This co-autoethnographic research chronicles the journey of an undergraduate student who was interested in the relationship between intentional timbre choices and end musical products. The lines between individual roles or specialized musical roles are becoming more homogenized due to the prevalence and emergence of ubiquitous technologies that have transformed how music is produced, consumed, shared, and experienced by society. Music teachers have started to embrace their potential to serve as music producers of their students’ original music in classroom and studio settings. Tone, gear, and timbre choices contribute to our understanding of artists (Fink et al., 2019), their creativity, their musical development, their social and cultural impact, and their place within a larger network of technology and music industry. The researchers provide implications for both music industry and music education as a result of this work that includes teaching undergraduate students about 1.) tone and timbre in relation to the gear that helps musicians achieve their intended aural/sonic goals, 2.) psychoacoustics and biases in relation to critical analyses of what they hear in music, and 3.) how industry has shaped and formed those choices historically, now, and into the future.