Research Portfolio – Written/Video (SHR4C007R~001)

Jasper Sharp (24101628)

I’ve chosen Music Producer as my profession for this assignment, as an umbrella term for similar jobs in the area such as mixing/mastering engineer, or studio engineer. I’ve selected this because it’s the area I have the most knowledge in already, through talking to various producers myself and partaking in multiple projects with other musicians as a producer. In addition to this, because of my previous work in college (and before) doing music technology I have foundation knowledge of the type of work mindset and management I will need to apply in the future if I secure a position in this profession. This is ideally the career I want to strive for and work towards, and plays a big part in me deciding to go to university.

Qualifications/Skills

Like a majority of musical careers, to be a ‘producer’ you don’t technically have to have any qualifications. Plenty of musicians make music from their bedrooms (https://www.mixonline.com/recording/finneas-on-producing-billie-eilishs-number-one-album-in-his-bedroom Steve Harvey, Published 28/01/2020, Updated 05/07/2022), and in the end it is all a giant roulette over whether you’re somewhat successful in the industry. Obviously there are additional variables playing into this, such as money, or knowing the right people. Despite this, the variable I can control is my knowledge in the area; through fully engaging myself in my education, or reading and doing practical exercises relating to the area in my own time.

Helpful skills however, would include a good understanding of music theory, arguably much more important for producers than performers, seeing as they (more often than not) need to understand how song structure compliments (or clashes with) the commercial appeal of the music. Understanding what makes a good hook, or lacklustre chord progressions etc. makes you much more valuable not just as a producer but as a musician in general. (available at https://abbeyroadinstitute.co.uk/blog/music-theory-makes-better-music-producers/#:~:text=In%20the%20case%20of%20music,to%20subjective%2C%20inaccurate%20interpretation.%E2%80%9D para 13, published 18/7/2018 by Erica)

As well as this, playing an instrument as a producer is almost guaranteed, as most people tend to begin as players and then transition into production. If not, then the most important instrument to learn is by far any keyboard instrument, given the sheer amount of sounds you can produce with synthesis, or the almost infinite library of VSTs in the world.

As for the technical side, the same point with the knowledge applies, yet we all know that the best way to gain experience in the studio and with handling equipment like mics or a digital audio workstation is to just do more of it, which is difficult when studios aren’t something any producer can just afford to spend time in. RIght now, at least for people in my position, the best option is to make use of the resources they have currently.

Responsibility/Qualities

From what I’ve learned already, a producer’s work day, and as an extension a key characteristic quality, tends to be all about flexibility. It’s incredibly easy to see just how quickly the music industry changes; just compare the Grammy nominees of this year to 5 years ago. Staying ahead of the curve and predicting new trends before they hit the scene is integral to achieving commercial success, and will draw in more artists/business partners as they see you are looking ahead.

Continuing from this, collaborative efforts are the majority of a producer’s work, no matter what style of music you’ll be creating. For 99% of producers they cannot do every style of music themselves. Doing collaborative work also helps to build your professional portfolio and expand your opportunities for work, as the musicians (if you do your job right) will spread the word about you to other peers and so on.

A personal quality that you might already possess or actively need to develop is your social skills when talking to potential investors for your career. You are not going to agree creatively with every single person you work with, you might not even like them. Artists can be very headstrong at times and may have very fixed ideas about what they want their track to sound like. For example, when sending an first demo mix back to a band, they might disagree particularly with certain decisions in your work that you may deem as correct for the track. It’s important to remember that in the end it’s their material you are working with and you cannot override their vision even if you know it will make the track better. They are the people paying you.

On the other hand, another good quality of a producer is to push an artist in the studio to perform as best as they can, or to act as a catalyst in developing the track further through them. There could be a feature they want to implement but don’t know exactly how to put it into words, or something blocking them from giving the track just that extra bit of style in their performance. Working on music collaboratively is just that, collaborative. The effort of two minds working together is more often than not better than one. It works vice versa as well; the artists you work with could inspire you with new ideas that you might not have thought of without a second opinion.

A work day for a producer may involve taking lots of time developing new skills and reinforcing old ones, just like playing an instrument you cannot allow yourself to get complacent with your work. In the same vein, working on new projects and continuing to further ones already worked on is key, as deadlines (like in a lot of jobs) are a major obstacle in the workflow of a producer. Staying on top of them allows for less stress to yourself, and therefore better results in the work you are doing. I myself find deadlines quite overwhelming sometimes, but I know that subconsciously the stress that I may feel is being turned into motivation to complete the projects I have been assigned.

(Summarised from personal conversation with Matt Hay on Whatsapp)

Marketing/Promotion

Having an online presence in this era is the optimal way to market yourself. This presence on multiple apps especially can maximise your reach. Features like contact information/a linktree with prices for your expertise in your bio, posting regularly to engage with your followers and a portfolio pinned clearly showcasing only what you deem your best or most successful work.

Depending on which app you post on, your content should vary: TikTok is infamous for its bitesize 0-60 second size clips appealing to the younger audience, posting short but engaging clips like beat making or the hook to a new project would be perfect. Twitter is more suited to interacting with other artists or ‘fans’ directly as that’s where most of them flock to for better or for worse. Youtube is tailored for more extended content like in depth tutorials, or breakdowns of your own tracks as seen through other producers on the platform.

