Coming from a period when few people made electronic music before its art was democratized, meeting people who were making music was difficult as not many people had the opportunity to produce it. You’d meet someone who would produce music, and it felt like you’d have a lot to talk about because they might have similar gear or setup, so you’d hope to be able to share insights.
Nowadays, we have been experiencing an opening of opportunities where software makes it easier to produce music. With AI, people can skip the creation process and have music custom-tailored to their imagination. I see a feeling of jadedness about the new generation among older producers.
As a friend and fellow musician said:
Making music doesn’t make you special anymore. Everyone can do it.
In parallel, students asked me how they could elevate their craft above that of the average hobbyist. To answer this, I looked into the case of Jean-Michel Basquiat.
Basquiat, An Urban Artist
Basquiat was known for his prolific output and unique artistic style, combining street art, graffiti, and fine art elements. Despite his short life, Basquiat created a vast body of work that continues to influence contemporary art.
One aspect of Basquiat’s work ethic was his relentless dedication to his craft. He was known to spend countless hours in his studio, often working late into the night or early morning. A deep passion for expression and creativity drove this commitment to his art.
Basquiat’s work ethic also reflected his intense focus and determination. He urgently approached each piece, channelling his energy into spontaneous and expressive brushstrokes. This intensity allowed him to capture raw emotions and ideas on canvas, resulting in visually striking and intellectually stimulating artworks.
While prolific, he made a name for himself that we still relate to nowadays. If you analyze his work, you will see that he used multiple ways to make a name for himself that can be applied to music-making.
Let’s look into the points that made him rise to the status he built.
Source Material
In the video, the narrator talks about how Basquiat found a book that served as an inspiration base. Basquiat uses a collection of icons, logos, and images on a specific page in many of his artworks. It was his vocabulary, and it became his motor as well. If his pieces were set around a theme, you’d see these same icons being omnipresent. This is a way of always having a collection of repetitive ideas that, in a way, established his brand.
The way I teach music is not too far from that approach. I encourage any artist I work with to build a set of references and allocate a lot of time to finding samples that ignite excitement. Services like Splice offer vast items, such as samples, AI sketch generators, plugins and other tools. Compared to jazz, electronic music has too many sounds to pick up, and it’s easy to get lost in which sound one should pick to make a new song.
Your source material could be divided into 2 main categories:
Place holders. These are sounds you use by default in all your initial ideas. Back then, people would only have money to buy a 909 or a 303, which was the sound they would use de facto. As we now have access to everything, it is helpful to have a template go to sounds you use as a starting point, and then you can swap later on.
Identity. These are more about representing you. Some artists have identity sounds that you can immediately recognize in the first minute of listening to their song. These can be a selection of sounds, presets, or specific effects.
Very often, people buy hardware or soft synths randomly. It’s quite handy to use a demo to test it. But if you use some samples, they are often tagged with the synth’s name used to create them. It can also be reverse-engineered.
If you feel like samples aren’t you, remember that everything has been sampled somehow. Having quality samples trains your ears on what quality is. This is crucial for sound design learning.
If you read this blog, these concepts have been covered many times.
Steal Like An Artist
There’s one point in the video where Basquiat explains where some quotes he wrote come from, which are from some books or movies. Some images, are inspired by artworks he saw. He didn’t copy them, he stole them from a context and brought them into his world.
(Art) comes down to tastes. You basically want to expose yourself to the best things humans have done and then bring those things to what you’re doing.
Steve Jobs
This is true for many things. To cook great-tasting food, you need to eat exceptional food. The same is true for sounds. I often feel more comfortable with the idea that I’m a curator than a musician. My music is a collection of ideas I love from random sources.
Your inspiration comes from your references. Nothing one has done that wasn’t inspired by someone else’s work. The fact that you do a genre comes from hearing that genre in a context that inspired you. So, you might as well start a collection of inspiring songs. It can be for one sound, one reverb, the way the transitions are done, or chord progression. If there’s one thing in a song you like, put it in your reference folder.
Then, you analyze your references. Take tons of notes, and try to imitate. Ask friends how something is done. Search Splice for similar-sounding sounds.
All these experiments build your imagination, which leads to core ideas to keep. It can take 50 ideas to find one exceptionally satisfying. Try to make many of them and blatantly get inspiration from everywhere.
Hip-hop artists are more comfortable taking ideas as they always sample other people. I have to say I’ve been seeing many clients remix pop music in the last year, so the bootleg aspect is becoming an option. However, remember to respect the work of anyone you directly sample.
Have A Message
One of the messages Basquiat had that motivated him was that there weren’t enough black artists in the art world. He wanted to change that and involve himself, making it the center of his work. The strength of having a message is its appeal for the media to look into what you have to say, and it rallies followers who resonate with it.
Punk music has its anarchist message, and hip hop has a gang-related message for some artists, while for others, it’s about the struggle of people in the current world. House music has also had a history of representing a safe space for queer people to dance to. Whatever genre you embrace, there’s a history of its upbringing, and sometimes people forget the political roots of it. While knowing the backstory is not an obligation, you can also piggyback a genre to bring your story and values.
Having a message and a vision will help bring a sense to your music, and in times when you might hit a wall with inspiration, your message will drive more inspiration.
Speed
If you read this blog or work with me, you know that speed is one element I believe in. Ideas come and go, sometimes very quickly and don’t always remain. Having the speed to bring your ideas together will help you catch ideas on the fly, perhaps so that you can finish them later but, most importantly, to see if they make sense. It’s one thing to have an idea; it’s an idea to make it work properly.
With Basquiat, he was working fast. Blazing fast. In the video, they share that his meeting with Warhol stimulated a lot of creativity and that at one point, JM did a self-portrait of them in a fast moment and then brought it back to Andy, who was amazed by how fast he was. One of the reasons why artists are slow nowadays comes from poor organization and lack of methodology. The more you are organized in managing your time and art, the faster you become. Music production is a series of phases, and if you sit down to make music and want to do it all at once, you’ll be hit by decision fatigue.
The second obstacle is ego. That part of yourself always has the impression it has something to prove, to control and to be something you are not. That leads to procrastination and distraction. My view of music making is fueled by fun in all parts. When fun is present, you are in the flow.
Flow is key to success.
Study, Memorize, Internalize
The last part of the video is where I saw the strongest parallel with what, as an artist, I do. In my free time, I listen to all kinds of music, radio, and movies and study many tutorials on YouTube. I think I watch about 10 per day. I take a lot of notes from those, and then when in front of my computer, I will test new findings or revisit techniques I was doing to give it a new twist. For each song, I started with a technique exploration, and I developed new ideas by practicing.
Saving macros has become something that I just now do always. I will map some parameters to the knobs of the macro and then have fun creating presets by randomizing or just tweaking with a controller.
Doing these sketches touches everything above:
Increases speed.
I have more control over my vocabulary, coming closer to my message.
Ease integration of ideas that I “steal” or get inspired from.
https://audioservices.studio/wp-content/uploads/2024/04/basquia.jpg10801080pheekhttps://audioservices.studio/wp-content/uploads/2022/07/logo-menu.jpgpheek2024-04-24 14:37:202024-04-27 13:00:01Basquiat Work Ethics
I’m not sure if you’ve been following trends lately, but there’s been a backlash against streaming sites. I know it’s new, as the resentment towards those platforms has been intense ever since Spotify became the first leading one, with a ridiculously low amount back to artists, but it seems there’s been a change in the narrative lately.
Where it started
From the various videos I’ve seen on YouTube, it seems like it started with Kanye West’s rejection from the different platforms where he advertised during the Super Bowl, which led to huge traffic to his site.
After watching that video, I’ve seen more and more news going in that direction, but that wasn’t new. In late 2023, since I spent time on forums, Reddit, and Facebook, I’ve seen a wave of comments from artists who were fed up and wanted to sell their music themselves more and more. The direction people were going for was to quit all streaming sites and head to Bandcamp alone with a personal shop.
I’ll share some personal thoughts about this in a post that is a bit more philosophical than technical.
The early Peer 2 Peer Era
As I was making music in the late 90s, I remember working one day, and some of my colleagues were saying they hadn’t been listening to the radio anymore since they downloaded their music instead. Knowing you could access all the songs you wanted for free was intriguing and shocking. I remember browsing for some music, mainly pop material, and barely any electronic music I liked besides The Chemical Brothers. It didn’t take long for all the music CDs to appear. Months after I checked, it fueled some internal conflict about all this. But what was clear then was that all the geeks and real music lovers I knew were keeping an eye on the coming songs.
Mp3.com
Then I discovered the website MP3.com, where artists post their music and meet others. See it as the ancestor of Soundcloud but around 1999 or 2000. A handful of people were doing the same kind of music as I was, and it was useful for creating a little community. Not long after I was on there, I got an enigmatic message from a German guy explaining what Netlabels were and asking me if I wanted to join his under the name of Thinner. It was small, and the concept of netlabels was still in progress.
If you’re unfamiliar with the Netlabel concept, the idea was to use the highly popular stream of downloads to the advantage of artists by inserting your freshly made music in there. The logic was that since people were all getting the new music, we could benefit by adding ours. We were okay with not making any sales; it was purely to ensure our music would be heard.
And it worked.
The Thinner wave
Thinner got big at one point, hitting 40k downloads on the first days of a release. Everything was hosted on the Archive.org site, where other Netlabels also appeared. German media started looking into it and covering it. Since I was the Canadian representative, local media has approached me to learn more about it. Radiohead did the same thing not long after with a free release, and the media went wild for it. Ironically, when I joined Thinner, I had local DJs telling me it was a bad move, that I would never gain respect from serious labels, and that I would burn myself out.
The exact opposite happened. My first European tours were directly linked to my Thinner releases, and when I was performing, people would come to me, all talking about their favorite songs from my albums.
Not long after, I got signed to Hawtin’s M_nus label, which was sort of the first time someone who got known from Netlabels transitioned to a bigger vinyl label. I feel that then, people started giving some credit to the movement Thinner created.
This experience shaped how I saw Spotify appear. I remember at the peak of Thinner, Sebastien Redenz was already saying that the best way to make it sustainable was to sell songs for 1 cent. He had it in mind, and that observation prepared me for the Spotify model.
Piracy Music and Soulseek
In pair with Netlabels, most people still download music, mostly torrents or Soulseek (Still used now). I think that, with the mentality of the late 90s, people were downloading with no shame. It created a community, and while hanging out on Soulseek, I made some friends abroad who eventually got me gigs locally. I used it to share my music. Some of my precious releases leaked, and I preferred not to since it was an agreement with the label, and I saw the community from another angle. I remember someone who got the release told me that “Music is made to be free anyway.” That was a bit disappointing for them, and later on, that same person got a release out and complained on Facebook that people were sharing their music on Soulseek.
There are many ambivalent emotions regarding that, and in the end, I think it comes down to the artist to decide how their music should be shared, which is sort of what I see nowadays with the Spotify backlash.
Bandcamp and Direct Selling
Since the early 2000s, I think only one shop I experienced did things right: Bandcamp. I mean, as of a business model, because their anti-trust approach was quite disappointing. That said, it’s not perfect, and some parts are a bit frustrating, but most of it is spot-on for what, as artists, we need. Even the share of money works. I’ve always been frustrated that shops like Beatport don’t let you pick a price for your release, which I find quite dumb. If you’re a label, there are numerous tools for selling, and it works well.
I wish there was more control over bootlegging. Now and then, you see someone reselling an artist’s music without shame, but it usually gets a lot of hate.
Selling your music from a website has some flaws:
Costs for a secure site
A shopping system that evolves with the market and remains accessible
Updates
Creating traffic
Marketing
Those are the little parts of it, and you’re venturing yourself into the entrepreneur’s path, which is hard. I often say this to clients: until people tell you they want to buy your music, there’s no reason for you to want to sell it. Many people get depressed from their music not selling…
So, is it worth it?
Like I said, not until there is a demand. You need to feed your community first, making sure people around you love your music and will talk about it. That requires a lot of time, dedication, and patience. Few people can afford an ad at the Super Bowl, so aiming for little things first can make a difference.
But I think it could be worth it for a label that has sales, but Bandcamp is where it should start. It’s quite common to find releases on Bandcamp that have no sales. I think it’s better to wait before putting your music there. Recently, Deezer removed 26 million songs that had never been played (or were problematic), and the overflow of music is not helping anyone.
The Other Model
In parallel to all this, I’ve seen another new movement, in a way. On a topic thread, someone commented:
Music fans are basically abusive. You tell them you’re being exploited, they say they care but then continue doing it. That’s no surprise if you see how people continue buying at H&M or getting the latest smart phone. I don’t really want to give my music abroad, I want to keep it to my friends.
The conversation was about what would happen if musicians had the other mentality of not wanting to share their music with the whole world. Instead, they focused on immediate contacts who wanted to listen and play the music. There was a consensus that they’d rather give the music to 5 people who want to listen than pay Tunecore or Distrokid to have their music everywhere and see it was played 10 times. Rarity creates value, not total accessibility.
Why would someone pay for something they can have in a snap of a finger?
This conversation continued for a while, and I noticed some friends and clients going in the same direction. I played music on a friend’s birthday and checked the content of my friend’s USB stick. He had a folder with around 50 songs of an artist I had never heard from. They were all outstanding. I later checked streaming sites or shops, and none of those songs were there. My friend told me about a few artists who make songs every day and don’t sell them. Instead, they pass their music to DJs they like.
You’ll ask, what is the business model here?
I don’t think there is one, or at least it’s unclear. Some people have accepted that they won’t turn their music into a business until people are interested in buying or catching a label’s eye. They know they want their music to be played by DJs, who will eventually get someone’s attention. I think that is the motivation beyond commercializing their music. I like that a lot. It’s a follow-up version of the Netlabels, but more aimed at community building than desperately wanting to get everyone’s attention. That guy made a point, and here I am talking about him.
Perhaps, as musicians and artists, our approach must be more experimental. Running a shop is one, but I don’t think we have found the right way yet. We need more of a community with shops… Which is what Bandcamp is.
Let’s see what the future holds.
https://audioservices.studio/wp-content/uploads/2024/04/sell.jpg10801080pheekhttps://audioservices.studio/wp-content/uploads/2022/07/logo-menu.jpgpheek2024-04-12 13:20:492024-04-12 13:20:49Quitting Streaming and Selling Directly
When we dive into electronic music, one concept continually shapes our audio landscape, and you might not even know what it is: timbre.
Often described as the “color” or “tone quality” of sound, timbre is the characteristic that distinguishes one instrument or sound source from another, even when they’re playing the same pitch at the same volume. In this article, we will approach what I have learned about timbre in electronic music, focusing on how synthesizers and envelope design play pivotal roles in its creation.
Why is it important to understand what Timbre is about?
Well, if you’re interested in sound design, this should be your entrance to that world. If you know how it works, then you’ll have an understanding of how sounds are made. This means you can then extrapolate your imagination’s bleeps into real-life bloops.
At its core, timbre is on a multi-axis, covering the aspects of sound. It has various factors such as harmonics, dynamics, overtones, attack, decay, sustain, and release. These elements collectively shape the fingerprint of a sound, allowing us to discern between a piano, a trumpet, or a synthesizer.
To give you an example, you can play the same C2 on all those instruments, but your ear would be able to identify both the notes as well as what are the instruments. That is because the ear understands timbre’s multiple elements as unique.
In detail, those elements that will determine a sound’s color would be:
It’s the head. The very beginning of a sound will contain dynamic information that will let you understand what it is. For example, a drum and a piano are both percussive instruments but sound completely different.
Spectral profile. The way a sound is composed will be a collection of different tones, harmonics, and overtones. That also involves noise and inharmonicity. The last point, also known as noise, defines a certain amount of non-linear components, that are random and don’t follow a precise pattern.
Dynamics. This is how the sound changes over time. Of course, this is related to the envelope of that sound (ADSR).
Synthesis and Timbre
In early 2024, I decided to join the Synthesis class of Sarah Belle Reid. I was a bit doubtful at first because since I started making music, in the early 90’s, I’ve learned everything by myself and continue learning every day as well. Being under the impression that you can have access to all knowledge gives you a lot of drive but also creates a blindsight where you also have information you didn’t know you don’t know.
These are some of the things people consult me a lot for: lack of vocabulary, lack of understanding of concepts that are badly explained online and being pointed at what a specific sound, sounds like.
Back to Reid’s class. It starts with the basic knowledge of sound itself and goes through each element related to sound, then proceeds with a demonstration. Seeing, hearing, and being explained these concepts, helps being able to perceive sound from a very technical point of view. It’s one thing to understand it but it’s another thing to have vocabulary.
Timbre was one of the most important points of the class for me. It’s not with a simple blog post that I can go through all the main elements regarding timbre but I’d point out that the aha moment was to review how I use a spectrogram.
Seeing the sound from that angle helped me understand what timbre is about. It’s a concept that felt easy to read about but not necessarily easy to grasp.
Here are my 2 tips:
Check the frequency response of the beginning of a sound’s information.
Observe how the sound fades out and how the frequencies shape slowly.
Knowing that the beginning shapes an important part of your sound, this is a direct inspiration on how to use your ADSR envelope to shape or alter the shape of sounds you have. The amplitude of your sound can be shaped by a first envelope and a second one may shape filtering or other elements.
As for creating the timbre of a sound, you’ll have to combine multiple oscillators, noise, and modulations to mimic the spectral content.
Let’s go deeper into the envelope and content synthesis.
Envelope Design and Dynamic Techniques
At the heart of timbral manipulation lies envelope design—an important point of sound shaping in electronic music. You might use it with compression but it is also there for design. Envelopes lead the evolution of a sound over time, dictating its amplitude, frequency, and spectral content. Understanding envelope parameters, particularly attack, decay, sustain, and release (ADSR), is crucial for crafting dynamic and expressive sounds.
Attack: The onset of a sound, characterized by its initial transient, sets the stage for our auditory perception. A sharp attack imbues a sound with immediacy and presence, while a gradual attack imparts a softer, more ethereal quality.
Decay: Following the attack, the decay phase determines how quickly the sound’s intensity diminishes. A longer decay sustains the sound, while a shorter decay yields a percussive or plucked character.
Sustain: Once the decay phase concludes, the sustain segment maintains a constant amplitude until the sound is released. Adjusting the sustain level allows for sustained or staccato articulations.
Release: As the sound fades into silence, the release phase governs the duration of its decay. A shorter release yields a crisp, abrupt ending, while a longer release imparts a lingering decay.
Sounds of the real world or from instruments are rarely static. They often are never the same thing when played a few times, but they’ll be changing a bit too on different aspects: spectral variation, amplitude modulation, pitch. In the modular world, the use of LFOs and envelopes is handy to modify those aspects. You will want to use them to have slight variations.
The soft synth Pigments is very well made in that aspect where it will have a lot of different modulations possible which can then be routed to a lot of different parameters.
Dynamic Use and Filtering
In addition to envelope design, dynamic use, and filtering contribute significantly to timbral variation. Dynamic modulation techniques, such as velocity sensitivity and aftertouch, introduce expressive nuances to performances. Meanwhile, filtering—via low-pass, high-pass, band-pass, or notch filters—shapes the spectral content of a sound, emphasizing or attenuating specific frequencies to sculpt its timbre further.
A good way to push the filtering is to use colored filters such as MS20 emulation or vactrol. To understand LPG (Low Pass Gate) is also another option.
Ever since I got myself a Freak Module from Vult, it brought my sound elsewhere. It has multiple filter emulation, some saturation, and a duplex mode where you can have chained filters or different filters in stereo mode. It’s pretty powerful.
Conclusion
In the ever-evolving world of electronic music, timbre is something to understand if you want to define your sound and personal signature. By understanding the power of synthesizers, mastering envelope design, and employing dynamic techniques and filtering, musicians and producers alike can unlock new creative possibilities. Through this article, we’ve partly covered into the heart of timbral exploration in electronic music, uncovering the intricate interplay between synthesis, envelope design, dynamics, and filtering. With this knowledge, may you define on your sound design skills, sculpting timbral tones that redefine who you are. Continue searching for more details and let me know if you have questions.
Sometimes I find really lovely videos with production techniques that I love and after practicing it, I thought I’d share it with you so you can benefit from this finding. In this case, it’s about the concept of miniatures and also how this pairs with some sound design principles I’ve been applying. Recently I joined Sarah Belle Reid’s Sound and Synthesis program which turned out to be insightful. Once I started diving into sound design and its mechanics, I not only started understanding sound’s DNA from a different angle but also in the context of a song.
What are miniatures?
I was recently browsing YouTube when I found this video that got me excited. Miniature is a step back from making songs and has the perspective of using a sound in a tiny bubble concept. Think of it as a 10-second to 1-minute idea. Nothing more. It’s not about trying to cram in as many elements as possible but more of taking one sound and see how to you can pull out the most from it.
When I teach music production, there is more exercise that I like to suggest to students which is to take a very basic sound (sample) and to turn it into a “main idea.”
To do so, I’d suggest picking first a random sound, preferably something you consider boring, and then playing it repeatedly to find a pattern from it. Change the pitch perhaps, but sometimes, leaving it to its original pitch will be enough. See how you can make a phrase from it and make a song (1-2min) from that alone. Sometimes I see an eyebrow being raised in doubt but then I explain that any sound, on its own, can be a song.
For example, John Cage made a song for hand clapping:
So back to miniatures.
Think of tiny ideas that work, ideally with 1 to 2 sounds. Watch the video below:
The clickbait title, at first, had me roll my eyes but then I checked it to find something that was pretty fun. To summarize it, he suggests that you write down ideas on a card, which will create a little challenge, as a miniature idea. Those prompts have certain criteria:
So this would be an example:
We often forget that songs are a collection of sounds and sounds that evolve on their own, maybe for a short lapse or during the entire song. The idea of creating miniature becomes useful because you’re creating ideas that can later be included in a song. Thinking of music production in a modular way (not modular synth) can help you work on different elements of your songs before diving into arrangements.
