"Musicians feel they are able to do more on their own, but technology also defines what this 'more' is. It takes time, effort and money to choose, acquire and, not least, learn all the new tools on offer. One musician I interviewed said she asked herself: 'Am I a musician or a technologist?'" says Yngvar Kjus, Professor of Music and Media at the University of Oslo.
Since 2021, he and researchers Øyvind Skjerdal and Emil Kraugerud (emilkraugerud.com) have been working on a project on the platformisation of music production: PLATFORM - Development and Use of Production Technology in Digital Environments. This is the first time research on this topic has been carried out in Norway.
Project leader Yngvar Kjus explains that they have adopted a broad approach, examining various aspects of platform technology.
"We have examined how digital systems for music production are developed and designed. We have also looked at how technology is used and experienced by creative musicians. The third perspective is more overarching, and concerns what the technology means for culture, diversity, and democracy.
An important finding is that technology is driving developments towards greater individualisation.
Blurring of roles
The technology they focus on is known as DAWs, or digital audio workstations, and all the musicians they have been in contact with use them. Logic Pro is the most popular, with Ableton Live in second place and Pro Tools in third, according to a survey of 326 music creators (see fact box).
"The use of DAWs has transformed roles in the industry. Previously, there were more distinct roles, such as songwriter, producer, sound engineer, and musician. On a platform like Pro Tools, however, you can do everything at once. Music has become part of platform capitalism, which is characterised by spreading across sectors and practices and turning as many people as possible into consumers of the technology - consciously or unconsciously," says Kraugerud.
Heavy burden on the individual
Skjerdal has written his PhD as part of the project, examining what happens when technologies and users meet. He shows that it can be demanding when responsibility is shifted from studios and institutions to the individual music creator.
"Many people enjoy creating together with others, and sharing responsibility can be a relief. Now, instead, they often end up sitting alone in a bedroom that functions as a studio, and if the result does not materialise, it feels as though it is entirely their own fault."
Another aspect is the financial one. Record labels are no longer willing to pay as much for music production, such as studio hire for recording.
"Since technology has emerged that makes it possible to make music without renting a studio, this has also turned into a choice that each individual music producer must make. Some say it is tough to carry projects alone. Collaboration generates more momentum," says Skjerdal.
Commercialisation and platformisation
One of the key questions they have been keen to explore is how companies and developers work to make themselves indispensable to music creators.
"They develop teaching materials that they bundle into package deals and run their own academies. Ableton, for example, has created a system in which super-users can run courses themselves and profit from them. Nothing is left to chance," says Kjus.
The companies view every part of the cultural sector as a potential market, create links between them, and make themselves an indispensable intermediary. If you want to enter post-production, film or TV, you must go through some of the major companies, such as Apple and Avid, Kjus argues.
No substitute for quality
Many musicians feel ambivalent and under continuous pressure to install updates, learn new skills and adopt new approaches. Some respond by staging a kind of rebellion and playing acoustic instruments, or by deliberately breaking with the advice that 'this is what you have to do to succeed'", Kjus explains.
But what happens to quality? A paradox is that even though an increasing number of people are doing more of the work themselves, there is broad agreement that the best results are still achieved in professional studios. This applies, for example, to mastering, the final stage of production, where the sound engineer adjusts level, tone, and dynamics.
"Using AI-based software to master a file is not the same as using a sound engineer. For a voice to sound its best, you need a studio with suitable microphones and proper soundproofing. This has also increased awareness that the craft cannot simply be replaced by technology," says Kraugerud.
Male-dominated
The researchers have examined how technology affects diversity and gender balance, and have found that the absence of female role models is significant. In 2020, only 0.7 per cent of producers and 12 per cent of songwriters behind the 50 most-streamed songs on Spotify were women, according to Balansekunst, a national resource centre working for equality and diversity in the cultural sector.
"More women than men experience barriers when it comes to technology. The music industry has been male-dominated from the very beginning, and its networks reproduce themselves. We see this in digital arenas as well. For instance, most of those providing training in new technology on YouTube are men," says Kjus.
Many women use new technology to make music, but they rarely gain recognition or access to the role of 'professional producer'. It is, for example, almost always women who create the 'topline', meaning the vocal and melody that are placed on top of the instrumental parts of a track.
"I interviewed a female producer who said she was not allowed to take on the producer role at a songwriting camp but was told she should create the topline instead. It is disheartening to see that technologically streamlined forms of production are contributing to a return to traditional, rigid gender roles," says Kjus.
Important points for the industry
Skjerdal, Kjus and Kraugerud hope their research will provide the industry with useful insights, and highlight a few points they consider especially important:
"Being aware of this individualisation is crucial - the way technology pushes us into our own bedrooms with our own computers," says Skjerdal.
"Shift the focus from equipment to creative drive and what you want to achieve with your music. Perhaps you only need a fraction of the technology on offer," says Kjus.
"And try to remain platform-neutral. Don't tie yourself to a single technology, and experiment with the less well-known options," concludes Kraugerud.
Survey
- 326 people from across the full spectrum of the music industry responded between 2023 and 2024.
- 77 per cent were men, and 23 per cent women.
- More than half reported that a significant share of their income comes from music production.
- 27 per cent said they found learning the technology frustrating, while 16 per cent described the learning experience as lonely.
- 57 per cent of respondents had spent less than NOK 10,000 on software, while the 20 per cent who had invested the most had spent more than NOK 100,000.
- 38 per cent said they use their bedroom or another room in their home as a studio.
