McLaren's hybrid halo car took its first bow in prototype form at the Paris Motor Show to mark the 20th anniversary of the brand's iconic F1 hypercar. Going toe to toe with hybrid machines from Porsche and Ferrari as a relatively new brand was never going to be easy, but McLaren delivered a 903-horsepower carbon monocoque knockout with advanced active aero and a high-9-second quarter-mile time.

The monster Macca's swooping curvaceous body was designed by the legendary Frank Stephenson, who says he took inspiration from nature while penning the car's look. A smidge of **biomimicry** found its way into the P1 by way of a Caribbean sailfish Stephenson saw on vacation.

The sailfish, more specifically *istiophorus platypterus*, is the fastest waterbound animal on the planet, capable of swimming up to 68 miles per hour. The long hydrodynamic shape slices through the water with ease, and it can fold its dorsal fin for an extra burst of speed. These fish can get up to 11 feet long and weigh as much as 1,500 pounds, making their rapid swim all the more impressive.

The story goes that Stephenson saw one hanging on the wall of the resort he was staying in and admired the shape. The head of the resort regaled Stephenson with the tale of the catch, commenting that he'd been proud of his ability to reel it in, considering its speed. On his way back to the UK, Stephenson stopped off to buy a sailfish of his own to have stuffed, mounted, and shipped to Woking for fluid dynamics research. He later had it hung on his office wall.

It makes sense that he would look at every single day at the fish that had inspired his magnum opus. Thus, the P1 was born.

### Frank's fish
Stephenson told the BBC in a 2014 interview that he had the fish sent to McLaren's aerodynamics department for a full laser scan to try to work out nature's hydrodynamic intricacies and speed secrets. **Sailfish scales**, as it turns out, generate vortices of turbulence that let a fish essentially develop a pocket of air around itself to reduce its hydrodynamic friction. Stephenson had an artificial replica of the scaly texture applied to the P1's engine inlet ducts to help it suck in a higher volume of air more efficiently. The McLaren's 727-horsepower twin-turbo V8 needs as much air as it can get, of course.

Stephenson also said that the scans uncovered a tricky little pair of foil-shaped bumps on its body right in front of its tail, helping to smooth out a turbulent flow of water over the fin for maximum forward thrust efficiency. In an effort to smooth out rough air ahead of the P1's windows, keeping buffeting and wind noise to a minimum, he modeled up a few of these bumps and installed them on the support arms for the exterior mirrors. The result was better than expected.

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In another instance of nature inspiring the car's design, he has also said that the P1's shape was somewhat inspired by a running cheetah. He was going for an organic-looking shape, essentially vacuum sealing the bodywork around the important components of the car, in the way a cheetah's skin stretched tightly over all of the muscle and sinew. Every piece of the P1 is shaped with speed in mind.

Learning on vacation how fast a sailfish could go, hypercar designer Frank Stephenson bought one, had it stuffed, and sent it to McLaren's speed lab.

How a 68 MPH Fish Shaped the McLaren P1's Iconic Design

If you feel like your self-confidence is being undermined by ads and social media posts calling attention to supposed weak points in your music production, you’re not alone. Here’s why this kind of negative marketing can be damaging to your creativity.

Musicians and producers don’t have it easy in the 21st century. Not in the sense that making music is more difficult now than it used to be: in fact, the opposite is almost certainly true. What is challenging, though, is the number of different roles artists are asked to take on when making a song. Once upon a time, an artist merely wrote and performed the song: then there was the producer, the engineer, and of course the mixing and mastering engineers on hand to create a finished product.

Nowadays, of course, many of us choose to do all of this ourselves – and without the benefit of formal training, most amateur producers will turn to the internet for guidance. But here, all too often we’re assaulted with a veritable waterfall of negative marketing, with both companies and influencers telling us repeatedly that our skills aren't up to scratch and our music is terrible.

Just run a quick search on YouTube for the term “your mix sucks”, and you’ll see just how many negative videos are targeted at producers learning their craft. This constant inundation of anxiety-inducing content — much of it also offering contradictory advice — can have a serious impact on our wellbeing, our creativity and our ability to make music.