One of my principal sources of guilty pleasure is to find fun loops on Splice as a starting point so building my loops is valuable for making songs later.
Envelopes and macro envelopes
One element that we approached in sound design is how envelopes shape sounds as their shape. But when thinking of miniatures or songs, it can be useful to think of a macro envelope. What I mean here is how you have an evolution within the entire song.
One exercise Sarah gave us for a performance is to draw the shape of how your song or pattern evolves over the entire experience. It could start abruptly, then fade, and then increasingly get louder until the end. If you’re a Shaperbox user like me, you know you can use its internal envelopes to shape amplitude or filter over a long period. It becomes handy if you want slow modulation repeating.
If you want some Miniature ideas, I’d encourage you to watch the video up there. I got some instant inspiration for my sounds.
Sometimes I’m baffled by two things when I work with clients:
They start from scratch each time they make a new song.
They let finished projects asleep once over (and never reuse them).
In both cases, there’s a huge loss of time and energy. But when I explain them that each of their projects are a gold mine of opportunities sleeping on their hard drive, I see their faces lighting up. If you think about it, a song has often a lot of leftover material that won’t be used plus, think of all the common elements all your songs have, so why do one person not create a way to have the computer use resources to create that material.
The way I approach making music, ultimately speaking, is to be able to first find a very original idea and then put it in context quickly so you can work to give it a timeline.
Why speeding up your workflow?
Interestingly enough, as an artist and coach, I often teach that creativity is a super slow process and that trying to rush things might not be a best idea. But there’s also the paradox that it’s important to grasp an idea and make the most of it, then to move on. The idea of speeding your process is to ease your expression in order to not get lost in technicalities. One of the place many people loose time is in the details, clarifying technical details and such.
If a song is an idea, put on a timeline, it is also easy to get a lot of distance from this idea if you are more technical than artistic about it.
The strategies below are meant to ease the technical part by focusing on organization.
Strategies
The first way to speed up your process is to think forward. Just like this movement where people would pay for a coffee for a future client who would be low on cash, the best way to speed the next session is to organize it in the one you’re working on. I’ll explain habits and strategies that will be helpful down the road.
One effective method is to utilize the import feature from the Ableton Live browser. For example, if you’ve developed a compelling chain of effects in a previous project, save it as a macro. These macros can then be easily imported into new projects, giving you a head start with tried and tested sounds.
Template Creation
Beyond importing specific elements, consider creating templates based on your most successful projects. These templates can include your preferred routing, default effects chains, and even placeholder instruments. Starting a new project with these templates can dramatically reduce setup time, allowing you to dive straight into the creative process.
If you notice a routine and habit, turn it into a template where you can import what’s needed.
Useful arrangements or mixing templates are essentials.
Templates are basically like a recipe that you can reimport channels or arrangement section, adjust to taste and then, save again as a new template.
See them as “Global Presets.”
TIP: There are different types of templates to start with. Analyze your last 10 projects to see what’s always there de facto.
Creating a Channel of ‘Leftovers’
Another innovative method is to create a special channel in your DAW for ‘leftovers’ – bits and pieces from previous projects that didn’t make the final cut but still have potential. This could be a half-finished melody, an interesting sound effect, a discarded vocal pattern or a unique drum pattern. By saving these leftovers, you create a personal sound library that’s not only original but also infused with your signature style. Whenever you’re stuck or need inspiration, dive into this channel and discover elements that can spark new ideas.
There’s always been a non-written rule that one shouldn’t use presets and should re-invent themselves for each projects. While this answers a need to always have non-repetitive ideas from song to song, it can also be extremely time consuming. A good way is to use your leftovers as a starting point for a future project.
Leftovers are basically what you want them to be. I tend to hoard on anything unused. You’d be surprised the uses I’ve found for some sounds.
Instant inspiration comes from ideas you thought silly: re-pitch, stretch, slice, filter, EQ wildly… or heavily process them.
Decide of your own inner rules on how many times you use a sound. There’s no right or wrong.
TIP: Export your leftovers normalized so they sound full and ready for future projects.
Remixing Your Own Tracks
Sometimes, the best way to recycle is by revisiting your own tracks. Remixing a track you’ve previously produced can be an enlightening experience. Isolate individual elements that stood out and reimagine them in a new context. This not only breathes new life into your existing work but also expands your creative boundaries.
I always smile when a client tell me they can’t decide if one decision is best or another, regarding their track. Perhaps both ideas are good so why not make 2 versions?
You can have as many versions as you wish from your songs. In the 80’s and 90’s, some songs would sometimes have 3-4 variations which was really playful for DJs in how they could use and re-use a song.
Some ideas for new remixes could be:
Instrumental or with a vocal
Change of scale
Beatless or with different percussion set.
Collaborate with a musician for adding live take.
TIP: Try combining 3-4 songs into one.
Systematic Sound Design Sessions
Allocate specific sessions solely for sound design, separate from your songwriting or track-building sessions. During these sessions, focus on creating unique sounds, textures, or rhythms without the pressure of fitting them into a current project. Save these creations in an organized library.
Spending time organizing your sounds is also a useful way to make it easier for later on.
When working on new music, you can tap into this library for inspiration or elements to incorporate, significantly speeding up the creative process.
Take the time to understand complex presets on sounds you love.
Cross-pollinate the preset parameter of one synth to another.
Test demos of a synth you would love to acquire and record your tests to audio.
Collaborative Workflows
Encourage collaboration with other artists or sound designers. Sometimes, a fresh perspective can lead to unexpected and inspiring results. Collaborations can result in a shared library of sounds and ideas, offering a wider palette of elements to draw from when starting new projects.
I love to share a Dropbox folder with someone. As both of us can share projects there, you can see them being updated on each other’s sides.
Ask someone who has musical knowledge to revise and reinterprete a melody of yours with an acoustic instrument.
Befriend producers from other genres and see what they can provide for feedback.
TIP: Share a Dropbox or Google drive with friends.
Regular Review and Curation of Existing Projects
Schedule regular sessions to review your past projects that aren’t released. This is not just to reminisce but to actively search for reusable elements – be it a catchy hook, a unique synth sound, or an effective drum pattern. By doing this, you not only remind yourself of your past work but also build a readily accessible repository of ideas and sounds.
People who work with me knows I love to bring all my projects to 90% of completion instead of 100%. The logic behind this is simple: I like to gather a bunch of songs on a specific day or upon a need and then wrap them all up at once. This resolves multiple issues: coherence across a release, avoiding repetitive structures, better originality, etc.
Revise the kick of a project for a whole new approach on the direction of a song: harder, smoother.
Mute all channels that aren’t part of the hook to avoid clutter. This is easier to do if you are emotionally distant from your project.
Try a shorter version of your song to keep it straight to the essential (eg. radio ready mixes are 3 min long).
Incorporating Field Recordings and Unconventional Sound Sources
Sometimes, the most inspiring sounds come from the world around us. Regularly record sounds from your environment – these can be anything from street noises to natural ambience. These unique sounds can spark new ideas or add an original flavor to your music. There’s a beautiful plugin named Life which comes with a mobile app that sync up with the software on your computer. Not only you can grab sounds from everywhere but the software will chop it, while giving it a structure. The results are impressive.
When you are someone public such as a restaurant, pay attention to the music in the background. What do you hear when in a new context? Think of how your music would translate.
Try to listen to melodies from your environment. There can be hidden melodies from a street performer, from people talking around you or from a car passing by.
Explore noise and shape them to percussion.
Routine Exploration of New Tools and Habits
While it’s important to have a familiar toolkit, regularly experimenting with new plugins, instruments, or software can bring a fresh perspective to your work. This doesn’t mean always buying the latest gear, but rather exploring different tools, perhaps through demos or free versions, to keep your creative approach dynamic.
Exploring new tools means, perhaps, exploring mobile apps that can do sounds. There’s a large myth over those as many things they’re not good enough but you’d be surprised how many of them are extremely solid enough to make ideas. Not only the interface is lovely but the fact that you’re not in front of your computer is a different outlook on what you do. You can explore on your mobile shop to check apps that are tagged as music related and you’ll see synths, drum machines or weird DAWs. You can also check on VR headsets for the same kind of tools to explore.
Mind Mapping and Conceptual Workflows
Sometimes, the block isn’t in the production but in the conceptual phase. Employ techniques like mind mapping to outline the themes, emotions, or stories you want to convey in your music. This pre-production step can provide a clear direction and help in choosing or creating elements that align with your vision.
For this year, Mind Mapping is all rage for me. I’ve been starting to put down to image concepts, how I work in audio. Sometimes to mind map what you do gives you some insights you can’t think of when you only always do music on it’s own.
One method I learned is named “Sticky Steps.” Basically you start with the end and then roll back with little steps on how to get there. I like to think of it as a reverse engineering method. It’s possible that some steps, you will lack the knowledge to explain or know how to do it which is why you can contact me for instance, or ask friends.
I hope this kickstarts your new year in good manner. Don’t hesitate to leave comments or questions below.
https://audioservices.studio/wp-content/uploads/2024/01/recycle.jpeg10801080pheekhttps://audioservices.studio/wp-content/uploads/2022/07/logo-menu.jpgpheek2024-01-09 12:08:342024-01-09 12:08:34Recycle Your Old Projects
One thing I noticed with people who want to learn how to make electronic music, is that they face a lack of information on where to start. I stumbled upon an interview with Mr.Beast recently where he was suggesting that if you want to learn about how to make viral videos, you need to start by practicing making videos. His suggestions sorts of overlap how I teach music where the importance of practicing is more important than, let’s say, finish songs perfectly. He was suggesting that one could aim at making 100 videos where they practice one element in each, trying to improve by 1% instead of overtaking something huge to start with. But mostly, to remain a bit private about the whole thing until you become more solid at what you do.
Songs are stories based on a personal finding. If you think about you sharing a personal story to a friend, you’ll focus your story on one element and you might, in your storytelling, bring it to a final punch. Music is a bit similar but for many people who start making music, they really don’t want to disappoint or want to look like a beginner. So they try too hard, in most cases.
As you advance in learning music production, you don’t know that there are many different techniques out there unless you find them by searching or by someone who tells you. You might not know that your music has different issues unless reviewed by an experienced mentor. So it can be quite confusing.
This is why I decided to take on Mr. Beast idea of 100 projects and made a list for you here.
There is no right or wrong way to use it. It’s basically 100 ideas that you can take. Most of them also come with a Youtube video you can look at to learn about the technique to practice. As for projects or song, I would say that try to make songs that are between 1 to 5 minutes long. It’s not something to impress, but for your own development. I added enough videos and links per project for you to practice one technique. Try your best to use it but you can of course start at one point and end up in a totally different result. There are no rules here.
This project is directly linked to my Patreon Program. There’s the “Road Map” tiers that allows you to join for constant support.
Building the Basics – Projects 1 to 10
Loops, MIDI, and Arrangements
Making electronic music usually starts by using samples, loops and MIDI. Let’s start with the basis.
Round 1: Loops and Basic Arrangements (Projects 1-3)
I would encourage you to get a subscription to Splice to get some loops and sounds. You can also visit Freesounds.org to get free ideas but the quality can be questionable sometimes.
If the song key and scale confuses you, this article will help. Also this video.
Project 1 – Loop Exploration
Title: “Loop Groove”
BPM: 100
Duration: 1-2 Min.
Key: C Major
Scale: Minor Pentatonic
Element to Practice: Importing, duplicating, and arranging pre-made loops effectively. The focus here is to import a few different loops and play in the arranger section. See how you can place them to create a timeline. This is the most basic introduction.
Project 2 – Loop Transformation
Title: “Loop Evolution”
BPM: 110
Duration: 1-2 min.
Key: D Major
Scale: Major Scale
Element to Practice: Modifying loops, adding fades, and creating variations. Try slicing loops and re-arrange them into different versions of themselves.
Project 3 – Basic Arrangement
Title: “Simple Structure”
BPM: 120
Key: G Minor
Scale: Natural Minor
Element to Practice: Building song structure with loops, including patterns, sections, and hooks. Try to aim at having distinct sections such as verse, pre-verse, chorus, bridge, outro.
Round 2: MIDI Basics (Projects 4-6)
Have a look at this tutorial and practice them fundamentals of midi for the next projects.
Project 4 – Introduction to MIDI
Title: “MIDI Essentials”
BPM: 95
Duration: 2 min.
Key: A Minor
Scale: Aeolian Mode
Element to Practice: Understanding MIDI, note input, and basic MIDI editing. Use a soft synth like Operator to receive notes and start doing melodies using a key and scale.
Project 5 – Melodies with MIDI
Title: “Melodic MIDI”
BPM: 130
Duration: 2 min.
Key: E Major
Scale: Mixolydian Mode
Element to Practice: Creating melodies using MIDI, exploring notes and scales. Open a loop that is a melody and you can try either reproducing it (a bit more advanced) or complement it. Make sure to know the root key of that loop. Extract a melody from a loop.
Element to Practice: Apply everything learned to create your first complete song.
These first 10 projects will provide a solid foundation in loops, MIDI, and basic arrangements. After completing these, the student will have the skills needed to create a complete track.
Building the Basics – Projects 11 to 20
Loops, MIDI, Arrangements, and References
Round 4: Loops and Advanced Arrangements with References (Projects 11-13)
Round 6: Applying MIDI and Arrangements with References (Projects 17-20)
The idea here is to take your reference and while it’s in the arrangement section, try tapping down some midi notes along the reference to reproduce notes, percussion or anything else, to hit at the same time.
Project 17 – Combining MIDI and Loops with References
Title: “Hybrid References”
BPM: Analyze and match reference track
Duration: 2-3 min.
Key: Analyze and match reference track
Element to Practice: Combine MIDI elements with loops inspired by referencing the track’s bass.
Project 18 – Layering and Texture with References
Title: “Textural References”
BPM: Analyze and match reference track
Duration: 3 min.
Key: Analyze and match reference track
Element to Practice: Creating textures and layers using references. Learn how to use field recordings for backgrounds.
Project 19 – Advanced Arrangement Techniques with References
Project 20 – Milestone: Advanced Track with References
Title: “Elevated Creations”
BPM: Analyze and match reference track
Duration: 2-3 min
Key: Analyze and match reference track
Element to Practice: Apply all concepts learned to create an advanced track with reference track influence.
Building the Basics – Projects 21 to 30
Loops, MIDI, Arrangements, References, and Effects
Round 6: Loops and MIDI with Effects (Projects 21-23)
Project 21 – Loop Manipulation with Delay
Title: “Delay Loops”
BPM: 100
Duration: 3 min.
Key: C Major
Scale: Minor Pentatonic
Element to Practice: Importing loops, applying delay effects, and creative arrangement. Focus on the different types of delay plugins and have fun tweaking parameters.
Project 22 – MIDI Effects: Arpeggios and Phaser
Title: “Arpeggiated Phases”
BPM: 110
Duration: 4 min.
Key: D Major
Scale: Major Scale
Element to Practice: Using MIDI for arpeggios and applying phaser effects.
Project 23 – Effects-Driven Arrangements
Title: “Effects Arrangements”
BPM: 120
Duration: 4 min.
Key: G Minor
Scale: Natural Minor
Element to Practice: Creating arrangements with effects-driven transitions, where you use automation to change the delay’s parameters as the song evolve.
Round 8: MIDI Mastery with Effects (Projects 24-26)
Project 24 – MIDI and Reverb for Atmosphere
Title: “Reverberant Atmosphere”
BPM: 95
Duration: 4 min.
Key: A Minor
Scale: Aeolian Mode
Element to Practice: Using MIDI to create atmospheric sounds with reverb.
Project 25 – MIDI and Delay for Texture
Title: “Delayed Textures”
BPM: 130
Duration: 4 min.
Key: E Major
Scale: Mixolydian Mode
Element to Practice: Crafting textured soundscapes with MIDI melodies and delay/reverb effects.
Project 26 – MIDI and Flanger for Movement
Title: “Flanged Movement”
BPM: 85
Duration: 3-4 min.
Key: F# Minor
Scale: Harmonic Minor
Element to Practice: Adding movement to MIDI percussive elements using flanger effect.
Round 9: Advanced Arrangements with Effects (Projects 27-29)
Project 27 – Arrangement and Filter Sweeps
Title: “Filter Swept Arrangements”
BPM: 115
Duration: 4 min.
Key: Bb Major
Scale: Dorian Mode
Element to Practice: Creating arrangements with filter sweeps. Play with the filter on different elements to practice opening and closing frequecies.
Project 28 – Arrangement and Stereo Panning
Title: “Panned Arrangements”
BPM: 105
Duration: 3-4 min.
Key: C Minor
Scale: Phrygian Mode
Element to Practice: Adding depth and movement to arrangements with stereo panning (auto-pan). Turn the auto-pan into a tremolo.
Project 29 – Milestone: Advanced Track with Effects
Title: “Effects-Driven Mastery”
BPM: 125
Duration: 4 min
Key: F Major
Scale: Lydian Mode
Element to Practice: Apply all concepts learned to create an advanced track with a focus on effects. Explore the use of Chorus.
Project 30 – Remixing and Effects
Title: “Remix and Effects Showcase”
BPM: Analyze and match reference track
Duration: 4 min
Key: Analyze and match reference track
Element to Practice: Remixing a track while integrating Beat-repeat effects techniques.
These projects will allow students to explore the creative possibilities of effects while further enhancing their skills in loops, MIDI, arrangements, and references. If you have any specific effects or tools you’d like to emphasize in any of these projects, please let me know, and we can tailor them accordingly.
Building the Basics – Projects 31 to 35
Loops, MIDI, Arrangements, References, Effects, and Modulation
Round 10: Modulation Essentials (Projects 31-35)
Project 31 – LFO Modulation on Synth
Title: “Synth LFO Groove”
BPM: 100
Duration: 3 min.
Key: C Major
Scale: Minor Pentatonic
Element to Practice: Using LFO modulation to add movement to a synth sound
Project 32 – Envelopes for Dynamic MIDI
Title: “Dynamic MIDI Envelopes”
BPM: 110
Duration: 4 min
Key: D Major
Scale: Major Scale
Element to Practice: Applying envelopes to shape the dynamics of MIDI elements
Project 33 – Effects and Envelopes for Vocal Processing
Title: “Vocal Envelope Processing”
BPM: 120
Duration: 4 min
Key: G Minor
Scale: Natural Minor
Element to Practice: Using envelopes in combination with effects for vocal manipulation. Learn how to use Shifter. You could use filters or reverb as something to be modified.
Project 34 – Advanced LFO Techniques on Effects
Title: “LFO x LFO”
BPM: 95
Duration: 4 min
Key: A Minor
Scale: Aeolian Mode
Element to Practice: Applying LFO modulation to another LFO parameter for creative sound design. Use the Shaper tool.
Project 35 – Modulation Showcase and Milestone
Title: “Modulation Mastery”
BPM: Analyze and match reference track
Duration: Your pick.
Key: Analyze and match reference track
Element to Practice: Learn to hear modulation into songs you know. Try to reproduce one sound effect. Explore effects on Splice.
Building the Basics – Projects 36 to 40
Loops, MIDI, Arrangements, References, Effects, Modulation, EQ, Filters, and Compression
Round 11: EQ, Filters, and Compression Techniques (Projects 36-40)
Element to Practice: Using groups, learn how to apply side-chain to open up space for a lead.
Project 50 – Advanced Bus Processing
Title: “Bus Driver”
BPM: 85
Duration: 4 min.
Key: F# Minor
Scale: Harmonic Minor
Element to Practice: Utilizing buses and groups for mixing.
Project 51 – Return Channels and Reverb
Title: “Return Channel Reverb”
BPM: 115
Duration: 3 min.
Key: Bb Major
Scale: Dorian Mode
Element to Practice: Incorporating return channels and reverb for spatial effects. Use 2 return channels with one set to Hall and the other, short reverb. Send various channels towards them.
Project 52 – Mixing with Reference Tracks
Title: “Mixing References”
BPM: 105
Duration: 4 min.
Key: C Minor
Scale: Phrygian Mode
Element to Practice: Learn about Gain staging and adjust your channel’s level to these.
Project 53 – Effects and Mixing
Title: “Dynamic EQ”
BPM: 125
Duration: 3 min.
Key: F Major
Scale: Lydian Mode
Element to Practice: Learn how to use dynamic EQ in ableton.
Project 54 – Vocal Production and Harmonies
Title: “Vocal Production Excellence”
BPM: Analyze and match reference track
Duration: 4 min
Key: Analyze and match reference track
Element to Practice: Learn the main effects used for vocal treatement: Shifter, Delay, Reverb, Chorus/ensemble.
Project 55 – Milestone: Mix and Routing in action
Title: “Mix and Routing Exercice”
BPM: Analyze and match reference track
Key: Analyze and match reference track
Element to Practice: Apply all concepts learned to create an advanced mix with intricate routing and processing
Going Modular has been in trend in the last years and the concept got momentum with the arrival of VCV Rack. One of the best way to learn about modular techniques, is to install VCV which is free as a stand alone DAW. I learned more about sound design with it than years studying it.
Round 14: Advanced Sound Design and Modular Concepts (Projects 56-65)
Element to Practice: Apply all concepts learned to create an advanced sound design piece
These projects will allow students to explore the fascinating world of sound design, modular concepts, and synthesis techniques, enabling them to craft unique and expressive sonic textures.
Round 15: Resampling, Recording, and Voice Manipulation (Projects 66-70)
For these projects, the duration doesn’t matter as long as you can build ideas over a few minutes. From here, try to always have an introduction, middle part and outro.
You’ll want to try to have a hook per song as well as supporting ideas. You know enough from here to be able to create songs and should now put a bit more energy to get them as done as possible.
Project 66 – Creative Resampling Techniques
Title: “Resampling Magic”
BPM: 100
Key: C Major
Scale: Minor Pentatonic
Element to Practice: Exploring creative resampling methods to transform audio.
