The pop music industry evolved a specific kind of artist: the recording artist. Whether you’re just beginning your online music education or you’re familiar with the industry, it’s important to remember that the journey of the recording artist begins with another invention, and that invention is called the microphone.

Not only does the microphone enable somebody to have their voice amplified in a venue, but it also enables a performer to fix that performance on a physical form, like a vinyl record.

However, the microphone also does something else: it actually alters the nature of how songs are performed. It used to be that if I were a performer onstage and there was no amplification, I would really have to project so that everybody in the venue could hear my voice. Suddenly, you have a microphone which allows for a greater dynamic range. In particular, a performer can sing very, very softly, and that voice will still carry. In some ways, it allows for a greater degree of intimacy with an artist, as if you are up close with that artist.

That really is one of the things that birthed a new kind of singing: an American singing, a popular music singing. Sometimes it’s called crooning, and there were a few figures of the early music business that really worked that microphone. Whether we’re talking about a Billie Holiday, a Bing Crosby, or a Frank Sinatra, people you might hear about when studying music education, these are some of the earliest superstars of recorded music, and they’re known especially for their subtle nuanced vocal performances.

I want to talk a little bit about performance anxiety. The truth is, it’s normal. We all have fight or flight so that means that everybody gets nervous, and everybody should get nervous if they’re getting up on a big stage in front of a lot of people or even a little stage in front of some people. Sometimes that is actually scarier.

The truth is, we should have an increased heart rate, some difficulty breathing, and perhaps some sweaty palms, but what we shouldn’t do is let that affect our performance. Practice is a really good way for us to move through this. We have to imagine that setup, that situation we’re going to be in, and be able to get through it. One thing that I really suggest is changing your thinking about the outcome of the situation. Camila Cabello says, “I remember the first show. I was so intimidated, like I was so scared. And there was a switch, I think, in the second or third show where I was like, wait a second, these people aren’t judging me.”

There’s three different ways that you can think. The first, is a positive outcome. This can be great, but it can also be detrimental. An example of that positive-outcome thinking would be, “I’m going to be amazing. I am the best singer ever.” Again, this confidence is awesome, but in reality, sometimes if we mess up, it can work to our disadvantage. The second is negative-outcome thinking, “I’m going to suck. I’m going to ruin everything. Everyone’s going to hate me.” Obviously, this is a terrible way to think. Sure, it’s low expectation so if we do well, we’ll feel really great, but it’s a terrible way to set yourself up for failure. Lastly, the third kind of thinking is just practical thinking. “I’m going to do this. This is my job. I’m going to perform.” This is really the best thinking for performance anxiety because we don’t say it’s going to be good or bad. We just say it’s going to be. This is the best way that we can be our authentic self and get through this difficult moment of nerves.

Coping Mechanisms to Overcome Performance Anxiety

One way to deal with performance anxiety is being able to mentally go through the entire performance in real time. Music education teaches, a lot of people use this technique when they can’t get together with their band. It just exemplifies a way that we can build confidence on our own in our own mind. It’s kind of like meditation. I’ll think about all the parts I need to play, all the vocalizations I need to do, and all of my choreography. After we do it once in real time, I like to do it a second time in double time. That means that I can go through everything quickly and know where I’m going to move to next. Before we finish up, we go one more time in real time. This helps us to end this process with what we are expecting to do on stage exactly. Going through this over and over again is just going to help us feel comfortable when we actually get on stage in front of the crowd.

The best way to recover from a mess-up during a performance is really the same way that you would mess up from a life experience. There’s a couple of ways that you can regain control after you mess up in a performance. According to online music education, one of those is seeing it in the scope of the entire show. Most people won’t recognize that you made an error. The only person that’s going to know that you made an error is yourself and maybe your band. Don’t acknowledge it and push through it. Take a breath and step back. This does not define your entire performance. It will not define your career. It will not define your entire life. It is only a moment to move past and it is gone now.

