Berklee College of Music

Musical Alchemy:
Towards Production Mastery
Submitted in Partial Fulfilment of the Degree of
Master of Music in Contemporary Performance (Production Concentration)

Supervisor: Victor Mendoza

by Alasdair J. McLeod

Valencia Campus, Spain
July 2018

Table of Contents

Abstract

3

1. Introduction

4

2. Culminating Experience

5

3. Objectives

6

4. Methodology: Plan of Action/Process/Resources

6

5. Execution and Results

8

5.1 What does a great producer do?

12

5.2 What skills are required of a great producer?

13

5.3 Why do artists seek the services of a producer?

21

5.4 How does a great producer take a song or piece of music and ‘turn it into gold’?

24

6. Justification

26

7. Professional Plan/Next Steps

27

8. Conclusions/Final Reflection

28

9. Appendices:
Appendix 1: SP17 Microphone Guide

31

Appendix 2: Producer Role Profile

34

Appendix 3: Other feedback from artist/engineer survey

37

10. References and Bibliography

38

2

Abstract

The purpose of my project is to develop my skills as a music producer. Analysing what a great
producer does, and for what reasons, to turn music into gold, and practising the skills required, supports
my professional aspirations of becoming a sought-after producer and studio musician. As well as
conducting research on great producers, I recorded and produced twelve songs sung by seven different
artists across a range of genres, and sought feedback from the artists and engineers I worked with. During
the process of reflecting on each production experience and applying what I learned to the next one, I
discovered that the role of the producer is varied and complex, requiring a wide range of skills over and
above musicality and technical competence. As well as developing my own production skills and bringing
original music from new artists to the profession, I hope that what I discovered during this early stage of
my journey towards production mastery will help other aspiring producers better understand the nature
and challenges of the role and the range of skills likely to be required to become a great producer.

Keywords: creative project, production skills, musical alchemy, artistic decisions, Pro Tools

3

1. Introduction
Reflecting on the elements that led to my project’s objective and formulation, I realise that the
seeds were sown during my childhood as it was here that my musical journey began. Growing up, I was
immersed in music; listening to my parents’ albums, going to gigs, and enjoying jamming sessions with
friends at our house. At seven, I remember being inspired at the Nice Jazz Festival by performances from
Robert Plant, Chic and Dr. John. At fourteen, I experienced my first rock festival. I remember the
reactions of the crowds and wondered at the emotional impact that music can have on people and how it
brought people together. Everyone was there for the same reason – to enjoy the music. Learning more
about the different artists I enjoyed listening to and seeing live, I began to realise that being a professional
musician is not just about writing songs, playing instruments and performing; it’s about dedication to a
craft, building a brand and a business, and being fuelled by the desire to make a difference to people’s
lives. Starting out on guitar and piano aged eight, I then became fascinated with rhythm and started
drumming aged eleven.
Knowing I wanted to pursue a career in music, I commenced my academic studies at college. The
more I learned and the more I collaborated with fellow students and tutors, the more my taste expanded
from my initial passion for classic rock and blues to include other genres such as jazz, funk, Latin and
fusion. I have been particularly inspired by the bands Snarky Puppy and Lettuce whose music I performed
for many of my performance assessments.
I developed a keen interest in learning new techniques, both on my principal instrument and
techniques for composing, arranging and producing. My ensemble experience with acoustic duos, big
bands and concert orchestras helped me learn new techniques to enhance my playing. I found production
fascinating and enjoyed practising on the desk in the studio and mixing at home using a variety of DAWs
such as Pro Tools and Logic Pro. For my final project at university, I composed, arranged, recorded and
produced an album. This was a fantastic learning experience during which I learned that, to deliver a
project like this requires not just musicianship or a vision. It requires skills and knowledge, hope,

4

optimism, and determination. It requires appropriate resourcing, planning and organising, motivating all
those involved, engaging them in the vision, and ensuring effective communication.
On coming to Berklee, although I knew I wanted to have a career in the music industry, I was unsure
about what exactly I wanted to do because my musical interests are so wide and varied. It wasn’t until the
sessions with Gregg Field and Banda Magda that the fog cleared and I realised that producing was
definitely the path I wanted to pursue. Being a drummer myself, I was particularly inspired by Gregg’s
visit; so much so that I now cannot imagine a happier life than doing exactly what he does to make a
living. I also came to learn that aspects of the music industry I love most and want to learn more about are
encapsulated in the role of producer. Depending on the artist, the role of producer can take many different
shapes and requires versatility and adaptability, qualities which I believed would play to my strengths and
could put to good use as a producer as well as a drummer. Hence my reason for choosing this particular
project on production. It made sense for me as a musician because, during the course of the project, I
knew I would be able to create opportunities to develop my skills in the areas that most interest me
professionally. Furthermore, as I would still like to perform, particularly as a studio musician, I believed
that learning how to produce would make me a better studio musician and vice versa.

2. Culminating Experience
Musical Alchemy: Towards Production Mastery has been primarily a creative project combining
research, practical application of production skills and business planning, where my role was a producer
of other artists. I chose this topic because, as well as playing drums at a professional level, I aspire to
make a living in the music industry from producing. Furthermore, I want to be a producer who is highly
regarded and sought-after by artists; artists who are looking for a producer who can, using the alchemy
analogy, turn their music into gold, producing a record that is more than the sum of the individual parts of
the music itself (Shepherd, 2009). Undertaking this project would, I believed, help me develop the
knowledge and skills I require to achieve my professional goals and ambitions.

5

The main purpose of the project was to develop my skills as a producer by creating a work (The
Work) comprising of five different songs by five different artists produced by me. Key research questions
were:
•

What does a great producer do?

•

What are the skills required of a great producer?

•

For what reasons do artists seek the services of a producer?

•

How does a great producer take a song or a piece of music and ‘turn it into gold’?

I was particularly interested in finding out what makes a ‘great’ producer, as opposed to one who fulfils
the basic functions of the role.

3. Objectives
My overall goal for this project was to develop and enhance the skills I require to be a soughtafter music producer. To support achievement of this objective, my sub-objectives were to:
•

research views on what a great music producer does

•

reach a conclusion about the skills required to fulfil the role of producer

•

establish why the services of a producer are sought or required

•

present a view on what a producer does to create a piece of music that is more than the sum of its
parts

•

develop and apply my production skills

•

produce five different songs for five different artists

•

create a show-reel for presenting the work

•

create a plan for making the work publicly available.

