Setting up your mix bus

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In this post I’ll offer some tips on setting up a mix bus for use in your projects; but first we should clarify what a mix bus actually does. I often see confusion about the definition of a mix bus (not to be confused with the amazing DAW Mixbus by Harrison) and how a mix bus works.  If you’ve been trained in audio engineering, you’re likely to be familiar with the term. I’ve seen some memes where engineers are mocking people that aren’t using a mix bus, but in reality I can tell you that some of the best mixes I’ve heard were made by people that were still learning. So let’s clarify a few things and hopefully some of these tricks will be helpful.

What is a mix bus?

Let’s keep it simple, it’s the last channel you’ll use on your DAW where all channels/groups/sends/AUX will point. In Ableton Live, many people will use the Master channel as their mix bus; it’s where all your elements mix in the end.

Is there another way to use the master channel?

Yes, there is. While you don’t absolutely need to do it that way, it’s good to know how. it might enhance your workflow as you’ll use the master channel simply for deciding at what output you want to bounce your music (ex. -6dB).

The how-to.

 One thing I’ve discovered while following mixing classes with other mentors is they use a channel they’ll call the mix bus and will route their signal to that channel in the end. That one will then go to the master.

All channels -> Mix bus -> Master

One of the advantages you will benefit from is better control of your workflow, easy A/B comparisons with other tracks, and to see how your final mix is really turning out. So if you put your effects on the master, move them to your mixbus and leave the master empty. However, I like to use a utility plugin there for sometimes adjusting the gain, for instance.,

Some people will want to do mastering directly in their project and will put mastering plugins on the master channel, but I really insist that you should not do that. Treat mastering as a different process that should be done on its own and by someone other than yourself (assuming you want the best possible result).

Now, apart from the technical routing, let’s discuss how to optimize your use of the mix/master channel.

  • Keep your mix bus light. I find that you gain better results by flexing your creative muscles on each channels individually than trying to fix it all in the end. The more control you have over your sounds, the more detail you’ll have in general, but keep in mind that if you have too much to fix on your mix bus, you’ll also be affecting other channels that might be just fine.
  • Don’t compress too much. You’ll lose on your dynamic range if you compress the signal too much. If you’re lacking gain in the end, you have two options: first would be to go on each channel and gain stage there first, or if you compress on the mix bus, do it in parallel.
  • Use your reference. So many people mix blindly that once in a club, they’ll see they’re completely off in their efforts. Check some tools down this page or import a reference directly in the arrangements.
  • Avoid presets from do-it-all plugins! This is something I see a lot with people dropping Ozone and selecting a preset, then export. If you’re going to do that, please check the compression ratio, levels, gain reduction and attack/release. Those can really mess up your song and that will be a total loss once in mastering. The better mix I get, the better master I can give you. When I compress, I’ll try to keep my gain reduction under 3dB, with a slow attack and fast release.
  • Use shelving EQ for tonal balance. As seen in one of my previous posts, the shelving EQs are excellent for you to decide what tone your song will have and quickly readjust the low end or highs.
  • No limiter on your mix bus. Keep your signal clean.

Some plugins I always use on my mix bus:

Reference by Master the mix: Perfect to see if I’m on the right path by easily compare it with a reference.

FabFilter Pro-Q 3: The newest version is absolutely amazing! It offers dynamic corrections which is perfect for subtle touches and control.

Voxengo Marquis compressor: for smooth gluing.

SEE ALSO : Production tips to wrap the year



Is sampling wrong?

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Sampling in electronic music involves two main types: using another person’s idea (e.g. using a harpist’s melody for your deep techno song, or sampling electronic music that isn’t yours) and using prefabricated samples for making your song.

As time goes on, I read and hear about more and more debates regarding sampling in electronic music. I refer to electronic music because in other spheres, such as trap or hip hop, the debate is non-existent. We all know it’s a matter of culture derived from how producers have approached their art.

You might ask yourself, “are there more benefits from making all my sounds by myself? Will I get more recognition that way?”

It’s hard to answer this question, but I’ll try to debunk the source of that question to help clarify a few things.

Firstly, the world of electronic music really started in the late 80’s with a DIY mentality. Back then, electronic music was not really well-known, and producers had a hard time getting support from traditional media and distributors; they had to do everything themselves. The same thing goes for their equipment. Equipment was extremely expensive and not easy to find, so many artists would work with whatever they could get their hands on. Then came a huge rise in popularity in the electronic music world, and by the 90s, it had its own culture. DIY was the established way to do things; everyone was contributing in one way or another. Making everything yourself – a form of being independent – had been rooted in the culture of electronic music. One of the big differences between that era and now is that back then, many producers were obsessed with making the most original music possible. Going out to an event was all about hearing new songs you’d never heard before that would make you dance; you were also aware you might never hear those songs again.

Secondly, with growing access to technology, it became essential to showcase your skills as a one-man-band. I’m not sure if if this was an ego thing, or more of a way of overcoming this tour-de-force, but while it can be impressive, it can also be counter-productive. There was no electronic music school out there until around 2005, where some appeared online. Prior to that, people that wanted to make electronic music had to be learning everything themselves.

Thirdly, as access to technology increased, as did the possibility to get pretty much anything you want via the internet, a certain snobbery amongst producers developed. Some people are able to do certain things a certain way, and will pass on a very clear message that if you don’t do things in their way, you’re doing it wrong. I think this approach – which I see a lot – has put many people in a defensive mode as well as made them less likely to share their work.

That said, sampling has always created polemics. You often hear a pop artist sampling others then getting into lawsuits as a result. In the underground scene, there are similar stories (such as Raresh sampling Thomas Brinkmann without understanding what consequences would ensue). There were multiple occasions where people would sample a part of a record that was released 10-15 years ago and make a song out of it. It would piss people off, mostly because it goes against two concepts:

  1. The person who sampled failed to be original and took the work of someone’s hard work to pass it off as their own.
  2. It’s a “violation” of the culture norms of music making, which have been in place for decades.

Is there a way to use sampling “correctly”?

Well, yes, there is a way. Sampling is not frowned upon in hip hop and, it’s also okay elsewhere too. However, there are rules to respect. When I launched my sub-label Climat in 2012, I wanted to use it to find artists that were talented, had beautiful content, and that once put into a groovy context, would make something new and refreshing. I was looking for music on obscure sites then tried to make music with it. Whatever samples I would keep, I would take the time to contact the artist, explain the concept and ask for their permission. Honestly, this is the least you can do and you should absolutely do it. Imagine if someone were to sample your work; I think you’d want to know. Plus, who knows, it can be the beginning of future collaborations.

How can I make use of samples from someone else’s work?

Contact the original artist, ask them if there are conditions associated with using their work, and then promote them too when you release something.

Is using samples a bad thing?

Many people feel ashamed to use samples. They think if they’re going to have an 808 kick, they need to buy a drum machine to make it. There is also a shame one feels when using presets which don’t feel original. Indeed, they aren’t, but you’re missing the point if that’s the only thing you consider.

When I make music and hit the studio, I want to be productive. I use samples to make a structure, a groove, to complement my idea, so that things come together faster. I’m not using samples as my final form. If I need a breakbeat, I don’t want to lose time trying to program the best beat possible. I’ll take a pre-made loop so I have a target of what I imagine it to be in my mind. As I work on the track, I’ll chop the loop, rearrange it, and swap the sounds out with something I’ll design myself.

Your main enemy in music making is your own mind getting distracted with things it thinks are important.

When you make a new song, you need to have a core idea. However, you can take inspiration from many things including samples. Gather them all in your project, analyze them, sample, process, and create. Don’t leave things so unchanged that could easily recognize a sample as being unoriginal. See your project as if you were a painter gathering images from magazines to use as guidelines.

Honestly, samples are the best way to get out of your routine. I’ve never understood people who were super stubborn about making everything themselves, just to end up sounding like every other song out there anyways. if you venture in genres that aren’t yours, you’ll get new ideas for sure.

Tip: I find that using layering multiple samples is a great way to make new sounds. For example, you can make your tiny clap sound fat if you combine it with a tom.

Your best companions in processing samples are just a few plugins away. With all the technology available, it’s silly not to use them:

Fabfilter Pro-Q3: Amazing GUI and pristine sound. This is a must to fix your samples into another, original way.

Mangledverb : This is a reverb for intense sound design. It can really bring alive some parts of your samples.

Discord 4 by Audio Damage: For subtle to extreme changes.

Shaperbox: The ultimate tool to recycle any sound into altered material.

Crystalizer: Great for granular synthesis and shaping sound.

SEE ALSO :  Setting up your mix bus  

Getting feedback on your music

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This is a more a personal, editorial blog post about music feedback which I’ve been wanting to write for a while now. All year – mainly through our community we are building on Facebook – people have been posting their tracks to receive feedback and validation about their work. It can be intimidating to share something in the group and to have people comment on it. I can relate, as I don’t really share music publicly unless it’s been signed, or if I feel I have something strong to share. Soon I’ll share some details with you about group coaching, which I’ve been testing over the last month and will help people to receive more feedback. That said, one of the things that strikes me most is that many people feel a bit lost when seeking feedback or validation about their music.

In art, the need for validation is huge, and given the state of music nowadays, we have very few places to receive valuable feedback. People try and try to make music and can get lost in it, sometimes losing sight of their main motivation that drew them to making music in the first place.

If someone asked me, “where do you get feedback?”, I wouldn’t really have an easy answer. But in general, I can describe where many people find constructive feedback about their music.

