An Inquiry Proposal - Professional Standards Required Of The Role Of Engineer & Producer For Working In Tandem With Artist Service Record Labels

Introduction

For my MA research project I am proposing an inquiry into the professional standards required of audio production personnel, in the context of a developing independent, artist service record label. As research will draw primarily from practical audio production undertakings in an arts and business context, I’m proposing for the awarding title of MA Professional Practice in Audio Production.

Within the field of audio production the rule of standardised professional practice is obscure, with limited academic discourse (Tough, 2013). As many productions operate & deliver at differing standards and quality, even across major label releases according to Wilson & Fazenda (2016). When considering that the skills and abilities we bring to the table are what sets one sound practitioner apart from another (Deloria, 2024). The goal of this research project will be to bring into focus and operate in relation to a set of established professional standards. As the inquiry should detail a roadmap to best apply professional practice, this research could serve beneficial to peers and engineers as a guide to ensure professional standards. As this will be orientated around practical undertakings of audio production work, standards will be focused within relevant areas of practical work across engineering and production within a record label context.

Whilst the record label industry landscape continues to significantly change financially, structurally and technologically, (Gatfield, 2021), it is crucial to establish these standards as a formulaic aid for engineers entering into the field’s climate. Considering the broken market structure and declining industry control of traditional record labels, adapted business practices differentiated from traditional models are worth exploring given the available offering to artists of expertise and production services, according to Bielas (2013). Focus here then on these changes is critical to frame research relating to the rising model of an artist services label. As paradigms around audio production practices shift, establishing direction through recommended standards of practice is aimed at persistance through the changing background of production industry context.

This project will aim to investigate what professional standards are required of the role of engineer & producer for working in tandem with an artist services oriented record label. Specifically targeting the UK music production industry, the objectives which will drive this project consist of the following:

- Identification of current professional expectations & standards of production engineers to gauge against and apply in my own practical production projects and practice-based research.

- Identification of current overarching organisational structures, operations of services, client expectations & acquisition strategies of established artist service oriented record labels in the UK.

Data collection within this research project will follow a participatory practice-based method, (Candy, 2006; Vaughn, 2020), with recommendations & considerations being drawn from & applied in practical application. Literature review will include qualitatively itemising standards according to subject topics, with the given standards of practice sourced from within the target industry then developing practically.

In this regard analytical inquiry into literature will direct the formation of standards for recommendation, with an agile documentative approach (Eby, 2023), in tandem to the development of primary findings through accounts of applied practice. This application of findings will be carried out through participatory action research methods (Pain et al, 2012), as practice-based audio production work within the context of an operating independent record label - Jacaranda Campus Label.

Utilisation of this inquiry will also guide development of working within the context of an overarching label model that I am involved with organising and managing. Practical undertakings will further inform the utilisation of established standards, as well as aim to improve my own current operational standards of audio production within the record label context.

Research Questions & Aims

Being drawn from the research undertakings put forward in this proposal, the collective goal of this inquiry is to answer :

-  What are the professional standards required of engineers & producers in a practical audio production setting?

-  What are the professional standards required of record label’s following artist services models?

-  Where do professional standards fall in the creative process, with music production being in the pursuit of art?

Rationale & Significance

Given the obscurity of standardised professional practice and limited academic discourse around the topic, the rationale for this project draws from the aim to better establish this area of practical development in production. This inquiry aims to be beneficial both for my own academic and professional progress as an engineer in the field, and for peers in the field within the label’s vicinity (being in an educational setting) who could directly take any insight from its contents.

“Why am I doing this, you might ask? The reason is simple and comes not from theoretical, but rather from practical, considerations.” (Herzog, 2010, p. 1)

As in any field, operating efficiently and professionally is an overarching lesson for practitioners in audio production, as stated by Linden (2013). Whilst some discourse orientates industry-standard professionalism on areas of technological or industrial factors such as that setout by Keith et al (2022), this research scopes across practical undertakings for production practitioners. As this inquiry will produce a summary overview of recommendations and considerations for professional audio production standards of practice, this output should contribute to that crucial area of academic discourse. Additionally, with itemised recommendations peers should find the provided information both accessible and applicable to any specifically relevant aspect of their own practice.

