A Pragmatic Practitioner's Inquiry Into Professional Recommendations & Creative Considerations Within Audio Production.

Abstract

This inquiry into the field of audio production has oriented around the identification, implementation and development of professional standards of practice. In aiming to bring into focus and operate in association with these recommendations & considerations in production undertakings. Industry accredited sources, statements from professional associates, and primarily developed standards have been reviewed and implemented into a variety of dynamic production circumstances.

Through a mixed methodology of practice-based action research, this pragmatic framework has developed a substantive and adaptable approach towards deeping skill & knowledge in variable production & post-production contexts. With the core aim of professional development through this inquiry of field exploration, the objectives which have guided this consist of the identification and application of professional recommendations in audio production engineering. As well as identification and development of understanding to the periphery organisational aspects of audio & music productions. With an additional overarching posit on how this professional reference perspective, of which these standards are emblematic of, can coalesce with occurring creative perspecitves of consideration.

Through review, observation of, association with, and implementation into practice of literature sourced professional recommendations & creative considerations - the key outputs and findings from this inquiry have formed a comprehensive & exploratory portfolio. Demonstrably consisting of four production set pieces, and two periphery & developmental organisational components. Along with this, findings have been further articulated through the produced advisory - culminating and articulating the attained & developed skills & knowledge drawn from this inquiry.

1. Introduction

Within this participatory practice-based inquiry into standards of practice within creative audio production endeavours, investigation has aimed at the production of numerous audio projects and the synthesis of a practical advisory. Drawing from literature and primary experience, accrued & developed findings have formed recommendations & considerations on relevant topic areas of studio audio productions and peripheral organisational components. Situated within a dynamic vocational context, multiple production undertakings have been explored through a pragmatically approached action-research led mixed method of field exploration.

Proposing this project with a scope spanning investigation into professional standards in audio production & organisational contexts such as record labels & studios. Alongside this, an overarching and contrasting posit has been explored into how professional standards of practice balance with creative considerations within audio production. In forming a substantive basis of professionally standardised practical recommendations & considerations, being grounded on industry accredited standards. Participatory implementation into practice has provided further depth and insight into these considerations when applied. Alongside the generation of advisory recommendations of practice, additional primary accounts from industry personnel & associative artists have been reviewed and applied for the presentation of further, more creatively angled understandings.

Productions undertaken have produced a number of outputs, being imbued with these recommendations on practice, and considered in tandem to creative aims. Outputs span four main productions, specifically a debut single release, a set of two B-sides & two radio edits, a three track set of creative production tracks, and an audiovisual creative artefact. Additional organisational undertakings of periphery development have concerned the coordination stages of a studio arrangement and the outlining of a record label executive summary.

2. Literature Review & Background Research Context Recommendations & Considerations from Industry Sources

2a. Industry Standards for Professional Audio Production Practice

Identifying gaps in academic literature, and bringing occupational industry standards into practice - what are the professional standards required of engineers & producers in a practical audio production setting?

Beginning this inquiry with the aim of gathering reference material on the topic of professional standard practice within audio engineering. An obscurity was identified in the limited availability of academic resources. As found a decade ago by Tough (2013), the lack of available recommendations for practical application in the field is difficult to quantify given the breadth of inquiry scopes concerning the sub-heading question. However approaches and guidance to professional career development are available - such as with Tough’s identification of competency based education frameworks, citing Stines (2003), which concerns demonstrable proficiency. Over the course of time since - a number of organisations have collated valuable resources in this vein of proficiency oriented material. Such as those accumulated within the National Occupational Standards [NOS] directory - provided by The Skills Development Scotland Co Limited (2015), for the purpose of vocational training & developmental deployment.

Amongst Tough’s conclusions were that practitioners in training could beneficially formulate standards and recommendations, suggesting a malleable benchmark for professional practice. With emphasis on the importance of : multidisciplinary competencies, communication, practical skill, experiential competency development, technical trouble-shooting, and standard setting in the field. The outline of what has led through this research inquiry retrospectively touches on a number of these textural areas - lending it relevance still today.

When considering through the more nuanced perspective in scope around practical undertakings in audio production. Generally, practitioners in training are understood to benefit from recommendations of skills & knowledge to guide process development. As set out in the NOS Strategy 2022 by The Skills Development Scotland Co Limited (2022), this development of recommendations & considerations to inform training through industry aligned benchmarks is aimed at establishing professional skill-level within a particular task or field. Being of the practical angle in consideration, and outlining recommendations for the field of audio production. This directory of resources has provided a crucial qualitative raw-data set of topical & exploratory directions. Being in the form of standard-setting recommendations, across a broad scope, for the purpose of practical self-development.

Through the triangulation resulting from studying these gathered recommendations along with primary findings gathered from conducted professional practice. Development and understanding can deepen with this strategic approach to inquiry. As found with the prior produced output of production guidelines - Recommendations & Considerations Of Skills & Knowledge Required For Professional Audio Engineering, from Sec 2b.2 R&Cs (Sharp, 2024). Having been contextualised with primarily encountered production circumstances, the substance to documentation such as this is verifiable. Both through its value as reference material, and via implementation into the practical undertakings of this pragmatic practitioner’s inquiry.

These documentations have provided a breadth of recommendations & considerations which beneficially & relevantly pertains to audio production proficiency. The PDS Sec 2b.2 R&Cs (Sharp, 2024) resource also demonstrates the high potential for developmental opportunity derived from engagement with such resources via a method of applied research into practical action. Touching on the background contextualisation to approach, such as in the established methodology of action research by Zuber-Skerritt (1991) which provisions for development in areas of limited academic discourse. Where a practitioner's inquiry of planning, acting, observing, and reflecting cultivates orientation on development of a specified context, Vaughn L. (2020). Whilst practitioners both improve their practical endeavours and circumstantial constraints - they do operate as agents of change within their work & environment, as put by Zuber-Skeritt being presented by Cilliers W.J. (2007, p131)

Both the NOS directory and the contextualised and developed Sec 2b.2 documentation have been the most substantive resources utilised in constant review during this research inquiry. The raw NOS directory dataset specifically provides reviewed & accredited recommendations & considerations [R&Cs] in nuance to vast practical scenarios across relevant & related topics of audio production. Throughout the practically applied research method conducted in production projects - these resources have provided a concrete grounding for an iterative development process, and a mapped approach into primary experiential understanding & development of professional production standards. Upon encountering any nuanced circumstances where established standards could be reviewed both during planning or unfolding action, a dynamic cycle of review - application - reflection was carried out in the practical circumstance. Being categorised into relevant & thematic subsections, presented in section 4 : Summary Report - Outputs, Advisory, Results & Discussions.

2b. A Case Study in Audio Engineering - Malcolm Chrisholm

A study of primary accounts of professional approaches in audio production.

In aiming to establish proficient understanding in the practical application of knowledge & skill through consideration of experienced production insights. Alongside the utilisation of recommendations & considerations - literature inquiry has also explored guidance given by first-hand accounts found within “Malcolm Chisholm: An Evaluation of Traditional Audio Engineering” by Linden P. S. (2013). This resource provides a breadth of practical insight framed from a stance which details technological and historical contextualisation alongside creative considerations, an overview of which provides numerous topic areas for consideration in production inquiries.

Understanding of technological context & chronology is set-out with a clarity by Linden’s presentation of Geoffrey Hull’s three stated eras of : pre-industrial (1897-1925), industrial (1925-1985), post-industrial (>1985) - production methods. Subdivided again in the prior industrial era of disc masters (1925-1950) and tape masters (1950-1985). Whilst being contextual to production specifics, it crucially however very well illustrates the variety of practical production environments which can be explored or encountered by a practitioner. Situating undertakings within the environment of a recording studio as a sound lab, experimented with or professionally utilised to produce records, further contextualises the organisational & circumstantial periphery relating to production processes.

Being currently within a post-industrial production context, the present day accessibility to earlier industrial and pre-industrial methods is therefore worth considering - as alternative approaches may impact the circumstantial functions and arrangements of the recording / production process. Situating then the guidelines detailed in gathered NOS documentation & Sec 2b.2 R&Cs (Sharp, 2024) into these contextualised practical scenarios for primary experiential development - the variable utilisations aimed towards production outputs from potential production methods can then be intersected. Being informing beneficially when having first been considered & designed in pre-production.

Going further into defining success in the environment of audio production - adaptive resourcefulness is paramountly pinned to the craft of an engineer, Linden also notes Jeff M recalling Chrisholm stating that performance capture setup for fifty musicians, in a singular live room into two tracks with a compressor set on output ought to take no more than five minutes. Insightful, once the simplicity is realised in that through the limitation of two-tracks, successful and accurate reproduction of this may only require setup of a single stereo pair of microphones.

