INTRODUCTION

The scope of this Artistic Research project is to investigate the role of the music producer as an artistic co-creator within the confines of a recording studio. This exploration focuses on understanding how the producer navigates the delicate balance between being a facilitator and an initiator in music, and how these roles impact the final works. The study is rooted in my professional practice and experience, aiming to uncover the dynamics of artistic co-ownership in music production.

An essential aspect of understanding music production and its evolution lies in recognizing the distinct contrast between the roles of musicians and music producers. Musicians perform in front of live audiences, allowing everyone to witness their contributions to the music directly. The performance is visible, and the audience can easily see and appreciate the musician's role.

In contrast, the work of a music producer often unfolds behind the scenes, away from public view. The creative process and decision-making of a producer occur in private settings, such as studios. Only those present during these sessions or those who have been part of the production process recognizes the intricacies and efforts involved. This difference highlights the unique and often overlooked contributions of music producers in shaping the final experience of recorded music.

The work of a producer can seem mysterious and hard to grasp. Even though their role is crucial, it's often hidden from those not directly involved. However, without the artist, there would be no music to produce. So understanding how to fruitfully co-operate is important.

Point of Departure

My journey into this research began with a significant project involving Annisette and the DR Big Band. This collaboration was not only an intersection of different artistic practices but also a methodological experiment that profoundly influenced the final musical outcome. In this project, I employed a specific method that drastically altered the sound and feel of the music in the recording environment.

Working with the lead singer of Savage Rose formed in 1967, Annisette, known for her emotive performances, and the DR Big Band, an ensemble celebrated for its versatility and flexibility, presented unique challenges and opportunities.

When mixing the album I wanted to try something new that would realize the artistic potential to its fullest. The method I used for mixing the album with Annisette & DR Bigband involved a process I call 'mixing the mix'.

First, I created an initial mix that was decent and respected the acoustic nuances of the musicians' performance. Then, I muted elements in the arrangement that were too prominent, ensuring the listener could focus solely on Annisette's voice.

Next, I created about 10 additional mixes. These mixes were intuitive and experimental: I might add distortion to certain elements, omit some parts, or apply heavy compression. Each of these mixes was then bounced into a stereo file.

Afterward, I imported these 10 experimental mixes back into the initial 'okay' mix. While listening to the music, I would adjust the volume to either emphasize or subtract elements from the 'okay' mix and the 10 new, unusual mixes.

This approach created a unique space in the music that I had never heard before. It dynamically changed the listening perspective over time, consistently keeping Annisette's vocals front-and-center while the sonic landscape behind her shifted, reminiscent of the panoramic views in an Ennio Morricone movie or the view from a moving train.

The mixing process highligthed the role I play as a music producer. It made me acutely aware of the significant influence I have when given (or taking) the creative freedom to shape a project from the music producers point-of-view. This realization carries implications that extend beyond the technical aspects of production, touching on ethical considerations and artistic identity.

These are topics this project deals with and I explore how my choices and negotiations impact every level of the music I (help) create.

PROJECT DESCRIPTION AND THE FOCUS

Conceptually, I wanted to use the framework for the main subject which I have developed for the Music Production programme at my instituition: the Rhythmic Music Conservatory in Copenhagen. According to this framework, a music producer operates on a continuum between being a facilitator and an initiator. The initiator is the one who comes up with the first idea, the first spark, the initial artistic outburst and the facilitator is the one who aids the process and helps others do just that. With this in mind, I designed a project that aimed to explore both ends of this spectrum in a strict and structured manner.

The first subproject involved working as a facilitator in collaboration with the Danish National Radio. This phase was intended to highlight the producer's role in supporting and enhancing the composers and musicians' performances, ensuring that their artistic visions were fully realized. That could be said to be the traditional role of the music producer.

However, as the project progressed, I found that the second subproject, where I took on the roles of both initiator and facilitator, held far greater value for the research. In this phase, I was more actively involved in shaping the creative direction and artistic identity of the music. This dual role allowed me to explore deeper layers of influence and impact as a music producer.

Given the focus and goals of my research, I have decided to concentrate solely on this second subproject. By emphasizing the part of the project where I work as both an initiator and facilitator, I can better illustrate the dynamic interplay between these roles and their implications for music production. This approach not only aligns more closely with the core objectives of my research but also provides richer insights into the nature of the music producer's craft and the current ways of working.