Everyone makes mistakes during a show. I definitely make more than one in every show. The truth is, we shouldn’t let that take over our anxiety around performing the rest of the show with confidence. One person that has made a mistake that we’re all aware of was Adele. When she performed at the Grammys and she couldn’t find her place, she actually stopped and acknowledged her mistake. I think this was really important for her to do because it created a vulnerability with her and the audience of millions of people all over the world. Showing that she was human actually made her more lovable. I thought it was a really brilliant way for her to deal with making that mistake. Other people on stage will just keep going and not care. Other people will stop the song and acknowledge it until the audience laughs. Really, there’s so many ways of doing this, but I think the most important thing is just to allow yourself to be vulnerable and authentic to your true self when you make a mistake on stage.

The role of a record producer in the music industry is multifaceted and crucial in shaping the sound and success of an artist. While the debate between documenting a performance and shaping its sound continues, it’s the producer’s relationship with the artist that often defines the outcome of a musical project. Let’s explore the different approaches producers take in working with artists and the impact of their choices on the music that reaches our ears.

 

The Facilitator vs. The Imprint

At one end of the spectrum, some record producers act as facilitators, focusing solely on bringing the artist’s vision to life. Their primary aim is to create an environment where the artist feels supported to express their creativity and produce their best work. On the opposite end, there are producers who leave a distinct mark on the music they touch, imprinting their unique sound and style onto the artist’s work. This approach can lead to a collaboration where the producer’s influence is as significant as the artist’s talent

 

Jerry Wechsler and Aretha Franklin

A prime example of a facilitative producer is Jerry Wechsler. When he signed Aretha Franklin, Wechsler recognized her potential and worked to cultivate a sound that resonated with her soulful roots. His approach was not about changing Franklin’s style but enhancing and elevating it to showcase her best qualities. This collaboration led to some of the most iconic songs in the history of soul music, demonstrating the power of a producer who prioritizes the artist’s authentic expression.

 

Phil Spector and the Wall of Sound

Contrastingly, Phil Spector became known for his “Wall of Sound” technique, a method that significantly shaped the music of the artists he worked with. Spector’s approach was to create a dense, layered sound that was unmistakable, regardless of the artist performing. This method led to groundbreaking music but also sparked debates about the balance between a producer’s influence and an artist’s originality.

 

The Role of Electronic Music Producers

In the realm of electronic music, producers like Pharrell Williams have managed to carve out a niche where their sound becomes a signature. When you hear a Pharrell-produced track, there’s an immediate recognition of his influence. This highlights a modern trend where producers are as celebrated as the artists themselves, blurring the lines between production and performance.

 

The Importance of Music Education

Understanding these dynamics is essential for anyone looking to make their mark in the music industry. Whether you’re an aspiring producer, artist, or music executive, recognizing the different roles a producer can play opens up a broader perspective on music production. It emphasizes the need for a solid foundation in music education to navigate the complexities of this relationship.

The relationship between a record producer and an artist is a delicate dance of creativity, vision, and influence. As we’ve seen through examples like Jerry Wechsler and Phil Spector, the producer’s approach can significantly affect the direction and success of an artist’s music. For those intrigued by the intricacies of music production and looking to deepen their understanding, pursuing further education in this field is invaluable.

 

Discover Your Potential With Yellowbrick

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Take the first step towards mastering the art of music production and shaping the sound of the future. Enroll now and discover your potential in the music industry!

Before you arrive at the venue, it’s great to have your set list already planned out with your band. This is a key part of your music education. You can always make changes later, but it’s good to think about the sequence of songs before you show up to the venue to make sure that you really add dynamic to the show. Perhaps you decide to juxtapose a slow song with a fast song for the most drama.

We ask Mick Jagger, “When choosing a setlist for the Rolling Stones, there really aren’t too many bad ideas, are there?”

The Rolling Stones front man, who has nearly 60 years of music industry experience, replies, “I’m sure there are. Let’s just say that some ideas are better than others. Like for instance, I believe that the opening number is kind of important. We did try ‘Sympathy for the Devil’ in some cases. And a lot of those shows in Europe were in the daylight, so I didn’t like doing that number in the daylight opening. It didn’t work, so I dumped it.