From established artists

PRO: Other artists are probably the most reliable source for good feedback. If the artist finds the time to listen and you like what he/she does, then the returned feedback is pretty solid. The great thing is that if an artist likes it, then your music could end up in a DJ set, podcast or his collection. Other artists usually have nothing to gain from you except a possible friendship if they like you and your music, so the chances that they’re true to their word are good.

CON: Getting an artist’s full attention. Giving too much credibility to an artist can distract you from your initial path.

Difficulty level: Hard. Artists are often in demand, contacted by random people who try to charm them to ask something in return

Online magazines

PRO: If you make a podcast and an online magazine or blog would like to publish it, it can indeed be great validation that you’re on the right path. If you get reviews for an EP/LP, it also exposes you to many people who visit the site which brings attention, with hopefully some good words.

CON: Some of the bigger magazine give reviews if you bought advertisement with them. Often I see people who write reviews who aren’t musicians themselves, and get blown away by very simplistic music, while brushing off music that might be more complex. Sadly, I feel many writers have lost the credibility they once had as a result of their interest in money.

Difficulty level: Extremely difficult, and potentially biased. If you buy advertisement to a site, they usually will give you attention. Some people even buy “space” on a site to make sure they get reviews.

Touring/Gigs

PRO: Touring is certainly the most validating experience if you play at the right places, in the right time slots, and see first-hand how people react to your music. It can be a very important insight into how to build your music in order to have better reactions on the dance floor. If you can play locally, you can also network with people which can help create a stronger following.

CON: The downfall is how much you have to put to make this happen, and how the work conditions when you tour can be harmful both mentally and physically. Getting local gigs is a bit less stressful and way less complicated.

Difficulty level: Medium or hard, depending of your networking skills.

Labels

PRO: For many, this seems to be the ultimate validation. Being signed by a label could mean that you’re officially part of the crew, that you. To see your name among artists you respect certainly brings some excitement and validation to your music.

CON: Is being part of the crew enough to validate your music? What if you made it there but your release is commercially a flop? Is releasing the validation or was the answer from the market the real response? These are all difficult questions.

Difficulty level: Very high. Many artists contact labels, and being noticed among the noise is difficult. Picking the right people is a complex process. Sometimes an artist fits on a label, but the technique doesn’t, or the direction of the proposed songs is not right. One of the most confusing thing is when a label decides to follow trends, which are ephemeral, or to release an artist because he/she is considered hot at the moment. That can compromise the credibility of the label and blur the validity that you initially got.

There were talks this year where people were saying that online vinyl shops giving multiple P&D to multiple, unknown artists, are slowly confusing and overflowing the market with music of debatable quality. Many people chase labels that sell because they know if they can get in the charts, they’ll get attention and bookings, certainly a good thing. But it doesn’t necessarily validate what you do. An amazing release in the hands of a label who doesn’t take the time to promote will not sell as well as it should.

But let’s face it, there are other ways to get validation about your music that are totally easy and might be just as productive as any of the classic ways:

  • Soundcloud: If you develop quality connections with people online, who you know comment on the music you love, they often provide you with meaningful comments. Personally, I have a tight circle of about 5 people I will send my music to right away to hear what they’ll say. I’m always more excited to hear from them than a potential label wanting to release me.
  • Local DJs: These are people who can test your music in context and show you what’s happening. You need to flex your social skills for this to work, but these people are extremely valuable.
  • Music fans: If you go out to events, you might meet some of those people who aren’t DJs but who know all the DJs and constantly post music on their Facebook page. These people are a gold mine for feedback. They won’t be technical but they’ll be telling you up front if they like your music or not. You always want them as supporters because they’ll be talking about you which is better than doing self-promotion.
  • Our Facebook group! I created a group of individuals who wish to improve their skills. You can join if you want 🙂

I hope this helps!

 SEE ALSO :  Is sampling wrong? 

Saturation Tips and Hacks

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After presenting some of my favorite EQs and compressors, it would be silly not to also talk about audio saturation which is complementary tool. There’s not a single project I’ve done in the last 10 years where I haven’t used saturation in one way or another; same with mastering. I often compare it to putting some words in bold in a text, where that effect will do the same thing in a mix: making parts stand out in a way the brain can’t totally understand at first.

What is saturation exactly?

Saturation is essentially a form of soft distortion that gives certain texture to sounds. The simplest way to explain it is to think of how analog processing changes sound; it brings a certain noise it, sometimes very subtly or not. You may use it give warmth or character to the signal being processed, which gives a more aggressive crunch if you exaggerate it. Types of saturation that are most common:

  • Tape emulation: Similar to what was popular in the disco days when they’re send their mixes to a reel to reel, to provide a certain thickness.
  • Tubes: Common in compressors and certain EQs using lamps, they are the absolute reference to warm up synths.
  • Transistor and retro: To emulate an old school feel.
  • Preamp: Often related to guitars and the world of microphones, preamps can be used on anything. They’ve been a tool of excellence for decades to give personality to sound by engineers.
  • Distortion: Pure distortion isn’t always pleasing and appropriate but if you control it properly, it will give beautiful textures and beefiness.

There are multiple situations where you could benefit from saturation in your mixing or sound design in order to alter the character of your sounds.

Pads & synths.

There’s nothing more exciting than rich tones, melodies, and very warm pads. More than often, I see people recording soft synths with no processing whatsoever; they’re really missing out on giving depth to the backbone of their songs. You can for instance simply pass them through a preamp, but my tool of choice for these is absolutely tape emulation (a personal favorite of mine in case you didn’t already know).

How: Start by pushing the saturation to a very high point and make sure it’s more than noticeable. Then adjust the wet/dry to a very low level where you can hear the incoming signal feeling almost clean but have the saturation be mixed in there. I usually find the sweet spot by going “oh, here I can totally notice the saturation” and then lower it by a few notches.

Tool: I’d suggest the Tape from Softubes or RC-20 Retro Color. Both are fantastic to shape your sound with shimmering textures.

One thing I really love is to use multiband saturation to get the most out of your melodies. This way, you can address the lower mids in a way while you bring out harmonics in the higher part of the sound. This can be done with tools such as Ozone 8, Neutron 2, and Melda’s PolySaturator.

Bass

Who doesn’t like a dirty, funky bassline? Low end with grit will always bring some excitement to a mix – especially in a club – this is something we’ve heard so many times in hip hop for instance. A very clean sine bass typically from an 808 has a certain warmth, but if you pass it through tape or tubes, it will give a lot of oomph. If you want to try it, I suggest you even try two instances of saturation to see where that goes. It depends of how much you want it distorted. The wet/dry will have to be applied to taste here. The producers of dubstep brought the game here to a new level.

How: Just experiment. Try to go overboard. Really.

Tool: SoundToys’ Little Radiator does marvel on basses as well as its cousin the Decapitator. For something more subtle but still robust, try the Steven Slate Virtual Preamp Collection.

Percussion

Saturation on percussion will automatically bring an old school feel from breaks that were really popular in the 90’s. The take on that, with Hip Hop (again), was to export the audio to VHS tapes or even tape cassette. The result is pretty badass. Experimenting outside of software is really fun, and I would encourage you to give it a try. One thing I like from doing this is to saturate only the tail and not the transients so that you beef up the overall signal.

How: Duplicate the channel you want to saturate and put saturation on the second one. Using MAX’s envelope follower, map it to the wet/dry of the saturator/exciter. Set the envelope to be flipped so that when a transient is detected, it will duck the knob making sure transient isn’t affected. Melda’s Polysaturator provides that option internally.

Tip: Add reverb and put the saturation after to get really fluffy crispiness.

Tools: Reels by AudioThing, Satin by U-He and Polysaturator once more.

Vocals

There’s nothing more beautiful than vocals that are lush and full. Treating vocals alone is an art in which I could get lost. I don’t want to get into that too much, but I’d like to invite you a bit of everything to see which one suits you best. Some prefer the tubes but other swear by the tapes. This is where Ozone can be a game changer, especially that you can do multi band processing as well as M/S.

Tip: Apply anything and everything from what’s explained above but start by doubling your vocals which will already do great things.

SEE ALSO : Tips to add movement and life to your songs

 

Tips and recommendations for compression (Pt. 1)

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After two important posts on EQs, it’s time to start discussing how to use compression, as these two work so well hand-in-hand, and I’ll offer my own recommendations on some of the best compression VST plugins. Your own selection of VSTs should always start with a few of these two categories:

For EQs:

  1. One Parametric EQ for surgical needs.
  2. One Shelving EQ for toning.
  3. One analog based EQ for coloring.

For compression, there are also several choices and it’s easy to get lost, so one of the things I find important to start with is to explain the different families of compressors (more suitable to relate them to as models).

FET

This type of compressor is one of the most popular out there. It’s known for its aggression and for its use of adding tons of punch to sounds, mixes, with a lot of attitude. The FET compressor, which means Field Effect Transistor, appeared later in the history of compressors, when they switched the tubes for to a model that helped make sounds warmer and richer; it became an instant favorite in studios. The 1176 is one compressor that became one of the most popular models in studios.

Use: Amazing punch on percussion and add life on textures, pads.

Recommended plugins:

FET Compressor (Softube)

FETpressor (PSP)

Black Limiting 76 (IkMultimedia)

Opto

This type is pretty much the opposite of the FET (although there are people who will argue about this). The Opto model is smooth and super warm. Not idea for percussion but I do use it in parallel (see techniques below), which can give beef to a kick, for instance. The way this model works is very interesting. It’s basically a lamp that reacts to the incoming sound and will light up depending of the incoming signal. I’m not the best at explaining this, but that pretty much sums it up,  and this makes the Opto compressor not the most aggressive, as it offers smoothness.

Use: Ideal for pads, synths, textures and I would recommend you experiment it with percussion, but in parallel mode.

