The module content can be divided into four main sections:

An exploration of the multi-faceted role of the Record Producer
The traditional role of the record producer has been likened by Producers such as Sir George Martin to that of a film producer and director rolled into one.  Although Martin has claimed himself to be a “servant of the project”, Phil Spector has been known to claim equal share of the songwriting credits, asserting the songs were not really finished until he had produced them.  In contrast, Steve Albini has adopted a rather controversial, yet some would argue honest position on the subject of record producer credits and equitable remuneration.  In an interview with Paul Tingen for SOS, Albini declared that taking royalties is “an insult to the band” and sees the essence of his work as purely technical, rather than artistic.

In a climate of illegal filesharing where the best selling CD is a blank one and the equitable value of intellectual property rights is considered to be ‘at risk’, how will music producers continue to be remunerated for their creative endeavours?   In this segment we will examine the differing philosophies of varying ‘types’ of Producers as well as those of consumers.  Creative Commons licenses will be considered alongside issues of copyright protection with test cases of infringement reviewed. Students will be encouraged to reflect upon their own working practices and philosophies and investigate the range of opportunities for creative and economical remuneration in preparation for developing their career portfolio.

The technological advancements and events which shaped the recording and music industry.

The techniques, inventions and working practices of pioneers such as Les Paul; Joe Meek; Phil Spector; King Tubby; Lee Scratch Perry; Berry Gordy; Brian Eno; Delia Derbyshire and Daphne Oram and others, will be studied through theoretical analysis and playback sessions.  This segment will feed into modules Capturing, Manipulating and Combining Sounds at which time students will be invited to experiment and apply the range of techniques demonstrated and analysed in this module.  There will also be further opportunity to experiment as a group, with a view to developing pioneering sounds of their own. 

The advent of the entrepreneurial producer and new and emerging business models will be examined alongside issues surrounding digital distribution and equitable remuneration of ‘rights’ holders.

In this final segment we will journey through the technological advancements such as the digital revolution and the internet.  We will explore how these have enabled and empowered musicians and songwriters to form their own record labels; produce, distribute and promote their music, and most importantly, gain direct access to their fan base. Through in-class group discussions and problem solving activities, students will review past and existing business models and digital rights management strategies aiming to offer alternative ones.  Having been introduced to, and explored the careers of pioneering and important producers, students will now focus on the entrepreneurial aspects of a Producer’s career and the business models adopted by the legendary and the new.

Career Planning and the Business of Music Production

The career aspirations of a Producer can resemble anything from the traditional model to that of a self-producing singer/songwriter.  While these profiles overlap and lines blur, for the purpose of study each needs to be examined independently, key differences and commonalities in relation to the business of being a Music Producer must be mapped out.  

Empowered with the knowledge gained students will engage in a substantive research project and practical networking exercises, attending industry seminars, events and masterclasses, culminating in the creation of a personalised portfolio containing their creative showreel, business and strategic career plan; enhanced with relevant and essential industry contacts.