From my own experience in engineering, the establishment of oneself in the field relies on their skill to work in dynamic conditions where specific details of production context may differ across genre / studio / time / organisational context. With that in mind, this inquiry aims to stand as a framework for best-practice and professional development through its iterative action research methodology. This not only aims to hone specific areas of production work through reflective & agile documentation, but also aims to develop these production processes of iterative workflows in a practical context. As this inquiry will also include the practical application of findings in a work-experience production context, primary findings from my own experience as a participatory practitioner will both further contribute to & inform this research field, and my own professional development.

When undertaking studio recording sessions, the cyclical iterations of reflection and adaptation until a final consensus of refined implementation is reached is an inherent aspect of the creative production process. According to Burgess (2013), whilst the line between pre-production and production has blurred with technological advances, the iterative creative process of refinement is what drove the trend toward an iterative continuum through multitrack recording. From the iterative studio processes such as recording takes, to mix alterations - when aiming to ensure best practice in a production context the cyclical process should highlight areas of production work that need either further work to maintain consistent professional standards, or the creative process of refinement.

Finally, in regard to the organisational context of working in tandem with artist service record labels - the rationale of development here orientates around the need to better establish the wider professional standards for myself working in this organisational context. As the current landscape of the record label industry is shifting from traditional business models, understanding how best to organise production work for label publishing, and understanding professional operational organisation will be significantly beneficial to the context of practice. As the venture is in early stages and being in an organisational role myself, the drive to ensure professional standards of practice from inception is also crucial in my view.

Annotated Bibliography of Key Sources

Avid (2023), “Music Production: Guide to Producing & Releasing Tracks”
Within this article, Avid presents an itemised list of informative factors relating to music production in the frame of an introductory roadmap for beginning practitioners. These examples of recommendations by an industry leading organisation demonstrates the type of available resources on the topic, being technologically oriented primarily for entry level personnel whilst being limited in the depth of practical application. Whilst the overview of topics serves beneficially as an outline for preliminary investigation in this research inquiry, sections such as “How To Produce Music” are both lacking in demonstrable practical detail & professional expectations of engineers. Acting then as a reference point for this research, articles such as this will be beneficial towards the collating of subject topics, and also in serving as a measure for informed practical detail.

Bielas I (2013), “The Rise and Fall of Record Labels”
In this paper, Bielas presents record labels as a declining component of the wider music industry with majors failing to adapt to its changing environment. Noting how these organisations have typically been considered to go hand in hand with the music industry through their publishing reach between artists and audiences, Bielas puts forward the frustration from artists on the withholding of royalties. With this paper highlighting the unsubstantiated arrangement between artists & labels, including demonstrable exploitation from advance loan agreements, the contents found within will be beneficially informative to the development of working with artist service oriented labels. As artist service & development models differentiate from traditional models in regard to their financial & accessibility structure, the scope of information presented will better inform working within the service development and business practices of the label context in tandem with this research project.

Branagan-Freeman B (2024), ”What is Label Services?”
Being an example organisation following the artist services business model for record labels in the current industry climate, the information presented by Branagan-Freeman on Absolute Label Services outlines some of the differentiation from traditional record label arrangements which are increasingly considered outdated. Being a suitable case-study in this specific area of record label business practice, the relevance of information drawn from this resource is in its similarity to the aims of the label context to this research project. Outlining offered services expected of an artist service label, this will serve as a good measure to assess standards of services offered by such labels.
Whilst beneficial however this resource is limited in it’s practical specifics relating to production, and also frames itself around self-promotion of their services offered leading to a biassed take relating to themselves.

Burgess R. J. (2013), “The Art of Music Production: The Theory and Practice - Fourth Edition”
This book sets out to identify the essence of music production, the skills, the philosophies, and methodologies of successful producers. Written from the perspective of an established producer in the field, Burgess thoroughly explores and articulates a wide scope of subject areas pertaining to the practice of music production. Echoing discourse sentiments on a lack of academic material specifically on subject topics of the conceptual, theoretical, musical, interpersonal, directorial, managerial, organisational. Burgess’ insight is both relevant in this background of lacking academic material, and valuable in its contents regarding the aim of collating professional standards from established industry sources.

Jacoby M (2023), “A Guide to Record Labels, Record Label Services, & Labels as a Service”
Explicitly emphasised within this article is the reality of publishing agreements under traditional and major label business models. With topics of this inquiry orientating around label business practice in the current industry climate, the contents here represent the alternative routes and roles that are practically available for the production of music. Presenting the models of “Record Labels” “Label Services” “Labels As A Service” Jacoby details the differentiation in organisational practice between these models, this being directly relevant to where roles and services of traditional models are available without debt or loss of ownership. While the contents of this research will aim to mitigate obscurity within the industry landscape. Exploration of these subject areas to inform recommendations of standards of practice is critical to positive practical transformation, through organisational action research implementations for engineers within a music-first label services model.

