Record producers, sometimes also called music producers, bring the artistic, technical, logistical, and often financial aspects together to create recordings meant for commercial release or for use in visual media or advertising.

As producer Arkatech Beatz (Nas, Freddie Gibbs, Raekwon) told us: “The Producer is hands-on in the entire process of song creation.”

Record producers work most often with musical artists and bands, often in a recording studio, and artists themselves might also work as record producers. Sometimes successful musicians will produce records for other artists, in the same way that a big-name actor might work as a film director. Some musicians and bands are self-produced, acting simultaneously as producer, writer, and performer on their recording projects.

A record producer is involved in all decisions about a recording, from the pre-production to post-production phase. They often choose the material to be recorded, arrange the music, manage the budget, choose the musicians, and otherwise define the project. They might engineer the recording or oversee the recording engineer, mix the tracks, and approve the final masters.

Producer Adam Moseley (Beck, John Cale, U2) said he acts as a mirror for the artist.

“It’s all about letting the musicians express themselves while all the time you’re just guiding and filtering,” he said. “I see the role of the Producer as being the catalyst and being like the mirror image of the band. When they have an idea, to take their idea and throw the next idea back at them and see where I can take them.”

The record producer acts as a team leader for everyone involved with making a recording. A record producer may be affiliated with a record label, and have input into the artwork, marketing, and development of an artist’s career. They choose the songs and the musicians or create all the musical tracks for the artist to sing over. A producer might also play or sing on the recording.

Record producers can work independently. They are usually paid a flat fee and can also receive a share of the royalties from a song or an album. There are some producer jobs available at big companies, especially in the technology field.

The term “record producer” is often used interchangeably with “music producer,” or just “producer,” but it is a bit more old-fashioned since it comes from a time when producing a physical record (a vinyl pressing, or a CD) was the final product. (Some professionals choose to call themselves a “recording producer” instead.)

There are many kinds of record producers; some, like an executive producer, might oversee the financial budgets and are responsible for the marketing and distribution of recordings. There are also assistant and associate producers, who work under an established producer in a support role.

To learn how to become a record producer, we talked to several recording industry professionals to get their thoughts on building a career in music production.

In this article, you’ll hear from:

• Record producer, recording engineer, and Mixer Adam Moseley, a Los Angeles-based producer who teaches music production through UCLA Extension, Berklee Valencia, The Recording Connection, and Garnish. He has worked with artists like Yeah Yeah Yeahs, U2, and Lenny Kravitz.
• 5-time Grammy Award winner Elaine Martone, Executive Vice President of Production at TelArc, Governor for the Chicago Chapter Board of the Recording Academy, and Ojai Music Festival producer. Martone has worked with many jazz and classical luminaries, including the Atlanta Symphony Orchestra, Cleveland Orchestra, Ray Brown, and Oscar Peterson.
• Legendary production duo Arkatech Beatz. The Atlanta-based team came to prominence after Big Pun’s Capital Punishment was released and have gone on to work with Nas, Raekwon, Curren$y, and Freddie Gibbs.
• Grammy-winning producer, engineer, and mixer Matt Lawrence also contributes. Lawrence began his career working at Van Morrison’s studio before moving over to London’s Metropolis studios. Over the course of his career, he has produced and/or engineered for the likes of Bjork, The Clash, The Rolling Stones, Elton John, The White Stripes, and Lady Gaga.

Producer Elaine Martone (Ray Brown, Oscar Peterson, Cleveland Orchestra) said she charges $5,000-$7,500 for a 60-minute recording, depending on the project.

“Of course, all fees are negotiable based on the needs of the client and whether I want to do something or not,” she said.

Moseley said he charges per project.

“In my mind, I work out a budget of how long is this going to take,” he said.

So if he is mixing a simple singer-songwriter track with very few instruments, he can charge less. But if he’s recording a full band with hundreds of tracks, that will be much more work and he can charge more.

“It used to be a set rate,” he said. “Now it’s much more fluid.”

The two main ways a record producer makes money are:

1. Upfront, flat fee
2. A percentage of the royalties generated by the master recording

It could take from several weeks to many months to finish a project, so producers, like film directors, might only work on a few projects in a year. Others might work in a fast-paced environment for advertising or TV and work on many projects simultaneously. There are few salaried positions available for record producers, so most work is project-based, and each job’s payments are negotiated up-front and then a contract is signed.

