Music Producers

Із розвитком технологій звукові компоненти та музика все частіше пов’язуються зі споживачем: цільовою аудиторією, формою сприйняття музичного/звукового продукту, локацією та засобами відтворення. Тому діяльність композиторів, аранжувальників і аудіоінженерів виходить за межі виключно творчої, а музичний чи звуковий проєкт змінює свою парадигму з урахуванням специфіки споживача. Актуальність полягає в тому, що світовий досвід виходить далеко за кордони застосування аудіо виключно як інформаційного чи розважального контенту. Звукові рішення розглядаються як засіб комунікації зі споживачем або ж елемент впливу на реципієнта. Як стверджують автори сучасного саунду, не достатньо володіти творчими, музичними, культурними та технічними знаннями і навичками. Комплекс умінь має включати і маркетингові складові та основи психології сприйняття, які будуть спрямовані на розкриття взаємодії аудіо та споживача. Саундпродюсер — фахівець, який поєднує у своїй діяльності музичні, технічні, мистецькі знання у комплексі з маркетинговими, а також здатний враховувати психологією сприйняття звуку споживачем. Саундпродюсер, долучаючись до створення музичного або звукового проєкту, аналізує споживача та здатен задіяти у композиції складові, засоби виразності та звукові рішення для подальшої можливості викликати потрібні емоції. Застосування аудіо в комерційній діяльності в рамках аудіомаркетингу стало сучасною концепцією саундпродюсера.

Цитування: Бондарець Н.Л. (2024), Аудіомаркетинг як сучасна концепція саундпродюсера. Митець. Мистецтво. Споживач. Зміна диспозиції: Зб. наук. ст. та тез наук. повід. за матеріалами Міжнародної науково-практичної інтернет-конференції 26.06.2024р. Київ, ІК НАМ України. С. 69-74.

Леся Українка виявила себе не лише як видатна поетеса та культурна діячка, а й як одна з перших саундпродюсерок в Україні. Її активна участь у закупівлі  обладнання,  організації  записів  та  продюсуванні  фольклорних експедицій  свідчить  про  глибоке  розуміння  важливості  збереження національної музичної спадщини із використанням аудіотехнологій. Завдяки її технічним  знанням  і  організаційним  зусиллям  були  створені  записи кобзарських дум і лірницьких пісень, що стали важливими джерелами для подальших наукових досліджень та відтворення українського фольклору. Як саундпродюсерка,  поетеса  прагнула  максимально  точно  здійснити аудіофіксацію для подальшого відтворення та поширення задля можливості точного виконання іншими співаками. Отже, можна вважати, що Леся Українка стояла у витоків українського саундпродюсування.

Цитування: Бондарець Н.Л. (2024) Леся Українка та саундпродюсування. Education and science of today: intersectoral issues and development of sciences: збірник  наукових  праць  «ΛΌГOΣ» з матеріалами VII Міжнародної  науково-практичної  конференції, м. Кембридж, 18 жовтня 2024р. Вінниця-Кембридж: ТОВ «УКРЛОГОС Груп», P.C. Publishing House. С. 490-493. DOI: 10.36074/logos-18.10.2024.114

Аналіз результатів анкетного опитування в рамках дослідження ролі саундпродюсера в сучасній українській звуковій індустрії

У XXI столітті звукова індустрія в Україні, яка охоплює музичний, кіно,  ігровий та інші сектори, зазнала значного розвитку. Важливою фігурою в цьому процесі є саундпродюсер – фахівець, який відповідає за звукові рішення в креативних індустріях. Актуальність цього дослідження підкреслюється контекстом євроінтеграційних процесів в Україні, модернізацією професійних переліків відповідно до сучасного ринку праці, а також інтеграцією української культури та представників культурних індустрій у європейський простір.
Мета дослідження – вивчити бачення професіоналами саунд-індустрії ролі саунд-продюсера та визначити обов’язки саунд-продюсера в індустрії. У дослідженні використано анкетування, а також емпіричні, аналітичні та узагальнюючі методи. У статті проаналізовано результати опитування, проведеного з метою визначення ролі саундпродюсерів у сучасній українській саундіндустрії. Основні висновки показують, що 38,5 % опитаних погоджуються з тим, що саундіндустрія в Україні сформувалася як окремий суб’єкт креативних індустрій. Крім того, 63,7 % підтверджують, що саундіндустрія та музична індустрія є окремими, але взаємопов’язаними видами діяльності. 73,3 % вбачають різницю між музичним продюсером та саундпродюсером. 91,1 % респондентів не знали про існування премії «Саундпродюсер року» в Україні. 82,2 % респондентів підтримують внесення професій саундпродюсера та музичного продюсера до офіційного класифікатора професій. Результати опитування підтверджують ключове значення саундпродюсерів у сучасній українській саундіндустрії. Саундпродюсери відіграють важливу роль у створенні першокласного звукового матеріалу та роблять вагомий внесок у розвиток індустрії. Зібрані в ході дослідження дані можуть бути використані для покращення професійної підготовки фахівців та сприяння загальному зростанню саундіндустрії в Україні.