Kerrigan S. et al (2018) “Practitioner centred methodological approaches to creative media practice research”
In this resource, Kerrigan reviews the methodological practitioner-based enquiry approach to research projects. Detailing its intrinsic aspects of reflective practitioner approaches, ethnographic methods of observation and investigation on the subjective experiential perspective of practitioners as researchers. Findings point towards the interconnected elements of practice and internalised systematic process relating to creativity in the methodological context. This research paper will serve as a robust reference to utilise when undertaking the method of this research project, informing from a relevant & academically accredited standpoint.

Linden P. S. (2013), “Malcolm Chisholm: An Evaluation of Traditional Audio Engineering”
Exploring the career of engineer and Chess Records session recorder Malcolm Chrisholm, this book details first hand accounts of the core philosophies and approaches to audio production. Being in the context of the Chicago scene of Electrified Blues, in parrallel with the birth of Rock & Roll, and to the backdrop of a post-war, corporate-determined paradigm. The relevance of this resource is in its denotation of being a window for assessing the stakes of technological and cultural developments within a music production scene. Being the subject of production and the field within which practitioners operate, and therefore adding historical depth to considerations and recommendations of practice when drawing considerations for practical formulaic aid.

MusicWeek (2022), “Check the label: Demystifying the work of label service providers” Provided by this article is a relevant example of an award-winning artist label organisation and its inherent dynamic within the audio industry. Being relatively new business practice, this example of organisation will serve as a reference point when considering the surrounding industry context for practical work in this research project. Being an example, investigation and introduction into such established organisations as Hoxton Vinyl, or Virgin Music Label & Artist Services detailed by Rose (2021), will bring an informed understanding to the current industry climate for production professionals entering the field.

Ranta J. et al (2021), “Student-Run Agencies Best Practices : Replicating the Professional Agency Experience to Prepare Budding Practitioners”
Being built on a dual theoretical approach of self-efficacy and professionalism, Ranta puts forward the framework of student run agencies (SRAs) and presents how they can provide an integrated learning environment that encompasses professionalism - to prepare students for post-graduate careers. Being directly relevant to the label context of this research project, this resource outlines soft-skill elements relating to SRA activities with development in personal attributes such as collaboration, time management and interpersonal communication. This will be a beneficial reference for the label activities taking place, and will stand as a strong reference for broader recommendations & considerations towards working within a professional environment.

Sound on Sound (ND), “Industry Talk”, “Mixing / Production”, “Recording”,
“Industry Talk”, “Mixing / Production”, “Recording”
As a reputable and industry leading journal publishing a wide range of information provided through interviews with reputable industry professionals, these resources in the given topics above will serve as insightful and informative towards findings in this research project. With aiming to outline recommendations & considerations, these interviews will give the needed experienced perspectives to guide research in practical & professional utilisation.

The Skills Development Scotland Co Limited (2015), ”Music Business (Record Labels)”, ”Music Business (Publishing)”, ”Post-Production”, “Sound Production (Film & TV)”, “Sound recording and Music Technology”, “Project Management”
Provided here is an institutional repository on National Occupational Standards (NOS) for professionals in UK industries. With numerous topic areas of practical roles and responsibilities outlined across broad scopes, these resources are a nationally approved, accredited and reviewed set of professional standards. Relating directly to specific niches within the audio production industry, the overarching topic areas will ensure many avenues are considered whilst mitigating blindspots in this proposed inquiry. Specific recommendations towards professional-standards in these topics will also be critical to inform preliminary recommendations & considerations drawn from reputable industry institutions.

Walzer D. et al (2021), “Audio Education : Theory, Culture, and Practice”
Within this compendium book, numerous chapters relate directly to the development of audio practitioners in academic and professional settings. Beginning with a historical look into the question of what it means to be an audio person in modern times, Brock-Nannestad (2021) investigates “The Roots of Audio” and traces the evolution of audio. Being in the context of bettering educators discernment of how the profession could continue to adapt in the future. Additionally, Wells (2021) in “Engineering and Recording” interrogates limitations of narrow views on what engineering is in relation to music production and recording. Taking a humanistic view of the profession, the artistic and scientific aspects of production roles within the field are explored. Finally, Lefford (2021) details the importance of group work and dynamics, as well as the intertwined aspects of listening modes with reflection through self-directed awareness within “Listening Sessions”. This book should serve as a thoroughly informative resource for data collection on directives towards best-practice and professional standards in audio production and engineering.

