Contemplations on the Art of Music Production

Don’t Be a Producer. Be a Practitioner.

The things that make your music distinctive will begin to form and reveal themselves on their own as you throw yourself into the process. Developing a process and being consistent with it is the key that unlocks everything else.

Already back in 1999, I remember having the idea that I would like to create a certain personal musical style and then establish a label to push that forward. Throughout the years it was always in the back of my mind. At times I was really pushing it hard. There were many different iterations of the concept. But none of them eventually felt right to me.

Only after I relaxed and let go of the notion of forcefully trying to create a style, there was progress. Instead of looking outwards, I began looking inwards. That is where my Rhytual project came from.

Your personality will always show in every piece of music you do in one way or the other. You may not always see it, but it’s there no matter if you try to force it or not. It’s just that by forcing it, you usually end up with inferior quality of work because you’re short-circuiting the process. By doing that you are missing some pieces of the puzzle.

You should first focus on gaining clarity about yourself and what you want to do. Then become aware of the different aspects of the craft, and build up your skills and experience. Once you’ve become more adept at making something interesting and technically expressing it, you can start making deliberate choices on how to approach different things. Choices that don’t feel forced because you know they line up with your personality and goals.

Sticking with those choices then opens up a path for you. By walking that path you keep learning to express your personality in more distinctive ways.

I’ve described the process above in a linear fashion. In reality, it’s more like a loop. Change is a constant so we should keep re-evaluating ourselves. Intuition is always doing its work also. There are many vague ideas brewing at all times, some of which will grow and become part of your process over time. And so the loop keeps going, constantly renewing the music.

The funny thing is that since I began figuring these things out a few years back and established the Rhytual project… I have been mainly doing it for myself. I’ve done some live gigs but only a few tracks have been released even though there is a lot of material. Suddenly, I was not in a rush to push it out there anymore. I have simply been enjoying the process. To me, Rhytual has become like a spiritual practice. And I’ve kept working on my other projects like before. This brings us to the core message I wanted to get across with this article:

Don’t be a producer. Be a practitioner.

Create a process and follow it religiously. Your individual musical signature (and everything else) will emerge from that. You won’t even have to worry about technical stuff. Because if you are making music consistently, your skills will automatically keep improving. But you need to have rhythm. And when you fall off the wagon (it’s normal), don’t let that put you off. Just get a hold of yourself as soon as possible and you’ll be able to keep the beat.

It’s easier to surrender yourself to the process when you realize that it is not up to you to decide what your music will be exactly. In the end, it is beyond your control. Focus on making lots of music. Even if you are not always sure if it’s the right style for you. The process is bigger than you. That is the mystery of art. That is our connection to something that transcends us as individuals. Your work has its own life whether you like it or not. It’s much easier on you to just like it though.

I will leave you with a quote a friend sent me recently (thank you, Jim):


Art is a kind of innate drive that seizes a human being and makes him its instrument. The artist is not a person endowed with free will who seeks his own ends, but one who allows art to realize its purpose through him. As a human being he may have moods and a will and personal aims, but as an artist he is “man” in a higher sense— he is “collective man”— one who carries and shapes the unconscious, psychic forms of mankind.

C.G. Jung


Book recommendation: Daily Rituals: How Artists Work by Mason Currey (affiliate link)


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7 responses to “Don’t Be a Producer. Be a Practitioner.”

  1. Bruno Polski Avatar
    Bruno Polski

    It seems that you are saying you don’t fully have control of what compositions come out of this process. Not sure if that was part of what you are saying, but if so I agree. In my own songwriting, I have found many, if not most, of my compositions have a mind of their own. They end up in a place, musically, that I could not have predicted when I started. I think this keeps things interesting………………..at least for me.

    1. Ilpo Kärkkäinen Avatar
      Ilpo Kärkkäinen

      Thanks for sharing your thoughts. In this article I was mainly referring more broadly to one’s artistic voice or style, instead of an individual piece of music. My experience is the same as yours though. I like to stay open and see what happens. But I’ve also noticed different people have different approaches. Some are very predetermined, too, and sometimes it may be necessary (doing commissioned work, for example).

  2. james stevens Avatar
    james stevens

    A fantastic reminder. Thank you.

    1. Ilpo Kärkkäinen Avatar
      Ilpo Kärkkäinen

      Thanks James for the comment!

  3. Artimer Avatar

    Thank you for sharing this insight. I agree that somehow we are conduits and we must allow the art to pass through and manifest itself. Otherwise, the art may never be created. I guess that by doing our part of honing our craft is our side of the duty. Showing up is part of that duty as well.

    I also like the your reflection on sticking to the process and how your voice will emerge from that. (unconsciously perhaps?) Like a sonic fingerprint, we have a unique voice and part of the DNA of that voice is our process?

    My question therefore is this, what is your take about the idea of learning something from someone as opposed to learning on your own? For example, mixing: If you learn by being a junior engineer in a studio, you absorb the ways of that particular studio or senior engineer. This can affect your style and voice (for better of worse) But how about people who may not have that chance? By learning on their own, they discover multiple philosophies and processes which may hinder their development too if not checked.

    These are just some thoughts as I have experienced both working in a studio and being own my own trying to learn new techniques. Do you particular prefer a particular route? (mentorship vs self-directed learning)

    Many thanks!

    1. Ilpo Kärkkäinen Avatar
      Ilpo Kärkkäinen

      It’s a good question and one I haven’t really thought about before.

      I have largely learned on my own and now that I think about it, I can definitely see the downside you mentioned (learning multiple practices and thus hindering development).

      Then again, trying different things and pushing my boundaries is precisely what inspires me and keeps me curious.

      I’m inclined to think that both ways have their pros and cons. Either way you still have to learn to filter, manage and adapt information.

  4. Andrej B Avatar
    Andrej B

    Hey Ilpo, great article. I totally agree with you on that “establishing a process/workflow and following it” part. For example: I couldn’t really get a lot tracks done in a timelly manner until I read an interesting aproach from somebody else who mentioned something like this: if you have some interesting 16bar ready in your DAW write a simplified track structure (intro, the “drop”, the breakdown part etc.) around it asap and you’ll fix the transitions etc. later. I added this approach to my workflow and I do get the tracks done quicker. But nothing is possible if you won’t write music regularly – as you mentioned in this article. All good

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