a result, the industry is filled with people with no professional qualifications,
but have dedication, talent and passion for the work they do, and the music they create.
This way of studying music production, requires a lot of independence and self-
regulation, which can be unmotivating, but is also often what shapes many producers
into having the most successful careers, finding their own production sound, and getting
the most work. This idea is evident throughout research conducted by Coulson (2012)
about employability in the creative industries, and how most jobs in music production
are often offered to those who place high value on getting studio experience, and
creating a production portfolio, as opposed to those who get a formal education. It is
because of this, that online video series, such as Pensados Palace and Produce Like A Pro
on YouTube became so popular, and now oppose traditional learning techniques.
The informal pathway to music production is reflected by many contemporary
producers, including Mac DeMarco, who famously started recording music using old tape
machines, and inexpensive equipment. Furthermore, Demarco also described how he
learnt recording techniques independently through experimentation, rather than
academic study, and consistently encourages other to do the same (DeMarco, 2017).
That being said, many producers begin their careers through an education in audio
engineering, music production, and music technology, through formal schooling. This is
because a music college or conservatoire is often a great way to get employed in the
music industry, especially those looking to work in a commercial recording studio, mainly
because of their connections, industry standard technology, and hands on music
experiences offered to students. (Burgess, 2014).
What knowledge, skills and personal qualities/attributes are needed for success within the profession:
A successful music producer requires many different qualities to become proficient in
the music industry, many of which go beyond music. Firstly, a producer must have a
technical understanding of Digital Audio Workstations (DAWs), as well as understand
music tech, microphones, and mic-up techniques. Roey Izhakis book, “Mixing Audio:
Concepts, Practices and Tools (2017)” also discusses how he believes all producers
should develop “advanced critical listening skills”, in order to hear things like subtle
changes in frequency, changes in dynamics, and spatial audio, which all subtly affect
the listeners experience.
Furthermore, a producer should also have a general/basic understanding of music
theory, to help contribute to any arrangement, or section of a track, when needed.
Albin J. Zak (2001) states in his book that music producers are the mediators between
recording and performing, and that they shape the material they are given in the most
prominent way. Therefore, producers must also understand different culture
conventions, and genres.
However, since producers are constantly meeting new people and making connections
in the music industry, communication skills and emotional intelligence are both
attributes that a producer will need to have to manage disagreements and creative
tension during recording sessions. Qualities like these distinguish successful producers,
from those that many people may not want to work with.
What are the duties and responsibilities of the profession – what does a
typical day’s work involve:
The duties and responsibilities of a music producer, vary depending on the day and the
situation, however, a typical recording session day would normally involve the
producer either focusing on artistic direction (helping the artist decide on chord
changes, creating separate sections for a song, vocal/instrument techniques) , or in
charge of the technical process (setting up microphones, routing the instruments to
the mixing desk). These production processes typically start when artists need help
refining their arrangements or in need of direction, leading to recording sessions. After
that, mix/postproduction sessions take place, often involving extensive reworking of
the track, based on feedback from artists and labels, (Senior, 2018), and eventually,
song release. In contrast, an independent music producer, creating music by
themselves, would be in charge of recording, editing, and mixing, their music, as well as
managing their own brand.
Furthermore, contemporary producers now often work from home studios,
due to the ability to fit all the technology that once needed an entire recording studio, in their
bedrooms. This modern way of recording allows for large creative control and
expression of musical ideas, due to easy accessibility of a studio at any time, as well as
comfortability for experimentation for however long someone may want. However,
this way of working can also cause many problems, as a home studio could mean
constantly increased workloads, (thinking you could always be doing more if you’re
always at home), leading to a harder separation between work and real life. Interviews
conducted with independent producers frequently mention this issue, and how
creative freedom and personal strain are almost always associated with self-managed
work environments (Baym, 2018).
What are the main financial and legal issues that impact on this profession:
Financial stability is an important factor when finding a job in any industry, making
many people often decide against music production as a profession. Producers are
very rarely given a regular salary, and often must rely on freelance open job offers and
project-based income streams. This normally includes, production fees, hourly studio
rates, as well as royalty fees for the tracks, often referred to as “points” (Passman,
2019). Even though royalty streams can sometimes be a lot, a song’s popularity can be
unpredictable, and therefore, are not a reliable income stream in long term financial
planning.
Knowledge about the legal system for a music producer is therefore highly essential.
Music producers must constantly keep in mind copyright law, allocation of revenue
through contracts, as well as the difference between sound recording rights and music
composition rights. Passman (2019), also states how common it is for a music producer
who is just starting out, to sign an unfair and uneven contract, due to lack of formal
legal education, and as a result, gets significantly less earnings in the long term.
Furthermore, a big reason why it is common to be told to stay as an independent
producer, rather than sign a record deal, is because, even though there is greater
financial risk, independent producers keep the rights to not only their work, but the
money their music earns, This issue not only discusses why professional negotiation is
important in the music industry, but also why people in music should be educated
more about legal literary and formalities in record deals.
What would the potential marketing and promotional aspects of this
profession look like:
Marketing has always been an important aspect of the music industry, however, in
recent years, independent artists and independent producers have been pushed to
create an online presence, and be active on social media to promote new songs and
projects through short form content, (the most popular form of content right now).