4. Methodology: Plan of Action/Process/Resources
The research aspects of the project were conducted using a qualitative approach, combining
action research with model observation. Key sources of information were published interviews with top
producers which enabled me to observe, analyse and reflect on what they do, and how and why they do it,
6

gaining some insight to the criteria they employ to make artistic decisions, and for what purpose and
intent. I also ‘researched myself’ in that, as well as seeking feedback from the artists and engineers with
whom I worked, which added a quantitative element, I consciously thought about and learned from my
collaborations with the different artists, assessing the process and outcome of each experience, and
applying my learning to the next collaboration. Adopting this approach has enabled me to improve my
knowledge and skills on an ongoing basis and has therefore helped me start to develop and construct my
own identity as a producer.
At the project proposal stage, I developed a clear plan of action, outlining what I would do and by
when, and listing the resources and tools I thought I would need. Aspects of the project that went to plan
and met my expectations were the identification of five artists to work with and the overall process of
rehearsing and recording before going into the studio to mix, master and produce the tracks. Having my
project plan helped me approach the project methodically and manage it effectively to ensure I was doing
what I had intended to do within set timescales to achieve the project objectives.
Initially, I felt that I was well-organised and managing my time effectively, and was pleased that I
was getting everything done that I wanted to. In fact, I was so much on track that I decided to produce
twelve tracks instead of five! Although I was well aware of how much extra work this would involve, I
was being fuelled by my passion and enthusiasm and really wanted to make this work. I will reflect on
this decision in the next section on results.
Other than the decision to record more songs, most other aspects of the project went to plan.
However, there were certain tasks that took a lot longer than expected, editing in Pro Tools for example. I
didn’t realise the level of meticulousness required to perfect the tracks, mainly in terms of timing, but also
the cleaning up of certain notes or phrases and comping. Everything these days is super tight in terms of
timing so I wanted to make sure everything I was doing was too. I used the groove templates in beat
detective (part of Pro Tools) to create the groove that I wanted. In the case of We Should Stick Together, I
went through 20 variations of 16th note swing quantization until I found the one that grooved the hardest.

7

Also, once I had completely tightened up the drums and bass, I moved the bass back 10/20 milliseconds
so it sat a little behind the drums and this I found worked best.
In terms of producing videos, I realised that I was being a bit unrealistic to think I could video
twelve songs in the time available as I wasn’t aware of the time that it took to complete other parts of the
process, such as editing. The cost of videographers was also a factor that I hadn’t previously considered. I
therefore have one edited video and three unedited, and will be submitting the edited one, Northbound
Train, for my Culminating Experience portfolio. The editing of the other three will be completed at a later
date. I feel okay about this decision as I have learned that, when working to a timeline for delivery,
objectives need to be realistic and that the tasks required to achieve them must be well thought out and
planned, perhaps allowing time for unforeseen eventualities that could cause the project to slip.
The hardware/software resources I used met all my expectations, with everything working as
expected. Although I had trouble booking the studio at times, this wasn’t too much of a problem and I
always found a way round it. Scheduling rehearsals and sessions with busy musicians was a particular
challenge in terms of resourcing, although not entirely unexpected. And, in hindsight, I should also have
added the snacks I provided for the studio musicians to the list of resources!

5. Execution and Results
In this section, I detail the process, development and results of The Work and analyse the steps
followed and results achieved in relation to the project’s objectives. The completed work is comprised of
recordings of twelve songs sung by seven different artists across a range of genres, with a supporting
video for one song and three in the making.
I started out by telling people about my project and that I was looking for artists to work with.
Thankfully, this generated some interest; otherwise there would have been no project! My criteria for
deciding who to work with was based on my liking the artists’ music and whether, stylistically, it was
sufficiently different from the artists who were already on board because I wanted to work with a range of
different styles. The key element of every music production is the song because “…if you don’t have a
great song or songs, you won’t have a great record” (Owsinski, 2016, p.59). I liked all of the songs I
8

selected for production and thought they were good. However, on reflection, I realise that my only criteria
for deciding whether the songs were good songs was based on the fact that I personally liked them. In
future therefore, I will develop more solid criteria to help me make such decisions. I’ll do this by learning
more about what is thought to be the key elements of a great song so that I can approach songs more
analytically and objectively to decide whether or not they are ‘great’; considering song structure, melody,
lyrics, arranagements, and dynamics for example, and considering what works commercially and in line
with what the artist aspires to achieve. After all, whatever I do as producer should always be in the best
interests of the artist.
It was at the initial meetings with each artist that I came to understand what it was they wanted to
achieve. I did this by asking them questions and listening to what they had to say. Having this
understanding really helped us shape the song for the final production. I was pleased that all artists were
open to giving me a certain extent of creative license with some aspects of their songs, and my ideas for
adding, removing or changing things were in the main taken on board. With Northbound Train, I pretty
much changed the style of the song from folk to gospel/blues-soul. At first the artist wasn’t sure about
this; once she’d heard it a few times though, she realised that this style fitted the song very well.
Four of the seven artists asked for my assistance with arranging and charting which I was only too
pleased to do. I especially enjoyed arranging the cover of Georgia on My Mind because I really like the
style of the music and had a lot of fun writing the horn lines and re-harmonising it (this was done in
collaboration with a student from the SFTV Masters programme). Georgia on My Mind and Just Friends
probably have the most of me in them because these were the two songs that contained my ideas from
scratch - style, chord changes, horn arrangements, form and instrumentation for example.
Conducting the rehearsals taught me that I would benefit from having more teaching, or rather
‘classroom control’, skills to enable me to run more efficient rehearsals in future. Although I was always
well prepared and made sure that the charts were printed and taped beforehand, when we were rehearsing
Georgia on My Mind, I found it quite difficult at times to retain the attention of some members of the
band who were frequently distracted, noodling on their instruments and chatting over me. Also, in future I
9

will make sure I have each individual part as specific as possible before the rehearsal so that less verbal
direction is required, with more reliance on what is in the charts. If all the music is well-written and the
forms clear, there is little room for opinions and comments which helps expedite the recording process.
When in the studio recording Northbound Train, we decided to record the organ, although didn’t use
this later. This emphasises the importance of being sure of the arrangement before going in to the studio.
All in all though, the studio sessions ran smoothly and I like to think that this was due mainly to my
organisation skills. The only thing that didn’t go so well was that, sometimes, people didn’t know their
parts properly which I found frustrating because it wasted a lot of time.
In terms of equipment, the decisions I made about what equipment to use depended on what we were
aiming to achieve. Examples were pre-amp choice, outboard processing, such as EQ or compression,
microphone choice and microphone placement. I found Berklee’s Microphone Guide (see Appendix 1) to
be a useful resource in cases where I wasn’t sure which microphone to use. The choice of the instrument
itself and the tuning of it was also a key element. With drums, I had several kits to choose from and my
choice depended on the sound I was looking for. Sometimes, I mixed and matched parts of the kit, and
selected appropriate cymbals depending on whether I was going for a dark or bright sound. The choice of
musicians was also a huge part of creating the desired sound.
With Northbound Train, I recorded the piano hammers instead of the strings to achieve a more
direct and punchy sound which I thought was more appropriate for the blues/soul/gospel style. During
Just Friends and Ladybird, I used dark cymbals and dark microphones because these were jazz
recordings. For Ladybird, I also tuned the drums very high to achieve that jazz tone from the drum kit and
used the Canopus instead of the DW drum kit.
The most surprising thing for me about the production process was discovering how long the editing
process took (see Figure 1). I didn’t even realise that editing would be part of the process; I just thought
that what was recorded would be good enough for then mixing and mastering. I now realise that the better
the recording, the arrangement, and the musicians’ skills and performance, the better the produced track
will be.
10

