The Path Towards Music Producing

Marcus Borbor

English III - Honors Pd. 2

Mr. Piatak

February 23, 2017

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The process of creating and listening to music changes with every generation. From a

phonograph, to the classic walkman, to a portable CD player, and now the mp3 player. The

studio itself transformed from a large and extensive room to paper-thin laptops with the ability to

to work multiple digital audio workstations and travel with producers on the go. With a studio at

the touch of anyone’s fingertips; the reinvention of music comes to the hand of any artist with

the interests in creating music. The production of music evolves from its advancements among

the culture of the creators; stemming from the knowledge of well-known digital audio

workstations, developments of new techniques in recording, and the overall ability to create

original music with inspiration.

Producers in the 21st century use many digital audio workstations for creating and

producing music. The creation of any music piece starts at a digital audio workstation (DAW),

whose programs come equipped with the capability to record and edit both live and digital

instruments. Countless producers and sound engineers praise Pro Tools, “The gentleman on the

line wasn’t able to provide me with a good answer. He just wanted to make sure that we had Pro

Tools, as if that was a Better Business Bureau badge” (Wiebe). Pro Tools grabs the industry's

focus as the best DAW in the market, and the reason for many job contract requirements. Pro

Tools composes recordings with a multitrack interface. The difference between Pro Tools and

other DAWs shows results through efficiency and utilization within the system. The software

records, sequences, and edits a track with the click of a button and use of the right equipment.

The program exports audio files at sizes of 32-bits of data, and sample rates of up to 125

kilohertz. The process of exporting such files requires a sound card with the use of other DAWs,

but Pro Tools supports and completes such tasks with an efficient processing system (Cook). The
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company Avid continues to push for the future use of 64-bit, which could lead to even more

audio tracks, all benefitted by large random access memory (RAM) support. RAM in computers

boosts the speed of applications opening and program run times, leading to efficient workflow

with little slowing effects on the computer (“Ram Guide…”). Pro Tools also has a powerful

mixing program in which the software can simultaneously input 786 tracks without the

degradation of any sounds (Cook). Large amounts of RAM pairs great with Pro Tools, when

working with multiple software windows and starting multiple tracks simultaneously. The

producer works within such tracks to input various sounds from instruments or vocals

downloaded in the DAW.

When sequencing sounds, Pro Tools offers many options and choices for what the user

seeks to create. With a musical instrument digital interface (MIDI) the user can record pitches

live for the program through digital notes, which transfers in the digital audio workstation.

DAW’s digitally convert the MIDI notes into sound bytes for editing, replacement, and storage

within folders of information. The option to use MIDI requires the user to connect a MIDI

keyboard to the computer through USB and later configure through a given step by step manual

present in the DAW. A MIDI keyboard, upon connection, has the option to change what the

DAW performs with various instruments, and allows the user to play them outside the computer

for easier use. The MIDI can redesign key signatures, meters, and tempos per track within the

program for various results. Each of the said components contribute to the sound structure of

music played from the MIDI to each track. When using MIDI, a producer may use up to 512

tracks of different loops, instruments, and samples in just one session, leaving the user with

enough creative space and storage to create for hours. The producer also has the ability to play
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any key and keep track of their sessions through an option known as standard notation. Standard

notation shows a visual digital display of the piano, within Pro Tools, and memorizes the notes

played alongside the live piano (Cook). Not only does MIDI give the producer a chance to play

on a physical instrument, it allows for physical keyboards to play various sounds such as

synthesizers and drum kits (Childs). The program Pro Tools comes with a built in set of plug-ins

known as Xpand, Boom and Structure Free. These plug-ins act as digital instruments within the

DAW used to create music. Xpand serves as a synthesizer kit, which plays and creates techno

airy beats and duplicates files for editing to the user’s leisure (Cook). The synthesizer can

redesign amplitude and frequencies of sound. Changing the pitch and re-designing wavelengths

through signal spectrums (Marin). It not only redesigns wavelengths, but it also adds atmosphere

to music created. The Boom plug-in gives the producer a set of 12 drum-kits with various snares,

kicks, and hits; sounds previously recorded on a live drum so the useful drumkits have gone

through conversions and recordings for modern digital use. Structure Free consists of smaller

plug-ins dedicated to pre-made samples and recreation of samples, such as chords of an organ

played within a melodic loop or basic leads. The sampler can change the loop’s pitch and volume

leading to a new type of music composition for the making. The three large plug-ins have a

catalogue of 2,300 different types of devices and instruments (Cook); not to mention the millions

of other plug-ins on the internet, created by other musicians and engineers alike; the limitation

for different sounds holds no limit in the program Pro Tools.

