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Favorite Equalizer For Electronic Music

July 21, 2021/in Blog, Mastering, Mixing, Production, Products, Review, Tips/by pheek

People often ask me what my favorite equalizer for electronic music is, and my answer is that it depends on what their goal is, as well as their skill level. However, the EQs that I like for electronic music generally fit a certain set of criteria. Not every equalizer in this article fits all of the criteria, but here is a not-so-exhaustive list of things that I like to see when I’m purchasing a new EQ.

Keep in mind that all EQ’s are at their core, just filters, but some go above and beyond this. Equalizer settings for electronic music vary based on the timbres and styles, but each one of these will work universally for electronic music.

Criteria

They have previews of the band that you can solo (you can press the button and hear the band on its own). This allows you to hear things more specifically.
The plugin needs to be able to do oversampling.
The plugin needs to be able solo the filter (EQ band).
The EQ needs to have a mid and side mode, aka M/S mode.
The EQ can switch from digital approach to analog. A digital EQ is very clean, and an analog is a little bit more organic and less precise.
The EQ can be dynamic.
While all don’t have this feature, it’s nice if an EQ has a piano roll, so you can see how frequencies quantize to notes (this is a good way of seeing if a note will fit inside the track).

Fabfilter Pro-Q 3

First on the list is the Fabfilter ProQ 3 – an affordable, easy-to-use EQ that hits most of the points I look for in an equalizer. It’s versatile, as in it can be used in both mastering and mixing. On top of state-of-the-art linear phase operation and the ability to get zero latency readouts on your EQ, you get natural phase modes, mid/side processing, and a bunch of other intuitive options.

A Neat Pro-Q 3 Trick

One of my favorite features is that if you have the ProQ 3 on multiple channels or busses, it can communicate with the ProQ 3’s on the other ones and let you know if there are conflicts in frequences.

Then, with the side processing (sidechain), you can easily duck precise frequencies, and you can even solo these frequencies to hear exactly how the sidechain is affecting the relationship between all the individual sounds. Or sometimes you don’t even need a sidechain, and you can just grab the curve and bring the conflicting frequency down.

Another neat trick with the Fabfilter ProQ 3 is that you can use it to split the stereo, and modify the same frequency at different amplitude levels on the stereo. So for instance, sometimes in a recording, you have a sound that mixes well on the right pan, and doesn’t quite mix perfectly on the left, but should be somewhat present on the left panning in order to fill out the stereo field.

With the ProQ 3, you can leave the level on the right channel as is, and on the left, alter the amplitude in order to fit the frequencies it’s conflicting with.

All of these reasons are why it’s a favorite equalizer for electronic music. It produces some of the best equalizer settings for bass, mids, and highs in all genres.

Wavefactory Trackspacer

This one is not necessarily an EQ, but if you’re familiar with Wavefactory’s Trackspacer you can see why it would fit well within this list. Basically, it uses a mathematical formula in order to automatically figure out where conflicting frequencies are between two tracks and then it will apply precise side compression to the parts that are necessary to compress to get them to meld better.

You can even apply a low pass or a high pass filter to each end of the frequency spectrum to isolate what part of the sounds you want to compress. It’s ridiculously easy to use.

HornetVST Total EQ

Not everyone has the money to invest in VSTs. However, HornetVST makes VSTs that are ridiculously cheap, and they often do sales, so you can get decent plugins for 5 bucks.

The HornetVST Total EQ is similar to ProQ 3, sounds really good, and is easy to work with. Personally, I believe it’s better than Ableton stock EQ’s because you have a team working specifically on developing the best equalizer for electronic music (or all music at that matter).

While it doesn’t have all the gizmos and detail goodies that the ProQ 3 has, it’s still really good. For instance, it has 12 bands, a real-time spectrum analyzer, a whopping 17 different kinds of filters for each band, individual analog response and emulation for each band, band soloing (like in the ProQ 3), mono/stereo for each band, and a bunch more features.

Melda Productions – MAutoEQ

The thing that makes this EQ special is the MeldaProduction Filter Adaption (MFA) technology which uses a formula to analyze your recording and make suggestions based on your recording, another recording, or even a spectrum that you can “draw” inside the interface. It’s kind of the Photoshop of EQs, in a way. It can also be used extensively for mixing and mastering.

MAutoEqualizer can place a track into a mix using the spectral separation feature, where you can, like in Photoshop, pencil your preferred frequency response. MAutoEqualizer’s technology will search for the best settings and alter the parametric equalizer bands to fit the best form.

With a normal equalizer, you are listening to the spectrum and then increasing or decreasing the amplitude of the band to fit what you believe is the correct level, which can be a chore. With MAutoEqualizer it gives your ears a little bit of a break by setting things to levels based on its algorithmic predeterminations.

Also, if you are allergic to resonance in your sound then this EQ is for you. One of the things it does best is listen to the incoming signal, where it then finds resonances that it can apply filtering suggestions to. Then with the wet/dry knob, you can determine how much resonance you want in the areas it pointed out. It’s really simple, and a favorite equalizer for electronic music.

Brainworks’ BX3

A mastering and mixing EQ I recommend is BX3 by Brainworks. It’s an extremely powerful, surgical EQ that I use extensively. It can make space, clean, and can really polish things up. This EQ is not meant for adding color or character to mixes, but rather making sure that everything sounds as clear and crisp as possible. It’s a bit difficult to use if you’re not super familiar with mixing and mastering, but it’s extremely powerful, making it a favorite equalizer for electronic music.

This EQ’s Auto Listen feature automatically solos each band’s Gain and Q (resonance) controls based on their respective settings while doing the same with the channel’s Frequency controller. By setting Gain, Q, and Frequency on an individual channel (L or R), Auto Solo switches the monitoring to that channel.

Your tweaks are illustrated with separate frequency-response graphs for each channel. With this feature, you may notice that your adjustments will become more visible and audible than ever before since it allows for some of the best equalizer settings for electronic music.

Brainworks’ AMEK200

My favorite analog emulation EQ is AMEK200 by Brainworks. This is modeled after classic 70’s and 80’s mastering EQ’s, such as the GML 8200 and vintage SONTEC vintage EQs, but with some plugin specific upgrades, such as Auto-Listen features, variable high-pass and low-pass filters, and M/S processing.

All of these features result in a very transparent mix that does a really beautiful finishing. Note that the AMEK200 has no spectral readout, just knobs you twist, which is good for learning how to trust your ears.

So, which one is my favorite equalizer for electronic music?

There is no specific one. All of these plugins will allow for the best equalizer settings for music, whether that’s minimal house, techno, jazz, rock, hip-hop or k-pop. They all allow for the best equalizer settings for rolling bass, or entrancing mids, it just depends on your experience level, and your desire to learn and experiment.

This article contains affiliate links which I may make a commission off of.

Becoming A Touring DJ Post-Pandemic

June 22, 2021/in Blog/by pheek

After being locked away for over a year, many artists are left with a trove of new music they released over the pandemic. And naturally, many of these artists want to play it out to new audiences. This brings up the question of becoming a touring DJ, which has become most professional musicians’ primary form of income.

However, with the underground electronic music scene being just that – underground – it’s not as easy to figure out where to tour, especially when much of the world is still closed down. That’s why it seemed like a good idea to reiterate the steps you need to take in order to get noticed in order to become a touring DJ.

North America Isn’t Europe

Becoming a touring DJ in North America is different from, let’s say, Germany. In Germany, club culture is one that’s not only government-sanctioned as being a cultural institution, it’s also not time restricted like in North America. In Germany, techno clubs start on Thursday evening and go all the way through the weekend, non-stop. However, in North America, clubs frequently close at 2 AM, with some exceptions that may go until 4 AM.

There are after-hours spots, but it’s not like someone researching a tour can easily find the promoter’s contact information. Plus, the world can be a little exclusive, due to its secrecy.

My Tale Of Touring

However, that doesn’t mean it’s impossible to become a touring DJ in North America. Before Facebook, I knew of all of the shows happening in Montreal, and I would frequent them. This got my name out there, and eventually, I was making lots of musical friends and acquaintances, who would then book me for the shows.

Through this, I started gathering fans and learned how to communicate with promoters and venue owners, always presenting myself in a professional manner. After a while, people would come out to see me specifically, and instead of standing in the corner waiting for the headliner, they would be on the floor tearing it up. Thus this encouraged more people to dance, and after a while, people visiting from out of town started to take notice.

Becoming A Touring DJ Is About Building Bridges

Promoters in the United States and Ontario would often come to Montreal events, and they would reach out to the promoter to figure out who I was and book me outside of my normal domain for parties that I had never heard of (even if they were within driving distance, and naively thought I knew all the events within driving distance).

Then, while playing these places, maybe I noticed other DJs on the bill and invited them to come play one of the events in Montreal. This is how cross-pollination of scenes happens, and creates regional touring circuits for people to play on.

Becoming A Touring DJ Is Conditional – You Must Provide Value

However, becoming a touring DJ can only happen for developing artists if certain conditions are met. First, they must play in their city and become sort of a local hero. This allows them to have content that can be shared with other promoters showing that they can rock a crowd. This is important because in this day and age content is king, and videos showing you smash a show is a great way to prove to people who haven’t heard of you that you’re someone worth paying attention to.

To play locally, you must also provide value for the scene beyond the music you play. Be a patron of the arts, and go to shows. Write about public-facing shows in blogs. Do promotion for the shows by flyering and posting on social media. Show that you care about the development of the scene; form a symbiotic relationship. You’d be amazed at the power of reciprocity once you approach the promoter in a respectful, professional capacity asking for gigs. However, you HAVE TO ASK. If you don’t ask, you will never become a touring DJ.

The First Follower Concept

Even after all of this, realize that your first gigs will not be glamorous. You’ll be sleeping on couches, playing for almost nothing (and/or free), and saying yes to pretty much everything. You will not sleep much, you will not make much, and you will play on a lot of empty floors. However, eventually, people will start to congregate if the right conditions are in place.

This is the first follower concept – something that Derek Sivers, the founder of CDBaby evangelizes. This is best exemplified by this video of his where a lone dancer on a hill starts ferociously dancing to the groove. Then another follower notices the infectiousness of their moves and joins in. Then a third, then a fourth. After about a dozen people start dancing, critical mass forms, and like a flock of seagulls to a piece of bread on the beach, they swarm.

This is what you must have at every one of your shows – someone who is willing to be the first mover. If you’re playing out of town, this may be especially difficult. Therefore, do your best to at first play shows that are within traveling distance of your friends and fans. Incentivize them to come out with guest lists, or other giveaways.

Playing For Exposure

I’m about to say something controversial. Something that in certain circles will result in a strong amount of backlash. So where we go… when a promoter says that playing a gig for free, or relatively little, will be good exposure, if you’re at the beginning of your career, they’re right. However, it’s only worth it if you can get that “first follower.” If you just play to people who are sitting at the bar, there will be no exposure – instead, you will be a glorified jukebox. Nobody gives a shit about the jukebox. If you’re not able to bring out someone who is willing to go buck wild on the floor for you, then the gig probably won’t do much for your exposure, and won’t help you on your journey to becoming a touring DJ.

Branding Is Everything

Ever wondered why promoters are willing to shell out $3k for a visa plus the booking fee to get a European to come to play a local club, despite there being locals that can play just as well, if not better? Branding, unfortunately.

It’s easier to sell the romanticism of a European DJ who commands a spot in a culture that appreciates them, rather than booking a local who doesn’t have the same aura surrounding them. People may not even know their music, however, they have tens of thousands of followers, videos of them playing the crowd, and a press kit that would make any up-and-coming artist jealous.

Just by having this, they have the social proof and authority necessary to get curious minds to take a leap. Compare this to a local DJ who has none of this, despite the convenience of being around. Additionally, the scarcity of the European artist contributes to their appeal. Compare that to a local who is always available.

Other Ways To Become A Touring DJ

Throw Your Own Party

There really is only one shortcut to this, and it takes some upfront capital investment. The way? Throw your own show, and book artists from out of town that will consider booking you. Then spend money and time on promoting it, and promoting it hard. Partner with other local artists who already pull a crowd. Partner with other promoters and venue owners. Work out a revenue-sharing agreement.

Then, since it’s your event, put yourself in a good slot that has a crowd and make sure you have friends there who are willing to record you rocking the crowd. Then, afterward, make sure to ask the out-of-towners if you’d be willing to do some gig trades, where you play their city in return for them playing yours. You can then use the footage of this party in order to solicit gig trades from people you’ve never met as well since it shows to them that you can throw a hell of a time.

Get A Booking Agent

This is easier said than done. Most of the time you can’t just outright hire a booking agent, since they usually work on commission. However, every once in a while, you can convince someone to try and book you if you have enough rapport.

The problem is, let’s say you are able to get a booking agent without clout. Unless they have a reputation where their word guarantees a good party, you have to have the branding that they can sell. You have to have a press kit, you have to have photos and videos of parties you played, you have to have a social media presence that is constantly growing and being updated. You are, unfortunately, a product just like a box of cereal, or a car.

I Guess I’m An Idealist, Too

I was really hoping that the pandemic would move scenes more local, as the lack of plane travel, and travel, in general, showed its impact on our air quality. However, often this leads to unexpected consequences. The lack of pollution has cleared the skies, and somehow, impossibly, warmed the planet. Yet, in this same article, it was concluded that even though the planet warmed a little, the impact on people’s lives is positive, with less dying of air pollution.

Hopefully, with a little education, we can reduce our carbon footprint of touring, and at the same time build up local scenes. It just seems that things are going to go back to as they were before.

How To Have Fun Making Music

June 10, 2021/in Blog/by pheek

Sometimes making music can be a chore. To people on the outside looking in, music seems like an enthralling, exciting, fun experience, but anyone who is a composer knows that making music takes focus, dedication, and frankly, at times, can be pretty boring, and stay boring. That’s why it’s important to know some techniques for how to have fun making music, just in case you fall into one of these creative ruts. What I’m about to share isn’t the definitive way for how to have fun making music, but rather things that I have done for a while that take the pressure off, and just allow me to be creatively expressive without all of the arduous parts.

Having The Ideal Setup Does Not Guarantee Fun Or Even Ease

I have written about this to death, but it deserves to be mentioned again. So many creatives think that they need the perfect setup in order to have fun. They think they need that new module for their Eurorack, or that new audio interface, or the latest poly-synth, and then, and only then, will they have the ideal creative experience. This is just so, so untrue. Every new piece of gear you get has a learning curve.

Unfortunately, the world of electronic music is not entirely standardized, so things won’t be immediately intuitive even if they are relatively similar to something you’ve already owned. Chances are that thing you already owned will allow for easier, more fun creative expression since you already know it. But, the cognitive fallacy that new equals good is just that, a fallacy. There is even a term for it in cognitive psychology – “appeal to novelty.”

Therefore, if you really want to know how to have fun making music, use my first advice would be to use something familiar.

Work With Loops

Go on Loopcloud and just start grabbing loops. The more complete the loop, the better. The goal here isn’t to make something super original, the goal here is to have a good time making music. Now drop those loops into session view in Ableton, and start triggering loops and see what happens. Maybe MIDI map some basic effects like delay, reverb, flanger, gate, pitch bend, and a filter. Then MIDI map the volume faders on the clip’s channels. Then start triggering loops! Fade the clips in and out, change the wet-dry on the effects, bend the pitch, and make the sound melt. Think of it kind of like DJing, but in a compositional sense.

Loopcloud Makes Everything Easy

Working with Loopcloud makes the process of choosing clips easier, as they have built-in search filters and algorithms that help identify contextually similar loops for you to play around with. All you have to do is click “find similar sounds” and Loopcloud can filter to you either harmonically or rhythmically similar sounds that will work well together. Then, with their native plugin, you can load the samples directly into the DAW without having to download the files, and sort them, allowing for seamless integration, and immediate use.

Another great thing is that this quick sorting loop function teaches you how to have fun making music that’s not the same as what you’d normally make. Maybe you’re a minimal house DJ, but you have a penchant for disco house – yet not a lot of experience with it. Well, with loops, it’s easy to throw together something that sounds good without the time or practice it takes to create something from scratch.

THis Isn’t About Art, It’s About Fun

Some people might take artistic integrity into question here, but we’re having fun, not creating our magnum opus. If you can’t get over that, think of it like DJing. When you’re DJing, you’re not only playing your music, your play other people’s music, just like other people made these loops. However, what you create will ultimately be more unique, and also royalty-free.

You may even like it and use it later in a more serious composition, but for now, the goal is to figure out how to have fun making music.

