In this article below, you will find more detailed information about schools for music production in atlanta. It also discusses ways you can become a music-industry professional and build relationships with other musicians.

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About georgia state university music production

Welcome to AIMM
Atlanta Institute of Music and Media has a uniquely effective approach to vocational training for musicians, audio production, and recording engineering.

Utilizing a well-rounded curriculum of classroom instruction, stage performances, computer labs, recording studios, and live clinics, AIMM offers an extensive education that no other Accredited Music College can match.

AIMM also offers the opportunity to become Pro Tools Certified.

If you have a passion for music and/or media, Atlanta Institute of Music and Media is the place for you. At AIMM, you truly learn from both sides of the studio.

AIMM is offering a hybrid Fall Quarter. Under social distancing guidelines, students can attend classes on-campus. Students who would prefer to take their classes online have that option, as well. This hybrid format may extend to Winter Quarter*

Music Production Degree Program Outline
AIU offers a professionally-focused Bachelor of Fine Arts degree in Music Production with a specialization in Audio Engineering and Sound Engineering that can provide students with an opportunity to develop specific skills needed to produce audio tracks for productions, such as motion pictures, television, music videos and recording.

In AIU’s Music Production Degree Program You Can Learn How To:

Demonstrate a thorough technical understanding of the three phases of the motion picture production process (preproduction, production and postproduction) and the contributions of audio specialists at each.

Generate and properly utilize industry-standard paperwork to track and control all three phases of motion picture production

Demonstrate technical competency with various industry-standard software, camera, grip and lighting and recording technologies

Demonstrate an understanding of on-set protocol/behavior and professionalism appropriate to field, studio and postproduction applications.

Contribute appropriately in a variety of positions to the production of motion picture projects

Develop audio projects from concept to finished product, on time and on budget, to a client’s specifications.

Organize and manage self-directed audio production projects

Atlanta Schools for Audio Production Degrees
Atlanta has a few schools for individuals who want to learn about audio production; however, programs are typically found under alternative titles while still containing relevant classes. This article looks at two schools in downtown Atlanta and another just 15 miles away that offer these programs at several levels. The article also includes a table of information about the schools, such as enrollment and tuition, which prospective students can refer to when weighing their options.

Those wanting to attend a public university in the heart of downtown Atlanta can find a bachelor’s program in music technology at Georgia State University.

Also located in the downtown vicinity, just two miles from the city center, is Georgia Institute of Technology. Georgia Tech may be an ideal option for students wanting to earn either undergraduate or graduate degrees in music technology, since it has bachelor’s, master’s and doctoral programs. It also offers a certificate program in music and allows undergraduates to minor in music.

In the suburb of Marietta, about 15 miles from downtown Atlanta, Chattahoochee Technical College offers an associate’s program in television production technology that features courses in audio production techniques.

Comparison of Schools

When choosing a school, individuals should look at many factors. The following table lists important facts about these three institutions in a format that makes it easy to compare them.

Georgia State University	Georgia Institute of Technology	Chattahoochee Technical College
School Type	Public, 4-year university	Public, 4-year institute	Public, 2-year technical college
Total Enrollment (Fall 2019)	35,041*	36,302*	10,184*
Campus Setting	Large city	Large city	Large suburb
Annual Tuition and Fees (2019-2020)	$9,286 in-state, $24,517 out-of-state*	$12,682 in-state, $33,794 out-of-state*	$3,120 in-state, $5,520 out-of-state*
% of First-Year Students Receiving Some Form of Aid (2018-2019)	93%*	69%*	75%*
Acceptance Rate (Fall 2019)	76%*	21%*	N/A- Open Admissions
Retention Rate (2018-2019)	82% full-time, 65% part-time*	97% full-time, 100% part-time*	63% full-time, 51% part-time*
Graduation Rate	55% (students who began in 2013)*	90% (students who began in 2013)*	22% (students who began in 2016)*

Georgia State University
GSU students can choose from more than 250 bachelor’s, master’s and doctorate degree programs in 100 disciplines. The university is comprised of 10 main schools and colleges that are further divided into departments and schools. The College of Arts and Sciences houses the School of Music, where students interested in audio production can earn bachelor’s degrees in music technology.