DAWs not only give the option to recreate digital sound, but the option to record live

instruments. Through analog conversions, live recording remains an option for musicians with

talent in the physicality of playing instruments or singing pieces of their own music. Analog
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recording starts at microphones picking up voices and instruments through waveforms,

amplitude, and frequency. In other words, analog involves the recording of live sounds for later

digital usage. In order to record such audio and edit within Pro Tools, a producer must have an

analog audio to digital audio converter (A/D). This device connects to both the microphone and

computer running the software. The A/D converters come in various sizes, outputs, and power.

A/D converters come pre-fitted within audio interfaces, such as the Focusrite Scarlett. This audio

interface not only converts microphones and guitars from analog to digital, but it also offers the

ability for live bands to synchronize sounds for recorded performances through knobs and

switches. The interface charges power to microphones through cables known as XLR cables.

Once the audio interface and the program get arranged to record, the microphones send binary

bits/data to the A/D through the XLR, which then processes into the computer and then stores

itself within the DAW or recording software. The storing process allows users to edit the newly

formatted waveforms, amplitude, and frequency with ease. The audio interface also acts as a

mixer for both the sound played within the computer and the instruments used to record with.

Plugging a set of headphones into the Scarlett’s stereo jack allows for instant playback of

recordings created previously by the musician. This feature, known as direct monitoring, allows

for an efficient work-method between the artist and the producer. With built in stereo

functionality, the audio interface can also work as the main console for any small studio. This

mini console has the ability to equalize sound through the interface itself. Interfaces come in

varying sizes, some even come with the capability to input up to 4 XLR chords (“Scarlett

2i22…”). All the while, it possesses the ability to monitor and equalize (EQ) every single

microphone connected to this device. As a band progresses in sound and starts playing a wider
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variety of instruments, there remains the option to buy a larger interface with more inputs for

cables, allowing use for more microphones (“Focusrite Scarlett…“). In order to reach a

professional recording level, a band might just have to buy a larger interface to separate and

monitor each instrument playing. The option does comes at a price, but seems worth it for easy

flowing management.

Pro Tools also supports the importation of digital audio files from outside the program,

and can give the user a choice between split stereo and interleaved stereo. Split stereo offers the

user a choice to move audio through left/right channels of listening devices, such as headphones.

Doing so allows the producer to interact with music by possibly putting guitar sounds in a

listener's left ear, and a piano note on the right. Interleaved stereo offers the user to move such

stereo files within Pro Tools and compress the audio into one file. Mono audio remains an option

as well, but the use of mono leads to louder and flatter audio if not configured correctly

(“VCR’s…”). Stereo offers a performance level of sound when mixing and mastering tracks and

prevails for the amatuer producer. Digital conversions and transfer seem easy for everything, but

should a producer under no circumstances ever digitize an already digital file. Doing so results in

the fragmentation and loss of bits and data due to an unnecessary loop created (Clark). Producers

should commit analog-digital conversions and never digital-digital or the producer could lose the

same audio files they have worked hours or months on.

Microphones come in various shapes and sizes, but when recording within the studio, a

producer should focus on using two microphones. Both microphones pick up sounds in a unique

way and the decision begins at the choice of either recording a live band who plays multiple

instruments or simply recording the voice of a singer. The first microphone choice, a condenser
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microphone, can absorb sound waves through 2 thin metallic plates, and creates an electric

charge within its circuits. The condenser requires a charge of 48 of volts phantom power. The

power charges the circuits and other separate vocal features within the microphone. An audio

interface, mixing desk, and battery can all provide this power. The mixing desk and interface

may very well support, 48V phantom power inputs, but it depends on the model and brand of the

microphone (Wagnall). So long as the condenser has the 48 volts, the microphone will work, and

soundwaves will record. The condenser microphone records various instruments and crisp

sounds depending on position. Voices and brass instruments require the engineer to place the

microphone directly near the source of sound. On the other hand, woodwind instruments need a

placement of 50 cm from the source to keep a regular and consistent sound through various

pitches. Violins and stringed instruments need microphones placed near the center string bridge,

with the microphone pointing towards the body of the instrument. The trickiest instruments to

record with are the drums and the electric guitar. These instruments require multiple condenser

microphones, a ribbon microphone, and patience. The ribbon microphone seems to be the most

efficient when recording with electric guitars. The ribbon microphone contains a metal ribbon

between the poles of two magnets on the outer structure and vibrates upon contact of

soundwaves (Pitt). The user should place the ribbon approximately 1 inch away from a guitar

amp and one-and-half inches facing towards the amp (Clark). In case the sound engineer cannot

equalize the amp correctly, the producer may purchase an amp modeler for their computer

similar to a physical amp. The amp modeler then connects to the bass or electric guitar and plays

the amplified sounds just as a normal amp, but of course, without a microphone and and audio

interface (Clark). Recording drums with microphones agitates even the most trained sound
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engineers, but the complexity resolves with a simple placement of two microphones overhead

snares and one microphone on the kick drum. Many producers endure the pain of placing

separate microphones for each drum and high hat, but the resolution stated before records just as

well (Clark). After the producer figures out microphone placements for every instrument used,

they must then equalize each microphone for the various instruments played.