Figure 1: Total hours spent on producing the songs
Artist

Arranging &

Meetings

Charting

Rehearsals

Studio

Editing,

Sessions

Comping,
Mixing &
Mastering

Hours

25

31

13

136

218

% of total

6%

7%

3%

32%

52%

(423) hours

As well as learning that a producer can spend many hours editing, I also discovered that a producer
can sometimes be called upon to help with arrangements and charting, and that it is important to be
completely sure of the arrangement before going into the studio. I realised this because, although I had
done the arrangements before going into the studio, there were occasions where I had not arranged
specific enough parts for a particular instrument. This meant more time was spent discussing and agreeing
the arrangement when in the studio and was therefore a waste of studio time.
Other lessons learned were that it’s better for the producer to be part of the whole process from start
to finish because I found that I had more control over the outcome when I was. Fortunately, I came to
realise this in the first session, not in the last!
Reflecting on my decision to produce twelve songs instead of five, I am very glad that I decided to do
this because it has pushed me very hard, and I have learned much more and improved my skills hugely as
a result. Although I may not have finished everything I wanted to, the important thing is I learned a lot
and improved my skills more than I would have done had I just produced the five songs. It also helped me
to understand exactly how long each process takes which will help me manage my time effectively in the
future.

11

5.1 What does a great producer do?
Being interested in finding out what makes a ‘great’ producer, as opposed to one who fulfils the
basic functions of the role, the first step was to research what these basic functions were. Typically, job
descriptions list key duties and responsibilities as being, for example:
•

arrange, and be on time for, meetings with the artist

•

make decisions about song arrangements, instruments and equipment

•

organise the hire of session musicians

•

prepare a production plan

•

manage the budget

•

record instruments and vocals

•

work with the engineer to mix and master the tracks

•

keep the record label informed of progress

•

promote the artist.

Completing this project, however, has taught me that there’s so much more to mastering production
than just preparing a production plan and knowing what buttons to press, and that a great producer does
indeed wear many hats. Not only is the producer the project leader and manager, responsible for the
project’s success, as Owsinski (2016) observes, the producer also has the role of: financier, responsible
for the budget and negotiating deals with, for example, the studio, the musicians, and the food suppliers;
creative director, seeing the overall vision for an album; casting director, choosing the right musicians
for the project; and the diplomat, bringing harmony to the creative process and creating a comfortable
environment where the musicians will give their best. As Jones (2010, p.69) says, “…if they don’t feel the
love in the room, they won’t be able to feel the spirit of the music”. I myself became aware that the artists
I was working with needed to be encouraged and made to feel as comfortable as possible; it wasn’t
anything in particular that led me to this conclusion; I just found that they performed better when they felt
comfortable. One artist wanted the lights dimmed for example, and others just needed a snack so I was
pleased that I’d thought to have these on hand.
12

Reflecting on my own experience during this project in terms of what a producer does, I became
aware that a producer also plays the role of ‘teacher’, or ‘coach’, in the studio, bringing out the best in
musicians, and having creative input to improve arrangements and perfect the small details. I soon
realised that, as well as assuming a teaching role, I was also the learner, not just in terms of learning from
the process, but also learning from the artists I worked with, each of whom had something to teach me
about themselves, their talent, their aspirations – and even life itself in terms of their outlook. (See
Appendix 2 for my version of a producer’s role profile, including the job purpose, key duties and
responsibilities, and the associated qualities and skills required.)
The difference that makes the difference I think between a ‘producer’ and a ‘great producer’ is what
they bring to the party over and above the science of production and their technical competence.
Examples are: the quality of the relationships they build with all those they work with, relationships that
are based on mutual trust and respect; their artistry and the artistic decisions they make; and their
commitment to the artist and the song. In short, a great producer brings ‘art’ and the ‘human factor’ into
the equation. As I have aimed to reflect in my own version of a producer’s role profile, it’s not just about
knowing and doing; it’s also about ‘being’ and what the producer is like as an artist and a person.
5.2 What skills are required of a great producer?
As the producer has so many hats to wear, each role requires a different skill-set; I have learned
that there is so much more to producing music than just technical skills and musicality. For example, a
producer requires skills associated with leading a team and managing and delivering a project on time and
within budget, in addition to “striving for and achieving professional standards of fidelity and musicality”
(Webber, 2017). Effective collaboration and communication are essential for moving the project forward
and resolving issues and solving problems along the way. As Korkright (2017) observes, “…facilitating
communication is the cornerstone of a producer’s job”. (See Appendix 1 for further detail on the skills
required of a producer.)
My own experience during this project has reinforced the role of producer as project manager,
making sure that everything is done on time and to budget. The skills I think I was best at were organising
13

activities and resources, arranging music, paying attention to detail, and providing moral support to the
artists. I did however realise that I need more experience with Pro Tools and mixing. For example, I could
work more quickly and effectively if I knew more about keyboard shortcuts and how to get the most out
of the software. As is stands, I am probably familiar with only 50% or 60% of the software features.
Having more experience of mixing would be helpful too because the producer is required to do this at
times. A good mixer will have a good ear for technical matters and small details and will quickly identify
a need for more compression for example, or an EQ boost at 1k, or a cut at 400. Other examples are a
smaller tail on the reverb, or changing the reverb type.
The main challenge I faced was in respect of managing the musicians I needed to support the
artist’s work. I found this difficult at times, partly because there are egos to manage, but especially in
respect of finding times to rehearse and record with people who were extremely busy. Even just getting
people on board was difficult due to their busy schedules. I also encountered some difficulties with
differences of opinion between either me or the artist or me and the engineer. I resolved these difficulties
by persuading them to try out both suggestions to establish what worked better and was pleased when
they decided to go with my suggestions.
Where the artist was concerned, I found myself biting the bullet on a couple of occasions, as I
wanted them to have the final say in the matter on the basis I was there to help them achieve their artistic
vision. Although Owsinski (2016, p.16) states that “…a good producer will be the final decision maker in
any creative argument (especially one between band members)”, I felt that I wasn’t quite at that stage yet;
in any case, Owsinski also points out that, even if the producer defers to the artist’s creative vision (which
most producers will do), it’s still the producer’s decision whether to defer or not. I therefore felt okay
about deciding to defer the final decision to the artist.
To help me reflect on and improve my performance as a producer, I sought feedback, in the form
of a survey, from the artists and engineers I worked with. At the time of writing, I have feedback from
five of the seven artists and five of the six engineers. One of the questions I asked was: What was I like to