Project 67 – Field Recording and Sampling
Title: “Field to Sound”
BPM: 110
Key: D Major
Scale: Major Scale
Element to Practice: Capturing and incorporating field recordings into music production. Learn how to simply use your smart phone to record sounds and import them.
Project 68 – Vocal Recording and Processing
Title: “Vocal Doctor”
BPM: 120
Key: G Minor
Scale: Natural Minor
Element to Practice: Recording and processing vocals with resampling.
Project 69 – Voice Manipulation and Sampling
Title: “Voice Transformation”
BPM: 95
Key: A Minor
Scale: Aeolian Mode
Element to Practice: Manipulating and resampling voice recordings for unique textures from the clip’s warp mode.
Project 70 – Resampled Soundscapes
Title: “Resampled Soundscapes”
BPM: 85
Key: F# Minor
Scale: Harmonic Minor
Element to Practice: Creating intricate soundscapes through resampling and manipulation.
Project 100 – Milestone: Generative Music and Final project
– Title: “Final Project”
– BPM: Analyze and match reference track
– Key: Analyze and match reference track
– Element to Practice: Generate ideas randomly and with the techniques learnt then make a whole song with it.
Congratulation if you went through all the exercises. You should now have a strong basis to know your way into making a song. There are so many topics that could have been covered. If you have any suggestions to add, let me know in the comments.
https://audioservices.studio/wp-content/uploads/2023/11/begin-ableton.jpeg10801080pheekhttps://audioservices.studio/wp-content/uploads/2022/07/logo-menu.jpgpheek2023-11-29 20:18:042023-12-05 11:05:42The Road Map To Learn Music Production
In the diverse and ever-evolving world of electronic music, countless aspiring artists and producers are diving headfirst into the sea of music creation. With technology at their fingertips, creating music has never been more accessible. However, this ease of access can sometimes lead to a contentment with simplicity, especially for those who may not have a traditional background in music theory or composition. Yet, the realm of music, with its deep roots and intricate branches, offers a vast landscape of possibilities waiting to be explored.
It’s no wonder that trained musicians are often overlooking electronic music and will say it’s not “real music.”
I find that what makes an artist sound pro in their melodies compared to someone who start is often related to articulation, which we will cover in this post.
For many, the journey into music production begins with loops – those repeating sections of sound that form the backbone of many electronic tracks. Loops are the building blocks, the starting points from which entire tracks can emerge. But what happens when the novelty of looping fades, and the desire to craft something more complex and personal arises? This is where the concept of articulation comes into play, offering a gateway to elevate a simple loop into a rich tapestry of sound.
(Inside note: At the moment of writing this, Ableton just announced version 12 of Live. Some of the elements mentioned below will be covered in solid ways for that version but since I haven’t tested it yet, I can’t really expand on it yet.)
Articulation in Music to Elevate your ideas
Articulation in music refers to how notes are played or sung, influencing their transition, duration, and overall character. In electronic music, articulation can transform a basic loop into a nuanced and dynamic piece. If we were to compare two extremes, we could put on one side, loopy techno as not very articulate and on the other extreme, an experienced, jazz vocalist.
It is much more than just accent and velocity as many think. Those are just a fraction of what’s possible.
Let’s delve into the different types of articulation and how they can add depth and complexity to your music.
Staccato: This indicates that notes are played sharply and detached from each other. Staccato notes are typically short, light, and separate.
I find that in the low end range, kicks and bass notes have a much better clarity when short. You might not want short basses or kicks all the time, so you could alternate the gate length to have variation.
Melodies that are staccato work well with arpeggios and bring a fast mood to a song, excitement and movement.
In melodies, staccato also gives the impression of bringing a delicate touch.
Legato: Opposite to staccato, legato articulation means that notes are played smoothly and connected, with no noticeable break in between. This often creates a flowing, lyrical quality in the music.
Accent: An accent mark indicates that a note should be played with more emphasis or force compared to the surrounding notes. It stands out due to a stronger attack. We often use it in percussion as we mark where the groove has emphasis.
Accents in a pattern accentuate the groove. If you are using some grooves, they also enhance accents at given points so consider that.
It can also be described as adding an assertive tone to a note.
Tenuto: This suggests that a note should be sustained for its full value, or slightly longer, often with a slight emphasis. It can add a sense of weight and importance to a note.
When programming a pattern, I like to keep my high point velocity around 100 (of 127) which gives headroom for notes with emphasis.
Marcato: This is a stronger form of an accent, where the note is played much louder and with a sharper attack. Marcato often creates a more pronounced and emphatic sound.
That one would be at 127 in velocity.
In music, there can be a part in marcato, meaning that a section is played with stronger impact.
Fermata: This indicates that a note or a rest should be held longer than its usual duration. The exact length is typically left to the discretion of the performer or conductor.
What makes a groove, an articulation are pauses. It’s good for dynamic range but just like when someone talks, pauses are crucial to understand the sense of a phrase.
Portato: Also known as mezzo staccato, it’s a combination of legato and staccato. Notes are played somewhat detached, but not as sharply as staccato, and with a connection similar to legato.
Glissando: This is when a performer glides from one note to another, playing all the intermediate pitches. This is common in string instruments and the voice.
Often used for acid basslines.
Slur: Notes are being played, blended all together. I think it’s similar to a legato but it’s of a way of creating “syllables” sound where they’re a bit mashed up.
Trill: A rapid alternation between a note and the one above it, creating a fluttering sound.
I like to do this with a 2 notes arp.
Now, let’s explore how to apply these articulations in digital audio workstations like Ableton and modular environments like VCV Rack.
Examples
Staccato: In Ableton, you can achieve staccato by shortening the length of MIDI notes. You might also use a fast attack and release in an envelope on a synthesizer. There’s a MIDI tool named Note Length that can you can use to modify the duration. Any synths has an ADSR envelope and by playing with the decay/release, you can control the length, making any sound shorter, into staccato.
In VCV Rack, consider using a gate modifier or an envelope generator with a short decay to create sharp, short sounds.
When and why to use: Useful when you want to to introduce movement and a sense a density, in a rhythmical way. Short notes fill a space as well as leaving room for other elements. A good example would be tribal music.
Legato: For legato, ensure that MIDI notes overlap slightly in Ableton, and use a synth with a glide or portamento setting to smoothly transition between notes. When you use a midi clip, there’s an option for Legato that will stretch all notes to their longest option until it meets another note.
In VCV Rack, you can use a longer envelope decay and sustain, with a portamento module for smooth pitch transitions.
When and why to use: This can be good for thick melodies, pads, longer synth notes which create a nice background or the front part of a song.
Accent: In Ableton, you can increase the velocity of specific MIDI notes to create accents. You might also automate volume or use a transient shaper plugin. In VCV Rack, use a velocity sequencer module to modulate the amplitude or filter cutoff for accented notes. I like to pictur
When and why to use: As said, it’s useful in a groove but it can also be a sporadic moment in a song as well to create a sense of dramatic impact with a feel of heavy impact.
Tenuto: Emulate tenuto in Ableton by extending the length of MIDI notes slightly and using a slight increase in velocity. In VCV Rack, a combination of longer gate times and subtle amplitude modulation can help achieve this sustained emphasis.
When and why to use: Little arps do well to bring secondary melodies, enhancing, supporting the main one or simply to add decoration.
Marcato: For marcato, increase the velocity significantly in Ableton, and consider using a sharper attack on your envelope. In VCV Rack, use a combination of high-velocity settings and an envelope generator with a quick attack and a moderate decay.
When and why to use: Snappier attack on a sound makes it a bit more aggressive but is again, another way to induce drama and intensity in a melody.
Fermata: This is more about performance expression. In Ableton, you can extend the length of a note where a fermata occurs and perhaps automate a slight increase in volume or reverb. In VCV Rack, you might manually control the length of a note using a gate or hold module.
When and why to use: That’s an alternative way to bring
Portato: Combine the techniques of staccato and legato. In Ableton, this might mean programming MIDI notes with moderate length and slight overlap, and using a synth with a bit of glide. In VCV Rack, set up an envelope with a moderately fast decay and a bit of sustain, with a slight glide between notes.
Glissando: In Ableton, you can use pitch bend automation or a glide/portamento setting on a synthesizer. In VCV Rack, use a portamento or glide module, and create a sequence where the pitch CV smoothly transitions from one note to another.
Trill: In Ableton, program rapid alternation between two MIDI notes. You might also use an arpeggiator set to a high rate. In VCV Rack, use a fast LFO or a sequencer to alternate between two pitches rapidly.
Exercises and Applications
Experiment with Velocity: In both Ableton and VCV Rack, play around with the velocity of each note. Notice how changing the force behind a note alters the emotion and energy of your loop.
Change Note Lengths: Experiment with shortening and lengthening notes within your loop. Observe how these changes affect the rhythm and flow.
Use Automation for Dynamics: Automate volume, filters, or effects to add movement and life to your loops.
Layer Different Articulations: Layer loops with different articulations. For instance, combine a staccato bassline with a legato lead melody.
Play with Effects: Use reverb, delay, and modulation effects to enhance your articulations. A staccato note with a tail of reverb can create an entirely different feel.
Morph Your Loops: Take a simple loop and create several variations, each with a different articulation style. This practice not only enhances your skills but also provides a plethora of material to work with. I do this as comping for effects but you can do this with midi notes as well.
By incorporating these articulations into your music production, even the simplest loops can blossom into complex, emotive
https://audioservices.studio/wp-content/uploads/2023/11/articulation.jpeg10801080pheekhttps://audioservices.studio/wp-content/uploads/2022/07/logo-menu.jpgpheek2023-11-16 20:04:522023-11-16 20:04:52Upgrading Melodies with Articulation
Every now and then, you might be like me and stubble on a song that either wow or confuse you for the different sounds it has or for a particular effect. You might be spending a few hours or days listening back to the song wondering how it was done, perhaps search online. But then you face your first limitation: your vocabulary. Yes, that part of yourself that hear a specific sound, might not know exactly how to name it. Then, this creates a gap in how you can explain it to someone or search for its nature, through search engines. In my case, I’m lucking enough to know enough about sound processing to be able to name it and so many times, someone booked me for an hour to ask me about a specific sound but then felt disappointed that I explained it in less than 2 minutes. I swear this happens a lot. But then I see them feeling a relief that what they thought impossible becomes something they can now add to their song in the making.
The first rule of audio reverse engineering is to be curious and open. But also, persistent and patient.
The second is to not be afraid to ask for help.
The third is to understand that it often takes 9 fails (in average) to succeed (the 10:1 ratio).
That said, It took me a while but I compiled how I work when I try to reverse engineer sounds so that you can consider this as a way of understanding more how you work. The more you understand sounds, the more control you’ll have over your own sound design.
Understanding the Sound
As simple as this sound, understand the sound starts with paying attention, isolating a moment within a song and be able to name which family it belongs to. In terms of families, there are a few that I use, which are related in how I label sounds (or how most online sample stores as Splice or Loopcloud use).
Drums: kicks, snare, hats, claps, toms, cymbals, breaks, fills, acoustic. These can be electronic based or acoustic. You’d see them on drum machines quite often.
Percussion: Shakers, conga, tambourine, bongos, djembe, bells. This is mostly the large amount of world traditional percussion related sounds.
Synths: Pads, stabs, chords, leads, arp, analog, fx, plucks. Basically, the sounds are the results of synthesis from a synth through sound design.
Vocal: All the types you can imagine and think of, that aren’t synthesis related.
Effects: Noise, risers, sweeps, impact, textures, atmosphere, field recordings. In general, they don’t really have a tone/recognizable root key but they might have one.
Brass/Woodwind: Sax, trumpet, trombone, flute, harmonica. Wind based instruments, mostly not synthesis related.
Keys: piano, electric piano, wurtlizer, organ, classic, organ. Anything sounding close to a piano.
Bass: Sub, acoustic, analog, synth, wobble, saw, distorted, acid. Anything mid-low or low in frequencies. Strings: Violin, cello, orchestral, staccato.
Some family overlaps, especially in electronic music, as many of the sounds can be created with a synth in one way or another but to name the base, perceived family is usually where it all starts.
Listening Carefully: The audio engineer will first listen to the sound repeatedly to understand its characteristics. This includes identifying the pitch, timbre, duration, and envelope (attack, decay, sustain, and release phases) of the sound.
Once you have the family, you need to define it’s nature through these characteristics. These will be helpful to either recreate or modify a specific sound. Whenever you start by designing a sound, these elements are the basis of where you start.
Example: Simply zoom on the isolated sound to start with can reveal some of those details: duration and envelope are very clear.
In this example, we see this sound has a fast attack, pretty high decay and sustain but super short release (as there are no tail).
This sound also has a fast attach and a high decay, the sustain is fairly short and it seems the release is mid point. We see there is some sort of texture on the sound as there’s some noisy looking texture that stretches. This could mean that this sound was made by adding a layer to the original sound design.
Spectral Analysis: Using spectral analysis tools, the engineer can visually inspect the frequencies present in the sound. This helps in understanding the balance of fundamental frequencies and overtones.
In this example, the sound has a root key of C1 that is this huge bump in the low end area. After that bump, we see the complexity of the harmonics and overtones.
Understanding the overtones and harmonics is a strong indication of the content of the sound. It’s also telling us that this sound isn’t filtered. If it is, it might be in parallel otherwise we wouldn’t see the harmonics going up all the way there. If you don’t have a good one, I’d recommend getting the free SPAN.
Replicating the Sound
Identifying the Source: The engineer tries to determine the source of the sound. Is it a natural sound, a synthetic sound from a synthesizer, or perhaps a processed sound with effects?
This is where it gets complicated, especially if you’re new to sound design. Whenever I teach sound design, I encourage people to spend some time testing different oscillators and synthesis method. Each companies who build synths also work on having a particular sound and sometimes it’s just not possible to find out what it is. So the best attitude possible at first is to remain open and to try multiple iterations. But it won’t be possible to understand the sound if you haven’t exposed yourself to many of them. Spending a lot of time playing with various synths, emulations and checking online demos of synths can be a very essential activity to train your ears.
Using an oscilloscope is also super useful to “see” the sound if the wave form wasn’t clear enough from the file itself.
Consider foleys! This type of sound is what you see with sound artists that create the effects for movies by manipulating items in order to create a new sound. Perhaps you could be creative and use items in your kitchen to recreate the sound or even with your mouth, try to “say” or imitate the sound in order to see how it sounds like. Maybe you’ll feel silly but it can be pretty interesting in the end.
Synthesis: If the sound is synthetic, the engineer may use synthesizers to recreate it. This involves selecting the appropriate waveform (sine, square, triangle, sawtooth), setting the envelopes, and modulating the sound using LFOs (Low-Frequency Oscillators) and filters.
We saw on this blog that LFOs and envelopes are related to movement in sound so once your have worked on finding the possible sound source, the next is to hear the movement in it. This will let you know how to organize your movement settings.
One of the most useful and powerful tool you can use for modulation is Shaperbox. It has all the different tools for modulation. It has provided me a lot of insight on modulation and sound just by playing with it so it is not just useful for sound design, it is also educational.
Sampling: If the sound is natural or too complex to synthesize from scratch, the engineer might resort to sampling. This involves recording the sound, if possible, or finding a similar sound and then manipulating it to match the original.
Sometimes sampling the sound you want to replicate and play with it within a sampler can reveal details that you initially missed.
Processing the Sound
It’s rare that a sound as is gets our attention. It often is the case that it will have a color. We can process the sound by adding some effects that can twist the phase or open up the spectrum.
Effects Chain: The engineer will then use an array of effects to process the sound. Common tools include equalization (EQ) to adjust frequency balances, compression to manage dynamics, reverb and delay for space and depth, and possibly distortion or saturation for character.
Handy tools are multi-effect tools. Lifeline is one fun effect that can drastically or subtly alter the dull sound into a new one.
Layering Sounds: Often, the desired sound is a combination of several layers. The engineer might blend multiple sounds together to create a complex sound.
When it comes to layering, I like to use the arrangement side of Ableton to do it. You can also use an envelope follower to use the envelope of your desired target and apply it to the sound layers you’re working on. When layering, EQs and filters are your best assets.
Iterative Tweaking
A/B Testing: Throughout the process, the engineer will frequently compare their recreated sound to the original (A/B testing), making small adjustments to get closer to the desired outcome.
Some useful tool to understand the composition of the sound can also be an oscilloscope. Melda has one here for you for free otherwise, again in Shaperbox, you can find one which is very useful to have hands on the design.
Resampling over and over: The engineer might create “feedback loops”, where the processed sound is re-recorded into the system and processed again for more complex effects. What we mean here is not a literal feedback loop which is pretty hard on the ear but more of a resampling of a resampling into something new. This approach is a good way to hunt down variations of what you work on and go further down the rabbit hole of variations.
Final Comparison and Tweaking
After doing A/B testing for a while, you should at some point closer to the target in mind. One thing in mind as for searching for your ideal replication is to come up with something close and also be open to variations to it. Save as many presets as possible by turning multiple effects into a macro. You want to be able to recall your processing into future sounds and if you applied some processing, that is “make-up” that you can apply to other sounds of yours, which will open a new array of possibilities.
Fine-Tuning: Even once the sound seems close to the original, additional fine-tuning is often necessary to capture the nuances that make the sound unique. Sometimes that means to swap some effects (swap reverb X with another) to get subtle new outcomes. Even a musical EQ can change the identity in a little way. A lot of the best outcome is the sum of multiple tiny tweaks.
Environment Matching: The engineer also considers the environment in which the sound will be used. A sound in isolation might seem perfect but could require adjustments to fit into a mix or to match the acoustics of a particular space. Using a convolution reverb can be giving an idea what the sound could be like elsewhere.
Reverse-engineering a sound is as much an art as it is a science. Audio engineers need to have a keen ear, a deep understanding of audio synthesis and signal processing, and patience to iterate until the sound matches their goal. It’s a challenging but highly rewarding process that often leads to the creation of innovative sounds and effects.
I think making Dub Techno is one of the most requested blog posts I have been asked to do, and for years, I resisted it. I think there was some sort of shyness and perhaps, a lack of technical vocabulary on where to begin when teaching others how to make Dub Techno. But I think it’s time to take a chance and open up on all the ideas I compiled about my beloved Dub Techno direction.
This post won’t necessarily explain how to do the typical dub techno. While I’ll cover some of the most asked questions about it, I want to expand on the philosophy and aesthetic itself so you can take the best part of it and merge it into how you work.
Origins of Dub Techno
Before we get into how to make dub techno, it’s very important to me to honor the artists who were behind the genre and to talk about where the genre started. For this, there are some nice videos by Dub Monitor. There are these 2 videos that explain the origins of dub techno better than I could about how the genre started and how it developed.
Dub techno is a subgenre that emerged from the fusion of two influential musical styles: dub and techno. Dub music itself has its origins in Jamaica in the late 1960s, with pioneers like King Tubby and Lee “Scratch” Perry. Dub music is characterized by its heavy use of effects, echo, reverb, and the manipulation of existing tracks, often stripping away vocals to emphasize the rhythm and instrumental elements.
The Techno Connection: Techno, on the other hand, had its beginnings in Detroit in the early 1980s, with artists like Juan Atkins, Derrick May, and Kevin Saunderson. Techno is known for its repetitive beats, synthetic sounds, and a futuristic, often industrial, aesthetic.
The Emergence of Dub Techno: Dub techno began to take shape in the early 1990s when electronic musicians started experimenting with the fusion of dub’s spacious and echo-laden soundscapes with the rhythmic patterns and synthetic textures of techno, thus making dub techno. The result was a genre that retained the hypnotic beats of techno but incorporated the atmospheric and dub-infused elements.
Basic characteristics to consider while making dub techno: Dub techno is characterized by a few key elements:
Reverberating Soundscapes: Dub techno producers use extensive reverb and delay effects to create deep and immersive sonic environments. These effects give the music a sense of spaciousness and depth.
Minimalism: Similar to techno, dub techno often relies on minimalistic compositions with a focus on repetition. The use of minimal elements allows for a meditative and trance-inducing quality.
Subdued Rhythms: While techno can have a pounding and relentless rhythm, dub techno tends to have more subdued and laid-back beats. The rhythm is often more relaxed and groovy.
Incorporation of Dub Techniques: Dub techno incorporates dub’s signature techniques like echo, dropouts, and phase shifting to create a sense of movement and exploration within the music.
Notable Pioneers: Some of the early pioneers of dub techno include Basic Channel, a German duo consisting of Moritz von Oswald and Mark Ernestus, and their various aliases like Maurizio and Quadrant. These artists were instrumental in shaping the genre and creating its distinctive sound.
Global Influence: Dub techno’s influence quickly spread beyond Germany, with artists and labels from around the world embracing the genre. Labels like Chain Reaction and Echocord played a significant role in promoting the making of dub techno, and artists from countries like Sweden, Finland, and Japan contributed to its global appeal.
Obsessing on the “How-To” While Making Dub Techno
Over the last 25 years, I’ve come upon multiple and countless discussions online about how the genre is made. People would discuss what piece of equipment was used and be obsessed with recreating the original sound. While this is a state of mind that I totally get – because I also get obsessed about how certain sounds are made – I can’t help myself asking why would you want to redo the exact same results. In a way, it explains why the genre never died in the last decades. There are always people who keep making dub techno.
I think there are a few motivations to join the sound of dub techno. On one side I see it as a self-soothing experience and on the other, by passion, to join others who also make it.
But my take is that people are puzzled about how something that sounds so simple can actually be so mind-boggling to do.
The Main Aspects Of Making Dub Techno
I’d like to cover multiple techniques and strategies to infuse your music with the dub techno approach while also making sure we apply certain tweaks that can make your music have a similar aesthetic.
The first thing to explain is that there are 3 main categories to consider while making dub techno:
Sound Design
Modulation
Colour.
Dub techno has its own touch and sound which will be explored below.
Dub Techno sound design
One of the main characteristics of dub techno comes from the pads and stabs that are fuzzy, melancholic, and enigmatic. In itself, those pads aren’t necessarily that complex to do. I found numerous tutorials on YouTube and have 3 of the ones I prefer. I find they’re well explained and show in similar ways, how to reproduce them.