Producer should also learn the setting up and mixing of live instruments for live

performances. The task at hand for every engineer revolves around getting the best sound for the

listener, and possibly a live song for use in the future. The engineer must harness the energy of

every person listening within a venue and target their ears through the equalization and the

mixing of sounds. The crowd can range from a small venue of 100 people to a stadium of 50,000

and it iss the engineer's job to figure out how to compress the audience for every performance.

Located at a mixing console, the main sound engineer works with multiple onstage engineers and

gets the band ready for their next song. An engineer should note that trust among the performers

and the other engineers needs establishment over everything else. Shouting at the musicians

during rehearsals or commanding people to go here and there only causes disruption and creates

a lack of confidence in what the other engineers attempt to complete. Keep in mind that every

engineer has ears to complete the task at hand (Clark). Finding the relationship between certain

sounds and testing pitches are the best things any engineer can do. Having a good ear determines

the placement of bass guitars compared to the drummer. A professional sound engineer knows

how to absorb their environment and see from the audience’s perspective of what they want. The

engineer needs to show knowledge and lead through example. Setting up a PA system and

moving boxes with the crew shows dedication (Clark). Equipment such as microphones, become
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the engineer’s decision. The mics must make the band’s journey across the nation, packed in

tight cargo. A microphone’s sound capability goes through multiple sound recordings and

pre-tests before tour, but the choice ultimately falls on the engineer (Clark). At the end of the

day, the engineer has to show dedication for the gritty task at hand. Without inspiration, the

engineer will not only lose passion but affect the performance and sounds heard by the listener.

A producer receives respect over time with the learning of new techniques and passing

through trial and error. The majority of engineers teach themselves, but passing that information

to other students, professionally, requires a degree in music education. Music degrees vary

depending on job choice and what the engineer plans to teach. A student in music creation,

within a studio, should know that teaching sound production and recording with consoles does

not require years of formal education in most colleges. A majority of standard colleges offer

limited music studio degrees and focus on the general usage and playing of music in a broader

aspect. If an engineer wishes to teach the academics of music, and not solely production, they

should work for a bachelor in either music or arts prove as their main option. These

undergraduate degrees require fours years of schooling and both offer separate paths for teaching

music. A Bachelor of Arts degree focuses on reading and teaching the philosophies of music.

General academic focuses include; Musicology, Music Cognition, Music theory, and the

Understanding of Music Composition (“Graduate Studies..”). Musicology focuses around the

creation of music and how it grew in popularity. This academic program focuses on widespread

genres and the influences behind famous artists alike. “Our professors have recently completed

major work on such diverse topics as neoliberal capitalism and music, race and ethnic relations

in music, European minimalism” (Knapp). Music cognition follows an academic program that
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focuses on the ability to hear and pick apart compositions to their basic components. This focus

can offer education in tonality, rhythm, meter, sounds, and then conclude with a performance of

the learned material. Professors as well, mix Music Cognition teachings with Music

Composition. Music Composition educates students in the physical readings of music pieces and

teaches students about the importance of sound placement (“Instructions For Authors…”). For

example, breaking down classical a composition like, “Symphony 40” by ​Mozart​ and figuring

out why this piece seemed advanced for its time.

In the same manner, a Bachelor of Music offers an educational path, but focuses on the

skill and techniques behind instruments. Taking interest in this degree requires the student to go

through auditions, tests and collaborate with other student players in a constantly challenging

environment. To earn the Bachelor of Music degree, a musician has to show knowledge through

skill understanding of the instrument wielded, opposed to the B.A major, which only so often

teaches playing skills (“Student Learning…”). UNC Charlotte, for example, requires students to

demonstrate their knowledge in how to analyze music, show off their skill in writing music, in

oral communication, and demonstrate synthesis of music knowledge. Student will find

themselves participating in ensembles, instrument lessons, and learning complex compositions.

Ensembles involve the students working amongst each other in playing music as a collective, and

performing for large audiences around the area. Some big named ensembles include; The

Charlotte Symphony, the Triangle Wind, and Jazz Revolution. Additionally, college instrument

lessons offer students the chance to learn a new instrument and even improve their own skills

with their equipment. East Carolina University and many other colleges offer vocal lessons and

piano education to their first year students, as well as entry levels into bands and orchestras alike.
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Classes such as improv give students the chance to learn solos, advanced scales and ways to

demonstrate popular riffs (“Instructions For Authors…”). Only the most talented and competitive

of musicians should pursue a degree in music.