14

work with? See Figure 2 for the results which I find extremely interesting and insightful because they
highlight the differences in perception from both an artist and engineer perspective.
Twice as many artists than engineers thought I created a good vibe in the studio and knew what I
was doing technically. I’m not really surprised that more artists than engineers thought I knew what I was
technically because the engineers have so much more technical expertise than I do and would be looking
at this from an engineering perspective, whereas the artists weren’t so much aware of what goes into the
technical side of production and what knowledge and skills are required.
The ‘other’ comment was from an engineer who thought that I didn't allow them to do their job, and
disregarded their recording suggestions. I feel okay about this because, although I welcomed input from
the engineers, I think the final decision rests with the producer as leader of the project. Further, it is the
producer who best knows the artist and what should be done to help them achieve their artistic vision.
Although I would do the same in future, I will think about how I communicate these decisions and make
sure the engineers know I appreciate their input, yet understand my rationale for making the decisions I
do.

Figure 2: What was I like to work with?

What was I like to work with? (%)
Other:
You created a good vibe in the studio
You made good suggestions to enhance the sound of the
song
You were committed to helping me achieve my artistic
vision
You understood and respected my artistic vision for the
song

You were organised
You knew what you were doing technically

0

20

Engineers

15

Artists

40

60

80

100

120

In terms of what the artists and engineers perceived as my relative strengths and weaknesses as a
producer, as Figure 3 shows, all five artists cited my time management/scheduling, patience and editing
as being particular strengths. I am very pleased with this result because I put a lot of effort into organising
and scheduling activities and resources, being patient (even at times when I didn’t feel like being
patient!), and spent many hours editing, an activity which I hadn’t expected to do, yet which the artists
seem to have appreciated. Top strengths perceived by the five engineers are cited as being musicality and
attitude. Again, I’m pleased that they thought this because a producer needs to have both musicality and a
good attitude towards all those involved in the project.

Figure 3: Artists’ and engineers’ perceptions of my strengths

Perceptions of my strengths (%)
Other (Arranging):
Music theory knowledge
Mixing
Editing
Patience
Attitude
Ear-training
Musicality
Versatility
Time management/scheduling
Engineering
Interpersonal skills
0

20

40

Engineers

60

80

100

120

Artists

In terms of weaknesses, artists mentioned mixing, ear-training and versatility (see Figure 4). For
engineers, the main weaknesses are mixing, editing and engineering - fair comment considering their
professional expertise! Am not too sure how I feel about versatility being perceived as a weakness so will
give this some further thought as I would like to be known for being a versatile producer; maybe I was a
bit too assertive with my suggestions and need to be more mindful of how I put these across. I know
myself that I need to work on the other aspects mentioned, and am aware that mixing for example could
16

take years to master! Mixing and ear-training go hand in hand I think because mixing is really a different
type of ear-training, in that, instead of recognising a wrong note in a phrase, or an unwanted chord
extension played by an instrumentalist, mixing is about recognising certain frequencies and deciding
whether something needs less low-mids around 300, for example, or that the compressor might need a
faster attack or a slower release.

Figure 4: Artists’ and engineers’ perceptions of my weaknesses

Perceptions of my weaknesses (%)
Other:
Music theory knowledge
Mixing
Editing
Patience
Attitude
Ear-training
Musicality
Versatility
Time management/scheduling
Engineering
Interpersonal skills
0

10

20

Engineers

30

40

50

60

70

Artists

Although patience was highlighted as a particular strength, one engineer saw this as a weakness
on the basis that I was “…getting too much into the engineering side when an engineer is there to do that
job”. For me, this highlights the importance of understanding the roles of all those involved in the project
and agreeing respective roles and responsibilities up front. It has also made me think about my own
development as a producer and how much into the engineering side I want to get. On balance, although I
want to learn more about the engineering side, I want to work with great engineers and should therefore
understand and respect their role – and ensure mutual understanding of what we are each there to do.
Other questions asked in the survey to help me develop my production skills were:

17

1) Was there anything about my production process that stood out to you or that was
unique?
2) If there is one thing I could have done to make the whole production experience better for
you, what would that be?
3) What other feedback do you have for me?
See Appendix 3 for responses.
I am very grateful for this feedback because it has taught me that:
•

production is not just effective collaboration with the artist; it’s about working with a team of
professionals, all of whom bring their own areas of expertise to the project and have their own
role to play in delivering the artist’s vision

•

my desire to learn more about engineering does not make me an engineer(!)

•

a producer earns respect by giving respect

•

it’s important to be organised, versatile and solution-focused, and to remain calm when faced
with difficulties so that problems can be resolved and challenges can be overcome

•

being transparent and authentic, and always acting ethically and with integrity is an absolute
must; I should have discussed my intention to have others re-record instruments and explained
my reasons for wanting to do so instead of just going ahead without telling the artist

•

the wellbeing of the team is crucial to good relations and a great outcome for all.
In future therefore, I will work on improving my mixing and ear-training, and have meetings up

front with everybody involved in the production project to discuss our respective roles and
responsibilities and how we will work together. I’ll also be more mindful of the ‘people’ side, especially
when there is conflict, so that everyone feels valued and respected, even where there is disagreement.
Overall, 90% of the artists and engineers who gave me feedback were either ‘very’ or ‘extremely’
satisfied with their experience of working with me as a producer (see Figure 5).

18

Figure 5: Overall satisfaction with experience of working with me

Satisfaction with experience of working with
me (%)
Not at all satisfied
Slightly satisfied
Moderately satisfied
Very satisfied
Extremely satisfied
0

10

20

30

Engineers

40

50

60

70

Artists

The one person who was ‘moderately’ satisfied was the engineer who felt that I wasn’t allowing
them to do their job and, as such, would not recommend me as a producer to others at this stage (see
Figure 6).

Figure 6: Artist and engineer recommendations

Would you recommend me as a producer to
others?
1

9

Yes

19

No

I am okay with this because I found their feedback extremely helpful as it will help me lead and
manage the production project and those involved better in future.
I am delighted that, from feedback received so far, 90% of those I worked with would
recommend me to others as a producer.
I am also delighted to have received the following testimonials which I can use to promote my
services:

“Ali is a joy to work with. He is hardworking, creative, funny, and always brings laughter and new ideas
to the studio. He is never intimidating and does his best to make everyone feel comfortable and welcome
in his sessions. He has a very high level of knowledge in terms of musicality and styles, and he always
gives very constructive feedback in a supportive way. 10/10 would produce again.” (Artist)

“We enjoy working with you. We appreciate your kindness and good vibes.” (Artist)

“Ali has a very clear vision of what to do with a song and where to take it, and given he’s very interested
in the technical side of the process as well he’s a very complete and round producer.” (Engineer)

“Ali is an amazing musician, arranger, editor, knows his way around recording and mixing and above all
an awesome producer. When working with someone like this you know the music is going to be good! I
cannot recommend him enough.” (Engineer)

Overall, I have found the survey results to be extremely useful because they have offered insight
to, and raised my awareness of, how I work with artists and engineers, what I’m good at, and what I most
need to work on to further enhance my skills as a producer.