Music-making has been proven to be beneficial to our health; it can also assist in things like addiction recovery and psychotherapy. But on the flip side of this is the relentlessly negative messaging that many of us face on a daily basis, threatening to undermine the very thing that’s supposed to give us joy. Here’s what’s really going on – and how you can learn to avoid it.

## The science behind negative marketing

When asked why influencers take such a critical and negative approach, content creator and soundtrack composer Dave Hilowitz answers succinctly: “because it works.”

“As artists, we all have our insecurities,” he continues. “For most people, producing music is an incremental process: you have an idea, you record it, you take a break, etc. At some point in that process, it’s common to feel self-doubt. And it’s at moments like these that seeing a YouTube video that says something like, ‘Your song sucks. Here’s why!’ is going to seem like an omen.”

Dave is right – it does work. Humans have been advertising and marketing for more than a hundred years, so there’s a vast amount of data available from psychological studies that shows what happens psychologically when we engage with this kind of content, and the reason why it’s so effective is because it plays on our emotions.

Advertisers use a broad arsenal of tactics to convince us to buy products and services, many of these relying on **fear-based marketing** and **emotional manipulation**, and social media has taken this to an even more damaging level.

“Algorithms designed to maximize engagement often prioritize content that elicits strong emotional responses, whether positive or negative,” psychologist Howard J. Rankin says in Psychology Today. “This can create echo chambers where users are continuously exposed to content… making it difficult to escape the cycle of manipulation.”

“I can’t stand it,” Dave says. “It feels like a cheap psychological trick. Tactics like that are, in a very real way, making people’s online experience worse.”

> I’ll almost never click on a video that has a negative title or thumbnail, and even seeing them pop up in my feed makes me feel worse

The more that music-makers are exposed to these tactics, the more they're processed at a subconscious level. “The Low Attention Processing Model argues that because we are very accustomed to seeing adverts on a daily basis, our minds stop processing them consciously and leave them to the subconscious to deal with,” explains Adfree Cities, an organization pushing for public spaces free of advertisements.

“I’ll almost never click on a video that has a negative title or thumbnail, and even seeing them pop up in my feed makes me feel worse,” agrees Dave. “The message from the thumbnail gets internalized even if I never watch the video, and it’s frustrating because the videos that do this often have really great advice that could just have been packaged a little bit differently.”

The **parasocial** nature of our interaction – where as consumers of content we begin to feel an emotional attachment with social media influencers – compounds this. “According to parasocial interaction theory, [influencers] foster a sense of intimacy with their followers by mimicking real-life relationships, creating emotional connections,” one study notes. We grow to trust them, which makes their words more powerful, more persuasive and even more damaging to our creativity.

## “Fear can be a powerful motivator”

One of the most pernicious ways that negative marketing can elicit anxiety and self-doubt is by convincing us to work in some arbitrary “right” way: if a mix or song isn’t hitting perfectly, the message implies, it must be because it's "wrong".

“There's a genuine fear among music production beginners of doing things wrong, and I've seen that come up time and again through my own audience surveys,” says Sara Carter, the mixing engineer and content creator behind Simply Mixing. “On YouTube, channel success comes down to getting someone to actually click, based on your title and thumbnail, and a problem-focused angle can feel more urgent and immediate than a solution-based one. Fear can be a powerful motivator.”

> There are many people who will tell you that your music will never sound good unless you are using some special mic preamp or a professional-grade audio interface

Further issues may arise over confusion around the term “mixing engineer”. “There's something about the word ‘engineering’ that makes people think it's all fixed rules and correct answers,” continues Sara, “but audio engineering is also very much a creative endeavor, and that changes things significantly. There are a handful of technical principles worth taking seriously – gain-staging being the obvious one – but beyond that, the so-called rules are really just starting points or guardrails.”

Another trap that’s easy to fall into is being convinced that you need the right gear — and that if you don’t have it, your music won’t be worth listening to.

“On today’s internet,” says Dave, “there are many people who will tell you that your music will never sound good unless you are using some special mic preamp or a professional-grade audio interface with a high-quality DAC. As a person who tried a lot of different stuff, I know that many of the upgrades that are being recommended have had very little impact on the sound of my music.”