How To Have Fun Making Music With An Artificial Crowd

An artificial crowd, you say, Pheek? Yes, an artificial crowd! In this day and age, we have access to a plethora of crowds that will dance no matter what we do! How, you ask? Simple, by putting on YouTube videos of dancing crowds, and jamming to them. They don’t care what you do, they’re going to have a good time anyways! So, load up your smart TV, your projector, or even an auxiliary computer screen, load up a long video of people gyrating to some 90’s acid house, put that shit on mute, and start jamming.

Just Start Jamming

Better yet, keep the audio playing on the video of the crowd dancing, load up your favorite gear, and start jamming over it, like you’re just an accompaniment instrument to the mix. If you’re really fancy, you can route the audio through Ableton using a virtual audio cable. You can add fills of effects, tap in drum patterns, play auxiliary basslines or leads, load in some samples from Loopcloud! Basically, whatever your imagination can conjure on the fly, do it! Just make sure you press record.

Then once you’ve recorded all of these, you’ll have a fresh sample bank of new ideas that you can incorporate into fresh productions. Now, all that fun time was actually spent being productive, rather than frivolously. You also got some solid practice in!

I’ve been doing this technique for 15 or so years, and it has lead to a plethora of new material and inspiration.

Download A Ton Of Plugin Demos

This is a fun one. Basically, download the demos of a bunch of plugins that you would otherwise not use. Then grab a loop, or sound from somewhere, or make one quickly from scratch. Then load in the plugins, and start stacking them on top of each other and see what happens. Start flicking through presets on all of them, adjust knobs, and create massive, cacophonies of sound. Now filter those sounds, and see what happens. Maybe resample them, and then throw more plugins on top, while dropping the pitch.

How My Follows Have Fun Making Music

lotech/hijack says, “Honestly I find exploring and experimenting makes it fun. Don’t approach it as a process. Just remember that you love music and the feelings you get as a listener. Then go at it with that mindset. Works for me (usually).”

Camilo Jesus Ramirez says, “After years of making music I get the most of me when I don’t push myself to do it, I only do music when i feel to, sometimes I don’t touch a project in months and sometimes everyday non-stop, the fun comes when I feel in the mood”

Steve Moss laments, “Every time I buy new gear or a new synth I tell my wife: ok now I’m complete. My wife tells me: that’s what you say every time and you’re never complete! Hahaha.”

Pierre Deniel simply replies, “LSD.” I guess that’s one way too.

There Are Many Ways To Know How To Have Fun Making Music

There are many ways to have a fun, enthralling musical experience that doesn’t involve thinking too deeply, or seriously about the process.

To reiterate, it all starts with having something that you don’t have to troubleshoot too much. It’s easy for the fun to be sucked out if you have to spend your time learning, or fixing something. Therefore, start on gear you’re familiar with.

The next step to having fun is to try something without expectation. Don’t be afraid of dabbling in new genres, especially with an amazing tool like Loopcloud which allows you to load in, find, and sort samples in a heartbeat.

Don’t be afraid to try new plugins either, and do things that don’t make sense. At the end of the day, nobody really cares how you made something, as long as you make it.

The real magic here is that if you record it, you’ll be left with so much unique stuff that you can use in your future work. Never underestimate the usefulness of just having fun.

The Paradox Of Releasing Original Music

May 20, 2021/in Blog, Label Management, Production/by pheek

Releasing original music can be hard if the artist is truly original. Recently, the techno producer and label owner Ramon Tapia lamented that after spending the day listening to demos that, “Young aspiring producers create pretty much identical tracks.” However, when you listen to his label, Say What? Recordings, you realize that all of his tracks kind of sound the same.

So you have this well known producer insisting that everything he gets sounds the same, but then when you listen to the stuff he releases on Say What?, it all kind of sounds the same. Therefore, naturally, after people listen to his label, they’re going to send him a pretty accurate representation of what they believe fits on the label, and thus everything he gets will sound, more or less, the same. This, my friends, is what you call a paradox. However, he is not alone in this. This is just how the industry is.

Categorization = Homogenization

A problem that many artists have is squaring their artistic integrity with being able to get their music heard. And just like artists have this conundrum, so do the labels that sign them. Many labels wish they could allow artistic integrity to shine, but ultimately they have to make sales, and truthfully, most people, even music hipsters, are pretty closed minded to new sounds.

Additionally, for better or worse, we live in an era where sound has become homogenized into a bunch of genres and subgenres, and where time has essentially collapsed (nostalgia is strong in 2021). It seems like this was originally meant to make it easier to create a taxonomy of music, and thus open up more possibilities for artists to create more unique sounds, but in a lot of ways, it has done the opposite.

While everything back in the day used to be “rave music”, now everything has its own neat little home, and anything that strays outside this becomes too different to stratify, or simply gets earmarked with the ubiquitous “experimental” label, which is often a red flag for “inaccessible.” That’s why releasing original music can be hard.

How This Has Made It Hard To Release Unique Music

This has made it difficult for people who create art focused music to find a home. Sure, there are labels that are more open minded than others, but those are far and few in between. Most labels have a sound and they stick to it, because they know that it will sell to their market.

However, every once in a blue moon you see one of the label curators, like Ramon, stating that all the songs that they get sent all sound the same, not realizing that they caused their own conundrum by “curating a sound.”

Archipel (my label), while we curate a sound, does things a little differently. That’s why, in this blog post, I wanted to touch on how we balance originality with marketability.

How Music Is Sold And Consumed

First, let’s talk about how much is listened to and sold. There are three spheres – people who make music, people who listen to music, and the bridge that connect people between the two. This bridge is either labels, or channels such as blogs, YouTube channels, and Spotify playlists.

However, because of the algorithmic era that we live in, in order for many of these channels to grow, they have to keep listeners engaged, and the unfortunate fact is that most listeners aren’t that interested in hearing new music. Sure, they may be into new music in a respective genre, but anything that challenges that genre may result in a user skip. And every time you get a skip, you get devalued in the algorithm. And content curators know this. Therefore, it’s in their best interest to keep things predictable, and to be wary of anyone releasing original music.

Your Culture Matters

Another part of how people consume music is the culture that they live in. If it encourages people to be open minded to new sounds, then they may check out new sounds.

A good example of this is Montreal, where I’m from. We have a ton of unique, forward thinking musicians that don’t sound like anyone else, releasing original music. Good examples of this are Tim Hecker, Godspeed You! Black Emperor, Arcade Fire, Grimes, Kaytranada, and Leonard Cohen.

Sure, there are a dime a dozen Arcade Fire and Leonard Cohen sounding musicians, but at the time they were first releasing original music, these sounds were fresh, and exhilarating. And this innovation was only possible due to the culture they existed in. Unfortunately, most places aren’t like Montreal though.

Don’t Disregard Small Cultures

Speaking of culture, even if you don’t live somewhere as open minded as Montreal, there are most likely small circles where you can get away with releasing original music, and performing it to a receptive crowd. There is this perception that in order to enjoy music, you somehow have to be part of the mainstream crowd that represents it. This is usually unrealistic for most people, so I always recommend finding five or so people who can become advocates for your sound. They’ll tell others about it, and you never know what opportunities that will open up, or what other subcultures they belong to that your sound fits into.

The Label’s Culture Matters When Releasing Original Music

I’ve written about this a lot, but another thing about Archipel is that just because your sound might fit, that doesn’t mean it’s going to be signed. That’s because just as much as a label is about creating a sonic portrait, it’s also about cultural fit, just like most other businesses.

Think about it, you’re a software developer who applies for a job. You have all the credentials, and can write clean code with the best of them. However, so can everyone else who is in the same round of interview you are in. So what separates you from them? Your personality. That’s why we generally only sign people who we have a personal relationship with, or someone who presents themselves to be culturally relevant.

Therefore, before you try to get signed with Archipel, it’s best to talk to us for a bit. Maybe get some mixing and mastering done. Interact with our posts. Talk to our artists. But if you don’t want to do all of this, then, for God’s sake, don’t just cold email a link. This has been happening constantly over the last 10 years, and it’s a waste of time. Instead, write something about how you would be a good fit and show that you have done your homework, just like any job interview. This attitude will result in a higher acceptance rate to other labels as well, even if your sound may or may not fit.

Good Labels Release Original Music As Part Of A Narrative

A good example of this is a while ago I was mastering this artist’s release, and I thought that it would fit the label. So I reached out to him asking if he wanted it to be signed. His response was somewhere between flattery and shock. He was flattered that I thought it should be on the label, but at the same time didn’t think it would fit. That’s because with Archipel, I approach the label like an album, or a DJ mix, where the next release is a song that acts as a bridge to the next.

I see the whole thing as a narrative, in a way. And that means that even if a song would have worked in the past on the label, at this particular moment, it didn’t, because of the curated story.

However, this guy’s release, while it might have not made sense in the past, made perfect sense here.

The moral of this story is that if you really want to be on a label, and that label curates many different genres, don’t worry if it will fit or not – just send it over. You never really know the intentions of the A&R. However, if you want to send music to a label like Say What? Recordings that almost exclusively releases 130+ BPM peak techno, then it’s probably not wise to send them your leftfield ambient track.

In Conclusion

Labels are a tricky thing if you plan on releasing original music. If it’s too similar to everything else, it will get ignored. If it’s too different than everything else, it will get ignored. Even if you find a sweet spot in the middle of that, chances are it will get ignored too, since you don’t have a relationship with the label. Therefore, it’s best to cultivate relationships, and join a culture that will accept you for who you are. Remember, at one point, all genres were truly original. It just took a curator to have the the confidence in order to release it on the market. Maybe it’s time for curators to have more confidence?

Difference Between Art Music And Commercial Music

April 2, 2021/in Blog/by pheek

I often get asked what the difference between art music and commercial music is. And while there is a lot of subjectivity in music, I think I have a pretty good answer for it.

Before I get into it, I would like to note that all musicians are artists. However, there is a difference between art music, and commercial music.

People have different reasons for why they make music. Some do it because they want fame, or at least relative fame within their niche or region. Other people do it because they have an insatiable desire to innovate. And when they innovate, they often take risks. And it’s this risk that separates the two.

I would hypothesize that the majority do it for somewhere in the middle, where they desire to be noticed, but at the same time have an innate desire to create something groundbreaking. Then from that middle, it skews to either side, depending on the individual.

While it is possible to be artistic and commercially successful at the same time, often one has to make concessions depending on what their motives are.

First, let’s define what I mean by both.

Commercial Music

In my mind, commercial music doesn’t necessarily mean Top 40. There is tons of commercial music that you will never hear on pop radio. But you may hear it on a genre specific radio station. And to get on these stations, typically songs have been focus grouped to hell; where consultants, and market research have determined what the winning formula is for a song. This could be length, song structure, instrumentation, and lyrical content, among other factors.

In other words, it’s template, or formula based music.

Since this is primarily a dance music blog, let’s concentrate on techno. If you look at the Beatport Top 100 Peak Time Techno songs, the prevailing techno sound nowadays is 130 BPM +/-3 BPM.

They all have some sort of “DJ intro” for easy mixing, usually a kick drum, or repetitive synth line. Additionally, their breakdowns happen at roughly the same times – 2 or 3 shorter breakdowns in the first half of the song, followed by an extended buildup and breakdown somewhere in the final third of the song.

There isn’t much variation in the composition, because it’s music designed to be mixed by DJs, and the second you change up the composition, it becomes harder for a DJ to mix.

Basically, this sort of music, no matter what the genre, is designed for people to understand quickly.

Music Can Still Be Commercial, Even If It’s Underground

So you made a Rominimal track, which is undoubtedly an underground genre. However, underground doesn’t mean it’s not commercial. If it’s a Rominimal track that follows the same formula as what came before it, borrowing sounds and structures from groundbreakers like Raresh, Petre Inspiresu and Rhadoo, then chances are it exists to be sold to other Rominimal DJs, rather than the art. A producer who is taking an artistic approach would take the Rominimal framework and turn it on its head, just like those three pioneers did when they reimagined Minimal.

Art Music

Art music is music that doesn’t try to be anything else, more or less. It’s music that comes from a place of authenticity, rather than a desire to be heard, or understood. It involves unconventional song structures, reimaged timbres, like a trash can lid for a snare, stream of conscious lyrics, odd time signatures, key changes, etc. In other words, art music takes risks.

The Balance Between Art and Commercial

One thing to note is that art music can also be commercially successful, and even sound popular. There are plenty of uber successful artists whose music is artsy. Classic examples include The Clash, The Talking Heads and Pink Floyd. More modern examples include Radiohead and Billie Eilish.

So, what makes these musicians art focused, rather than commercial? While they have their commercial hits, these aren’t what define their entire catalog.

Classic Examples

Pink Floyd, with their hit “Money” is in ⅞ and uses extensive folly sounds. However, this song is probably played thousands of times a day and has been for almost 50 years. It’s this time signature, and use of sound that is the difference between art music and commercial music.

Another good example of this is “Losing My Religion” by REM. There is no discernable chorus in this song. It’s only verses, with a repeating melody. It also heavily features a mandolin. However, this is still one of their most popular songs, despite it kicking convention in the face. When evaluating the difference between art music and commercial music, looking at the structure is a good place to start.

Modern Examples

An example of a modern art pop song is Blood Orange’s “Uncle Ace.” What’s interesting about this song is that it sounds like something that would be written by Prince. It also has parts that sound like a chorus, but in reality, it has no chorus.

The song structure instead goes intro>verse>bridge>verse 2>bridge/hook>pre-outro>outro, with no part being discernible similar to each other besides maybe the verses. Once again, it’s this structure that empathizes the difference between art music and commercial music.

Another contemporary artist that does artistic commercial music is Billie Eilish. Her hit, “Bury A Friend” is a shuffled, syncopated song that samples a dental drill, Easy Bake oven, glass and a staple gun. Its song structure is equally as odd. It goes hook>verse>pre-chorus>drop>hook>verse 2>alternate verse 2>bridge>pre-chorus>drop>hook. Most modern songs with that level of fame are verse, chorus, verse, chorus, bridge, chorus.

In electronic music, art music becomes a little more apparent than most. Good examples are Aphex Twin, Squarepusher, Arca, SOPHIE, and Burial. However, they are all successful, and this is often by design.

What Makes Art Music Successful?

Popular Themes and/or Lyrics

The late SOPHIE is a great example of this. One of her most popular songs, “Immaterial,” is almost an off kilter tropical house and reggaeton song. However, it’s peppered with atonal sounds, and vocal yodels. Ultimately it’s a pretty jarring song. However, the song repeats the same simple lyrics over and over again, and those lyrics are about materialism, something we can relate to. Additionally, it uses R&B, auto tuned vocalizations that are common in contemporary pop music.

Same can be said for artists like Arca. While most of their music sounds like an ambient, distorted dystopia, the beats are largely hip hop beats. That’s why they have worked with mainstream artists such as Kanye West.

Standout Marketing

Good examples here are Boards of Canada and Burial. Both have cultivated a sort of mystery around their work. Neither perform live, and while their identities are known, they are shrouded in mystery. Take Burial for example. Even when he was up for a Mercury Prize, his identity was still speculated. However, despite being up for one of Britain’s most prestigious cultural awards, his music was hardly pop. It was lo-fi, future-garage made from samples from YouTube videos and video games. Placed up against songs at the time, it sounded thin. But that didn’t matter, because of the questions around his identity.

Boards of Canada are all about mystery as well. When they released their latest album, Tomorrow’s Harvest, they built a cipher for fans to figure out, slowly revealing details and further ciphers until fans realized it was a new album.

Having Commercial Success And Then Doing A 180

The best example of this is Radiohead. They blew up with their post-grunge, Brit-Pop single “Creep”, which followed traditional song structure. They then followed that up with their album, The Bends, which featured the similarly Brit-Pop-esque song “High And Dry.” Then they started to get bored.

Their next album, Ok Computer, still had its rock oriented structure, but started to rely more on timbre, and texture instead of traditional rock sounds. They introduced more pedals into their array, and concentrated on using the studio as an instrument, taking cues from early British artists like The Beatles. They even had experimental vignettes such as “Fitter Happier,” a jarring, Speak-And-Spell driven, ambient hellscape of a track that criticizes the numbing of society by commodities and pharmaceuticals.

While Ok Computer had one foot in commercialism, one foot in experimentation, it was with Kid A that they went a full 180, replacing guitars with synthesizers, drum kits with drum machines. Their songs started to have less of a discernable structure, concentrating more on themes, and timbre. However, Thom Yorke’s voice still remained a constant, allowing their previous fans to find grounding in their new, forward thinking sound. Sure, it alienated some fans, but Radiohead still continues to release albums, and sell out stadium tours. If you want a good example of a song off this that sounds like one of their more commercially viable rock songs but in reality has a complex, and unique arrangement, check out this video about the arrangement of “How To Disappear Completely.”