20

5.3 Why do artists seek the services of a producer?
The current musical landscape is such that independent artists can learn how to produce their own
music; all they probably need is a laptop, headphones, speakers, a DAW, a Midi keyboard and access to
‘teach yourself how to produce’ videos on YouTube. They may be unable to afford the services of a
producer, or it could be they don’t see the need. Or maybe they just want to produce their own music.
Kanye West for example is an acclaimed producer of his own music.
Nile Rodgers (cited in Massey, 2000, p.172) is quoted as saying “…a great artist makes a song
better; a great producer makes an artist better; and a great artist makes a producer better”. Yet, when Chic
first started out, Rodgers claims that they couldn’t find a producer that made the band sound good, let
alone better, so they ended up producing the record themselves. He concludes that every artist could
benefit from having a producer, provided they are in tune with the artist.
My research suggests a common view (mainly among producers) that most artists need a
producer and that even great artists need someone. Artists seek the services of a producer because they
need someone with an objective view to act as a sounding board; someone they can bounce ideas off.
Frank Fillipetti (cited in Massey, 2000, p.2) points out that an artist may have an emotional attachment to
certain aspects of their song, a particular chord progression for example, and are reluctant to change it; yet
when they take the producer’s advice to try something different and listen to it objectively, they can see
how the song is working better as a result. Therefore the artist benefits from the producer’s impartiality
and objective ear. Other reasons that an artist might seek the services of a producer are:
•

Having a second mind and ear focused on the song can offer a new perspective and can therefore
enhance the creative process.

•

The producer is working for the artist and will help them sound better and achieve their artistic
vision through combining music technology and creative direction.

•

The producer knows music and what works and doesn’t, both technically and in the market. It
therefore helps to have someone who knows the market, the artist’s place in it, and what decisions
to make to ensure the song works in the commercial market for the artist’s genre.
21

•

The producer will want to make the record the best it can be because they are putting their name
to it; they have a vested interest in making the record a success.

•

The producer will lead and manage the project from start to finish and deal with the logistics so
that the artist can focus on their music.

•

The artist can learn techniques from the producer so they can improve the sound of their own
demos for example.

•

The artist can benefit from the producer’s network of contacts, including session musicians,
engineers and studio facilities.

The artists who agreed to work with me wanted their songs produced primarily because they wanted:
a producer to make them and the song sound better; for the song to sound more polished and professional;
and someone to bounce ideas off (see Figure 7).

Figure 7: Artists’ reasons for seeking a producer

Artists' reasons for seeking a producer (%)
I wanted to learn more about the production
process
I wanted the producer to make me and the song
sound better
I wanted the song to sound more polished and
professional
I wanted a producer’s opinion on how the song
was sounding from their perspective ‘behind
the glass’
I wanted someone to bounce ideas off

0

10

20

30

40

50

60

70

The main reason given by artists for choosing to work with me, as opposed to someone else, was that
they trusted me to do a good job (see Figure 8). I am delighted with this result because it’s important for

22

me to feel trusted as a person and for people to feel reassured that I’ll work hard and do a good job for
them. Key to this is that I wasn’t just doing this work for ‘a school project’ – it means so much more to
me than this in terms of helping me achieve my own professional goals and ambitions and I like to think
that my genuine commitment to the artists and their projects came across.

Figure 8: Artists’ reasons for choosing me as their producer

Artists' reasons for choosing me as their
producer (%)
Other:
Someone recommended you to me
I wanted some help with arranging and
charting
I trusted you to do a good job
You offered to produce my song
0

10

20

30

40

50

60

70

Other reasons given were:
•

“I think you're hardworking and great at what you do - I knew you'd put 100% into it.”

•

“I valued your understanding of the genre.”

•

“You're the best!”

I am particularly pleased with the comment about understanding the artist’s genre and would like all
artists I work with in future to say that about me. If I am to work with artists across a range of genres, it is
important that I explore and get to understand genres that I’m not so familiar with. As Jones (2010, p.10)
points out, “…each style of music has its own spirit and it deserves the dignity of having its own space”.

23

Although I want to work with artists from different genres, it’s important for me as a producer to enjoy
the music from those genres; if I didn’t enjoy it, I really wouldn’t want to produce it!
5.4 How does a great producer take a song or a piece of music and ‘turn it into gold’?
To answer this question, I think it is helpful to clarify what I mean by ‘gold’. As Don Gehman
(cited in Massey, 2009, p.85) points out, “…the purpose of making a record is to make something that is
artistically and creatively unique to the marketplace, and then also come up with a hit that you can sell it
with”. That is the commercial reality of the music business. Therefore my definition of ‘gold’ in this
context is a great record that is both widely acclaimed and successful in terms of sales, where sales
success is measured quite literally by going ‘gold’ or ‘platinum’.
Producing records is described as an art, a craft, a process, and a science. Just as a great chef
creates great meals and a great artist creates great paintings, it seems that a great producer creates great
records by selecting great ingredients and mixing them together with their own unique flair and magic
touch to produce a work of art that is more than the sum of its individual parts and which people love and
enjoy. According to Owsinski (2016, p.143), “…making great music recordings is the result of many
ingredients, but it’s made up chiefly of inspiration, musicality, technology, personal interaction and, most
importantly, vibe”.
Turning a song into gold depends on having a great song to work with, one with a structure that is
right for the song and which has a great melody and lyrics; a song that tells a story and makes an
emotional connection. “If you don’t have a great song, even the best musicians can’t make it great”
(Jones, 2010, p.253). A great producer like Quincy Jones will find a way to portray the song’s vision and
its melody. To achieve this, Jones (2010, p.254) advises: “You have to really open your soul, your mind,
your knowledge, and your passion…it rolls around…I just know it when I hear it.”
The performance of the song is an essential ingredient because a great song badly performed is
not ‘gold’. A great producer will know how to get the artist and the musicians performing at their best. “If
you love the people you’re working with, you’ll take the time and make the effort to understand their
capabilities. You’ll know their strengths, and you’ll know how to put them to use” (Jones, p.255). Jones
24