Стаття англійською мовою викладена із перекладом на українську мову.

TR/EN
-TR:Dijitalleşme sonucunda yaşanan teknolojik dönüşüm ile müzik sektöründe gelirlerin kaynağı dijital müzik platformları haline gelmiştir. Dijital müzik platformlarından elde edilen gelirler, müzik yapımları üzerinde hak sahipleri olan söz yazarı, besteci, icracı sanatçı ve fonogram yapımcısı arasında gelir paylaşımı çekişmesi doğurmuştur. 2001 yılında 4630 sayılı Kanun ile FSEK md.25’te yapılan değişikliğin mahkemelerce hatalı yorumlanması, 2001 öncesi tüm müzik yapımlarının hukuki uyuşmazlık konusu olmasına ve dijital yayınların durmasına sebep olmuştur. Genellikle icracı sanatçılar tarafından fonogram yapımcılarına karşı açılan çok sayıda dava, müzik sektörünü dijital umuma iletim krizine sokmuştur. Kriz kapsamında durdurulan dijital yayınlar neticesinde müzik eseri üzerinde hak sahibi olan tüm paydaşlar, gelirlerden mahrum kalma riskiyle karşılaşmıştır. Yayınların durdurulması, hukuki anlamda ayrıca eser sahibi olan besteci ve söz yazarlarının manevi ve mali haklarını kullanmasının kısıtlanması ve hatta ifade özgürlüğünün ihlali anlamına gelmektedir. Ek olarak müzik meslek birliklerine FSEK, Yönetmelik ve yetki belgeleri ile münhasıran verilen tam ruhsatın geçerliliği tartışılır hale gelmiş ve meslek birliklerinin konumu sarsılmıştır. Çalışmamız kapsamında; bir veya birkaç hak sahibi arasındaki gelir paylaşımı kavgası sebebiyle dijital alanda müzik yayınlarının durdurulmasının hatalı olup olmadığı ele alınmaktadır. Müzik eseri üzerindeki tüm hak sahiplerinin menfaatinin gözetilerek fonogram yapımcıları tarafından yapılan yayınların istisnai durumlar haricinde durdurulmaması yönünde öncelikli bir ilkenin tesis edilmesi önerilmektedir. Dijital alanda yayınlar devam ederken taraflar arasında hakkaniyete aykırı bir ekonomik dengesizlik olması halinde, telif gelirlerinin paylaştırılması amacıyla başkaca hukuki ve ekonomik çözümlerin getirilebileceği belirtilmektedir.

-EN: The technological transformation resulting from digitization has turned digital music platforms into the primary source of revenue in the music industry. The income generated from digital music platforms has led to disputes over revenue sharing among the rights holders of music productions, including lyric writers, composers, performing artists, and phonogram producers. The misinterpretation of the amendment made to Article 25 of the Intellectual and Artistic Works Law in 2001 by the courts has resulted in legal disputes concerning all music productions before 2001 and caused a halt in digital broadcasts. Numerous lawsuits filed mainly by performing artists against phonogram producers have plunged the music industry into a crisis of digital public transmission. As a consequence of the suspension of broadcasts, all stakeholders who hold rights in the musical work have faced the risk of being deprived of their share in the revenues. Moreover, the suspension of broadcasts also implies a limitation on the moral and financial rights of composers and lyricists who are the owners of the work and even amounts to a violation of freedom of expression. Additionally, the validity of the exclusive full license granted to music professional associations through the Intellectual and Artistic Works Law, regulations, and authorization documents has become a subject of debate, shaking the position of these associations. Within the scope of our study, the question of whether the cessation of music broadcasts in the digital domain due to disputes over revenue sharing among one or more rights holders is justified or not is addressed. It is suggested to establish a priority principle that ensures the benefit of all rights holders of the musical work and recommends that broadcasts by phonogram producers not be suspended, except in exceptional cases. Furthermore, it is noted that in cases of economic imbalance contrary to equity among the parties while broadcasts continue in the digital domain, other legal and economic solutions may be introduced for the distribution of royalty income.