Intention Matters In The Difference Between ARt Music And Commercial Music

Ultimately there is no right or wrong way to create; it’s all about your intention. If you want to make music that’s easy for people to understand, so that it gets wider acceptance, then you should absolutely do that. This is probably the most surefire way to make money as a musician, and you will ultimately have more people listen to, and appreciate your music. You may even find some fame.

If you want to make abstract, ambient, noise music, go for it as well! There is no shame in that at all. You are making art for art’s sake, and nothing else. You are being true to you, and nobody else. While you may not find fame and fortune in it, you may at least feel creativity fulfilled.

Just keep in mind, while it can be done, it’s hard to square the two. So when creating, it’s all about your intention.

Electronic Music Coaching Lessons

March 17, 2021/in Blog, Coaching, Communication, Production/by pheek

There is this attitude in electronic music that if you share your secrets and techniques that somehow an essence of it will get lost, and some of the magic will dissipate. Additionally, people may take that advice, utilize it, and somehow outgrow and surpass the teacher. And nobody wants to feel like they dug their own grave. This philosophy about electronic music coaching took me some time to overcome, and I’m glad I did.

Instead of the relationship between teacher and student becoming parasitic, instead I have found it to be purely symbiotic. Sure, some students have surpassed me in many aspects, but I find that they are reciprocal about their newfound knowledge. Now I have many people who are happy to help me with aspects of music making that I don’t enjoy doing as much as they do.

A photo of George Martin coaching the Beatles.

George Martin helping The Beatles. He would have been excellent at electronic music coaching.

Success Takes A Team

As I’ve harped on in previous posts, it makes sense to delegate some of the tasks of your music making, as this is what happens in every other genre of music, yet, for some reason, seems to be stigmatized in electronic music. Think about it, The Beatles had George Martin, Miles Davis had Herbie Hancock. Michael Jackson had Quincy Jones (as did Frank Sinatra). It doesn’t make you less of a musician to be the teacher and embolden your students; it empowers you and propels you to greatness.

That’s why, around Spring of 2016, I announced on my Facebook page that I’d do free electronic music coaching to anyone who would come to me. Back then, it was just a pure invitation to share my knowledge to people and using Mailchimp’s newsletter technology, I was hoping I could send emails to people and guide them in exercises.

Initial Experiments In Electronic Music Coaching And The Lessons Learned

My initial attempt kinda failed pretty quickly as my lack of understanding of the email technology drove some of the participants mad and I had more damage control to do than coaching. So I closed that option and decided to open an electronic music collective / Facebook group with a precise goal – to provide a safe space for anyone who was unsure about their music before posting it publicly or sending it to a label. Of course, any question would be welcomed and we would have a hive mind to answer questions from various people.

As I’m approaching 5 years of free electronic music coaching, I’ve learned a lot from this. From giving feedback and to seeing mentees grow into solid musicians, these are the scenarios I saw play out.

Common scenarios In Electronic Music Coaching

Pretty much everyone who came to me to get some help had one thing that was blocking them from something. A minority would come to perfect their skills and some would come to have guidance in different situations but in the most part, people come to me because they’re blocked. In our electronic music collective, the more specific questions are usually searching for a specific effect used to replicate a sound or getting feedback on a song. These are quickly answered by the community that share a few ideas and hints. Often, it might not be exactly what the person needs but it often guides them down a path that may lead them to something more proactive.

However when doing one-on-one electronic music coaching, I often am presented with the same problems:

People who are experiencing a major writer’s block and are feeling helpless.
Aspiring artists that have worked really hard and are feeling stuck, not seeing improvements.
People who have the loopy syndrome, having countless loops but not being able to finish songs.
People who have deep love for what they create and are stubborn about any criticism, or conversely, they have intense hate towards what they create, and beat themselves up over it.

How Evolution Impacts Knowledge

If you look in hindsight at what happened in the world of electronic music production in the last 20 years, the software world paired with the internet has made it much simpler. 20 years ago, we were limited to a few resources and we’d always be in stasis waiting for our answers to come (if they ever did). We are now living in a world where we are constantly having our attention pulled in multiple directions, with each direction espousing that “this is the true way,” when there is rarely a “true way” for anything, especially in art.

It’s these conflicting statements that seeds a ton of doubt, or unnecessary confidence in their practitioners. This doubt, or this overconfidence that my one on one sessions seek to remedy.

There is nothing wrong with being confident in your work, but overconfidence creates barriers to learning, and conflicts with progress. Sometimes I wonder why these people want electronic music coaching at all, but the fact that they get it, shows they at least have a conscious understanding of its importance, even if their subconscious confidence conflicts with it.

Conversely, the doubt that many musicians have creates a similar problem. They may be in coaching to become more confident, but their lack of confidence results in that sort of barking little dog syndrome, where any bit of critique damages their already delicate creative ego, even if they consciously know it’s necessary. This can be likened to something like physical therapy; it’s going to hurt to walk again if you broke both your legs, and you’re going to hate it, but you know it’s necessary.

Successful Students

After coaching for over 15 years total, I had noticed that some people did better than others. At the beginning, I was working with a plan, and would teach all the people the same things but I quickly adapted that because it was not working well. Some were learning fast and would provide some interesting challenges or questions while others had some of the same questions but were always struggling on basic issues.

I understood one thing which is, you can’t really teach electronic music theory and music production training from a rigid approach because what makes it successful is to understand someone globally and then, as a team, find strategies to build a routine and work habits. More importantly, I tried to help the person find its own way of learning through the internet jungle.

Here are common points that people who succeeded had:

They had a clear direction: People that I see with a clear intention and direction, such as “wanting to sound like X”, are the easiest to guide. If you have a target and goal, you can always try to push what you do and technically study how it is done with music you have on hand. With my help, we can reverse engineer some songs and try different things. Once that target is mostly reached, what’s interesting is how it leads them elsewhere. The fact that they know how something is done allows them to discover other artists or songs that are itching their curiosity. But working with targets, is always a clear indication of improvement.
They showed consistency: Anyone who works on a regular basis, over a constant time, has shown great improvement. More than people who started really strong but couldn’t keep up the pace. Working hard isn’t always smart. It’s more about knowing what you can do and try to consistently learn something new, practice it and then putting it into context of a song.
They asked a lot of questions: Often creative success and inquisitivity go hand in hand. Asking for advice and technical guidance is a must if you wish to go far. You can do everything yourself but you’re not giving yourself the chance to grow adequately. Even if someone thinks otherwise than you, there’s some part of his view that can be useful.
They stayed humble and always wanted to learn. If you come with the idea that you’ll learn something everyday, you won’t be stagnant in whatever you do and will always be looking forward.
They were not afraid of rejection and criticism. Because each song is an experiment in itself and anyone’s point of view is arbitrary.

electronic music coaching photo

Struggling points

These are individuals who have been facing a number of problems in the learning and while have learned a lot and improved much, they unfortunately haven’t rolled out as much as they wished. These are what commonly hinder them.

The student focuses on the success of a specific song.
They work in a linear fashion and won’t change.
Insisting on doing everything themselves.
The musician is often convinced they know more than they do.
Their expectations are set really high.
The belief that hard work brings success is deeply ingrained in them.
They see music in a hierarchical way.

What I’ve Learned In Electronic Music Coaching

The Latin proverb docendo discimus translates to “by teaching, we learn.” These are some of the lessons I’ve learned by teaching others.

Free isn’t always a good thing

If you give something for free, it doesn’t always have value. Free advice is cheap advice. Unless people pay for it, there is less of a chance that they will anchor said advice. Not saying that giving free advice is bad; that’s what these blog posts and the group flourishes on. It’s just that they can be easily dismissed. However, if you paid for advice, there is a greater chance that you implement it.

Consistency is key to development

Think of it like training for a sport. If you are training for a marathon, and decide to take a month off, you’re going to have to spend time ramping back up to that level. Additionally, the longer you put something off, the more chance you have to disregard it.

Not be afraid of making mistakes

The comic strip artist Scott Adams has a really poignant quote about mistakes in the creative journey. He says, “Creativity is allowing yourself to make mistakes. Art is knowing which ones to keep.” I find this statement to be very true. Many of my favorite parts of my works have come unintentionally, or are a result of seriously messing something up.

Being part of the community

No man is an island. Civilization was built by teams, and communities, not individuals. Teaching has allowed me to be part of a vibrant community, and for that I am extremely grateful. It has taught me at least as much, and provided me as many resources, as I have provided others.

Other Benefits of Electronic Music Coaching

Since my music is pretty esoteric, I learned over decades of performing that the people who attended my shows were cut from a similar cloth. They were musicians, and sound designers, eager to absorb some of the essence of the performance in order to translate it into their own creations.

This gave me the realization that in order to grow and keep my fan base engaged, I had to give the people what they wanted. Therefore, electronic coaching became not only empowering creatively, it became a solid marketing channel.

If you’re interested in becoming part of our community and getting some free coaching, join our electronic music collective, Pheek’s Coaching Corner. We also have a bunch of tutorials on YouTube as well. If you want more personalized coaching, I offer that as well.

How To Mix In Headphones

March 8, 2021/in Blog/by pheek

Not everyone has access to a treated studio, with perfectly placed acoustic padding, bass traps, and calibrated studio monitors whose balance is perfected by professional metering. Many aspiring producers have aspects of this, but ultimately will fall short when it comes to setting up everything perfect, since a well tuned studio is something that professionals charge a lot of money to do correctly.

Therefore, a lot of my students ask me what they can do instead, since many don’t have thousands of dollars in order to tune their room. The answer is simple – mix in headphones. But should you mix with headphones? There is a lot of chatter online saying that if you mix in headphones, you will screw up the mix, since it’s not an accurate representation of sound in space. They’ll say in a true stereo field, your left and right ears hear both channels, not each in mono. And while this is true, there are plenty of artists, myself included, who do a lot of mixing on headphones, and their productions turn out fine.

Sennheiser HD650

A Good Mix In Headphones Starts With Quality Headphones

My first piece of advice is that you need a really good pair of headphones, and you need to get used to them. I’d recommend Sennheiser HD650 on the high end, and for the best budget mixing headphones, I’d recommend Sennheiser HD350BT which are also bluetooth.

Once you get these, or equivalent, don’t start mixing right away, since you have no idea what these headphones truly sound like. Instead, choose 10 or so songs that you really respect, buy the lossless version of them, and listen to them intimately through the headphones. Learn how the kick sits in the mix. Learn how the different layers sidechain when said kick is introduced. How bright are the hi hats? How crisp is the lead? After listening to this set of songs over and over again for a month or so, then you’ll be ready to give it a go on your own stuff.

Mixing In Headphones Is Like Cooking Authentic Food

Another good tip is to choose songs that have a particularly excellent element. I liken this a lot to eating authentic food. Whenever I visit a new country, I make sure to ask the locals what location has the truest food, and what elements of that food really define the regional cuisine.

With music, I take a similar approach. For instance, when I started mixing a lot of Romanian techno, it became apparent that the aspect that producers craved the most was the kick. Therefore, if you want an example of a really pretentious kick, a good place to start would be with Romanian techno. It’s like with a food like Mexico’s mole. If you wanted to replicate the best mole, you’d use Oaxacan mole as your reference.

Mix In Headphones At Multiple Volumes

Listen to your mixes at multiple volumes to get a good idea of how it truly fits in the mix. Different levels will expose what’s wrong in the mix pretty accurately. While it may sound good at high intensity, when you listen to it at a low intensity, you may notice that it doesn’t quite fit. In my experience, it’s the low volumes that reveal the most, so if it sounds good, low, and just ok, high, then chances are that the lower volume is the correct one.

REFERENCE plugin

Best Headphone Mixing Software

The best mixing with headphones plugin has to be Mastering The Mix’s REFERENCE.

Ever felt that your mix was not quite comparable to your reference mixes?

In order to keep you closer than ever to the sound of your favorite music, Mastering The Mix created REFERENCE. It’s packed with powerful features and insights that allow you to get closer to your reference than ever before.

With REFERENCE you can:

Compare your master with up to twelve reference tracks, and creating several loops will allow you to quickly compare various sections of your track with a reference track.
Match the loudness of your track and the references instantaneously and accurately. This will enable you to make more informed decisions about shaping your sound.
Make matching the true peak, loudness, EQ balance, punch, and stereo width of a reference track smoother than ever.
Adds a source plugin called REFSEND to make loudness-matched A/B comparisons.

If you want to emulate stereo crossfeed like you’d get on loud speakers, you can also use a VST such as Goodhertz’s CanOpener, which simulates the stereo bleed you would get with loudspeakers. I’ve personally never used a crossfeed emulator, but they do exist.

CanOpener

Stereo Is Different In A Headphone Mix

The biggest hurdle to overcome when mixing on headphones is that the stereo field is mono in each can. Especially in electronic music, we tend to have extreme pans, which in headphones can prevent that natural left/right bleed that you get when you listen to a song with both ears from monitors.

To fix this, you can simply tweak left/right panned instrument settings a little but don’t overdo it because this will compromise the loudspeaker performance. Keep in mind that stereo, when heard through loudspeakers, will have a noticeably narrower image than when listened to on headphones.

Another trick is to add just a tiny bit of reverb to up-front exposed sounds (5-10% wet). This allows them to glue themselves together like they would in a natural room.

Judging Low End With Headphone Mixes

Having an idea where the bass sits in the mix is difficult unless you have some serious subs. However, we live in the 21st Century, where Subpacs are a thing. If you’re not familiar with Subpacs, they are essentially wearable subwoofers, where they use your body as a bass transducer. Therefore, they produce all the sensation and feeling of low end, without any of the decibels required to pump it out. Therefore, with a solid set of headphones, and a Subpac, you can get a full frequency experience, and accurately judge where the bass sits in the mix.

I often prefer using a Subpac to even using a good set of subs, because unless you are in a place where your mixing isn’t going to disturb anyone, having club ready loudspeakers that allow you to feel the bass is usually intenible in most environments. It’s also a faction of the cost.

A Mix In Headphones Reveals The Small Details

The best aspect of mixing in headphones is their precision. Even with a well tuned room, and professional grade monitors, you often miss many of the finer details of a mix, such as hisses, artifacts, unwanted distortion, and clicks/pops. With headphones, these become abundantly clear, allowing you to surgically correct these issues.

On the flip side of this, it allows you to add small details that you wouldn’t otherwise be able to. Let’s say you want that synth to have just a touch of white noise to give it a warmer feel, a mix in headphones allow you to do that with immense clarity.

As you can see, there are many advantages to mixing on headphones. However, nothing truly beats a professional mix. Therefore, if you want it done right, consider going through me. I’ve mixed thousands of songs, all for a very reasonable rate. Your music will last forever, so you may as well have it sound as good as it possibly can, at an affordable price.

Links may contain affiliate offers.

VCV Rack Ideas And Meditations

February 25, 2021/in Blog/by pheek

If you’re not familiar with VCV Rack you should be. While modular synthesis is an expensive hobby, usually reserved for people with cash flow, the open source, mostly free VCV rack is democratizing people’s access to this amazing creative tool. VCV Rack acts as a Eurorack DAW, allowing you to build complex patches using a variety of free, or premium modules, often based on existing hardware. In this post, I won’t talk so much about how to use VCV Rack, as there are tons of tutorials already on it. Instead I will talk more about how it has inspired me, VCV Rack ideas, and how you can use it to inspire yourself.

VCV Rack Ideas Are Meditative

The first benefit I noticed from VCV Rack was how meditative it is. I have been an avid practitioner of traditional meditation for many years now, and the similarities are striking. It forces me into a state of flow, one that often results in the dissolution of all outside distractions. A state where time and space become irrelevant, and I am concentrated on a singular purpose.

A lot of people conflate meditation with a silencing of thoughts, when that’s far from the truth. We’re human; we’ll never be able to silence our mind. Instead, we have to funnel those thoughts into a singularity. A singularity where you accept you have no control over what happens, both of which VCV Rack ideas do for me.

The Random Beauty Of VCV

That’s the beautiful thing about modular. These electrical circuits are so finicky that often what you aim to create and what comes out are often vastly different. It’s that sense of unpredictability that makes it so wonderful, and thus, meditative.

Surprisingly this sense of randomness and unpredictability isn’t lost in a digitalized version of modular. Somehow the community of open source developers have kept this aspect true to form, demonstrating the increasing dissolution between analog and digital as technology advances.

Many of you probably don’t know this, but I was an actor, before I was a musician, and even went to school for it. While you have a script, the fine art of acting was always in the slight improvisations. Lines often wouldn’t come out as intended, and you would have to react in the moment. This would often lead to beautiful accidents, far superior to the original script.

