Music Production Reflection

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Today, as Sergio greets me at the office, he immediately tells me that he is going to explain and show me some practicalities about production, as he wants to share his experience with me. While I observe him dealing with his daily duties, he also illustrates me how a typical project is set up, from its early phases. Music Production involves making decision since the beginning of the project, after having making an agreement with an artist, that usually Sergio spots himself, by listening to demos and taking suggestions from collaborators, friends in his professional network. He also admits that it is extremely rare for him to listen to a demo and suddenly decide to produce something: “Music always takes sometime, at least for me. I want to …show more content…

While asking for my opinion, Sergio also tells me that he is going to reject that proposal, because Malintenti is out of the artist’s league, and because he thinks the artist still has a long way to go before he could present something that could work. I have the impression that the major component of Sergio’s decision is his gut feeling, along with some considerations he makes out loud about the marketability and profitability of the project. It sounds really “mainstream”, and it could work, but it is nothing more far from Malintenti’s catalogue, which is focusing on quality over quantity, with a special focus on music’s artistic value. After all, it also seems to me that the decision is being influenced by artistic and stylistic reasons, arising from Sergio’s experience as a …show more content…

He has carried out Oratio’s project through this method, and also Nicolò first album. After the success of Nicolò Carnesi’s first album, though, he changed this approach, by externalizing the recording process through some established recording studios in Milan, where a friend of his, Tommaso Colliva, has supported his and his artists’ projects. Sergio also tells me that the main different in this second scenario is the costs to be sustained, that usually are around 20% of gains: Nicolò second album was entirely financed through the profits from the first album. The costs are usually recovered through direct production, and subsequently the rights arising from that (e.g. exectutive rights, copyrights, perfoming rights), and through the publishing

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