Bachelor of Music in Music Technology
In addition to applying to GSU, students must also apply to the School of Music in order to enter this bachelor’s program. All applicants must complete an audition. The music technology concentration comprises classes relevant to audio production; however, students must also complete 21 credits in music performance classes, 16 credits in theory/composition and 3 credits in music history/literature. The 33 credits of music technology courses include sound recording, audio production processes and audio technology. Students must also complete a practicum and internship to complete this program.

Georgia Institute of Technology
Georgia Tech is made up of six main colleges that are further divided into smaller schools and departments. The College of Design is divided into five schools, including the School of Music

Certificate in Fine Arts in Music
To earn this certificate, students must complete 13 credits; however, students should note that four credits of performance-related courses are required. Students also complete three required courses that cover the uses of electronic music systems, music composition and music principles. Students may also choose up to two credits of elective coursework; options may cover audio production computer programs or audio design.

Minor in Music Technology
Students can earn a minor in music technology by completing 18 credits. Students may learn about the history of electronic music systems, music recording and computer programs for audio production.

Bachelor of Science in Music Technology
This 4-year program instructs students on mastering current music recording technology and hands them the tools to innovate and create the technology of the future. Students are required to complete 122 hours of a curriculum that includes instruction on audio technology, recording and mixing. Also offered with this program are concentrations in both mechanical engineering in music technology or electrical and computer engineering.

Master of Science in Music Technology
This 2-year program requires students to have bachelor’s degrees in a field related to music, engineering or computers and prove their musical expertise. Students can choose between the project track and thesis track. In the project option, students must complete 36 credits of coursework and 12 credits of research leading to a project. Students in the thesis option complete 30 credits of coursework, 12 credits of research and six credits of thesis work. In both tracks, students may learn about the history of electronic computer music, music cognition and digital audio production.

Doctor of Philosophy in Music Technology
Students applying to this program must have master’s degrees in music technology or a related field and acceptable GRE scores. They must also submit portfolios and complete interviews in order to demonstrate their music technology skills. In this 4-year program, students spend the first two years completing classes that cover topics such as digital signal processing, music analysis and interactive music. The second year concludes with a comprehensive exam. In the third year, students may learn research methods and complete teaching practicums as well as qualifying papers, comprehensive exams and dissertation proposals. Students continue working on their dissertations in the fourth year and conclude the program by presenting and defending their dissertations.

Chattahoochee Technical College
CTC is part of the Technical College System of Georgia. It has two campuses in Marietta in addition to six other campuses around Georgia. The Mountain View campus in Marietta is where the associate’s program in television production technology is located.

Associate of Applied Science in Television Production Technology
This program is designed for those who want to obtain entry-level positions in the various divisions of television production, including audio production. Students must earn 65 credits to complete this program. All students must complete core classes that cover topics such as audio and film production processes, broadcast writing and TV graphics. Students also choose three electives, which may include an internship, mass communications and vector graphics.

20. Rob Cavallo

Associated Artists: Green Day, My Chemical Romance, Paramore

Signature Sound: A full-band attack loud, clean, resounding, and dramatic enough to fill your average arena, stadium or coliseum, and to make rock music still sound as big as rock music used to actually be.

Defining Work: Green Day’s American Idiot and My Chemical Romance’s The Black Parade, two of just a handful of total 21st-century alternative LPs legitimately sized to prime Pink Floyd or The Who proportions in terms of sound, stakes, and commercial reception.

Hidden Gem: “Music Again,” the stomping glam-pop opener to Adam Lambert’s 2009 debut album For Your Entertainment, penned by Darkness frontman Justin Hawkins, which should’ve been as big a hit as anything the classic rock revivalist wrote for his original band. — A.U.

19. Dr. Dre

Associated Artists: Eminem, 50 Cent, Eve

Signature Sound: Beginning at the end of the 20th century, Dre moved on from the warm soul samples and piercing synths of his ’90s-defining G-Funk sound for a sound that was more clipped, more tense and more nocturnal, with minimalist staccato hooks and drums that suggested fewer hands in the air and more hands locked on the steering wheel.

Defining Work: 50 Cent’s “In Da Club,” produced alongside fellow West Coast icon DJ Quick and longtime right hand man Mike Elizondo — which rode a bellowing faux-string hook that makes more use of the space in between notes than in its own simplistic melody, but still sounded mighty enough to feel like 50’s very own superhero theme music.