Саундпродюсером (від англ. producer: лат. produco — виробляю; від
англ. sound – звук) є фахівець, який відповідає за концепцію, організацію та координацію звукової складової всіх етапів створення звукового проєкту чи аудіопродукту.

Цитування: Бондарець Н. Л. Передумови виникнення саундпродюсування в Україні. Продюсування фільмів у 21 столітті: основні виклики : збірник матеріалів І Міжнар. наук.-практ. конф., 28 вересня 2023 р., м. Київ : КНУТКТ імені І.К. Карпенка-Карого, 2023.

Bu çalışmada, streaming amaçlı müzik platformlarına yüklenmek için yapılan projenin, üretime başlangıç aşamasından, vokal kaydına kadar olan süreç ve kayıt sürecinin bulut tabanlı dinleme sistemiyle beraber kullanımı anlatılmıştır.

Çalışma, üç bölümden oluşmaktadır. Birinci bölümde yapılan projenin taslağı oluşturulmuş ve kısa notlar alınarak gerekli plan ve programlar yapılmıştır. İkinci bölümde ise projenin altyapı hazırlığı için kullanılacak olan sample ve pluginler, donanım ve bağlantılar, DAW seçimi hakkında bilgi verilecektir. Üçüncü bölümde ise vokal kaydı ve uzak masaüstü bağlantısıyla beraber bulut tabanlı dinleme sistemleri anlatılarak kayıt alınma yöntemi anlatılacaktır.

3.1 Recording and production 'The first thing about recording' ambient music composer Brian Eno has written, 'is that it makes repeatable what was otherwise transient and ephemeral' (Eno 2004, 127). Some of the biggest changes to musical culture in the twentieth century were the result of newly emerging recording technologies. As Brian Eno (1948-) suggests, sounds that once had to be performed live could now be captured, packaged, collected and distributed in ways unimaginable in the previous century. This effected both the creation and consumption of music. When used as an instrument to manipulate or make music-a process known as 'phonography' (Eisenberg 1987)-the tools for sound reproduction generated textures and structures difficult to replicate in live performance. In fact, audio engineering technologies saw the advent of reverb, echo, overdubbing, splicing and digital processing, techniques essential to genres as diverse as musique concrète, acousmatic sound art, dub, electronica, hip-hop and turntablism.

Innovations in music technology have the potential to change practices of music making and to contribute to the development of new forms of music. In 2011, a ‘profiling’ technology was released, capable of copying any valve guitar amplifier and shaping every detail of its sound. Many rock and metal guitarists and producers embraced this new technology, and the renowned producer Michael Wagener even claimed it to be ‘the biggest innovation for recording at least for the last fifteen years’. Building on an initial study on the quality and public reception of profiling technology in a metal music context, this article explores the attitudes of metal music producers towards new guitar amplification technologies, their uses thereof, and their conceptions of future music including the role of technological inventions. The findings indicate that although most producers experiment with modern technologies, they regard these as special effects or backup solutions. Traditional guitar sounds and engineering practices are still preferred, partly as a strategy to retain distinction between their established businesses and new enterprises. Developments in music technology are viewed sceptically regarding its positive contribution to future music.

Musique populaire suisse. Collection Constantin Brăiloiu. Chansons profanes, chants religieux, danses et airs instrumentaux, musique des coutumes du cycle annuel, chansons et formulettes enfantines. Enregistrements 1927-1951. Textes de présentation :

Flamenco has been traditionally studied by flamencologists or anthropologists and recently by ethnomusicologists, sociologists, etc. however, it has seldom been studied in depth from the point of view of music production. Taking as reference producers such as Ricardo Pachón or Javier Limón –who have recorded great masters of flamenco–, young producers/musicians such as Alejandro Acosta, Pablo Cebrian or Pablo Díaz-Reixa “el Guincho” are behind the productions of the projects of Electronic flamenco with the greatest repercussion in the industry today. After having carried out a new fieldwork, I will analyse some identity/technological elements in these productions and how they are projected internationally. Such productions are conceived as a collaborative process with recordings made in Madrid, Córdoba, Seville, etc. and mastered by international producers. With this paper focused on one of its protagonists, Alejandro Acosta, we propose to contrast recording methods and studios in which their works are conceived, recorded and mixed.

