THE AIM WITH THE PROJECT

The project aims to explore the role of the music producer by integrating practical experience with theoretical insights and reflection on the process. The central concept for subproject two is though, to create a "singularity" in music, where diverse musical traditions are blended to form new, hybrid styles.

The goal is to contribute to a deeper understanding of music production as an art form. By examining the dynamic interplay between creativity, technical skills, and social collaboration, this project seeks to highlight how I as a music producer navigate and negotiate these elements to shape the artistic outcome.

Methodological approach

In subproject two, the methodological approach involved several key steps designed to capture and blend diverse musical influences and styles.

The process began with the creation of new demos, which set the foundational concepts and musical themes guiding the entire project.

These demos served as a blueprint for the subsequent recordings. To give me an idea if my chosen method would work, I tested the method by going to a recording studio with a group of Danish musicians to try out the musical ideas, the process of producing it in the way I imagined and if I needed to be aware of anything I could not have foreseen.

That was a valuable lesson that made me much more aware of the need to communicate and prepare much more precisely.

To infuse the project with two diverse musical influences, I traveled to two different countries for separate recording sessions. Despite using equal setups but different musicians in both locations, I encouraged the musicians to play in their distinctive styles. This approach aimed to capture the unique cultural and stylistic nuances of each region. By maintaining a consistent recording setup across both sessions, I ensured a unified technical baseline. However, the musicians' unique styles in each country added rich, varied textures to the recordings. This balance between consistency and diversity was pivotal to the project's methodology.

I chose to record the music without a set idea on who the singer would be – that is very atypical in any musical process I have been part of before: the singer is typically the artist and the point of artistic reference. In the project, I chose – very late – to become the singer myself. I had written the songs but initially imagined somebody else doing the singing. This step allowed me to add a personal touch and cohesive element to the project. My vocals acted as a unifying thread, tying together the different musical influences from the two recording sessions. 

The final step involved synthesizing the recorded elements into a cohesive product. This process required meticulous attention to detail and creative decision-making. The goal was to blend the diverse recordings seamlessly while highlighting the unique contributions from each session whereever that would make musical or artistict sense.

The innovative approach I used had a profound impact on the music's development and production. By combining recordings from two different countries with diverse musical styles, I created a unique fusion.

The method used emphasized the importance of artistic identity. By encouraging musicians to play in their own styles and integrating my own vocals, the project maintained a strong sense of individuality and personal expression.

The process also involved exploring ethical considerations in music production. This included respecting the musicians' styles and contributions while navigating the complexities of blending diverse musical elements into a coherent product.

This methodological approach not only highlighted my role as a music producer but also explored the ethical and artistic dimensions of music production in a globalized context.

SCIENTIFIC PERSPECTIVES

To add a bit of scientific research that both informed the project and underlines what I tried to do in the process, I have as reference gathered a small selection of relevant research in the field of music production. 

- According to Watson's study on music production, the modern producer's role is increasingly integrated with creative processes, often co-writing and arranging tracks (Watson, 2014).

- Burgess (2013) discusses the evolving responsibilities of producers in the digital age, highlighting their involvement in both technical and artistic decisions to create unique soundscapes.

- Martin (2014) discusses how modern producers often integrate creative processes, co-writing, and arranging tracks to shape the sonic landscape.

- Gullö (2017) delves into the collaborative nature of music production, examining how producers navigate their roles to facilitate artistic expression and technical precision.

- Lefford (2017) explores how music production involves coordinating efforts among diverse experts, using concepts such as "boundary objects" and "trading zones" to explain the collaborative processes involved in music production.

- Zak (2001) explores the role of the producer as a co-creator in the studio, highlighting how producers influence the artistic direction of music.

-  Hans Abbing discusses how digital platforms have blurred the boundaries between serious and popular art, emphasizing the impact of the platform economy on the creation and distribution of art (Abbing, 2023).

I have explored existing artistic research, searched the internet and have had many discussions with peers and other experts. While there are numerous scientific perspectives on music production that contributes to understand the field, Virgil Moorefield's work has been particularly pivotal in my journey. His book "The Producer as Composer," which I have thoroughly studied is a standout example of my focus in this Artistic Research Project.