“I think it works as an opener in the dark when you’ve got full lighting,” Jagger continues. He goes on to explain that in the dark, that song really reads and works to create a mood. “So we’ve got all these kinds of factors to take into account when we’re doing set lists,” he concludes.

A set list is a list of songs that you’re going to perform that night. Everyone has a different amount of songs depending on how much time they have allotted to them on stage. This is one of many aspects of your career to consider as you continue your online music education.

The visual pillar of performance is probably the most fun. Sometimes, as musicians, we forget about this part of our artistry. That it really comes from a deep feeling.

We want to paint. We want to touch. Sometimes, with music, we don’t get that sense. We don’t get that motion. When we’re creating electronic music.

Get students to feel comfortable getting dirty. You want them to feel like the energy they’ve put into creating a set or creating costumes is going to give back to their audience. Like it is going to make them feel more connected with the work that they’re doing.

What is the story you want to tell? You must make sure that you are wearing the costume of that story, of that main character. What is the character of the set? Is that a sun setting? Or is it people in a protest?

If you never bring up the idea of people in a protest, but you’ve got images behind you of people in a protest, it evokes a feeling from the audience. It’s these subliminal messages that we’re giving to the audience that make them feel connected to what we’re doing.

There are many ways to do this for a performance with a track. For example, to feel more alive, one of those is through movement and choreography. Another one of those is creating or combining a live element with your track. Sometimes, people add live drums, and they’re not even miked.

The idea of moving their body along with the rhythm of the music is something that the audience can really connect to. They feel, oh, they’re moving. I want to move too.

That’s what we must look at. Like there’s really a mirror right there. What you are doing is what the audience feels OK to be doing back to you. If you’re dancing, they’re dancing. If you’re introspective and looking at the ground, they might be too. Decide what you want your audience to do, and they’ll mirror you.

One common question music professionals get is “how does a manager in the music industry get paid?” Historically, a manager typically gets between 10% and 20% of the gross. However, that number changes depending on what the situation is. For example, a female solo artist or a male solo artist may be paying 20%, but if you’re a rock band of five or six guys, for a manager to make 20%, they’d make more than any individual member of the band. Generally, any manager who’s smart and wants to have a good relationship with their artists is going to take less than that.

Some managers make less than touring based on a touring history, but 15% to 20% is a general rule. Any manager who’s worth their weight and has a great history and good experience is going to want 15% to 20% of the gross of everything that you make. It’s not an unreasonable amount of money because there are many times when a manager is working hard on your behalf. They aren’t making any money during the times that you’re dormant, recording, etc.

It’s hard to talk about the music industry without talking about some of the pitfalls of the business. Because there weren’t music education programs 20, 25 years ago, all of us who grew up in the music industry made mistakes and learned by either making those mistakes, getting ripped off, getting screwed over, or getting somehow cheated, unfortunately.

Thankfully, things are different today. However, the pitfalls still remain the same. That is, if it sounds too good to be true, it probably is. Don’t fall for the hype. Don’t go for the quick buck. Instead, go for the long term. So, why do I say that? Many people think that fame equals a career, but that’s not the case. The list of one-hit-wonders, flashes in the pan, people who had their short moment in the sun, is significantly longer than the list of those who have had a real career.

Always be open-minded. Always be thinking about where you want to be in five or 10 years. Don’t be thinking about how to get as many ‘likes’ as you can today. Think about how to get as many followers as you can long-term. If you think about even the arc of Facebook and how it was used, in the last five years it went from the number of followers being the most important thing to followers no longer amounting to excitement, interest, or passion.

So, if I were a manager, I wouldn’t really care how many followers you have. Instead, I want to know how many people are talking about you. It’s a very different dynamic. It’s a very different algorithm. But ultimately, having real fans is what it’s all about. Don’t go for quick fame, and don’t confuse fame with a career, because they’re two completely different things.