How To Make Dub Techno Chords
As you see in those tutorials, the way the synth is configured, is rather simple – it’s usually one chord that repeats, but it has specific modulation and color, as I explained earlier. Once you start experimenting with this pad, you’ll already be in business and have the basis for making dub techno.
But honestly, when I found out how to do it, I thought it would make more sense to be inspired by those techniques but to go a bit deeper into the sound design.
In my past dub albums Tones of Void, Intra, and White Raven, I basically used a bunch of synths but kept them very dark in tone (eg. lower notes around 1-3 octaves) with not too many harmonics (eg. filtered). Once you understand that any synths can do that, you won’t be limited to the classic sound of dub techno.
How to make dub techno melodies
When it comes to melody-making, there are multiple approaches. There’s the classic one note (yes, one note) from the old school dub techno (Basic Channel, Chain Reaction) and there is also a more structured approach (Pablo Bolivar, Yagya), almost pop-oriented dub techno. Both work but the harmonic nature of the melodies are often in a minor key, with the root key of D being often a popular choice.
How to make dub techno bass
While making dub techno, bass is often, also very simple, with it being than often than not a one-note thing. Simply using sine oscillators and pushing them forward in the mix will often be the aesthetic of dub.
Dub Techno synth options
As we saw in the 3 videos, dub can easily be created in any context with any soft synth. Over the years, I have tried and tested many of them. While the native plugins of Ableton can do the job, VCV has been my playground but it’s not for everyone even if it’s free and there are so many tutorials out there. Here are some of the soft synths people love.
Diva: So many tracks I hear in mastering use Diva. It has a distinct sound but in a good way. It sounds warm, and lush, and is close to some hardware options. It’s pricy but you get that sound we love.
Pigments: Pigments is versatile, open, powerful, and extremely creative. There is a huge playground here with the option of a preset store within the synth itself. You need to work a bit to get the dub sound but it sounds nice.
TAL-U-NO-LX Synth: Juno has been used over the years as a default synth for dub techno, mainly the chords. This synth option works well and is close to the real thing.
Go2: Cheap in price but with big results. Even the presets will give you some nice options to start with. I love this one.
Blue-III: Rob Papen again and this one is deep. Not for the beginner as you can easily get lost in it but the sounds you get are very impressive.
Prophet VS-V: Not many people know but it was said that the Prophet VS was what the early guys of Chain Reaction were using. When there was a VST version of it, we were all drooling. While it is very powerful and nice, it is not the easiest to program. But the sound is very impressive.
Prophet 5: This is a synth we all used for years in the early 2000s when we wanted the dub sound. It aged so well and it’s fun to use. You get tons of options for synths, pads, and stabs. Recommended and often on sale.
Orange Vocoder: This is not a synth per se, as it is of course, a vocoder but this was used by so many people as you can basically throw any sound in it and this plugin will turn it into a lush synth sound. Really powerful and a nice alternative to just synths.
Dub is a vibe and an aesthetic, not a bible. You take the aesthetic and apply it to any sound.
Once you pick your aesthetic, you can apply the concept to any synths you have.
What you need is to create and amplify your harmonics with saturation (tube and tape do great), then have a colored filter and sent to delay and reverb for cosmetics. This means that if you have any synth of yours, you can make it dirty with a saturation and then filter it. The reverb will then do the trick.
What will make a difference is to juggle with the most genres of saturation: distortion, amp and saturation itself. Using a combination of the 3 will bring really lovely colours but be careful not to overcook your sounds. Keep in mind that in mastering, it will be boosted so what sounds like a pleasant distortion can become overwhelming later on.
Some of my saturation go-tos are below.
Saturation plugins used in making dub techno
Surge XT: (FREE!) This is a collective of developers who managed to create a badass synth and free, high-quality, effects. Their Chow Tape is quite amazing but also all other distortion/saturation tools. A must-have and hey, it’s free.
RC-20: This one came in popular in the lofi hip-hop community as a de facto plugin to have. It adds lofi vibes but this is an element dub techno also has so the cross use is totally on point.
Reamp: The guys behind this are very solid and this one has a beautiful series of plugins which are all very solid. I like the colour this one has.
Saturn 2: Anything Fabfilter is a leader in its domain. Saturn is not an exception, as it is very good at what it does, which is to make anything too pretty, a bit uglier, dirtier.
PSP Saturator: PSP is one of my favorite company for their plugins. I love their EQs and compressor and this saturator does a great job on pads.
Satin: This is such a handy tool here. It is tape saturation/simulation, but also a tape delay which can create weird reverbs and wobbly signals. Once you start using it, you’ll be using it all the time.
Reverb plugins for dub techno
While Ableton’s reverbs option can do the job, I always rely on third-party VST for that part. It’s hard not to mention Valhalla plugins for this. The Supermassive is free and the Digital Reverb is sort of a perfect match for dub. If you have to pick, I would recommend experimenting with “plate” models and some use of a “hall” as well for sustained notes.
Whatever you do, to me, Dub Techno really starts with a heavy use of reverb, which has to be modulated, filtered, and distorted. Understanding how to use your reverb and combining it with a delay will ensure that you have a proper dub mood. If you pick the reverb properly, you almost could say that you have 50% of your job done. The rest are the sum of a lot of details but when you have your reverb done right, you’ll automatically feel you’re making dub.
Anyone who knows me has heard my affectionate passion for reverbs. I compiled some of my favorites for Dub Techno.
The saturation tools native to Ableton aren’t too bad but can be recognizable easily by an educated ear.
Lexicon 224: I’m a big fan of Lexicon. It has a character and tone that I love. Not sure what it is, but the grain and how it feels just does it for me.
Springs: Spring reverb is a type that makes sounds sent through it, sound liquid. This works well with percussive sounds and you’ll feel like some classic dub vibes.
Fabfilter Pro-R: This one is amazing for spaces. It is a powerful tool to shape grandiose halls and give tremendous space.
Adaptiverb: There’s different tools on that ones that makes it unique. It has a big array of presets that are tuned to a root key, which can create pads out of unusual sounds. Quite unique.
SP2016: I call this one a Cadillac of reverbs. It’s elegant, warm, very ear pleasant and very visual. I feel immersed when using it.
bx_rooms: Extremely versatile but the interface can be intimidating. It has lovely options for different room types.
Blackhole: This one is spooky, deep, powerful. It is a reverb that makes you go in space as it sounds pretty sci-fi, rich, and gigantic sometimes.
Now reverbs for dub are essential but you’ll need delays as well. You can either use long delays or short. There’s no right or wrong but the use of delays helps you take very simple sounds and create repetition, which transforms the straight-forward pattern into psychedelic equations. Delays, combined with reverb, create a thick background and will make any sound – which feel empty at first – fill with a velvety, dreamy carpet. I think for a lot of fans of the genre, it’s a quality they’re after.
Echo and Hybrid Reverb in Ableton. They can do a long run if you don’t want to break your piggy bank.
Additional plugins for making dub techno (delays, pitch modulators, etc).
Diffuse: These guys are dub lovers and this tool here is a go-to for reverb/delay as it’s an emulation of the famous Roland Space Echo which was in so many studios.
Modnetic: Same guys as above. This one is a combination of all your need in one place to turn a single, boring sound, into a dub tune.
Echorec: The guys at Pulsar are very competent at recreating hardware toys and they created a tape delay with self-oscilating, magnetic fields and all you wish for in a dirty delay.
Galaxy Tape Echo: This is UAD’s recreation of the Roland Space Echo and it is really well done.
Tal Dub-X: As the name implies, this is a station with all the options to turn a simple delay into a modulated one.
Echo Cat: Another beautiful emulation of a tape delay. But a really solid one.
PSP 42: Popularized by Richie Hawtin in the early 2000s, where he’d loop-delay sounds and pitch them up/down, the PSP42 was used abusively in all his sets for years. Rich was basically doing dub techniques in his own way.
Modulation in dub techno
If you just take any synth sounds and send it to your effect chains, you have done the first step but it won’t be complete until you make it move, react, and evolve into modulations. There is a lot to take in in this section because this is also one of the most discussed topics in my blog – I have covered it inside out already but you now know why, because Dub Techno is all about modulations. Once you dip your toe in those waters, you’ll become excited about it and apply it everywhere.
If you watched those tutorials on how they make the dub pads and chords, you’ll see that they use modulation on the filter. There is both use of an envelope and LFO to modulate the frequency of the filter but also its resonance. That’s just the tip of the iceberg to me. If there is a parameter on a plugin, I like to think that it shouldn’t remain static and have it move, even a little bit.
But of course, a lot of this can be handled by my favorite “Swiss army knife”, Shaperbox which is designed for modulation on all levels. A must-have.
When to use envelopes and LFOs when making dub techno
Well, if it’s a modulation that is reacting to an incoming signal such as when a sound comes in, I want the filter to react, then you’ll use an envelope. That kind of modulation is excellent for accentuating or attenuating sounds, creating a more organic feel to the processed sound.
If you want constant movement, LFOs are excellent for that. They just move to the tempo or not. They give the illusion that things are constantly on the go and help blur the lines of linear arrangements.
There’s one precious bundle that I love from Make Noiss that has so many little tools, perfect for modulation and midi signal processing. Not to forget my friends at Manifest Audio and their large array of max patches as well that are perfect for modulation but they also curated many racks for dub.
The 3 Amigos are here to turn a static idea into an animated figure.
Colours of Dub Techno
I know you might be confused by colour here as we discussed of saturation as a form of colour but this is the last touch. The colours here are from different sources else than saturation and also, very complementary. What I’m referring to are the effects of the chorus, phaser, flanger, tremolo, vibrato, auto-pan, harmonizer, wobbler, and also, one of the most important parts which is the hiss. Apart from that last one, all those effects are often heavily used in dub and it’s quite a nice touch to pick one or 2 on your sounds.
These guys are a lot of fun and sound pretty lovely.
Chorus, phaser, and vibrato
Chorus, phaser, and vibrato work really well with synths, pads, stabs, and chords. They give this engaging, trippy, stereo effect that quite often, makes a dull sound jump out of the mix. Keep an eye to make sure you don’t get phasing issues which would be an overuse of one of those effects. Phasing is quite common in dub and I often fix those issues in mastering. It’s better to control it when decorating your mix.
Flanger
Flanger gives this jet-sound feel to anything. It brings pfshhh sound to metallic or noisy sounds and can be quite psychedelic if used at a low level. I like it on hats and delays.
Tremolo
Tremolos are sort of a secret sauce that everyone underuses. It’s basically a slow or fast modulation of the amplitude of a sound. It is a superb tool for creating 3D feel where you feel sounds go away from you and come back. It turns anything linear into a lively, feeling motion. At a faster speed, it can even be used as a swing/velocity for percussion. Combine it with an auto-pan and you have head spinning spaced out moments.
The hiss part is quite important as well. The noise floor is something deep in the DNA of dub. There are multiple noise makers. You can dig the internet for noise sources, recordings or noise-making tools (RC-20). Satin has a nice hiss that you can use as well.
Conclusion
Making dub techno should be a playground of experimentation. It’s a genre that I approach with a very open mind and so do many other fans as well. While often people feel like they’re just repeating the clichés and perhaps nothing new comes out of it, then I’d say, dig deeper. There are some gems from people who push the boundaries of the genre.
https://audioservices.studio/wp-content/uploads/2023/10/dub.jpeg10801080pheekhttps://audioservices.studio/wp-content/uploads/2022/07/logo-menu.jpgpheek2023-10-30 23:31:282023-11-03 15:53:23Pheek’s Guide To Making Dub Techno
I don’t know about you but when you’re passionate about music, it’s both a blessing and a curse. In one way, it occupies a lot of space mentally and can become a bit obsessive, while it also creates this need to connect with others about it (so you know you’re not crazy). If I look at how things are at the moment, to connect and meet other musicians in the real world, we face limitations on where you can come across them. Perhaps you can meet them in a café, or a record store, but it’s not a sure thing. Realistically speaking, you’ll depend on clubs and festivals to have most music-oriented discussions.
But let’s be real here, the options are limited. Raves and clubs are fun but they’re also recess time where having a chat might be distorted by the loud music, noisy atmosphere, and perhaps distorted by mind-altering substances.
There was a time where I had the chance to have access to a rich community in Montreal, way before social media, where we would hang out after events (not after-parties) to make a meal and talk. We would do studio sessions, collaborate, and share tips. Nowadays, it’s still possible and while social media can give you access to anyone, it won’t assure you that you’ll be able to connect properly afterwards.
The idea of making retreats came to a friend named Fred and I, years ago, where we wanted to leave the city with friends and do a weekend of intense music immersion. We did 2 events and they were successful. We had to stop because of the pandemic but since I moved to the countryside, it became clear to me that I had to continue doing them, but in my home. The idea was to give access to my house, have people stay for a weekend, give workshops, share, discover friends’ music, and see where that leads us to.
I learned a lot in the last two retreats I did and I’d like to share some insights but also, some tips if you want to organize one with your friends.
Lesson I learnt #1: Being in the same place as other musicians for a moment opens up music options and leads you to be curious.
Why make a music producer’s retreat?
There are multiple reasons why one would want to make one. The first is to escape your routine and immerse yourself in a connection with your music, allowing you to start projects and/or finish them. I would say that people who come to the retreat will mostly be motivated to be in a space where others work on music. It’s not alien to say that if you’re surrounded by other people making music, it gives you an inner boost to do the same.
Collaborating and discovering music are also other reasons to throw a retreat.
But whatever you choose to do, I remind participants that there is no right or wrong way to do it. There’s also the option to not do much else than just being around people. However, if you use your time, it will have an impact later on.
Lesson I learnt #2: The reason why I do retreats is to connect with people who have the same intentions as I do, which is sharing passion.
The Loneliness of the Musician
It’s not new, but being alone in the studio is often a hard situation. There’s something frustrating about discovering new ideas but having no one around to hear it or validate it. Modern electronic musicians often go towards that genre because they can be a one-man band as you can get to results quickly but this means that success, or failures, will also be lived alone. Having fellow friends and a community is important to go far in the long run as your network will introduce you to new ideas and opportunities, and spending time in a place over a weekend, sharing fun moments, food, and discussions is a great way to build a community.
Lesson I learnt #3: My writer’s block and tendency to fall into a rabbit hole go away during a retreat.
Technical validation and diversity
Being around other musicians brings the opportunity to see how they work, what tools they use, and which plugins solve certain issues. It’s also a moment where gear can be shared, and you can see how each person handles it, giving it a new perspective.
Ironically, in the last years, I’ve always seen some producers being very secretive to how they work and the gear they use. I find that silly.
No one is the beholder of new techniques and there is nothing done that isn’t already known. Pretty much anything and everything is covered online, either in a blog, forum, or simply on YouTube. Holding on to how you work, in my opinion, reveals a good dose of anxiety and insecurity. There is this explanation that keeping secrets to keep your mysterious image is a thing, to which I say that it just takes a few audio engineers to reverse the knowledge. The only thing that no one can take away from you is your soul, your identity. Tools and techniques are simply there for that part of yourself to express itself. The more you open up to others, share what you know, and create dialogs, you’ll be rewarded by meeting like-minded people who will consolidate what you know with ideas you didn’t think about… because you were self-centered.
That said, people around me during a retreat are always a bit surprised and happy to find out that I have no secrets, and the only thing I want is to see others succeed. The teaching mindset goes beyond immediate success; I want to plant seeds in people’s minds to see what will emerge later. There have been so many times when people that I have coached have come back to me later on with ideas that inspired me while I struggled with writer’s block.
Lesson I learnt #4: Explaining concepts to others help me understand what I do.
The Impact on Creativity
One thing I noticed with people attending is how a sense of flow emerges by the last day. Flow is a mental state where people get into a zone where they create freely and where everything falls in place; where technical limitations seem to disappear and of course, lots of fun happens.
This flow state seems like the ideal way to create. While a continuous flow state may be too good to be true, if we can reach that state once in a while, it is, to me, one of the real goals of the retreat. Because once you experience that state and how you got there, you know you can bring back with you, this way of being as a musician.
Offering workshops is then a gentle push to unlock frustrations. I make sure these workshops are aligned with the technical level of the participants where I can offer tips on what they struggle with.
While we often search for big impacts to feel we have changed as an artist, I notice that the sum of many little tweaks provides more long-lasting results.
Lesson I learnt 5: Ironically, most of us make music to connect with others while we don’t organize enough community related events. Once reunited, goals of finishing songs or other related validation tasks become more than secondary.
Where to organize a music producer’s retreat
Any location could technically work to host a music producer’s retreat, but I would stress the importance of it being at least 1 hour away from home and ideally, in the countryside. There are many benefits from being able to take a break, go outside for a walk, and step back from anything that is too human-influenced (roads, concrete, asphalt, buildings, etc). In my case, I’m in the countryside with lots of land where we can easily walk for an hour before you get to see most of it. It’s like a big park, more or less, but wild and open. Sure, you can record sounds, but one of the important parts is to be able to breathe fresh air.
One option is to rent a cabin with friends. I would encourage you to have people who are in the same mindset as you. You can then have a space for music making and another for eating, and relaxing.
Space is important and having a place where you feel comfortable and inspired is crucial for the ambience.
Lesson I learnt 6: The ideal place is one you know. If you can find a place you’ve been and love, it will be successful.
Intention and commitment while at a music producer’s retreat
It’s easy to get this part wrong but it is probably the most important. One thing we clarify with this retreat is that it’s not a space and time to party. This is something accessible in other ways and the retreat is a commitment to get things done. Therefore, we have this no alcohol policy as well as a curfew at a certain time. Not only did I have no resistance from attendees, but everyone was extremely happy we did this once the weekend was over.
At the opening of the weekend, we had a meal where we all discussed our needs, our goals, and things we would like to do. As everyone talked, I noticed that there was some shyness at first but as we had multiple talks over the meals, by the end of the weekend, people were more and more open to sharing insights, struggles, or exciting finds. We all have the same difficulties in the end, which is why if one opens up, others will relate and follow suit.
Lesson I learnt 7: Having a moderator, leader or experienced musician is the best way to face difficulty while also making sure you can hold space for intentions to remain real.
Unexpected wins
To finish this post, I have learned that working on a song over the weekend isn’t the most ideal approach, I believe. I think there is much more to gain by trying to organize all your songs, macros, and presets and update all of those sleeping tunes in your backup drive. Being curious, trying new techniques, and facing some parts of music-making that are challenging are some of the best things to be in a context where you are supported.
Topics that were very useful and that participants enjoyed:
Techniques to start new songs and create unlimited hooks.
Sound design and reverse engineering ideas.
How to organize an idea into effective arrangements.
Mixing a song in 20 minutes.
Lesson I learnt 8: Always accept that there is something you might know enough or properly. Remaining open is a way to always grow.
Testimonials from Participants: Let’s hear directly from those who’ve attended:
Marino: “I had an unforgettable weekend at Pheek’s retreat. It was more than just music; I learned a lot of things, met wonderful people from different backgrounds, all of whom share the same passion as me – music. Pheek welcomed us with love and kindness in an amazing landscape, always there to help when we faced creative roadblocks. I recommend it to anyone wishing to develop their skills while leaving their comfort zone.”
North Motion: “My experience was simply fantastic. I had the opportunity to meet many artists who, like me, are passionate about electronic music. Beyond the skills I learned, I formed great friendships. Pheek’s retreat offers exceptional facilities in a breathtaking location, and J-P’s knowledge and hospitality are unmatched. I give it a perfect 10/10.”
https://audioservices.studio/wp-content/uploads/2023/10/retreat.jpeg10801080pheekhttps://audioservices.studio/wp-content/uploads/2022/07/logo-menu.jpgpheek2023-10-24 18:33:372023-11-08 17:18:55Lessons I Learnt From Hosting A Music Producer’s Retreat
Every musician, regardless of their experience level, has felt the excitement of sudden inspiration. It’s an ethereal sensation, demanding immediate translation into audible reality. Yet, how often do we find ourselves navigating from scratch through our Digital Audio Workstation (DAW), struggling to set up the basics when all we want to do is create?
Here, the power of templates in DAWs like Ableton Live becomes apparent.
If you haven’t started using templates, I would like to encourage you to do adopt them into your routine. At first, this might be difficult to master, but with some practice, this routine will pay off.
So, what’s a template (if you aren’t familiar)?
It is a project with or without material, that can be used as a starting point. Instead of starting with a new project, which would be 0% in a scale of work out of 100%, a template would be more like 10% or even 40% towards the completed piece of music. This may be confusing because 40% done usually means having a lot of material in a project. However, when everything is organized properly, you are way farther ahead than you imagine.
Creating an Ableton template
To create a template, all you have to do is open a project, go to the File Menu, and select “Save As Template.”
This will allow you to have your finished project as a starting point to start new projects, vastly speeding up the process and giving you a consistent sound.
Two ways to organize an Ableton template:
Two ways I usually organize a template is to either create a project where I organize in advance everything I need like channels with plugins and settings already set to what I usually do, macros, return channels, and master bus ready. Once this is all prepared, I save it as a template.
The other way is to take a successful project, remove all clips, audio, and automation, and then save it as a template.
However, this isn’t an exact science. It’s also fun to save projects with automations and or other weird settings and save it as a template, as inspired by Matthew Herbert Manifesto.
Starting Fresh vs. Jump-Starting with Ableton Templates
There are pros and cons when staring fresh vs jump starting a project with template.
Many musicians will start fresh every time, perhaps because they don’t know about the idea of using templates or perhaps because they just know that way. Starting fresh offers valuable practice, fostering familiarity with their DAW tools, and enabling a tailored approach to every project. However, there’s a flip side: it’s time-consuming.
Imagine being a painter and having to craft your brush every time you felt the urge to paint. While understanding your tools is essential, it’s equally crucial to be ready when inspiration strikes.
The solution? Find a balance.