Throughout the background research context of practical project work. Adaptive and dynamic utilisation of production methods is a recurrent theme across production contexts & circumstances. Being in a post-industrial production context, opting for simplicity over alluringly limitless overproduction can be fruitful in practical production circumstances according to Linden - especially those circumstances which admit elements of creativity. Regarding this Linden also presents Hull’s overview of the methods found within pre-industrial environments - this is exemplified in the statement of: “Simplicity was key: the engineer set up the machines next to the performance and captured the sounds. There was no editing, and only one live take would be chosen for each song.” - Hull, in Linden P. S. (2013), p81.

Going onto the industrial model of production, Linden details Chrisholm’s own situated circumstances. Being the engineer, working with hardware equipment, arranging the recording studio, and liaising with artists & clients to collaboratively produce the designed brief. Critiques and concerns would direct adjustments of recorded tone and balance, until a consensus was reached with a satisfactory performance capture.

These model outlines abstractly cut to the essence of audio production through their recurring consistencies. Illustrating as a practical endeavour into phonography, these consistencies highlight the causal naturalness Linden identifies within the recording process. Being produced in these arrangement models between engineers and artists, and drawn from their shared pursuit of performance capture and artistic expression.

Associating then the identified limitlessness found in the current post-industrial contexts from overproduction possibilities, instead onto the potential for production outputs. Rather than being allured at any earlier stage - what may otherwise be a limited or simplistic approach could bring about alternative perspectives towards the endeavour which is experimentally valuable.

In the context of aiming for professional standardisation in audio production, associating these two referands from industry sources demonstrates the efficacy of informed simplicity. Whilst demonstrating an adept understanding of audio production, Linden details Chrisholm’s further articulations on the variable potential for production exploration. Counterstancing in his conclusions against notions of virtual perfection within post-industrial environments, and honing directly into the practice of audio recording as an artform of itself. Regarding humanistic imperfection, Chrisholm is referenced as stating -

“Will had pretty strict standards and would not put out a record without a mistake (emphasis mine). If the master take is perfect, Will has been known to do another take. I suspect [...] that it may be a trademark and I wouldn’t be amazed if Will thought that a record should have, somewhere, a mistake in it to prove that it was played by human beings” - Chisholm, Linden P. S. (2013), p88.

Also outlined in the section - Chisholm’s Professionalism and Setting up the Live Room - Linden posits that Gil E, Jeff M, and Harrison C knowingly indicate Chrisholm’s aim of capturing as close resemblance to an artist’s live show performance - in its natural comfort and energy as possible. With emphasis on a need for musicians to see and hear each other, all together in the live room at once to accurately capture their organic collective performance, Harrison C communicates the underlying philosophy to this point, being to -

“Set them up as if they are playing a gig, and then you go from there. A band plays in a room, not a box. They play to and with each other. You could call this organic, I call it traditional.” - Harrison, in Linden P. S. (2013), p83.

Being in the post-industrial era, this approach still maintains potential for its professionally crafted quality of producing a natural sound of a group playing in a room. Whilst intentionally being simplistic, the contrast it provides to methods of post-industrial overproduction complexities is refreshing - orientating focus of the production more so onto the naturally occurring and momentary collective sound of the group, and allowing creativity in the session to flourish into and around this.

With similar perspectives on elements such as bleed and the standard evaluation of it being imperfect, the acceptance of this by Chrishom and even the quality recognised and attributed to such imperfections demonstrates the multifaceted approach to professional audio production process. Countering norms, Linden notes that Gile E. also recalls that Chrisholm saw it as something that glues the sound together, bringing excitement to the record - reinforcing the cumulative effect of shared momentary performance. Additionally, Jeff M recalls the statement by Chrisholm of bleed being part of the naturalness of the performance he wanted to capture, analogous to the lifeblood of the track in it’s framing of the recorded subject being a “common shared energy”

There is therefore an identifiable line between professional standards and creative approaches in audio production - evidently however these two arguably overlap significantly, and as Chrisholm evidenced, each invariably transforms the other.

2c. Creative Considerations

Associating between professional recommendations & creative considerations - Where do professional standards fall in the creative process?

When considering the counter-stance within creative endeavours as to where production standards fall in relation to the production process, the application of professional recommendations as a rule comes into question. From practical undertakings, there has been instances of weighing between deploying prior to or substantially bypassing professional recommendations in favour of what is creatively aimed for. This is illustrated within some sonic aspects of tracks such as within PDS Project 5 (see Appendix B : Precursory Agile Documentation Overviews).

Being also found preliminarily for Project 3 - Wormwoods / Wicker Witch Woman , and in the creative artefact Project 4 - The Ocean of Motion, (See Appendix A). Within these project instances where creative decisions have prevailed in bringing about the production outputs - when in consideration alongside what is defined as the professional course of action represented by NOS (The Skills Development Scotland Co Limited, 2015) & Sec 2b.2 R&Cs (Sharp, 2024) - exceptions in application can be identified.

Therefore, additional investigation into creative practice more broadly has been explored - within the interpretivist paradigm of this practitioner’s inquiry - to consider this counterstance as it pertains to the weighing between creative & professional circumstances. Framing then this conjunction within the associative theory of creativity presented by Kai Wang (2017, 4.2) with reference to Mednick (1962), Koestler (1964), Paivio & Lambert (1981) - Creativity is argued to be the process of combining mental elements, and that associative thinking can connect mental elements, according to Mednick (1962). It is also resultantly arguable that there is a congruence between the associated frames of reference from shores of creative approach to more concrete professional grounding.

In accepting the broad subjectivity to these perspective references, alongside primary background research resulting from artistic production circumstances which called for the precipitation of both. Resulting bisociation - as defined by Koestler (1964) as an unexpected synthesis between elements of two conflicted frames of reference within a new context - is presently relevant for investigation across both creative & professional circumferences. Additionally of note, dual coding theory as posited by Paivio & Lambert (1981), approaches this discourse with identification of two separate symbolic systems : verbal and nonverbal. Implicating creativity as a result of associations across the two. In regards to variable & moreso nonverbal creative approaches, the individualistic process of artists within the associated production paradigm of visual art has been practically explored to counterstance in this discourse (see Appendix A - Production Document 4 - Creative Artefact).

3. Methodology - A Participatory Practitioner’s Inquiry
3a. Practice-Based Undertakings & Dynamic Development In Action

Beginning at the onset of this research inquiry, active and participatory practice-based development in audio production endeavours has positioned a focus on the professional & practical standards prevailing traditional production roles, processes, and associated organisational frameworks.

Such roles including :
Producer, Recording engineer, Mixing engineer, Mastering engineer,

Correlated along with :
Release coordinator, Asset coordinator, Video editor, Artist liaise, Post-production liaise, Client liaise, Event organiser, Promoter, Organisational lead, Business planner, Service organiser.

Processes such as :
Engineering responsibilities, Studio setup & organising, Track sketching, Record tracking, Mix processing & balancing, Mastering & post processing,

Along with :
Production management, Project scoping & coordinating, Session planning, Timeline & scheduling, Organisational liaising, Promotion planning, Documentation writing, Repertoire developing, Event coordinating, Release arranging.

Organisational frameworks & situated circumstances across:
Audio & video productions, Studio recording productions, Post-productions, Record labels, Studio facilities, Client arrangements, Creative associations.

Being practically orientated onto the actualisation of applied professional standard in a given area, with creative considerations also taken into account.

Inquiry has followed a creative practice-based framework as presented by Candy L. (2006), orientated around professional & creative development, and organised through an action-research led mixed method of field exploration. The specifics of which are detailed following, with firstly regarding the contextualisation within practical work - the dynamic conditions primarily found across the variety of production circumstances lends to often murky forthcoming specifics.

In aiming to practically develop with this exploratory approach into circumstantial production endeavours. The investigative framework has been constructed to adapt and develop within each context specific action or circumstance. Dynamic development in practical action, cognitive understanding, and overarching approach forms the fundamental basis of primary findings. Alongside reviewed and applied resource material, approach has formed a pragmatic & interpretivist method - which has brought around experiential professional & creative progression.

Situating in production - projects have been ideated, scoped & planned, coordinated and undertaken, reflected on and developed, being then finalised and delivered. Primary experiential learning and literature investigation has formed a documentative advisory (4.b Professional Standards Summary Report - Advisory) of recommendations - being a developmental iteration of the foundational Sec 2b.2 R&Cs (Sharp 2024), the contents of which being practically considered alongside creative aims during each project's pursuit.