Another important thing is, don’t make the mistake of signing contracts without having them looked over. Standard music industry contracts are not usually in the artist’s favor. And honestly, it may never be completely in your favor; however, it should always be within the confines, norms, and boundaries of what’s acceptable among artists.

When you hear those horror stories about old artists being ripped off or selling their music, or when you wonder how Michael Jackson owns part of the Beatles catalog, that’s because artists were signing bad deals at the time. Fortunately, that’s easily avoidable now with good advice. Remember, just because somebody asked you to the dance, it doesn’t mean that’s the only person who wants to dance with you.

If you’ve got ‘the goods’ and you’ve got things going on, you don’t have to take the first deal that comes your way. Be patient and wait for the right deal to be presented to you. If what you’re doing makes a lot of sense and people really like it, there will be more than one company, one person, one bit of interest in what you’re doing. There will be a lot of it.

If you’re interested in learning much more about concepts like these surrounding the world of professional music, you should seriously consider exploring online music education.

Staging and costumes are all about the way things look. As part of your online music education, let’s go back to Art History 101 to learn about composition. What is most pleasing to our eyes? What colors work best when you want to create an intimate atmosphere? Do you want warm colors like red, or cool colors like blue? This is all a trial-and-error process, but it’s best for us to see how the characters from earlier in the story fit in with these color-blocking ideas and the composition of the canvas as our stage.

Staging Philosophies
In the same way that we think of instrumentation with a song, color-blocking is a good way to impose splashes of color onto a stage that look good next to one another. Sometimes the juxtaposition of these colors can create a really interesting tone in itself. Using lights, we can really make them take on a whole different shape. So, for example, if you have a red light onstage and a blue backdrop, it’s going to change color as it’s turned on and off. The ability to see color and the way that it plays a role within the stage setup is important to know as you continue your music education.

Creating a conceptual identity for your product is something a lot of people are doing nowadays. Some people decide that they want to be a monster in another world. When you walk into this venue, you want to feel like you are a monster in another world, and you’ve never met someone else that is a monster from another world.

So how do we make that happen? What does the set design look like? How do we implement these ideas in the performance of our work? Do we speak to the audience? Do we start on the floor? Do we perform from the audience, with the audience themselves on stage? Original interpretations of what everything means and flipping the script on yourself is a really incredible way to understand yourself better as an artist.

My art teacher in high school used to say, “Do you belong to the school of squint?” And this helps me all the time when I’m thinking of visual elements for my live performance. What she meant by that was, if you squint and you see just the outside of everything and the composition of the larger pieces in color-blocking, you’re going to be able to see what it looks like from far away. This is what’s important for us as performers because it should look just as good in the front row as it does in the back row.

About Costumes
We want to create costumes that have really great profiles. We want apparel that makes us look the way we want to look, and that creates a color that pops out from the set itself and gives the audience something to be excited by. We can create so many different stories with costumes. They can be abstract shapes. We can reimagine our bodies as other-selves in this moment. But when it comes down to it for us, the entire conceptual performance is really focused on how to bring the costume, the set, the songs, and the choreography all together in wondrous harmony.

A costume doesn’t have to be some crazy Halloween thing at all. It’s just about what you put on that day that is your work outfit. And for some people, that’s going to be jeans, a T-shirt, and some Converse. And for other people, it’s going to be an evening gown, some makeup, and an up-do. But the truth is that you should always be wearing something that’s really comfortable to you that screams, “This is my authentic self.”

What we put on our bodies and how we present ourselves can shape the way we feel about our performance to a great extent. We want to be comfortable. We want to feel safe. This is all the puff-up, shrink-down thing again. If we act like something we are not, we are not going to be comfortable. We are not going to relate to our audience the best way that we can.

Another use of the costume is that it’s a personal prop. Being able to use something that you wear on your body as a through-line of a story that you tell on the stage is really important. We see this with James Brown with his cape. There are so many ways in which that cape means something more than just a piece of clothing. And his performance with this cape is something that I return to over and over again with my students in order to explain how to use props and how to use your body onstage in order to tell a deeper story.