Notable suggestions for VST:

Bx_Opto (Brainworx)

Opto compressor (IKMultimedia)

Renaissance Compressor by Waves also offers an Opto mode.

VariMu

VariMu is like the prince of compressors because it has finesse and elegance. Manley popularized the VariMu with their famous version of it. It is a cousin of the Opto in the way it works, and is also very smooth. Often used in mastering, it works like a charm to handle punch problems or to keep coherence in a mix that needs general glue to it. It’s not the best to create punch and this is why, but when used in pair with another compressor, it can really create beautiful results.

Use: On your mix or on a group. It will glue it all together in the most luscious way.

Suggestions of plugins:

The Manley Compressor from UAD

MJUC by Klanghelm

DynaMU by IKMultimedia

VCA

This type of compressor is also very popular just like the FET. I’d say that most generic compressors are often based on that model. Since it’s based on voltage control, this compressor is a surgical type of tool. It is really effective to produce snappiness to percussion but it can also be used to control harsh transients.

Use: Smack those kicks with it and control the transients of hats with another setting.

My favorites:

TDR Kotelnikov

U-He Presswerk

API 2500 (There are a few imitations from UAD and Waves, so check it out)

Techniques

You may have the best plugins but if you don’t know how to use them, you’ll miss the full potential of these amazing tools. I’d say that if you don’t, please know that a large number of producers out there, even experienced ones, struggle to fully understand them. So while you will find so many tutorials out there, I’d like to explain you my simple vision.

But first, let me explain what compression does. It takes the incoming sound and monitors the loudest peak and checks if it is louder than a certain point: the threshold. If that’s the case, it will push down the signal above the threshold, down. I like to picture it as when you sit in a bath, where the water rise as you sit in it. The way a compressor “pushes down” the audio will be controlled by the attack (how fast it reacts), release (for how long) and ratio (how much).

I’d like to compare a compressor to an oven and the incoming music as the dough. The compressor doesn’t work like, let’s say a reverb where if you put it on a sound, you’ll automatically hear what’s being altered. How compressor VSTs work are really, to me, like a oven. You need to bring in the sound, cook it, then push it out.

So, use these parameters when dealing with compression:

  1. Incoming signal. You’ll need to raise the volume of the incoming signal to make sure it meets or is above the threshold. If the signal is too low, it won’t be processed.
  2. Threshold. Lower it down if needed. You’ll see that most compressors have a “GR” for gain reduction meter. This will start to pump as the signal meets the threshold. If nothing happens, lower down the threshold and or boost the incoming signal.
  3. Attack/release. A fast attack will make the pumping start react quickly while a slow one will be less aggressive. You can then adjust the release to control for how long the pumping will last.
  4. Ratio. This is how much will be pushed down. For instance, a 2:1 ratio means that for 2dB over the threshold, it will be turned down by 1dB over the threshold. Eg. 8:1 is a more aggressive result.
  5. Make-up gain/Output. Your output signal will be turned down in the process so you can use the make-up gain to adjust the processed signal to match or be louder than the incoming signal.

So yeah, it sounds weird on paper, but compression is about lowering the volume to make things louder.

Regarding my analogy with the bread, you need to make sure it bakes (gets compressed) before pushing it out.

Now, the techniques you can use compression for:

  1. Limiting. This is the most known use of a compressor. It is a way of making sure the sound never goes above a certain level. Ideal on a master bus to avoid clipping. You can use it to a certain extent on busses to maximize the volume. But make sure it’s not too much as it can then distort in mastering.
  2. Side-chain, ducking. Popular in electronic music, this makes the compression work based on an incoming signal. I’ll get back to this in a future post.
  3. Parallel compression. To do this, you need to put the compression in an AUX/Send bus and then send whatever needs compression to it. This ensure the original signal is mixed with the compressed one, adding power, loudness, precision.
  4. Serial compression. To be used with care, but has very powerful results. This is about putting two (or more) compressors back to back. One can be in parallel (thanks to a wet/dry) and the second one, not. This makes sounds really powerful, punchy, fat. Ideal on sounds that are wimpy and pale.

That’s it for the basics of compression! I’ll discuss the art of sound design using compression and EQs next.

 

SEE ALSO : Tips for compression: The Multi-band compressor (Pt. 2)

The best EQ plugins and various EQ’ing tips (Pt. II)

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In my previous post regarding the best EQ plugins, I covered some of my favorite EQs and some of their uses. After receiving many compliments about that post, I’ve decided to continue with a part two. In the following post, I’ll share a few tricks with you that you can easily do yourself when facing certain mixing situations, and I’ll also briefly outline compression.

Filters

In case you didn’t already know, EQs are filters; really complex mathematics which each developer has coded in more or less slightly different formulas. This explains why some EQs are really expensive: because of the time invested in perfecting the curves. Many people don’t realize it, but EQs do sound different from one another and you can tell once you have a high quality sound system.

“Most people don’t have a high quality system, so what’s the point…”, you say.

Well, if you use high quality tools, in the end, your regular sounds will be “upgraded” in quality too, which will eventually make a difference where ever you play them.

The number one tip for a better mix is to use filters; this alone can make dramatic improvements.

For instance, your kicks might sound muddy if you don’t remove the garbage frequencies that are below the fundamental note of it. If this sounds complicated, let me explain it in the most simple terms:

  1. Use your EQ and the first point on the left should be switched to filter, then low cut.
  2. The slope should be put to 24db/octave.
  3. Then roll it to 20hz to start with and then go up frequencies until you hear your kick losing power. If that happens, you’re now filtering too high and you have to roll back a bit.
  4. My general rule is to cut kicks at 20hz by default.

Now that tip was for kicks alone, but you should apply this idea to basically everything in your mix. However, besides the kick, I wouldn’t use a slope of 24db/octave on anything else unless there are big issues. It’s up to you to experiment but if you want to test something interesting, try 18 or 12 for cutting other sounds and you’ll see that this leaves less of a digital feel, giving your sounds clarity and warmth.

I’d also cut the highs where they’re not needed, but not too much either.

Percussion, melodies, and high pitched sounds such as hi-hats would benefit from a 6db/octave, high cut filter; this smooths things in a lovely way.

Some of my favorite filters for this kind of use are:

EVE-AT1 from Kuassa

SliceEQ by Kilohertz

PSP MasterQ2: Smooth!

Sharp cuts

Surgical, sharp and static cuts are very useful for a ringing resonance. Many people ask how to spot it these and how to know if it’s really something to cut or if the it’s something to do with the acoustic of the room. There’s no real way to know but to often cross validate with reference tracks.

So often, I get clients sending me a project in Ableton and I see really odd cuts. Is that bad?

Yes and no.

First off, if you use Ableton’s native EQ, switch it immediately to oversampling mode for better quality.

Second, cutting might change something in your environment but you’ll also permanently cut frequencies that might not be needed to change, which could also potentially induce phasing issues (i.e. during the entire length of the song).

*Note – do not use too many EQs in one chain because that will definitely cause phasing!

So, how do you spot one rogue frequency?

Sometimes I just use a spectrum meter to get hints if I can’t pinpoint where it is. Try to always use a spectrum meter on your master to have an overall indication of your mix. If you see some sounds that start to poke above 0dB, this *might* be a problem; not always, but it could. What you want to look for is one thin spike coming up out loud about +3-6dB. This might really be an issue.

My instinct would be to try to lower the volume of the sound itself if that’s possible. Sometimes it’s not and that’s when you use an EQ.

  1. Isolate the sound in the appropriate channel.
  2. Drop your EQ of choice (see below for suggestions).
  3. Pick an EQ point, set it to the frequency you spotted, then adjust the Q to 3-4. Cut 4dB to start with, but more if needed.
  4. On the EQ, there should be a output gain. If you have cut that frequency away, it might be great to just increase the gain by about the half of what you have cut away. Ideally I like to compress but we’ll get into that later.

TIP: Avoid sharp cuts in the low end. That can cause issues such as phasing, muddiness. If you really have to, make sure to use a mono-utility after.

I revealed some of my favorite EQ plugins in the first post in this series, but I’ll add some more:

Cambridge EQ by Universal Audio: Works amazing on synths and melodies.

AE600 by McDSP.

Voxengo CurveEQ: Solid on percussive content.

Valley cuts, boosts, and shelving

Many readings on the subject of EQ’ing only will recommend that if you need to boost, go moderate and try to have a very low Q to have an open curve. However, there are really no rules on what you should or shouldn’t do. Explore, fail, and be audacious, because sometimes great things come out of it.

My only red flag would be on those really complicated, several points EQ curves you can do in Fabfilter ProQ2. This sometimes induce weird resonances when you’ll bounce, which is no good for mastering unless you are OK with annoying people’s ears.

Also, think differently. If you’re going to use 3-5 points that are all boosting, then why not start by turning up the gain on your EQ’s output and cut down whatever you don’t want.

But if you boost, I like to have a Q below 1. It gives really interesting results!

  • For instance, try to boost 2-3db at 500hz to instantly give presence and body to a song.
  • Try it at 8khz to add a lush, bright presence to metallic percussion.
  • Boost at 1khz on your snare to make them pop out of your mix.

Experiment like this. At first it will appear subtle but with practice, great results will come.

My favorites of the moment:

Sie-Q by SoundToys for really doing beautiful shelving.

MEqualizer by MeldaProduction.

 

SEE ALSO :

Tips and recommendations for compression (Pt. 1)

The “sous-chef” experience

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I’ve been reading a lot about music arranging lately, mostly to see how the big players in the music industry approach it. It’s not that I love how things are made in that scene, but more because I want to see what I can take in and transpose to what I do. There are major differences to what the underground music producer will do in an arrangement.