In a sense, the life that exists in modular is very much like a fellow actor on stage. It may have its lines, but ultimately, it will improvise, and it’s up to you to harness this improvisation and redirect it to something evolutionary.

VCV Rack Tutorials Are Fun

The second thing I noticed about VCV Rack was that it made me appreciate tutorials again. If you’ve been a power user of Ableton for as long as I have, you may find that Ableton tutorials an get super cookie cutter, and formulaic. This often results in stale music that sounds like everyone else who watched the same tutorial.

This may be one of the reasons why the sound we hear is becoming more and more homogenized, and less innovation is seeping through the cracks. This is despite an exponential increase in the number of musicians. However, with VCVRack, the tutorials seem more personalized. Even if you try to recreate something precisely, you’ll almost never get the same result, due to the nature of modular. The sheer amount of VCV Rack ideas you can get from these tutorials is incredibly exciting, and constantly motivating.

VCV Rack Tutorials Help You Build Existing Hardware

Another fun aspect of tutorials is that there are some people out there, like Omri Cohen, who build faithful reconstructions of existing pieces of hardware. The one that I linked to is for the Moog DFAM, a semi-modular percussive sequencer that allows you to build really wild, synthesized patterns.

Normally a DFAM runs for about $700 USD, which isn’t a small investment. While following these tutorials, you not only learn the ins and outs of the DFAM by building it piece by piece, but you also get to try it before you buy it, in a sense.

This allows you to figure out your setups and configurations for your hardware studio, without having to buy things, and send them back if they don’t fit. Also, since it’s fully modular, you can in theory connect multiple recreated devices together. This allows you to see how they will perform as a hardware version. So let’s say you wanted to see how a DFAM would interact with a Moog Subharmonicon. This is now possible through VCV Rack, for the low low cost of zero dollars. These are just some of the hardware VCV Rack ideas found in tutorials.

VCV Rack emulates the Moog DFAM

VCV Rack Changes How You Listen To Music

The third thing I learned while formulating VCV Rack ideas is that it changed how I listened to music. Normally I have a nerdy way of listening to music from a sound engineer point of view, where I analyzed EQ, compression, stereo spread, etc, but now when I listen I notice the changes in the patterns, and how things modulate.

While toying around with VCV Rack ideas, I start thinking about the patches that make the sounds. For instance, what waveform is controlling the FM, or how the envelope routes to the VCA. Or what hooks up to the clock, or how many VCOs are in play. Still, super nerdy, but it adds another dimension to the whole thing, which in turn, stimulate more VCV Rack ideas.

VCV Rack Ideas Help You Build Your Real Modular Setup

The fourth benefit I got from playing with VCV Rack ideas is that just like it allows you to build existing pieces of hardware to test in your setup, it also acts as a way to test modules for your real modular setup. There are a bunch of faithful emulations of existing modules. For instance, the Audible Instruments line is a software emulation of Mutable Instruments. There, you can get clones of things like their Clouds or Tides modules and test them in your setup.

Other examples include:

Lateralus: Hybrid diode/transistor ladder. This models itself after the Roland filter circuit where they added a few alterations to get close to the Moog circuit.
Vorg: Single segment of the filter circuit of Korg MS-20.
Ferox: CMOS filter based on the circuit of the CGS749.
Nurage: The Nurage bases itself on the circuit of Thomas White LPG which bases itself on the Buchla LPG.
Vortex: this bases itself on the circuit of the Polivoks (Erica Synths version).
Tangents: This bases itself on the Steiner-Parker version of Yusynth. The three models are variations of the same circuit.
Stabile: based on the textbook Stave-Variable filter circuit (linear version).
Unstabile: Nonlinear State-Variable filter with low voltage simulation

The real Mutable Instruments Elements

VCV Rack that includes Mutable Instruments emulations, aka Audible Instruments

VCV Rack Is Constantly Improving

Since it’s community supported, it’s constantly evolving, with new modules being added frequently. Most are free, too!

Some people will complain that it doesn’t integrate into other DAWs in a smooth fashion, but VCV has heard the complaints and in 2.0 the rumor is that they will have this integration.

These are just some of my observations about VCV Rack and its amazing ability to spark creativity. In truth, the sheer amount of VCV Rack ideas and inspirations you can get from those VCV Rack ideas are quite staggering. If you have any questions about it, or want to share your experiences with it, feel free to contact me, or make a post in Pheek’s Coaching Corner and let the community know what you think!

How To Release Music During A Pandemic

February 12, 2021/in Blog/by pheek

A question that I commonly get during my mentorship sessions is if it’s different to get signed to a label during the pandemic, or if it’s the same. The answer is yes to both, but with some caveats. These are some of the best ways for how to release music during a pandemic.

The best way to get signed to a label is through networking, rather than cold submission, pandemic or not. Over the years of running Archipel, only about 2% of its releases are from cold emails.

That’s because most of the people I sign I have a personal relationship with. And most of these personal relationships were fostered through meeting people at events.

Clearly there aren’t events now.

Another common way that tracks would get signed is DJs would play a track at a club, and label owners like myself would ask what the track was. We would then contact the artist, and see if they wanted to sign to the label.

But alas, clubs aren’t open, and live streams aren’t attended like clubs are. So the chances of an organic signing happening like that are slimmer than it used to be. Sure, it can still happen, especially through DJ mixes, but it’s not the same.

But don’t despair. Just because traditional, organic avenues of track signing are unavailable, doesn’t mean that new avenues haven’t become available.

Strategies For How To Release Music During A Pandemic

How To Release Music During A Pandemic – Things That Don’t Work

Before we get into what does work during a pandemic, let’s cover what doesn’t work. Harking back to emails, like I said before, only 2% of my signees are from them. During a pandemic, this number is significantly reduced due to the sheer volume of people soliciting signings.

Additionally, many labels are reducing the amount of signees, since DJs aren’t buying as many tracks, thus drying up their revenue streams. Plus, if they release on physical formats such as vinyl, or cassette, many of these factories are operating on reduced staff for health reasons. This delays releases, and increasing the cost of these mediums.

This makes labels even pickier about the stuff that they sign, considering that it will ultimately net them less revenue.

In other words, unless you are someone they really want to sign, the chances of you getting signed through a cold approach are pretty slim, due to scarcity.

How To Release Music During A Pandemic – Things That Do Work

This doesn’t mean that artists are screwed though. Even with clubs closed, and inboxes inundated, there are both alternative routes to getting signed, as well as new ones that have become available due to the pandemic.

First, lets talk about the alternative routes.

Getting Discovered On YouTube Or SoundCloud

This is a process involves a sacrifice; a sacrifice to the YouTube or SoundCloud gods. There are dozens of sound specific YouTube and SoundCloud channels out there, dedicated to supporting good music. A lot of the time, these channels aren’t concerned about brand recognition, or revenue potential, since they don’t make a lot, or any money off of what they upload. Additionally, the cost to them is only an opportunity one, since it’s free to upload to SoundCloud and YouTube.

If it’s a well curated channel, there will be label owners who frequent it, because first and foremost, label owners are music fans. Secondly, if your track is that good, and they hear it, they may reach out to you to see what else you have.

The track you uploaded won’t be signed usually, but if you make a similar sound, chances are one of your other ones will. Additionally, you will get your track put up on a well trafficked page, so who knows who else will hear it. It could lead to new fans, downloads, etc.

So how to release music during a pandemic on these channels?

Target Your Channels

First, make sure the channel is targeted. If you are making minimal house music, it doesn’t make sense to send it to a drum n bass channel, or vice versa. Not only will you waste your own time putting together the contact info and email, but you will also waste theirs, which increases the chances of your email being flagged as spam. Get enough spam flags, and none of your emails will deliver, even to relevant ones.

A good way to target these channels is to think of a small to mid sized artist that has a similar sound to yours, and then search for them on YouTube or SoundCloud. Then, if you see a channel that has uploaded it, then reach out to them.

Make Sure The Channel Isn’t A Label

Note, that many of the channels that upload these tracks are the labels themselves. Therefore, it doesn’t make sense to contact these, as this is not the goal. Just make sure to pay attention to who you are submitting to.

Example Email

When reaching out to these places, understand that the more popular the channel, the more solicitations they will get. Therefore, keep your messages short, sweet, and relevant.

Hi {channel name or first name of channel owner},

Thanks for supporting smaller artists. It’s people like you who keep good music flowing upwards, and for that, I appreciate you.

I saw that you uploaded {similar artist name}. I just finished this track (link to download enabled track on a private SoundCloud) and I think it has similar vibes, and would work well on {channel name}.

Would you let me know your thoughts on it?

Thanks for giving it a listen!

{Your Name}

{Links to EPK, website, etc.}

See how it’s short, sweet, flattering, and provides all the necessary information. This is a great way for how to release music during a pandemic.

Advertise That It’s Unsigned

If they decide they want to upload it, they will most likely contact you about it to ask for more info. Ask them to stipulate that the track is unsigned and self released in the YouTube description. This will typically be in the section where it says the label name, but instead will read unsigned.

This will signal to potential labels that you’re available, and is a key tactic in how to release music during a pandemic.

You Will Get Thousands Of Listens

Don’t despair if you don’t get signed this way, though. If it’s a popular enough channel, you will get thousands of ears on your track, which in itself is a win. Also, there is nothing from stopping you from submitting to multiple channels as well. They are channels, not labels. You can be on multiple channels with the same song. This is still a solid tactic for how to release music during a pandemic.

Paid Channels

Note, that there are a lot of paid channels. Some are good, some are not so good. The good ones will have a curation process, and won’t accept just anything. If you get a reply back from one soliciting payment for an upload, check their other tracks and see if they are quality. If they are just uploading anything they can make a few dollars off of, then chances are the engagement you are seeing is fake since who wants to engage with bad quality stuff?

SubmitHub

Some people may be familiar with SubmitHub as well. It is a common channel people would use for how to release music during a pandemic, or not.

If you’re not familiar, SubmitHub is a place where you can pay a small fee to solicit a listen from a blog. If they like it, they may upload it. However, you only pay for a listen, not an upload.

SubmitHub is a decent route for how to release music during a pandemic, if you have really good stuff. But make sure 1) your stuff is relevant and 2) they have a decent acceptance rate. If they only have a 1 or 2% acceptance rate, that’s a similar chance of your stuff getting signed from a cold email to a label, so you might as well just go to the label directly instead of doing this roundabout way. Look for channels that accept at least 10% of submissions.

Networking, Pandemic Style

The next way to get signed is through referral, or through meeting the label head directly. While it will be less personal than meeting them in person, while under the positive influence of the club, and it’s many vices, there are still ways to achieve a similar goal using things like social media. These methods are one of the more sure fire ways for how to release music during a pandemic.

Reaching Out To DJs/Producers For A Referral

While in the past, DJs would have been on tour, and thus less responsive to messages online, in this current environment, they’re all home. That is, unless they’re playing Tulum and killing someone’s abuela for clout.

But for the non-selfish DJs, most are sitting home, or in the studio, not doing much, just like everyone else. Therefore, they are more likely to respond to messages. That means they are more likely to respond to your message. If done tactfully, you can turn this message into a referral to a label that they are on.

One of the best ways to get noticed by someone is to ask for their advice about something. People like to be appreciated for their expertise, and since they have time, they are willing to give it out.

However, just like in Pheek’s Coaching Corner, if you’re going to ask them for advice, make it specific. Don’t just ask them what they think of the track. Ask them specific things, like parts of the mix, what they think of the bridge, or a specific tone you use. Ask them how they would improve it, or if they think it’s good as it is.

If they have advice, modify the track using it, and then send it back to them for a follow up opinion, which, if they helped you the first time, they’re likely to help you again.

Proposing To Them

Once you get it to a point where they are excited about the track, you can drop, “In your opinion, do you think it would work well on {insert label} if I sent it over to them?” They would hopefully give you a yes, or no answer. If it’s a no, maybe ask them the reason, and what you can do in order to improve your odds.

Don’t take it personally, sometimes labels are just not signing new artists, or they only sign artists within a certain social circle.

If it’s a yes, almost apologetically, ask if they would make an intro for you, or allow you to use their seal of approval in the email you send over to the label. This will go a long way in proving to the label that you’re just not another submitter, but rather someone who is part of the inner circle. Getting them to agree to feedback, or an introduction, will one of the best recommendations I can make in regards to how to release music during a pandemic.

Reaching Out To Labels For Advice

This same approach can be taken for labels. While, it’s not recommended that you send them your track right away for them to provide feedback on, maybe hit them up with a, “Hey, I love your label {briefly talk about what you like about it]. I’m an artist who’s trying to learn the ways of the world, and I was curious, what’s the best way to approach a label like yours? Do you recommend just submitting it cold, or is there a better way?”

This way, you’re asking for their feedback, not necessarily submitting a track. If you’re able to build solid rapport with them, then ask if they will check out your track. Worst they say is no, and you will have learned a valuable lesson about how to approach labels, and made a good industry connection that you can call on, assuming you keep rapport with them.

A piece of advice before reaching out to anyone though – make sure to interact with their content beforehand so that you show that you’re a real fan, and not just someone who wants something. For a couple months, like, and comment on their posts so that they recognize your name when you eventually reach out to them. This will warm the water a little bit, and make them far more receptive.

How To Release Music During A Pandemic – Other Channels

Join A Group

For instance, Pheek’s Coaching Corner. There are tons of label owners on there, and if you stay active on there, and upload your tracks for advice, there is a good chance a label owner listens to it, and reaches out to you if they like it. There are tons of groups like this for their respective genre, on Facebook, and Discord. You can also ask these groups about how to release music during a pandemic.

Join A Class

There are tons of producers who are hosting online classes. For instance, Justin Jay currently teaches a group of students, and he recently released a class compilation on his label. They may even cover how to release music during a pandemic.

Start A Blog

You’d be surprised how easy it is to get an artist to give you an interview, especially nowadays. If you target your blog to a specific topic that isn’t well covered, then you can build an audience around that niche.

Another good thing to do is to just create a Facebook page where you do video podcasts and upload them to Facebook. Once you upload them to Facebook video, you can share them in relevant groups, and each 3 second view counts as a view. This way, you can show some good stats to potential interviewees, and show that it won’t fall on deaf ears.

You can then upload your videos to YouTube as well, and start a YouTube channel with the interviews.

This method is valuable because not only do you get an introduction, but you also provide them value, which begets reciprocity. And reciprocity is a great “how” for how to release music during a pandemic.

Contribute To An Established Blog

If you’re a good writer, many of these blogs are looking for people to contribute and add new content. Many don’t pay, however, the amount of value you can get from these is worth the money, as it gives you access to people you normally wouldn’t have access to.

Also, this way you don’t have to build your own blog, and are instead using the position of something already established to garnish interviews.

However, I would not recommend a quid pro quo, where they get an interview for signing or listening to your track. This can come off wrong, and runs the risk of the blog you write for dismissing you as a writer.

Instead, after you publish the interview, ask them if they wouldn’t mind answering some questions for you and/or giving you feedback.

Start Your Own YouTube or SoundCloud

This is similar to the method we talked about before, where you get discovered on a YouTube or SoundCloud channel, but kind of in reverse. Now, the labels come to you. And if you curate the channel with a sound that is similar to yours, the labels that will come to you are targeted.

Since it’s your channel, you can set up whatever terms you want for them getting their track on your site.

This will obviously take time to build to a point where it’s viable, but once it’s established, you will have a constant stream of labels that you wanted to sign to reaching out to you, instead of vice versa. You will also have a channel to premiere your own music on, if you chose to.

Start Your Own Label

Similar to starting your own YouTube or SoundCloud channel, this makes it so the people you want come to you, in a sense. At first, you will have to build a base of releases. These can be from friends, or small producers looking for any label to sign to (some small producers just like to collect labels).

Then, once you have a dozen or so releases, you can start reaching out to smaller artists on labels that you want to be on, or labels that are related to labels you want to be on. Then you sign those people, and continue to trade up, until you start signing more established artists.

Use Torrents

Another route is to use Soulseek. Soulseek is a private bittorrent network where people share music. Many of the people on Soulseek are the types of people who just need to own everything, so by putting your stuff on there, there is a chance that it will get picked up by someone, and disseminated organically. Once again, no guarantees, but it doesn’t take a lot of effort to put your stuff out there.

Some Final Thoughts On How to release music during a pandemic

These are just some of the creative ways to get on a label during the pandemic. Most of these techniques work at any time during history, but are made more available due to people just having more time.

When the world gets going, DJs and labels are going to be less enthusiastic about responding to all the messages they get from fans over social media.

Additionally, people aren’t going to have the same amount of time, and thus desire, to start blogging, or start their own label, or even take classes. Therefore, there is no better time than now to seize the day. History has given creatives a silver lining; we might as well mine its ore while the getting is good.

