To answer this post, I believe there needs to be statements about two subtopics that arise from this question:
1. Professionalism from an analytic standpoint.
2. The relativity of what is defined as professional.
I don't want to sound pedantic, however, I believe if these two analyses are touched upon, it will ultimately bring forth a solution. Here it goes:
Professionalism from an analytic standpoint.
This envelopes the ability for an individual to possess the knowledge and wherewithal to effectively utilise technical studio components. Essentially, professionalism, in your case, may be equated with an advanced knowledge of studio engineering and understanding the environment in which you operate as a producer/engineer.
A pertinent understanding of different types of reverb, like plate reverb (as an example) and the underlying technical mathematics involved in different forms of reverb. For example some reverb is actually a more sophisticated delay, as Steinberg does on some of its Reverb plug-ins. This is done to create an advantageous solution in regards to allocation of system resources. Other programs use different implementations of mathematical representation that offer a different type of reverb, some say more realistic, albeit with a different methodology.
This reverb example I gave you, if you are rolling your eyes in boredom, is to show you that you need to delve into a greater understanding of the technology involved in your studio. Do you know why different ratios of compression are used on the recorded voice than on a distorted guitar? This question is simply trying to cement my point that many of the producers you hear, like Irv Gotti, have very capable engineers that have studied the art of recording for years, and have an education in the utilisation of their studio technology. These engineers rarely get credit for their work, but their knowledge helps the producer make a better track.
As a producer and arranger, I suppose, are you aware that most pop/hip-hop tracks have only 5-6 instruments max in their instrumental arrangement? The human brain can not decipher more instruments and the production would fall by the wayside in a muddy mix that is not palpable to a mainstream listener. This is further knowledge that can help you in getting that "properly" produced track.
I think that an understanding of the technical aspects of your hardware or software solutions, and why things process or make a certain outcome a specific, would help you gain a greater understanding in your journey of becoming a better producer.
There are many brilliant informative resources on what I mentioned. Go to
Sound On Sound Magazine for some of their infomative resources. If that online publication contains is too much studio and technical jargon for you, other online publications, like Electronic Musician, or Mix magazine may help you. A query on such resources could be done on a search engine like Google.
The Relativity of Professionalism
Something that sounded "pro" in the eighties, may not sound so now, and vice versa (if time travel were existent
) so it is possible to have a relativist standpoint on the idea of professionalism. As someone earlier stated, at its most cursory level, a professional beat is one that is sold and used by another. That is essentially what it is, but I think it is that coupled with my earlier comments of an understanding of how to employ the functionality of your studio at its most efficient level through technical understanding. This will enable you to know why your mix doesn't sound good, why you would cut bass rollof and use a highpass filter and low-pass filter on a vocal, or how you should arrange the instrumentals of your beat to help keep the listener more involved in it.
Just A Comment on Mastering
I've seen and heard many mixes mastered by individuals that were hired for "major label" mastering sessions for first-rate artists and who, to pay the rent, also do mastering jobs for individuals with enough money to pay their rates. In any case, mastering will help take care of sonic problems like phase cancellation, compression and excitation of certain frequencies. Following the old addage: "You can't polish a turd," many mixes that were brought to this mastering house, by people that had the money, but didn't have enough engineering or studio expertise, would realise that mastering does not do much if the initial mix and song don't make the cut. Think of mastering as a secondary process that can enhance well-engineered and produced songs, but can not fix a bad mix or production.
Good luck in what you are doing.
Sincerely,
God