(available at https://www.youtube.com/watch?v=Gu5zGYDhhlQ – Magdalena Bay debut album breakdown, uploaded 14/3/2024 by Magdalena Bay)

Though in most cases this will not make you the most money, posting your music on Spotify or Soundcloud is never a bad thing to do and will naturally increase your reach through being recommended to other people, even if those other people may just be your family or friends for the time being. Bandcamp especially is a great platform to post your music as it is the most artist friendly in the sense that people can buy your music if they want to support you directly, as well as receiving additional benefits like stems or sample packs you have made.

“Bandcamp serves as an honest-to-goodness, proof-in-the-pudding bulwark against the creep of artistic monoculture fueled by the consolidation of digital life into the hands of a few companies”.

(available at https://www.musicgateway.com/blog/music-promotion/bandcamp-what-is-bandcamp-and-is-it-any-good#:~:text=BandCamp%20Vs%20Competitors,more%20from%20their%20hard%20work. Para 42, published 5.3.2023 by Music Gateway Team)

Financial/Legal Issues

It’s no secret that making a living out of any music career is difficult considering the sheer size of the industry. Many artists get dropped into the ocean and make no ripples. However, in terms of making money as a producer a portion of this may come from different types of royalties, available when your music has been registered with a PRO (performing rights organisation).

These include organisations such as ASCAP (American society of composers, authors and publishers), BMI (the largest PRO) and PRS (the performing rights society). Each of these companies have different benefits suited to different professions they can offer you as an artist, ranging from longer contract lengths with BMI to cheaper signup fees depending on what you’re joining the organisation as. For songwriters, BMI is free, but as a solo publisher the signup fee is much more expensive than ASCAP. SOme organisations are invite-only like SESAC (Society of European Stage Authors and Composers) but there is no fee required.

Some organisations like BMI can also not be joined if you are already part of one.

(available at https://soundcharts.com/blog/bmi-vs-ascap#benefits, published by Dmitri Pastukhov, 31/12/2023)

For a music producer living in the UK, which PRO you should join is largely dictated by how your music is going to be played. Live performances, such as TV, radio, or live performances will make more money for you if you are part of PRS. MCPS will be more beneficial for you if your music is being released by a record company, or distributed through physical media such as CD or vinyl. (available at https://www.prsformusic.com/help/help-with-joining-as-a-member/do-i-need-to-join-prs-mcps-or-both#:~:text=Which%20organisation%20you%20should%20join,a%20CD%2C%20DVD%20or%20LP. Published by prsformusic.com)

Registering different releases with the right PRO is key to making the most out of your music’s royalties. These types of royalties for a producer consist of:

Mechanical Royalties: Income from physical sales or streams.

Performance Royalties: Income from when a song is played on TV, radio or a public venue.

Synchronisation Royalties: Income from when music is used in TV shows, films or commercials.

(available at https://mixprodmasters.com/audio/music-producer-earnings-navigating-the-financial-aspects-of-the-career/ published by Lewis Morter, 29/6/2023

Intellectual/Personal Challenges

A large challenge in the creative industries is avoiding burnout. No creative ideas means no income. Unfortunately it’s a very common issue that plagues most of us and can leave us feeling very down and questioning our place in the industry.

It’s key to keep up on top with mental health, which can mean regular scheduled breaks in work to just get out of the headspace and recuperate, returning to the workspace feeling refreshed and ready to go again. These activities could be going outside for a walk, going to the gym. Healthy body means a healthy mind. Even just making a cup of tea and relaxing for a second can make a world of difference as I’ve found myself.

These physical activities and rest breaks are especially important when undertaking a task such as mixing, as the ear can and will get tired, to the point where you are making tiny adjustments to the levels of different channels for hours in attempt to perfect the mix, only to come back the next day and the track sounds nothing like what you heard the other night. Giving your ear time to ‘reset’ allows for a more efficient workflow without wasting time making pointless adjustments (available at https://www.soundtrap.com/content/blog/practical-tips-to-avoid-listening-fatigue# published at soundtrap.com para 9)

Bibliography

(https://www.mixonline.com/recording/finneas-on-producing-billie-eilishs-number-one-album-in-his-bedroom Steve Harvey, Published 28/01/2020, Updated 05/07/2022)

(available at https://abbeyroadinstitute.co.uk/blog/music-theory-makes-better-music-producers/#:~:text=In%20the%20case%20of%20music,to%20subjective%2C%20inaccurate%20interpretation.%E2%80%9D para 13, published 18/7/2018 by Erica)

(Summarised from personal conversation with Matt Hay on Whatsapp)

(available at https://www.youtube.com/watch?v=Gu5zGYDhhlQ – Magdalena Bay debut album breakdown, uploaded 14/3/2024 by Magdalena Bay)

(available at https://soundcharts.com/blog/bmi-vs-ascap#benefits, published by Dmitri Pastukhov, 31/12/2023)

(available at https://www.prsformusic.com/help/help-with-joining-as-a-member/do-i-need-to-join-prs-mcps-or-both#:~:text=Which%20organisation%20you%20should%20join,a%20CD%2C%20DVD%20or%20LP. Published by prsformusic.com)

(available at https://mixprodmasters.com/audio/music-producer-earnings-navigating-the-financial-aspects-of-the-career/ published by Lewis Morter, 29/6/2023)

(available at https://www.soundtrap.com/content/blog/practical-tips-to-avoid-listening-fatigue# published at soundtrap.com para 9)