  • Majors work with a team. You can’t make it on that level without a full team looking into making sure that each step is taken care of. This implies song writing, project management, recording, editing, arrangements, and mixing. Nothing will be done half-way.
  • They want the best in every sphere. To make great things, you need the best. Therefore, they will rent the best studios, hire the best musicians, and make sure that every player involved has a strong list of credentials.
  • Nothing is made quickly. Sometimes things go fast but they won’t take things in an easy way.

(Photo by frankie cordoba on Unsplash)

The average release on Beatport is a one-man band, but more than often not if equipped properly, will still get some attention. The main difference is the song’s longevity. Most underground songs won’t have a long life, and might not get many plays and if it sounds like a lot of music out there (eg. it’s a tendency that people will imitate the top 10 to be part of it), chances are that in 1-2 years, it will be forgotten.

Where I think we can learn from the majors is about team work. The main issue with this is, most semi-pro musicians or aspiring ones have to put some life priorities first. We started a community project with my Facebook group that is called Cosmic Relay, where we would work as a team to make songs. We did a first EP that made it to the top 3 on Beatport (Minimal) without trying to copy anyone. The potential is there indeed, but on the second batch of songs, we struggled to rally everyone to make things move with a good flow.

I’ve been experimenting a second approach, which is inspired by how restaurants work. I’d be the “chef” and I’d be working with one or multiple “sous-chefs.” One of my strengths, available as a service through my Track Finalization product, is to make arrangements and finish music. Finding the elements to start often takes me ages to create, mostly because I work primary with randomly generated music (ex. from little jams, tool/demo exploration or simply using randomization on plugins). While this generates a lot of original content, it also requires me to go through a lot of recording to find the little gems in there.

Working with a “sous-chef” is most probably the best thing for my workflow. I send them on a quest to gather material based on my suggestions and then I’ll compose with what I have. Facing some limitations bring a flow of high creativity in me. I usually find ways to find how to use the elements to create a timeline and then something that gets me excited. Usually the direction of the project is decided by the people I work with. We agree on a reference and decide where to go with it.

I’m not sure if you have watched Chef’s Table on Netflix, but for me it’s been a source of inspiration. I see parallels between the chefs starting a restaurant and musicians opening their studio.

One thing all music producers all have in mind is to remain playful, open and to reinvent themselves.

So back to our project: if we continue to take inspiration from the majors, asking for help for the parts where you feel either slow or less solid, is a great way to complement another artist. Collaborations are the best way to do things you could never do alone, every time, for the best.

“Yeah but I want to learn how to do everything by myself!” I hear you say. Then be ready to be a jack of all trade, which is a master of nothing. That’s not a bad thing, but then you might never shine at what you’re supposed to be great at, simply because you’re spreading your precious time on different tasks that others could do better. The thing is, you’ll get better at everything if you also work with other people who are better than you at what they do.

I’m a good example of that. It took me a long time to get better at mixing and I’m still learning. Same for sound design. But talking with other people was more fruitful than spending time on Youtube. Using and buying quality samples have also been incredibly useful in the process. As well as getting quality tutorials.

For best collaboration tools, here’s my favorites:

  • Splice for getting samples and sharing projects.
  • Native Instruments Sounds.com for more samples.
  • ADSR for presets and tutorials. A fast way to have your basis and kick start quickly any project.
  • Dropbox for sharing anything and everything.
  • Reaktor’s community for getting new patches ideas.
  • Our Facebook community to meet new people in the same mentality as me. We have a label that we then release the music on.

SEE ALSO :  Tips on how to pick your EQs and use them (Pt. I) 

My Electronic Music Production Methodology: The Mothership (Part II)

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I don’t know if you’re a fan of sci-fi movies, but I am. One thing I really like from those types of movies is alien invasions, where the aliens drop from the sky after jumping from a huge spaceship, where all the bad guys are assembled and dispatched. I apply a similar concept to my music production methods and overall methodology in music-making.  Ever since I’ve passed this idea down to people I coach, I see them do really cool things using the concept of the “mothership“. They adapt this method to their way of making music, and when they show it to me, I learn a thing or two on how to upgrade my music production methods.

This post is about the mothership concepts, and I will share an empty Ableton LIve set you can reuse for your own work. I’ll also cover a few features in Ableton that can help speed up your idea-making.

The Mothership: Where Do I Start?

First, know your music. Whatever genres you listen to, please get to know what it has and needs. If you read this blog regularly, you know that I always insist on knowing and using references. The mothership method also starts with references. There are a few essential questions you need to ask yourself when you listen to your references:

  • What are the predominant sounds? For instance, in techno, the kick, hats, and snare are pretty much always there and for most of the song’s duration. There are percussion and effects often but they’re not the main players.
  • What is the melody composed of? Is the melody only one sound (ex. synth) or 2-3 different sounds talking to each other?
  • Is there more to it? Sometimes, we can get lost in a reference track because there seems to be a lot going on, perhaps little sounds in the background or swirling swooshes. Those are what I call distractions. If you want to analyze a song truly, make a two-bar loop right in the middle or when the song is at its busiest. Then, start counting each sound and making sense of what you hear.

Once your song has been analyzed, you’re ready to build a template.

Building an empty mothership

If you feel like seeing what an “empty mothership” Ableton Live template could look like, you can download one here:

Get the Mothership template for free

It might not meet your needs out of the box, but it’s a great starter nonetheless.

ROOM323, who I’ve been coaching for almost 2 years, created this empty template. His starting template is great – perhaps even better than mine – so I’ll explain why I think it can be really useful.

  • Each sound has its own channel.
  • There are just enough channels to cover everything, and limiting yourself to them makes you stay focused.
  • The background and effects channels are a good reminder. Sometimes, we forget that one aspect of the song has been overused, especially for details like a background. It’s also a reminder not to overdo it.
  • Storing your loops gives you an outside view of all the potential you have.
  • There’s nothing better to help make decisions with regard to your different songs.
  • It can be turned into a live performance set!

How to use THE TEMPLATE

The first part of using this template starts by collecting “main ingredients” (see part one of this series). This can be done by scavenging YouTube, jamming a new demo VST synth, or hanging out with friends and recording them playing randomly with instruments. Anything can be potentially good, but how you use it will make a difference.

“It’s not the note you play that’s the wrong note – it’s the note you play afterwards that makes it right or wrong” – Miles Davis

  1. Put each different idea in the appropriate channel of the Mothership.
  2. You’ll have perhaps 5 strong ideas. Now you can fill the channels that are missing content. If you have a nice guitar melody, then you need percussion, kick, etc.
  3. For each idea, try to have different variations. Perhaps your first loop was good but if you rework some elements, maybe you’ll find another option that is pretty cool too. Those variations can also be different scenes of the first loop.
  4. Jam away!

That’s about it!

When I work with ROOM323, I will have 20 different ideas from him, then I can select the best 5. From there, I’ll pick a row and drop it in the arrangement section to start building a song. In terms of productivity, this method is way more effective than canning one idea in a project that is then turned into a song. One important thing to have in the back of your mind is, if during your song, you run out of ideas, then you can just jump back into your original 20 loops to pick something complementary.

One fantastic thing about Ableton 10 is that you can drop a song/sample from it’s browser and drop it in your song. It will import your idea as you left it. This means that you can build your Mothership today by dropping in all your unfinished loops!

 

SEE ALSO :

My Music Production Methodology Pt. III: Depth and spatial shaping tips

My Electronic Music Production Methodology (Pt. I)

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I’ had been thinking about recently how I should consolidate the many values, observations and principles I share regularly on this blog into a summary of music production methods and methodology. I regularly give feedback in our Facebook group and I find that I’m often repeating myself with regards to certain details and points that seem like basics. Not long ago, I wrote a post with a checklist to see if everything had been covered in order to know if your song is done, but what about a todo list to start? And what are the big points you should consider beforehand in order to avoid getting lost?

Let me describe my own mindset before I get to work on music in the early stages; it helps me greatly and I think I could also give you a boost in productivity.

The intention

Have you ever had sessions that were magical or others where you felt you did the same things, went horrible where you started to doubting what you’re doing? Making music seems like it should be as straight forward as playing a sport but it can’t be predicted or controlled, which can be frustrating. I’ve started noting down a common denominator in all my good sessions: they all had been started with a precise intention. What I mean by an intention is that beforehand – even before opening the session to work with – I’d spend some time developing a precise idea of what I wanted to do in that session. It could be simple sound design, mixing, arranging, or working on a client’s session.

I’d sum it by saying to myself “today, by the end of the day, I should have done X.” The X is a sort of a goal I can quantify easily, such as finishing the polishing of a track.

I also start sessions with something I do well and love doing; this important habit puts me in a good mood, helps my brain focus, and preparesme for bigger challenges.

The mood board

The term “mood board” is often used in visual design. It’s basically a pin board with all kind of images: the mood, aesthetics, concepts. Sometimes it can be a texture or drawing, but it can be also a few pictures; it becomes a reference for all the members of the team.

A example of a graphic mood board (image courtesy of https://www.sophierobinson.co.uk)

It’s basically the same in audio. I have a huge folder with music I like for use as references. I have also playlists on Youtube of each reference per client. I have yet another one on Soundcloud for ideas, inspiration, and arrangements. The audio quality of Soundcloud being not so great makes me use it more for ideas than anything mix/mastering related. Sometimes it’s songs, sometimes it’s just simple atmospheres or a weird tune just for its reverb (which I can use for convolution). There are new, amazing songs I see in my feed everyday and I really want to tag the ones I see. I honestly even have a mood board on Instagram/Pinterest. Some images help me generate sound ideas too. Yeah, I’m weird like that.

