Two Worlds of Music Producers: Artists and Visual Media

Whether collaborating with artists or crafting music for visual media, producers find themselves walking the line of a delicate balance between creative expression and serving the greater vision.

In this post, we look into the nuanced similarities and differences of these two worlds by music producers, highlighting a key role of egoless collaboration and dedication to their craft, all in the interests of the visions they’re trying to serve and elevate. After all, it’s our role to look after our clients, and often put ourselves aside so we don’t wrongly impose our ideas on others when it’s not needed.

Let’s dive in.

Part 1: Working with Artists

In commercial music production, producers serve as both a guide and a craftsman, with the job of realising the artist's vision so it can be put out into the world. At the heart of this collaboration lies a fundamental principle: the balance of their own artistic vision, and the artistic vision of their clients.

The producer's role when working with artists is way more than their technical proficiency; it involves guidance, nurturing, and collaboration. It's about understanding the artist's aspirations, strengths, and vulnerabilities, and using all of this to craft the best outcomes possible - both musically and personally.

A key part to this is the ability to create an environment of trust and mutual respect. The producer serves as a sounding board, offering constructive feedback and suggestions but always with the artist in mind. Why would you take on a client just to dismiss them and make them feel devalued? That would be stupid.

It could be refining song structures, rewriting and improving lyrics, experimenting with sonic textures, or fine-tuning vocal performances. Our role as the producer remains constant: to empower the artist. 

And, with all of this said, the technical things can’t and shouldn’t be overlooked. A great producer has not only a deep understanding of music and production techniques, but also the ability to harness these skills to deliver an excellent product. Where all of the above come together is where the magic happens.

Part 2: Writing Music for Film, TV, Sync, and Brands

In contrast to the collaborative dynamic of working with artists, crafting music for visual media requires a different approach; one that prioritises adaptability and versatility. Here, the producer assumes a more behind-the-scenes role, tasked with creating music to enhance the narrative without overpowering it.

The main objective in this context is (again) to serve the greater purpose of the visuals and its story. 

Noticing any similarities yet? 

Whether it's a poignant scene in a film, a high energy commercial, a sports game, or a reality television show full of drama, the music must play its role and serve the visual elements, evoking emotions and enhancing the experience.

Pulling this off requires a nuanced understanding of storytelling and mood-setting, as well as the ability to tailor compositions to suit the specific needs of the project. It could be anything from ambient underscores, to urban hip hop, to distorted orchestral trailers with huge hits and impacts.

Producers in this field have to walk the line between being a specialist in one or few genres, while also being adaptable and able to produce a range of styles and genres - all while remaining unique and having their own sound/uniqueness, and remaining true to the vision of the project and brief.

So, this isn’t to say that there isn’t room for creative expression. In fact, publishers and sync agents are actively looking for music with authenticity. 

However, it's crucial to strike this delicate balance between creative vision and practical requirements.

There is no point in writing for a brief and not delivering what’s asked for. If anything, you’ll just be wasting your own time and the time of the person reviewing submissions. Never a good thing. 

And, while our input is sometimes needed and asked for, it must always complement (not overshadow) the visual narrative. Otherwise we’re either missing the point completely, or letting our ego get in the way which can be completely inappropriate. Ego must be checked at the door, replaced by commitment to serving the client and the project. 

A good way to frame this whole thing is: This isn’t about me. I’m here to work towards this idea, not my own idea. And while I can come up with my own ideas, sometimes they can be a good thing if they benefit the vision, but not if they get in the way of it. 

Wrapping Up

The roles of the producer are as diverse as they are demanding. Whether collaborating with artists or crafting music for visual media, the principles explained above stay the same: put your ego aside, serve the vision, and strive for excellence.

If you embrace these principles, you as a producer can feel confident navigating each scenario with clarity. Not only will you find that people will be happier dealing with you, but you might even find a kind of creative freedom in the sense that the pressure isn’t all on you and your vision.