3b. Action Research & Mixed Method Framework

The methodology to this inquiry has followed a pragmatic paradigm towards epistemologically sensible experience as according to Legg, et al (2024) & James W. (1907) - where understanding has been gained inseparably from agency within experiential action learning engagements, as grounded by Wood. L. (2019). Being in-line with the radical constructivist tenants presented by Glasersfeld E.V. (1995) : in that knowledge is actively architectured rather than passively received, and that adaptive cognition serves experiential organisation rather than the establishment of ontological reality.

In exchanging recommendations towards development between practitioner managed findings and primary practical undertakings - as also described by Glasersfeld E.V. (2020) - process development has been situated within an individualistically participatory action learning & action research method - to bring about a delimited process to the development and deployment of practically rational recommendations. This individualistic component regards the practitioner centred approach, which extends into ethnographic method of investigation into the subjective experiential perspective of the practitioner-as-researcher. The detail & robustness of which has been informed by Kerrigan S. et al (2018).

With action research constructing the body of this methodological framework - informed by Cilliers W.J. (2007) & Zuber-Skerritt (1991). Being participatory in approach as delineated by Pain R. et al (2012), the subjective faculty of observational self-evaluation via reflection as a basis of the developmental process has steered the contextualisation of practical direction. Development and application of understandings within the field of study has been from an internal perspective - as research has been conducted from this idiosyncratically situated position, posited by Cilliers W.J. (2007) in reference to Stringer (1996). Falling within Vaughn’s (2020) definition of a practitioner’s inquiry, inquiry began in a stance aimed at personal & organisational transformation defined by Dr. Tokuhama’s (2019) 2nd / 3rd 1st-person researcher type : 2nd being motivated by personal & organisational transformations, moving from 2nd to 3rd over the inquiry's duration and circumstantial adaptations, to the 3rd 1st-person being oriented around changing personal considerations between professional recommendation & creative consideration.

Acknowledging the non-commodity of intangibly constructed understanding from experiential learning outcomes as posited by Glasersfeld E.V. (2010). Transference of findings - whilst being primarily visceral and self-evident of cognitive development in the practice - is not limited to written articulation but also expressly demonstrated in production outputs. However, alongside production outputs relevant documentative summary reports culminate generated recommendations alongside detail of primary production and practical contexts.

As this is put by Koshy V. (2005), the developed understanding of skills & knowledge are formulated into representative summary reports & advisory statements - symbolising the accrued, practically situated understanding presented via written accounts within agile documentation (Eby K. (2023).

As with action research, the four process stages regard the planning - acting - observing and reflecting functions within the inquiry - as postulated by Zuber-Skerritt (1991). In her outline of action research approaches, Skerritt details the foundational justification of this framework in its adaptive practicality to construe entire organisations as action researching systems.

In bridging theory and practice, a deeper applied understanding can be effected from learning modes such as learning through doing & discovery, or developmental training arrangements. In its proposed versatility of adoption into numerous practical contexts, it has been appropriate that framing project scopes within this four-stage method of cyclical refinement aids undertakings significantly - through the active cognition of advancement in practical processes across a dynamic & broad topical field. These four postulated stages put forward by Cilliers W.J. (2007) & Zuber-Skerritt (1991) follow the here contextualised cyclical sequence of :

- Planning
Developmentally oriented scoping of production and organisational undertakings, being informed from practical understanding of recommendations drawn from resources relevant to the practical & vocational circumstances. Detailing a prospective account of the project’s aspects, onset practical understanding also considers creative inputs from artist’s associative & conceptual perspectives, to contextualised production scenarios.

- Acting
Undertaking production / organisational project work - consisting of multidisciplinary roles orientated around the focal of audio engineering related endeavours. Applying recommendations into practice for the purpose of informing production, a mutual development and realisation of experientially contextualised understanding is gained.

- Observing
Ongoing critical observations made throughout production & organisational action steers cyclical sub-process development in particular circumstantial specifics. Deepening understanding through concurrent introspective self-scrutiny, whilst being recurrent - sets the visceral route taking of intrinsic and overarching progressions regarding production experience & organisational circumstance.

- Reflecting
Critical retrospective reflection on project activities and outcomes, in relation to onset practical understanding and from which recommendations & considerations are refined into primarily & experientially informed advisory statements. Furthering development in skills & knowledge through the cyclical link into future planning of production & organisational endeavours.

Being in the vein of robust & versatile practitioner based methodology detailed by Kerrigan S. et al (2018), orientating from an insider’s perspective on creative practice. In incorporating action research stages into the experiential approach of the practitioner-as-researcher - the following practical methods have been deployed:

- Practice-based undertakings [production project activities]
- Assessment & scrutiny of literature [practically : recommendation deployment & reflection]
- Iterative process development [ongoing & dynamic production sub-process refinement]
- Accounts of applied research undertakings [agile documentation writings]
- Reflection [embellished throughout documentation]
- Participatory deployment & implementation of recommendation findings in practice [utilisation of recommendation & consideration]
- Associated perspectives & feedback input [gathering of external considerations]

As this methodology’s data collection consists of collating information from production & organisational circumstances, as well as industry sources. Qualitative data such as that which is drawn into primary accounts are done so in line with the agile documentative approach of containing sufficient, critical, concise & cohesive information which is outlined by Ambler S. (2022).

Being qualitative, observatory & reflective - as data will be partially drawn from these participatory circumstances. Bias and subjective influence therefore has been mitigated through the gathering of the accredited industry resources to first inform the scope of standards & their development - following the outlined NOS Strategy provided The Skills Development Scotland Co Limited (2022). Through the iterations of action research, standards have been deployed and developed across this inquiry's duration.

The final development iteration of standards will take the form of an advisory summary report, with itemised recommendations given as according to relevant themes of the production area. With data collection following a participatory practice-based framework as according to Candy L. (2006) & Vaughn L. (2020), this advisory will culminate all findings drawn from the action & literature investigations across the inquiry’s scope. In this way, a written summary of the accrued learning & experience gained from this inquiry will be produced along with production portfolio components.

4. Summary Report - Outputs & Advisory Findings, Discussions & Interpretation

4a. Summary of Production Projects & Outputs - Final Accounts

In this section, details regarding the production portfolio components are provided. These practice-based action research undertakings have formed the primary experiential basis for the implementation of recommendations & considerations. Across those gathered and presented in the Professional Development Scheme component - Sec 2b.2 R&Cs, Sharp (2024). Along with broader industry sourced recommendations and associative creative considerations as explored through literature review.

As further agile & organisational production documentation is additionally provided for each project, the following summaries also form the final accounts being drawn from those. Each final agile account consists of the production’s practical scope, as well as the participated roles & responsibilities, relevant informing practical processes recommendations, relevant documentation and outputs.

[Bracketed] Referands refer to the relevant NOS, provided by The Skills Development Scotland Co Limited (2015) & PDS Sec 2b.2 R&Cs Statements, Sharp (2024).

4a.I. Project 1 Just Say When - The Kites

Scope : Full commercial studio production of artist’s debut single release, from recording - mixing - mastering to release delivery and client liaisoning. Developmentally oriented from PDS Project 1 - Track 3 (see Appendix B : Precursory Agile Documentation Overviews). Roles : Producer / Recording Engineer / Mixing Engineer / Mastering Engineer / Client Liaise

Responsibilities : Session & Project Management / Recording / Audio Editing / Mixing & Mastering Post-Production / Production

Practical Process Recommendations:

[SKSP12 (2019)] Plan and schedule productions.

[ECIPMD12 (2015)] Manage project activities and resources.

[SKSPP24 (2017)] Mix recorded sound.

[SKSPP23 (2017)] Support clients and colleagues in post production facilities.

[CCSMT3 (2020)] Set up, configure and maintain studio equipment, software, hardware and instruments.

[CCSMT18 (2015)] Operate analogue and digital dynamics and effects equipment for music and audio industries.

[SKSRACC5 (2024)] Work to a brief for radio and audio content.

[CCSMT25 (2015)] Develop techniques for mastering and restoring audio using critical listening skills.

[CCSMB13 (2015)] Understand how artist agreements and contracts work.

[CCSMB15 (2015)] Identify development and repertoire opportunities for artists.

[CCSMB4 (2015)] Support music industry promotional activities.

[CCSMT13 (2015)] Assist with recording of live sound location sources.