By all means, start fresh when the situation permits. But also arm yourself with templates to expedite the process when needed.
Template Idea: Create a project where you add multiple midi channels with each armed with your favourite synths. For each synth, hit cmd+G to turn it into a macro (Group) and map your favourite synth parameters to each knobs. This will ease hands-on control or hit randomize for some new inspiration.
TIP: I would encourage you to grab this selection of free modulators named Mod Squad 2. This has so many useful, essential tools to add to your template.
Ableton Templates: More Than Just a Shortcut
At first glance, a template might seem like just a preset, a way to save time. But there’s no problem with presets and trust me, it is not cheating!
While templates are certainly is a time-saver, it’s actually much more. Think of a template as a supporting musician friend, always ready to jam when you are. With templates, you can:
Create Macros: Setting up macros that you frequently use ensures you have immediate access to your preferred settings and controls.
Organize Routing: Advanced routing configurations, once set, can be easily replicated across projects.
Form Groups: Grouping tracks or instruments that often go together saves time and offers a clearer view of your project.
Pre-set Effects and Plugins: Having your go-to effects and plugins already loaded lets you dive straight into tweaking sounds.
Ableton Template Idea: Create your own mixing template by creating 5 groups that will host your project’s channels. You can then drag and drop them in each groups. Those can have multiple plugins of your choice. You can even create a mixing template with multiple channel presets and then you can drag and drop them from your browser.
The Art of Crafting Abelton Templates
It’s not just about having templates but about having effective templates. An ideal template should inspire creativity, not box it. Here’s how:
Diverse Templates for Diverse Needs: Instead of a one-size-fits-all approach, consider multiple templates for various purposes: mixing, sound design, production, and perhaps a comprehensive one, like my “mothership” concept.
Incorporate Modulation Elements: Add pre-configured modulation tools that respond and interact with what you introduce. Tools like envelope followers or audio scrubbers, such as the ones Manifest Audio offers, can automatically detect and modulate sounds, adding depth and dynamics to your music.
Think Support, Not Supplant: A template should never feel like it’s directing your music. Instead, it should feel like a base on which you can build. The best templates enhance creativity, not limit it.
When Ableton Templates Truly Shine
The true test of a template’s efficacy is in its ability to enhance creativity. If using a template feels like you’ve brought an extra pair of hands into your studio, aiding and elevating your music, then you’ve hit the sweet spot. It’s not about replacing the organic process of music creation but about having tools that streamline it.
In the world of digital music production, where the landscape is vast and the tools are many, templates emerge as a beacon of efficiency. They are not just about speeding up the process but about enhancing the very essence of creativity. They ensure that when inspiration strikes, you’re not just ready but equipped to let your ideas soar. Embrace the power of templates, and watch as your music production process transforms from mere creation to pure artistry.
https://audioservices.studio/wp-content/uploads/2023/10/templates.jpeg10801080pheekhttps://audioservices.studio/wp-content/uploads/2022/07/logo-menu.jpgpheek2023-10-11 17:25:422023-11-21 17:37:29Turning Efficiency Into Art With Ableton Templates
It’s no secret that I’m an engineer for mostly electronic musicians but whoever comes to me for mastering, one of my main task is to make sure their music sound solid in club/festival context. In the last years, it’s been impressive how bedroom producers, not just pros, will have their music played in a context where the music is loud. This is due to the rising number of people who turns themselves into DJs and then this opens door to play in a local pub, party or club.
But it’s the same for producers. There’s been more and more people making music and for a lot of them, their hopes is to be played by DJs, not just in a podcast, but in moment where it can be heard by more than a handful of people. That becomes a test of the quality of their production and mixing.
But it can also be falling flat if the track isn’t following some basic standards.
I’ve been asked to go through a checklist of points that can help anyone to avoid feeling frustrated with their music.
1. Tone: The Foundation of Sound
When preparing music for clubs, tone is paramount. Many producers overemphasize certain frequencies because it sounds good at home, leading to mixes that are either too shrill or too muddy. Having the wrong music references, not understanding that all clubs are different can lead artists to pick some bad decisions.
Aim for a more balanced, flatter tone.
While there’s room for experimentation, avoid excessive highs, which can sound harsh, and overly pronounced lows, which can leave your track sounding hollow or muddy. A balanced tone ensures your track will work across various sound systems and club environments. This would apply to home listening as well.
TIP: I love to put an EQ on the master bus to see the tone of my track. If it tends to have one section higher than the rest, that is not always a good sign. If there are some peaks over 10k, this can be pretty harsh on a big sound system. If your low end is louder than your mids, by more than 4dB, you can expect your song to lack presence in a club. The melodies will sound behind.
2. Loudness and Density: Power Without Overpowering
Loudness is undeniably crucial in a club setting, but it’s a balance as well as a double-edge sword. While ensuring your track has punch, remember DJs need some wiggle room for gain staging during transitions. The goal isn’t just about raw volume, but rather the density within specific frequency areas, especially the low end. While a track that’s slightly quieter isn’t an issue, it should have the right energy and weight in crucial frequency areas.
DJs should know how to do gain staging. When they complain the track isn’t loud enough because they had to turn the gain up, I’d suspect that they might know that this is absolutely normal to have differences. Tracks that aren’t as loud will have more dynamic range, giving the track more details, punch and ultimately, life.
To reach a certain loudness level, the mix will need gain staging done right and then, in mastering, compress and limit more. Loud music means sounds bleed into one another.
TIP: After years and years of mastering, playing and attending, I find that -10LUFS is sort of the ultimate sweet spot. Some will argue that music should be louder but I believe not.
3. Mono Signal: The Unsung Hero in Club Tracks
While stereo spread adds richness and dimension to tracks on headphones or home systems, the mono signal is a powerhouse in a club setting. Songs that rely too heavily on stereo spread without considering their mono compatibility often lose potency on club systems. Prioritize the main elements in your mix to be mono-compatible, ensuring they drive the track without muddying the sound.
Sounds that should have some presence in the mono signal: Kick, Bass, clap/snare and melodic content between 200 and 800hz.
TIP: Create a return channel, add a utility plugin set to mono and then send your different sounds towards that channel. This will solidify your mono signal as you’re either doubling or enhancing your sounds’ presence.
4. Resonances: Subtle Saboteurs
High resonances can wreak havoc when played on large sound systems, turning subtle tones into screeching sounds. I often say that as a mastering engineer, I hunt those. Resonances can come from various sources such as resonance on a filter or the use of sine waves. I won’t get into details about what they are exactly but they’re sort of the type of sound, just like distortion, that sort of sound amazing at the right dose.
It’s vital to control and tame these, ensuring that your track remains pleasant and consistent across various volume levels and systems.
I’d add in parallel to this, as a 4-B, transients. Those are also to be careful with.
TIP: Using an EQ, you might want to tame the resonances but if you can’t spot them because this concept is not easy for you, don’t hesitate to start by putting in solo each sound and find the ones that have a “eeee” sound in it (it can be pitched high or low). We often find resonances into synths, because they often have either a sine wave oscillator or a filter with resonance.
5. Clarity: Space is the Place
Every sound in your mix should have its designated space, both in the stereo field and in the frequency spectrum. Overcrowding with prolonged decays or excessive reverb leads to a soupy, unclear mix. By ensuring that each element has room to breathe, your track will retain punch, definition, and that coveted dance floor energy.
TIP: Gating is your best ally in mixing. You can remove tails and reduce the decay of sounds with it which helps much.
6. Phasing: The Silent Song-Wrecker
Phasing issues can lead to essential elements of your track disappearing, especially during mono playback. This phenomenon is exacerbated by phase-inducing effects like flangers, phasers, chorus, delays, and reverbs. By understanding and addressing phasing, you ensure that your song’s core elements remain consistent across all playback scenarios.
A good way to find out if one sound is phasing in your project is by using a Correlation Meter such as SPAN (it’s free!). You’ll see this moving meter and basically, you want it to stay from 0 to +1. If it goes into negative, you’ll have phasing. Another way is to put a mono utility on your sound to see if it loses a lot of power or disappear completely.
TIP: How to fix is a bit tricky but you can start by lowering the stereo width, remove effects or make them drier.
7. Low-End Clarity: Making Your Bass Dance
The relationship between your kick and bass is akin to a dance. These elements should groove seamlessly, complementing rather than conflicting with each other. Using techniques like gating or side-chaining can ensure that these foundational elements coexist harmoniously, driving the rhythm without muddying the mix.
In the recent years, I have been enjoying shorter kicks beyond long powerful ones. There’s too many issues with using long kicks and in a club, they eat up too much space to be interesting enough. Short kicks support well a song and leaves you plenty of space for lower notes of a bass.
Rumbles, depending of the genre you’re making, might be a problem. You might have a DC Offset as well so I would highly recommend cutting (highpassing) at 20hz to block the garbage down there. Most clubs but at 30hz anyway but cutting at 20 is a good safeguard and will also provide some headroom for your mix.
Align the phase of your kick and bass! Simple trick that does a good little difference in some cases.
TIP: For people that heavily rely on side-chaining for making both work, I always say that arrangements are the root of mixing. In other words, if you program/design your kick and bass properly at the beginning, then it will be cleaner and you won’t have to fix it with gizmos.
Club environments pose unique challenges for electronic music producers. By taking into account these seven pivotal factors, you can ensure your tracks not only sound great in the studio but also shine on the dance floor. Remember, a club-ready track is a synergy of balance, clarity, and energy. Aim for these, and you’ll have club-goers moving to your beat in no time.
In the vast world of music, arpeggios have served as an integral element in composition, bridging the gap between harmony and melody. By understanding its roots, one can appreciate its profound effect on modern electronic music.
Origins of Arpeggios
An arpeggio, derived from the Italian word “arpeggiare,” which means “to play on a harp,” refers to the playing of individual notes of a chord consecutively rather than simultaneously. Historically, arpeggios have roots in classical music. Classical guitarists, pianists, and harpists frequently employ them to express chord progressions melodically.
Functionally, an arpeggio can convey the essence of a chord while providing movement. It serves as a bridge between harmony, where notes are sounded simultaneously, and melody, where notes are played sequentially. This bridging effect imparts a richer texture to compositions, allowing for a smoother transition between harmonic and melodic sections.
Arpeggios in Electronic Music
With the evolution of electronic music, arpeggios found a new platform for exploration. When synths started to be commercialized, they more than often included an internal arpeggiator. Even smaller options like Casios had some simple one. Synthesizers, with their ability to shape and modulate sound, provided the perfect tool to push the boundaries of traditional arpeggios.
Synthesizers and Arpeggiation: Many synthesizers, both hardware and software-based, come with built-in arpeggiators. These tools automatically create arpeggios based on the notes played and parameters set by the user. Parameters like direction (up, down, up-down), range (number of octaves covered), and pattern (the rhythmic sequence of the arpeggio) can be adjusted to achieve specific tonal effects.
Arpeggio Plug-ins: Beyond built-in synthesizer capabilities, there are standalone software plug-ins dedicated to advanced arpeggiation. These tools offer extended control over how the arpeggio behaves and can be integrated into digital audio workstations (DAWs). They often come with pattern libraries, giving producers a starting point which can be tweaked further.
Sequencing Arpeggios: Sequencers, commonly found in drum machines and DAWs, allow for the programming of notes in a specific sequence. This technique offers a manual approach to arpeggiation, allowing for unique and intricate patterns beyond the capabilities of traditional arpeggiators.
For many people, when musicians would first test a synth, they would at one point test the arpeggiator. In the 70’s until the 90’s, electronic music had more than often, some arpeggiation used. It could be for the bass or for the main hook.
The Impact on Electronic Music
Arpeggios in electronic music often lend rhythmic drive and melodic structure, especially in genres like trance, techno, and synthwave. The repetitive nature of these genres marries well with the cyclical patterns of arpeggios.
Additionally, with the sound-shaping capabilities of synthesizers, the tonal quality of arpeggios can be manipulated. By modulating aspects like filter cutoffs, resonance, and envelope parameters in real-time, arpeggios can evolve and transform throughout a track, adding dynamic interest.
A fascinating aspect of electronic music lies in the observation that many of its melodies are constructed from sequences which can be effectively replicated using an arpeggiator. This isn’t mere coincidence. Electronic music, with its repetitive structures and emphasis on timbral evolution, often favors linear, cyclical melodic patterns. An arpeggiator excels in this realm, offering a systematic approach to crafting these melodies.
Consider classic electronic tracks: many feature melodies that iterate over a set pattern of notes, evolving more through sound manipulation (like filter sweeps or resonance changes) than through note variation. This approach provides a consistent foundation upon which the rest of the track can evolve, allowing other elements, like rhythm and harmony, to play more dynamic roles.
Parallel and Modulated Patterns
1. Parallel Arpeggios:
Method: Start by setting two arpeggiators with the same note input but adjust one to operate in a higher octave range than the other. You’ll achieve a harmonized melodic pattern where both arpeggios play in tandem, producing a richer sound.
Experiment: Tweak the rhythm or gate length of one arpeggiator slightly. This introduces a phasing effect, where the two arpeggios drift in and out of sync, creating rhythmic tension and release. Another fun experiment to try would be to create a macro from an arpeggio and then you have a a tool that is also parallel. Make sure your receiving instrument is polyphonic because there will be many notes. I’d recommend trying the arpeggios on different speeds with a pitch/octave modifier so they play notes from different octaves.
2. Side-by-Side Arpeggios Modulating Each Other:
Method: Use one arpeggiator’s output to modulate parameters of a second arpeggiator or its associated synthesizer. For example, you can set the velocity output of Arpeggiator A to control the filter cutoff or resonance of Arpeggiator B’s synth.
Experiment: Introduce a slow LFO (Low-Frequency Oscillator) to modulate a parameter on Arpeggiator A (like its rate/speed). This will cause the modulations impacting Arpeggiator B to change over time, introducing evolving dynamics to the piece. I like to have the first Arp to be slow and random and the second one, faster, higher notes.
Power user super combo
TIP: Arpeggiators become super powerful if you use an Expression Control tool so that you can modulate the gate, steps, rate and distance. This will spit out hook ideas within a few minutes of jamming.
Plugins
There are multiple plugins that can be good alternatives to your DAW’s regular arpeggio. It’s always good to have 3rd party plugins so you can step out of the DAW’s generic sound.
This is definitely inspired by the various modular options existing. They’re all regrouped under one plugin that does a bit what many different free tools do like Snake, but of course, the played root note will influence the sequence, which something like Snake doesn’t. Stepic is often used online in Ambient making tutorials. It is great for creating generative melodies and psychedelic melodies.
Everything the guys of Xfer do, is always solid and well thought out. This one doesn’t disappoint. With so many presets existing out there, you can also randomize and quickly tweak your own sequence.
AlexKid has done multiple tools for Ableton Live and each of them found their way into so many people’s workflow, either to start an idea or to have a quick placeholder. This one is similar to Stepic in a way, but just a different workflow. The UI is cleaner and easier to read than Stepic, making it a quick tool for adding decorative melodies or simple basslines. The randomizer has nice options for controlling its results.
Conclusion
From their origins in classical expressions to their modern applications in electronic music, arpeggios have remained a compelling tool for musicians. Through synthesizers and plugins, electronic music producers have a vast palette at their fingertips to experiment and innovate. As technology advances, it’s certain that the use and evolution of arpeggios in electronic landscapes will continue to captivate and inspire.
In an age where technology has simplified communication, it’s ironic how it has also, sometimes, made things more complicated. Take music promotion for instance. A once curated art of handpicking who you shared your work with has been lost in the deluge of the digital age. And nowhere is this more evident than in the world of email music promotions.
For a small- to medium-sized artist like me, my inbox is perpetually inundated with promotional tracks. In fact, I’ve had to set up an email rule to funnel these promos into a separate folder just to keep my primary inbox manageable. To give you a perspective, this folder recently crossed the 13,000 mark. It’s overwhelming and, frankly, dysfunctional.
Now, let’s put this into context. I’m not even a significant player in the music industry. Major artists are likely receiving 3-5 times the number of promos I get. The question then becomes, how effective is this method when even a smaller artist can’t keep up?
One of the most significant issues is the scattergun approach. I’m flooded with tracks from genres and artists that are miles apart from my musical tastes. It’s as though having access to my email address has become an open invitation to send anything and everything my way. This mass email system means that around 95% of the music I receive isn’t even relevant to me. And this poses a unique problem, not just for me, but for musicians as well. The handful of tracks that might genuinely intrigue me are lost in the noise.
This situation eerily mirrors another challenge – shopping for music. For every gem you find, you’re likely sifting through a mountain of tunes that aren’t quite your style. With email promos, the haystack has just grown exponentially, making the needle even harder to find.
Ironically, in this vast digital world, in-person connections seem to be the most efficient form of music promotion. When you meet artists face-to-face, there’s a directness and specificity to the exchange. But the reality is, these opportunities are limited.
Strangely, it’s hard to admit but Spotify has been my most reliable tool for discovering and curating music I listen to. I usually find music there, then continue my searches on Bandcamp and Soundcloud. But as much as I don’t like the ethics of Spotify, if there’s one thing they do right, it’s keeping me in the loop with music I will mostly like.
Where does this leave us?
Firstly, artists need to rethink the blind, bulk email strategy. The objective shouldn’t be about how many people you can reach, but rather about reaching the right people.
Secondly, as recipients, maybe we need platforms or systems to better communicate our music preferences. Labels have traditionally played this role to some extent, but there’s room for innovation.
Lastly, while personal connections remain invaluable, the digital age demands better solutions. We need platforms where specificity and personalization become paramount, ensuring that every promo an artist sends is a potential hit, not just another email in an overflowing folder.
But I also have a list of websites that can provide help with promotion.
SubmitHub: A platform where artists and labels can submit their music to bloggers, playlist curators, YouTubers, and even record labels. It’s an excellent way to get feedback and potentially get your music featured.
RepostExchange: This platform allows SoundCloud users to trade reposts. It’s a way to expose your music to a new audience by leveraging other artists’ followers.
DistroKid: While primarily a music distribution platform, DistroKid also offers promotional tools like ‘HyperFollow’ which helps artists to maximize their pre-save counts on platforms like Spotify.
PlaylistPush: Designed for artists to pitch their music to Spotify, Apple Music, and Deezer playlist curators.
Hypeddit: Helps you grow your fanbase on platforms like SoundCloud, YouTube, Mixcloud, and more by trading likes, reposts, comments, and follows.
Feature.fm: It lets artists get their music into streaming service playlists, and they also provide tools for pre-saves and other promotional campaigns.
Groover: Similar to SubmitHub, Groover allows artists to send their tracks to a wide range of bloggers, record labels, radio stations, and playlist curators.
Musosoup: Artists submit their tracks, and curators (bloggers, playlisters, etc.) can browse and select tracks they’re interested in featuring.
Promo.ly: A music promo delivery system for artists, labels, and PR agencies to share their music to industry influencers.
Echio: This is a place where you can follow artists, get workshops, pay for some feedback and more.
In conclusion, while the digital age has revolutionized music sharing, it’s also important to recognize its pitfalls. As we move forward, it’s crucial to find harmony between the old and new, ensuring that quality music doesn’t get lost in the digital shuffle.
https://audioservices.studio/wp-content/uploads/2023/09/emails.jpeg10801080pheekhttps://audioservices.studio/wp-content/uploads/2022/07/logo-menu.jpgpheek2023-09-19 14:47:282023-09-19 14:47:28The Dysfunction of Email Promos in Music
In the intricate tapestry of music production, there’s an underlying thread that has been silently weaving its way through for years: the phenomenon of the echo chamber. Just as politics is sometimes ensnared in these chambers, the world of music production isn’t immune. While they might offer the comforting illusion of unity and harmony, these echo chambers can become a pitfall for creativity, authenticity, and growth.
Moreover, social media platforms and music streaming services with their algorithms can create a reinforcing feedback loop. An artist might gain popularity for a particular sound, and suddenly, that becomes the benchmark. New artists aiming for success tend to emulate that, leading to a saturation of similar-sounding tracks. While the initial artist might have been revolutionary, the subsequent floodwaters can drown the innovation.
In the political world, echo chambers arise when individuals surround themselves only with voices and opinions that align with theirs. In music, a similar phenomenon happens. If artists and producers only expose themselves to a narrow band of influences, it limits their growth and stifles innovation. In both spheres, these echo chambers can lead to a stagnation of ideas and a resistance to change or evolution.
For artists to grow, it’s essential to break out of their comfort zones. Collaborating with people from different genres, attending workshops that don’t directly align with their musical interests, or even actively seeking feedback from outsiders can be invaluable. A hip-hop producer might gain a fresh perspective by working with a classical musician, or a techno artist might find inspiration from folk melodies. It’s these intersections of diverse ideas that lead to the most groundbreaking music.
There’s been a huge fuss started by Guti recently about how many fake sets made by some artists have been going on for a while and to me, this is a pure side effect from an echo chamber. Artists encouraged by the industry to go with a pre-recorded show who anyone who would confront, would be pushed out of the way.
I believe the onus is on both industry veterans and newbies. Veterans should mentor and guide newcomers, encouraging them to learn the craft properly and not rely solely on tools. New artists should be hungry for knowledge, pushing boundaries, and not just following the beaten path.
Mr. Bill Masterclass @ KMGLife Inc. Youtube Video
This week I was watching an older video from Mr. Bill, who is a solid Youtuber with creative content and I noticed something about him that sort of irritated me. Over his video, he was explaining all kind of approaches about how to be loud and also, be cool. While I gave up on the whole debate of the loud is cool topic, i get annoyed at one thing precisely which is when someone spend time showing that his sound is cooler than my sound.
I understand that if you want to sound like him and since he is very confident that he is cool, then it makes sense but in a world where trends flashes so quickly, I believe that Mr. Bill is probably looking at this years old video and probably think that his newer sounds are cooler. Don’t get me wrong, I’m not trying to put him down because I love his sounds and techniques, but not to the point of putting other genres or sound design down. I want to remain far from a competitive mind and his view could encourage that mindset.
