Music is one of the great joys of the modern age, the power to capture the imagination of a global audience and make a difference in the lives of others.
That’s why we’re celebrating its golden years.
And that’s why the new industry experts we interviewed say you should have at least a few years of practice under your belt.
In the past, musicianship was considered a luxury, an investment that could only be taken when you were a “pro,” or a high-achieving, successful performer.
Today, it’s the norm.
A study by the Association of Music Business Executives (AMBE) says that nearly 60 per cent of the Fortune 500 companies that have their own music departments have their artists producing on a part-time basis.
It’s no longer just musicians who can afford to get into the studio, but the music industry itself.
“When you’re in the business, it can feel like you’re making the same music for free,” says Andrew Smith, co-founder of the new business analytics company AMBE, which helps musicians and producers build a better business model.
“It’s not that people don’t want to pay for music, it just feels like the music business is not doing a great job of it.”
Smith, a musician who is a founding partner of the music marketing company Hootsuite, says he thinks of his new job as being like a part of the family.
“I’m in charge of the business side of it and I know what it’s like to be an artist and a producer, and I’ve done it for so long and I’m proud of it,” he says.
“But there are some really important things that I have to think about, and that is the fact that we need to make sure that we are investing in our talent, in our artists, and in the way we’re delivering the music we’re producing.
We need to ensure that we have a robust business plan and a culture where we are supporting our artists and their creative ambitions.”
What do you need to know to get started?
Before you start, take a few moments to reflect on what you want to achieve as a producer.
The best way to understand the industry is to get in touch with your favorite musicians and ask them about the things they’ve worked on in the past.
If you’re not familiar with the music scene, Smith suggests learning about it in a local music magazine or on the web.
It might be useful to have a few basic ideas about how the music should sound, but it’s essential to start with the basics.
For instance, how do you create a compelling mix?
What do your songs sound like when you record them?
What should you use as the intro, the chorus or the end of your song?
“I think there are three elements that make up the sound of a great song: melody, instrumentation and the sound that comes from the microphone,” he explains.
“You need to think of the melody, and then the instrumentation, and the last element, which is the sound, the emotion.”
If you want your music to be memorable, make sure it’s a good match for the audience’s expectations.
The more your music is a match for your audience’s emotional needs, the better it will be received.
If the audience has a strong need to hear a certain song, then it’s more likely to like it.
It could be a well-known artist, a song from a group of your favourite musicians or an old favourite that they remember fondly.
“In terms of being a success in terms of sales and being heard, you need it to sound good,” Smith says.
To that end, he suggests putting a few catchy beats and catchy melodies in your music.
“If you have a great melody, it sounds good,” he points out.
“As far as instrumentation goes, it could be your drums, guitars or vocals.
You need to be able to sing or sing well, because you want people to feel like they’re listening to you.
You also want to have something memorable that people will remember.”
What to do after the production is finished When it comes to recording, Smith says that it’s important to be flexible and listen to your music when you’re finished.
“The biggest challenge with music production is that it takes time to make it,” Smith explains.
For example, when he’s finished with his song, he’ll want to move on to a new project.
“That means I’m not necessarily listening to my own music until the recording is done, and it’s up to me to figure out how to go about doing that.
That means that I don’t have the time to listen to everything I’ve recorded, so I’m usually forced to improvise.”
When he’s done with a song, the producer will usually want to listen back to it.
“My favorite way to listen is to listen at home,” he notes.