The main ingredient

In risotto for example, rice is the main ingredient but this dish can be altered in many different ways; audio works in the same way.

This main ingredient is the core of your next project. I often compare making music to making food; I find that relying on a first important ingredient helps to develop a theme for a song. The more you work on something, the more you’ll want to add. Remember that songs are split in sections and my rule is to have either one major change or one sound added per section. Songs have, in general, 3-4 sections. Some only have 2!

So, this means that your main ingredient could – in theory – have major changes 2-3 times maximum in a song  to remain understandable. Of course, this is my personal rule. You might have totally other views and that’s alright. The main ingredient will also have brothers and sisters. I usually form a family of 3 sounds per song. The main ingredients will have 1 brother and 1 sister. The brother will be a similar to the main ingredient as a way to complete it. For example, a higher pitched note. The sister sound will be in opposition to the main ingredient. For example, if the main ingredient has a fast attack, the sister would have a slow attack.

Setting up these ideas really helps me see what I need quickly. But knowing this method doesn’t help find the actual sounds though. Sounds come to me in many ways: sampling something you love, using jams you did on some machine that you recorded, recycling older ideas, browsing Youtube’s infinite possibilities, going to a local store and buy the weirdest record you can find, learning a new way to design sound from a tutorial you watched, etc. The idea is to make material to manipulate.

FACT: When I hit a wall, I usually do a remix for someone I know, for fun. Remixing is easy and fun. You try to juggle the elements and keep some of them true to the original to make the remix recognizable in a way. In remixes, you’re given the main ingredient already, and then it’s up to creativity to do the rest.

The foundation of the house

I invite you to view your song as a dish, but now let’s also picture it as a house. To build one, you need a solid foundation. Solid is not about making it loud or big. It’s about being clear. In musical terms, we refer to the foundation as its fundamental note, it’s lowest part. Therefore, I find that setting a few notes in the bass/sub will give ideas, support for the melody to come in the mids. But if it’s muddy in the lows, the whole song will suffer.

TIP: Try to keep it to only 1-2 elements under 80hz.

A hook

Your song will be memorable for others if they can actually sing it back to someone who has never heard it. Ask a friend to see if that’s possible. If not, your song would be categorized as “intentional music” (in the same vein as percussive African music) where you can’t sing it. In techno, the whole movement of Romanian music is partly built around a combination of hook-songs vs no-hook-song. What makes it addictive is that you feel you can sing it back but not, and then when mixed, the interaction of 2 songs makes it reveal something you didn’t expect.

Do you need a hook? No. But if you never use hooks in your music, try to make one. Or if you only do music with hooks, try to make one that feels… empty. it’s a pretty difficult challenge to go out of your comfort zone but it can also make you discover things you didn’t know you could do.

David Lynch said:”Ideas are like fish. If you want to catch little fish, you can stay in the shallow water. But if you want to catch the big fish, you’ve got to go deeper.”

That’s all it for the first part on music production methods and methodology – I will provide more insights next week.

 

SEE ALSO :

My Electronic Music Production Methodology: The Mothership (Part II)

Resisting the lust to be famous

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While music fame and the desire to “get famous” might seem comical to some, I’m sure that if it doesn’t apply to you, perhaps there are some people in your network who have expectations to build a career in music production. It’s one thing to leave your mark, but it’s another when you have a very strong expectation to be famous. Why do I address this? Mainly because working with people I’ve noticed that many have this cyclical pattern of ups and downs, all based on how productive or successful they’ve been. The thing is, when you’re up, things are great of course, but the issue is how to deal with the lows.

In my career, I’ve learned a few things regarding how to deal with the lows. It comes down to perception mostly, but also to how you approach things. The thing is, no matter if you’re riding a high or a low, you are exactly the same. External factors can trigger frustrations but they’re not responsible of your emotions. While it is known that physically, making music can release some internal hormones that give pleasure just as a drug, on the flip side not being able to do music can also be hurtful.

Let’s debunk a few things that can help you surf more positive waves.

If you’re in music production to chase success, you’re in for a nightmare.

What is a successful release?

This is a good question; the definition of success can be based on multiple factors:

  • Sales. As you know, what might seem like a catastrophic release for one market could be a crazy success for another, with the same numbers. I can tell you that I had a time where 200 vinyl sales was a moment to open up a champagne bottle.
  • Reach. It’s so strange how some releases will have all the same amount of effort in marketing but one will pop on social medias and charts. It’s basically impossible to predict what will work and how much it will spread out. But sometimes, something that reaches out more than usual, might have next to no sales.
  • Media feedback. So you know, if you pay for PR, it will be between 150 to 1000 euros or more for a company to pass the music to medias, DJs, blogs and journalists. It doesn’t guarantee anything at all. But one thing you want is the music to gain momentum and if you start seeing comebacks here and there, that can be seen as a form of success.
  • Other artists’ appreciation. Charts, thumbs up, DJs dropping music in an event are all a form of success.

The thing is, these factors are all linked as you can see, in one way or the other. As a label owner, sometimes it becomes pretty frustrating to deal with artists who complain that you didn’t push hard enough because the previous release did better. Explaining it like a lottery might be the best way to put it out. The strangest thing is, sometimes some of the most talented artists I know make music that is exceptionally beautiful but it just doesn’t sell, reach or get any feedback; it’s as if people completely missed it. I’ve seen some releases on Archipel pop 7 years later because a known DJ played a track in an event, randomly. Thank you Shazam!

In the end, you are the one that can define your own success. Using numbers will help you greatly. “Being famous or known” can’t be measured, but selling 200 vinyls can. And since sometimes things move really slowly; sometimes patience can make a difference.

Over 20+ years of releasing music, I’ve come up with my own set of success measurements. One of them is based on a very tight circle of friends I share my music with once I’m done with a new song. If they all like it, then I know I have something I’ll be happy with down the road. Because one of the main issues with music making is to know if you’ll love your music later on. While you’re in it, you often lose perspective of its true potential

So what does success come down to?

1 – Create personal projects that matter: This is something really important here. Make music, finish your songs, make albums and share them with your friends. Hire someone to make a kickass artwork, make sure it sounds top notch and have something that makes you proud, even years later. Why? Because that is success, honestly. To have your own collection of homemade music is something that creates a portfolio and later on, if anyone looks back at your past work, they can see the dedication and work you put into it.

2- The 1/20 ratio: Keep in mind that one song out of 20 might get attention. Perhaps less. Keeping that ratio in mind, it really brings you down to earth and keeps you humble. Is it worth making music? Hell yes. Make tons of it. Don’t spend forever on that one song you believe will make you famous. Make tons of them, record daily at least one thing, one sound design, one loop… keep yourself engaged in what you love, because you love it, not because it will lead you anywhere.

3- Create your circle of validation: This will take time and patience but if you can find a circle of 5 people you love and that you know have similar tastes to you, then you can broadly share with them. Expect to be frustrated at times but be there to validate their work as well, and remain honest, diplomatic and constructive in any feedback. Make sure that some people of that circle are DJs that often play out so they can test your music in context, if that’s you’re goal. Bonus points if one of those DJs is a social media magician; he might refer you around. I also like to have someone that is very knowledgeable so I can bounce ideas of him/her regarding labels to send my music to.

And have fun!

How To Reinvent Your Sound

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If you’re finding that all your tracks are starting to sound too similar, there are a number of ways you can reinvent your sound. A while back, I wrote an article about how sometimes we feel that our music always ends up sounding the same. I did a test with friends and asked them to import their last 10 tracks into Ableton Live to compare each of the tracks’ wave forms. Visually, this immediately reveals if their track structures are the same. For instance, some people always introduce the hi-hats after 4 bars and will pause the kick just before. Others will put a first break after 2 minutes, then another one pretty much at the same place every time. We have habits and preferences in music; it’s possible to end up going down the same road with each track.

If you take music production seriously, you’ll want to pay extra attention to how you present your art. If you always stick with the same routines and habits, you might have difficulty keeping things interesting, especially if multiple labels want to work with you. Let’s discuss a few important points improve your sound, without losing the sound signature you might have already developed.

Know yourself first

You can’t change or reinvent yourself if you aren’t aware of your routines. What do you want to change or upgrade in your sound? Sometimes you know easily, but other times it’s important to answer this question. There are two major ways you can answer this question, but first you’ll need to gather all the tracks you’ve made in the last months and listen to them (or have a friend listen to them which can be better as there will be no bias) to determine what commonalities they share.

Another way, which is what I do, is to open your last bunch of project files and look at the arrangements. There will be something you might be doing regularly that needs to change. Once you know, the best thing to do is to start taking notes in the project itself by putting markers where you tend to do a specific thing. Put as many markers as possible then delete the content and make that new project your starting template for your future projects.

Are you always using the same kick? The same samples? The same synth? Reverb? If you’re always using the main effects that are included in your DAW, don’t forget that thousands of other people are also using those effects, and perhaps it’s time for an upgrade to new VSTs. Some are very affordable too. What’s very interesting is how sometimes we don’t realize we use the same samples. If you use analog gear, this might end up becoming an issue unless you add a bit of color or personality to your sounds somehow. Machines are often limited to what they can do and will depend on outside help.

For instance, if you always use the same type of kick or clap, perhaps you can start layering it with something else.

TIP: This is the longest part of the process but it will pay off – use friends to collect intensive feedback or our Facebook group.