believes that he gets the best that the people he works with can give; although he’s not sure why he gets
this, he does think that it could be because he really believes in what he’s doing and that this could help
them believe in what they’re doing. He creates an environment in which people know that they are free to
contribute to the creative flow and that, he believes, is the kind of environment that produces the best
music, one in which greatness can happen.
Turning a song into gold then is not just about the song and the way it is performed, it’s also
about the relationships the producer has with the team. According to Quincy Jones (2010, p.130) the key
to getting top results is where there is ‘love’ between the performer and the producer because “…when
that love is established and understood, the producer can be very honest and sincere about everything it
takes to record the best possible performance”. Jones also observes that if the artist knows you genuinely
care about them, “…they can trust their instincts and explore new musical and creative ways to express
themselves”. Jones also makes sure there is food on hand to make the studio feel more homely and keep
everyone going. As I discovered myself during the studio sessions, giving the artist just a few minutes
chill time to relax and grab a bite to eat can make a real difference to their performance. Justin Niebank
(cited in Massey, 2009, p.11) believes that producing records is all about people and relationships and that
“…it’s not about the producer…or even the artist or the musicians around him or her – it’s about creating
a circle of art that is bigger than everyone else”.
The artistic decisions that a great producer makes can contribute to the musical alchemy of
turning a song into gold. These include decisions about which instruments and equipment to use, mic
choices and placements, the number of people in the room, riffs, and use of dynamics. Decisions made
‘on the spot’ can also contribute to the magic. Jones (2010, p.131), for example, tells the story of working
with Aretha Franklin when she did a cover of Somewhere from West Side Story. Rather than hiring a
session musician to play the piano part, Jones decided to keep Aretha’s version because of the “…honesty
and vulnerability” of her playing and describes this as “…a magic moment”. Whatever the decisions
made are, they are made for the purpose of best serving the song and the artist, and with the intent to
achieve the sound and vibe they want to create to achieve their artistic vision. As Frank Liddell (cited in
25

Massey, 2009 p.8) observes, “…my job is to do whatever I can to help the artist make the record they
want to create”.
Reflecting on what my research and personal experience during this project, I have concluded
that, although there are some ‘rules’ to follow, there is no guarantee that following these rules will result
in a ‘gold’ record, and that what a producer does to turn a song into ‘gold’ is a complex, ‘magic’ mix of
elements that are unique to the project, those involved, and the interplay of the dynamics between them.

6. Justification
I believe that The Work contributes to the discipline and profession because it has resulted in the
provision of new works in the form of original songs by new artists, and has provided an opportunity to
expose the produced music of these new artists to general audiences. As well as contributing new art to
the world of music, the increased exposure of the music, the artists, and me as a producer, could lead to
commercial opportunities for sales of the music, live performances, and more work opportunities for
those involved in creating, producing and performing the music. For example, The Work includes a cover
of Georgia on My Mind, which I arranged as well as produced, and this track has already been released on
all streaming platforms and the CD has been released. Most of the artists I worked with plan to release the
music commercially.
I selected this project primarily because I wanted to develop my skills as a producer and provide
evidence of this in the production of recordings of music composed by different artists. I believe that,
throughout the process of creating The Work, I have developed the ability to produce original, creative
works by working with new artists and new songs, arranging some of these songs, and bringing my own
influences and perspective to production to help each artist achieve their own unique artistic vision.
As such, I now have more knowledge, skills and experience to contribute to the profession and
share with others to help them develop their skills. I have benefited because I have developed my skills in
the field I want to work in. I also hope that what I have discovered during this early stage of my journey
towards production mastery will help other aspiring producers better understand the nature and challenges
of the role and the range of skills likely to be required to become a great producer.
26

The artists have benefited from having their songs enhanced by production which brings with it
more commercial opportunities; they have also learned more about the production process which means
that they will be better informed in future production projects. The profession benefits and grows from
having new artists with new songs and a new producer working in the field. And music lovers benefit
from having new artists with new songs to listen to and enjoy.
As I discovered in a previous research project, if a person chooses to listen to a piece of music,
they typically do so for its intrinsic rewards, that is, they expect that listening to the music will benefit
them in some way (Budd, 1985). Furthermore, although people listen to music for a range of reasons, they
do so primarily to manage and regulate their moods (Juslin, 2009; Lonsdale & North, 2011; Sloboda,
Lamont & Greasley, 2009). Therefore if listening to the music I produce makes people feel better in some
way, I will consider this a worthwhile contribution and a job well done.

7. Professional Plan/Next Steps
My plan beyond the delivery of my CE project is to further evaluate my performance as a
producer, reflect on what I have learned, and consider how I might apply what I have learned to my future
production projects to continue to improve my professional practice as a producer.
The next steps are to:
1) Review and update my CV and website and put myself out there as a freelance producer for hire.
2) Speak with the artists I worked with about their plans for releasing the recordings and videos to
YouTube and other media; I want people to hear the music and ask: Who produced that?
3) Gain the express permission of the artists and engineers I have worked with to use their
testimonials on my website and to provide links to the recordings and videos that artists have
made publicly available so that I can provide examples of the work I have produced.
4) Study the legal aspects of production and hire a lawyer to draw up a suitable production contract
for freelance work. Although I am aware that the two copyrights vital to the music business and
which protect every song are to do with: a) the copyright in the song; and b) the copyright in the

27

sound recording, what I don’t yet know are the implications of copyright for me as a freelance
producer of music and what the implications for contracting would be.
5) Apply for studio jobs to gain more insight to the production business and to provide financial
support as I build up my reputation and freelance work (if permitted in the terms of employment).
6) Gain more experience with Pro Tools and mixing to build expertise.
7) Consider and develop the skills associated with all the different ‘hats’ a producer needs to wear to
fulfil their duties.
8) Listen to the great records of the past from a producer’s perspective to see what else I can learn.
9) Consider how I might use my experience at Berklee to create opportunities for drumming and
performing as well as producing.
10) Continue to learn from every production experience and the artists with whom I work.
11) In the longer-term, consider the possibility of running my own production company and what this
would entail, perhaps with a view to providing music for television.
Overall, my plan is to keep producing and keep learning so that I can continue on my journey towards
production mastery.