Methodology

Within this research project I am proposing to bring into focus the professional practice standards of audio engineering personnel and artist service label organisations. Detailed here, I propose an appropriate theoretical framework to guide research alongside practical application and implementation into the work experience opportunities running parallel to this undertaking.

The practical methodology will be within an pragmatic paradigm as according to James (1907) - following a practice-based framework, being a practitioner’s inquiry (Vaughn, 2020) including qualitative reflection (Cilliers, 2007). Detailed through agile documentation (Eby, 2023), and with reception of & reflection on my practice serving as input for considerations towards best-practice. As provided by Vaugn, a practitioner's inquiry consists of a reflective approach to professional development for practitioners. Involving asking research questions, collecting data, evaluation inquiries, and taking action. Being in-line with action research methods, according to Zuber-Skerritt (1991) four distinctive processes of this cyclical method consist of :

- Planning
- Acting
- Observing - Reflecting

Cilliers (2007, p. 131) also states that according to the view of Zuber-Skerrit - “Action research is critical in the sense that practitioners not only look for ways to improve their practice within the various constraints of the situation in which they are working, but are also critical agents of change for those constraints and for themselves.”. According to Koshy (2005), action research is about generating new knowledge based on enquiries conducted within specific and often practical contexts. In this regard, the knowledge generated from this inquiry will take form within the produced summary reports of practical recommendations & considerations.

Having the methods of action research included in the overarching approach, I will hone areas of practice through iteration and reflection to strategies the recommendations & considerations towards professional practice in practical audio production undertakings. Additionally, areas of practical work not directly related to the given production topics that are still relevant to the background context of working in-tandem with a record label - such as those areas outlined ahead - will be reiterated and self-reflected on to better the organisation of my own work being done within the existing hegemony and operation of which I am a part of.

The practice-based audio production work I will be doing throughout the research project will form the basis utilisation of these participatory action research methods, being provided by Cilliers (2007), Pain et al (2012), and Zuber-Skerritt (1991). Practical production work such as recording sessions & mixing post-production will be undergone following project planning & organisation. Additionally being done in tandem, work relating to the organisation of an artist services label will also follow through this framework to bring about informed considerations within my own professional practice & development. With an iterative approach to honing both production sub-processes and organisational operation carried out to the four process framework set out by Zuber-Skerritt (1991). Including reflective considerations and documentative accounts that will be taken to further develop practice towards a higher standard of professionalism.

These findings will then be accessible upon completion. Being in the vein of, but differing from methods set out by Saarikallio (2022), and Surendra & Nazir (2019) which include intervention during ongoing research - this research project aims at culminating findings in final accounts where transformations may then follow on from the project’s full completion.

As demonstrated in the preliminary practical production work detailed within the included Appendix D - MA Journal Entries : Journal Entry 1 - Pilot Production Project (Sharp, 2024). Action research iterations will follow sequential steps, with a cyclical approach implemented at each required stage. As following iterative cycles of action and reflection have addressed many practical / technical / creative concerns as evidenced by Vaughn (2020). Having this critically considered and substantially informed approach in regard to audio production, is in aim to bring about transformative results in my own practice. As concluded in Vaughn’s research, a deliberate choice of participatory research methods leads to creating more meaningful findings translated into action - deepening the documented detail of how practical work is conducted and developed.

As the starting point for each iteration context may differ (across production or label organisation) due to each project context, the given unifying framework of an iterative action research model (Zuber-Skerritt, 1991) will be followed. With agile documentative accounts, following methods detailed by Eby (2023) & Ambler (2022), of applied practice being produced and utilised to develop the final detailed accounts of recommendations and considerations of practice within each context.

Outlined by Ambler (2022), agile documents are lean & sufficient - containing critical, concise & cohesive information - to act as reference for further discourse around the documentation's purpose. In this research context, the purpose of agile documentation is to thoroughly inform final recommendation and considerations of practice from a practical production standpoint. Tying with the format of a practitioner's inquiry, this will derive primary accounts of experiences from recording sessions, mixing sessions, and working with the record label, artists & clients. This form of data collection will be self-reflective and qualitative in nature, and therefore a fair and unbiased approach will be undertaken to mitigate subjective influence.

