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Having someone take credit for your work can be painstakingly difficult for a hard working producer. After all, you put in the hours to hone your talent, master your craft, and created that festival banger that is being dropped world-wide for a sea of people who don’t know your name. From the outside looking in, this seems like a horrible deal for the producer, but is it really so bad? Why do up and coming producers jump at the chance to produce for others?

Ghost producing in the EDM world is incredibly common. How could it not be? Super star DJs are expected to play every major festival in the world, take interviews, connect with fans, travel daily, work with their labels, management, and publicist and still are expected to make it into the studio to produce tracks non-stop. Realistically, we expect too much from them and that is where opportunity is created. Ghost producing for bigger artists, some of them label owners, has become an up and coming producer’s foot in the door. As Max from dutch trio, Dirtcaps, puts it, “I make a track for a big guy and the big guy says you get a fee, plus a big stage at a festival”.

Ghost producing for larger artists is beneficial for the producer in the long run. Joey Dale is a perfect example of a ghost producer turned successful artist starting with ghost production, earning an opportunity to ghost produce collabs with Hardwell and DVBBS, and eventually earning releases of his own on some of EDM’s biggest record labels. There are many reasons for up and coming producers to want a chance at ghost production. From earning collabs with larger artists, solo releases (Like Martin Garrix’s Animals with Spinnin), or playing at large music festivals, there are certainly some positive aspects of ghost producing.

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