Seek inspiration

This is the fun part and it demands a bit of an open mind. I would encourage you to do these things:

  • Who are your main inspirations in music? which artists do you like? Try to find out what/who inspire them. Perhaps it’s an unknown artist or something completely different. For instance, Bruno Pronsato is an ex-rock drummer and that has been a big influence on him. Pretty often you’ll find that some artists do get inspiration very different from the type of music they themselves make.
  • Try to listen to randomly selected music. This can be from the radio that you swipe around or from Spotify. There’s also a plugin VST named Radio that is pretty cool for that. It allows you to stream the radio directly in your DAW, and record it – an endless source of ideas. It also offers random channels to listen to.
  • Go back to oldies. If you lack ideas, try exploring different eras such as the 80s, 70s, etc. You can also dive in the vast world of jazz, hip hop, folk, world music, or indie rock to name a few. Create yourself a playlist and note down some ideas you like and see in them.

The most important question to ask when you listen to other music is to ask yourself what made that song famous. Is it the quality of the voice of the singer? Some innovating technique? Some use of effect? Every song has a story and it can be very insightful to understand what it is.

TIP: If you lack ideas, dive into electro-acoustics, Musique Concrète or Free Jazz. It’s not for the faint of heart but it’s full of ground-breaking ideas.

Think Modular

Reaktor by Native Instruments

I don’t mean modular synths here – when I say “think modular“, I mean that it’s time to become a crafting master in Ableton. Here are a few tool suggestions that can help you improve:

  • Reaktor. Reaktor is a monster. If you’re not already into it, check out Native Instruments’ demo to try it. It will be intimidating at first but it pays off, creatively speaking. There’s a huge community exchanging patches made with it and the blocks series is a good alternative and introduction to modular synths. The cool part is finding free tools that can be tied together and rebuilt into an instruments of your own. Many artists like to build one patch which becomes the tool in their next 5-10 tracks, then it evolves into something else. The strength of Reaktor is that it can be used as a synth or as effects.
  • MXXX.

    MXXX By Melda Production

    MXXX is for effects. It is very, very powerful as you can create complex chain of effects into one space, then automate multiple at once. I’m pretty addicted to this tool for sound design but also for mixing where I can fix some issues.

  • Reason. Reason (a DAW) has a more visual approach and sounds incredibly amazing. There’s something very playful about it by plunging virtual cables in the UI. The last version is simply outstanding and won awards in 2017. Link it to Ableton to combine forces. Ableton can send notes to Reason and you rewire the sound back into your project.
  • Bitwig. I find this DAW is very advanced and if you’re new to music production, it will be a challenge to learn. Since it’s very similar to Ableton, the transition is pretty fluid. I find the way the plugins work together is extremely creative and easy, without killing CPU. You can add randomizers and LFOs to pretty much anything and for that alone, it’s worth using. I often come to Bitwig for advanced sound design.
  • Goodheartz. Goodheartz is a collection of super nice plugins. There are many modular options but I like these because of their high quality and the fact that they don’t push CPU too hard.
  • Modular by Softubes. This plugin is the most impressive take on real modular synths out there. You have software equivalent of real hardware, a bit like Universal Audio’s version of hardware mixing tools.
  • VCV.

    VCV Rack (credit: VCV website)

    VCV is all the new hype – a free, open source environment and also an interpretation of hardware components. It does have a learning curve but the results are fun and it will certainly get you out of your comfort zone.

TIP: Abuse demos and trials! Try everything, record all your sessions and use them as wave files in a project. The plugins that are the most exciting should be considered to be added to your shopping list.

Collaborate

Collaboration is the most important in order to help you break from your habits. If you can find someone who lives close by that you can visit to produce in someone’s studio, hang out, listen to music and talk production, it will bring you a lot of fresh ideas. Don’t limit yourself to people who make the same music as you. It can be a guitar player or a singer. Sometimes if you can try to work on a new song with someone else, it will work your creative mind and force it to explore techniques you might have never been exposed to. Collaborating online is also very refreshing. Find people on Soundcloud and see if you can befriend them to eventually work with them, or remix them. It can be someone in a field that is totally out of your “normal”.

SEE ALSO : Where to Get Fresh New Ideas for Tracks

The musician’s double life: making money from music

/in /by

I’ve been working with musicians for quite a while, and it’s no secret that making money from music alone is huge undertaking because we all know that revenue streams are hard to come by. In many cases, I’ve observed how many musicians often have a double life that they’re trying to deal with. I’d like to share how this is often an aspect of being an artist that can be misinterpreted by the artist him/herself.

I’ll start with my own background.

For as long as I can remember, I’ve always been interested in anything art related. In the early 80’s, I convinced my dad to rent a camera so I could direct my own movies with my friends. We made cowboy movies and later on, in high school, I was really interested in theatre. When I was in college I was getting more serious about theatre but to secure my future, I decided to go in Social Science and Psychology.

This is the case for many people I work with: they live the double life of having another job because making music won’t pay the bills. I often see people who believe that because they do music, they should be able to automatically make a living from it, but making a living from music takes a long, long time. I find that if you want to live off music, it’s better not to do it full time for a while. There are multiple benefits in avoiding music as a full-time job, even though that might be your dream. Let me explain:

You may run in a creative burnout. This is something I explained in a past post and it becomes a problem when pursuing music full-time. If music is really important and fun for you, turning it into a job will completely change how you approach it. You’ll have to put aside a good part of your creativity to find ways to monetize it, and then you’re sort of stuck again in that you’re not making music full time. One thing I realized when I made this jump is, for the quantity of music you need to make to gather enough money to make a living, you need to not only make tons, but you’ll need to reinvent yourself every year. If you don’t want to saturate your market, it is recommended not to release more than 3 times a year. So then, yeah, you need to DJ or perform, and then, again, you’ll spend you time dealing with all the business aspects of that, plus dealing with a very competitive live music market.

TIP: Living off music full time is possible if you have a very solid basis and money saved up beforehand.

You need money for your studio. It’s no secret, electronic music is probably the most expensive music to create. Technology keeps evolving, as well as sound, plus computers quickly become old so you’ll have to allow yourself a budget for constant research and investment. If you count on hacked software to provide you with this solution, you’ll likely have to deal with the loss of your productions at some point because something goes wrong.

Some of the best ideas don’t come up in studio. How many times have you been washing dishes or on a walk, and then have a really amazing idea for a song? Taking distance from what you do is one of the best, most valuable ways to see your craft from a different angle. In my post about Non-Linear Production, I suggested taking many breaks and days off. Working on other things (like a blog), gives my brain a break to regenerate and come up with new ideas for making new songs.

Convert your other abilities into something creative. Every side-skill you have can be used in relation to your music or art hobby. This is one thing I approach in coaching, where I see how a person can combine both music skills and non-music skills. For instance, someone in finance can help other musicians making budgets or find ways they ignore to generate financial income. All you need to do is to see where you can contribute to your community and to surround yourself with other artists – a good way to be immersed into your music world.

What’s mostly important to realize however, is how many artists have this feeling that they’re in the “wrong place” when they’re not in the studio working on music. Some of the people I have worked with were working in schools, IT, restaurants, design, architecture, networking, or writing to name a few. The area where your more traditional career skills overlap with making music is a great place to start thinking about how you can make money from music.

Music Goals: Using Signposts instead of Goals

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You often hear about setting music goals to keep your drive going and to get you pointed in the right direction. I’ve previously discussed the best ways to set goals and reach them, but as time has gone on, I’m not totally sure if setting goals is still the most efficient way to get yourself going.

However, some goals on your bucket list still might be relevant; but this depends on how you set them. For instance, whenever I have people in coaching, we discuss that setting goals should be done in a way where you can actually quantify the success of your work. For instance, people often try to set a goal of “becoming a known artist”, which, in a way, doesn’t make sense at all compared to “finishing an album.”  The problem with the first goal involves two important things:

  • You can’t control your circle of influence. What does “becoming an known artist” mean exactly? That you’re appearing in charts or that 1,000 people have your tracks on their Spotify playlists? You can’t control that at all and being vague in your objectives will lead you to failure.
  • Becoming a known artist may or may not, happen. If it does, you might not even be aware of your reputation and some people think they’re known, when that’s actually not the case (for example, buying “likes” on Facebook doesn’t mean anything).

In the second goal, “finishing an album”, you’re in total control of that goal – you can clearly make a “definition of done.”  If this definition is reached, then you’re done, and the goal has been achieved. Working in this way can be useful, but I would also highly recommend that you also put an end date on your goal.

Now there’s another alternative to setting goals, which, for lack of better terminology, I’ll define as setting a signpost.  Why? Signposts are signs you see when you’re driving that help you be aware of the direction to go, to get you where you want, and also to reliably re-guide you when you’re lost. I like the term in French for “repères” – it’s sort of like “landmark” but not necessarily for physical places.

What is a signpost in your musical journey?

They are something you can rely on from a community you want to be part of, or a specific sound that you want to immerse your life with. I’ll give you the best examples as of how I applied the community approach to my life and why I use them in parallel to the type of goal-setting we described above.

In Montréal in the late 90s, we were really lucky to have a solid core of people and producers that gathered around the MUTEK festival which was our community but also a sort of signpost; a direction. It was a place where we could perform the music we all appreciated (arranged based on our personal tastes) and where we could also discuss music production. So back then, a goal for me was to play at MUTEK, but at the same time, it was that community that dictated how we had to sound to achieve it.

Another signpost I’ve used was a sort of music “target” I set through Ricardo Villalobos. I’d study his music, his sets, and a recurring question I had was “will he play this track of mine?” There wouldn’t be any goals attached to this besides, perhaps, having him play my music, but it was more as a reference point of how my music could be made or adapted,

I often do mixing and mastering for artists and labels, or do coaching, and one thing I often see is how people are a bit lost on determining who their music is for. Who do you want to reach exactly? Who inspires you? Which community would support and encourage you? This is the type of question to seriously consider, as I often work with people who are far from the physical community they’d like to be part of and rely heavily on the internet to be in touch. For instance, I have in mind some guys from South America who love Romanian artists – that’s quite a distance!

