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It’s a crazy notion to think your favorite artist could be ghost produced. But, there are many instances where that is actually the case. Apparently it’s something Gareth Emery gets questioned about a lot and he’s setting the record straight.


In an update titled THE GHOST PRODUCTION LOWDOWN (LONG) the iconic producer — known for hits including “Call To Arms,” “Concrete Angel,” “Long Way Home” and so many more — opens up the conversation about ghost production in music. He admits this is a “way more complex topic” than generally realized, but he gives an open and honest play-by-play from his perspective.

“Me? On most of my good tracks I did *all* the production,” he explains.

“But I’ve done some tracks, mostly remixes, where I was running out of time and someone else to do the heavy lifting to finish my demos.”

On the flip side, he ghost produced some tracks back in the day.

“In all honesty I’d fucking love to find a permanent engineer to finish up my tracks. It would allow me to focus entirely on writing music and songs, rather than spending 4 hours tuning a hi-hat that nobody notices anyway, and I’d likely release more music as a result.”

“But nobody else really nails it so for now, it’s me.”

Read the full post below.

Gareth Emery Gets Real

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THE GHOST PRODUCTION LOWDOWN (LONG). . I frequently get asked if I produce my own music. . This is a way more complex topic than people generally realize but here’s the lowdown. . Firstly, I don’t have anything against using engineers to polish up a track (even though I rarely do it myself). . I mean, if an artist has written the melodies, the song, it’s no big deal having someone else work on the production. Did The Beatles produce their own music? Of course not. . Now that’s very different to artists who can’t play a single note of music and simply buy ready-made tracks off the shelf…. which is basically taking someone else’s art and passing it off as your own. . Me? On most of my good tracks I did *all* the production. . Not because I’m against getting help, but because nobody else could do it how I wanted. I did all of: . Concrete Angel. Sanctuary. Reckless. Mistral. Sansa. U. Tokyo. Long Way Home. Exposure. Metropolis. .
But I’ve done some tracks, mostly remixes, where I was running out of time and someone else to do the heavy lifting to finish my demos. Alex Sonata worked on my remix of Lost Frequencies. Craig Connelly on my remix of Ferry Corsten. . In those cases I wrote the music. They’re still Emery tracks. They’re just tracks I wouldn’t have got finished otherwise. . On the flip side, there are about 10 tracks in the Armada / Garuda catalog that I ghost produced for others back in the day. . In all honesty I’d fucking love to find a permanent engineer to finish up my tracks. . It would allow me to focus entirely on writing music and songs, rather than spending 4 hours tuning a hi-hat that nobody notices anyway, and I’d likely release more music as a result. . But nobody else really nails it so for now, it’s me. . Side-note: my fav person to collab with is @ashwallbridge . We think about music in absolutely the same way, and can both do every bit of the process. On balance, he’s the better engineer, and I’m probably a bit better at melodies, but together we’re a lethal fucking team. Except to see a shit load more records from us soon. 👊🏻 . Gaz x. . . . #garethemery #trancefamily #trancemusic #garuda #armada #production #dancemusic

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Photo via Rukes.com