Many colleges within North Carolina offer majors in music. Institutions such as the

University of North Carolina Charlotte, UNC Chapel Hill, Appalachian State, and East Carolina

University, scatter across the state map. An appropriate music college, such as Appalachian

State, offers ten programs in undergraduate majors. Appalachian State concentrates on topics

such as choral music education, instrument and voice (“Undergraduate Majors”). Appalachian

State, located in Boone, NC, offers the most in music with an acceptance rate of 62.7%. Other

colleges vary, such as UNC Chapel Hill, with it’s extensive library of music and a large

emphasis on the creation of music rather than the theory. Located in Durham, NC, Chapel Hill

sustains a 26% acceptance rate. Outside of North Carolina, many well-respected universities

offer Bachelor’s in Music. Berklee College of Music offers a high level of music production and

performance to its students. Berklee has a 32% acceptance rate with its location in Boston,

Massachusetts. The college offers student producers many routes in music creation and offers

studio classes (“Graduate Studies…”).

Not many colleges offer a concentrated focus in producing when enrolling for a degree.

With that said, college substitutions line the Carolina area, leaving a future producer with many

options other than earning a formal degree. Recording Connection, for example, specializes in

tutoring students through mentorships across the United States. They work as the middleman to

set up students with other well-known producers through listed courses and put the student

within a studio environment. The courses enlisted range from topics delving into DAW’s and
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how to work them, education of studio equipment, and even learning how to DJ. The education

of DAWs varies depending on the program chosen by the student, but Recording Connection

teaches everything from Pro Tools to Ableton (“Audio Engineering”). While this organization

may seem like just a mentorship search program, Recording Connection offers many

opportunities in learning various methods of producing. Many respected sound engineers even

sponsor this program, such as Jimmy Douglass and Tim Latham. With the tuition price of $9,800

(“Tuition…”), Recording Connection could very well serve as the solution for those on the fence

about college.

If working with a mentor still seems unlikely, Avid provides another solution. The

creators of Pro Tools offer a course in learning the fundamentals and functions of their very own

program. In addition to manuals and educational videos, the company actually provides courses

to enroll in across the country. Traveling to these courses might prove costly, but remain an

option nonetheless. Avid also provides learning partners and professionals to learn amongst; all

this to leads to a certification test (“Avid”). The certification test will test a producer’s

knowledge of everything Pro Tools related, and if passed, the student becomes a certified user in

the DAW taught.

For post-education, sound engineering used to offered many jobs in music producing.

The studio had many roles and would function as a team of more than one. The producer lead the

engineers and artists within the studio. The producer knows the artist and engineers around him;

he assigns roles needed for the task and gives the go ahead for certain creations. The head

normally has the largest pool of knowledge and shows the greatest experience out of the rest.

Recording engineers and mixers operate the consoles and physical equipment within the studio.
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They seek oversight from the producer and only make changes when allowed to or if necessary.

Sound technicians station themselves with the various instruments and microphones used within

the studio. They supervise the placement of instruments and microphones, then perform sound

checks to ensure everything meets the standard of the producer. Finally, the mastering engineer

creates the finishing touches on all products, making edits with a track’s EQ, effects,

compression, and overall composition (“Careers in Music…“). In present day, these tasks and

roles are filled with online lessons. As technology advances, computers can teach and show a

producer how to do some of the most difficult tasks performed by those above (Taylor).

While making music generates an outlet for creativity and fun, earning money still has

reasons for working hard in the music industry. Depending on recognition and time, salaries vary

across the board of earnings. Producers either earn an average of $20,000 to $1 million, it all

depending on the two factors stated before. Sound engineers and producers generally earn an

average of $35,000-60,000, although it greatly depends on the roles taken and tasks. The sound

engineer job field openings show signs of narrowing with few to no jobs left in market for

individual roles. The results show a visible 1% increase in the job field by 2020 (Severson). A

student within the music producing world should learn producing and not focus on one audio

console, thus becoming a sound engineer.

As producers grow old and have fun in what they do, every producer goes through a

change of focus and find themselves worrying too much on the sound of the industry rather than

their own creative picture. Creativity comes at the most random times of a producer’s life and

when in the studio, every minute counts. The producer has to learn to live in the moment and just

create free flowing art (Royalty). Not every music piece follows a standard of sounds and
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instruments used. Producing also involves a psychological and personal bond, because at the end

of every work day, both the artist and producer share a relationship. A relationship bonded by the

creation of music (Palmer). An educated student could know their studio in and out, but a

musician knows how to create art with constant changes occurring around the music industry.

Music producing owes its creativity to the producer and the man at the hands of a DAW.

A studio grants its technology for those with the right money and imagination, whether the artist

composes music for fun or for a professional industry. Ranging from audio interfaces to the right

microphone, musical talent can find itself transformed into digital files for the internet to hear. A

producer learns new techniques over time and can only grow depending on how much time they

put into learning the fundamentals.

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