Organisational Production Documentation :

Appendix A : Production Documentation 1 - The Kites “Just Say When” - Studio Production

Outputs :

Band : The Kites
Track 1 : Just Say When [5:20 / Wav]

4a.II. Project 2 Operationalize B-sides & Radio Edits - NZanzu

Scope : Studio post-production continuation of supplementary release material of four tracks. Developmentally oriented from PDS Project 5 (see Appendix B : Precursory Agile Documentation Overviews).
Roles : Producer / Mixing Engineer / Mastering Engineer / Client Liaise Responsibilities : Sessions & Project Management / Audio Editing / Mixing & Mastering Post-Production

Practical Process Recommendations:

[SKSRACC5 (2024)] Work to a brief for radio and audio content.

[SKSP37 (2019)] Oversee the delivery of productions upon completion.

[CCSMB15 (2015)] Identify development and repertoire opportunities for artists.

[CCSMB13 (2015)] Understand how artist agreements and contracts work.

[CCSMT25 (2015)] Develop techniques for mastering and restoring audio using critical listening skills.

[CCSMT18 (2015)] Operate analogue and digital dynamics and effects equipment for music and audio industries.

[SKSP33 (2019)] Supervise the post-production process.

[SKSPP24 (2017)] Mix recorded sound.

[CCSMB4 (2015)] Support music industry promotional activities.

[CCSMB8 (2015)] Support the identity, brand and characteristics of a record label.

Organisational Production Documentation :

Appendix A : Production Documentation 2 - NZanZus B-Sides / Radio Edits - Studio Post-Production.

Outputs :

Artist : NZanZu
Track 1 [Radio-Edit] : Yesterday and Tomorrow [2:22 / Wav]
Track 2 [Radio-Edit] : A Friend (Ft. Roukaya B) [3:34 / Wav]
Track 3 [B-Side] : Dumbass [3:58 / Wav]
Track 4 [B-Side] : Manhole [1:58 / Wav]

4a.III. Project 3 Wormwood / Wicker Witch Woman - Googie & The Imaginary Band

Scope : An industrial studio session production of live tracks, alongside a post-industrial studio single production.
Roles : Producer / Recording Engineer / Mixing Engineer / Mastering Engineer / Instrumentalist

Responsibilities : Session Organisation / Tape Operator / Recording / Mixing & Mastering Post Production

Practical Process Recommendations :

[CCSMT13 (2015)] Assist with recording of live sound location sources.

[CCSMT3 (2020)] Set up, configure and maintain studio equipment, software, hardware and instruments.

[SKSPP23 (2017)] Support clients and colleagues in post production facilities.

[SKSRACC5 (2024)] Work to a brief for radio and audio content.

[CCSMT18 (2015)] Operate analogue and digital dynamics and effects equipment for music and audio industries.

[CCSMB15 (2015)] Identify development and repertoire opportunities for artists.

Organisational Production Documentation :

Appendix A : Production Documentation 3 - Googie & The Imaginary Band - Wormwood / Wicker Witch Woman - Creative Production

Outputs :
Artist : Googie & The Imaginary Band
Setlist Title : Wormwood
Track 1 : Happenstance [07:50 / Wav]
Track 2 [Single] : Wicker Witch Woman [07:18 / Wav]
Track 3 : Black Magic Woman [05:52 / Wav]


4a.IV. Project 4 The Ocean of Motion - Sociodelic

Scope : The production of a creative artefact which presents associative creative abstractions. Developmentally iterating off from PDS Project 4 (see Appendix B : Precursory Agile Documentation Overviews).
Roles : Artist / Producer / Audio & Video Post-Production Engineer / Editor Responsibilities : Production / Post-Production / Track Selection & Conceptual Arrangement

Practical Process Recommendations:

[CCSMB15 (2015)] Identify development and repertoire opportunities for artists.

[SKSP33 (2019)] Supervise the post-production process.

[SKSP37 (2019)] Oversee the delivery of productions upon completion.

[SKSRACC5 (2024)] Work to a brief for radio and audio content.

[SKSPP24 (2017)] Mix recorded sound.

Organisational Production Documentation :

Appendix A : Production Documentation 4 - The Ocean of Motion - Creative Artefact

Outputs :

Artist : Sociodelic
Creative Artefact : The Ocean of Motion [39:54 / MOV]

4b. Professional Standards Summary Report - Advisory

4b.I. Summary of Studio Production Recommendation Findings

Outline of relevant recommendations for studio production & post-production circumstances.

In accordance with the outlined participatory framework for practice-based action learning & action research, the outlining resource compiled during the professional development scheme, (Sharp, 2024) : “Sec 2b.2 Recommendations & Considerations Of Skills & Knowledge Required For Professional Audio Engineering” has been taken forward into implementation. Utilising this resource alongside the industry recommendations & considerations provided by numerous engineer’s perspectives within “Malcolm Chisholm: An Evaluation of Traditional Audio Engineering” by Linden P. S. (2013). The following advisory summary report has been produced, detailing interpretivist recommendation findings generated from the synthesis of practical experiential learning & gathered qualitative material on the subject.

Organised in relation to transpired circumstances across studio production, studio post-production, and periphery production organisation. These recommendations are formed from the basis of role associated outlines drawn from Sec 2b.2 R&Cs (Sharp, 2024), being critically informed by the National Occupational Standards [NOS] directory provided by The Skills Development Scotland Co Limited (2015). Following from the production projects, these precursory recommendations have been developed further, moreso regarding the thematic & environmental aspects of production contexts, rather than but still concerning individualistic role outlines - due to the discovered overlap and adaptable applicability of each R&C.

Each production has utilised a number of R&Cs throughout each duration, with additions brought in as needed - having both outlined an itemised advisory of relevant skills & knowledge, and also illustrated the composition of productions through the visualisation of deployed R&Cs. With each advisory R&C, the noted [URN Referand] denoted by The Skills Development Scotland Co Limited (2015) refers to both the original NOS provided standard as well as the 2b.2 R&Cs statements of relevant skills & knowledge - having previously been practically developed from solely the NOS standard of the same referand. In this way each serves as a dual reference indicator, signposting both their first source origin & developed iteration concurrently - for the purpose of retrospective understanding to their development and for furthering situated contextualisation.

4b.II. Studio Production Recording Recommendations

[SKSPP23 (2017)] Support clients and colleagues in post production facilities.
Communicate, Respond, Maintain, Outline, Build Rapport, Anticipate.
In studio recording circumstances, communication between studio personnel is crucial to ensure a firm understanding and smooth execution of production processes. An engineer’s response to requests should be agile and supportive, and in exploring creative aims a hospitable and encouraging approach aids in ensuring an openly creative environment. Readiness in responses is crucial to maintain pacing within the dynamic production processes of recording - anticipating potential requests can aid in this resourcefulness. Anticipations such as planned studio layout, setup and process outlining - orientated relevantly to the session & it’s client / artist / genre, can assure this aid.

[CCSMT3 (2020)] Set up, configure and maintain studio equipment, software, hardware and instruments.
Configure, Format, Liaise, Clarify, Orientate, Familiarise.
Ensuring recording studio setup and configuration is appropriately organised for the production specifics of the given genre, the creatively aimed outputs, and the assurance of smooth process execution is crucial. Studio setup may vary widely depending on the production’s format and the recording’s subject, liaison with clients on this can be clarifying in this regard during planning stages. With ensuring the production format is both optimal and effective for the recording session, focus can better orientate on equipment operation following the session’s onset. Familiarisation with available signal routing, processing units, and appropriability of source recording methods (DI / Mic / Stereo Pair Mics / Midi) strengthens the foundation of informed versatility when going into a recording session.

[CCSMT13 (2015)] Assist with recording of live sound location sources.
Assist, Supervise, Utilise, Observe, Record, Monitor.
Ensure all relevant aspects of the recording process are carried out in an assistive and supporting manner suitable to the role & session dynamic. Preliminary function checks in such aspects as signal transmission, gain staging, and microphone placement should be undertaken to mitigate fault risks and set creatively sought sonic qualities. Proper fault reporting procedure should be set out and followed, with identification of any possible faults detailed in pre-production planning. Partaking in production recording, operations such as input arming, tracking & monitoring should be utilised throughout the session’s duration - with monitoring observation of the associated source capture method furthering understanding to their use-case applicability. In tracking, swift and agile sequencing of performance take & part capture can be assured through preliminary consideration of the above aspects.