Moorefield's exploration of the producer's role as a kind of composer deeply resonates with me. He argues that the producer, much like a composer, creates a cohesive musical piece by combining various elements. This perspective makes sense to me because it highlights the producer's creative role, which I believe is even more significant than the technical aspects. Moorefield underscores the importance of a producer's musical knowledge in crafting unique and original soundscapes, asserting that the producer's influence and signature are integral to the music we listen to. This view aligns with my understanding and appreciation of the profound impact a producer has on music production.

PRODUCERS 

To add a bit of contextual references that has informed my process and attitude as a music producer, I have put together a small selection of music producers who in their own way embody the continuum between facilitating and initiating. They have inspired me and my work, and the following description is my interpretation of their roles and their way of working. But, before I get to share this, I feel compelled to give comparative evaluation of ‘Artists vs. Producers’ to highlight what the differences is:

1. Origin of creative impulse

Traditionally, the artist has been the one to initiate the creative process, crafting raw material such as songs, melodies, or lyrics that often reflect their personal experiences and emotions. For example, a singer-songwriter might compose a deeply personal song inspired by a life event. However, producers have evolved beyond merely supporting the artist's vision. In many cases, they originate the creative impulse themselves, shaping and enhancing the material in ways the artist may not have envisioned. For example, a producer might restructure a song or introduce new instrumentation to elevate its impact. With advances in technology, producers are increasingly able to generate their own ideas, taking on both the role of creator and shaper, leading to a blending of responsibilities between artist and producer.

2. Emotional and psychological role

For the artist, music is often deeply personal, tied to their identity, emotional state, or life experiences. It serves as a form of self-expression, as seen when a lyricist writes about heartbreak to process emotions through their craft. Producers, on the other hand, offer a more objective perspective, acting as guides to help artists shape their creativity into a cohesive product. While they remain somewhat detached emotionally, they create a safe space for the artist’s expression and growth, sometimes even serving as a ‘mirror’ or guide. Self-doubt is an existential challenge embedded in the practice of art and a producer might guide an artist through this self-doubt, providing feedback that encourages them to tap deeper into their emotions and/or trust their impulses.

3. Collaboration vs. individualism

Artists often work individually, particularly in solo projects where their focus is on their unique voice and identity. Even in collaborative group settings, their contributions are typically rooted in personal expertise and self-expression. A lead vocalist, for instance, may have specific ideas about how their voice should be presented in the mix. Producers, by contrast, thrive in collaboration, balancing flexibility and vision. They work with multiple artists and maybe across genres, bringing diverse creative inputs together to craft a cohesive whole. For example, a producer might balance an artist's desire for experimentation with the practical need to create a song that remains accessible to a broad audience.

In essence, the relationship between artists and producers is fluid, often shifting along a continuum where both facilitating and initiating creativity come into play. This dynamic interaction is what fuels innovation in music production, inspiring both artists and producers to push boundaries and achieve new creative heights. While technological advances have democratized creativity and opened new doors for self-expression, they also risk blurring the distinct value that both artists and producers bring to the table. Finding a balance between these roles, where collaboration enhances rather than diminishes creative output, will be key to the future of music production. 

Now, on to the list of producers who have inspired me and my work:

- Berry Gordy: The founder of Motown, Gordy played a crucial role in producing and developing the careers of artists like Stevie Wonder and Marvin Gaye. He was deeply involved in both the artistic and business sides of his productions.

- Max Martin: A prolific producer, Martin has worked with artists like Backstreet Boys, Britney Spears, and Taylor Swift. He has discussed his systematic approach to creating hit songs and his deep involvement in both the creative and technical aspects of production.

- Rick Rubin: Known for his minimalist approach, Rubin has worked with artists like Johnny Cash, Red Hot Chili Peppers, and Adele. He often strips down production elements to capture the raw essence of the music. His insights are widely shared in interviews and articles.