Hopefully you got some value out of this article on how to release music during a pandemic.

Minimal House Ableton Template

January 15, 2021/in Blog/by pheek

Recently, we released our Organic Inducer minimal house Ableton template and minimal house texture pack.

The Organic Inducer is a mindfully crafted Live session template which provides a staggering array of luxurious sounds and effects with a balance of elegance and complexity. The powerful and intuitive macros bring possibilities to any unique and engaging sound design.

It contains samples of some of the most unique synthesizers in the world, including the Lyra-8, Folktek Matter, and Eurorack modular synthesizers. It also contains many foley sounds, as well as organic drum kits, and field recordings. This is an unrivalled source of inspiration for creating unique synthesizer tones.

One of the reasons we created this product came from the numerous requests from friends and clients who felt lost at adding depth to their music. For many people, textures are always a dimension of sound design that is difficult to master. It also requires a lot of time to carve out elements that really bring a song all together.

However, people often ask what the advantages of using a minimal house texture pack is. They also wonder if it affects their artistic integrity. In this article, we go over these questions, as well as flush out what the Organic Inducer minimal sample pack, and texture template can do.

What Is A Minimal House Ableton Template?

The Ableton Live Template is a project that’s created, configured and saved for later use. Its structure comes from using exactly the same process as a song. The template is tailored so that it is used on each new song you create. It usually does not include the entire song as MIDI or audio, but it can contain the elements used in most songs (for instance, a MIDI kick or a hat pattern, or an audio sweep). A good example is The Default Project Template, which shows up every time we launch Live, is a template that we can use repeatedly.

How Does A Minimal House Ableton Template Help?

We can generate any type of template you are looking for. The idea for the templates below is to satisfy some or all of the following requirements:

Eliminate the need to create everything from scratch, allowing you to get right to the creative parts.

Boost creativity by focusing more on the creative part of music-making and less on the administrative and technical part

If you have already pre-configured and loaded musical items like favourite synths and plug-ins then you will be ready to go.

What Makes The Organic Inducer Different?

The Organic Inducer is a different kind of Ableton template that concentrates on the textures that make minimal house so alluring. Rather than being an arrangement template, the Organic Inducer exists to make sound design a fun, engaging process, rather than one with lots of technical ins and outs. You can easily import these samples into a new arrangement, or even arrange directly in the template. However, like we said, this minimal sample pack and texture template is primarily used to design fun, novel tones and textures.

Often, in some of the top minimal house gems we love, there’s an absence of motif or catch phrase and the song heavily relies on texture and hard to catch ideas. These are actually part of the ASMR movement in a way which has made its way to techno. The idea came basically from analog infused production that has some of a noise floor which makes it really warm to the ear. But one can’t have enough of it and with time, people started decorating their music with more elements that just simple noire.

Session view of a minimal house Ableton template

Organic Inducer session view

How It Works

By using its preconfigured effect chains, and macros, with just a twist of a knob, you can use this to manipulate either the samples that come loaded into it, or import your own. Depending on how you use it, you can either lightly texture the samples, or completely destroy and deconstruct them, transforming them into something that is barely reminiscent of the original sample.

There are 75 samples on this minimal house texture pack and template, where each sample says itself out on multiple tracks. Each track has its own set of macro controls to control its own unique signal path. There are many possibilities: similar samples can be processed in different ways, you can experiment with different audio-effect racks and their controls, and there are numerous other possibilities.

The samples that producers can manipulate are drawn from the Lyra-8, the Elektron Rytm, the Folktek Matter, Eurorack modules, as well as dozens of foley room sounds, acoustic drums, and field recordings. You can also import any sample that you want, as well.

Is It Artistic To Use A Minimal House Texture Pack?

Now, some people might not be too excited about using other people’s sound design, and that’s fair. Part of the magic of electronic music is that it allows producers who of minimal house to create a minimal house Ableton template of their own, using the dizzying array of plugins included within the software, as well as external VSTs. It’s this exploration, and artistry that give rise to unique, genre bending compositions that become the vanguard of futuristic music.

However, let’s look at it in the context of music as a whole and use the example of a guitarist. Many guitarists use the rigs of other famous guitarists. For instance, Jimi Hendrix used an Arbiter Fuzz Face fuzz pedal, a Vox Crybaby Wah Wah pedal, and an Octavia octave pedal to create his sound. However, he certainly wasn’t the last to use this setup as a basis for their rig.

David Gillmore (Pink Floyd), George Harrison (The Beatles), and Pete Townshend (The Who) would all use similar setups, augmented with their own chain, in order to create their distinct, forward thinking art for the time. They just used it in different ways, making it so Pink Floyd didn’t sound like The Who, just as much as The Who didn’t sound like The Beatles. While they all could have, in theory, created similar music, they didn’t.

pic of minimal house sample pack effects chain

Effects chain in Organic Inducer Ableton Template

But They Didn’t Use A Minimal House Texture Pack

You’re right, these guys didn’t make electronic music, let alone music using a minimal house texture pack, so it’s a moot point. Especially in the 60’s and 70’s, the idea of using a graphical interface to make music is a little absurd. There certainly were no guitar rock Ableton templates, let alone a minimal house Ableton template. The previous point was to illustrate that since there were effects, people were copying other people’s effects, which were in a sense, templates.

However, let’s concentrate on electronic music then. If we are using Ableton, whether that be a minimal house Ableton template or not, we are usually using some native plugins, whether that’s the EQ, compressor, delay, reverb, etc. However, despite this, Ableton is capable of creating hundreds of different styles, and genres of music that don’t sound like each other. Same goes with minimal house textures using these plugins – many sound completely unique, yet they used the same foundation.

This is the beauty of the Organic Inducer pack. While everyone who uses it has access to the same thing, the sounds that come out of it are drastically different, based on what module you use. Additionally, these modules are set up to accept any sample you put into it, so you can mess with the signal chain across many different tracks and channels, and route them in as many creative ways you can think of.

Remember, The Greats Use Presets And Sample Packs

In this feature with Resident Advisor, Dutch dubstep producer Martyn is talking about how he was in love with a sound in a Jeff Mills song that he thought “was from outer space.” However, one day, he bought a synth, and saw that this otherworldly sound was just a preset. He doesn’t name the song, or the synth, but it just goes to show that even genre defining artists use presets.

Another example of using sample packs is the Amen Break, the most used 7 second loop in history. It’s been used in hip hop, drum and bass, and a litany of other genres. How about the four to the floor, 909 or 808 kick, hi hat pattern? How many times has that been used?

At the end of the day, almost nobody is going to notice if you use a minimal house Ableton template, or a minimal house texture pack. Not using them, is most likely going to be only a sense of pride for the producer that very few other people are going to care about, because at the end of the day, most listeners aren’t producers. And most producers aren’t using a niche minimal house texture pack and minimal house Ableton template like the Organic Inducer.

For more info on how the Organic Inducer texture template and minimal sample pack works, as well as to preview the sounds, check out its dedicated page.

Organic Inducer minimal house texture pack session view

Producing Music With Minimal Gear

December 21, 2020/in Blog/by pheek

In this pandemic, it’s especially easy to get apathetic, and start looking for excuses not to create. “The clubs aren’t open,” “nobody is dancing,” “DJs can’t even play my stuff,” “I’m stuck with my current gear, and I can’t afford to get new gear, because the economy is bad.”

All of these things are just excuses.

The clubs aren’t open and nobody is dancing? Well, make the music now and release it when they are open. Spend the extra time to work on getting the marketing set up, or consider what labels you want to send it to.

DJs not playing music? Well, that doesn’t mean they aren’t listening to it, and stashing away music that they like. If anything, they are more responsive than ever because they aren’t on a plane, going on four hours of sleep in two days. Spend some time building relationships with them, so they actually care about you when you send them your stuff.

You can’t afford to get new gear, because the economy is bad? Well, don’t fear, there is tons of free, or low cost gear out there that can accomplish exactly what you need, and even provide some constraints that allow for true originality to shine. Producing music with minimal gear is a great way to make music.

What Are Some Free, Or Inexpensive Tools?

There are dozens of different tools that you can use to produce music with minimal gear.Moog, Korg, Image-Line, and predictably, Apple, have all thrown their hat into this creative ring. Here are some of the better ones for producing music with minimal gear.

Android Tools For Producing Music With Minimal Gear

GStomper Studio

A great way to produce music with minimal gear is the GStomper Studio app. GStomper Studio is an app that installs on any Android device, downloadable from the app store. Built for performance, it contains a full featured sampler/sequencer, microphone recording, a multi OSC and PCM enabled synth, piano roll, drum pads, mixer, master channels, timing and measure functions, and multiple effects. You can upload your own samples, or buy some inexpensive ones in the store. Feeling especially creative? Plug in your favorite MIDI keyboard with a simple USB converter. It’s only $12.99 in the Google Play Store.

FL Studio Mobile

Coming in at a cool $15.99, FL Studio Mobile is the little brother to the full fledged desktop version. While it lacks the VST support, and dynamics of the desktop version, this app is a powerhouse. It has a sequencer, mixer, low latency audio engine, audio recording, built in synths, effects, and samplers.

If you use the desktop version, FL Studio Mobile comes with the FL Studio Mobile plugin that allows you to swap between desktop and mobile functionality. Also works for iOS.

This is an excellent way to produce music with minimal gear.

iPhone Tools For Producing Music With Minimal Gear
GarageBand iOS

Free with all iOS apps, this cultural icon has been responsible for tons of hits, and is the undisputed champion of producing music with minimal gear. While it wasn’t the best when it first debuted on iOS in 2011, now it is a full functioning miniature DAW, with virtual pianos, percussion, microphone recording, loops, MIDI functionality, and way, way more. With the right adapter, you can even plug your guitar into it, and record in the park.

Korg iElectribe

The Korg iElectribe is the mobile version of the renowned Electribe hardware. Think this piece of gear isn’t capable of creating a full album? Think again. Daman Albaran created an entire Gorillaz album using an iPad, a guitar, and this piece of software. It’s only $9.99 in the App Store. If Daman Albaran is capable of producing music with minimal gear, then microhouse can certainly be done on it.

DAWs For Producing Music With Minimal Gear

Ardour

Ardour is a full functioning, open source DAW that has been maintained by a dedicated team of decentralized developers. It has full VST support, and uses audio engines that are just as good as any other major DAW, allowing for 32-bit, floating point playback and rendering.

It has recording capabilities only limited to the hardware you use, and has full mixing, mastering, and editing capabilities. It’s totally free, and is available on Windows, Mac OS, Linux, and FreeBSD. The only caveat is that if you use the free version, you have to code all of it together, which takes skill.

However, for a small donation, or a monthly subscription, you can get its full functionality. How much you pay determines what you get, naturally. According to them, “If you choose to pay less than US$45, you will get the current version and updates (e.g. buy version 6.0, get access to 6.1, 6.2, etc. but not 7.0). If you choose to pay US$45 or more: get the current version, updates and the next major version, plus access to nightly (development) builds”.

This is a very inexpensive way of producing music with minimal gear.

Cakewalk by BandLab

Cakewalk by BandLab is a full functioning, free DAW, with analog console-style virtual mixer, VST plugin support, multi-touch support, Bluetooth MIDI, a suite of in the box plugins, and more.

The only cons are that it’s only available for Windows, and that you have to sign up for a free BandLab account. However, there are no annoying ads that come up with this registration, so that’s cool. Cakewalk by BandLab is a great way for producing music with minimal gear.

Chasing The Dragon Of Perfection

One thing that many artists have in common is the strive for perfection. A tweak here, a tweak there, all to get that sound, color, or note to fit in exactly how you imagine it in your head. This can lead to endless hours of analyzing one aspect over and over again, when chances are that the other listener is never going to notice, and it’s just getting in the way of actually finishing and moving onto the next stage. It’s this need for perfection that starts the musical journey for a lot of people – they hear a style of music, and think, “I can add something to this to make it perfect,” and thus from that, comes many’s signature.

This strive for perfection doesn’t only extend to the composition; it extends to the medium that artists use to create. Currently using Ableton 10, and feel stuck? Well, maybe when you finally get Ableton 11, it will reinspire you to make music again, by giving you access to all these new features.

So you wait until you have the money saved up to get Ableton 11, and decide that you’re not going to do anything music wise until it comes out, lest you start something in Ableton 10 that you can’t fix in 11. Then, like many before you, you drop hundreds of dollars on that new version, and lo-and-behold, you’re still not making music. That’s because often it’s not about the equipment that you have, it’s about using it as an excuse to not do anything. Many times its more fruitful to be producing music with minimal gear, rather than upgrading your fancy DAW.

Where To Find Help

However, sometimes you really can’t do something that you want done, like a vocal, guitar riff, or live percussion. Luckily, there are a lot of places you can go to get reasonably priced studio musicians.

Before we into what the resources are, a quick note on individuality in music, especially electronic music. Most likely due to the 90’s DIY attitude towards dance music, there is a permeating attitude that somehow if you don’t do everything in the track, it’s somehow cheating.

No other genre of music thinks like this. Michael Jackson isn’t less brilliant because he had Quincy Jones. The Beatles aren’t any less enigmatic and sonically revolutionary because they had Phil Spector and George Martin. The Beach Boy’s Pet Sounds isn’t any less game changing of an album, because it’s made primarily by session musicians. However, in dance music, if there is outside help, somehow it’s cheating. This is kind of ridiculous. Electronic musicians are not more legitimate musicians than The Beatles, sorry. Many of these albums were created with antiquated gear, that equates to producing music with minimal gear nowadays. If they could do it then, you can certainly do it now.

SoundBetter

Soundbetter is a platform where musicians can hire people to do things that they don’t want to do, or aren’t capable of doing. Need someone to play bass on your new house track? SoundBetter has that covered. Mixing or mastering? There are engineers that work with most conceivable genres, for a reasonable price.

Fiverr

Lots of people know Fiverr, and for good reason. It’s an excellent repository of services, from graphic design, to session musicians. Many critically acclaimed musicians sell their services on Fiverr for a reasonable rate.

Pheek’s Mixing And Mastering

Shameless plug. Here you can get mixing and mastering services, as well as track finalization. If you specialize in underground electronic music, and want your track to sound pristine, or need someone to help put finishing touches on the composition, then this is a sure bet, for a good price.

Examples Of Music Made On Minimal Gear

If you’re just getting started, or are looking to change up your medium to find new inspiration, don’t let brand names, and expense, get in the way of creating something great. Some truly great works of art have been made on stock, dated, repurposed, or even free software.

Here are a few:

Burial – Untrue

If you’re not a stranger to Pitchfork’s social media feed, you have probably noticed how they absolutely gush over this album, reposting their article, Why Burial’s Untrue Is The Most Important Electronic Album Of The Century So Far ad nauseum. What’s most fascinating about this article, is that it is made on SoundForge, which is not a traditional DAW by any means.

The version he used didn’t have VST support or even multitracks. It didn’t have neat timing, or BPM features, or anything that modern DAWs use. It was simply a medium for designing sound. Yet, he used it to create an impeccably modern, important album, using old YouTube, and video game samples.

It’s this constraint that made such a unique, airy sounding album that still receives near daily praise the world over.

Justice – Cross

Pretty much the flag bearers of the post-Daft Punk “French Touch” revolution, Justice exploded onto the airwaves with their 2008 album, Cross. A distorted amalgamation of punk rock, disco, soul, and stuttering samples that were modern, and loud. Even to this day, the production value of Cross, while bordering on EDM, doesn’t feel plastic, or overproduced. By any stretch of the imagination, this album was made in an excellent studio, on well tuned gear, and warm, analogue synths.

Well, that would be wrong. While there is definitely some post production magic, the majority of Cross was made by two French dudes with GarageBand, and clever sampling.

Justice’s Xavier de Rosnay says, “A lot of people think it’s bullshit when we say we use GarageBand, but it’s actually an amazing tool.”

Jon Hopkins – Immunity

An image of Jon Hopkin's Immunity, which is an example of producing music with minimal gear. One of the most revered electronic albums of the last decade is Jon Hopkins’ blistering techno/neo-classical masterpiece, Immunity. While he now uses Ableton, at the time, he built this album in a Frankenstein combination of his MacBook running Logic for arrangement, with a parallel processed version of Windows 98 running a 1999 version of SoundForge to do his sound design.

This album was nominated for a Mercury Prize, and is #37 on Pitchfork’s Greatest IDM Albums of All Time.

Steve Lacy (Kendrick Lamar / The INternet / GoldLink, etc)

Steve Lacy is known for making beats on an iPhone and iPod. He has his beats on Kendrick Lamar’s DAMN with the song PRIDE, co-executive produced The Internet’s Ego Death, and has done collaborations with many other well known artists.