8. Conclusions/Final Reflection
To conclude, completing the project and producing The Work has had a tremendous impact on
me in terms of what I have learned, how I have developed and what I have produced. Having recorded
and produced an album of my own compositions prior to coming to Berklee, I thought I knew what would
be involved and what to expect. And in some ways, yes, I knew that this project would require careful
planning and much organisation, which it did. I also expected to work hard and enjoy what I was doing,
which I did, very much so.
Where it fell short of my expectations was mainly in respect of the videos. Thinking I would be
able to produce videos for each song was just too ambitious and unrealistic as I underestimated the time
this would take, the cost, and the resources required to deliver great videos. Other people’s time was a
major factor here so better planning and scheduling would have been required to make sure the right
28

people were available at the right time. It was also challenging to find suitable times for rehearsing and
recording due to the busy schedules of the artists, musicians and engineers involved. A further challenge
was the people side of things, where there are egos to manage and ensuring everyone is productive and
rowing in the same direction for the same purpose and outcome. Although I think that, overall, being
organised and managing relationships play to my strengths, in this project, there were more people
involved and more tasks to complete within certain timescales and it was harder work than I expected.
I was also surprised to learn that a great producer does so much more and requires so many more
skills than just managing the project and being technically competent. I certainly did not anticipate that I
would spend so much time editing and will factor this in better in future. Also, the relationships the
producer builds with all those involved and the vibe they create are absolutely critical to ensuring that
everyone performs at their best. I discovered that music production is more than science; it’s an art and a
craft. Although the basic building block is having a great song to work with, the real magic seems to
happen when the people feel valued, ‘loved’, respected, confident, and motivated to give their best and
contribute to the creative process.
The project exceeded my expectations mainly in terms of The Work which comprises twelve
songs sung by seven different artists across a range of genres, instead of the planned five songs and five
artists. So passionate and enthused was I about the work I was doing, I wanted to do more. And I’m glad I
did because, despite all the extra work I created for myself, I have gained more valuable experience, have
learned more, and have produced more original songs by more new artists than intended. This I believe is
a better outcome than I had originally hoped for; not just for me, but also for the artists themselves, and
the engineers who gave up their valuable time to work on the project.
So how have I grown, developed and changed as a result of completing this project? I chose this
project because I want to make a living as a producer as well as playing drums at a professional level and
therefore wanted to develop and apply my production skills which I believed would also make me a better
studio musician because I would know more about what the producer wanted and what they decided to do
to achieve this. I called the project Musical Alchemy: Towards Production Mastery because I wanted to
29

find out what I could about what a great producer does to turn music into gold, combined with the
realisation that mastering the art and science of production is a journey and, as even the great producers
admit that they are always learning, the further realisation that this will always be a journey, without a
final destination. They key thing for me is about always improving and enjoying each stage of the journey
and my collaborations with different artists along the way.
During this early stage of my journey towards production mastery, I have done what I set out to
do in that I have developed and applied my production skills and produced a Work that I am very proud
of. I now have more knowledge and a greater awareness of what a great producer does and how and why
they do it to turn music into gold, as well as a greater insight to my relative strengths and weaknesses
which I can use to further enhance my practice as a producer and apply to my Professional Plan.
I believe that the project has also helped me start to develop and construct my own identity as a
producer. For example, I know that, if I don’t particularly enjoy a certain genre, I wouldn’t want to
produce it. More than that, it’s about the kind of producer I want to be, one that fully fulfils the
requirements of the role as set out in Appendix 2. I can therefore use this as a guide to inform my future
development by acknowledging my strengths and identifying what I want to get better at, for what
purpose, and what I will do to improve.
Above all, I feel that, during my time at Berklee, I have grown as a person as well as a producer,
a musician and a performer because of the diverse range of people I have met and worked with, including
fellow students, Berklee staff, and visiting professionals, and what they have taught me about music,
production, and even life itself. Reflecting on my overall experience, I would say that this in itself has
been a form of alchemy because it’s been a combination of great ingredients, all mixed together with a
unique flair and magic touch to produce an experience that has been more than the sum of its individual
parts and which I, for one, have loved, appreciated, and enjoyed immensely.
I am delighted at the progress I have made and now have a solid foundation of knowledge and
skills on which to build, and am relishing the thought and excited at the prospect of embarking on the
next stage of my journey towards production mastery. Thank you Berklee for the opportunity!
30

9. Appendices
Appendix 1: SP17 Microphone Guide

31

32

Source: Berklee College of Music (2018) SP17 Microphone Guide (online). Available at:
http://ol.berklee.edu/course/view.php?id=69583 (accessed 19th March, 2018).

33

Appendix 2: Producer Role Profile

Job Title:

Music Producer

Job Purpose: To serve the artists and other clients who hire them to help them realise their musical
vision and personality; and lead and manage the production project by setting its direction and effectively
planning and organising resources to ensure its completion by the scheduled date.

Duties & Responsibilities:
1) Meet with the artists to get to know them, establish their musical vision, select songs to produce,
and agree the terms and expected outputs of the production project.
2) Lead and manage the production project.
3) Develop a project plan, including key dates and milestones.
4) Agree and manage the production budget.
5) Book studios and select and hire instruments and equipment.
6) Select and hire musicians and engineers as appropriate for each project.
7) Meet with the engineer to discuss and agree respective roles and responsibilities.
8) Write chord charts.
9) Contribute to and agree the song arrangements.
10) Conduct rehearsals.
11) Make a preproduction demo.
12) Lead and manage the recording sessions.
13) Create a comfortable environment and a good vibe in the studio.
14) Get the best from artists, musicians and the production team.
15) Arrange for food to be brought in.
16) Record the basic tracks.
17) Decide what overdubs are required, and prioritise these for recording.
34

18) Comp, edit, mix and master the tracks.
19) Determine the sequence of songs on an album.
20) Turn songs into gold and decide when the job is done.

Knowledge, Skills & Qualities
The job-holder needs to know:
•

what the artist is aiming to achieve

•

a good song when they hear one

•

about song structure, arrangement and dynamics

•

what equipment and instruments to use and in what way to achieve the desired sound and
outcome

•

when it’s the right time to push the artist or stop and give them a break to take the pressure off

•

when the music sounds right

•

when the job is done

•

about marketing, covers and liner notes.

The job-holder needs to be able to:
•

use a range of production tools and techniques for arranging, recording, mixing and mastering

•

see the big picture and visualise how all songs on an album fit together to create a cohesive and
artistic whole

•

create an open, comfortable and harmonious environment that is conducive to collaboration and
creativity and where the artists feel inspired to perform at their best

•

treat everyone with respect

•

develop project milestones and bring projects in on time and within budget

•

plan activities, source and allocate resources, and manage budgets

35

•

build and effectively manage relationships with all those involved in the project.

•

negotiate deals and contracts with artists, engineers, musicians and studio managers

•

write chord charts and lead sheets for musicians if necessary

•

troubleshoot when a song is not sounding as good as it could

•

go with their gut instinct

•

learn from their mistakes so that they can become a better producer

The job-holder needs to be:
•

passionate about music and have a good music education and musical expertise

•

someone the artist wants to work with and feels they can trust with their creative project

•

respectful of and committed to the artist and their vision

•

focused on the music

•

honest and sincere, and have integrity

•

versatile, adaptable and resourceful, reacting to and making the most of creative opportunities to
improve the music as they arise

•

open to ideas and willing to try them out

•

well-organised and on time

•

objective and decisive

•

diplomatic, patient and good at managing conflict

•

a confident and skilled communicator

•

always be learning new skills that are transferable across different productions and genres.