Hidden Gem: Dre didn’t get a lot of neo-soul work in, but he did contribute a highlight to Soulquarian singer-songwriter Bilal’s 1st Born Second debut with the strobe synths and bleating bass of “Fast Lane.” — A.U.

18. Greg Kurstin

Associated Artists: Adele, Kelly Clarkson, Sia

Signature Sound: Bombastic ballads, sing-along rock and guitar-forward pop, running the emotional gamut from a party girl’s cautionary tale (“Chandelier”) to a heartbroken pep talk (“Stronger”) — always with powerhouse pipes front and center.

Defining Work: He had us at “Hello.” OK, he had us a few years before that, but Adele’s 2015 blockbuster single was emotionally driven by Kurstin’s ever-building production, on which he played almost every instrument and is solely credited.

Hidden Gem: With six singles released from Harry Styles’ Fine Line, it’s criminal that the jangly, island-ready “Sunflower, Vol. 6” wasn’t one of them. This seamless marriage of rock and pop shows off exactly what Kurstin has been doing best for everyone from Taylor Swift to Foster the People for the past decade-plus. — K.A.

17. SOPHIE

Associated Artists: Charli XCX, Vince Staples, Let’s Eat Grandma

Signature Sound: Frenetic, scraping, metallic productions that made for electronic music as alien and uncomfortable as it was visceral and irresistible, giving 2010s pop a healthy dose of otherness and paving the way for the hyperpop movement at the turn of the ’20s.

Defining Work: QT’s “Hey QT,” a standard-setting co-production with fellow PC Music all-star A.G. Cook that folded bubblegum pop in on itself a couple times with brain-blasting synths, conspicuously pitched-up vocals and a chorus that could level the Chrysler building.

Hidden Gem: “9 (After Coachella),” in which SOPHIE’s alarm-clock percussion interrupts the dreamy post-fest haze of Cashmere Cat and Benny Blanco’s verses like the most back-to-reality hangover you’ve ever experienced. — A.U.

16. Swizz Beatz

Associated Artists: DMX, Beyoncé, The LOX

Signature Sound: Jagged synth hooks, massive treble, slapping drums, and more whistles than a Nets-Bucks playoff game, an attention-grabbing mix that’s kept Swizz a fixture in popular music from his radio days at the turn of the century up to his reinvention as a Verzuz co-curator this decade.

Defining Work: “Party Up (Up in Here),” the 2000 smash that gave DMX the biggest Hot 100 hit of his lifetime with a beat that detonated instantly on impact — sending shrapnel of horn-like synths, ticking drums, and those gleefully tasteless whistles hurtling in every possible direction.

Hidden Gem: “Ass on the Floor,” from Diddy’s Dirty Money collective’s 2011 album Last Train to Paris, a chart flop but reliable club killer for its Major Lazer-sampling beat, glacial synths, and shoutalong hook — provided by Swizz himself — “Them haters can’t tell you NOTHIN’!” — A.U.

15. Lil Jon

Associated Acts: Usher, Pitbull, Petey Pablo

Signature Sound: Crunk, a party-ready strain of Southern rap that Lil Jon rode to the top of the charts in the mid-2000s with the East Side Boyz — but his real skill as a producer was translating the aesthetic across the pop spectrum in a way that didn’t sound forced or jammed-in, whether it was for David Banner or Britney Spears.

Defining Work: “Yeah!,” Usher’s enormous 2004 single, in which hip-hop, pop, R&B and crunk collided into one immaculate dance floor filler in which Ludacris correctly points out that “Lil Jon got the beat that make your booty go SNAP”.

Hidden Gem: Snoop Dogg’s 2004 album R&G (Rhythm & Gangsta): The Masterpiece is best known for hits like “Drop It Like It’s Hot” and “Signs,” but “Step Yo Game Up,” a deep cut featuring Lil Jon and Trina, is pure, exuberant crunk that deserved just as much shine. — J. Lynch

14. Jay Joyce

Associated Artists: Eric Church, Brothers Osborne, Miranda Lambert

Signature Sound: Joyce is a chameleon who brings out the best in every artist he works with by bringing a fearless inventiveness that allows him to create a studio out of a restaurant, as he did for Eric Church’s Heart & Soul, or tackle new sonic and lyrical terrain on Little Big Town’s career-defining “Girl Crush.”