Yes, it may not be the type of music that many people who read this blog care for, but you can’t deny its impact. If you can make hip hop on an iPhone, you can make ambient techno on one too.

There are many, many more examples of this, in pretty much every genre imaginable. If anything it’s the constraints that give these pieces of art their depth. Never underestimate the power of limitations.

Hopefully this article provides you with some resources, and inspiration for making music with minimal resources. Whether that is using an antiquated, or repurposed piece of software, an Open Source DAW, or even your phone, there is no shortage of brilliant pieces of art that have been made by minimal, and unconventional methods.

Just remember, in the information age, there is a litany of resources available to help you get from A to B. And even if you have all the gear in the world, sometimes it’s good to try something new, and restrictive. You never know what will come out of it. Plus, making things in unconventional ways is a great story to pitch to media outlets to promote your music, so there is that too.

How To Make An EP

December 2, 2020/in Blog, Song Finalizing and Arrangements, Sound Design/by pheek

In my coaching group, someone asked:

So, how do you make an EP ( I ask this thing regarding the atmosphere, like all the tracks should be in the same way let’s say, or create a story)? I find it really hard, if I count my last 10 projects, all of them are really different. How can I approach this kind of vibe for more tracks? Can you tell me how to make an EP?

I replied a quick answer but I thought it would make sense to expand on this because the real answer of how to make an EP is a bit longer and covers multiple things. Why? Because as a producer, a music lover and label owner, there’s nothing that frustrates me more than having an EP that has no soul, no concept and no direction. It feels bland and empty. There are different kind of EPs you can find out there and all of them will find an ear but I get picky. Let’s see some successful EP types:

The utility:

This type of EP is more for DJs and has a collection of tracks with the function to be played in sets.

The compilation:

Either various or 1, this one is simply a collection of random tracks picked from unsigned material.

The conceptual:

Sometimes an artist has a patch, a system or a way of working that will make a series of songs sound the same, which a few songs will united because of the direction.

The last one is the preferred type of EP I want. If I listen to it on Spotify, I sometimes like the non-linearity experience of shuffling it. To me, it is successful if I can listen to this EP that way in repeat and not get bored or even better, wanting to dig for more music from the artist. As there are multiple people who enjoy an EP just as much as an album, there is value to make one. People were saying that streaming services killed these types of releases but I really think otherwise. As a label owner, if I see someone who put enough energy to do an album, it certainly shows a lot of maturity that makes it special to my eyes. These, whether instinctual, or planned, are perfect examples of how to make an EP.

Chicken Or The Egg: How to Make An EP from What I Have Vs Starting From Scratch

Many people make music on a regular basis with the idea to eventually publish it. If you think about it, if you go from one project to another, you certainly will explore different moods, techniques, softwares and ideas. If you work on hardware gear, your music will mostly have some sort of common aesthetic though but with the computer, it gets pretty much all over the place since you have access to so many tools and samples.

It’s a bit more difficult to keep something coherent and you can easily start making music that is completely different from previous song you did. If you remember some past posts I did about my approach of working in a non-linear way, you’ll be working here and there and you may borrow some ideas from a song that is not working to another one that needs something specific.

The idea of how to make an EP is, to my understanding, is to try and propose 3-4 songs that have the same direction and aesthetic. This is one of the idea behind my approach to always try to work on multiple songs, bring them to about 90% and export them to a folder as a reference.

Later on, when working on an EP or album, I’ll go in that folder, listen to the tracks. Then I’ll know which ones have relatives and similar ideas, so I can work on the last 10% that is lacking to call it done. Whenever clients come to me that they can’t finish songs, there’s need to clarify that it is not necessary a bad thing. You can practice wrapping them but it is not essential. Same thing for all the fuss about what if I do this or that. I believe those questions can be answered once you have let the song ripe for a few weeks.

How To Make An EP – Purpose And Direction

Credit: Blocks

One of the things we talked about a lot on this blog is how there’s not many secrets to music making if you can analyze a reference song. When it comes down to it, how to make an EP is sometimes as simple as referring to previous artist’s formulas. Many people I work with are concerned that a reference track will taint their art direction in a way that will make them not sound like themselves.

The thing that is making smile is how those people are more likely to come to me and share they’re lost. You can use reference EP/LP as a way to pick your songs that are going to be part of the same project. For instance, perhaps a very important EP for you had 5 tracks, where 2 songs were ambient and the others had a different take. Perhaps that is something that you can consider.

The way I see the use of a reference project in this condition is that you get your framework around it and then discard it. How many tracks on an EP is a matter of preference, based on whatever your goal is for the EP.

A thing that boggles people a lot are when they start thinking about what the listener expects. There’s equally a balance between people who want the same type of music from an artist from release to release, and another who wants the artist to keep a core but evolve, change, and not repeat formulas. This can also be the same kind of balance of how people want an album or an EP – All tracks slightly the same or all the tracks very different from to another.

Where do you situate yourself in this?

Wherever you feel like. You don’t have to worry too much because no matter what, some people will like and some will dislike anyway. One approach I have is to imagine the project for a friend in particular. How would they like it? Or a DJ… what is it that they like?

Sometimes I find that a good exercise to compile some tracks all together for an EP is to think of my current purpose. How do these tracks answer my own need, today, when recording an EP?

Mindset

How to make an EP starts and ends with mindset. There are different moments where you will have time to make music. I like to approach my session with an intention otherwise I quickly lose my session either troubleshooting issues or getting lost in details that aren’t useful at the end of the day. The different intentions could be listed as:

Sound design, doodling, testing new toys.
Assembling loops, creating motifs, programming sequences.
Going through ideas to see what works or not.
Arrangements.
Optimizing ideas.
Technique learning.
Fixing issues.
Finalizing songs.

What I Do

The mistake a rookie producer will do is to approach the use of his time without an intention and deal with whatever comes up. It works most of the time but you’re not using your time wisely. If you start a session with one thing in mind, you won’t get distracted by chasing something else that is taking you away from what you’re trying to achieve. Your mind can do something really well if you put all your energy to it. In that sense, I have developed a natural self-confidence that whatever happens, a future-me is going to fix it or recover it at some point.

Credit: Nguyen Dang Hoang Nhu

Having this approach is an open call to work on multiple projects and songs all at once, and makes the process of how to make an EP easier. You’ll create a huge pool of sounds and ideas that is ready for the moments where you want to feel creative and make loops, core to a song.

It’s important to capture the song mood and try to finalize it quickly so you don’t overwork it but you can also create a bunch of skeleton ideas that you’ll wrap later. Keep in mind that if you make music on a regular basis, you’re improving yourself and the future-you will be more skilled that your current-you.

That mindset has been my best approach in the last year when thinking about how to make an EP, allowing me to create a lot of music. To grind my skills to a point where I can, in full inspiration, make a song from scratch, gets easy. The other mindset I find useful is to record little live moments as often as possible.

The reason behind this is to know how it feels to jam, to play, to live the song instead of mouse-cliking it away. This is particularly important so you can perhaps imagine your music fitting an artist’s podcasts and sets. You want to have that fun factor as well as being essential for an artist to have your music in his arsenal.

Another benefit from having a focused mindset is that when it comes to working on an EP or LP, the 2 mindsets that will really benefit that will be the optimizing part as well as the finalization. I’d rather have 10 unfinished songs and then pick 4, wrap them based on a single aesthetic to unify them than have 10 finished songs that are not really coherent all together. If you shop for music often and look for EP, what grabs your attention and what kind of EP makes you go wow on it?

Aesthetics

Now that you know that you can have a bunch of songs almost done and that the last 10% of polishing can bring your entire project in a direction, I hear you asking how that last detail can be achieved. There are different things you can do but usually what unifies a project, if we refer to techniques, we can classify that into different clusters:

Sound design related

A good example is how the use of a same set of sounds can create unity. For instance, a 808 drum kit for all the songs gives a sense that all songs are the same for its core but you can add different ideas around it. Same for a synth in particular, where Mathew Jonson is a good example. In that sense, building a percussion kit is really useful.

There are multiple ways to build one but my favourite way is to use XO by XLN because it creates a map of all the sounds I have and also put them in a way that similar ones are closer on that map. So you can not only create a kit based on another but you always have the flexibility to search a huge selection and not go to far off. It’s the kind of tool that I’d be dreaming about but not only they made it happen but they made it better than what I would I have done it.

Effect driven

The main effects that can bring a project together, from subtle to drastic, are the ones that are coloured. Think of reverb for Dub and distortion for breakbeats or lofi effects for some old school house. They are the key the the key signature of the genre, and help define how to make an EP that’s similar. Sometimes it’s interesting to grab all tracks part of the EP and use the same effect rack that you can create. It’s easy to import into each of them and you can save a few presets that are easily set.

There are multiple aesthetic related plugins you can use and try. I would also not hesitate to simply drop it ON the master bus (yes, I’m serious) which will give you a very coloured version that you can dial back after. But like I often say, you need to push things exaggerated to see how far you can otherwise, if you go with 2-3% of wet signal at a time, you’ll never really see the full picture. I find that a multi-effect like RC-20 by XLN can give you a really good idea of your song in a new space. It adds saturation and noisefloor. It makes your song sound as if it was taken from a dubplate. Pretty impressive.

Tone

One thing I see when I master an EP from an artist is a coherence with the tone. When there’s not, I usually emphasis it so it feels better. It’s weird to have a super bright song amidst a few dark ones. If it’s artistic, ok it can work but it makes the listening experience a bit bumpy. If you use Fabfilter Pro-Q3, You can apply one EQ curve from a song to another. Sometimes you can have a curve for an EP that you apply on all songs. That can provide some interesting results.

Complementary stories

In a past post I was saying how you can layer all your tracks and see how they would be mixed from a DJ’s point of view. Have you tried layering them to see if some nice combinations are possible?

Templates

As explained before, I like to save the arrangements of a song to keep them as templates for future ones. Really handy to speed up the process from a loop to a song.

How To Communicate With Audio Engineer

November 26, 2020/in Blog, Communication, Song Finalizing and Arrangements, Tips/by pheek

how to communicate with audio engineer photo One thing that I love doing is to work with unestablished artists. It’s why I have Pheek’s Coaching Corner, and it’s why I price my services at a reasonable price. Working with new artists is fulfilling as I often find artist’s earliest work to be their most creative, and raw. It’s in these musicians that you find stuff that can be truly seen as original, having the vestiges of being an entirely new genre. It’s this sweet spot that exists before they start to become either derivative of their own work, or pivot to fill more socially acceptable shoes. However, unestablished generally means inexperienced in the rest of the music industry. There are certain things that both artists and engineers should understand while working together, simplified by good communication. If you are able to put things in a language the engineer understands, your experience will be much smoother. In this guide, I will provide tips, tricks, and methods to make this process as seamless as possible. Therefore, here’s how to communicate with audio engineer.

First, it’s necessary to lay out what a mixing and mastering audio engineer does and does not do.

What An Audio Engineer Can Do

1. Their Job Is To Facilitate And Mediate

People come to someone like me to either get guidance, or have access to a set of tools that they would otherwise not invest in. At my disposal are a bunch of plugins, and hardware that are specific to making sure things sound great, and translate well across as many mediums as possible. Additionally, I have access to creative tools that artists may not even know exist, yet could be applicable to their sound.

Additionally, artists come to me to get advice on where to go with their sound. Do they need additional elements to fulfill its intended purpose? Are they having writer’s block, or their skills limit them in what they want to do next? It’s my job to find resources that will help them reach their goals. These resources are something that I will touch on later in this article.

2. Their Job Is To Understand The Genre They Are Working With

how to communicate with audio engineer Not all genres are the same, and they require different equipment. If you were to record a cowboy outlaw record, it’s probably not the best idea to go to a micro house producer. However, I have had rock bands come to me because they wanted their album to sound electronic in nature, despite it being a rock album.

If you were to come to me as a micro-house producer, I’ve been in this genre for a while, and have a lot of resources. Therefore, it’s easy for me to tap these, and find things like reference tracks, or communicate with other artists who have tricks to help your track get to the next level.

Additionally, this genre understanding allows me to reverse engineer aspects of the music, and apply it to your track. Having a problem with simulating a certain textural effect that you heard in a micro-house track? Chances are I know how we can get pretty close to that with the resources, and experience I have.

Additionally, we understand how to reign in things like low-end if you are creating a song that you expect to be spun in a club. Remember, you’re competing with common frequencies of another song, like the kick, or the hi-hat. It’s good to know how to moderate these things for a club environment, and that’s where engineers come in.

3. Audio Engineers Understand The Technical Aspects Of A Release

Do you know how many LUFS the loudness of a track bounced out of the limiter needs to be to normalize correctly on Spotify? How about SoundCloud, or Beatport? Each platform has different loudness variations in their codec, and often if your tracks aren’t uploaded with these standards in mind, then there can be translation issues. This is where audio engineers come in. We understand this boring, uncreative stuff, and how to achieve it in the mix and master, so you can concentrate on being creative. Then again, if you want to learn, we can also play the role of instructor.

4. We Help Accent The Best Parts

Let’s say that you have a killer bridge. We can recognize this, and help bring that out in the mix, or even add elements that will help it transition better into the next part of the song.

What An Audio Engineer Cannot Do

1. An Audio Engineer Cannot Please Everyone

Perception is reality, and some people have different perceptions on what things are supposed to be. Especially when dealing with their art. With audio, producers often get married to their sounds, thinking that they should be specifically in this spot in the mix, when, in reality, it probably won’t translate the way you want it to. This may come from hearing said sound over and over again in whatever room, or on whatever medium they were listening to while they were making it. However, in a well treated room, with calibrated equipment, or conversely, in a club with a good, or poor sound system, it may not translate exactly how you anticipate. Some people are more judicious about this, and accept the reality. However, some you just can’t please. So is the way of the artist.

Therefore, I take the approach that it’s best to do the least amount of damage possible to a track, while still allowing the frequencies to properly breathe, and translate to whatever medium the artist imagines it being listened to on.

This is why it’s important to know how to communicate with audio engineer, so we can both come to a mutual understanding through the techniques I will discuss in a bit.

2. Audio Engineers Can Never Say What Does And Does Not Sound Good, Artistically

Kind of expanding on the idea of doing as little damage to a track as possible, it needs to be noted that like all other art, music, and sound is subjective. Sure, there are best practices to get something to translate, and upload to platforms properly, but as far as the timbre, and aesthetics of a sound are concerned, that’s so subjective. There is a reason why techno fans can’t agree on all techno being good, despite it being the same genre. Where everything else is the same, it’s the sonic grade that ultimately defines a song.

Extremely, there is a reason why some prefer the frantic shouts and pounding SH101 basslines of Nitzer Ebb to the soft musings of John Prine. As a matter of fact, they might detest John Prine, and John Prine fans might detest Nitzer Ebb. Does this mean one is better than the other? No, because our realities are subjective.

It’s my job to help you get to the sound that you truly desire, using references to other tracks, or having clear, simple communication.

However, it needs to be noted that we know what sounds good, technically. Like, for instance, if you’re making pop music, or if people are casually listening to your music (alternative or pop), they like mids, because mids translate the best on common speaker systems, and headphones. Chances are that if you submit your track to a blog, it’s not going to be listened to out of a soundsystem – it may be listened to out of a phone, laying in bed, which are mid intensive.

3. Provide Critique Without Having A Solution

Talent is subjective. So is if something sounds good. Therefore, if an engineer gives feedback, or says that something could be better, it’s their professional duty to have a way to fix it. That’s what we are hired for. However, if you aren’t looking for that sort of feedback, it’s good to have that role clearly defined beforehand.

Tips On How To Communicate With Audio Engineer

1. Keep Things Simple

how to communicate with audio engineer Engineers get that artists have a lot of things to say about their work, and may use poetic language in order to communicate it. And this prose sometimes leads to elaboration. However, there is a saying in sales, called K.I.S.S, which stands for Keep It Simple, Stupid. This is because people understand things if they are simplified. No need to get technical, or elaborate. Just say what you mean. A good way of easily communicating is to provide examples of things that already exist. Let’s be real, nothing is new under the sun, so if we can pinpoint where that idea is coming from, then maybe it can be recreated, with a flourish that makes it your own.

No need to write out a full page of diction. Instead, just Keep It Simple, Stupid. Also, don’t use vague words like, “I want it to sound tight.” That doesn’t mean anything, and is subjective. Which brings me to my next point…

2. Provide References

Expanding on what I said earlier, we are all borrowing ideas. Even if your track borrows many different ideas, and creates something new, if you think hard, you can find tracks that provide the feeling you are going for, which can give clues to the frequencies, and mastering qualities you want to match.

