Since writing Britney Spears’ universally recognizable  “Hit Me Baby One More Time,” it’s only gone uphill for Max Martin. From the Backstreet Boys to Ariana Grande, few producers have achieved the level of influence of this Swedish record producer and songwriter. In addition to his own productions, he has mentored many major producers, meaning his DNA is all over pop music. Want to know how to find success as a pop producer? Stick around as we explore the Max Martin signature sound, and that of his budding successors.

Who Is Max Martin?

Billboard reports that Martin has “25 Hot 100 No. 1s — the most for any producer in the Hot 100’s 67-year history.” He’s worked with Britney Spears, P!nk, The Weeknd, Taylor Swift, Katy Perry, Kelly Clarkson, Justin Timberlake, and more.

Taylor Swift’s “Life of A Showgirl,” which debuted with the largest sales week for an album since tracking began, is Martin’s latest success. Along with producer Shellback (who Max Martin mentored), the trio wrote and produced the entire 12-track album.

Max Martin’s Music Production Formula: The Sauce

When it comes to songwriting, a great melody is Martin’s first priority. Martin said, “It’s very important to have a great melody. If you have one, build your song around that. Don’t make it too complicated.” Create a melody that is simple and reoccurs throughout the song, and don’t take too long to get to the chorus.

Martin traditionally features drums, bass, and piano in his tracks. The percussive element is really important here, so try using hits between the main kick and snare pattern to make your track more interesting. Amp up the drums for the chorus. Also, add reverb and delay on your vocals. Add harmonies to the chorus and pan vocals left, right, and center for a fuller sound. Finally, try ad libs in the second chorus to change things up.

At this point, you can start considering lyrics. Whether you are working with a songwriter or an artist that writes their own songs, Martin personalizes his productions. This is essential to making your audience feel connected to the music, rather than feeling like they’re listening to a song they’ve heard a million times.

If the track doesn’t make you want to stomp for feet or nod along to the beat, there’s more work to be done.

Remember genres are more fluid than ever. Antonoff is a testament to this; he is credited as a writer and producer on 11 of 12 tracks on Kendrick Lamar’s GNX.

Taking notes from him, incorporate a hi-hat pattern you might hear in a trap song or a clave pattern from Cuban music to bring something new to what your musical idols have done.

Pop Producer Spotlight: Daniel Nigro

It’s been said that if you’re on trend, you’re already behind. To know where pop music is going, it’s also important to look at the producers behind the next generation of pop stars, rather than just current heavyweights.  Behind Olivia Rodrigo’s hit “Driver’s License,” Chapell Roan’s “Pink Pony Club,” and Renee Rapp’s “That’s So Funny,” is Daniel Nigro.

Nigro recommends focusing on making “four good songs in a year” rather than falling into the internet speed trap of writing a song in an hour. A good trick to try out from him is changing the tempo in the middle of the song. In this video he demonstrates this technique with Rodrigo’s “Vampire.” The duo used multiple subtle tempo changes to get the arc of the song perfect.

“Vampire” was recorded using C12A AKG and  Neuman M49V microphones (all of our studio rooms feature a Neuman M49V ) to capture the live piano. The song features minimal instrumentation including guitar, bass, and a few synths. It is one of Rodrigo’s biggest hits.

Looking ahead, Nigro’s productions show that pop music is experiencing a pop punk revival, ballads ae back, and indie pop is becoming mainstream. How will you incorporate these things into your productions?

If you aspire to join the ranks of Max Martin, Jack Antonoff, and Daniel Nigro, a studio internship is a good way to start. It’s exactly how our founder got his start in the music business.