Some producers become household names and earn huge sums, while others toil in relative obscurity and are paid by artists or songwriters to imagine and create recordings of their songs. The more accomplished and well-known producers can make a lot of money, while many others work hard and are paid a decent living wage but perhaps not much more. Skills, reputation, repeat clients, and referrals are all very valuable in the world of record production.

The level of a producer’s pay is closely linked to their experience, accomplishments, reputation, and abilities.

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There’s always a demand for top-notch producers. There’s always new music to be produced, packaged, marketed, and sold to audiences worldwide. Music is a global industry, so the opportunities can come from literally anywhere.

Producer Matt Lawrence (Adele, Amy Winehouse, Mumford & Sons) said being a career producer is “amazing!”

“You get to make records for a living and then go home anonymously at the end of the session,” he said.

Record producers must have great business instincts and need to understand all aspects of the music business.

Further, producers must be able to lead a team and know how to get along with all kinds of people. Producers often liaise between the record companies, artists, engineers, musicians, and songwriters, and are a part of the artist’s A&R (Artist & Repertoire) team.

A-list producers love good music, have a passion for listening, and can bring a compelling vision of what’s right for a song and artist. A producer can confidently charge a fair price for their services when they are true to the art and have the training and skills to consistently deliver high quality recordings.

Building a strong reputation is key. A producer can prepare for outsize success in the music industry by constantly learning, improving their skills, while paying attention to what’s trending in music and music production. It’s a highly competitive industry, but people will always recognize and reward talent and ability.

Is it hard to become a record producer? It can be, but it will be much easier if you love it.

“It’s not hard to become a Producer if you have a passion for it,” said Arkatech Beatz. “Like any craft, one has to be consistent in developing.”

There isn’t one way to become a record producer, of course. Many producers start out as musicians. A producer should develop a solid understanding of how music is put together. It helps to know how to arrange music. Not all producers sing or play an instrument, but knowing how could offer an advantage.

Getting good at music can take some years, so future record producers take time to study and learn all about music, maybe attending a music school or university program. They study music business, music history, the history of recording, audio engineering, music technology, and recording techniques.

They learn to use current software, how to use various DAWs (Digital Audio Workstation), and learn to read and write music. These are all important steps for producers starting out in their careers. Studying in a college music program can also offer crucial networking opportunities that will lead to future employment.

Watching an accomplished producer at work is one of the best ways to learn how to produce records. That’s why working in a studio as a production assistant or intern is a great way to learn how to become a successful record producer.

Having a good reputation comes from being prepared and paying close attention to details. Always think ahead and try to anticipate the needs of the team. Leadership ability, top-notch skills, and being easy to work with are what lead to earning callbacks and generating referrals.

The goal is always to get called back to work on the next project. Getting the callback means that your clients have confidence in you and your skills. They might also refer you to others in need of your services, which is the ultimate compliment.

As Moseley points out, succeeding as a producer has a lot to do with your personality.

“If they were the right kind of personality, I would hire them because I can teach them the right stuff,” he said. “I can teach you everything else about the console and why I do this and why I use a certain thing or a microphone or a compressor.”

You have to know when to keep quiet, when to speak up, and always be ready to serve the artist and do what’s best for the song.

Martone calls this “a combination cheerleader and committed listener.”

Record producers succeed by presenting good production ideas plus a vision for the song that fulfills the artistic needs of the client. A good producer knows all about the possibilities and constraints of the equipment used in recordings (for example the different kinds of microphones), and how to shape the frequencies of every note on the recording.

Producers understand how tonal characteristics and notes are used to evoke certain moods, emotions, atmospheres, or a vibe. Music conveys emotion, and a good producer knows how to use the notes and sounds to evoke the desired emotions and moods.

Being a record producer means constantly learning. The best way to learn is to do a LOT of focused listening to great recordings, and then analyze them to pinpoint exactly why the recording is so successful.

Listen to many different musical genres to get ideas about production. Make the time and effort to figure out why a recording is great, and why you like it.