Defining Work: Eric Church’s third album, Chief, catapulted Church’s career with Joyce’s rock-edged production on the swampy “Creepin’,” the anthemic “Drink in My Hand” and nostalgic “Springsteen,” but it’s the bold confidence that Joyce brings to each track that sets the album apart.

Hidden Gem: “Martha Divine.” From it’s military rat-a-tat opening to its propulsive guitar-driven beat that never stops, this creepy, yet funny, murder ballad from Ashley McBryde is a non-stop roller coaster ride that can’t help but invoke a smile — despite the subject matter. — M.N.

13. Mark Ronson

Associated Artists: Amy Winehouse, Lily Allen, Bruno Mars

Signature Sound: Brassy soul and cracking hip-hop drums, with a little bit of ‘60s girl group flair.

Defining Work: Technically the Bruno Mars-fronted “Uptown Funk!,” with its 14-week run atop the Hot 100 and its permanent slot in a lifetime of wedding-DJ playlists — but really, could it be anything other than his instantly iconic, soul-stirring work with the late Amy Winehouse on Back to Black?

Hidden Gem: Nikka Costa’s 2001 funk jam “Everybody Got Their Something,” one of his earliest productions — and a spare, low-key trial run of his retro fixations. — N.F.

12. Diplo

Signature Sound: With samples culled from crate-digging through deep cuts from South America, Africa and the Caribbean, rendered into textural productions occupying a space between playful, raunchy and often boundary pushing, Diplo has helmed dozens of hits across multiple genres over the past two decades. (In the past year, Diplo has been accused in lawsuits of the dissemination of “revenge porn” by one plaintiff and sexual misconduct by another — he has refuted both claims, and in the latter case, the woman has withdrawn her lawsuit.)

Defining Work: M.I.A’s “Paper Planes,” in which Diplo layered up a sample of The Clash’s 1982 anthem “Straight to Hell” with shuffling beats, the sound of gunshots and one perfectly placed cash register “cha-ching!” and used the indelibly hyphy amalgamation to thrust M.I.A., and himself, into mainstream consciousness.

Hidden Gem: Pabllo Vittar’s 2017 single “Então Vai,” on which the Brazilian drag queen (whom Diplo kisses in the song’s video) sings over a breezy, beachy production rendered from guitar and flute that expands joyfully with the addition of a horn section. It would have been right at home on the last Major Lazer album. — K.B.

11. Mustard

Associated Acts: YG, Roddy Ricch, Ella Mai

Signature Sound: One of the most instantly identifiable producers of 21st century hip-hop, Mustard loves to open a track with a minimalist, descending bass line before deploying 808 kicks, background chants and chiming melodic counterpoints.

Defining Work: Building on what he started with Tyga’s “Rack City,” Mustard perfected his confident production touch on YG’s spacious, hard-hitting “My N—a” alongside Jeezy and Rich Homie Quan.

Hidden Gem: The rumbling synths and Exorcist-adjacent xylophone riff Mustard lent to Tyga’s “Pop It” should’ve turned more heads back in 2011. — J. Lynch

10. Tainy

Associated Artists: Bad Bunny, J Balvin, Wisin & Yandel

Signature Sound: The ever-experimental Tainy has become Latin music’s top producer today by blending old-school reggaetón beats with contemporary, mainstream elements from trap, pop and even rock, from Neptunes-inspired harmonies to Timbaland percussion.

Defining Work: Cardi B, J Balvin and Bad Bunny’s bilingual version of “I Like It’ topped the Hot 100 by staying true to its boogaloo roots while exploding into contemporary rap and trap, and made Tainy a crossover hitmaker to watch.

Hidden Gem: Wisin & Yandel’s “Pam Pam,” an early Tainy hit from 2006, sampled the Lambada theme to become a precursor for a fusion sound. — L.C.

9. Jack Antonoff

Signature Sound: Antonoff’s skill has less to do with technique than trust as a collaborator: since forging his own path post-Fun., he has helped superstars solve the puzzle of the next phase of their careers, earning critical and commercial acclaim for both sonic change-ups (like Taylor Swift’s pivots, first to pop, and then to alt-folk) and fine-tuned visions (like Lorde’s post-“Royals” maturation).