If you’ve been reading this blog, you’ll know that I prefer having a much moderate approach to understanding sound. I prefer remaining open.
Calling some sounds cool or others not, creates duality. And that creates echo chambers, hierarchy, ego boosting. So I prefer nondualism (advaita).
At its core, non-duality emphasizes the interconnectedness and oneness of everything. Translated to the realm of music, it suggests that genres, styles, and techniques are all part of a vast, interconnected web of musical expression. Rather than pigeonholing oneself into a single genre or style, a non-dualistic approach encourages exploration across musical landscapes. By seeing all music as interconnected, producers can cross-pollinate ideas, techniques, and inspirations from diverse genres, leading to innovative and fresh sounds.
A significant barrier to innovation and growth in music can be one’s ego. An inflated ego might make one resistant to feedback, reluctant to explore unfamiliar genres, or even dismissive of new techniques. A philosophy that promotes selflessness can help dissolve the ego, allowing the artist to be more receptive to external influences, feedback, and collaborations.
1. The Allure of the Echo Chamber
On the surface, there’s undeniable allure in surrounding oneself with like-minded enthusiasts, especially when one embarks on the journey of music production. The initial phase is fraught with uncertainties and questions. In these moments, having a community that echoes your tastes and preferences is undeniably comforting. The conversations flow smoothly, validation is often just a nod away, and a bubble of shared enthusiasm and aspiration forms.
However, beneath this surface of congeniality, a subtle drawback emerges. When we insulate ourselves within a particular genre or style, the nuances of that very style start to become our universe. And while it’s essential to understand and master a niche, the danger lies in becoming so immersed that we miss the symphony of diverse musical expressions outside.
2. The Downside of Self-Referencing
As a music label owner and sound engineer with over two decades of experience, I’ve observed an interesting pattern. Artists and producers, particularly when starting, tend to lean heavily on references that mirror their own aspirations. This is entirely natural. However, when these references are flawed or limited in scope, the resultant art can lack the depth and polish it might otherwise achieve.
A case in point: I recently mastered tracks for a techno artist. His reference tracks, though popular, had many inherent issues. This artist, having always been in his echo chamber, hadn’t realized the potential flaws. But once I introduced him to more diverse, quality references, it was like a revelation. Suddenly, he could perceive the richness and depth his tracks could achieve, and the difference was palpable when played in a club with a top-notch sound system.
3. Breaking Free with New Tools
The world of music production is ever-evolving, with tools like Izotope’s recently released Ozone version offering fresh perspectives. Such innovations are a boon, not just for their technical prowess but for their potential to act as doorways out of these echo chambers. By leveraging the new features and capabilities they bring, producers can explore uncharted territories, challenging their ingrained notions and biases.
It was interesting how tools like Ozone (Version 11 came out this week and it’s really well done – I don’t even understand how they keep improving it!), while designed to improve the mixing and mastering process, can also inadvertently perpetuate these echo chambers. In the hands of a novice, presets and popular mastering chains can quickly become a crutch. Instead of learning the core principles of mixing and mastering, many young producers just slap on a preset, thinking that’s the ‘industry standard’. These tools, if used without proper understanding, can contribute to a homogenized sound in the industry.
There’s no denying that the familiarity of an echo chamber offers solace. But for an art form as dynamic and ever-changing as music, these chambers can sometimes stifle the very creativity they aim to foster. It’s imperative to recognize when we’re in one and muster the courage to step out. Only then can we truly hear the boundless melodies that the world of music has to offer.
https://audioservices.studio/wp-content/uploads/2023/09/echochamber.jpeg10801080pheekhttps://audioservices.studio/wp-content/uploads/2022/07/logo-menu.jpgpheek2023-09-11 11:15:232023-09-11 11:15:23Music Related Echo Chambers
The music industry, and more specifically the electronic music scene, has always thrived on the synergy between its creators and listeners. As an electronic music producer myself, I’ve come to realize that one’s journey to success often lies in understanding the pulse of the community. But what does that mean for the artists who feel disconnected, or those who gravitate towards genres with limited local support? Let’s delve into the heart of music communities and how they shape an artist’s journey.
The Role of Community in an Artist’s Growth
Having spent considerable time producing music and interacting with fellow musicians, a pattern emerges. Those producers who are part of an active music community tend to climb the ladder of success faster and more organically. It’s not just about having people to network with, but also about receiving immediate feedback, understanding what works and what doesn’t, and drawing inspiration from communal energy.
When you are plugged into a community, it’s akin to having your fingers on the pulse of the music you love. You not only learn about the intricacies of the genre but also understand what the audience desires. The shared knowledge and insights from a group of like-minded individuals can often be the difference between a track that falls flat and one that resonates deeply.
In my case, I quickly found my community of people loving the same music as me and got lucky there were events where everyone could meet. It was easy to connect and I felt quickly involved to it. One of the strength of this early boost was that I could present my music easily and got bookings organically. Nowadays I see people contacting venues for bookings but if you’ve never been to the venue, you will not know of it’s culture and direction. Going there is very important so you’ve seen and to see if the attendees are in the same mentality as yourself. There’s nothing more hard to play a gig where people don’t get what you do.
As I toured, I discovered bubbles of people in each city that reminded me of my local community. Even physically, I’d meet someone who reminded me of someone back home.
The Challenge of Non-Local Genres
But what about those producers who are passionate about a genre that isn’t prominent in their local surroundings?
Many artists look outward, connecting with labels or online groups that share their passion. While the internet has bridged many gaps, online connections often lack the depth and warmth of personal interactions. The very nature of digital communication can sometimes render these relationships impersonal.
There are people who live in smaller towns or aren’t close to a bigger city and this can be challenging because locally, there might be no chances of creating a community. How does this work?
Artists may produce exceptional tracks, but the age-old adage holds: people tend to support who they know. A community can sometimes be hesitant to welcome outsiders. This protective approach is natural, but it can inadvertently close doors for new talents who could have infused fresh perspectives and sounds. No need to think of labels who receive music from people they never heard of and those people expect them to reply. In the best of worlds, this would happen but in reality, this doesn’t happen much. It leaves artists confused.
So for people who aren’t well musically supported, there are multiple choices possible. One of them is to try to go to the closest place where there are events and a community to enjoy it as well as the music. Eventually you may find your role and space in that tribe. Then afterwards, using online communication tools maintain contact.
Let’s not forget that building your own local network and community is possible but can be challenging at first.
The DJ Solution
In such scenarios, one strategy that I’ve seen work is reaching out to DJs.
Why DJs?
Because they hold the power to introduce new tracks to an eager audience. DJs are always on the lookout for the next standout track, and they can be instrumental in helping an outsider’s music get the recognition it deserves. Having a DJ play your music can be the perfect bridge between the artist and a new community. You could also do the same with local restaurants or boutiques where you can ask them to play your music sometimes, but of course, you’ll need to do that in person after showing you care about their place and music tastes.
Also DJs love music for podcasts and that is a good way to breakthrough to a new bubble of people.
Building Inclusive Communities for a Vibrant Future
As we discuss communities and their importance, it’s also essential to talk about inclusivity. While protecting the integrity of a community is necessary, it’s equally vital to ensure it doesn’t become insular. By welcoming new members and being receptive to their unique musical offerings, a community not only adds to its diversity but also ensures its longevity.
To all the music communities out there: let’s remember that today’s outsider could be tomorrow’s trendsetter. By being open to new members and their distinct sounds, we guarantee that our community remains vibrant, fresh, and future-ready. Outsiders will bring new energy and ideas what will make sure the music won’t fall in the equivalent of an echo-chamber where everything sounds the same after a while.
Ideas to Discover and Connect with Music Communities:
Local Music Stores and Cafes: These places often have bulletin boards with events, gatherings, or workshops. Even chatting with the store owner or regulars can lead you to local music groups.
Music Workshops and Masterclasses: Enrolling in or attending these can introduce you to like-minded artists and instructors who can guide you to relevant communities.
Music Festivals and Gigs: Attend local and regional festivals. Even smaller gigs can be goldmines for networking. Often, they are organized or attended by people who are part of music communities.
Online Platforms: Websites like Meetup.com or Facebook groups often have local music groups where you can join and participate in discussions or events.
Community Centers and Universities: Many of them offer music courses and often have active music clubs. Engaging with these can open doors to local music communities.
Music Production Forums: Websites such as Gearslutz or KVR Audio have active forums where producers from around the world discuss music, equipment, and events.
Collaborate Online: Platforms like SoundCloud, Bandcamp, or Splice can be great places not just to share your music but to collaborate with others, which can organically introduce you to communities.
Attend Open Mic Nights: These nights often attract local musicians and enthusiasts. It’s a relaxed environment to meet people and get feedback on your music.
Visit Recording Studios: Interacting with studio managers or technicians can give insights about local musicians and communities they work with.
Engage with DJs: As mentioned before, DJs have their fingers on the pulse of music communities. Engaging with them can often lead to introductions to these communities.
Closing Notes: A Call to Artists
To my fellow artists feeling a tad adrift, remember that every community started small. If there isn’t a community for your genre, consider starting one! And if that seems like a monumental task, don’t hesitate to reach out in person. Attend local gigs, music events, or even workshops. Establishing a face-to-face connection can be more impactful than a dozen online interactions.
In the ever-evolving landscape of electronic music, one thing remains constant: the value of connection. So, whether you’re an artist seeking your tribe or a community member wondering about the next step, remember that it’s through inclusivity, understanding, and personal interactions that we’ll continue to thrive and create harmonious symphonies for the world to enjoy.
Keywords: electronic music, music production, community, DJ, networking, inclusivity, artists, local gigs, music events.
https://audioservices.studio/wp-content/uploads/2023/09/community.jpeg10801080pheekhttps://audioservices.studio/wp-content/uploads/2022/07/logo-menu.jpgpheek2023-09-05 15:11:432023-09-05 15:11:43Your Music Direction Coming From Your Community
In the world of music production, the concept of “beginner’s luck” is something that many people aren’t familiar with. It’s not just about chance or serendipity; it’s about the uninhibited creativity that arises when a newcomer, unburdened by preconceived notions, fearlessly dives into the world of music creation. I’ve always seen it as a proof that sometimes, it’s not about making something to perfection, but more about spontaneity. The more you know, they more you get stuck in your mind, trying to control all the little details you know about, which then will kill the initial idea. It’s very common that I have people contacting me for help because they ruined an initial lovely idea, by trying to make it “better.”
As I said in previous post, people remember ideas, not technical perfection. Also, technically perfect songs don’t always age well as they can easily sound clinical, cold, soulless.
I find that people that have less technical knowledge and who focus on one idea, often pull out a simple song that actually works. I’ve seen people come out of nowhere, make a song that works without really knowing what they do and then for years, try to learn everything they can to sound pro but then they sometimes lose touch with this magical spark. Having the beginner’s mind is a practice that is approached in Mindfulness Meditation. I noticed it is an approach that serves people who struggle with jadedness and lacking inspiration.
In this article, we explore the significance of cultivating and maintaining the beginner’s mind in music production, drawing some inspiration from the mindfulness approach advocated by Jon Kabat-Zinn.
Beginner’s Luck in Music Production
People naturally want to listen to new music and sometimes, also, want to relate to music they know. But there is definitely a number of people who want to learn about the next big thing. Therefore, new comers are caught into this strange zone that it’s difficult for them to emerge while others in the same position as them, will stand out. Nevertheless, when you’re new to music, you are in luck for obvious reasons: everything about music is new and might sound fascinating. This state of mind is idea for creation as you’re not clouded with judgemental views on certain sounds because you’ve been told that some aren’t good enough for a specific genre.
Here’s some points and strengths:
1. Uninhibited Creativity: When beginners enter the realm of music production, they are guided primarily by their passion and intuition. Lacking a deep understanding of complex techniques, they rely on their raw talent and instinct to craft their music. This approach often results in unconventional, fresh, and innovative tracks that captivate audiences. This is something that personally I’m always interested in new people’s music because of their use of basic techniques, used sometimes wrongly, that turns out nicely. In the art world of painting, there’s a similar equivalent called “Naive Art“, where the artist does some portrait in a unusual way. I also noticed that Midjourney, who is a AI based art generator, would be similar as the early version struggled to make hands, resulting in very bizarre but yet mind boggling results.
Credits: Bootcamp
2. Fearless Experimentation: Novices aren’t held back by the fear of failure or the constraints of established norms. They explore various sounds, genres, and techniques without the burden of expectation. This bold experimentation can lead to accidental discoveries and the creation of music that defies categorization. Sometimes I noticed that new music makers who have no DJ experience will create tracks with very strange arrangements not knowing they might DJs to rage when they’ll try to mix the music but this is also part of a certain charm.
3. Authentic Expression: Beginners often create music as a means of personal expression rather than aiming for commercial success. This authenticity resonates with listeners, who are drawn to the genuine emotions and stories embedded in the music. The more someone makes music for a long time, the more they might be tempted to fall into routines, habits or conform to a genre’s aesthetics so they may “remain relevant.”
Recently someone on Facebook shared this remark:
To which I explained:
Signs of a Shift in Beginner’s Mind
Can we pinpoint the moment someone lose his Beginner’s mind?
Yes and no. It’s definitely not a linear process nor something permanently lost. But when a client comes for a consultation, I have a “BM meter” that I imagine and will try to spot the flags that will point towards a negative state.
There will be signs of the effect leaving you based on a few points. As you see it leave, there will be some issues appearing.
1. The Allure of Perfection:
As fledgling artists experience success, there’s a tendency to chase perfection. The definition of success is very different from one person to another which makes it a bit tricky. But whenever there’s a fixation or high concern over technical details, something tells me that there’s a desire to be impeccable, before sounding authentic. They might start obsessing over technicalities (ex. searching endlessly for a specific sample, adjusting levels by 0.5dB, have decision fatigue over arrangements, etc), overproduction, and conformity to industry standards. In doing so, they risk losing the distinctive essence that made their initial creations so appealing.
Symptom 1: The technical part takes over the artistic side, both in importance and in time invested.
TIP: Spend more time in being spontaneous, record ideas in real time, limit the number of iterations a song will have or limit the time spent on a specific song in a day.
2. Overthinking and Self-Doubt:
With experience comes the inclination to overthink. Artists may become overly critical of their work, stifling their creative flow with self-doubt and self-imposed limitations. This self-consciousness hampers their ability to tap into the natural creativity that characterized their early work.
Symptom 2: Worries take over the excitement. Most of the thought process is focused on the listener’s experience instead of what the song is about. Imagine you’re in a conversation and you’re more concerned on how the listener hears you than what you want to say, then there are good chances you’ll make no sense.
TIP: Focus on what the song is about and putting it to term.
3. Creative Stagnation:
Clinging to a tried-and-true formula can lead to creative stagnation. Repeating the same patterns and techniques, even if successful in the past, can lead to a lack of innovation and artistic growth.
Symptom 3: All your songs are sounding the same. They all end up sounding like a different version of a previous (successful) song.
TIP: Change your reference songs, explore new music out of your comfort zone.
Embracing the Beginner’s Mind with Mindfulness
One thing that is important to understand about beginner’s luck relates that people are naturally attracted to novelty. Or at least, many people are. I remember when I started to make music and played live, I was offered so many opportunities compared to today. Even though I’m still labeled as an emerging artist, because I’m not famous, I’m also considered old, therefore, perhaps less relevant. But again, that is really different from whoever hears me out. Some people who had a strong start will chase the first feeling and try to recreate that by changing how they work or compensate with many new acquisition for their studio.
Enter the wisdom of mindfulness, as shared by Jon Kabat-Zinn. At its core, mindfulness encourages being fully present in the moment without judgment. Here’s how artists can apply this approach to music production:
1. Letting Go of Preconceptions:
Approach each new track with an open mind, free from preconceived notions about what it should sound like. Allow the music to evolve naturally, embracing whatever direction it takes.
This means that when you start new ideas, you want to be less picky about how the session should start. Maybe one day you’re interested in playing pads or another day, do quirky percussion loops. Don’t corner yourself out in a modus operandi that work before and let yourself always try something new.
TIP: Divide your music sessions in 2 categories: one that is related to making music (finding new ideas, playing, jamming) and the other is purely technical. When these two overlap, the mind can have a difficult time being open to new ideas.
2. Non-Attachment to Outcomes:
Instead of fixating on the end result or seeking external validation, focus on the process of creation itself. This detachment from outcomes liberates creativity and encourages risk-taking.
Does this mean that sloppiness is tolerated?
What we’re relating to is more towards how you manage your arrangements. It’s also about not thinking of the end results and be open to whatever emerges.
TIP: I often say that I work to bring music close to 90% done and come back later with the option to completely revise it.
3. Embracing Imperfection:
Understand that flaws and imperfections are integral to the creative process. Accepting these imperfections fosters authenticity and prevents overpolishing that could strip away the track’s soul.
When I’m close to the final stage of a song, I notice sometimes that my mind chases imperfections, wanting to cover them all. I find that leaving some deliberately leaves some human touch to it and I swear that years later, I don’t even see them as mistakes but as part of the identity of the song itself. More than often, all the stuff I fixed end up being overkill.
TIP: Find a friend who can listen to your final idea and ask them to listen to it once, then provide feedback. If they didn’t notice anything, you’re safe.
4. Continuous Learning:
Just as a beginner is eager to learn and explore, maintain a stance of ongoing learning. Keep up with new techniques, sounds, and tools to infuse freshness into your creations.
As stated before, in my case, I search for tutorials every day and usually start new song out of trying a new technique. This is quite useful while creative.
In the realm of music production, the concept of beginner’s luck is more than just a fleeting stroke of fortune. It’s a mindset that, when embraced intentionally, can lead to enduring creativity and a distinct artistic identity. By applying the principles of mindfulness, artists can sustain the raw, unfiltered creativity that made their initial works so captivating. So, whether you’re a seasoned producer or a newcomer, remember to embrace the beginner’s mind—the gateway to music that resonates deeply with both creator and listener alike.
https://audioservices.studio/wp-content/uploads/2023/08/luck.jpeg10801080pheekhttps://audioservices.studio/wp-content/uploads/2022/07/logo-menu.jpgpheek2023-08-29 18:18:162023-08-29 18:18:16Beginner’s Mind in Music Production
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Basquiat Work Ethics
/in Blog/by pheekComing from a period when few people made electronic music before its art was democratized, meeting people who were making music was difficult as not many people had the opportunity to produce it. You’d meet someone who would produce music, and it felt like you’d have a lot to talk about because they might have similar gear or setup, so you’d hope to be able to share insights.
Nowadays, we have been experiencing an opening of opportunities where software makes it easier to produce music. With AI, people can skip the creation process and have music custom-tailored to their imagination. I see a feeling of jadedness about the new generation among older producers.
As a friend and fellow musician said:
In parallel, students asked me how they could elevate their craft above that of the average hobbyist. To answer this, I looked into the case of Jean-Michel Basquiat.
Basquiat, An Urban Artist
Basquiat was known for his prolific output and unique artistic style, combining street art, graffiti, and fine art elements. Despite his short life, Basquiat created a vast body of work that continues to influence contemporary art.
One aspect of Basquiat’s work ethic was his relentless dedication to his craft. He was known to spend countless hours in his studio, often working late into the night or early morning. A deep passion for expression and creativity drove this commitment to his art.
Basquiat’s work ethic also reflected his intense focus and determination. He urgently approached each piece, channelling his energy into spontaneous and expressive brushstrokes. This intensity allowed him to capture raw emotions and ideas on canvas, resulting in visually striking and intellectually stimulating artworks.
While prolific, he made a name for himself that we still relate to nowadays. If you analyze his work, you will see that he used multiple ways to make a name for himself that can be applied to music-making.
Let’s look into the points that made him rise to the status he built.
Source Material
In the video, the narrator talks about how Basquiat found a book that served as an inspiration base. Basquiat uses a collection of icons, logos, and images on a specific page in many of his artworks. It was his vocabulary, and it became his motor as well. If his pieces were set around a theme, you’d see these same icons being omnipresent. This is a way of always having a collection of repetitive ideas that, in a way, established his brand.
The way I teach music is not too far from that approach. I encourage any artist I work with to build a set of references and allocate a lot of time to finding samples that ignite excitement. Services like Splice offer vast items, such as samples, AI sketch generators, plugins and other tools. Compared to jazz, electronic music has too many sounds to pick up, and it’s easy to get lost in which sound one should pick to make a new song.
Your source material could be divided into 2 main categories:
Very often, people buy hardware or soft synths randomly. It’s quite handy to use a demo to test it. But if you use some samples, they are often tagged with the synth’s name used to create them. It can also be reverse-engineered.
If you feel like samples aren’t you, remember that everything has been sampled somehow. Having quality samples trains your ears on what quality is. This is crucial for sound design learning.
If you read this blog, these concepts have been covered many times.
Steal Like An Artist
There’s one point in the video where Basquiat explains where some quotes he wrote come from, which are from some books or movies. Some images, are inspired by artworks he saw. He didn’t copy them, he stole them from a context and brought them into his world.
This is true for many things. To cook great-tasting food, you need to eat exceptional food. The same is true for sounds. I often feel more comfortable with the idea that I’m a curator than a musician. My music is a collection of ideas I love from random sources.
Your inspiration comes from your references. Nothing one has done that wasn’t inspired by someone else’s work. The fact that you do a genre comes from hearing that genre in a context that inspired you. So, you might as well start a collection of inspiring songs. It can be for one sound, one reverb, the way the transitions are done, or chord progression. If there’s one thing in a song you like, put it in your reference folder.
Then, you analyze your references. Take tons of notes, and try to imitate. Ask friends how something is done. Search Splice for similar-sounding sounds.
All these experiments build your imagination, which leads to core ideas to keep. It can take 50 ideas to find one exceptionally satisfying. Try to make many of them and blatantly get inspiration from everywhere.