4b.III. Studio Post-Production Mixing Recommendations

[SKSPP24 (2017)] Mix recorded sound.
Balance, Replicate, Monitor, Edit, Select, Unprocess
Within recording sessions, providing an accurate and clear sonic image of recorded tracks is critical for precise monitoring and creative decision making. Balance and determine potential processing requirements, however deeper mixing processes are advisably not to be undertaken during the recording stage. In producing the recording session’s “rough mix”, accurate signal replication is arguably the priority to assure this aforementioned clear sonic image. Monitoring the dry, unprocessed recordings provides a top-level perspective to the recording’s quality, with no effects processing on the channel which may otherwise adversely obscure these observations. Mixing at this stage may mostly concern take selection & light clip editing, but should not go further than what would be deemed as preliminary - creative use and requests for effects during recording is certainly worth exploring and capturing, facilitated through being additionally recorded with the unprocessed source.

Discuss, Observe, Ground, Feel, Collaborate, Communicate.
Participate with the artist in post-production activities where discussed & agreed. Removing subjective boundaries through the shared observation of the same sonic material can be crucial for a grounded consensus. Feel for the sonic progression can be collaboratively identified and reached - ensuring a dynamic and agile engineering approach without yielding to overcomplication, with slight detail processing being done independently. Ensure open communication and follow the aims of the artist through this.

[CCSMT18 (2015)] - Operate analogue and digital dynamics and effects equipment for music and audio industries.
Determine, Enhance, Aim, Explore, Correct, Impart.
Where deemed applicable, determine the creative aims or enhancement requirements of a particular track source. Where creative aims are guiding the use of effects processing, ensure the client has the accessibility to an exploratory approach through consideration of time & location. Where enhancement or otherwise corrective audio processing may be identifiably required, it is worth considering a return to the recording stage - otherwise quick & preliminary processing is advised. Dynamics processing may be utilised throughout for the purpose of preliminary mixing processing, however consideration of the accuracy of signal replication alongside such processing should be critical. If these processes are intended to enhance what is still deemed as the dry sonic quality being precursory to further mix processing, then thorough understanding of the processing signal chain and any imparting factors such as later staged bus compression should be observed and noted.

Post-Process, Understand, Ground, Aim, Collaborate, Feel
Understanding the approach method in sonic processing to the suited aims of the artist are best informed through the use of genre relevant reference material - providing a clear point of reference across calibrating monitoring with the post-production mixing where applicable. Discuss often, and If individualistic sonics are aimed, ensure artistic collaboration is priority / mutual if applicable. Setting these foundations to the mixing approach informs the use of operating post-processing equipment. Feel should not be sidelined, and best-use cases may not be opted for in some circumstances - adaptation and development from creative exploration is always a potential.

[SKSP33 (2019)] Supervise the post-production process
Oversee, Coordinate, Plan, Communicate, Approach, Aim.
Oversee the post-production scope across coordinated organisation, including general studio requirements and inherent production processes. Follow discussed & planned briefs with artists & clients, ensuring preliminary referencing is available. Communicate progress & scheduling alongside post-production sessions, identify alterations and ensure associated costs are communicated. Establish the post-production approach best suited to the subject material, identify the sonic aims presented and route towards that throughout post-processing.

4b.IV. Studio Post-Production Mastering Recommendations

[CCSMT25 (2015)] - Develop techniques for mastering and restoring audio using critical listening skills.
Critically Observe, Identify, Assess, Verify, Denote, Tag.
Following recording sessions & the production of rough mixes being preliminary to post-production, critical observation similar to that found during mastering stages may be utilised to review the inherent characteristics of recorded audio material, in the context of the full multi-track stereo field & in relation to any reference material. Identification of any previously unnoticed audio errors should be noted, assessment of their correction can then be planned through re-recording or suitable post-processing. Understanding of what is often contractually denoted as the “master” should be sufficiently clarified in relevant circumstances, with any preliminary material sent to the client being openly identified as precursory to the final master - and crucially identified as a protected & tagged test pressing asset where contractually or verbally arranged.

Calibrate, Reference, Balance, Finalise, Situate, Observe
Carry out relevant mastering post-processing on familiar & calibrated hardware, referencing material at original DBFS level from source. Do so as according to artists / clients / personal tastes where applicable, balancing and finalising through the use of optionally minimal yet enhancing post-processings. Situate the stereo field according to the frequency power spectrum’s ceiling & level appropriately to a referenced RMS position - prioritising intended dynamics and balance over any numerical signal representation. Cross reference the output from multiple hardware source types & locations.

[SKSP37 (2019)] Oversee the delivery of productions upon completion.
Coordinate, Tag, Format, Export, Check, Transfer
Discuss and arrange delivery format & methods of output material, ensuring relevant metadata and tags are assigned - and that formatting is of a high quality in lossless codecs. Export and quality control material, assemble the delivery package and ensure contractual obligations are met before any delivery of asset material. Provide test pressings where requested - marking as such and identifying as being sent in-lieu of the master file. Ensure completion is in good-time, communicating progress with relevant parties.

[SKSPP08 (2017)] Deliver completed work to format.
Verify, Format, Detail, Communicate, Credit, Confirm.
Verify the format’s parameters are to the briefed spec, appropriately processing also to the given briefed sonics where applicable. Detail and technical notes for the audio assets such as sample rate / bit depth / file type in a clear outline. Communicate final metadata tag information and wording, ensuring all full credits & copyright notices are confirmed & present. Delivery should be confirmed on both ends alongside the transfer process.

4b.V. Organisational Production Recommendations

[SKSP12 (2019)] Plan and schedule productions.
Scope, Liaise, Schedule, Brief, Orientate, Consider.
Identify the production’s scope and timeline production stages and recording processes accordingly. Liaise and schedule recording sessions to client’s requirements, clearly establishing planning in a mutual consensus. Articulate creative scopes and production briefs in terms of session hours & resources, ensuring adequate availability of both for the smooth execution of the session. Identify and determine the approach and format to the production, orientating session planning around creative or genre specific output aims where applicable, in tandem to recording sources. Whether specified as predominantly instrumental or software driven, ensuring production follows a format relevant to those aspects is a critical pre-production consideration. Factor budgets, contingencies and risks which may occur where appropriate.

[ECIPMD12 (2015)] Manage project activities and resources.
Oversee, Evaluate, Steer, Coordinate, Assure, Control.
Ensure a consistent oversight across the production’s scope, going beyond such scopes where identifiably beneficial. Evaluate the progress of production and adapt where necessary, steering towards the agreed consensus and shaping the production’s stages where appropriate to assure aims are met. Coordinate personnel, clients, and processes in an efficient and effective manner, maintaining a focus on the creative context and format of the production. Assure a consistent and steady production through the smooth operation of production equipment - closely undertaking / supervising each stage with an awareness of the feedback & client’s given creative considerations - along with technical quality control of the produced material.

[SKSRACC5 (2024)] Work to a brief for radio and audio content.
Establish, Outline, Clarify, Evaluate, Contextualise, Arrange,
Establish the brief to follow for the recording stage of production, outlining further processing where relevant to create a clear picture of production aims for evaluation against during sessions. Engage with and identify the main objectives for the project, and contextualise within the deliverable requirements, scope and timeline requirements. Further contextualisation outlined in the brief regarding the genre, references, intended audience, or release arrangement may be impactful to outputs and therefore important to consider within the overarching production approach. Consensus on the brief should be agreed, with fixed or negotiable aspects also identified.

Engage, Agree, Document, Specify, Conceptualise, Explore.
Reach a consensus on practical aims across the full scope of production areas, engaging with an agreed and either mutually or independently documented outline. Specify production specifics and requirements such as studio arrangements, instrumentation requirements etc. Produce the outputs in participation with the artist / client, obtaining input through effective communication and in establishing a dynamic consensus is mutual throughout undertakings. Creative conceptualisations are crucial to include here, as these may guide the production in exploratory ways to new avenues of production method or approach - and are to be prioritised over the standard use-case for the assurance of creative freedom.

[CCSMB13 (2015)] Understand how artist agreements and contracts work.
Inform, Contribute, Negotiate, Document, Agree, Arrange.
Ensure an informed & detailed understanding of contractual arrangements is established within production circumstances from the earliest onset of practical undertakings. Contribute, negotiate and document agreements within standard precedents for such arrangements. Understanding of the purpose and function of contracts is critical in the security of handling audio assets. Familiarisation of contract types and the arrangement that they set is equally critical.

[CCSMB15 (2015)] Identify development and repertoire opportunities for artists.
Observe, Assess, Progress, Communicate, Suit, Advise.
Observe and briefly assess an artist’s general position in terms of repertoire output, identifying potential gaps or next steps which could support their progression. Communicate potential directions production projects could go as suited to the artist’s aims. Recommend in an advisory capacity and communicate development opportunities to their applicability. Organise productions from these briefs provided by clients, such as for EP / LP scoping and coordination.