This type of content is made to engage with the algorithm and constantly find new
audiences for artists and producers to interact with, slowly building their fanbase. The
high visibility of music today, often leads to building a fanbase a lot faster than ever
before, leading to new opportunities for both the artist and the audience (tours,
projects), however, this also introduces a different type of labor, often taking up as
much time, or more time than the music creation, which can feel strange if it’s not
something the producer or artist specifically wants to do.
Tour performance recordings and behind the scenes videos are now all seen as
standard for a contemporary music artist/producer, and things like gear breakdown
videos get released on YouTube as both educational resources and artist promotion.
For example, series such as, What’s In My Bag? by Amoeba Music illustrate how
musicians today use media and online videos, to humanize themselves, in the eyes of
their audience. Seeing a popular artist/producer in a natural environment conveys a
sense of relatability, and therefore, makes the audience connect with the artist and
their music more, while they’re also promoting their newest projects.
Baym (2018) also discusses the issues that producers face when having to ground and
humanize themselves to their audience, as music producers must constantly promote
themselves as skilled professionals, as well as relatable people. This contradiction of
character can often lead to tension between marketing focus and creative focus,
particularly within independent music scenes, and if not handled correctly, can lead to
an unsuccessful business plan.
However, when discussing producers in a more traditional sense, many professional
recording studio producers don’t need marketing or promotional content, and rather,
get business through connections, and word of mouth. This is because these
producers have generally been in the business for many years, and therefore, while
they may not be known to the public ear, they are people in the industry who
consistently work with professional artists and famous songwriters.
What are the intellectual and personal challenges presented by the
profession and how might these be dealt with:
Challenges within music production are generally common, due to constant
technological advancements and new software constantly being released. Today,
producers must always be aware of changes in musical trends, as well as adaptability
to different studio environments. Théberge (1997) also states how reliance on presets,
loops, and standardized production techniques can encourage homogenization (the
process of making things uniform/similar), meaning popular music would start
sounding all very similar, and have identic production ideas in different songs, leading
to a boring and oversaturated music scene.
Furthermore, challenges for individual music producers are also very common. Low
income, long hours, and constant isolation are all problems which all music producers
must work through at some point in their careers. These issues correlate directly to
mental health concerns such as anxiety, and burnout, both of which are common for
producers and artists, such as Mac DeMarco, who has openly discussed how
important he believes setting boundaries and stepping back from work is when
necessary, to maintain quality of work, and wellbeing (NME, 2020).
Reflecting on your individual work, and emphasizing importance on creative
experimentation, are both effective ways of sustaining long term motivation, and
many producers find that collaboration and diversity in their work, are both unique
ways of working effectively, and avoiding work burnout.
What career-progression/development opportunities are available within the
profession:
When progressing a career in music production, there are many separate ways in
which someone can find new opportunities, as well as find similar experiences to build
their portfolio. Many producers begin from volunteering in a recording studio, to then
getting promoted, while others work more independently at a home studio, working
from online requests, and releasing their own unique material.
Furthermore, music production can branch off into many other unique fields, such as
game audio, education, studio ownership, as well as music for film. Therefore, diversity in your respected
field is often essential for financial and creative stability. (Coulson, 2012)
Today, more producers are branching out their music production skills, into portfolio
careers, working as freelancers, teachers, content creation, as well as recording studio,
or label work. While some say flexibility in work highlights a negative change in the
dynamic of modern music production, and how the industry has now become
oversaturated with too many wanting the same jobs in production, others say how the
flexibility of jobs in the music production field accentuates the constant need for
producers in the ever changing music industry.
Bibliography
- Amoeba Music (2017) What’s In My Bag? [YouTube video]. https://www.youtube.com/watch?v=e8oexqhDaEo&t=3s
- Mac Demarco (2017) Ernie Ball: String Theory featuring Mac DeMarco https://www.youtube.com/watch?v=s3YjvtjozCk
-Baym, N. (2018) Playing to the Crowd: Musicians, Audiences, and the Intimate
Work of Connection. New York: NYU Press.
-Burgess, R.J. (2014) The Art of Music Production. 4th edn. Oxford: Oxford
University Press.
-Coulson, S. (2012) ‘Collaborating in a competitive world’, Journal of Music,
Technology & Education, 5(1), pp. 37–50.
-DeMarco, M. (2017) Interview with Tape Op Magazine. Available at:
-Izhaki, R. (2017) Mixing Audio: Concepts, Practices and Tools. 2nd edn. Oxford:
Focal Press.
-NME (2020) ‘Mac DeMarco on stepping back from music’. Available at:
https://www.nme.comPassman,
-D.S. (2019) All You Need to Know About the Music Business. 10th
edn. New York: Simon & Schuster.
-Senior, M. (2018) Mixing Secrets for the Small Studio. Oxford: Focal Press.
-Théberge, P. (1997) Any Sound You Can Imagine. Hanover: Wesleyan
University Press.
-Zak, A.J. (2001) The Poetics of Rock: Cutting Tracks, Making Records. Berkeley:
University of California Press.