Defining Work: Although other projects included bigger radio hits, Lana Del Rey’s 2019 LP Norman F–king Rockwell may endure as Antonoff’s biggest production accomplishment, a distillation of the pop artist’s strengths as a songwriting and vocalist that earned her the best reviews, and first major Grammy hoopla, of her career.

Hidden Gem: “Julianna Calm Down,” from The Chicks’ underrated 2020 studio return Gaslighter, carries an affecting message that’s highlighted by Antonoff’s unobtrusive production, flecked with viola, violin, banjo and organ. — J. Lipshutz

8. Noah “40” Shebib

Associated Acts: Drake, Lil Wayne, PartyNextDoor

Signature Sound: In 2009, 40 became an architect for the “underwater sound” he mastered on Drake’s magnum opus So Far Gone. The project’s first three songs (“Lust For Life,” “Houstatlantavegas,” and “Successful”) were a gateway for countless producers and rappers to experiment in hopes of achieving the Drake Effect on their respective projects.

Defining Work: So Far Gone was 40’s stepping-stone, and in 2011, he bloomed into a perennial producer when he masterminded Drake’s sophomore jewel Take Care. His signature sound was on steroids, as tracks such as “Over My Dead Body,” “Marvin’s Room,” and “Crew Love” deftly straddled the lines of hip-hop and R&B.

Hidden Gem: 40 added a big, lovely gold star on his Hall of Fame resume when he whipped up Beyoncé’s “Mine” in 2013. He went Scorsese mode and scored an ethereal gem powered by Bey’s relationship strife and Drizzy’s guest appearance. — C.L.

7. Just Blaze

Associated Artists: Cam’ron, Jay-Z, Freeway

Signature Sound: Pitched-up vocal samples with sweeping strings, roaring horns and crashing drums, setting the standard for magisterial hip-hop for the past 20 years.

Defining Work: The racing beats, rising synths and quivering vocal sample of the epic “What We Do,” triangulating the street-hustle rhymes of Freeway, Jay-Z and Beanie Sigel into Roc-a-Fella’s very own “Across 110th Street.”

Hidden Gem: Young Gunz’s instant party-starter “Friday Night” missed the Hot 100, but remains a weekend classic — and instituted its producer as something of a modern-day Grandmaster Flash with its “Superrrappin”-updating hook: “It wasn’t long ‘fore everybody knew/ JUST BLAZE was on the beatbox!” — A.U.

6. Kanye West

Associated Artists: Jay-Z, Common, Pusha T

Signature Sound: For most of the ’00s, West made pitched-up soul samples over knocking beats one of the default sounds of popular music — then he embraced Auto-Tune at decade’s end, got really into soundscapes that split the difference between ’90s industrial and Chicago drill, and never looked back.

Defining Work: A pair of classics produced for Jay-Z’s The Blueprint, “Izzo (H.O.V.A.)” and “Takeover,” more or less plot the paths for West’s respective next two decades — the former, a triumphant celebration over a joyous Jackson 5 sample, the latter, a growling missive launched from a menacing, drunken Doors lift.

Hidden Gem: As the final West-produced G.O.O.D. Music release from his infamous Wyoming period of 2018, R&B singer-songwriter Teyana Taylor’s blissed-out mini-LP KTSE had a messy rollout and an underwhelming chart showing, but was arguably the most refined and complete of the seven-track sets — and the most rewarding to return to. — A.U.

5. Mike Will Made-It

Associated Acts: Future, Rae Sremmurd, Miley Cyrus

Signature Sound: Just like his glitched-out producer tag, Mike Will Made-It loves twisting the familiar into something far weirder and more rewarding. With muffled vocal loops, vaguely robotic synths and knocking beats that shake you like a mildly menacing 5.0 on the Richter scale, the ATL super-producer has helmed everything from club-rattling hip-hop to bedroom R&B to thumping pop anthems since his early ’10s breakthrough.

Defining Work: A decade after Gucci Mane helped him get his foot in the industry’s door, Mike Will took Gucci to the top on Rae Sremmurd’s Hot 100 No. 1 smash “Black Beatles,” which beautifully paired Sremmurd’s off-kilter melodicism with Mike Will’s affinity for vaguely menacing, oddball production flourishes that subtly but surely lodge into your brain.