Discuss, Path, Spot, Support, Pursue, Progress.
Discuss development avenues for material’s preceding & following post-productions to situate the aims and sonics of the subject material. Spot opportunities for repertoire development through the identification of production / performance options, directions or encouragements. Support in the artist’s creative pursuits, aiming to assist in actualising these aims. Liaise and advocate for development opportunities, justifying relevantly such as in the potential for mutually beneficial progression. Bolster repertoire releases through an advisory capacity of marketing aims and direction where called on.

[CCSMB4 (2015)] Support music industry promotional activities.
Identify, Value, Market, Produce, Inform, Deliver.
Identify any applicable promotional material which may serve to market a release or repertoire development. Visual elements such as those in the form of live performance footage are of value in this regard. Support in the release to market should also be of note where applicable regarding the role of a Producer - ensure that the delivery by the client to distribution is both informed and in-line with norms in this regard, being then supported by promotional activities.

[CCSMB8 (2015)] Support the identity, brand and characteristics of a record label.
Approach, Characterise, Advise, Participate, Support, Produce.
Approach post-production stages following clear guidance for the sonic identification an artist aims to achieve in terms of the musical & timbral characteristics of the record. Input into potential directions where applicable to the role - advising in a supportive capacity. Whilst pertaining to labels as stated, this is identifiably relevant for artists & productions where the client & circumstance calls for more involvement in this regard from the Producer.

4c. Data Representations of Practical Aspects

In aiming to illustrate experiential findings and present the composition of organisational & production functions & aspects undertaken, the following charts have been produced. Presenting the qualitative data collected on each production’s constituent parts, these visualisations provide a clearer understanding to relevant constituent factors of this research inquiry across its entire scope. Being defined by the circumstantial scenarios around production and organisational endeavours, these are presented as an example of what production engineers could potentially encounter within their own broader organisational contexts.

Regarding these visual data representations, aspects regard experientially undertaken roles & responsibilities across organisational & production scenarios. As well as the composition of outputs, and crucially the deployment occurrence frequency of recommendations.

Further information can be viewed in the raw data documentation from which these charts have been produced, see Appendix G - Visual Data Representations.

4d. Discussions & Interpretation

Following this inquiry's scope of undertaking a variety of audio productions within a dynamic vocational context & upon articulation of actualised practical development - forming the above advisory. Findings have accumulated in evidencing a robust & dynamically adaptable approach to identifying & applying professional standards of informed good-practice in audio production. In commencing this research with the key goal : being to bring into focus and operate in relation to a set of established professional standards. It is clear from participatory action within production & organisational activities, and in both the production outputs & advisory findings, that the iterative implementation & developmental utilisation of investigated resources is both informing and guiding in practice.

From the dynamic circumstances surrounding project arrangements, the resulting themes of production activities has included :

-  Professionally oriented studio productions (See Appendix A - The Kites “Just Say When” Studio Production).

-  Developmentally oriented studio post-productions (See Appendix A - NZanZu - B-Sides & Radio Edits Studio Post-Production).

-  Creatively considered studio productions (See Appendix A - Googie & The Imaginary Band - Creative Production & The Ocean of Motion - Creative Artefact).

-  Peripherally supporting organisation & development (See Appendix A - Liverpool Lighthouse Studio - Promotional Campaign & Sociodelic Collective - Label Organisation)

Within each of these, a differing degree of consideration towards the two summarising reference stances of : the professional approach perspective & the creatively considered perspective - have been able to be primarily inquired into (See Appendix C - Project Scopes & Planning)

Firstly, from the professional & developmentally orientated studio production with The Kites, a clear indication to the usefulness to applying identifiable & informed standards of practice is evident in the resulting sequence of successfully launching through The Basement Tapes with Jacaranda Records (2024) to their debut of Just Say When, The Kites (2024). Being informed from the numerous guidances of potential practical explorations provided by The Skills Development Scotland Co Limited, (2015) - the identifiable & clarifying path to the natural progression at hand was both substantially informing and experientially developmental. With a focus on the National Occupational Standards from The Skills Development Scotland Co Limited, (2015), alongside the first iteration of experientially imbued recommendations & considerations within Sec 2b.2 R&Cs (Sharp, 2024), practice approached solely from the professional approach perspective - and in doing so brought about a successful production output of a band’s debut.

Secondly, implementing a focused set of accrued recommendations orientated around post-production development for existing repertoire material - in working with NZanZu to produce the radio edits & B-sides (see Appendix A - NZanZu - B-Sides & Radio Edits Studio Post-Production) for the Operationalize LP (see Appendix B - PDS E13). The professional approach perspective blended more so with creatively orientated post-production considerations which concerned the development and characteristics of the artist’s sound.

This imparted a lasting impression and related to the more creatively orientated question of this research inquiry - regarding the balancing of professional & creative approach. In producing these outputs, alongside the implementation of practical application of recommendations & considerations for professional-practice, this balancing was identified as a crucial component to the audio production process. With inclusion of creative considerations being identifiably as impactful as any notion of professionalisation may be.

Alongside the investigation and utilisation of National Occupational Standards of practice within audio production, there have also been the critically informing compendium by Linden P. S. (2013) - “Malcolm Chisholm: An Evaluation of Traditional Audio Engineering”. Being an accumulation of first hand accounts on the traditional approaches and philosophies underlying audio production endeavours of the Chess Records session engineer Malcolm Chrisholm. Providing a window into the practical and pragmatic side of audio production as a blend of technical and creative cohesion - the primarily imbued learning drawn from this resource has gleaned insights into exploratory and natural approaches to the action of performance capture recording and wider post-industrial production considerations (See Appendix A - Googie & The Imaginary Band)

Being experimentally pushed - regarding notions presented by Linden P. S. (2013) on organic technique, era defined technological orientation to approach, and the human dimension of imperfection. The production output from this undertaking, Wormwoods, culminates an expressive demonstration in the adaptability in approach when production is worked to creative considerations. In exploring the notion of imperfection contrary to what may be stated as professional approach, a creatively conceptual piece has been produced which amalgamates the professional approach perspective & the creatively considered perspective. As Chrisholm expressed through Liden’s articulations on overarching orientation to production - “There is empathy in the preservation of the error as a specifically human quality; it makes the art human as well.” In this regard, this production successfully achieved what was set out - being a creatively guided application of production recommendations & considerations to inform from such perspectives.

In looking to further develop this perspective of creative consideration within this research project, following previous audiovisual endeavours and it’s prior development for showcasing (See Appendix B - PDS E4) - the completion of post-production for the creative artefact “The Ocean of Motion” was actualised (See Appendix A - The Ocean of Motion - Creative Artefact). This furthered the counterstance of creative aims as conjuncted with professional standard practice, culminating in the exploratory & multi-modal output of audiovisual expression. In the observance of the multidisciplinary practice of artists Suzan Pitt (1979), Keiichi Tanaami (1975), Alex Toth (1972) - an identifiable closeness in association of primary artistic approach being drawn from underlying creative considerations became apparent. In aiming to articulate this, within a broader conceptualisation this creative artefact has been gratifying in its outputs and imparted creative insights for consideration. On occasion in creative endeavours inadvertent tumultuous environments can lead to disaffection, but it is primarily found that creative exploration above all can bring serendipity into any pursuit of musical production work - being invaluable across any perspective.

4e. Conclusions

Following the completion of audio production projects and the formed findings advisory of informed standards of recommendations on practice & potential creative considerations. This pragmatic approach to primary & experiential inquiry, being guided by gathered industry resources, has demonstrated the usefulness in actively architecturing knowledge and understanding when navigating the field. Retrospectively, the production undertakings, outputs and learning drawn & documented therefrom - alongside development of the dynamic vocational circumstances partaken within - have been transformational, being both professionally & creatively valuable & insightful.

Successfully spanning the inquiry’s core audio production focus substantially, additional peripheral organisation has been constructively imbued with a deepened understanding of the vocation, and wider & immediate industry facets being drawn from research undertakings. Additionally, the exploration into creative considerations within approach have provided numerous practical insights from associative & intrapersonal creative reference frames - imparting incandescently to the practice as a whole.

In the final reflection of the resulting outputs & findings from this inquiry, the substantially scoped & informing development of the advisory demonstrates the deeply constructive usefulness to applied research methodologies in dynamically circumstantial and actively participated production scenarios. Additionally, the practical outputs and summaries of which have evidenced for this practitioner the professional approach in actualization, being conformationally emblematic of accrued and attained skill & knowledge.