- Prince: Prince was highly involved in producing his own music and that of others, such as The Time and Vanity 6. He was known for his innovative approach, blending various genres and experimenting with different recording techniques.

- Brian Eno: Eno, a pioneer of ambient music, has written extensively about his creative processes. He discusses the role of experimentation and the integration of art and technology in his books and interviews. 

- Quincy Jones: Known for his work with Michael Jackson, Jones has shared his extensive production knowledge in his autobiography and various interviews. He emphasizes his role in shaping the artistic direction and technical aspects of his projects.

- Phil Spector: Spector developed the iconic "Wall of Sound" production technique. His work with artists like The Ronettes and The Beatles showcases his ability to initiate and shape the sound of his recordings.

- Linda Perry: After her success with 4 Non-Blondes, Perry became a sought-after producer for artists like Pink and Christina Aguilera. She is known for her hands-on approach and ability to draw out raw, emotional performances from artists.

- Pharrell Williams: As a member of The Neptunes and a solo producer, Pharrell has worked with a wide range of artists, from Britney Spears to Daft Punk. He often initiates the creative process, blending his distinctive style with the artist's vision.

- Steve Albini: Albini was known to be wanted to only be called a recording engineer, but his influence on albums by Nirvana, Pixies, and PJ Harvey is undeniable. He writes about his no-frills approach to capturing the authentic sound of the music.

- Timbaland: Known for his innovative beats and production style, Timbaland has worked with artists like Missy Elliott and Justin Timberlake. He frequently initiates the creative process, bringing his unique sound and vision to the projects he undertakes.

These producers provide a wealth of knowledge and diverse perspectives on music production, covering various styles and approaches. I will not judge myself in relation to the mentioned producers, but I would like to address where my work in this project differs or correlate with their work. 

From what I’ve read, seen and heard about these professionals I would say that Rick Rubin focuses on capturing the raw essence of music with a minimalist approach, while I blend diverse cultural influences and styles. 

Prince, deeply involved in all aspects of his productions, often worked in isolation, whereas I emphasize collaboration with musicians from different cultural backgrounds.  

Brian Eno's work emphasizes experimentation and the integration of art and technology, similar to my approach, but in his own music he focuses on ambient music and atmospheres, while I blend distinct cultural styles into cohesive songs.

Quincy Jones blends different musical genres with meticulous attention to detail; I share this approach but focus more on artistic exploration and cultural diversity rather than mainstream hits. 

Max Martin uses a structured approach to creating cohesive final products, aiming for commercial popular success. In contrast, my projects explore diverse cultural influences and are not aimed at the arena of pop music. 

Phil Spector's "Wall of Sound" involves layered textures and multiple instruments, similar to my use of layered elements, but I incorporate a more collaborative and culturally diverse approach. 

Berry Gordy blended different styles to create broad appeal, much like I desire, but he focused on defining the Motown sound, whereas I explore eclectic and varied soundscapes. 

Linda Perry draws out raw, emotional performances from artists, which I also aim for while also integrating multiple cultural influences.

Timbaland and Pharrell Williams both exemplify the integration of artistic direction and technical expertise. Timbaland's innovative beats and production style push the boundaries of genre, much like my approach of blending diverse musical traditions. Pharrell's work almost comes across as singular in itself, resonating with my method of integrating various global music styles into a unified whole.  

Steve Albini captures raw, live sound, respecting musicians' styles, which I also do, but he focuses on rock and alternative genres, while I blend various music traditions and take the liberty to alter anything. 

Bridging Traditional and Modern Roles

My work sits at the intersection of traditional and modern music production roles. Historically, producers were seen primarily as facilitators, responsible for technical or procedural aspects in capturing the artist's vision. In contrast, modern producers often take on more creative control, shaping the sonic landscape and influencing the artistic direction of the music very concretely.

By integrating technical expertise, artistic vision, and social dynamics, my approach to music production aims to create works that are not only sonically impressive but also deeply resonant and authentic. This holistic approach aligns with how the music industry works today while reflecting my personal methodology and artistic philosophy.