Hidden Gem: “Drinks on Us” — an all-star collab boasting Future, The Weeknd and Swae Lee — is a zonked-out, skittering jam that conjures up that post-midnight moment when you should probably go home, but order another round instead. — J. Lynch

4. The-Dream & Tricky Stewart

Associated Artists: Rihanna, Justin Bieber, Beyoncé

Signature Sound: If there were any walls still separating pop and R&B in the late ’00s, you wouldn’t have found them in The-Dream and Tricky Stewart’s chart-conquering jams, which fused the two genres at an atomic level with zooming keys, gentle-but-insistent percussion, expansive soundscapes and the era’s most lethal toplines.

Defining Work: “Umbrella,” which might’ve swiped its opening drum loop from a GarageBand preset, but whose slamming beat, synth showers and bass bombs were gigantic-sounding enough to cement Rihanna’s presence as an emergent A-list superstar — basically before she even came on the track.

Hidden Gem: Mariah Carey’s “Up Out My Face,” whose single version featuring Nicki Minaj somehow just barely scraped the Hot 100 at No. 100, but whose playful piano bounce and clapping beat provided the perfect backdrop for the eventual Idol frenemies to find common ground in dismissing trifling exes-to-be. — A.U.

3. Timbaland

Associated Artists: Aaliyah, Missy Elliott, Justin Timberlake

Signature Sound: Fourth-dimension funk, with rattling drums, squelching bass, unrecognizable and disembodied vocal hooks that somehow all added up to productions whose obvious, vanguard-setting futurism didn’t keep them from being properly appreciated as radio and club smashes in their own time.

Defining Work: Miss E… So Addictive, his and musical soulmate Missy Elliott’s all-time full-length masterpiece, and a collection that’s spent 20 years sounding wildly ahead of not only its own time, but whatever time you happen to be currently listening in.

Hidden Gem: Timbaland helmed Petey Pablo’s most obvious classic in 2001’s “Raise Up,” but he also gifted him with 2005’s even wilder “Get on Dis Motorcycle,” an almost unconscionably cacophonous banger featuring Bubba Sparxxx that still connects on a chest-punching level. — A.U.

2. Pharrell Williams / The Neptunes

Associated Artists: The Clipse, Ludacris, Snoop Dogg

Signature Sound: Liquid guitars, clanging percussion, and the most intoxicating synth tones you’ve ever heard — usually kicked off with a four-stab count-off, and often punctuated with a keyboard sound like a dying firework — which played as big a part as anything in hip-hop taking complete control of popular music in the ’00s.

Defining Work: Take your pick between Nelly’s “Hot in Herre” and The Clipse’s “Grindin’,” two unassailable 2002 classics that showed off Pharrell Williams and Chad Hugo’s staggering simultaneous aptitude for pop-conquering maximalism and streets-locking minimalism, respectively.

Hidden Gem: Slim Thug and Bun B’s “I Ain’t Heard of That,” an addictive shuffle built around its layered percussion, with no more synth whooshes than absolutely necessary — a signature beat for 99% of hip-hop producers, but just one more MTV2 classic to throw on the pile for the mid-’00s Neptunes. — A.U.

1. Max Martin

Associated Acts: Britney Spears, Ariana Grande, The Weeknd

Signature Sound: Pop — the hooks we crave, the choruses we want to belt out, from the stars that have defined the mainstream over the past two decades. The Swedish producer born Karl Sandberg helped mold the teenybopper explosion at the turn of the century and then never let up, giving us hit after hit through different permutations of popular music, leading the way for all of popular music with zero end in sight. (Case in point: 20 years after *NSYNC performed a Max Martin song at the Super Bowl halftime show in 2001, The Weeknd highlighted his own Super Bowl showcase with a smattering of Martin-helmed hits.)

Defining Work: Taylor Swift’s 1989, one of the biggest albums of the 2010s, convincingly finishing the job that Martin had started with Swift on the Red singles “We Are Never Ever Getting Back Together” and “I Knew You Were Trouble” — turning a country superstar into the biggest pop artist on the planet. With three Hot 100 No. 1 singles (all co-produced by Martin) and an album of the year Grammy, 1989 was a monumental achievement for all achieved, and highlighted Martin’s run of dominance.