Finally in recollection of the occurrent and at times tumultuous meandre to vocational circumstance from initial proposal to completion, through the primary and experiential undertakings of label organisation and studio coordination. The progression from practice to informed actualisation has been unquantifiably invaluable prospectively going forward from this inquiry.

Bibliography

Alex Toth (1972), “Sealab 2020”, Online : Available at : https://www.imdb.com/title/tt0068129/
[Accessed : 26/11/24]

Ambler S. (2022), “Lean / Agile Documentation : Strategies for Agile Teams”, Agile Modeling, Online : Available at : https://agilemodeling.com/essays/agileDocumentation.htm#WhenIsADocumentAgile [Accessed 03/04/24]

Candy L. (2006), “Practice Based Research”, Sydney University of Technology, Online : Available at : https://www.creativityandcognition.com/resources/PBR%20Guide-1.1-2006.pdf [Accessed : 09/02/24]

Cilliers W.J. (2007), “Research methods”, Online : Available at :https://base.socioeco.org/docs/research_methods.pdf [Accessed : 06/11/24]

Creative Commons (2024), “About CC Licenses”, Online : Available at : https://creativecommons.org/share-your-work/cclicenses/
[Accessed : 26/11/24]

Crown Copyright (2024), “Non-commercial research and private study”, Online : Available at :https://www.gov.uk/guidance/exceptions-to-copyright#non-commercial-research-and-private- study [Accessed : 26/11/24]

Dr. Tokuhama .T (2019) “Steps to Conduct (Action) Research”, Conexiones The Learning Sciences Platform, Youtube, Online : Available at : https://www.youtube.com/watch?v=oWaVbxGMeVI
[Accessed : 01/11/24]

Dr. Tokuhama .T (2019) “Action Research: How to Analyze Research”, Conexiones The Learning Sciences Platform, Youtube, Online : Available at : https://www.youtube.com/watch?v=C-dDkeHovq4
[Accessed : 01/11/24]

Eby K. (2023), “Adapt and Grow: The Complete Guide to Agile Project Management Workflows”, Smartsheet, Online : Available at : https://www.smartsheet.com/content/agile-project-management-workflow
[Accessed : 20/02/24]

Glasersfeld E.V. (1995), “Radical Constructivism: A Way of Knowing and Learning.” Studies in Mathematics Education Series: 6, p. 18, Online : Available at : https://files.eric.ed.gov/fulltext/ED381352.pdf
[Accessed : 04/11/24]

Glasersfeld E.V. (2008) “Introduction to Radical Constructivism” Excerpt from : Conversations with Ernst Von Glasersfeld Part II: Cybernetics, Wisdom and Radical Constructivism (2005), Youtube, Online : Available at :https://www.youtube.com/watch?v=zTsY3TosVX0 [Accessed : 04/11/24]

Glasersfeld E.V. (2010) “Ernst von Glasersfeld on teaching and radical constructivism” Excerpt from : Conversations with Ernst Von Glasersfeld Part II: Cybernetics, Wisdom and Radical Constructivism (2005), Youtube, Online : Available at : https://www.youtube.com/watch?v=YozoZxblQx8 [Accessed : 04/11/24]

Glasersfeld E.V. (2020) “Segment 4: Ernst von Glasersfeld: Radical Constructivism, Management, Psychology and Dailylife” Excerpt from : Conversations with Ernst Von Glasersfeld Part II: Cybernetics, Wisdom and Radical Constructivism (2005), Youtube, Online : Available at : https://www.youtube.com/watch?v=iBk5Wlx4zLY [Accessed : 04/11/24]

Gorillaz (2005), “Feel Good Inc”, Online, Available at : https://www.youtube.com/watch?v=HyHNuVaZJ-k [Accessed : 26/11/24]

Internet Archive (2024), “Moving Image Archive”, Online : Available at : https://archive.org/details/movies
[Accessed : 26/11/24]

Jacaranda Campus Label (2023), “Jacaranda Records Launches Campus Label Pilot At SAE Liverpool”, Online : Available at : https://web.archive.org/web/20240223222855/https://jacarandarecords.com/jacaranda-records-launches-campus-label-pilot-at-sae-liverpool/ [Accessed : 26/11/24]

Jacaranda Campus Label (2024), “@JacarandaCampusLabel”, Online : Available at :https://www.instagram.com/jacarandacampuslabel/
[Accessed : 26/11/24]

Jacaranda Records (2024), “The Basement Tapes”, Online : Available at : https://www.youtube.com/playlist?list=PLWPk8TOc8FlB-LUpShlbnzhWIOLL2ahX7 [Accessed : 26/11/24]

Jacaranda Records (2024), “The Basement Tapes - Season 3 Trailer”, Online : Available at :
https://www.youtube.com/watch?v=kZR2z7eRB28
[Accessed : 26/11/24]

James W. (1907), “Pragmatism: A New Name for Some Old Ways of Thinking”, (1907:29), Stanford Encyclopedia of Philosophy, Online : Available at : https://plato.stanford.edu/entries/pragmatism/
[Accessed : 25/02/24]

John Hitchcock “Twenty Questions with Alex Toth”, Online : Available at : http://www.tvparty.com/comics/toth20.html
[Accessed : 26/11/24]

Kai Wang (2017) “A literature review on individual creativity support systems”, in Computers in Human Behaviour, Volume 74, p139-151 - sec 4.2, Online : Available at :https://www.sciencedirect.com/science/article/abs/pii/S0747563217302777
[Accessed : 28/10/24]

Keiichi Tanaami (1975) “Sweet Friday”, Online : Available at : https://keiichitanaami.com/en/works1970.html#animation [Accessed : 26/11/24]

Keiichi Tanaami (2024), “Biography”, Online : Available at : https://keiichitanaami.com/en/bio.html
[Accessed : 26/11/24]

Kerrigan S. et al (2018) “Practitioner centred methodological approaches to creative media practice research”, in Batty C. Media Practice and Education Vol. 20, Issue 3, p211-231, Taylor & Francis, Online : Available at :https://novaprd-lb.newcastle.edu.au/vital/access/%20/manager/Repository/uon:36138 [Accessed : 04/04/24]

Koestler (1964), “The Act of Creation”, in Humphery’s L.G. The American Journal of Psychology 79(1), University of Illinois Press, Online : Available at : https://www.researchgate.net/publication/266316722_The_Act_of_Creation[Accessed : 29/11/24]

Koshy V. (2005), “Action Research For Improving Practice : A Practical Guide”, Paul Chapman Publishing, Online : Available at : https://books.google.co.uk/books?hl=en&lr=&id=KDya1I4z-cEC&oi=fnd&pg=PR9&dq=action +research+producing+recommendations+and+considerations+summary+report+&ots=ZRAs YZDsnD&sig=VOnsnHCV-GR5lWGSYGFMTBVCzUg#v=onepage&q&f=false [Accessed : 03/04/24]

Legg, et al (2024), "Pragmatism", in The Stanford Encyclopedia of Philosophy (Winter 2024 Edition), Online : Available at :
https://plato.stanford.edu/entries/pragmatism/
[Accessed 04/11/24]

Linden P. S. (2013), “Malcolm Chisholm: An Evaluation of Traditional Audio Engineering”, in Ronkin B. Journal of the Music & Entertainment Industry Educators Association, Vol 13 Number 1, Northeastern University, Online : Available at : https://digitalcommons.butler.edu/cgi/viewcontent.cgi?article=1133&context=ccom_papers [Accessed 01/11/24]

Mednick (1962), “The Associative Basis of the Creative Process”, in Elsevier Science. Psychological Review 69(3):220-32, pp 225, Online : Available at : https://www.semanticscholar.org/reader/927c10385d93d538e2791f8ef28c5eaf96e08a73 [Accessed : 29/11/24]

Pain R. et al (2012), “Participatory Action Research Toolkit“, Online : Available at :https://www.durham.ac.uk/media/durham-university/research-/research-centres/social-justice -amp-community-action-centre-for/documents/toolkits-guides-and-case-studies/Participatory- Action-Research-Toolkit.pdf [Accessed : 13/03/24]

Paivio & Lambert (1981), “Dual Coding and Bilingual Memory”, in Elsevier Science. Journal of Verbal Learning and Verbal Behavior 20(5), Online : Available at :https://www.researchgate.net/publication/223633350_Dual_coding_and_bilingual_memory [Accessed : 29/11/24]

Sharp (2024), “Lighthouse Studio - Plan of Action”, Online : Available at :https://drive.google.com/file/d/13bHn8L2wl-ayY8TIw8f8J4Dpq5j_nWdd/view?usp=share_link [Accessed : 26/11/24]

