This study examined the recording session management approaches of two music producers, Phil Harding and Greg Haver, to ascertain if and how their different approaches impact the outcomes of music production projects. Semi-structured interviews were conducted with each producer to gain insight into their approaches generally, and also, as a point of comparison, their work on the educational Gus Dudgeon Foundation/Joint Audio Media Education Support (GDF/JAMES) summer recording sessions specifically. Thematic analyses of the interviews revealed that the producers’ respective approaches are influenced by the genres in which each predominantly works. Harding, a pop producer, is very systematic. Haver, who is better known for his work in rock, uses an organic approach. Consequently, there were some clear differences in their decision making and organizational strategies at the GDF/JAMES sessions. The producers used different criteria to choose a project/artist. Each used distinctive approaches in pre-production (i.e. work on song arrangements and other technical musical decisions), production (recording) and mixing. Still, both produced pop recordings that largely conform to pop norms. Both recordings have similar pop arrangements and meet commercial standards. Findings provide new understanding of session management techniques that can benefit both music production education and practitioners.
Austriaʼs Legacy in Early Radio Broadcasting: Lessons for Audio Media in the 21st Century