In past articles, I’ve about the importance of networking. Here are a few ways to help you find your own set of signposts:

  • Locally. Is there a club, a venue, or promoter that is booking and playing the music you love? Where is the closest place to you that could be your local reference? This is very important as you can get to meet people who have the same tastes as you. Perhaps it’s a festival that you can attend in another city, like MUTEK (this reminds me of a huge community from Colorado used to visit MUTEK in a group of 20! They would forge bonds and networks on their trips).
  • Online. I find it’s important to find a crew that make good podcasts, DJ sets, or music that gives you goosebumps. A trap however, would be if you aim too high, at very big artists and organizations (ex. Time Warp in Germany) where it is so big that becoming part of organization might become a huge puzzle and is very difficult. There are many smaller festivals that exist that have the same kind of music but on a smaller scale, you can grow with them. That said, try to downscale your target, or follow the bigger names but try to connect with the other, smaller guys who like that same music but are also emerging.
  • Aesthetic, genre, mood, direction. Try to find artists you like that are emerging and look stable and serious about their craft. You don’t need to contact them; it’s more about following their production and supporting them. Be a fan, someone who encourages and gives, while not expecting anything in return. Feeding people that inspire you is a good way to invest in yourself as well. I’ve supported and encouraged artists that started to go well but then have disappeared; it’s a disappointment, and sometimes I wonder what else I could have done to help. Seeing someone you love perform and do well is a great motivation for your own art!

I’d love to hear what you consider to be your own signposts!

Our First Music Retreat

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The idea for a music retreat came from a discussion I was having with my friend Fred about the need to just flee the city with some fellow music producers to spend a weekend making music. I mean, being in the country, being with friends, and then be able to make music seems like a recipe for something very special, right? Well, since returning from our retreat, I can only say it was beyond all my expectations; I believe it might even be something worth repeating on a regular basis.

When I first posted about my intentions to organize a music retreat on Facebook, I was mind-blown by the reaction and enthusiasm it generated. I think the excitement about a retreat comes from a need to be with others who share the same passion, but also to be in a context where we can connect about it.

We ended up having 13 people signing (note: we even had people from France who wanted to come but we didn’t posted the dates soon enough for them to prepare) and we found a beautiful manor outside of Montreal with the views of fields and hills as the place for the retreat. The setting was perfect. Fred organized two separate studios and we had plenty of room to be with our laptops to get in our bubble.

I had planned to do some workshops but after talking and deciding on the plan for the weekend, we didn’t really want to follow any structure. This first experience would determine our needs and how to deal with anything happening.

What came out was pure magic!

Imagine being in a room where everyone is making music, has gear and is focused on working on their own music, where you can show others what you’re working on to get feedback, to get answers to questions you have regarding technical issues, to observe everyone’s workflow and use of plugins…it really felt like a need was being met by everyone present: being part of a community, and getting instant validation and experience being in a creative environment.

We traded Soundcloud and Facebook for real human contact. Hanging out in clubs to find like-minds felt awkward; being around people who share the same interests, and working at the same time as others really responded to a common need we all shared: connecting physically.

No matter how the internet is developing and the tools it offers, there’s nothing like physical closeness. Even myself, I felt overwhelmed with the desire to make sounds and also to comment on other’s or to answer questions people would share out loud. It’s pretty common for music producers to meet in bars and clubs but you can’t really talk because the context is loud and not appropriate, plus you can’t really share your tech set up or how you work. It seems like a retreat is creates a proper space to co-create and see everyone’s game get upgraded. I am under the impression that this could be the best way to shape the sound of a community all together.

As we’re preparing to already organize more retreats, we are also planning to gather music producers in cafes, on a Saturday afternoon. I think that is also something we would love to explore, elsewhere in the world as well.

How I used the Music retreat for my creative flow

I wanted to do exactly what I do with my days in the city but to really concentrate it in a short period of time to see what would come out. My usual routine is to take my sound generators such as synths and then jam. I did that intensively until Saturday afternoon, but then I had a mental crash. It usually happens at some point but it was pretty interesting to see it happen like that. But the cool part was to be around people, talking and exchanging about anything coming. I wasn’t home on Netflix waiting for my energy to come back.

Later, I realized there were some ways I could have improved our productivity on the retreat. Below are some ideas I’m noting down for next time, as well as to give you some suggestions in case you plan to embark on a music retreat yourself:

  • Make samples as a team. Since everyone has a different background and inspirations, we could analyze some songs to try to replicate certain sounds.
  • Try to finish one song where everyone is involved. Each participant could use one instrument, and one person collect them all to put them into arrangements.
  • Use multiple people to do complex field recordings, strange sounds and atmosphere.
  • Make convolution images of different spaces, such as using microphones to sample the different rooms of the place we were.
  • Do the relay method of music making, meaning “try to do as much as you can on this track then pass it on to the next person.”
  • Try to do a cadavre exquis, music related.

If you have suggestions for us to try at the next retreat, let us know as we’re already planning another one!

The Inspiration Cycle

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Most people enjoy discussing music technically in terms of production as we all wonder where to start and how to handle ideas in order to make a song. I also follow many magazines and articles which cover how the brain perceives creativity, where it starts, and how to invoke it and keep it alive. However, even if you know the techniques to make music, remaining inspired to make music can become a challenge.  I struggle with musical inspiration as well, but also have a few tips if you’ve been struck with writer’s block that I find always work.

How is your inspiration cycle working?

This video about using flow is tightly linked to the experience of inspiration. Let’s dive deeper.

Through reading and my own personal experience, I’ve noticed that inspiration comes and goes through a number of phases, in a cycle:

  1. The stimulation and satisfaction of the mind.
  2. Conceptualization.
  3. Struggle.
  4. Release and creativity.
  5. Project completion.
  6. Transmission, validation.
  7. Celebration.

In the above video, the discussion is around flow, which is an important state of mind for a high level of creativity that can be reached by athletes and musicians during a performance. You can also access this level of creativity by making music, in your studio. But before a studio session, you need an idea and concept to make music around. Let’s examine the phases of the musical inspiration cycle I outlined above:

The stimulation and satisfaction of the mind

To sum up this phase, think about falling in love with something. For the writer, it’s a book or a scene description. The photographer gets excited about a landscape; the gardener, about the perfect trees; and the musician, sounds or a song. This can stimulation can occur anywhere at any time; in your car for example, or in many cases, during a “celebration” of some kind. The cycle becomes evident here, because the last phase is the celebration of completing your work, but this phase can also restart the cycle and restart the first phase of stimulation.

For example, many people feel that they want to become a DJ after a special night in a club. This is an example of musical stimulation kicking off the cycle of inspiration. People also like to celebrate art, in search of some sort of new stimulation for the mind; to be inspired to create.

Describing his creative process, Mozart observed, “Those ideas that please me I retain in memory, and am accustomed, as I have been told, to hum them to myself. If I continue in this way,” he writes, “it soon occurs to me how I may turn this or that morsel to account so as to make a good dish of it… All this fires my soul” (Harding, ).

The mind will feel satisfied by certain things that will inspire it to bring different elements all together, into a collection that will lead to the creation of a concept.

Tip: Before investing and diving into production, try to make a personal collection of music that moves you. It could be a secret playlist on Youtube, Spotify or Soundcloud, for instance. The richer your collection, the more you are investing into potential sources of inspiration.

Conceptualization

Understanding your concept is key here; it’s about putting to words what you have in mind. The main writer’s block-inducing trap in electronic music is facing the limitless options of where you could go in a creative sense. Ideas and concepts help to box you in, and to create your sounds into a palette that matches your idea. For instance, knowing you want to make “banging techno” already provides you with a direction as to what you’ll be doing. The challenge in this particular case would be educating yourself and understanding how complex sounds are recorded as well as other technical details. Conceptualization leads to the next phase which is the struggle; an unavoidable part of the creative process necessary when trying to apply your concept.

I’ve always found there to be two main things that will help with conceptualization:

  • Finding real life equivalent to what your vision is, such as finding songs that contain your idea or a part of it.
  • Finding resources to help you understand what your idea actually is.

The more clear your initial idea or concept, the best you can explain it. From there you can find someone who has the experience or tools to help you get your there if necessary.

Tip: Using voice memos to record something you hear or to leave yourself notes is a very useful practice. If you can invest in a microphone to try to reproduce sounds with your mouth or found objects; this technique can lead to very interesting results.

Struggle

The struggle is the phase in which many people feel like they want to stop making music altogether and even sell all the gear they have in extreme cases. Perhaps you’ve been through this struggle before – it can manifest in many ways – but the best approach to handle a struggle effectively is to moderate what you like doing, by reducing the length of time or efforts you’re inputting into developing your concept.

For example, instead of being in the studio for four hours, how about going for just one? How about you go for a walk when you have negative ideas coming to you? There’s no rush in making music.

I’ve seen so many artists struggle through this phase by falling victim to substance abuse which is by far the most risky way to deal with writer’s block. If you need an external substance to make you creative, you’ll quickly become dependent on it.

Tip: My drug is jogging.

Release and creativity

This phase can be when the “aha!” moment hits you full effect; all the technical details fall into place and you can express yourself entirely. I’ve had this moment with two albums I made, Tones Of Void and White Raven. However in previous albums, I’ve worked and worked to eventually find a pace that just made me feel unstoppable. I would finish songs in a day, which would normally take me months. Find a recipe, a patch, a series of effects that give you wings to turn anything in the sound you’re looking for.

