음악 제작 및 녹음 시장 : 점유율 분석, 업계 동향 및 통계, 성장 예측(2026-2031년)

According to Mordor Intelligence, the music production and Recording market size is projected to expand from USD 67.52 billion in 2025 and USD 72.43 billion in 2026 to USD 94.76 billion by 2031, registering a CAGR of 5.52% between 2026 to 2031.

This report is Segmented by Production Stage (Pre-Production and Creative Development, Audio Recording and Tracking, and More), Application (Commercial Music Production, Gaming Audio Content, and More), Formats (Digital Recording, Physical, and More), End User (Individual Consumers, and Enterprises and Professional Users), and Geography. The Market Forecasts are Provided in Terms of Value (USD).

Global Music Production and Recording Market Trends and Insights

AI-Assisted Composition, Editing, and Mixing is Reshaping Core Production Workflows

AI tools are now influencing composition, editing, mixing, and final delivery across the music production and recording market. This shift matters because it reduces manual effort in tasks that once required deeper technical experience and more studio time. Avid reflected this direction in May 2026 when Pro Tools 2026.4 added native MPEG-H support and Dolby Atmos Headphone Personalization in partnership with Fraunhofer IIS, which shows that advanced workflow features are moving into mainstream professional tools. Apple followed the same path when it launched Logic Pro 12 inside Apple Creator Studio in January 2026 with AI-powered Chord ID and the Synth Player Session tool, which widened access for entry and mid-tier creators without removing professional depth. The music production and recording market is, therefore, seeing AI move from an optional enhancement to a built-in layer of the production stack.

Rising Independent Creator Economy is Expanding Demand Across The Full Tool Chain

The rise of self-releasing artists is broadening demand across the music production and recording market, especially for affordable tools that still deliver professional output. Spotify stated in its Loud and Clear 2026 report that it paid the music industry more than USD 11 billion in 2025, and more than 13,800 artists each earned at least USD 100,000 annually from Spotify alone, which shows that independent careers are gaining real economic scale. That income pattern supports stronger spending on software, interfaces, monitors, and collaboration tools rather than only low-cost entry products. It also narrows the line between hobbyist creation and sustained commercial activity, which lifts demand across multiple workflow stages. The music production and recording market benefits because a larger share of users now sees production spending as part of an income-generating path rather than a one-time personal expense.

AI Content Rights Uncertainty is Slowing Enterprise Adoption

Copyright uncertainty around AI-generated and AI-trained music tools is acting as a clear brake on the music production and recording market. The US Copyright Office stated in its 2025 Part 3 report on generative AI training that licensing markets should be allowed to develop, while also noting that voluntary licensing is not always feasible, which leaves commercial users with limited clarity on how to proceed. That uncertainty affects broadcasters, licensors, agencies, and larger studios more than casual users because enterprise buyers face heavier legal and reputational exposure. As a result, some high-value customers are likely to move more carefully on procurement even when the productivity upside is clear. The music production and recording market therefore faces a near-term limit on AI adoption speed in the part of the user base that usually supports higher average revenue per account.

Other drivers and restraints analyzed in the detailed report include:

1. Subscription-Based Music Creation Tools are Lowering The Professional Access Barrier
2. Remote Collaboration Across Distributed Production Teams is Creating Lasting Infrastructure Demand
3. Piracy and Unlicensed Software Use Continue to Limit Revenue Capture

For complete list of drivers and restraints, kindly check the Table Of Contents.

Segment Analysis

Audio recording and tracking held 31.11% share in 2025, which kept it as the largest production stage in the music production and recording market because every downstream process still depends on capture quality and stable DAW session foundations. This stage continues to benefit from demand for microphones, interfaces, preamps, and core recording software, even as more creators shift away from large commercial studios. Pre-production and creative development remain smaller in revenue terms, but they are gaining importance because early-stage idea creation is becoming faster and more iterative. That shift supports tools that help users sketch arrangements, test harmonies, and move quickly from idea to session without extending studio setup time.

Audio mixing and sound processing is projected to grow at an 11.32% CAGR through 2031, giving it the fastest expansion within the production stage view of the music production and recording market. Avid strengthened this part of the workflow in May 2026 with Pro Tools 2026.4 and native MPEG-H integration developed with Fraunhofer IIS, which improved support for immersive and object-based delivery. The faster growth rate reflects how mixing is now where automation, immersive delivery, and software-driven enhancement are converging most directly. The music production and recording industry is also seeing this stage pull in a wider user base, because AI-assisted tools reduce the time and skill once needed for tasks such as leveling, spatial placement, and corrective processing.

Commercial music production accounted for 51.73% of the music production and recording market size in 2025, which shows that the largest demand pool still comes from users producing for direct music release, catalog development, and recurring commercial output. This segment continues to absorb spending on full-featured software, plugin suites, monitoring systems, and interface upgrades because reliability and delivery quality remain essential. Film and television soundtracks and advertising and brand audio also support demand, since both rely on controlled workflows, revision capacity, and consistent post-production standards. Other applications add useful volume to the broader base, including podcasting, sports audio, and live-related production tasks that increasingly overlap with music workflows.