Sharp (2024), “PDS Appendix Components”, Online : Available at :https://drive.google.com/drive/folders/1NgnKBDQRfFNTSPq-AGC42gWmpiPiJtID?usp=shar e_link [Accessed : 26/11/24]

Sharp (2024), “Sec 2b-2 R&Cs”, Online : Available at :https://drive.google.com/file/d/1gWwLa59BZ6YRJeLc3AIUKxVFUTx_tqPb/view?usp=share_l ink
[Accessed : 26/11/24]

Simorah (2024), “Tonight”, Online : Available at : https://open.spotify.com/track/11wxgDmtRlEoVOO0KoH1bG?si=826487089002470e [Accessed : 26/11/24]

Simorah (2024), “On The Prowl”, Online : Available at : https://open.spotify.com/track/0IVp305wtEi9FIuasILIzs?si=82e7a26f518f40c4 [Accessed : 26/11/24]

Sociodelic (2023) “Gimme Shelter - Cover - Sociodelic”, Online : Available at : https://www.youtube.com/watch?v=LGUdA9XedqI
[Accessed : 26/11/24]

Sociodelic (2022), “Life on Mars? Piano Cover by Bethany”, Online : Available at : https://www.youtube.com/watch?v=-AKug8Jdwr0
[Accessed : 26/11/24]

Sociodelic (2023), “Magic Satin”, Online : Available at : https://open.spotify.com/album/3ixVRIQVD7kLxltt6GJOop?si=UqKp6ILvReSh--h589mm3Q [Accessed : 26/11/24]

Sociodelic Collective (2024), ”Sociodelic”, Online : Available at : https://www.sociodelic.com
[Accessed : 26/11/24]

Stines (2003), “Forecasting the competencies that will define "best-in-class" business-to-business market managers: An emergent Delphi-hybrid competency forecasting model”, Pennsylvania State University Press, Online : Available at : https://www.semanticscholar.org/paper/Forecasting-the-competencies-that-will-define-An-Sti nes/5d86ff28f1f79d3c858d2ee788c5fe368a949ee4 [Accessed 06/12/24]

Stringer (1996), “Action Research : A Handbook for Practitioners”, Sage Publications, Online : Available at :https://books.google.co.uk/books/about/Action_Research.html?id=Jyy1QgAACAAJ&redir_es c=y [Accessed : 12/10/24]

Suzan Pitt (1979), “Asparagus”, Online : Available at : https://www.suzanpitt.com/asparagus
[Accessed : 26/11/24]

Tough (2013), “What Competencies Should We Be Teaching Future Audio Engineers”, in Byland D. Journal of Media Education Vol 4, Belmont University, pp 36, Online : Available at : https://www.researchgate.net/profile/Richard-Waters-2/publication/259801563_What_about_ my_right_to_privacy_A_case_study_of_public_relations_professionals_and_students_regar ding_the_screening_of_social_media_profiles_during_the_job_interview_process/links/00b4 952ded2d5861d1000000/What-about-my-right-to-privacy-A-case-study-of-public-relations-pr ofessionals-and-students-regarding-the-screening-of-social-media-profiles-during-the-job-int erview-process.pdf#page=35 [Accessed :01/11/24]

The Kites (2024), “Just Say When”, Online : Available at :https://open.spotify.com/track/3JnedDgMRM7Eli2LJkekYP?si=16337198de424bc6 [Accessed : 26/11/24]

The Skills Development Scotland Co Limited (2015), “NOS Finder”, Directory, Online : Available at :
https://www.ukstandards.org.uk/en/nos-finder
[Accessed : 26/11/24]

The Skills Development Scotland Co Limited (2015), “FAQ : What does the URN mean?”, Online : Available at :
https://www.ukstandards.org.uk/en/faqs
[Accessed : 26/11/24]

The Skills Development Scotland Co Limited (2022), “NOS Strategy and beyond”, Online : Available at :
https://www.ukstandards.org.uk/en/resources
[Accessed : 26/11/24]

The Skills Development Scotland Co Limited (2015),“Sound Production (Film & TV)”, “Sound recording and Music Technology”,”Post-Production”,“Project Management”, ”Music Business (Record Labels)”, ”Music Business (Publishing)”, National Occupational Standards, Creative & Cultural Skills, Online : Available at :https://www.ukstandards.org.uk/en/nos-finder

NOS Standards :

-  CCSMB6 (2015), ”Support a music industry marketing campaign.”, Creative & Cultural Skills

-  CCSMB8 (2015), ”Support the identity, brand and characteristics of a record label.”, Creative & Cultural Skills

-  SKSPA8 (2015), ”Maintain effective working relationships on film and TV projects.”, ScreenSkills

-  CCSMT13 (2015), ”Assist with recording of live sound location sources.”, Creative & Cultural Skills

-  SKSPP24 (2017), ”Mix recorded sound.”, ScreenSkills

-  SKSP33 (2019), ”Supervise the post-production process.”, ScreenSkills

-  CCSMT25 (2015), ”Develop techniques for mastering and restoring audio using critical listening skills.”, Creative & Cultural Skills

-  CCSMB16 (2015), ”Identify and recommend music with commercial potential that is viable for the company.”, Creative & Cultural Skills

-  CCSMB13 (2015), ”Understand how artist agreements and contracts work.”, Creative & Cultural Skills

-  CCSMB15 (2015), ”Identify development and repertoire opportunities for artists.”, Creative & Cultural Skills

-  CCSMB2 (2015), ”Organise promotional events for the music industry.”, Creative & Cultural Skills

-  SKSPP23 (2017), ”Support clients and colleagues in post production facilities.”, ScreenSkills

-  CCSMT3 (2020), “Set up, configure and maintain studio equipment, software, hardware and instruments.”, Creative & Cultural Skills

-  CCSMT18 (2015), “Operate analogue and digital dynamics and effects equipment for music and audio industries”, Creative & Cultural Skills

-  SKSPP08 (2017), “Deliver completed work to format”, ScreenSkills

-  SKSRACC5 (2024), “Work to a brief for radio and audio content”, ScreenSkills

-  TECHDUCW1 (2022), “Carry out remote online working and collaboration”, E-Skills

-  CLDSCCD23 (2023), “Strengthen the organisational development of groups”, CLD Standards Council Scotland

-  INSBE002 (2022), “Define and develop your products and services”, Skills CFA

-  ECIPMD12 (2015), “Manage project activities and resources”, ECITB

-  SKSP12 (2019), “Plan and schedule productions”, ScreenSkills

-  CCSMB15 (2015), “Identify development and repertoire opportunities for artists”, Creative & Cultural Skills

-  LANWFS11 (2020), “Manage the operational performance of workplace and facilities services”, Lantra

-  SKSP37 (2019), “Oversee the delivery of productions upon completion”, ScreenSkills

-  CCSMB4 (2015), “Support music industry promotional activities”, Creative & Cultural Skills

-  CCSMT3 (2020), “Set up, configure and maintain studio equipment, software, hardware and instruments”, ScreenSkills

-  CFAM&LFA1 (2015), “Implement and evaluate strategic business plans”, Skills CFA

[Accessed : 26/11/24]

Vaughn L. (2020), “Participatory Research Methods – Choice Points in the Research Process”, “Table 1 : Participatory Research Frameworks, Orientations, and Approaches”, Online : Available at :https://jprm.scholasticahq.com/article/13244-participatory-research-methods-choice-points-in -the-research-process [Accessed : 01/11/24]

Wayback Machine (2024), “Host jacarandarecords.com 2024”, Online : Available at :https://web.archive.org/web/sitemap/https://www.jacarandarecords.com [Accessed : 26/11/24]

WriteWords (2024), “Word Frequency Counter”, Online : Available at :http://www.writewords.org.uk/word_count.asp
[Accessed : 26/11/24]

Wood. L. (2019), “PALAR: Participatory Action Learning and Action Research for Community Engagement”, Action Learning and Action Research: Genres and Approaches (pp.193-206), Online : Available at : https://www.researchgate.net/publication/331292195_Chapter_13_PALAR_Participatory_Act ion_Learning_and_Action_Research_for_Community_Engagement [Accessed : 01/11/24]

Zuber-Skerritt (1991), “Action Research for Change and Development”, Routledge, 1st Edition, Online : Available at : https://www.taylorfrancis.com/books/edit/10.4324/9781003248491/action-research-change-d evelopment-ortrun-zuber-skerritt [Accessed : 01/11/24]