Differences and similarities in the creative agency of the producer in the production process of urban pop music produced in a home studio, rock music produced in a conventional studio facility and classical concert hall music produced in a concert hall setting is explored in this paper. Starting from the premises of record production being a collaborative effort, I approach agency as the capacity to make and effect decisions within a structure or even to alter it to some extent, and creativity as contributing to the domain of existing works through exercising aesthetic decision-making. Based on these understandings of agency and creativity, I will examine how different cultures in different production settings and different studios conceived as cultural spaces affect the construction of the producer’s agency within creative communities in the production process. Furthermore, I will discuss how differences in understandings of the ontology of the music contribute to the level of creativity, i.e. the contribution to the domain of existing works, that a producer agent can possess. I base my presentation on extensive ethnographic fieldwork of three case studies on production processes, which took place in the course of 2015- 2017.

FROM THE INTRODUCTION: "This section considers some of the consequences of the present-day short-termism of major record labels and publishers, who, in all fairness, are beset by increasingly substantial development and marketing costs whenever they sign new talent. Technology has, once again, enabled several traditionally separate functions to be undertaken by a single individual, so that the truly competent songwriter/producer, for instance, can now potentially do everything from create new sounds to master a demo recording, or even produce the final master recording itself. But the demands on such individuals, or songwriting teams, are clearly heavier than ever. ... The era of the single musical specialism seems to be passing, with the truly successful and long-lived composer-musicians of tomorrow likely to be multi-specialists within their chosen field."

Little, Jonathan D. (2005), 'The Complete Songwriter: An Antidote to Industry Short-Termism' [or, 'The Complete Songwriter/Producer']. Invited contribution in: Heart and Soul: Revealing the Craft of Songwriting. London: Sanctuary, pp. 338-347. ISBN 1-8607-4641-1

ABOUT THIS BOOK:

'Published in celebration of the 50th anniversary of the Ivor Novello Awards, being an Official Guide to Songwriting, commissioned by the British Academy of Composers and Songwriters. With invited contributions from leading songwriters worldwide.

Offering unique access to the words and wisdom of some of the most successful songwriters of the last 50 years, "Heart & Soul - Revealing the Craft of Songwriting" is both a collection of songwriting secrets and an intriguing look into the minds of professional songwriters.

Containing everything an aspiring songwriter needs to know, from how to find inspiration to writing effective lyrics and melodies, and including essential information on the music industry, advice on publishing contracts, as well as the history and future of songwriting. Over 200 No.1 songs have been written between the book’s contributors, making Heart & Soul the most authoritative guide to the craft of songwriting.

With a foreword by Guy Chambers (Robbie Williams’ co-writing partner), the book features exclusive interviews with top songwriters including Don Black, Wayne Hector, Rob Davis and The Darkness and also includes the first published UK joint interview with Holland, Dozier & Holland.

The only songwriting book to be compiled and endorsed by The British Academy of Composers & Songwriters, "Heart & Soul" is being published as part of the 50th Anniversary of the prestigious Ivor Novello Awards. All royalties are donated to The Academy Music Foundation charity.'

KEYWORDS: Songwriting, "Jonathan David Little"

[Excerpt by kind permission of Sanctuary Publishing / Music Sales.]

If we go back to the beginning of the first national radio stations, Atlanta was the center of American recording industry. In twenties, it slowly shifts toward Chicago, the home of the blues. Prior to the WWII, the first publishing companies will emerge in Nashville. Acuff-Rose, with the biggest song library will be directly responsible for pushing the recording industry to evolve. (Kosser, 2006)

To understand why Nashville is so important to the music industry, history aside, is to learn about people who work there, recording engineers and producers responsible for the magic. In this paper, I will compare and analyze two different music producers that made a career in Nashville.
The first guy is someone who is a top choice for Mark Knopfler, who could choose to record with anyone, anywhere but he comes to Nashville to record with the local sound engineer. The fact that the same sound engineer is also the first choice of Nashville’s finest such as George Strait says a lot about his abilities.
The other guy is someone who is producing top 40 mainstream tracks and Megadeth at the same time, someone so versatile and capable that a label executive will hold his number on a speed dial. And he works in Nashville too.
No wonder Guitar Town is Mecca for industry’s newcomers.

ABSTRACT:

This paper is meant to explain the importance of Nashville to the music industry.
With a research and with focus on business, Nashville seems like the center of the music world, especially jobwise. The most important thing in every industry is how many jobs it can provide and young people from all over America have been moving to Nashville to find a career in music. Some will become singers or songwriters, some will get into the management and others will work with cables and recording gear.
This paper will focus on potential careers in music and on what sets the Nashville apart.

