Technology is making the music industry more individualistic and less equal

Musicians feel they are able to do more on their own, but technology defines what this ‘more’ actually is.

It takes time, effort, and money to choose, acquire, and, not least, learn all the new tools on offer.

"One musician I interviewed said she asked herself: ‘Am I a musician or a technologist?’” says Yngvar Kjus. He is a professor of music and media at the University of Oslo.

Since 2021, he and researchers Øyvind Skjerdal and Emil Kraugerud have worked on a project about the platformisation of music production.

The first time this has been researched in Norway

Project leader Yngvar Kjus explains that they have adopted a broad approach, examining various aspects of platform technology.

“We have examined how digital systems for music production are developed and designed. We have also looked at how technology is used and experienced by creative musicians," says the professor.

The third perspective is more overarching, and concerns what the technology means for culture, diversity, and democracy, he adds.

An important finding is that technology is driving developments towards greater individualisation.

Roles are becoming blurred

The technology they focus on is known as digital audio workstations (DAWs), and all the musicians they have been in contact with use them.

According to a survey of 326 music creators, Logic Pro is the most popular, with Ableton Live in second place, and Pro Tools in third.

“The use of DAWs has transformed roles in the industry. Previously, there were more distinct roles, such as songwriter, producer, sound engineer, and musician. On a platform like Pro Tools, however, you can do everything at once," says Kraugerud.

He believes music has become part of platform capitalism.

This is characterised by spreading across sectors and practices and turning as many people as possible into consumers of the technology – consciously or unconsciously, he explains.

Heavy burden on the individual

Skjerdal wrote his PhD as part of the project. He has looked at what happens in the interaction between technologies and users.

He shows that it can be demanding when responsibility shifts from studios and institutions to the individual music creator.

“Many people enjoy creating together with others, and sharing responsibility can be a relief. Instead, they now often end up sitting alone in a bedroom that functions as a studio, and if the result does not materialise, it feels as though it is entirely their own fault,” says the researcher.

Another aspect is the financial one.

Renting a studio for recording is often not prioritised

Record labels are no longer willing to pay as much for music production, such as renting a recording studio.

“Since technology has emerged that makes it possible to make music without renting a studio, this has also turned into a choice that each individual music producer must make. Some say it's tough to carry projects alone. Collaboration generates more momentum,” says Skjerdal.

One of the key questions the researchers have been keen to explore is how companies and developers work to make themselves indispensable to music creators.

“They develop teaching materials that they bundle into package deals and run their own academies. Ableton, for example, has created a system in which super-users can run courses themselves and profit from them. Nothing is left to chance,” says Kjus.

Some musicians rebel

The companies view every part of the cultural sector as a potential market, create links between them, and make themselves an indispensable intermediary.

If you want to enter post-production, film, or TV, you have to go through some of the major companies, such as Apple and Avid, Kjus explains.

Many musicians feel ambivalent and under continuous pressure to install updates, learn new skills, and adopt new approaches.

Some respond by staging a kind of rebellion. They play acoustic instruments or deliberately ignore the advice that ‘this is what you have to do to succeed,’ Kjus explains.

But what happens to quality?

A paradox is that even though an increasing number of people are doing more of the work themselves, there is broad agreement that the best results are still achieved in professional studios.

This applies, for example, to mastering, which is the final stage of production. During this stage, the sound engineer adjusts level, tone, and dynamics.

Using AI-based software to master a file is not the same as using a sound engineer, the researcher explains.

"For a voice to sound its best, you need a studio with suitable microphones and proper soundproofing. This has also increased awareness that the craft cannot simply be replaced by technology,” says Kraugerud.

Male-dominated

The researchers have examined how technology affects diversity and gender balance. They found that the absence of female role models is significant.

In 2020, only 0.7 per cent of producers and 12 per cent of songwriters behind the 50 most-streamed songs on Spotify in Norway were women, according to Balansekunst.

Balansekunst is a national resource centre that works for equality and diversity in the cultural sector.

“More women than men experience barriers when it comes to technology. The music industry has been male-dominated from the very beginning, and its networks reproduce themselves. We see this in digital arenas as well. For instance, most of those providing training in new technology on YouTube are men,” says Kjus.

Women rarely get to be producers

Many women use new technology to make music, but they rarely gain recognition or access to the role of ‘professional producer,' according to the researcher.

It is, for example, almost always women who create the ‘topline,’ meaning the vocal and melody that are placed on top of the instrumental parts of a track.

“I interviewed a female producer who said she was not allowed to take on the producer role at a songwriting camp but was told she should create the topline instead. It's disheartening to see that technologically streamlined forms of production are contributing to a return to traditional, rigid gender roles,” says Kjus.

Skjerdal, Kjus, and Kraugerud hope their research will provide the industry with useful insights.

"Don't tie yourself to a single technology"

They highlight a few points they consider especially important:

“Being aware of this individualisation is crucial – the way technology pushes us into our own bedrooms with our own computers,” says Skjerdal.

“Shift the focus from equipment to creative drive and what you want to achieve with your music. Perhaps you only need a fraction of the technology on offer,” says Kjus.

“And try to remain platform-neutral. Don’t tie yourself to a single technology, and experiment with the less well-known options,” says Kraugerud.

References:

Kjus, Y. The platformization of music production: How digital audio workstations are turned into platforms of labor market relations, New Media & Society, 2024. DOI: 10.1177/14614448241304660

Kraugerud, E. & Skjerdal, Ø. 'Tutoring, Selling, Gearfluencing, or What? An Exploration of the Motives and Methods of Online Introductions to Music Production Technology' In Andersen et al. (Eds.) Innovation in Music: Current Research Perspectives (Abstract). Routledge, 2026. DOI: 10.4324/9781003475644

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