36

Appendix 3: Other feedback from artist/engineer survey
Question
Was there
anything about
my production
process that stood
out to you or that
was unique?

Artists

Engineers

“You weren't always 100% sure what you were doing
(and you would admit that) but you never got stressed
and you always found a creative solution for all
issues.”

“You had a very clear idea of the
direction you wanted for the
song.”
“I really liked your desire to do
the editing of the recordings, the
interest in working on the input
list and the fact you had music
sheets for the engineer also!”

“Very direct and organized.”
“Versatility during the process.”
“I think the term ‘producer’ is nebulous so, to be
honest, I wasn't sure how involved you would be as
producer, and I wasn't sure exactly what you would
be doing. It was really helpful to have you at the
rehearsals and, in general, it was really helpful to
have you present and supporting me throughout the
whole process.”
“We think that it was very positive because you were
patient, you adapted everything to our music and you
were very attentive with the musicians’ wellness.”

Question
If there is one
thing I could have
done to make the
whole production
experience better
for you, what
would that be?

“You had good suggestions for
arrangements and production
elements, but the engineering side
should be left to those who
specialize in that field.”
“Your listening skills pertaining
to listening to the song as a
whole; enthusiasm to know the
engineering side of production!”

Artists
“Disclose when you had other people re-record instruments.”
“Can't think of anything at the moment! I think you definitely had this in my case, but I
will just say that I think it's incredibly important for a producer to show that they are
driven and personally invested in the outcome of the project, and that they are genuinely
excited to be working on it. It's also important for producers to know how to properly
criticize - give enough positive and negative feedback to be helpful.”
“It was a little difficult sometimes to communicate for language reasons.”

Question
What other
feedback do you
have for me?

Artists

Engineers

“We are looking forward to
the final product, but we are
satisfied with your work. We
think that we had some
differences in our criteria,
for example at the
beginning, to record
together in the same room,
but you finally adapted your
ideas with ours, and we were
very comfortable.”

“You’re in your way of becoming a fantastic producer, so
keep it up!”
“Just make sure you have all the instrument reservations
confirmed before.”
“If you'd like to produce and engineer, have an
engineering assistant there, but if you are only producing,
let the engineer do their job. Don't disregard their mic
suggestions, because they know what they're doing. Of
course you can make suggestions, but let them have the
final say. That's why they're there! They want you to get
the best sound possible. That being said, you were very
professional and organized, and I believe you can work on
these issues and become a much better producer.”

37

10. References and Bibliography
Bargfrede, A. (2017) Music Law in the Digital Age: Copyright Essentials for Today’s Music Business. 2nd
ed. Boston, MA: Berklee Press.
Berklee College of Music (2018) SP17 Microphone Guide (online). Available at:
http://ol.berklee.edu/course/view.php?id=69583 (accessed 19th March, 2018).
BestJobDescriptions.com (2018) Music Producer Job Description (online). Available at:
https://www.bestjobdescriptions.com/entertainment/music-producer-job-description (accessed 16th June,
2018).
Budd, M. (1985) Music and the Emotions: The Philosophical Theories. London: Routledge.
CareersinMusic.com (2018) Become a Music Producer (online). Available at:
https://www.careersinmusic.com/music-producer/ (accessed 16th June, 2018).
CareersinMusic.com (2018) Become a Record Producer (online). Available at:
https://www.careersinmusic.com/record-producer/ (accessed 16th June, 2018).
Das, D. (2014) 18 Reasons Every Artist Needs a Producer (online). Available at:
http://www.daviddas.com/project/18-reasons-every-artist-needs-producer/ (accessed 27th May, 2018).
Harrison, A. (2017) Music: The Business. 7th ed. London: Virgin Books.
Hsu, C. (2015) Do You Really Need a Producer? These 6 Benefits Might Convince You That You Do
(online). Available at: http://blog.sonicbids.com/do-you-really-need-a-producer-6-benefits (accessed 27th
May, 2018).
Jazzed (2011) Gregg Field: Multi-Task Master (online). Available at:
http://www.jazzedmagazine.com/articles/spotlight/gregg-field-multi-task-master/ (accessed 19th
November, 2017).
Jones, Q. & Gibson, B. (2010) Q On Producing: The Soul and Science of Mastering Music and Work.
Milwaukee, WI: Hal Leonard Books.
Juslin, P. N. (2009) Emotional responses to music, in Hallam, S., Cross, I. & Thaut, M. (eds.) Oxford
Handbook of Music Psychology. Oxford: Oxford University Press, pp131-140.
38

Korkright, Z. (2017) What makes a good producer (online). Available at:
http://motionographer.com/2017/01/30/what-makes-a-good-producer/ (accessed 19th November, 2017).
Lonsdale, A. J. & North, A. C. (2011) Why do we listen to music? A uses and gratifications analysis, in
British Journal of Psychology, 102 (1), pp.108-134.
Massey, M. (2000) Behind the Glass: Top Record Producers Tell How They Craft the Hits. San
Francisco, CA: Miller Freeman Books.
Massey, M. (2009) Behind the Glass: Top Record Producers Tell How They Craft the Hits Volume II.
Milwaukee, WI: Backbeat Books.
Milner, G. (2009) Perfecting Sound Forever: The Story of Recorded Music. London: Granta Books.
MyJobSearch.com (2018) Record Producer Jobs (online). Available at:
https://myjobsearch.com/careers/record-producer.html (accessed 16th June, 2018).
New Rockstar Philosophy (2014) 5 Reasons Why You Need A Producer For Your Record (online).
Available at: http://www.newrockstarphilosophy.com/2014/03/5-reasons-why-you-need-a-producer-foryour-record/ (accessed 27th May, 2018).
Nguyen, H. (2017) How to Learn to Self-Produce for Independent Artists (online). Available at:
https://www.stopthebreaks.com/diy-artists/how-to-learn-to-self-produce-for-independent-artists/
(accessed 27th May, 2018).
Owsinski, B. (2016) The Music Producer’s Handbook. 2nd ed. Milwaukee, WI: Hal Leonard Books.
Shepherd, I. (2009) What does a music producer do, anyway? (online). Available at:
http://productionadvice.co.uk/what-is-a-producer/ (accessed 19th November, 2017).
Sloboda, J. A., Lamont, A. & Greasley, A. E. (2009) Choosing to hear music: motivation, process and
effect, in Hallam, S., Cross, I. & Thaut, M. (eds.) The Oxford Handbook of Music Psychology. Oxford:
Oxford University Press, pp.431-440.
Thompson, D. (2017) Hit Makers: The Science of Popularity in an Age of Distraction. New York, NY:
Penguin Press.
Webber, S. (2017) Creative Music Production Skills (online). Available at:
39

https://online.berklee.edu/courses/creative-music-production-skills (accessed 19th November, 2017).

40