The references also don’t have to be sonic, instead they can be cultural. Let’s say that you imagine your song being played in an after-hours spot. This means that the song will likely be played in a place with little treatment, or in a long, narrow venue that isn’t typically used for music. This requires specific mixing, and pre-mastering to properly express its full potential.

Also, there are moments where something is created that doesn’t exist. There is no way for me to know how to create something if there is no reference to it, so don’t ask for that, since it’s impossible to know without endless tweaking.

3. Contact Us Before You Buy

This is true especially if you have doubts. You wouldn’t hire someone without vetting them normally, so why should this be any different? If you have a song that you think might fit my aesthetic, but not quite, then let me have a listen to it, and I will let you know if I think it’s worth working on. Believe me, I don’t want to work on projects that are unnecessarily difficult, just like you don’t.

You’d be surprised at what projects I have worked on. For instance, even though I make “underground” music, I worked on an EDM project, because the producer liked that I didn’t sound EDM.

4. Know Some Basic Terms

As producers, many have at least some basic knowledge of the audio engineering spectrum. Most know what equalizers, and compressors are, as well as reverb or delay. They also know what mono and stereo means. However, there may be more specific things that they don’t know – like for instance the difference between a transparent and colored master. A transparent one is where you have a mix you’re happy with, but you want everything to be properly balanced. A colored one is where you aren’t totally satisfied with the mix, and want some more textures, and other elements, such as compression, and saturation added to bring out new elements. In other words, you don’t mind things being changed.

Other common terms used in studios to describe frequencies are:

Muddy: Too much bass.

Boxy: Too many mids.

Tinny: Upper mids or lower highs need reduction.

Bright: Similar to tinny.

Airy: The high register frequencies. The ones that can break glass.

Warm: Reducing high end, or boosting the lower mids to give it a toasty feeling.

5. Don’t Micromanage

Do you hate being micromanaged at work? Well, so does everyone. By micromanaging, you’re distracting away from the work that could be getting done on your project by pointing out things that the engineer recognizes, but hasn’t got to, or may not even be necessary once another process is done. We’re professionals; let us be professional.

Conclusion:

All said, if you learn how to communicate with audio engineer properly, you are making yourself better at what you do, because you are furthering your education by understanding the terms. Also, you’re making yourself easier to work with, and at professional levels, easy to work with can get you far.

This skillset will also help with other artistic undertakings, such as remote music collaboration, or doing collaborative DAW projects, or even online collaborative DAW ones.

Hopefully this proved to be a valuable guide to helping artists with how to communicate with audio engineers. Like in most things in life, solid communication, means a solid experience.

Social Dilemma Of Social Media For Minimal House Producers

November 17, 2020/in Blog/by Alex

If you’re like me, when you watched the new Netflix documentary, drama hybrid, The Social Dilemma, you felt a sense of disgust. The main takeaway: social media isn’t addicting by chance, it’s addicting by design. The effects of social media for minimal house producers is no exception.

Facebook, Google, Twitter, and the other media conglomerates invested an obtuse amount of resources into making sure that there was an active dopamine response from your brain when you use their platform – the same response people get from using drugs, or drinking alcohol, or having sex.

They hired the brightest neuro, and behavioral scientists to work hand in hand with interface designers to keep you hooked, and make their investors money. This, on top of an algorithm that feeds you tailored content based on your previous interactions, has led to the consequence of the spreading of fake news, lies, and polarization between our communities. Admittedly, this wasn’t their intention from the get go, but often the road to hell is paved with good intentions.

However, it’s a necessary evil in a lot of ways. While marketing used to be reserved for the well funded, and tightly networked, social media has opened up a sort of democratic ecosystem, where, if you play the game right (the algorithms), a budding producer can now reach a targeted fanbase with little to no investment.

This has allowed for many bedroom producers to have a shot at success based on savvy, and talent, rather than relying on a suite of marketing consultants. But with that, bears the responsibility of ultimately, these artists, no matter how big, are fueling the machine of dopamine release for ad impressions that is psychologically encouraged by these mega corporations.

However, some artists have stepped out of the rat race of social media, and forged other ways of networking. Some of these methods are creative, while others are dangerous. In this post, I hope to lay out my views on the advantages and disadvantages of social media for minimal house producers, ways to detach from the grasp of these mega corporations through alternative media channels, and techniques you can use to have a healthy media balance.

How much are we responsible, as artists and labels, for people’s addiction to social media?

As “content creators,” we are the fuel for the proverbial social media engine. By creating stuff that people interact with, we are reinforcing the reward pathways in our audience’s brain. Every time we create something quality, we are responsible for a brief dopamine release by our audience. This is what keeps our fans coming back to our page, to listen to our music, to interact with us. However, this ultimately keeps people on the platform longer, allowing advertisers to solicit them, and quick information to satiate them, which influences their opinions.

However, it’s not necessarily a bad thing if content creators are creating something that people ultimately want to see, especially artists. By putting a song out there, unless it has a greater purpose beyond just being enjoyable to listen to, we’re not creating misinformation, we are not eliciting fear, or promoting division. However, by keeping them on the platform, we provide more opportunities for these bad actors to impact our fans. We must remember that every time someone comments on our stuff, and gets a response, negative, or positive, we are stimulating that neural pathway, and keeping them hooked to the platform.

Benefits of social media for minimal techno producers

1. Promotion

This is pretty obvious. In the past, you would have to spend days sending demos and press releases to media channels to get syndicated by them. If you were more digitally savvy, you could build an email list, but that took time through creating a simple way for people to sign up for it at shows, on your site, or through general networking.

If you wanted to advertise, you would have to buy a spread in a magazine, flyer, or get on someone else’s mailing list. Spreads in magazines are expensive, and have no trackable Call To Action. Flyering is expensive too, and doesn’t have any way to track, or target. Joining someone else’s mailing list costs money too, and isn’t necessarily targeted either, as it’s someone else’s fan base, not yours.

Now, with social media, you can put a post out there, and your biggest fans will ultimately see it, because algorithmically, they are important. Additionally, if you want to promote something beyond your following, you can drop it into the hundreds of targeted Facebook Groups that exist, use hashtags, or spend somewhere between 1 and 3 cents per targeted advertisement. Sure, there is more noise now-a-days than there used to be, but you know that your ads are getting in front of people who care, and you’re not killing trees from all the paper you’re printing.

2. Networking

photo of checking social media for minimal house producers

Nathan Dumlao

Labels, artists, groups are all on social media. It provides a channel for you to make yourself known to labels before you solicit them. You can like their posts, comment on their stuff, send them DM’s on Instagram, and tag them in your Twitter posts. After doing this enough, unless they are a huge label, they will recognize your name, and thus be more likely to check your stuff out when you eventually send it to them. In psychology, this is known as the “mere exposure effect,” where if someone is familiar with something, even subconsciously, they are more willing to engage with it.

As a producer, you most likely want to have your music spun by DJs, and respected by your industry peers. These artists are mostly all on social media. Doing the same “mere exposure” thing as you would with labels, with a little effort, you can make your name more known to them, and thus increase your odds of having them listen to your track. These artists can also provide a valuable gateway into networks that you would otherwise not have access to. By making friends with these artists through social media, you too can have some of this access.

Also, one must never underestimate the usefulness of Facebook Groups. For instance, Pheek’s Coaching Corner, the one that I run, was created to find like minded people who were into what I am into. I have made many valuable connections through it.

3. Artist pages

Most labels expect you to have a social media presence (except in rare exceptions, which I will get to), since it shows a sense of professionalism. It also allows for promoters, and other industry people to gauge marketability, thus leading to more opportunities.

Disadvantages of social media for minimal house producers:

1. Takes away time for creative things

Social media is distracting for the same reason why it’s useful – it produces dopamine release for you just as much as it does for fans. By interacting with social media, you are participating in this neverending feedback loop. Therefore, this feedback loop can distract minimal house producers from actually creating. As Chris Liebing recently said on his DJ’s and Beers podcast, every time he replies to someone’s comment on Instagram, that is just one more thing that is keeping him away from making music.

While larger artists like Liebing might be more desensitized to their social media interactions, since they get so many, for a small artist, a new comment, or new like can be very distracting, since it produces a high, in a way. Every time your phone vibrates, or dings, you are being pulled away from whatever you are working on at the moment, and will eventually affect the outcome of whatever that is.

2. Mental Illness

Using social media for minimal house producers can be dangerous. 73% of musicians report suffering from a mental illness of some sort, and are three times more likely to suffer from depression.

Additionally, research has shown that social media use is causated to increased depression. In a study published in the Journal of Clinical and Social Psychology, researchers concluded that, “What we found overall is that if you use less social media, you are actually less depressed and less lonely, meaning that the decreased social media use is what causes that qualitative shift in your well-being.”

This combination is volatile, and can lead to some serious consequences, if not properly managed.

3. Private life being used for commercial interest by bigger companies.

artistic representation of tracking social media for house music producers

Tony Liao

A quote that stood out to me in The Social Dilemma was the business adage, “If a company isn’t selling you anything, then you are the product.” Every interaction that you make on social media is analyzed by algorithms designed by data and cognitive scientists who are vetted to be some of the best and brightest in the world. To think that these algorithms are oblivious of your deepest personal secrets and desires is willfully ignorant. They exist to hyper target you, and sell you products, so advertisers keep on using their services. Unless you install plugins, and software, these algorithms track you well beyond the platform, looking at how you interact with all websites, not just theirs, using tracking cookies, and pixels. They listen to you on your phone, and translate what you say into text to analyze (if you think that talk to text was just a convenience, think again). That time you looked up something that only exists in your medical records? Well, that’s recorded too.

How to detach from social media for minimal house producers

You don’t necessarily have to be a slave to social media; there are artists who get away with not using it at all. Ricardo Villaobos doesn’t have a social media presence, and he’s a shining star in the minimal house scene. Nils Frahm doesn’t have one, and he’s considered one of the greatest living pianists. Burial doesn’t have one either. Neither does Aphex Twin (or at least one that is maintained in any serious manner). However, with the exception of Frahm and Burial, these artist’s careers flourished before social media was a thing.

So how are these artists able to get away with this, and what can you do as an alternative to social media for minimal house producers?

In the case of Ricardo, he made his connections by partying excessively. Late nights with promoters, PR professionals, and A&R allowed for chemically induced promises to be made, which he followed up on. While Ricardo doesn’t have a social media presence, memes of his sweaty, sleep deprived visage certainly do.

With Frahm, he had a social media presence up until 2017/2018, when he decided to deactivate it before working on All Melody. By this point, he was already a globally recognized artist, whose label and publicist got him all the promotion he needed to sustain his career. He also studied under Nahum Brodsky, a protégé of Tchaikovsky, so he was obviously connected.

Burial had a couple things working for him. The first, is that his marketability was in his enigmaticism and mystery. Having a social media presence would have worked against him in a lot of ways. He also started sending demos to Hyperdub in 2002, years before social media was a necessity. One thing that can’t be ignored either is where Burial grew up. He went to the same school as Four Tet, Hot Chip, The XX, and dozens more. In other words, this guy was connected, whether his profile leads you to believe that or not

So what can you do if you weren’t blessed to go to private school, study under a world renowned mentor, or aren’t willing to sacrifice your health with copious late nights and consumption?

Find out a way you can help the scene and make connections. Volunteer at events, become a journalist, throw events, become a radio DJ, intern and eventually work at a studio. These are all options.
Do things old school – hand out fliers after shows, solicit journalists with a solid press kit, and a compelling story. Not all stories need to be about your music. If you were a refugee, or had a parent who was a murderer, or you survived cancer, these are all stories. Think of alternative publications as well. If you are really into healthy eating, you can get a story published about your diet while touring on health blogs.
Trim down your network of relevant people to 5. It’s like real life, you don’t have a ton of really close friends. Concentrate on the people who really care about what you do, not the people who kind of care. Only care about the people who will provide honest feedback, and encourage them to help you make connections.
Find a mentor. Just like Frahm had a teacher, so can you. They all won’t be protégé’s of fabled Russian composers, but they will have their own set of connections that when the time is right, you can capitalize on. However, it’s sometimes easier to connect with these people on social media.

Alternative social media for minimal house producers:

1. Telegram

A great social media for minimal house producers. For instance, there are 640 members in the minimal techno channel. Telegram doesn’t monetize through ads, as it’s an encrypted network. This encryption means more privacy as well.

2. Discord

Just like Telegram, there are music networks on here. Here is a list of channels.

3. Twitch

While not necessarily a forum, this is a place where established producers have opened up a community to watch them do things like DJ sets, and produce music. Artists like Kyle Geiger have been doing almost daily tutorials for music production, and answering questions. If someone has something interesting to say in the chat, you can private message them, and make a connection that way. You can also ask Kyle questions, and send him tracks. He encourages it.

4. Reddit

More anonymous, and focused, these groups, also known as subreddits, can be an excellent place to find like minded people. If you can think of a genre, there is probably a subreddit for it. People ask for feedback on tracks, DM people who they want to connect with, find playlists to be a part of, and even promote their own tracks on these forums. Major artists are often found on reddit, doing question and answer sessions, called IAMAs. It’s generally a helpful community, but beware of being too self promotional.

Ways To Moderate Your Social Media

1. Install tools to restrict access

Tools like OffTime can limit what apps on your phone you can use, between certain times, or with certain permissions. It will also track the amount of time that you use apps, which could be humbling.

If you use Chrome, there is an extension called Work Mode that allows you to block all social media URLs between designated times. Stay Focused is another great extension.

If you use something like Mozilla, there is an add on called LeechBlock, that allows you to block certain websites.

If you are concerned about them tracking you, plugins like AdBlocker and UBlock restrict this. However, keep in mind that if you end up advertising on their platforms, you will have to disable these blockers so that you can monitor your own ads.

2. Only interact with certain people so the algorithms only show you those things.

Ultimately social media will display things to you that you want to see. If you don’t want to see anything about politics, or celebrity gossip, don’t interact with it. This will tell the algorithms that you aren’t interested. Conversely, if there is something that you are interested in, then interact with those things, and the algorithm will reward you with more of that.

3. Outsource

Get someone else to manage your social media presence. You can use places like Fiverr, and UpWork to hire virtual assistants who can create, and post on your behalf, for a reasonable price. Therefore, you will have a presence, but not have to be managing it day by day. There are also apps and bots out there to streamline this process, such as HootSuite or InstaZood.

Hopefully this post provides you with some resources that you can use in order to make an informed decision about how you want social media to impact your routine as an artist. There are ways to step out of the social media game, but to do so prematurely will have long lasting effects on your success. Therefore, strategize carefully, and see what you can do about limiting your access to it, rather than disconnecting entirely. If you do feel the need to remove yourself from the algorithm’s grasp, there are ways, but it will require a lot of effort, and can be less cost effective.

Social media isn’t going anywhere, so we can either lament at its destructive capabilities, or harness it’s potential to benefit ourselves, while using tools to reduce its negative impact on our health, and society’s perceptions.

Find A Record Label Looking For Talent

October 27, 2020/in Blog, Tips/by pheek

So, you’re looking for a record label looking for talent? We’ve been talking about collecting references for your mixes in previous posts quite a lot. By using software to help you match the tone of a track you like, with some analysis, you can now reverse engineer your favorite tracks to eventually make something similar. With this approach, eventually you’ll end up having music that you want heard and eventually published on a record label looking for talent.

There are many advantages of being on a record label. I covered this in previous articles. However, the crux of it is that being on these labels gives you access to a community of artists that you enjoy, provides social recognition by peers, and can provide accolades that artists can leverage for more gigs. Being on a credible label also allows artists to move up the ladder to larger labels, just as having a job on your resume allows people to move onto bigger, and better jobs.

Independent Record Labels Vs. Major Record Labels

Finding a record label looking for talent like yours comes down to having a song that fits the aesthetic of the label. You wouldn’t release a Dubstep song on a boutique Minimal Techno label, just like you wouldn’t release a Minimal Techno song on a boutique Dubstep label. While they are both electronic music, the contacts that said label would send the song to are inherently different, since Dubstep DJ’s not usually spin Minimal, and vice versa. This is especially true for independent record labels looking for talent.

Major record labels might have a broader approach to what genres they accept, and might sign a minimal techno track, and a Dubstep track since they have more resources to handle a diverse sound, since these genres have a place in their business model. However, to get noticed by these labels, you need marketability that a lot of smaller artists don’t have. You need a solid fan base already, a brand, and professional tunes.

Sometimes it is possible to get lucky with talent alone, and being in the right place at the right time, but this is not the norm. So if you decide to go the Atlantic Records demo submission route, and don’t have a credible foundation, then it’s really like winning the lottery. Sure, major record labels looking for new talent is a thing, but it’s a special circumstance if they get selected.