Gaming audio content is projected to grow at an 11.63% CAGR through 2031, making it the fastest-growing application in the music production and recording market. That rise reflects stronger demand for immersive sound design, adaptive audio, and higher production budgets in interactive media. Apple reinforced cross-workflow relevance when Logic Pro updates in 2025 expanded production capabilities that support more flexible beat making and editing use cases across modern content formats. The music production and recording industry is therefore seeing game-related workflows become a more important pull factor for advanced editing, mixing, and delivery features. This creates room for vendors that can serve both traditional music release work and interactive audio creation inside one environment.

Complete Report Scope:

• By Production Stage
  • Pre-Production and Creative Development
  • Audio Recording and Tracking
  • Audio Mixing and Sound Processing
  • Audio Mastering and Editing
  • Post-Production Support
• By Application
  • Commercial Music Production
  • Film and Television Soundtracks
  • Advertising and Brand Audio
  • Gaming Audio Content
  • Other Applications
• By Formats
  • Digital Recordings
  • Physical Recordings
  • Hybrid Releases
  • Special Edition and Collector Formats
  • Other Formats
• By End User
  • Individual Consumers
  • Enterprises and Professional Users
• By Geography
  • North America
    • United States
    • Canada
    • Mexico
  • South America
    • Brazil
    • Argentina
    • Chile
    • Rest of South America
  • Europe
    • Germany
    • United Kingdom
    • France
    • Italy
    • Spain
    • Rest of Europe
  • Asia-Pacific
    • China
    • Japan
    • India
    • South Korea
    • Australia
    • Rest of Asia-Pacific
  • Middle East
    • Saudi Arabia
    • United Arab Emirates
    • Qatar
    • Rest of Middle East
  • Africa
    • South Africa
    • Egypt
    • Nigeria
    • Rest of Africa

Geography Analysis

North America held 35.64% share in 2025, which made it the largest regional block in the music production and recording market. The region benefits from a dense mix of major labels, software developers, post-production facilities, and premium studio hardware ecosystems. It also remains important because many global workflow standards are set by companies with a strong North American presence, including Apple, Avid, and Universal Audio. The region is likely to keep its leadership position through the forecast period as AI-led upgrades, subscription-based access, and creator monetization continue to reinforce demand across professional and prosumer users.

Europe remained a core region within the music production and recording market in 2025 because it combines a mature infrastructure base with strong specialized demand in electronic music, broadcast production, and studio software. The region benefits from established production centers in the United Kingdom, Germany, and the Nordic countries, where software and hardware adoption has stayed structurally strong. Europe also matters because product development and standards-focused workflow innovation continue to have a visible presence there. The US Copyright Office discussion on licensing feasibility in the AI training debate shows why regulatory clarity remains important for vendors serving commercial users across advanced markets, including Europe. As a result, Europe supports stable demand, but it also places more weight on compliance, rights management, and platform transparency than some emerging regions do.

Asia-Pacific is projected to grow at a 10.41% CAGR through 2031, making it the fastest-growing region in the music production and recording market. This growth is supported by K-pop's scaled production model, a wider independent artist base in India and Southeast Asia, and the continued coexistence of physical and digital demand in Japan. The Recording Industry Association of Japan reported that Japan's full-year record market reached JPY 398.8 billion in 2025, which the input converted to approximately USD 2.66 billion, while streaming subscriptions rose to JPY 137.7 billion, which the input converted to approximately USD 919 million. That combination shows why the region remains commercially varied rather than dependent on one release model. South America and the Middle East and Africa add a different layer to the music production and recording market because creator adoption is rising faster than infrastructure depth, which increases demand for affordable tools, lighter cloud workflows, and better monetization pathways.

1. Avid Technology, Inc.
2. Adobe Inc.
3. Apple Inc.
4. Ableton AG
5. Steinberg Media Technologies GmbH
6. Native Instruments GmbH
7. PreSonus Audio Electronics, Inc.
8. Focusrite plc
9. Yamaha Corporation
10. Roland Corporation
11. Shure Incorporated
12. Sennheiser electronic GmbH & Co. KG
13. Universal Audio, Inc.
14. Waves Audio Ltd.
15. IK Multimedia Production Srl
16. BandLab Technologies Pte. Ltd.
17. Splice, Inc.
18. LANDR Audio Inc.
19. FL Studio, a product of Image-Line Software
20. Sony Corporation
21. Samsung Electronics Co., Ltd.

