The Music Producer’s Survival Guide A music-career book like no other, The Music Producer’s Survival Guide off ers a wide-ranging, exploratory, yet refreshing down-to-earth take on living the life of the independent electronic music producer. If you are an intellectually curious musician/producer eager to make your mark in today’s technologically advanced music business, you’re in for a treat. This new edition includes industry and technological updates, additional interviews, and tips about personal fi nances, income, and budgets. In this friendly, philosophical take on the art and science of music production, veteran producer, engineer, and teacher Brian Jackson shares clear, practical advice about shaping your own career in today’s computer- centric “home-studio” music world. You’ll cover music technology, philosophy of music production, career planning, networking, craft and creativity, the DIY ethos, lifestyle considerations, and much more. Brian’s thoughtful approach will teach you to integrate your creative passion, your lifestyle, and your technical know-how. The Music Producer’s Survival Guide is the fi rst music production book to consider the infl uence of complexity studies and chaos theory on music-making and career development. It focuses on practicality while traversing a wide spectrum of topics, including essential creative process techniques, the TR-808, the proliferation of presets, the butterfl y eff ect, granular synthesis, harmonic ratios, altered states, fractal patterns, the dynamics of genre evolution, and much more. Carving out your niche in music today is an invigorating challenge that will test all your skills and capacities. Learn to survive—and thrive—as a creative- technical professional in today’s music business, with the help of Brian Jackson and The Music Producer’s Survival Guide ! Brian M. Jackson is a music producer, electronic musician, audio engineer, educator, consultant, and philosopher. Brian's involvement in DIY, independent, and underground music culture started in Detroit more than two decades ago. He has produced various styles of electronic music, played bass in bands, promoted club events, attempted a record label, and DJ’ed after-hours parties. From award-winning experimental video art to TV shows such as 24, his sounds have been heard worldwide. He has more than 20 years of teaching experience, from beginners to Grammy winners, from classrooms at leading institutions to one-on-one tutoring. He’s one of the fi rst ever Ableton Certifi ed trainers and has authored extensive training materials. He is the owner of Form Labs NYC located in Williamsburg, Brooklyn. Sound on Sound Presents series… Series Editorial Advisor: Dave Lockwood Other title in the series: The Studio SOS Book: Solutions and Techniques for the Project Recording Studio Paul White, Hugh Robjohns, and Dave Lockwood The SOS Guide to Live Sound: Optimising Your Band’s Live-Performance Audio Paul White Mixing Secrets for the Small Studio Mike Senior Recording Secrets for the Small Studio Mike Senior The Music Producer’s Survival Guide: Chaos, Creativity, and Career in Independent and Electronic Music, Second Edition Brian M. Jackson The Music Producer’s Survival Guide Chaos, Creativity, and Career in Independent and Electronic Music Second Edition Brian M. Jackson Second edition published 2018 by Routledge 711 Third Avenue, New York, NY 10017 and by Routledge 2 Park Square, Milton Park, Abingdon, Oxon, OX14 4RN Routledge is an imprint of the Taylor & Francis Group, an informa business © 2018 Taylor & Francis The right of Brian M. Jackson to be identifi ed as author of this work has been asserted by him in accordance with sections 77 and 78 of the Copyright, Designs and Patents Act 1988. All rights reserved. No part of this book may be reprinted or reproduced or utilized in any form or by any electronic, mechanical, or other means, now known or hereafter invented, including photocopying and recording, or in any information storage or retrieval system, without permission in writing from the publishers. Trademark notice: Product or corporate names may be trademarks or registered trademarks, and are used only for identifi cation and explanation without intent to infringe. First edition published by Delmar Cengage Learning 2013 Second edition published by Routledge 2018 Library of Congress Cataloging-in-Publication Data Names: Jackson, Brian M., author. Title: The music producer’s survival guide : chaos, creativity, and career in independent and electronic music / Brian M. Jackson. Description: Second edition. | New York, NY : Routledge, 2018. | Series: Sound on sound presents Identifi ers: LCCN 2017045933 | ISBN 9780415790956 (hardback : alk. paper) | ISBN 9781138697850 (pbk. : alk. paper) | ISBN 9781315519777 (ebook) Subjects: LCSH: Sound recordings—Production and direction. | Sound recordings—Production and direction—Vocational guidance. | Sound recording executives and producers. Classifi cation: LCC ML3790 .J25 2018 | DDC 781.49023—dc23 LC record available at https://lccn.loc.gov/2017045933 ISBN: 978-0-415-79095-6 (hbk) ISBN: 978-1-138-69785-0 (pbk) ISBN: 978-1-315-51977-7 (ebk) Typeset in Myriad Pro by Apex CoVantage, LLC Dedicated to: 8, ∞, 0, 1, 1.6180339, 01123581321345589, r > 3.57, and z = z 2 + c Contents Acknowledgments . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .xvi Preface to the Second Edition . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . xvii Preface to the First Edition (Revised) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .xviii Introduction . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1 DIY.Independent.Electronic.Music.Producer. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .2 What Is the Goal of This Book? . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .2 How Is This Book Structured? . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .4 What This Book Is Not . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .5 Whom Is This Book For? . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .5 Can I Get a Venn Diagram? . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .6 DIY . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .7 Independent (Indie) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .7 Electronic Music (EM) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .8 A Few Words on Major Labels and the Corporate Media Business . . . . . . . . . .9 Magic Might Make Machine Mechanism, Moegen Macht . . . . . . . . . . . . . . . . .11 Welcome to the Future . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .12 The Accidental Producer . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .13 Faster, Smaller, Cheaper . . . Easier? . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .13 From Musician to Producer: An Author’s Version . . . . . . . . . . . . . . . . . . . . . . . . .14 One Thing Leads to Another: Positive Chaos . . . . . . . . . . . . . . . . . . . . . . . . . . . . .16 Chapter 1: Musica Universalis . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 19 Music Is Universal . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .20 Music Is Diverse . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .21 Music Is Technological . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .21 Music Is Personal. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .22 Music Is Vital . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .23 Music Is Fundamental . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .25 Nature Is Musical. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .26 Music Is Mathematical . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .27 Music Is Evolving . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .31 Music’s Evolution Is Chaotic . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .31 Basic Dynamics of Genre Evolution . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .35 Baker’s Transformation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .38 The Technology . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .39 “Nothing Sounds Quite Like an 808” . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .43 Arthur Baker’s Baker’s Transformation. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .44 vii Contents A Very Brief Intro to the History of Electronic Music . . . . . . . . . . . . . . . . . . . . . .46 EM’s Two Timbral Sources . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .48 Source 1: Sound Reproduction . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .48 Source 2: Sound Synthesis . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .49 Independent Label Pioneers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .52 Jamaica, U.K., and New York . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .53 American Punk, Metal, and Aggressive or Alternative Rock Styles . . . . . . . . . . .54 Various Styles of Adventurous Rock, Underground Metal, and Industrial-Related Genres From Germany, U.K., U.S., and Canada . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .54 Electronic Music Labels From US, Canada, Germany, and U.K. . . . . . . . . . . . . .55 Music Is Cybernetic . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .56 Cadence . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .57 Chapter 2: Plot Point on the Space-Time Continuum . . . . . . . . . . . . . . . . . 61 Putting Things in Perspective . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .62 Music Is More Than the Recording Industry . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .64 Yo Ho Ho, and a Bottle of Rum . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .65 Context Is Everything . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .67 History . . . zzZzz . . . What’s in It for Me? . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .68 A (Very Incomplete) Brief History of Everything . . . . . . . . . . . . . . . . . . . . . . . . . .68 Epoch 1: Back in the Day . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .68 Epoch 2: Recent History . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .69 Epoch 3: The 20th Century . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .70 Epoch 4: The New Millennium . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .71 Where Are We Now? . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .74 Era 1: Local and Exclusive (? to 1877 ) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .75 Era 2: Transmission and Storage (1888 to 2000) . . . . . . . . . . . . . . . . . . . . . . . . . . .75 Era 3: Global Information Networks (2001 to 2029[?]) . . . . . . . . . . . . . . . . . . . . .76 Era 4: Biotechnology Network Integration? (2029[?] to ?) . . . . . . . . . . . . . . . . . .77 What Goes Around Comes Around . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .78 Industry Expansion and Limited Access to Technology . . . . . . . . . . . . . . . . . . . .78 Industry Contraction and Expanded Access to Technology . . . . . . . . . . . . . . . .80 A Parallel Teachable Moment From Recent History . . . . . . . . . . . . . . . . . . . . . . .81 Where Is the RIAA’s Equivalent of Deep Blue? . . . . . . . . . . . . . . . . . . . . . . . . . . . .82 Gains From Complexifi cation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .83 Losses From Complexifi cation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .83 The Argument for the Industry . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .84 Technology . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .84 Economics . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .85 The Industry’s Weak Argument . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .85 P2P and CD Sales (Correlation Does Not Imply Causation) . . . . . . . . . . . . . . . .86 Other Factors . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .87 The Argument for Self-Destruction . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .88 viii Contents RIAA Failures + Apple Computer = Apple, Inc. . . . . . . . . . . . . . . . . . . . . . . . . . . . .91 Emergence of the “Celestial Jukebox” . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .95 What Is a “Producer”? . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .96 The “Classic” Record Producer . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .98 DIY/Independent Music/Producers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .99 Electronic Music Producer . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .101 What Does “Professional” Mean? . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .102 Aspiring Pro, Semi-Pro, or Serious Hobbyist . . . . . . . . . . . . . . . . . . . . . . . . . . . . .104 Last Refrain . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .105 Chapter 3: What Is Your Plan? . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 107 Did You Choose This, or Did It Choose You? . . . . . . . . . . . . . . . . . . . . . . . . . . . . .107 Sense of Direction . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .108 The Butterfl y Eff ect . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .110 Patience and Persistence . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .112 Luck, Talent, Preparation, Opportunity, and Success . . . . . . . . . . . . . . . . . . . . .113 Defi ning Your Goals . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .115 Brainstorming . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .115 Developing a Plan . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .119 Possible Pieces of the Planning Puzzle . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .121 Are You Already a Pro or Skilled in Something?. . . . . . . . . . . . . . . . . . . . . . . . . . .122 Are You Just Getting Started (or Starting Over)? . . . . . . . . . . . . . . . . . . . . . . . . . .124 School . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .124 Personalized Training . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .127 Learning on the Job . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .128 Moving . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .128 Backup Plans Versus Alternate Paths . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .131 Be Flexible . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .132 Some Considerations, Strategies, and Options . . . . . . . . . . . . . . . . . . . . . . . . . .134 Technology and the Internet . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .135 Before Skills Pay the Bills . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .135 Paying the Bills With Your Skills . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .136 Getting Paid . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .138 You Are Your Business . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .138 Advances . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .140 Residual Income Is Awesome . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .140 Personal Finances . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .141 Be Involved . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .142 Thoughts on Partnerships and Collaborations . . . . . . . . . . . . . . . . . . . . . . . . . .143 Planning Your Artistic Musical Identity . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .144 Outro. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .144 Chapter 4: Master Your Craft . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 147 Multiple Intelligences and So-Called “Styles” of Learning . . . . . . . . . . . . . . . .148 ix