The sound and quality of recordings changes over time, so listen to historical recordings to understand how we got to where we are today. There are now available terrific musical recordings going back over 100 years. Good producers know and understand what happened previously in the field and understand the important technological innovations which led to the huge rise in popularity of recorded music.

Producing music is an art form, but it’s also a trade, so knowing the history of the music business will also be helpful. Music is a business and producers need to get paid. To advance, be aware of what the competition is doing and recognize and acknowledge the market demands placed on artists and producers.

There’s more. Producers need solid people skills. Leading teams requires “soft skills” to communicate the vision for the project, manage personalities and egos, motivate the players to deliver their very best work, keep things on track, and find ways to compromise.

“Really listening to what people want,” said Lawrence. “Exuding a sense of confidence in what you are all doing when some start to doubt the direction.”

There are some cases where well-known producers were fired in the middle of a project because they didn’t “click” with the artist. It may have been that the musical visions were not compatible, but it was likely also a clash in personalities.

Moseley said the technical skills are easy to learn. It’s the people skills that will set you apart.

“Anyone can learn the software; it’s essential,” he said. “But it’s who you are and your ability to read people and to interact with people.”

It’s important for everyone involved in the recording process to have their ideas heard. A good producer knows how to get buy-in from all team members and reach consensus needed to make the necessary decisions about how to proceed with the recording.

Arkatech Beatz said certificates or degrees are not necessary for succeeding as a music producer.

“These days you really don’t need any major qualifications to be a Producer,” they said. “However, just being an average Producer versus being a great Producer will depend on one’s creativity, drive, and ability to think out of the box.”

Moseley seconds that worldview.

“If you can’t afford to go to a school, teach yourself,” he said. “There are so many clips on YouTube.”

If you do choose to further your education, there are many schools, colleges, and universities offering courses, certificates, and degrees in music production, including graduate-level studies.

Every program has a unique approach to learning production skills and techniques. Some focus more on audio engineering, music technology, and computer science, perhaps leading to a Bachelor of Science (B.Sc.).

Most college programs in music production expect applicants to have some background in music. Many, but not all programs require applicants to play a musical instrument. The computer may be accepted as an electronic digital instrument (EDI) at a few schools. Gaining a deeper understanding of and familiarity with all aspects of music-making should be part of any aspiring record producer’s ongoing goals.

It may be expensive to attend school, but most students qualify for scholarships. Going to school is the best way to learn about all aspects of music production in a relatively short time period. It’s also a great opportunity to network with other talented young student musicians who are embarking on careers in the music business.

Students of music production usually pursue an internship before graduation to get hands-on experience under the guidance of an experienced producer or engineer. Learning on the job is a tried-and-true method to success and helps new producers break into the industry.

Most studios and producers accept interns from a college or university program, since they know they will be trained in the technology. For someone who has the right skills, there might be jobs available as a production assistant and this is also be a good way to break into the recording scene.

Watching a master producer at work offers the chance to learn and grow in skill and build a professional network to gain referrals for work opportunities.

For those in mid-career, it’s never too late to go back and take a few courses. Whether or not attending a school is part of the plan, there’s no better option for learning than watching a top producer making a record.

Adam Moseley is a big proponent of online self-education. He says, “All the information is out there on the Internet. You can watch videos, documentaries, tutorials of how to use compressors, and great Producers and Engineers that are active. Pensado’s Place [and the associated Facebook group] is a fantastic resource and another great resource is Pro Audio Files. It has articles every single day on a specific topic.”

Aspiring Producers may also find the Audio Engineering Society and The Recording Academy (GRAMMYS) to be helpful learning resources.

Moseley says, “If it’s something that you want to do, you can find the information and teach yourself. If you don’t understand how a compressor works, look it up. Write it down. If you want to see why a certain Engineer uses a certain compressor you can probably find a three or five-minute clip of them on why or how it works and you can educate yourself and your ear. Then try it with your plugins. The good ones are incredibly accurate so you can train your ear with a plugin.

“Put an instrument through compressors and just see how the sound of the instrument is different, see how each compressor changes the sound before it’s even compressing. Because each compressor has different components and electronics, a different character, reacts in a different way.

“Train your ear. You can do that at home. Put your bass track on and just open different plugins and see how they sound different. Read up to see what people use and used to use. It’s pretty easy to find the info.”