Compounding the problem is the sheer amount of **conflicting information** available. It’s hard to do the right thing when what’s “right” seems to change whoever you ask. One so-called expert may tell you to *never* put delay after reverb in an effects chain, while another will swear that that’s what all the pros do. Knowing which route to take then becomes impossible, which can lead to anxiety and frustration.

“YouTube is a great resource, but it's fragmented,” says Sara. “Choose one or two people to follow and stick with them long enough to actually apply what they teach, rather than constantly chasing the next tip. That consistency helps build confidence and makes the whole process more satisfying.”

Something else to keep in mind is that just because someone is giving advice, that doesn’t mean their advice is correct. Influencers often don't become popular because of their knowledge or expertise, but because of their ability to build audiences by creating relationships with viewers.

“By establishing intimate parasocial relationships with their followers, [influencers] can alchemize into powerful thought leaders,” the aforementioned study notes. “However, they are not necessarily better informed than anyone else. Nor do they command greater expertise than experts. This chasm between influence and credibility can breed misinformation and disinformation.”

## How can we avoid this trap?

The fundamental problem is a double-edged sword: we turn to sites like Instagram, Facebook and YouTube to gain skills and increase our confidence, but the marketing tactics we’re faced with on those platforms often have the opposite effect. Many of us are reduced to states of crippling doubt, and our music and creativity suffer as a result.

How can we avoid this trap? It’s tempting to say to “turn off your phone” but this, as we all have likely experienced, is easier said than done – and it’s not always practical.

“One of the best things you can do to cut through the noise is **stick to one or two mentors** rather than trying to absorb everything from everywhere,” advises Sara. When in doubt, look beyond influencer advice and trust your own ears. “A good reference track also helps here,” she adds. “It gives you a fixed point of comparison so you're not making decisions in a vacuum.”

You can also try **rejigging your algorithm**. If your feed is dominated by videos pushing negativity, stop engaging with them. The reason they’re popping up is that the algorithm noticed you were watching them and pushed similar content in your direction.

Spend a few days pruning your feed, engaging with content that has a positive spin, and this will tell the app what you *don’t* want to see. Without the onslaught of negativity, you may find your confidence rising; and remember, even professionals — the ones that you’re watching for information — have moments of self-doubt.

> A home studio producer who's passionate and willing to put in the work absolutely can achieve professional-sounding results

“Early in my professional career I had very little self-confidence and spent a lot of time comparing myself to the people around me,” says Sara. “It took me a long time to recognize it as impostor syndrome. So when I'm teaching, I want people to feel like they can do this, because most of the time they're already doing better than they think. A home studio producer who's passionate and willing to put in the work absolutely can achieve professional-sounding results.”

Dave recommends going easy on yourself when evaluating your own work, and keeping in mind that a song doesn’t have to be perfect. “Be kind to yourself,” he advises. “So much of writing and recording music is about learning to manage your own emotions. It’s very important to learn to be critical of your work without hurting your own feelings.

“If you feel like you’ve written a lousy song, it doesn’t mean you are bad at writing music in general, it just means this particular song isn’t working – which is fine! You have to make some bad music in order to make good music.”

## A plea to brands and influencers

Advertisers and influencers, you have a choice. You can contribute to the anxiety and self-doubt of the music production community by appealing to their deepest fears, or you can take a less self-serving approach and strive to create confidence in your audience and your customers.

This kind of messaging may even benefit both parties in the long run. Aside from the fact that fear-inducing content can lead to heightened anxiety and stress, studies have shown that though it's initially effective, it can ultimately lead to "defensive avoidance", where consumers ignore the content to protect their mental wellbeing. In other words, short-term gains achieved by scaring your audience into engagement may eventually backfire.

This positive and encouraging approach worked for Sara and for Simply Mixing. “I've experimented with more problem-focused content and it's never landed as well with my particular audience as the solution-based stuff. Honestly, that suits me fine, because those videos felt a bit jarring to make.

“I’m naturally a glass-half-full person and I tend to give people the benefit of the doubt,” she concludes. “I genuinely want to help people overcome problems – that's what makes the difference for them long-term.”

Ever seen a video that convinced you "your mix sucks"? Brands and influencers are chasing engagement by telling amateurs their music isn't good enough \u2013 but this anxiety-inducing messaging can damage confidence as it drives clicks

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