Ausgehend vom geschichtlichen Überblick, der sich auf Tin Pan Alley und Brill Building als wichtige Zentren des Songwritings von populärer Musik in den USA konzentriert, thematisiert die Arbeit die Akteure, Strukturen und Prozesse gegenwärtigen Songwritings am Beispiel des schwedischstämmigen Hit-Songwriters und Produzenten Max Martin. Der Schwerpunkt liegt dabei auf dem Zusammenspiel von handwerklichen Fähigkeiten (Songwriting und Produktion) und dem internationalen Netzwerk der Popmusikindustrie. Im Zuge dessen werden kollaborative Arbeitsprozesse wie das sogenannte Track-and-Hook-Verfahren (Track-Produzent und Topline-Writer) sowie die multiplen Rollenübernahmen von heutigen Songwritern untersucht. Das abschließende Kapitel widmet sich den berufssoziologischen Aspekten des Songwriter-Daseins und diskutiert im Hinblick auf die heutige Situation der Arbeit von Songwritern verschiedene Berufschancen und Einnahmequellen.

The purpose of this article is to examine the creative and collaborative agency of a young Finnish pop music producer Mikke Vepsäläinen, who identifies himself as a tracker/producer (Vepsäläinen: 2015a; 2016b). [1] I will examine his agency through the idea of tracking and being a tracker, concepts that he frequently uses when describing his activities as a producer. Moreover, I aim to bring a new approach to the study of producers by exploring this new terminology, which is widely used by personnel in contemporary pop production (Vepsäläinen: 2016b), but which in earlier writing on record production has been connected to production software and interfaces (see e.g. D’Errico: 2012) and not human agents. In this article, producing in the pop context, especially when combined with the idea of tracking, means having a creative input on a song from the beginning of the compositional process up until the point in which the song is sent to mixing and mastering. I seek to achieve my goals by answering the questions: what is tracking, what does it mean to be a ‘tracker’, how does the term define the agency of the producer, and how is the creative agency of the producer/tracker constructed within a collective

The purpose of this article is to examine the creative and collaborative agency of a young, professional home-based studio producer of popular music, who identifies as a tracker/producer. The study seeks to illuminate how music production technologies and practices shape our understanding of the agency of the contemporary aspiring music producer and to provide insight into the music production studio as a socially constructed cultural space. In this article the music producer is seen to do more than just work with an artist on an existing work. Producing here means having a creative input on a song from the very beginning of the compositional process up until the point where the song is sent to the mastering engineer. By combining cultural study of music technology (Théberge 1997; Taylor 2001; Greene & Porcello 2005), which understands music technologies as cultural practices that produce and mediate musical meanings and experiences, and ethnographical methods, I approach the home-based music production studio as a cultural space (Bates 2012) where social and musical performances and interactions take place and meanings of music and its authorship are constantly in negotiation.

The methods in which music producers affect the sound of an artist, in terms of instrumental arrangement, recording and production techniques, also identifying the difference in their outcomes. This paper will focus on music producers Chris Walla and Greg Kurstin, with their impact of producing artists Tegan and Sara.

David Bowie in 1979 is finishing off and promoting Lodger but is being beaten in the charts at his own game by a new generation of artists he himself has inspired. Faced with the strange new reality of being a figurehead of and patriarch to a new musical and aesthetic culture, Bowie must reassess, redefine and re-exert who he is at the start of a new decade. With divorce proceedings wrapping up, as he nears the end of long financial and contractual commitments to his record label RCA and his old manager Tony DeFries, Bowie is drawn to the tough, concrete energies of New York, and back to the raw, visceral songwriting style of his old friend John Lennon. Scary Monsters was set up to be a return to pop dominance: no more studio games and improvised vocal sessions; it was time to confront his past, to mine through the artefacts of his own myth to find some personal truth.

Après avoir dégagé les considérations et les enjeux qui entourent le concept de "producteur" dans la musique populaire et la world music, nous discutons le cas particulier qu'est la "trilogie Berlinoise" de David Bowie. Au travers de cet exemple spécifique, dont l'historiographie a été établie dans les détails par Mathieu Thibault (Thibault, 2011), nous tentons de donner des directions quant à l'attribution du rôle de producteur dans la musique populaire.

L'objet de cet article est de prendre comme clé d'interprétation des  trois albums du groupe anglais The Cure (souvent appelés par les fans et la critique "la trilogie noire" ou "trilogie de glace" (1980-1982)) le parcours du leader du groupe lors de cette période (via des articles d'époque dans la presse rock française, dont des interviews), en plein rite de passage ordalique vers l'âge adulte. Dans un second temps, on pose l'hypothèse que cette bande son a également servi à nombre de fans du groupe dans leur parcours de vie.

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