Hip-hop artists are more comfortable taking ideas as they always sample other people. I have to say I’ve been seeing many clients remix pop music in the last year, so the bootleg aspect is becoming an option. However, remember to respect the work of anyone you directly sample.
Have A Message
One of the messages Basquiat had that motivated him was that there weren’t enough black artists in the art world. He wanted to change that and involve himself, making it the center of his work. The strength of having a message is its appeal for the media to look into what you have to say, and it rallies followers who resonate with it.
Punk music has its anarchist message, and hip hop has a gang-related message for some artists, while for others, it’s about the struggle of people in the current world. House music has also had a history of representing a safe space for queer people to dance to. Whatever genre you embrace, there’s a history of its upbringing, and sometimes people forget the political roots of it. While knowing the backstory is not an obligation, you can also piggyback a genre to bring your story and values.
Having a message and a vision will help bring a sense to your music, and in times when you might hit a wall with inspiration, your message will drive more inspiration.
Speed
If you read this blog or work with me, you know that speed is one element I believe in. Ideas come and go, sometimes very quickly and don’t always remain. Having the speed to bring your ideas together will help you catch ideas on the fly, perhaps so that you can finish them later but, most importantly, to see if they make sense. It’s one thing to have an idea; it’s an idea to make it work properly.
With Basquiat, he was working fast. Blazing fast. In the video, they share that his meeting with Warhol stimulated a lot of creativity and that at one point, JM did a self-portrait of them in a fast moment and then brought it back to Andy, who was amazed by how fast he was. One of the reasons why artists are slow nowadays comes from poor organization and lack of methodology. The more you are organized in managing your time and art, the faster you become. Music production is a series of phases, and if you sit down to make music and want to do it all at once, you’ll be hit by decision fatigue.
The second obstacle is ego. That part of yourself always has the impression it has something to prove, to control and to be something you are not. That leads to procrastination and distraction. My view of music making is fueled by fun in all parts. When fun is present, you are in the flow.
Flow is key to success.
Study, Memorize, Internalize
The last part of the video is where I saw the strongest parallel with what, as an artist, I do. In my free time, I listen to all kinds of music, radio, and movies and study many tutorials on YouTube. I think I watch about 10 per day. I take a lot of notes from those, and then when in front of my computer, I will test new findings or revisit techniques I was doing to give it a new twist. For each song, I started with a technique exploration, and I developed new ideas by practicing.
Saving macros has become something that I just now do always. I will map some parameters to the knobs of the macro and then have fun creating presets by randomizing or just tweaking with a controller.
Doing these sketches touches everything above:
Quitting Streaming and Selling Directly
/in Blog/by pheekI’m not sure if you’ve been following trends lately, but there’s been a backlash against streaming sites. I know it’s new, as the resentment towards those platforms has been intense ever since Spotify became the first leading one, with a ridiculously low amount back to artists, but it seems there’s been a change in the narrative lately.
Where it started
From the various videos I’ve seen on YouTube, it seems like it started with Kanye West’s rejection from the different platforms where he advertised during the Super Bowl, which led to huge traffic to his site.
After watching that video, I’ve seen more and more news going in that direction, but that wasn’t new. In late 2023, since I spent time on forums, Reddit, and Facebook, I’ve seen a wave of comments from artists who were fed up and wanted to sell their music themselves more and more. The direction people were going for was to quit all streaming sites and head to Bandcamp alone with a personal shop.
I’ll share some personal thoughts about this in a post that is a bit more philosophical than technical.
The early Peer 2 Peer Era
As I was making music in the late 90s, I remember working one day, and some of my colleagues were saying they hadn’t been listening to the radio anymore since they downloaded their music instead. Knowing you could access all the songs you wanted for free was intriguing and shocking. I remember browsing for some music, mainly pop material, and barely any electronic music I liked besides The Chemical Brothers. It didn’t take long for all the music CDs to appear. Months after I checked, it fueled some internal conflict about all this. But what was clear then was that all the geeks and real music lovers I knew were keeping an eye on the coming songs.
Mp3.com
Then I discovered the website MP3.com, where artists post their music and meet others. See it as the ancestor of Soundcloud but around 1999 or 2000. A handful of people were doing the same kind of music as I was, and it was useful for creating a little community. Not long after I was on there, I got an enigmatic message from a German guy explaining what Netlabels were and asking me if I wanted to join his under the name of Thinner. It was small, and the concept of netlabels was still in progress.
If you’re unfamiliar with the Netlabel concept, the idea was to use the highly popular stream of downloads to the advantage of artists by inserting your freshly made music in there. The logic was that since people were all getting the new music, we could benefit by adding ours. We were okay with not making any sales; it was purely to ensure our music would be heard.
And it worked.
The Thinner wave
Thinner got big at one point, hitting 40k downloads on the first days of a release. Everything was hosted on the Archive.org site, where other Netlabels also appeared. German media started looking into it and covering it. Since I was the Canadian representative, local media has approached me to learn more about it. Radiohead did the same thing not long after with a free release, and the media went wild for it. Ironically, when I joined Thinner, I had local DJs telling me it was a bad move, that I would never gain respect from serious labels, and that I would burn myself out.
The exact opposite happened. My first European tours were directly linked to my Thinner releases, and when I was performing, people would come to me, all talking about their favorite songs from my albums.
Not long after, I got signed to Hawtin’s M_nus label, which was sort of the first time someone who got known from Netlabels transitioned to a bigger vinyl label. I feel that then, people started giving some credit to the movement Thinner created.
This experience shaped how I saw Spotify appear. I remember at the peak of Thinner, Sebastien Redenz was already saying that the best way to make it sustainable was to sell songs for 1 cent. He had it in mind, and that observation prepared me for the Spotify model.
Piracy Music and Soulseek
In pair with Netlabels, most people still download music, mostly torrents or Soulseek (Still used now). I think that, with the mentality of the late 90s, people were downloading with no shame. It created a community, and while hanging out on Soulseek, I made some friends abroad who eventually got me gigs locally. I used it to share my music. Some of my precious releases leaked, and I preferred not to since it was an agreement with the label, and I saw the community from another angle. I remember someone who got the release told me that “Music is made to be free anyway.” That was a bit disappointing for them, and later on, that same person got a release out and complained on Facebook that people were sharing their music on Soulseek.
There are many ambivalent emotions regarding that, and in the end, I think it comes down to the artist to decide how their music should be shared, which is sort of what I see nowadays with the Spotify backlash.
Bandcamp and Direct Selling
Since the early 2000s, I think only one shop I experienced did things right: Bandcamp. I mean, as of a business model, because their anti-trust approach was quite disappointing. That said, it’s not perfect, and some parts are a bit frustrating, but most of it is spot-on for what, as artists, we need. Even the share of money works. I’ve always been frustrated that shops like Beatport don’t let you pick a price for your release, which I find quite dumb. If you’re a label, there are numerous tools for selling, and it works well.
I wish there was more control over bootlegging. Now and then, you see someone reselling an artist’s music without shame, but it usually gets a lot of hate.
Selling your music from a website has some flaws:
Those are the little parts of it, and you’re venturing yourself into the entrepreneur’s path, which is hard. I often say this to clients: until people tell you they want to buy your music, there’s no reason for you to want to sell it. Many people get depressed from their music not selling…
So, is it worth it?
Like I said, not until there is a demand. You need to feed your community first, making sure people around you love your music and will talk about it. That requires a lot of time, dedication, and patience. Few people can afford an ad at the Super Bowl, so aiming for little things first can make a difference.
But I think it could be worth it for a label that has sales, but Bandcamp is where it should start. It’s quite common to find releases on Bandcamp that have no sales. I think it’s better to wait before putting your music there. Recently, Deezer removed 26 million songs that had never been played (or were problematic), and the overflow of music is not helping anyone.
The Other Model
In parallel to all this, I’ve seen another new movement, in a way. On a topic thread, someone commented:
The conversation was about what would happen if musicians had the other mentality of not wanting to share their music with the whole world. Instead, they focused on immediate contacts who wanted to listen and play the music. There was a consensus that they’d rather give the music to 5 people who want to listen than pay Tunecore or Distrokid to have their music everywhere and see it was played 10 times. Rarity creates value, not total accessibility.
Why would someone pay for something they can have in a snap of a finger?
This conversation continued for a while, and I noticed some friends and clients going in the same direction. I played music on a friend’s birthday and checked the content of my friend’s USB stick. He had a folder with around 50 songs of an artist I had never heard from. They were all outstanding. I later checked streaming sites or shops, and none of those songs were there. My friend told me about a few artists who make songs every day and don’t sell them. Instead, they pass their music to DJs they like.
You’ll ask, what is the business model here?
I don’t think there is one, or at least it’s unclear. Some people have accepted that they won’t turn their music into a business until people are interested in buying or catching a label’s eye. They know they want their music to be played by DJs, who will eventually get someone’s attention. I think that is the motivation beyond commercializing their music. I like that a lot. It’s a follow-up version of the Netlabels, but more aimed at community building than desperately wanting to get everyone’s attention. That guy made a point, and here I am talking about him.
Perhaps, as musicians and artists, our approach must be more experimental. Running a shop is one, but I don’t think we have found the right way yet. We need more of a community with shops… Which is what Bandcamp is.
Let’s see what the future holds.
Music Timbre Essentials
/in Blog/by pheek(Photo by Ayush Kumar on Unsplash)
When we dive into electronic music, one concept continually shapes our audio landscape, and you might not even know what it is: timbre.
Often described as the “color” or “tone quality” of sound, timbre is the characteristic that distinguishes one instrument or sound source from another, even when they’re playing the same pitch at the same volume. In this article, we will approach what I have learned about timbre in electronic music, focusing on how synthesizers and envelope design play pivotal roles in its creation.
Why is it important to understand what Timbre is about?
Well, if you’re interested in sound design, this should be your entrance to that world. If you know how it works, then you’ll have an understanding of how sounds are made. This means you can then extrapolate your imagination’s bleeps into real-life bloops.
Pigment from Arturia
Understanding Timbre
At its core, timbre is on a multi-axis, covering the aspects of sound. It has various factors such as harmonics, dynamics, overtones, attack, decay, sustain, and release. These elements collectively shape the fingerprint of a sound, allowing us to discern between a piano, a trumpet, or a synthesizer.
To give you an example, you can play the same C2 on all those instruments, but your ear would be able to identify both the notes as well as what are the instruments. That is because the ear understands timbre’s multiple elements as unique.
In detail, those elements that will determine a sound’s color would be:
Synthesis and Timbre
In early 2024, I decided to join the Synthesis class of Sarah Belle Reid. I was a bit doubtful at first because since I started making music, in the early 90’s, I’ve learned everything by myself and continue learning every day as well. Being under the impression that you can have access to all knowledge gives you a lot of drive but also creates a blindsight where you also have information you didn’t know you don’t know.
These are some of the things people consult me a lot for: lack of vocabulary, lack of understanding of concepts that are badly explained online and being pointed at what a specific sound, sounds like.
Back to Reid’s class. It starts with the basic knowledge of sound itself and goes through each element related to sound, then proceeds with a demonstration. Seeing, hearing, and being explained these concepts, helps being able to perceive sound from a very technical point of view. It’s one thing to understand it but it’s another thing to have vocabulary.
Timbre was one of the most important points of the class for me. It’s not with a simple blog post that I can go through all the main elements regarding timbre but I’d point out that the aha moment was to review how I use a spectrogram.
Seeing the sound from that angle helped me understand what timbre is about. It’s a concept that felt easy to read about but not necessarily easy to grasp.
Here are my 2 tips:
Knowing that the beginning shapes an important part of your sound, this is a direct inspiration on how to use your ADSR envelope to shape or alter the shape of sounds you have. The amplitude of your sound can be shaped by a first envelope and a second one may shape filtering or other elements.
As for creating the timbre of a sound, you’ll have to combine multiple oscillators, noise, and modulations to mimic the spectral content.
Let’s go deeper into the envelope and content synthesis.
Envelope Design and Dynamic Techniques
At the heart of timbral manipulation lies envelope design—an important point of sound shaping in electronic music. You might use it with compression but it is also there for design. Envelopes lead the evolution of a sound over time, dictating its amplitude, frequency, and spectral content. Understanding envelope parameters, particularly attack, decay, sustain, and release (ADSR), is crucial for crafting dynamic and expressive sounds.
Attack: The onset of a sound, characterized by its initial transient, sets the stage for our auditory perception. A sharp attack imbues a sound with immediacy and presence, while a gradual attack imparts a softer, more ethereal quality.
Decay: Following the attack, the decay phase determines how quickly the sound’s intensity diminishes. A longer decay sustains the sound, while a shorter decay yields a percussive or plucked character.
Sustain: Once the decay phase concludes, the sustain segment maintains a constant amplitude until the sound is released. Adjusting the sustain level allows for sustained or staccato articulations.
Release: As the sound fades into silence, the release phase governs the duration of its decay. A shorter release yields a crisp, abrupt ending, while a longer release imparts a lingering decay.
Sounds of the real world or from instruments are rarely static. They often are never the same thing when played a few times, but they’ll be changing a bit too on different aspects: spectral variation, amplitude modulation, pitch. In the modular world, the use of LFOs and envelopes is handy to modify those aspects. You will want to use them to have slight variations.
The soft synth Pigments is very well made in that aspect where it will have a lot of different modulations possible which can then be routed to a lot of different parameters.
Dynamic Use and Filtering
In addition to envelope design, dynamic use, and filtering contribute significantly to timbral variation. Dynamic modulation techniques, such as velocity sensitivity and aftertouch, introduce expressive nuances to performances. Meanwhile, filtering—via low-pass, high-pass, band-pass, or notch filters—shapes the spectral content of a sound, emphasizing or attenuating specific frequencies to sculpt its timbre further.
A good way to push the filtering is to use colored filters such as MS20 emulation or vactrol. To understand LPG (Low Pass Gate) is also another option.
Ever since I got myself a Freak Module from Vult, it brought my sound elsewhere. It has multiple filter emulation, some saturation, and a duplex mode where you can have chained filters or different filters in stereo mode. It’s pretty powerful.
Conclusion
In the ever-evolving world of electronic music, timbre is something to understand if you want to define your sound and personal signature. By understanding the power of synthesizers, mastering envelope design, and employing dynamic techniques and filtering, musicians and producers alike can unlock new creative possibilities. Through this article, we’ve partly covered into the heart of timbral exploration in electronic music, uncovering the intricate interplay between synthesis, envelope design, dynamics, and filtering. With this knowledge, may you define on your sound design skills, sculpting timbral tones that redefine who you are. Continue searching for more details and let me know if you have questions.
Miniature Songs Concept
/in Blog/by pheekSometimes I find really lovely videos with production techniques that I love and after practicing it, I thought I’d share it with you so you can benefit from this finding. In this case, it’s about the concept of miniatures and also how this pairs with some sound design principles I’ve been applying. Recently I joined Sarah Belle Reid’s Sound and Synthesis program which turned out to be insightful. Once I started diving into sound design and its mechanics, I not only started understanding sound’s DNA from a different angle but also in the context of a song.
What are miniatures?
I was recently browsing YouTube when I found this video that got me excited. Miniature is a step back from making songs and has the perspective of using a sound in a tiny bubble concept. Think of it as a 10-second to 1-minute idea. Nothing more. It’s not about trying to cram in as many elements as possible but more of taking one sound and see how to you can pull out the most from it.
When I teach music production, there is more exercise that I like to suggest to students which is to take a very basic sound (sample) and to turn it into a “main idea.”
To do so, I’d suggest picking first a random sound, preferably something you consider boring, and then playing it repeatedly to find a pattern from it. Change the pitch perhaps, but sometimes, leaving it to its original pitch will be enough. See how you can make a phrase from it and make a song (1-2min) from that alone. Sometimes I see an eyebrow being raised in doubt but then I explain that any sound, on its own, can be a song.
For example, John Cage made a song for hand clapping:
So back to miniatures.
Think of tiny ideas that work, ideally with 1 to 2 sounds. Watch the video below:
The clickbait title, at first, had me roll my eyes but then I checked it to find something that was pretty fun. To summarize it, he suggests that you write down ideas on a card, which will create a little challenge, as a miniature idea. Those prompts have certain criteria:
So this would be an example:
We often forget that songs are a collection of sounds and sounds that evolve on their own, maybe for a short lapse or during the entire song. The idea of creating miniature becomes useful because you’re creating ideas that can later be included in a song. Thinking of music production in a modular way (not modular synth) can help you work on different elements of your songs before diving into arrangements.
One of my principal sources of guilty pleasure is to find fun loops on Splice as a starting point so building my loops is valuable for making songs later.
Envelopes and macro envelopes
One element that we approached in sound design is how envelopes shape sounds as their shape. But when thinking of miniatures or songs, it can be useful to think of a macro envelope. What I mean here is how you have an evolution within the entire song.
One exercise Sarah gave us for a performance is to draw the shape of how your song or pattern evolves over the entire experience. It could start abruptly, then fade, and then increasingly get louder until the end. If you’re a Shaperbox user like me, you know you can use its internal envelopes to shape amplitude or filter over a long period. It becomes handy if you want slow modulation repeating.
If you want some Miniature ideas, I’d encourage you to watch the video up there. I got some instant inspiration for my sounds.
Recycle Your Old Projects
/in Blog/by pheekSometimes I’m baffled by two things when I work with clients:
In both cases, there’s a huge loss of time and energy. But when I explain them that each of their projects are a gold mine of opportunities sleeping on their hard drive, I see their faces lighting up. If you think about it, a song has often a lot of leftover material that won’t be used plus, think of all the common elements all your songs have, so why do one person not create a way to have the computer use resources to create that material.
The way I approach making music, ultimately speaking, is to be able to first find a very original idea and then put it in context quickly so you can work to give it a timeline.
Why speeding up your workflow?
Interestingly enough, as an artist and coach, I often teach that creativity is a super slow process and that trying to rush things might not be a best idea. But there’s also the paradox that it’s important to grasp an idea and make the most of it, then to move on. The idea of speeding your process is to ease your expression in order to not get lost in technicalities. One of the place many people loose time is in the details, clarifying technical details and such.
If a song is an idea, put on a timeline, it is also easy to get a lot of distance from this idea if you are more technical than artistic about it.
The strategies below are meant to ease the technical part by focusing on organization.
Strategies
The first way to speed up your process is to think forward. Just like this movement where people would pay for a coffee for a future client who would be low on cash, the best way to speed the next session is to organize it in the one you’re working on. I’ll explain habits and strategies that will be helpful down the road.
One effective method is to utilize the import feature from the Ableton Live browser. For example, if you’ve developed a compelling chain of effects in a previous project, save it as a macro. These macros can then be easily imported into new projects, giving you a head start with tried and tested sounds.
Template Creation
Beyond importing specific elements, consider creating templates based on your most successful projects. These templates can include your preferred routing, default effects chains, and even placeholder instruments. Starting a new project with these templates can dramatically reduce setup time, allowing you to dive straight into the creative process.
TIP: There are different types of templates to start with. Analyze your last 10 projects to see what’s always there de facto.
Creating a Channel of ‘Leftovers’
Another innovative method is to create a special channel in your DAW for ‘leftovers’ – bits and pieces from previous projects that didn’t make the final cut but still have potential. This could be a half-finished melody, an interesting sound effect, a discarded vocal pattern or a unique drum pattern. By saving these leftovers, you create a personal sound library that’s not only original but also infused with your signature style. Whenever you’re stuck or need inspiration, dive into this channel and discover elements that can spark new ideas.
There’s always been a non-written rule that one shouldn’t use presets and should re-invent themselves for each projects. While this answers a need to always have non-repetitive ideas from song to song, it can also be extremely time consuming. A good way is to use your leftovers as a starting point for a future project.
TIP: Export your leftovers normalized so they sound full and ready for future projects.
Remixing Your Own Tracks
Sometimes, the best way to recycle is by revisiting your own tracks. Remixing a track you’ve previously produced can be an enlightening experience. Isolate individual elements that stood out and reimagine them in a new context. This not only breathes new life into your existing work but also expands your creative boundaries.
I always smile when a client tell me they can’t decide if one decision is best or another, regarding their track. Perhaps both ideas are good so why not make 2 versions?
You can have as many versions as you wish from your songs. In the 80’s and 90’s, some songs would sometimes have 3-4 variations which was really playful for DJs in how they could use and re-use a song.
Some ideas for new remixes could be:
TIP: Try combining 3-4 songs into one.
Systematic Sound Design Sessions
Allocate specific sessions solely for sound design, separate from your songwriting or track-building sessions. During these sessions, focus on creating unique sounds, textures, or rhythms without the pressure of fitting them into a current project. Save these creations in an organized library.
Spending time organizing your sounds is also a useful way to make it easier for later on.
When working on new music, you can tap into this library for inspiration or elements to incorporate, significantly speeding up the creative process.
Collaborative Workflows
Encourage collaboration with other artists or sound designers. Sometimes, a fresh perspective can lead to unexpected and inspiring results. Collaborations can result in a shared library of sounds and ideas, offering a wider palette of elements to draw from when starting new projects.
TIP: Share a Dropbox or Google drive with friends.
Regular Review and Curation of Existing Projects
Schedule regular sessions to review your past projects that aren’t released. This is not just to reminisce but to actively search for reusable elements – be it a catchy hook, a unique synth sound, or an effective drum pattern. By doing this, you not only remind yourself of your past work but also build a readily accessible repository of ideas and sounds.
People who work with me knows I love to bring all my projects to 90% of completion instead of 100%. The logic behind this is simple: I like to gather a bunch of songs on a specific day or upon a need and then wrap them all up at once. This resolves multiple issues: coherence across a release, avoiding repetitive structures, better originality, etc.
Incorporating Field Recordings and Unconventional Sound Sources
Sometimes, the most inspiring sounds come from the world around us. Regularly record sounds from your environment – these can be anything from street noises to natural ambience. These unique sounds can spark new ideas or add an original flavor to your music. There’s a beautiful plugin named Life which comes with a mobile app that sync up with the software on your computer. Not only you can grab sounds from everywhere but the software will chop it, while giving it a structure. The results are impressive.
