The Collaborative Music Producer: a Comparative Study of Integrated and Separated Mixing Methods
Emil, Nordström (2024)
2024
All rights reserved. This publication is copyrighted. You may download, display and print it for Your own personal use. Commercial use is prohibited.
Julkaisun pysyvä osoite on
https://urn.fi/URN:NBN:fi:amk-2024121636085
https://urn.fi/URN:NBN:fi:amk-2024121636085
Tiivistelmä
This thesis explores two distinct approaches to music production, with a particular focus on the role of mixing in contemporary workflows. The aim is to analyze how integrated and separated mixing techniques impact both the creative process and the final musical product. The study is built around two key practical outputs: a portfolio of five original productions and a series of interviews with six professional music producers.
The portfolio serves as a reflective tool for exploring the hypothesis that there are two contrasting methods in music production: integrated mixing, where mixing occurs simultaneously with composition and production, and separated mixing, where mixing is approached as a distinct, later stage. Both methods are analyzed in terms of workflow efficiency and their impact on the emotional and sonic qualities of the final production.
The interviews gave insight into how the six professional producers approach music production and mixing. Making mixing decisions that serve the energy and emotion of the song was emphasized in the interviews. Reflecting on this, I also touched upon how to optimize performances of the recording musician in the studio by creating inspirational headphone mixes.
Throughout the thesis, I draw on my extensive experience as a freelance musician, as well as interviews, literature, and personal reflections on my own creative process. The findings suggest that while both methods have distinct advantages, a hybrid approach combining elements of both may offer the most effective way forward, particularly for producers who balance multiple roles. Ultimately, the thesis provides valuable insights for music producers and sheds light on the evolving relationship between mixing and music composition.
This research contributes to the field of music production by offering practical examples and expert perspectives that highlight the importance of adaptive workflows in achieving professional-quality productions. This practical thesis project has significant practical outputs that should be listened to in conjunction with the written element.
The portfolio serves as a reflective tool for exploring the hypothesis that there are two contrasting methods in music production: integrated mixing, where mixing occurs simultaneously with composition and production, and separated mixing, where mixing is approached as a distinct, later stage. Both methods are analyzed in terms of workflow efficiency and their impact on the emotional and sonic qualities of the final production.
The interviews gave insight into how the six professional producers approach music production and mixing. Making mixing decisions that serve the energy and emotion of the song was emphasized in the interviews. Reflecting on this, I also touched upon how to optimize performances of the recording musician in the studio by creating inspirational headphone mixes.
Throughout the thesis, I draw on my extensive experience as a freelance musician, as well as interviews, literature, and personal reflections on my own creative process. The findings suggest that while both methods have distinct advantages, a hybrid approach combining elements of both may offer the most effective way forward, particularly for producers who balance multiple roles. Ultimately, the thesis provides valuable insights for music producers and sheds light on the evolving relationship between mixing and music composition.
This research contributes to the field of music production by offering practical examples and expert perspectives that highlight the importance of adaptive workflows in achieving professional-quality productions. This practical thesis project has significant practical outputs that should be listened to in conjunction with the written element.