How Do You Find A Record Label Looking For Talent?

There are many approaches to this. A solid way is if you made a song based on a reference track, see what label they signed to. If you have a similar stature as the artist referenced, then chances are that you may be a good fit. If you aren’t on a similar tier as this artist, that doesn’t mean that they were always at this level. Go back into their catalog, and see what labels their earlier releases were on. Next, make sure they are accepting demos. They will usually say on their site, or social media if they are. Make sure they are recent posts, and releases as well. Small labels don’t last forever, just like small businesses, and the information may not be up to date, especially if they don’t exist anymore.

Next, see if they still are curating the sound that you have produced. Labels evolve. Just because they were into Minimal in 2007, doesn’t mean that they are into Minimal in 2020. They could be into hard techno now, since that’s what sells.

One thing to keep in mind is that a lot of popular labels have smaller sub-labels that cater to up and coming artists. Make sure to pay attention to what those are. For instance, Get Physical has Poesie Musik, which caters to a melodic sound, and signs small artists.

If you’re part of a scene, and your colleagues have signed to a label that fits your sound, ask for an introduction. That is the most surefire way to get on any label.

How Should You Approach A Record Label Looking for Talent

Keeping the aesthetic of a label in mind, it begs the question – should you make music with a label in mind, or find a label based on the music you make?

It’s something difficult to answer and there’s not a right answer either. It’s the chicken or the egg question. There are different options and perhaps one will suit you best. But let’s look into the different types of feedback they can provide as they could be giving you an insight on what is happening. This is where many people get confused.

In the most common scenario, people come to me for mixing and mastering with the idea of having music done. Once it is, the question that always comes is “now what?” Sometimes it happens I just did mastering of similar music and will suggest some clients of mine or in other cases, it reminds me of someone I know, so after looking up Discogs, I share a hint or 2. This is the “finding a label looking for talent that fits something already made” approach.

The second option is to find a label that you want to be on, and design music to fit that label. You analyze the songs BPM, you take reference of its genre, you incorporate the timbre and instrumentation that you hear in the records. You make sure that your mix and master have a similar color to the ones on the label.

However, sometimes you can do all of this, and the work can come off as being derivative, because what you made has been sterilized down to elements. Not even labels with a specific sound want work to be derivative, they want it to be complementary. This is a skill that takes lots of dedication and practice to hone. The process of making something contextual, yet with its own signature is one of the hardest things that any artist can accomplish, no matter what the medium. So, if you’re going to take the “finding a record label by producing to fit the label” approach, then you have to be confident in your skills. By taking this approach, you are also diluting your potential to submit it to other labels if it’s rejected.

Credit: Tim Marshall

Key Factors When Approaching A Record Label Looking FOr talent

However, sometimes your music fits perfectly, and you have invested a lot of work into it, but the label rejects it. What does it say exactly? What it says is that you probably didn’t have one of these factors:

Dedication

The most important thing you can do to get signed to a label is to have dedication. Artists need to dedicate themselves to being the best at their art that they can possibly be. They need to dedicate themselves to learning the best practices to succeed as a musician, whether that’s reading blog posts like this, or talking to successful peers. Remember, artists are going to fail at what they try to do, often. That’s just a fact of life. It’s what they do after they fail that defines them. As Winston Churchill said, “Success is not final, failure is not fatal, it is the courage to continue that counts.”

Marketability

Credit: Jorik Kleen

The next thing you want to do is make sure you’re marketable. Yes, just like major labels, more boutique labels want to make sure that artists have a brand. Branding can sometimes be seen as the antithesis of creativity, but it’s always been a necessity in music. Name one moderately successful musician that doesn’t have an image? Artists need to make sure their social media is in order, have an Electronic Press Kit, have a website, take some press photos, and just overall look like they care.

Depending on the size of the record label looking for talent, artists should expect to have a fan base that is relative to said label’s stature. If an artist only has a couple releases, and a few hundred fans on Facebook, it might not be wise to go after a label like Toolroom Records, or Kompakt. Most likely their demo will just get lost in the mix, so to speak.

Submitting Your Best Work

This next thing should be obvious, but it’s worth mentioning anyways. Artists should make sure to present their absolute best work to labels looking for demos. Make sure everything is mixed properly, and even better, it’s mastered. I can provide those services at a reasonable price, and it will go a long way to showing the labels that the music is serious.

Having A Solid Network

Another factor that is important in getting signed to competitive labels looking for talent is networking. Artists should make sure not only to nurture themselves, but nurture everyone around them. Reciprocity goes a long way as a human being, so be helpful. Burning bridges don’t always light the way. As I’ve mentioned in previous articles, this is the most surefire way of getting signed to a label of your choice.

Personalization

Finally, when approaching a label, make sure to add a personal touch to your approach. If you can find the name of the A&R, that’s helpful. If you know someone who works for them, or is connected, get a referral in, or drop their name. Maybe mention why you think your sound fits well with the label. The more you can personalize, the better chance you have to get heard, because it shows that you’re dedicated.

Final Thoughts On Finding A Record Label Looking For Talent

If you follow these approaches, then you have a much higher probability of getting signed to a label. Nobody said that it would be easy though. There is a reason why many people laugh off art as being a career path. However, if you are willing to have dedication, network, and be vigilant in your craft, it can be a long, rewarding job that can jetset you around the world, and introduce you to some incredibly interesting, and talented individuals. Remember, without art, there isn’t culture, without culture there isn’t society. Don’t let anyone tell you that what you do doesn’t matter. It’s just to matter, you have to work hard. There are no shortcuts (unless you have a trust fund, and a connected family).

How can you start a song while stressed out?

September 20, 2020/in Blog, Tips/by pheek

Disclaimer: this post is based on reflections resulting from the COVID pandemic.

Every other day, I exchange a few words with artists I know—friends, label partners, people I like, or anyone who wants to connect. I believe during these times, it’s important to keep social contact to divert our attention away from the madness, misery, or other constantly emerging concerns.

“How can you still make music with everything going on?” someone asked me today (and last week). I did a workshop for MUTEK and the main question was similar, something like “where do (music) ideas come from?”

Both answers overlap, in a way. If you think about where ideas come from, (let’s call it “inspiration” if you want), it can strike at random moments. For some people it’s in the shower, others while commuting, or doing yoga…etc. Basically, 90% of the time it’s happening somewhere else, rather than when you’re making music. Hence the importance of taking long breaks when you make music, and by breaks, I mean, leave the studio, go out and do something else. Your mind is still making music, but the space you create for yourself to think, will create space for you to solve problems.

I don’t know about you, but my mind is pretty much always making music, in some way. I’ll be washing dishes or walking my dog, and there goes my brain, creating patterns, imagining song structure, paying attention to ambient noises and figuring out how to translate that with a synth. So, whenever someone asks me where my ideas come from, it’s a bit tricky to give a definitive answer, because the source of some ideas emerge a long time before I sit in front of the computer. The thing is, once I sit in front of the computer, it’s like whatever I have been thinking about vanishes..I’ve forgotten everything and there I am, thinking what now?

The first good habit of sitting down to make music starts with the commitment to a 5-minute session.

The existentialist question(s) of “why make music?” sometimes strike me during this pandemic, and hard. Why am I making this? Who am I reaching out to? Why, why, why?

The answer to everything can be resolved in the 5-minute commitment. If you’re someone who’s interested in meditation, we say that the hardest step to meditate is to just sit and start. It’s the same for music making.

Another part of this challenge we face is the isolation. Most artists feed themselves events to get inspired. Now touring is hard, and that cut-off happening cold-turkey was a mental challenge. Having the resilience to be able to continue making music after months is another obstacle in-itself, as this is something that’s not only demanding, but also unusually frustrating.

If you watch that movie about The Doors, they go in the desert and try taking peyote for a spiritual experience. A lot of artists in the ’60s and ’70s had a breakthrough moment where they wanted to go beyond the rock-and-roll lifestyle to seek out answers about their life, their art, and to open new avenues of creating. There’s something that makes me wonder, when I see artists calling their art meditation or such, if there’s some sense of integrity towards the commitment of what they want to translate. Is the song just another new take on something they did before or is there a real interest to do something meaningful?

I’m sharing this because if you hit a wall with the music making, it might be directly related to a part of yourself that is either hungry for something more, or experiencing revulsion towards the repeating patterns that aren’t providing answers to your current needs. One doesn’t need a change but if your drive to create has hit a wall, then perhaps it’s time to try something else. Because you are an artist and we create just like we breathe.

How to reinvent yourself artistically has been covered on this blog in the past, as well as how to start a new song. I’m not going to cover those again, but I can share how to approach music in these difficult times, when facing stress or a feeling like abandoning it all.

What are you listening to? Connect with the new audience.

A lot of artists find inspiration in clubs and touring. Without that kind of energy in context, it doesn’t mean that music is dead, it’s just transposed. It’s been really difficult to explain to people that have never been in club to relate to the experience of loud music because that same music, out of context, is often very bizarre and sometimes, pointless. But there are other options. You can make the same kind of music for when these events will return, but you could also take the time to make music that is not aimed at those contexts. What makes an artist mature is the depth he/she has. If your music is one-dimensional, you’re shooting yourself in the foot. Many of the best artists will have different monikers to explore other avenues and I would say that it’s strongly encouraged to work on different types. Start by listening to a lot of music, perhaps more than you usually do.

Focus on the effortless.

Effortlessness seems to make some people feel uncomfortable. There’s a general attitude out there that great music was made through countless hours of work. Well, yes and no. If you think that you need to work a lot to sharpen your skills, yes, that demands resilience, motivation, curiosity and a lot of discipline. That is where the hard work is. But to record a song…this is where you put to practice your acquired skills and when you compose, that should be effortless. The whole aspect of post-production, editing, arranging endlessly and click-click-clicking your music to perfection isn’t, in my book, the real deal. It’s the rabbit hole of perfection grasping attempt that kills the original, pure and raw idea. I’m more interested in ideas than perfect production. In many cases, over-produced music ages really badly.

To get into “effortless music-making”, prepare for future projects by sketching out a lot of ideas, but mostly musical ones without much of anything supportive. Start a lot of projects, make loops and motifs, build presets, macros, collect some as well. A part of that means to also put away productivity and focus on spending time making music and not finishing anything. Think of guitar players who just play with their guitar without making a song. They’ll just play whatever they just feel coming.

Collaborate, talk, and connect.

How much time do you spend talking about your music? I don’t mean plugins and techniques, but ideas, emotions, and what you are trying to share. Do you reach out to other artists and share how you feel about their music or what it gives you as imagery?

Talking about music in general is pure fuel for imagination. The idea of putting words to the abstraction of sounds is a way of getting closer to understanding techniques and helping you having more precision on whatever you want to do. If you can explain it, you’ll understand it more. Plus the idea of sharing with another artist is a way of also getting technical feedback on parts that remain obscure and confusing.

One of the things I used to do, and still love doing, is to invite a few people to share our favourite music of the moment with one another, listening actively, commenting, getting lost in it. This is for musicians, quite a critical activity as the idea of how others perceive music is a very essential understanding of what people are looking for in the music, just as much as what is the music they’re willing to listen and share. This should fill up your references and study for future projects.

Making a collaborative playlist on streaming sites allows you to be also more connected. That’s the beauty of streaming even though it gets a lot of hate. Plus in time of Covid, this is possible even remotely.

Purpose, Passion, and Your Natural Gift

September 14, 2020/in Blog, Tips/by pheek

Maybe you’ve been using music as a way to get through the pandemic—you wouldn’t be the only one. When the pandemic first took hold, I started getting an unusually high number of requests for mixing and mastering. I saw about 25% more work than I would have in the similar time years before. At some point, my work load doubled. Mainly because everyone is making music right now that there are less things to do.

One question that I’ve encountered multiple times keeps coming up—is there a way to turn my hobby, what I love doing, into something that can be my day job? Can you really make a living as an artist? Many of us chase the idea of finishing a song, releasing an album, and seeing out there online with other artists we love. There must be some money coming back from that which would support me day-to-day, right?

Sorry, but the truth is money that comes back from sales, streaming and other exposure is really low.

So how can one make money then and making a living from a passion?

I fumbled upon an interesting article based on a study that you’ll find more happiness if you chase your purpose rather than your passion. It’s also quite known that making your passion a job can also kill it. I’ve been a musician full-time, run a label and tour…I can tell you that if you find yourself making a bad investment, it can completely scrap your career that you’ve been building for a decade. It hasn’t happened to me, but I did see a scene I was relying on, die out after a long stretch of golden years. What followed that genre wasn’t inspiring to me, and I never felt like jumping on the bandwagon like most of my peers did. Instead, I went low profile for a while, got some random jobs that could pay the bills and with some distance, I can see that I learned a lot from doing something else than just making music all day. You can lose perspective of yourself, of your direction, of your initial vision.

Maybe you’ve already seen or read about it in this blog, but I started 2020 with a challenge of making one track per week for the entire year. I thought initially it could be a good way of attracting people to what I do while learning more about production, revise/reinvent my own method and of course, hatch a bunch of tracks to release, eventually. That experience really brought me back to circa 2006-2008, when I was producing madly and had a lot of releases. Some people had been saying they wanted me to do techno like back then, but I felt that what was said then didn’t need to be said again, and wanted to bring something new to the table.

Adding this challenge alongside my daily work almost burnt me out, which is a really bad thing to happen if you’re an artist. With that in mind, I started dosing my music making and other insights came to me:

How to efficiently do I know my tools to do exactly what I need to be doing.
How to quickly spot obstacles and know the technique(s) to overcome them.
Know my limits, both creative, personal energy, and also technically.
Try to identify things I don’t know and not overlook them.
Remain humble.
Know what I love doing and/vs what I do best.

Just looking back at the last few weeks, there are a few things that became clear also—if you start doing something in order to get attention, you’ll get tired of it quite fast, especially if the reaction doesn’t meet your expectations. In my case, I quickly saw (I had foreseen it!) that after the 8th week, people didn’t really care anymore about the music posted. I sort of stopped posting and decided to share to a handful of people who I knew would listen. Eventually, I started making music for myself alone and even stopped uploading them on Weeklybeats, the website of the challenge. What’s pretty fascinating is to look at the first 8 tracks and what I do now and it’s completely different. Stuff I do for myself is purely experimental, either incredibly weird or very repetitive as I made some sonic moments for my loft, to be played on my Sonos.

How is this bringing me closer to my purpose or to my passion?

It’s not a secret that I found my passion many years back when I discovered I’m pretty solid teacher. Now it pays off. To teach, you need to know your craft inside out and be able to explain it properly. So exploring different techniques and reverse engineering music that I and others love is a way to teach people who want to know. This is why our coaching group is precious; we are collectively trying to understand certain techniques. What’s amazing about music is, you can understand a technique, teach it to 10 people and all of them will apply it in their own way, which will make 10 different results. The funny thing though, is that 50% will not like not being able to do what others can already do; which is a topic I work a lot in coaching: control.

Anyway, if what you do best might not be music-related, is there some hope? Well, maybe more than you think, if you have a bit of imagination. Here are a few other types of work that are more relate to music that you might think:

If you’re good at writing, you can work with artists on their bios, press kits, song descriptions, online presence and so on.
Graphic design is often a skill musician have. You have no idea how many designers are also musicians and in a world where image is crucial, you could really find work in the music industry for sure.
Web skills? There are so many aspects that you can tackle that as well.
Gear skills? If you have electronic based skills, maybe you can help assemble gear such as modular who come in kits and need assembling.
Networking is your thing? You have no idea how we need people that can connect people all together or create bridges between parts who need one another.

You might be thinking that musicians have no money to pay anyone, so how can that generate anything? If you’re really good at something, people will want to pay. Maybe not much at first but if you do a great job, it eventually it gets noticed. When I started this site and full time services, it started slow and I did a lot of free work (or highly discounted). I took a lot of time to build relationships with clients, and eventually happy clients referred in others. It became my purpose to make sure my clients can grow at what they do, both with the music making but also as artists that can shine in their community.

This is why I took a bunch of people under my wing with the idea to push them as if they were me. What can I do for this person that can make a difference in their career? Is it teaching them something? Is it connecting them with promoters or labels?

That’s when I understood that another skill I personally had is networking and establishing contacts. I’m a natural social butterfly at events and that is something that can pay off on the long run, especially in what I do.

The pandemic affecting events is making it really difficult to not only make that happen effectively, but also for the global inspiration to make music. Being in isolation confronts you to make music based on memories without having much (or any) of a chance to test it on a crowd…forcing you to do what you love and to simply be patient.