Data collection will also include itemising and assessing given standards of practice from a range of relevant sources within the target industry, as well as from primary findings drawn from practical participation. Including additional perspectives on this topic will aid in creating a holistic research output, drawn from experienced personnel in the field who’s insight will prove invaluable to creating the basis of recommendations and considerations. Information such as that outlined by industry talk interviews from Sound on Sound (ND), or primary accounts such as those detailed by Linden (2013), will provide these experienced and informed perspectives. Additionally, presented occupational standards across a wider breadth of detail such as those provided by The Skills Development Scotland Co Limited, (2015), will be beneficial for scoping topic areas across : Music Business (Record Labels) / Music Business (Publishing) / Post-Production, Sound Production (Film & TV), Sound recording and Music Technology, Project Management.

Literature such as this will guide the applied practice, further informing practical action related to production, culminating in a deeper understanding of professional production standards in tandem to record label operation and organisation. Inquiry will revolve around specific areas related to these topics, informing and supporting my own production work and label organisation.

Given the resource limitation identified within the academic field regarding practical professional standards of production, and in the contextual surroundings of operating in tandem with record labels, focus will be across both of these areas of knowledge. As primary considerations and recommendations intend to be drawn from practical undertakings, alongside engineer production roles this inquiry will involve myself operating as participatory practitioner in the position of audio department head for a record label organisation. In this context of an independent artist service record label model, inquiring into organisational structures / operational processes / client expectations / acquisition strategies could serve to further ensure my own organisational and business practice is at a professional standard.

This review will then be used to inform a final holistic summary report of recommendations and considerations of implementation into practices relating to the audio department of label services. This summary would be framed as a hypothetical proposal, aimed at bringing around transformations in the scene of audio production personnel working with artists for the purpose of creating music. As collective perspectives & considerations are also to be taken into primary accounts of recommendations, as well as through interviews, focus groups are considered to be effective methods to collecting primary data in this way and could be utilised being subject to organisational circumstances.

Whilst action research methods often call for interventions in their framework, this will be out of scope for this project in relation to label organisation. Iterative cycles to hone sub-process of production practice will be undertaken for the generation of self-reflective recommendations & considerations pertaining to professional standards of practice. However, organisational label implementations will scope more broadly and be presented as observation from the stance of participatory practitioner.

Implementation participation specifically will relate to areas of practical process where the contextual circumstances of production are ongoing, in tandem to this research project. With reiterative sub-processes honing my own practice working within the context settings of e.g. my own : practical process of : audio production stages / acquiring clients / organisational development of services / financial models of production services / organisation of events & performances / creative refinement working with artists / navigation of the music production field.

With that being said, as well as production projects being undertaken and detailed from my own perspective in the practitioner’s inquiry, It is also to be seen that the developmental approach to practice is collaboratively undertaken alongside a selected band / artist. Whereas other production projects will relate to my own practice as an individual practitioner working with clients in a production setting. In regard to this artist development process it could be beneficial to track an artist themselves through the framework for both continuity in narrative grounding, and collaborative utilisation of research methods. Whereas with projects focused soley on the role of engineer and producer, this approach would focus more specifically around working with clients & artists.

As all practical work will utilise the cyclical & participatory framework in some way, with each sub-process being honed and documented in parallel / final accounts - I expect that upon successful completion of this research project I will have produced a summary report (Ip, 2017), of considerations and recommendations which may serve beneficial practically and academically to my peers as well as to my own professional development. Additionally, completed practical production work and label development documentation will be provided.

Methods Outline -

This practitioner's inquiry is in line with the practitioner based methodology presented by Kerrigan et al (2018), being regarded as a robust and versatile methodology to examine creative media practices from an insider’s perspective. In summary, this research project is to consist of the following methods :

-  A practitioner's inquiry, including practice-based undertakings.

-  Qualitative assessment and scrutiny of literature.

-  Process development through action research iteration.

-  Agile documentation, forming accounts of applied practical application.

-  Reflection on practice and process.

-  Participatory action research to implement findings into practice-based production context.

-  Associated personnel interviews for observatory input and accounts.