How The Knife Uses Staging and Costumes
One of my favorite bands is called The Knife. They’re a Swedish electronic band. And every performance they do is wildly different from the one before. Creating this new world for them to live in is something that the audience loves. This is why people keep coming back; because they know that what they’re walking into is going to be a whole new world than the last time they saw the band.

Their last performance included choreographed dances with around 12 bandmates on stage. The lead singer wasn’t always even the one singing during performances. They had costumes and instruments they built themselves, plus new technologies around percussion instruments and wind instruments. Everything about the night was an experiment in pop music performance and what an audience is.

The opening band was an aerobics instructor. They got the crowd up and moving. It was a great way to create an amazing story throughout the night. It was new and different, and the audience is shocked to experience it. These are the kinds of performances we remember. They also make an impact on us in the world of music.

At the beginning of each semester in this music education class, we have the students write down all of their favorite performances and why they were their favorite performances. Then, we have them write down all their least favorite performances and why those are their least favorite performances. And then we have these tools to look at for the rest of the semester that really shape what we think is good and what we think is not so good about certain performers.

Before you go on stage, you should be able to look at this list and say, “Oh, well, I’m not going to not care about what I’m doing,” or “I’m not going to be off key when I’m performing,” or “I’m not going to just stand there and look at my feet.” If these were things we didn’t like about other people, then we shouldn’t do them ourselves.

One of those qualities I see year after year is that students don’t like it when the person doesn’t feel into it. What we want to focus on is really getting lost in your music and what can make you do that. Some people need the music to be really loud on stage. Create that for yourself. Tell the sound engineer you need it louder.

Some people say, “I don’t want to hear myself that much. It takes me out of it.” Then, turn yourself down on the monitors. These are all things that we learn so that we can really feel as lost as we can be on that stage and in the music and exactly where we want to be in the music industry.

As producers, one of the most important jobs we have in music is to preserve an artist’s voice. This is done by maintaining or exposing the idiosyncratic nature of a particular artist’s voice. This could be their physical voice or the voice of their message. An artist is the last person to know what they are all about. So often, in a creative sense, the people around the artists understand them before they understand themselves. It’s our jobs, as producers, to keep them in a place that is representing what the artist wants to represent.

The Voice of an Artist Is Very Complex

An artist’s voice, their inflection of speech, and the timbre of sound coming from their throat all contribute to the sounds that the microphones pick up. These are just a few of the many small pieces of music that people can be sensitive to hearing. The average listener isn’t even aware of the sounds that they are sensitive to. We do our best to help the artist express all of these small things through pronunciation, timbre, vocal-through phasing, and even vocabulary.

Timbre

Timbre is defined as the combination of elements that make a sound. For example, if you take all the harmonic and amplitude aspects of sound and combine these components, you will get a unique sound. Timbre is the composition of all the elements that make sound resonate in your ear.

Throat-singers can perform with different timbres of their voice by doing various actions. These variations come from the way the singers open their mouths, the way they clench their jaws, the way they open or close their throats, or the way they breathe. This is similar to the way that we yell “help, police!” versus the way we say “I love you.” When you cry for help, the timbre of your voice lets people know that something is wrong. When you tell someone you love them, the timbre of your voice lets them know that they mean something to you. Believe it or not, there is an entirely different set of harmonics coming out. We are reacting to those harmonics subconsciously. We don’t know that they are harmonics or amplitudes of overtones, but it is what’s happening.

Phrasing

Phrasing has to do with how a vocal artist or counter melody from an instrumentalist plays a passage or theme. Is the melody marked staccato or legato? It’s how they release the rhythms with accents and stresses. Vocal phrasing can alter how we understand the narrative or story that the singer is singing, rapping, or talking.

Think of the way that Sia sings the song “Chandelier:”

I’m gonna live like tomorrow doesn’t exist.
Like it doesn’t exist.