For me, the “aha” moment is easy to hear on Tones Of Void. I had found the right series of effects that I loved and I was digging in my library, then could easily turn 1-2 sounds into a full song. I would record it live, do minor edits and felt entirely satisfied with whatever I had. I’ve also seen people using modular synths to make self-generative patches where songs are just written on their own and it’s really beautiful to see.

Tip: This phase isn’t linear and comes in moments. Find ways to save your tools and understand what uplifts your work.

Project completion

Finishing projects is something many people struggle with. The real question is when is it really done? Recently, I made a list of items to check to give yourself an answer but you can also give yourself certain criteria. I like the idea that something is never actually totally done, and that is part of the charm of it. Knowing the next project will be better is a way to let go of anything that has been revisited too often.

Once you can save your file and are happy with it, do a backup and call it done, this phase is simply done; it’s something you don’t want to drag on.

Transmission, validation & Celebration

You know when you love your song so much you want to share it with the entire world? That’s what the celebration phase I mentioned earlier is about. We want validation for our work, but there’s a part of ourselves that also wants to pass on our ideas to others. This creates the desire to have “the celebration” and to provide musical inspiration to others.

There are some people, however, who fear sharing their music. It’s no secret that most musicians seek validation from their community and music is a way to do it. What stops some people from sharing their work with others is the fear of being criticized. However, transmission and validation are necessary to move on to “the celebration”, which is the end of a cycle, but also the beginning of another.

I’d love to hear your stories about your inspiration. Please share!

 

SEE ALSO :   Where to Get Fresh New Ideas for Tracks 

8 common mixing mistakes and audio production errors

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Since starting my label, and after years of dealing with large numbers of demo submissions and artists, I’ve noticed that most of the time new producers and musicians make the same kinds of errors when they are early in their audio producing years. When I started my studio full-time I also noticed that I have – for the most part – been dealing with the same questions and frustrations about producing audio on a regular basis. This post outlines a list of some of the most common mixing mistakes and general mistakes musicians make when they are starting out.

the most common mistakes I see from Musicians with regards to audio mixing and producing:

Not investing in good monitoring (speakers, headphones).

This one is a huge deal. You’re dependent on what you hear to get quality results. This is always a bit puzzling to me, that some people hope to compete with artists who have invested so much into a professional studio with poor monitoring. If you can’t hear what you do, it’s pretty much like working blindly and the results on good sound systems will be catastrophic. So many people go test music in their car to see if it’s done properly which is sort of ok, but not productive.

What I’d suggest is to try to spend an afternoon listening to music you know on different speakers. Do not invest in cheap monitors because it’s all you can afford. It will fill your music with many problems down the road. Trust your ears.

A Lack of references

You can’t produce quality music if you haven’t been exposed to quality music. This means you need to have in your possession a large library of music for listening, but also to spend just as much time listening to music as producing it. The more you immerse yourself in music that sounds great, the more familiar your ears become with regards to how things should sound. This can mean listening to good quality vinyl or wav files.

What I’d suggest is to have regular sessions of listening music you like attentively and also in the background. Both are important. Make a playlist on Spotify or on your computer of music you know sounds right and train your ears to know that music inside out.

Making Comparisons to Professional musicians too often

This is the downside of referencing as it can play tricks on you. I know some people who have amazingly good tastes in music and want to start producing but when they start and see the work that is ahead, they become frustrated quickly. If you compare yourself to a guy who has been around for 20 years, chances are, you’re setting yourself for defeat.

What I suggest is to focus more on the experience of making music than the result, at first.

Thinking making music is easy

Can’t blame anyone besides the general culture that has been saying for years that “making electronic music” is all about “pushing a few buttons”. People see a DJ with fists in the air and they think “I could do that…”.This mindset will give you a rude awakening when you start working in a DAW and dive into sound design. Electronic music doesn’t require the same skills as playing piano, but will be demanding in terms of technical details. There are so many possibilities that you can go crazy trying to know where to start. Sadly, many people realize that and become depressed.

What I’d suggest before diving in music production is to try to befriend a producer and spend time in studio to see if you really enjoy it. Watch videos on music making to see if you can pick it up quickly too.

Investing too much, too fast

I’m thinking of the guy who decides one day to make music and then comes back home with 5000$ of equipment without knowing if he likes it or knowing what he needs. See what you like doing first, then invest around that. Music production has so many different dimensions that it’s important to know your cup of tea. Is it DJing? Playing synths? Sound design? Making loops? There are pieces of gear you need first as I explained in a previous post but you surely don’t need everything your friends will tell you to buy.

What I suggest was written in a past blog post about what you really need to get started. I often get asked what you need to start making music: a laptop and headphones is all you need at first. Build around that.

CHASING “success” before Building up skills

This is a classic. Knowing what you like is one thing, knowing what you do best is another. We all have certain skills that feel natural and sometimes you need to explore to discover all of them. Planning your DJ career without having done a few gigs and releases is getting a bit ahead of yourself. Take your time; enjoy the fun of making music and success might come down the road. Chasing success can be like pursuing a mirage.

What I suggest would be to really focus on loving making music before anything else. I often encourage people to start with things little such as making music for friends or to share with local DJs. If you build a network of 5-10 people, that’s enough to slowly build your self-trust and eventually emerge at the right time.

A Lack of patience

Making quality sounds and music is like brewing wine/beer: it demands time, patience and some sort of personal isolation for a while. It’s important to stop yourself from sharing your work to the whole world before it is really done. The name of the game in music production is patience and it is the same for anyone who want to go to another level.

Misguided Audio Production Techniques

If we’re talking tech, this list of issues are some things I always find in the work of new producers. Perhaps you can start changing your techniques if you recognize yourself in this list.

  • A lack of quality samples.
  • Not using EQs/compression. This one always surprise me.
  • Using too many instances of an effect instead of using the Sends/AUX.
  • Not using at least one, very good quality EQ or compressor. They really make a difference.
  • Not using channel strips in the DAW.
  • No mono for the bass or anything under 130hz.
  • Not using swing/grooves.
  • Missing the boat with saturation. Either it’s not done at all or with tools that aren’t doing the job. Get this free one to get yourself with a good starter kit.
  • Lack of post-production on sounds. Whenever you think you’re done with a song, you just realize there’s a number of details you overlooked. The road often feels endless… because it is.
  • Muting the kick too often in a track. This kills the energy, especially if you have long breaks with no kick.
  • Not letting things go. Sometimes, a simple idea can carry a track for a while but you’ll need to let sink in people’s mind so to do that, you need to trust what you do and let it go. Too often, newcomers are concerned that the listener will be bored and they keep adding or changing things.

You can also ask for help and I will update this list with pleasure!

 

SEE ALSO :  Sound design: create the sounds you imagine inside your head   

The 2-minute Soundcloud preview method

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The 2-minute Soundcloud preview method, as I call it, is about creating tracks previews that are 2 minutes long. Why that length?

If you look at most track previews labels and artists are sharing online, they’re about 2 minutes in length. This unofficial standard got popular during the early days of Soundcloud when a little problem was discovered involving people being able to download full tracks from the website; not the full resolution file, but the streaming version, which is very low quality. Many tracks leaked this way and it’s crazy to think some people used those versions to play in podcasts or even in clubs!

So then, why post 2-minute tracks?

Many labels look for artists by browsing their Soundcloud page and it doesn’t look good if the page is empty. As a result, some artists started creating “fake” songs, as 2-minute tracks, often with artwork created by an online app. The crazy outcome of this behaviour was that some people/labels started asking artists to release some of those two-minute tracks, which forced the artists to finish them.

The pros of uploading 2-minute mini-tracks is that if someone connects with you about one, you’ll know what’s working best from all the tracks you have online. This particularly useful if you have a large number of sketches and wonder which ones have the most potential. The cons of this approach, if done poorly, is that it can really backfire at you, and make you look (very) unprofessional.

That said, if your goal is to get some traction online, this method can really be effective. Some people also need motivation and direction to get things done so this approach might be good for you if you’re one of those artists. Here are some tips on how to approach this effectively, to get most out of it:

Use tracks that are in progress to avoid getting caught with unexpected requests. The more advanced you are in the arrangements, the better. You can actually use a complex 2-minute base as a way to find the final ideas of your track. Uploading a very simple loop is not a good idea as it might sound completely empty.

Make sure it is mixed properly. This might be the most difficult part of it, but make sure the mixdown is solid. Use some compression and have a limiter on the master to glue it together.

Make sure the main idea of the track is exposed in the preview. What I mean here is, be sure that if someone listens to your preview, they will have an idea of what the song is about. If you need a better idea, go to decks.de and listen to previews of records to see what I mean.

Have something strong to say. Make sure your loop is exciting, has something special in it and has a memorable element that might make people want to hear more. This is the most critical aspect of your 2-minute track.

Try to have very different song ideas from one to another. If you have too many previews that all sound exactly the same, it’s sort of like having a colour palette with a multitude of beige variations; have different colors but keep an aesthetic that is in tune with your style.

Make sure the mixdown is solid, then normalize. If you don’t use a limiter, export it normalized, this will create a louder version.

Limit the total number of tracks on your Soundcloud page. Try to pick a number between 10 and 15 then never have more. Why? Because you don’t want to be that artist that has zillions of unsigned tracks either. Remove older ones and remove ones that have no comments or likes. This is not good for momentum (see my previous post).

Indicate if the track is unsigned. Let people know the track isn’t signed or mastered; this helps clarify to people who listen to it.

So then, when do you finally finish one of these 2-minute tracks? You should decide to finish it when it generates some sort of buzz. If you get a DJ asking for a copy of a track for a podcast, this can be as important as if a label would like to sign it. If someone interested in your track, don’t sleep on it; let me know of your results!

 

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