Additional Benefits:

• The market estimate (ME) sheet in Excel format
• 3 months of analyst support

TABLE OF CONTENTS

1 INTRODUCTION

• 1.1 Study Assumptions and Market Definition
• 1.2 Scope of the Study

2 RESEARCH METHODOLOGY

3 EXECUTIVE SUMMARY

4 MARKET LANDSCAPE

• 4.1 Market Overview
• 4.2 Market Drivers
  • 4.2.1 Rising Independent Creator Economy and Self-Production Workflows
  • 4.2.2 Subscription-Based Music Creation Tool Adoption
  • 4.2.3 AI-Assisted Composition, Editing, and Mixing Workflows
  • 4.2.4 Remote Collaboration Across Distributed Production Teams
  • 4.2.5 Spatial Audio and Immersive Music Delivery Requirements
  • 4.2.6 Creator Monetization Through Short-Form Video, Gaming, and Podcast Supply Chains
• 4.3 Market Restraints
  • 4.3.1 Piracy and Unlicensed Software Use Pressure Monetization
  • 4.3.2 Fragmented Toolchains Increase Switching and Training Costs
  • 4.3.3 Professional Studio Capex Remains High for Small Producers
  • 4.3.4 AI Content Rights Uncertainty Slows Enterprise Adoption
• 4.4 Industry Value Chain Analysis
• 4.5 Impact of Macroeconomic Factors on the Market
• 4.6 Regulatory Landscape
• 4.7 Technological Outlook
• 4.8 Porter's Five Forces Analysis
  • 4.8.1 Bargaining Power of Suppliers
  • 4.8.2 Bargaining Power of Buyers
  • 4.8.3 Threat of New Entrants
  • 4.8.4 Threat of Substitutes
  • 4.8.5 Competitive Rivalry

5 MARKET SIZE AND GROWTH FORECASTS (VALUE)

• 5.1 By Production Stage
  • 5.1.1 Pre-Production and Creative Development
  • 5.1.2 Audio Recording and Tracking
  • 5.1.3 Audio Mixing and Sound Processing
  • 5.1.4 Audio Mastering and Editing
  • 5.1.5 Post-Production Support
• 5.2 By Application
  • 5.2.1 Commercial Music Production
  • 5.2.2 Film and Television Soundtracks
  • 5.2.3 Advertising and Brand Audio
  • 5.2.4 Gaming Audio Content
  • 5.2.5 Other Applications
• 5.3 By Formats
  • 5.3.1 Digital Recordings
  • 5.3.2 Physical Recordings
  • 5.3.3 Hybrid Releases
  • 5.3.4 Special Edition and Collector Formats
  • 5.3.5 Other Formats
• 5.4 By End User
  • 5.4.1 Individual Consumers
  • 5.4.2 Enterprises and Professional Users
• 5.5 By Geography
  • 5.5.1 North America
    • 5.5.1.1 United States
    • 5.5.1.2 Canada
    • 5.5.1.3 Mexico
  • 5.5.2 South America
    • 5.5.2.1 Brazil
    • 5.5.2.2 Argentina
    • 5.5.2.3 Chile
    • 5.5.2.4 Rest of South America
  • 5.5.3 Europe
    • 5.5.3.1 Germany
    • 5.5.3.2 United Kingdom
    • 5.5.3.3 France
    • 5.5.3.4 Italy
    • 5.5.3.5 Spain
    • 5.5.3.6 Rest of Europe
  • 5.5.4 Asia-Pacific
    • 5.5.4.1 China
    • 5.5.4.2 Japan
    • 5.5.4.3 India
    • 5.5.4.4 South Korea
    • 5.5.4.5 Australia
    • 5.5.4.6 Rest of Asia-Pacific
  • 5.5.5 Middle East
    • 5.5.5.1 Saudi Arabia
    • 5.5.5.2 United Arab Emirates
    • 5.5.5.3 Qatar
    • 5.5.5.4 Rest of Middle East
  • 5.5.6 Africa
    • 5.5.6.1 South Africa
    • 5.5.6.2 Egypt
    • 5.5.6.3 Nigeria
    • 5.5.6.4 Rest of Africa

6 COMPETITIVE LANDSCAPE

• 6.1 Market Concentration
• 6.2 Strategic Moves
• 6.3 Vendor Positioning Analysis
• 6.4 Company Profiles (includes Global Level Overview, Market Level Overview, Core Segments, Financials as available, Strategic Information, Products and Services, Recent Developments)
  • 6.4.1 Avid Technology, Inc.
  • 6.4.2 Adobe Inc.
  • 6.4.3 Apple Inc.
  • 6.4.4 Ableton AG
  • 6.4.5 Steinberg Media Technologies GmbH
  • 6.4.6 Native Instruments GmbH
  • 6.4.7 PreSonus Audio Electronics, Inc.
  • 6.4.8 Focusrite plc
  • 6.4.9 Yamaha Corporation
  • 6.4.10 Roland Corporation
  • 6.4.11 Shure Incorporated
  • 6.4.12 Sennheiser electronic GmbH & Co. KG
  • 6.4.13 Universal Audio, Inc.
  • 6.4.14 Waves Audio Ltd.
  • 6.4.15 IK Multimedia Production Srl
  • 6.4.16 BandLab Technologies Pte. Ltd.
  • 6.4.17 Splice, Inc.
  • 6.4.18 LANDR Audio Inc.
  • 6.4.19 FL Studio, a product of Image-Line Software
  • 6.4.20 Sony Corporation
  • 6.4.21 Samsung Electronics Co., Ltd.

7 MARKET OPPORTUNITIES AND FUTURE OUTLOOK

• 7.1 White-Space and Unmet-Need Assessment