What I like the most about this is that it’s unpredictable. For example, sometimes Notorious B.I.G.’s sentences are long, and sometimes they are very short.

In the Notorious B.I.G song “Hypnotize,” he raps:

Dead right, if the head right, Biggie there ery’ night
Poppa been smooth since days of Underoos
Never lose, never choose to, bruise crews who
Do somethin’ to us (come on), talk go through us (through us)
Girls walk to us, wanna do us, screw us
Who us? Yeah, Poppa and Puff (hehe)

Paired with an instrumentalist and a solo, vocal phrasing can express urgency. It can direct a sense of legato or relaxation with many different emotions. It is also incredibly important how vocal phrasing affects rhythm by hitting or dancing around a downbeat.

Cadence

Different rappers are known by their cadences, and this is really how they dance around the rhythms. Rhythms are going to be the quarter notes: “tack, tack, tack, tack.” What is the rapper doing around those quarter notes? How are they stretching or truncating their lines and phrases, so we get both narrative and sense of motion?

Here is an example by rapper MF Doom called “That’s That:”

Cornish hens switchin’ positions, auditionin’ morticians
Saw it in a vision, ignorin’ prison
Ignoramuses enlist and sound dumb
Found ’em drowned in cows dung, crowds flung

MF Doom will have entire bars that rhyme. The entire setup bar of this song rhymes every syllable in the punch line bar. That is incredible.

Everyone is fighting for attention right now, because there is so much music. It’s all accessible. If you have any kind of access to a streaming service, you can listen to millions and millions of songs and so many different types of artists. So, it’s really hard to market music simply to get someone’s attention or simply to have somebody pay attention. It’s interesting, because on the one hand you have fewer gatekeepers actually getting your music out there.

If you want to publish music, you have fewer barriers to overcome. But, on the other hand, because everything is so accessible, it’s hard to really market that and have not only writers and music journalists pay attention to that music, but also consumers — having people really figure out what your aesthetic is, what your reason is to pay attention to you.

It’s difficult. It’s something that those who market music, those who position music, are increasingly trying to figure out. Social media is incredibly important to what we do. It’s interesting, because 10 years ago you would be in a situation where you had to pay attention to Twitter, you had to pay attention to Facebook. Now, in this year, you have to position articles, videos, anything really that you produce, with social media in mind. You have to understand how a tweet should function when thinking about linking to a cover story, linking to a video, linking to an essay or a news story.

You have to think about Facebook, and especially Instagram, as Instagram becomes increasingly more important. You have to embrace the role that social media plays as a gatekeeper. And obviously that extends to search and optimizing your stories or your content for search engines. But social media is such a key component of what we do, because it’s a means of discovery, more than anything. If you want to have something read, it needs to be able to be shared. And the way that happens now is social media.

Coming from the artist side, digital editorial coverage and social media is massive. Social media is the easiest way for you to get in front of millions of people without having to be on the radio, without having to physically go places to play these giant arenas and things like that. It’s not easy to reach this amount of people on social media, but it is possible. There are platforms like YouTube that have broken huge stars, Justin Bieber. And Vine, which is no longer an app, played a big part in Shawn Mendes’ career.

Social media is helping these artists grow, and it helps them connect with people, whether you’re a new artist connecting with new people or a huge artist connecting with people on a day-to-day basis. I feel like I know some really big people because I see what they do on their Instagram stories every day. With digital content and articles and stuff like that, the process of picking up a magazine to find new artists is very, very different. I used to find artists by the small lines in CD catalogs.

It was, like, “Thank you so and so,” and that’s how I used to find new artists or people I didn’t know. But now we have things like “related artists” on Spotify and these playlists. You can be on “new music Friday” and you could have hundreds of thousands of plays just being a new artist, if you get that great placement on a playlist. So, there’s a lot of new aspects to the music industry with Spotify, Instagram, Facebook, Twitter, and YouTube, especially.

And just like with all these different blogs and stuff, you can find new artists and you can help cultivate those artists with all this new digital content.