Project Activities

As this research project proposes a practice-based inquiry approach, the specifics of project activities are detailed here. Undertaken practical work will consist of production projects, involving recording sessions / mixing sessions / mastering work. Additionally, practical organisation including client acquisition / liaising with clients / liaise and delivery to the label, will be undertaken. Data collection relating to these practical undertakings will be done through the method of qualitative & observatory primary accounts of agile documentation. Analysed as findings from the workplace centred approach to this research project, the data derived from practical work will detail the steps that were taken to reach both the final practical outputs and the final recommendations and considerations - including detail on approaches to the practical work and its contextual setting.

Submitted evidence for these areas of practical work will include :

-  Final Mixes / Masters of production tracks.

-  Recording Session Tracks

-  Agile Documentation

-  Detailing iteration processes that took place across recording / mixing / mastering - including iteration mixes for AB comparisons for demonstrations and comparison against final mixes.

-  Detailing Iteration feedback and considerations towards following iterations

-  Presenting the final consensus reached for each cycle of iteration.

-  Final Accounts of Recommendations and Considerations

Differing with iteration context, a cyclical approach to sub-process will be utilised to hone understanding and practical application of best practice. Project production & participation will develop through iterations of and within recording sessions / mixing sessions with such processes as takes / revisions. Client / Label feedback will inform following cycles of iteration until a consensus is reached in final implementations. For overarching organisational aspects, similarly process will consist of formulation, application, reception & final implementation across contextual scope, with considerations and feedback informing each cycle. Process scope will be dynamic, fluctuating across specific tasks and processes whilst they are developed for best practice through this iterative framework, pertaining to the following practical areas of :

Production Projects

Varying production tasks will define the participatory action research being undertaken. Whether relating to recording / mixing / mastering stages of production, the process framework will ensure deliberate steps are being taken to account for recommendations & considerations towards a professional level of production. The iteration of sub-processes will focus around specific areas for development, reiterating until completion.

Iterative tasks involved in the sequencial engineering / production process will be within any of the situational circumstances across :

-  Recording Sessions.

-  Mixing Services.

-  Mastering Services.

Label Organisation

Organisational tasks relating to the development within an independent artist service label context will define specific participatory implementations. Within the context of managing project productions and service operations, practical work will involve formulating organisational processes related to working in-tandem to a publisher.

Potential Tasks :

-  Practical process of acquiring clients.

-  Creative process of working with artists.

-  Organisational development of services.

-  Production delivery for publishing.

-  Broader organisational roles & responsibilities.

Expected Outcomes

As the starting point for each task may differ (across production or label organisation), the unifying framework of an iterative action research model followed with agile documentative accounts of applied practice will be utilised to develop detailed final accounts of recommendations and considerations of practice within each context.

As all practical work will utilise the methodological framework in some way, with each subprocess being honed and documented in ongoing accounts - I expect that upon successful completion of this research project I will have produced a summary report of considerations and recommendations which may serve beneficial practically and academically to my peers as well as to my own professional development. Additionally, completed practical production work and documentation stated above will be provided. This will be to demonstrate the applied outcomes of research findings and utilisation.

To fully encompass the question of what it means to be a professional in the field of audio production, additionally to the inquiry into standards of practice there will also be considerations on the artistic approach to the process of recording and mixing music. Taking into account the deeper philosophical side of production as an artform, will further my own approach to engineering recorded moments of artistic expression. Further considerations and reflections towards this area of inquiry is detailed in the included Appendix D - MA Journal Entries : Journal Entry 4 - Where do professional standards fall in the creative process, with music production being in the pursuit of art? (Sharp, 2024).

Ethics

As this research project proposes to utilise action research methodologies, it is important to consider the ethical implications of data collection from individuals. As reception, feedback & perspectives may be drawn not only from my own reflective approach to agile documentation, but also from individuals within a project’s context - It will be ensured that first their permission to use such input is granted, and that their anonymity and data security is guaranteed in such circumstances.

As the process of intervention is out of scope for this project, being a practitioner centred methodological approach to investigation of one's own practice, it is staged as an aim to bring about transformations for the reader of this research project's output following its completion, rather than explicitly towards participants during ongoing investigation. With that being said, transformations ought to occur in my own practice as it is developed and refined from the recommendations & considerations relating to practical work being generated throughout this inquiry.

As this inquiry focuses on engineering & production work within the context of an operating record label, approval of this research project has been granted from Jacaranda Campus Label - following a discussion on its contents & aims, as well as a review of this proposal. For this confirmation, please see Appendix B - Label Approval - MA Research Project Proposal.

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