Music producer Mitch Dörfler explains in conversation with Prof. Robert Lingnau:
Artificial intelligence composes songs in a matter of seconds, streaming has fundamentally transformed the music industry, and new technologies are developing faster than ever. What does this mean for people who want to produce music professionally or work in the creative industries?
Which skills will really be in demand in the future? Is technical know-how enough, or will creativity, musical understanding and the ability to work in a team remain the key factors for success?
Robert Lingnau: Technology is developing at a rapid pace these days. Artificial intelligence, immersive audio formats and a constant stream of new production software are transforming day-to-day working life. How do you view this development?
Mitch Dörfler: I see them primarily as an opportunity. For me, new technologies are a natural part of the creative process. I enjoy trying out new plug-ins, software or workflows and seeing what possibilities they open up. This curiosity means that learning doesn’t feel like learning at all – it’s simply part of my job.
Robert Lingnau: Beginners in particular often feel overwhelmed by this variety. Where should one start?
Mitch Dörfler: With the basics. It’s very tempting to focus straight away on the latest tools or spectacular effects. But lasting quality comes from a solid foundation. Anyone who understands the fundamentals of how music, sound and production work can grasp new technologies much more quickly and put them to good use. A degree course helps with exactly that. It not only imparts specialist knowledge, but also provides guidance. Precisely because information is available everywhere these days, we need people who can help set priorities and develop a structured learning path.
Robert Lingnau: These days, companies often talk less about software skills and more about personality. Do you agree with this observation?
Mitch Dörfler: Absolutely. Of course, you have to be skilled at your craft. But beyond that, what counts most are reliability, the ability to work in a team and a professional approach to work. The best productions are rarely created by one person alone. In the studio, you often work closely together for many hours. That’s why producers want to work with people they can rely on and with whom they can work well. Talent is important – but without reliability, it won’t get you very far.
Robert Lingnau: Hardly any other topic is currently being discussed as intensively as artificial intelligence. Will it fundamentally change creative professions?
Mitch Dörfler: It’s already changing them. Routine tasks are increasingly being automated. When it comes to functional music or initial ideas, AI delivers astonishingly good results today. However, as soon as emotions, personal decisions or creative subtleties are required, these systems reach their limits. That’s exactly where human creativity comes in. I therefore don’t believe that creative professionals will disappear. On the contrary: truly original ideas will be even more valuable in the future.
Robert Lingnau: What skills should students be developing today?
Mitch Dörfler: Above all, they should remain curious. They shouldn’t see change as a threat, but as an opportunity. At the same time, they should master the basics and learn to work in a team. Technologies will continue to change throughout a person’s career. Those who have learnt to solve problems creatively, to conduct independent research and to carry out projects collaboratively will be able to continue to develop successfully in the future.
Robert Lingnau: Many beginners want to start working with the latest plug-ins or spectacular production techniques as quickly as possible. What advice would you give them?
Mitch Dörfler: Focus on the basics first. Music production consists of lots of simple building blocks that work together. It’s only once you’ve got that foundation right that complex tools really make sense. Recently, a friend’s son asked me for some advice on his guitar playing. He played some impressive solos, but I advised him to practise his timing and groove first. When I’m selecting musicians for a production, it’s precisely these basics that are crucial – not the most spectacular solo.
Robert Lingnau: That reminds me of cooking. Many people want to whip up sophisticated dishes straight away, yet making perfect scrambled eggs is often the bigger challenge.
Mitch Dörfler: Exactly. You can’t really skip any of the developmental stages. First you learn the basics, then you get creative, and eventually you develop a feel for the emotion a production is meant to convey. Each of these steps builds on the one before it.
✔ Master the basics first – not the latest plug-ins.
✔ Timing, groove and musical understanding are more important than spectacular effects.
✔ Development takes time – there are rarely any shortcuts.
Robert Lingnau: What qualities turn good musicians into successful professionals?
Mitch Dörfler: Talent is important – but it’s not enough. I know lots of exceptionally good musicians. Some, however, are only brilliant when they’re in the right frame of mind. That’s not how the professional music industry works. If you want to be successful in the long term, you have to be reliable. Clients need to be able to count on deadlines being met and the collaboration running smoothly. Interpersonal skills are at least as important. In the studio, you often spend many hours together. That’s why producers want to work with people who conduct themselves professionally and who are simply a pleasure to work with.
Robert Lingnau: Many people starting out in their careers feel insecure when they suddenly find themselves working with well-known artists or experienced producers. How can you build self-confidence?
Mitch Dörfler: The most important thing is to remain authentic. Of course, it’s something special to work with successful artists. At the same time, there’s no point in playing yourself down or constantly emphasising how impressed you are. On the other hand, you shouldn’t come across as arrogant either. If you’re well prepared and have mastered your craft, you can be self-assured. The best foundation is therefore always good work – combined with a natural, respectful attitude.
Robert Lingnau: When I started out, I initially worked on a pro bono basis to build up my portfolio. That led to my first paid commission, and then the next one. I’ve always seen my career as being like a tree: one project leads to new contacts and new opportunities. How does getting started work these days?
Mitch Dörfler: In the past, you’d send demo tapes to record companies or labels. Today, platforms like SoundCloud, YouTube or Instagram are key showcases for your work. The opportunities have expanded – but at the same time, you have to stay visible and keep showcasing new projects.
Robert Lingnau: Digitalisation has not only changed how music is released – it has also changed how artists and producers earn their living. In your view, what has changed the most?
Mitch Dörfler: In the past, you’d produce an album that was then sold. Today, the album is often part of a broader strategy. Music is no longer the only product; above all, it strengthens an artist’s brand. In the past, a share of album sales was particularly attractive for producers. Today, revenue is often generated through concerts, merchandising or other business areas. That has also changed my work as a producer.
Whilst in the past it was crucial to generate as many sales as possible on the day of release, today the focus is on maintaining visibility in the long term. New songs, remixes or short videos ensure that artists stay in regular contact with their audience. Success today often comes step by step – less through a single big moment than through a continuous presence.
What does this mean for students?
The music industry offers more opportunities today than ever before. At the same time, technologies, business models and job profiles are constantly changing. Anyone who wants to be successful in the long term therefore needs more than just technical know-how. A solid foundation, initiative, the ability to work in a team, strong communication skills and a willingness to embrace new developments time and again are crucial. A practice-oriented degree programme lays the groundwork for this. It not only imparts specialist skills in music production, audio engineering or audio design. Students also work on a project-based basis, gain practical experience and build up a network early on – important prerequisites for their future career entry.