Routine Exploration of New Tools and Habits
While it’s important to have a familiar toolkit, regularly experimenting with new plugins, instruments, or software can bring a fresh perspective to your work. This doesn’t mean always buying the latest gear, but rather exploring different tools, perhaps through demos or free versions, to keep your creative approach dynamic.
Exploring new tools means, perhaps, exploring mobile apps that can do sounds. There’s a large myth over those as many things they’re not good enough but you’d be surprised how many of them are extremely solid enough to make ideas. Not only the interface is lovely but the fact that you’re not in front of your computer is a different outlook on what you do. You can explore on your mobile shop to check apps that are tagged as music related and you’ll see synths, drum machines or weird DAWs. You can also check on VR headsets for the same kind of tools to explore.
Mind Mapping and Conceptual Workflows
Sometimes, the block isn’t in the production but in the conceptual phase. Employ techniques like mind mapping to outline the themes, emotions, or stories you want to convey in your music. This pre-production step can provide a clear direction and help in choosing or creating elements that align with your vision.
For this year, Mind Mapping is all rage for me. I’ve been starting to put down to image concepts, how I work in audio. Sometimes to mind map what you do gives you some insights you can’t think of when you only always do music on it’s own.
One method I learned is named “Sticky Steps.” Basically you start with the end and then roll back with little steps on how to get there. I like to think of it as a reverse engineering method. It’s possible that some steps, you will lack the knowledge to explain or know how to do it which is why you can contact me for instance, or ask friends.
I hope this kickstarts your new year in good manner. Don’t hesitate to leave comments or questions below.
The Road Map To Learn Music Production
/in Blog/by pheekOne thing I noticed with people who want to learn how to make electronic music, is that they face a lack of information on where to start. I stumbled upon an interview with Mr.Beast recently where he was suggesting that if you want to learn about how to make viral videos, you need to start by practicing making videos. His suggestions sorts of overlap how I teach music where the importance of practicing is more important than, let’s say, finish songs perfectly. He was suggesting that one could aim at making 100 videos where they practice one element in each, trying to improve by 1% instead of overtaking something huge to start with. But mostly, to remain a bit private about the whole thing until you become more solid at what you do.
Songs are stories based on a personal finding. If you think about you sharing a personal story to a friend, you’ll focus your story on one element and you might, in your storytelling, bring it to a final punch. Music is a bit similar but for many people who start making music, they really don’t want to disappoint or want to look like a beginner. So they try too hard, in most cases.
As you advance in learning music production, you don’t know that there are many different techniques out there unless you find them by searching or by someone who tells you. You might not know that your music has different issues unless reviewed by an experienced mentor. So it can be quite confusing.
There is no right or wrong way to use it. It’s basically 100 ideas that you can take. Most of them also come with a Youtube video you can look at to learn about the technique to practice. As for projects or song, I would say that try to make songs that are between 1 to 5 minutes long. It’s not something to impress, but for your own development. I added enough videos and links per project for you to practice one technique. Try your best to use it but you can of course start at one point and end up in a totally different result. There are no rules here.
This project is directly linked to my Patreon Program. There’s the “Road Map” tiers that allows you to join for constant support.
Building the Basics – Projects 1 to 10
Loops, MIDI, and Arrangements
Making electronic music usually starts by using samples, loops and MIDI. Let’s start with the basis.
Round 1: Loops and Basic Arrangements (Projects 1-3)
This is the introduction, I would encourage you to watch my own personal beginner video.
I would encourage you to get a subscription to Splice to get some loops and sounds. You can also visit Freesounds.org to get free ideas but the quality can be questionable sometimes.
If the song key and scale confuses you, this article will help. Also this video.
Project 1 – Loop Exploration
Project 2 – Loop Transformation
Project 3 – Basic Arrangement
Round 2: MIDI Basics (Projects 4-6)
Have a look at this tutorial and practice them fundamentals of midi for the next projects.
Project 4 – Introduction to MIDI
Project 5 – Melodies with MIDI
Project 6 – Rhythm with MIDI
Round 3: Diving in Arrangements (Projects 7-10)
If you followed my initial tutorial, I explain some basis. There are countless tutorials about arrangements on Youtube. Here’s one to check.
Project 7 – Advanced Arrangement
Project 8 – MIDI Patterns and Hooks
Project 9 – MIDI Automation
Project 10 – Milestone: Song Creation
These first 10 projects will provide a solid foundation in loops, MIDI, and basic arrangements. After completing these, the student will have the skills needed to create a complete track.
Building the Basics – Projects 11 to 20
Loops, MIDI, Arrangements, and References
Round 4: Loops and Advanced Arrangements with References (Projects 11-13)
There are multiple videos on how to use references and this is a good one.
For this exercise of working with a reference track, I would encourage you to get samples from Splice and try to match your selected song.
Project 11 – Loop Experimentation with References
Project 12 – Loop Chopping and Slicing with References
Project 13 – Advanced Arrangements with References
Round 5: MIDI Advancements with References (Projects 14-16)
Project 14 – Harmony and Chords with References
Project 15 – Advanced Melodies with MIDI and References
Project 16 – MIDI Expressiveness with References
Round 6: Applying MIDI and Arrangements with References (Projects 17-20)
The idea here is to take your reference and while it’s in the arrangement section, try tapping down some midi notes along the reference to reproduce notes, percussion or anything else, to hit at the same time.
Project 17 – Combining MIDI and Loops with References
Project 18 – Layering and Texture with References
Project 19 – Advanced Arrangement Techniques with References
Project 20 – Milestone: Advanced Track with References
Building the Basics – Projects 21 to 30
Loops, MIDI, Arrangements, References, and Effects
Round 6: Loops and MIDI with Effects (Projects 21-23)
Project 21 – Loop Manipulation with Delay
Project 22 – MIDI Effects: Arpeggios and Phaser
Project 23 – Effects-Driven Arrangements
Round 8: MIDI Mastery with Effects (Projects 24-26)
Project 24 – MIDI and Reverb for Atmosphere
Project 25 – MIDI and Delay for Texture
Project 26 – MIDI and Flanger for Movement
Round 9: Advanced Arrangements with Effects (Projects 27-29)
Project 27 – Arrangement and Filter Sweeps
Project 28 – Arrangement and Stereo Panning
Project 29 – Milestone: Advanced Track with Effects
Project 30 – Remixing and Effects
These projects will allow students to explore the creative possibilities of effects while further enhancing their skills in loops, MIDI, arrangements, and references. If you have any specific effects or tools you’d like to emphasize in any of these projects, please let me know, and we can tailor them accordingly.
Building the Basics – Projects 31 to 35
Loops, MIDI, Arrangements, References, Effects, and Modulation
Round 10: Modulation Essentials (Projects 31-35)
Project 31 – LFO Modulation on Synth
Project 32 – Envelopes for Dynamic MIDI
Project 33 – Effects and Envelopes for Vocal Processing
Project 34 – Advanced LFO Techniques on Effects
Project 35 – Modulation Showcase and Milestone
Building the Basics – Projects 36 to 40
Loops, MIDI, Arrangements, References, Effects, Modulation, EQ, Filters, and Compression
Round 11: EQ, Filters, and Compression Techniques (Projects 36-40)
Project 36 – Basic EQ for Mix Clarity
Project 37 – Filter Sweeps and Dynamic Filtering
Project 38 – Sidechaining
Project 39 – Parallel Compression for Drums
Project 40 – Mastering with EQ and Compression
Building the Basics – Projects 41 to 45
Loops, MIDI, Arrangements, References, Effects, Modulation, EQ, Filters, Compression, Side-chain Compression, Mixing the Low End, Gates, and Mono
Round 12: Side-Chain Compression, Low-End Mixing, Gates, and Mono (Projects 41-45)
Project 41 – Basic Side-Chain Compression
Project 42 – Mixing the Low End
Project 43 – Alternative Side-Chain Techniques
Project 44 – Gate and Expansion for Drum Control
Project 45 – Mono Compatibility and Stereo Imaging
Getting At Ease – Projects 46 to 55
Loops, MIDI, Arrangements, References, Effects, Modulation, EQ, Filters, Compression, Side-chain Compression, Mixing the Low End, Gates, Mono, Mixing Techniques, Routing, Groups, Buses, and Return Channels
Round 13: Advanced Mixing and Routing (Projects 46-55)
Project 46 – Grouping and Bussing Drums
Project 47 – Parallel Processing Techniques/ Return Channels
Project 48 – Routing and Effects Sends
Project 49 – Mixing Lead Synths and Vocals
Project 50 – Advanced Bus Processing
Project 51 – Return Channels and Reverb
Project 52 – Mixing with Reference Tracks
Project 53 – Effects and Mixing
Project 54 – Vocal Production and Harmonies
Project 55 – Milestone: Mix and Routing in action
Sound Design – Projects 56 to 65
Loops, MIDI, Arrangements, References, Effects, Modulation, EQ, Filters, Compression, Side-chain Compression, Mixing the Low End, Gates, Mono, Mixing Techniques, Routing, Groups, Buses, Return Channels, and Sound Design
Going Modular has been in trend in the last years and the concept got momentum with the arrival of VCV Rack. One of the best way to learn about modular techniques, is to install VCV which is free as a stand alone DAW. I learned more about sound design with it than years studying it.
Round 14: Advanced Sound Design and Modular Concepts (Projects 56-65)
Project 56 – Envelope Follower and Generator
Project 57 – Reset, Trigger, and Gating
Project 58 – Types of Oscillators
Project 59 – Noise Generation and Manipulation
Project 60 – Modulation Techniques
Project 61 – Sound Design with Modular Synths
Project 62 – Advanced Envelope Control
Project 63 – Complex Oscillator Modulation
Project 64 – Creative Noise Techniques
Project 65 – Milestone: Advanced Sound Design
These projects will allow students to explore the fascinating world of sound design, modular concepts, and synthesis techniques, enabling them to craft unique and expressive sonic textures.
Next Level – Projects 66 to 70
Loops, MIDI, Arrangements, References, Effects, Modulation, EQ, Filters, Compression, Side-chain Compression, Mixing the Low End, Gates, Mono, Mixing Techniques, Routing, Groups, Buses, Return Channels, Sound Design, Resampling, Recording, and Voice Manipulation
Round 15: Resampling, Recording, and Voice Manipulation (Projects 66-70)
For these projects, the duration doesn’t matter as long as you can build ideas over a few minutes. From here, try to always have an introduction, middle part and outro.
You’ll want to try to have a hook per song as well as supporting ideas. You know enough from here to be able to create songs and should now put a bit more energy to get them as done as possible.
Project 66 – Creative Resampling Techniques
Project 67 – Field Recording and Sampling
Project 68 – Vocal Recording and Processing
Project 69 – Voice Manipulation and Sampling
Project 70 – Resampled Soundscapes
More Sound Design – Projects 71 to 75
Loops, MIDI, Arrangements, References, Effects, Modulation, EQ, Filters, Compression, Side-chain Compression, Mixing the Low End, Gates, Mono, Mixing Techniques, Routing, Groups, Buses, Return Channels, Sound Design, Resampling, Recording, Voice Manipulation, Reverb, Delays, Resonances, and Granular Synthesis
Round 16: Spatial Effects and Granular Synthesis (Projects 71-75)
Project 71 – Reverb and Space Design
Project 72 – Delay Techniques and Echoes
Project 73 – Resonance Manipulation
Project 74 – Granular Synthesis and Texture
Project 75 – Granular Soundscapes and Milestone
Space, the final frontier – Projects 76 to 80
Loops, MIDI, Arrangements, References, Effects, Modulation, EQ, Filters, Compression, Side-chain Compression, Mixing the Low End, Gates, Mono, Mixing Techniques, Routing, Groups, Buses, Return Channels, Sound Design, Resampling, Recording, Voice Manipulation, Reverb, Delays, Resonances, Granular Synthesis, Panning, Depth, and Spatial Movement
Round 17: Panning, Depth, and Spatial Movement (Projects 76-80)
Project 76 – Panning and Stereo Imaging Basics
Project 77 – Depth and Spatial Effects
Project 78 – Automating Panning and Movement
Project 79 – 3D Audio and Surround Sound
Project 80 – Milestone: Advanced Spatial Design
Mixing fun – Projects 81 to 85
Loops, MIDI, Arrangements, References, Effects, Modulation, EQ, Filters, Compression, Side-chain Compression, Mixing the Low End, Gates, Mono, Mixing Techniques, Routing, Groups, Buses, Return Channels, Sound Design, Resampling, Recording, Voice Manipulation, Reverb, Delays, Resonances, Granular Synthesis, Panning, Depth, Spatial Movement, Transients, and Sustain
Round 18: Transients and Sustain Exercises (Projects 81-85)
Project 81 – Transient Shaping Basics
Project 82 – Sustain Enhancement
Project 83 – Dynamic Transient Effects
Project 84 – Sustain Tailoring
Project 85 – Transients and Sustain Integration
Wrapping up – Projects 86 to 95
Loops, MIDI, Arrangements, References, Effects, Modulation, EQ, Filters, Compression, Side-chain Compression, Mixing the Low End, Gates, Mono, Mixing Techniques, Routing, Groups, Buses, Return Channels, Sound Design, Resampling, Recording, Voice Manipulation, Reverb, Delays, Resonances, Granular Synthesis, Panning, Depth, Spatial Movement, Transients, Sustain, and Pattern Programming
Round 19: Pattern Programming and Articulation (Projects 86-95)
Project 86 – Rhythmic Pattern Articulation
Project 87 – Melodic Phrase Dynamics
Project 88 – Groove and Swing Patterns
Project 89 – Percussive Pattern Precision
Project 90 – Advanced Pattern Programming
Project 91 – Polyrhythmic Explorations
Project 92 – Expressive Arpeggios and Runs
Project 93 – Vocal Phrasing and Expression
Project 94 – Dynamic Pattern Building
Project 95 – Milestone: Pattern Programming and Articulation
Using Ableton to make music with/for you – Projects 96 to 100
Loops, MIDI, Arrangements, References, Effects, Modulation, EQ, Filters, Compression, Side-chain Compression, Mixing the Low End, Gates, Mono, Mixing Techniques, Routing, Groups, Buses, Return Channels, Sound Design, Resampling, Recording, Voice Manipulation, Reverb, Delays, Resonances, Granular Synthesis, Panning, Depth, Spatial Movement, Transients, Sustain, Pattern Programming, and Generative Music
This is my favorite topic of all. I can talk about this forever and also play around with this for hours.
Round 20: Generative Music, Melodies, Probabilities, and Randomness (Projects 96-100)
Project 96 – Introduction to Generative Melodies
Project 97 – Probability-Based Melodic Patterns
Project 98 – Randomness and Melodic Exploration
Project 99 – Generative Harmonies and Chords
Project 100 – Milestone: Generative Music and Final project
– Title: “Final Project”
Congratulation if you went through all the exercises. You should now have a strong basis to know your way into making a song. There are so many topics that could have been covered. If you have any suggestions to add, let me know in the comments.
Upgrading Melodies with Articulation
/in Blog/by pheekIn the diverse and ever-evolving world of electronic music, countless aspiring artists and producers are diving headfirst into the sea of music creation. With technology at their fingertips, creating music has never been more accessible. However, this ease of access can sometimes lead to a contentment with simplicity, especially for those who may not have a traditional background in music theory or composition. Yet, the realm of music, with its deep roots and intricate branches, offers a vast landscape of possibilities waiting to be explored.
It’s no wonder that trained musicians are often overlooking electronic music and will say it’s not “real music.”
I find that what makes an artist sound pro in their melodies compared to someone who start is often related to articulation, which we will cover in this post.
For many, the journey into music production begins with loops – those repeating sections of sound that form the backbone of many electronic tracks. Loops are the building blocks, the starting points from which entire tracks can emerge. But what happens when the novelty of looping fades, and the desire to craft something more complex and personal arises? This is where the concept of articulation comes into play, offering a gateway to elevate a simple loop into a rich tapestry of sound.
(Inside note: At the moment of writing this, Ableton just announced version 12 of Live. Some of the elements mentioned below will be covered in solid ways for that version but since I haven’t tested it yet, I can’t really expand on it yet.)
Articulation in Music to Elevate your ideas
Articulation in music refers to how notes are played or sung, influencing their transition, duration, and overall character. In electronic music, articulation can transform a basic loop into a nuanced and dynamic piece. If we were to compare two extremes, we could put on one side, loopy techno as not very articulate and on the other extreme, an experienced, jazz vocalist.
It is much more than just accent and velocity as many think. Those are just a fraction of what’s possible.
Let’s delve into the different types of articulation and how they can add depth and complexity to your music.
Now, let’s explore how to apply these articulations in digital audio workstations like Ableton and modular environments like VCV Rack.
Examples
Staccato: In Ableton, you can achieve staccato by shortening the length of MIDI notes. You might also use a fast attack and release in an envelope on a synthesizer. There’s a MIDI tool named Note Length that can you can use to modify the duration. Any synths has an ADSR envelope and by playing with the decay/release, you can control the length, making any sound shorter, into staccato.
In VCV Rack, consider using a gate modifier or an envelope generator with a short decay to create sharp, short sounds.
When and why to use: Useful when you want to to introduce movement and a sense a density, in a rhythmical way. Short notes fill a space as well as leaving room for other elements. A good example would be tribal music.
Legato: For legato, ensure that MIDI notes overlap slightly in Ableton, and use a synth with a glide or portamento setting to smoothly transition between notes. When you use a midi clip, there’s an option for Legato that will stretch all notes to their longest option until it meets another note.
In VCV Rack, you can use a longer envelope decay and sustain, with a portamento module for smooth pitch transitions.
When and why to use: This can be good for thick melodies, pads, longer synth notes which create a nice background or the front part of a song.
Accent: In Ableton, you can increase the velocity of specific MIDI notes to create accents. You might also automate volume or use a transient shaper plugin. In VCV Rack, use a velocity sequencer module to modulate the amplitude or filter cutoff for accented notes. I like to pictur
When and why to use: As said, it’s useful in a groove but it can also be a sporadic moment in a song as well to create a sense of dramatic impact with a feel of heavy impact.
Tenuto: Emulate tenuto in Ableton by extending the length of MIDI notes slightly and using a slight increase in velocity. In VCV Rack, a combination of longer gate times and subtle amplitude modulation can help achieve this sustained emphasis.
When and why to use: Little arps do well to bring secondary melodies, enhancing, supporting the main one or simply to add decoration.
Marcato: For marcato, increase the velocity significantly in Ableton, and consider using a sharper attack on your envelope. In VCV Rack, use a combination of high-velocity settings and an envelope generator with a quick attack and a moderate decay.
When and why to use: Snappier attack on a sound makes it a bit more aggressive but is again, another way to induce drama and intensity in a melody.
Fermata: This is more about performance expression. In Ableton, you can extend the length of a note where a fermata occurs and perhaps automate a slight increase in volume or reverb. In VCV Rack, you might manually control the length of a note using a gate or hold module.
When and why to use: That’s an alternative way to bring
Portato: Combine the techniques of staccato and legato. In Ableton, this might mean programming MIDI notes with moderate length and slight overlap, and using a synth with a bit of glide. In VCV Rack, set up an envelope with a moderately fast decay and a bit of sustain, with a slight glide between notes.
Glissando: In Ableton, you can use pitch bend automation or a glide/portamento setting on a synthesizer. In VCV Rack, use a portamento or glide module, and create a sequence where the pitch CV smoothly transitions from one note to another.
Trill: In Ableton, program rapid alternation between two MIDI notes. You might also use an arpeggiator set to a high rate. In VCV Rack, use a fast LFO or a sequencer to alternate between two pitches rapidly.
Exercises and Applications
By incorporating these articulations into your music production, even the simplest loops can blossom into complex, emotive
Reverse Engeneering Sounds
/in Blog/by pheekEvery now and then, you might be like me and stubble on a song that either wow or confuse you for the different sounds it has or for a particular effect. You might be spending a few hours or days listening back to the song wondering how it was done, perhaps search online. But then you face your first limitation: your vocabulary. Yes, that part of yourself that hear a specific sound, might not know exactly how to name it. Then, this creates a gap in how you can explain it to someone or search for its nature, through search engines. In my case, I’m lucking enough to know enough about sound processing to be able to name it and so many times, someone booked me for an hour to ask me about a specific sound but then felt disappointed that I explained it in less than 2 minutes. I swear this happens a lot. But then I see them feeling a relief that what they thought impossible becomes something they can now add to their song in the making.
The first rule of audio reverse engineering is to be curious and open. But also, persistent and patient.
The second is to not be afraid to ask for help.
The third is to understand that it often takes 9 fails (in average) to succeed (the 10:1 ratio).
That said, It took me a while but I compiled how I work when I try to reverse engineer sounds so that you can consider this as a way of understanding more how you work. The more you understand sounds, the more control you’ll have over your own sound design.
Understanding the Sound
As simple as this sound, understand the sound starts with paying attention, isolating a moment within a song and be able to name which family it belongs to. In terms of families, there are a few that I use, which are related in how I label sounds (or how most online sample stores as Splice or Loopcloud use).
Drums: kicks, snare, hats, claps, toms, cymbals, breaks, fills, acoustic. These can be electronic based or acoustic. You’d see them on drum machines quite often.
Percussion: Shakers, conga, tambourine, bongos, djembe, bells. This is mostly the large amount of world traditional percussion related sounds.
Synths: Pads, stabs, chords, leads, arp, analog, fx, plucks. Basically, the sounds are the results of synthesis from a synth through sound design.
Vocal: All the types you can imagine and think of, that aren’t synthesis related.
Effects: Noise, risers, sweeps, impact, textures, atmosphere, field recordings. In general, they don’t really have a tone/recognizable root key but they might have one.
Brass/Woodwind: Sax, trumpet, trombone, flute, harmonica. Wind based instruments, mostly not synthesis related.
Guitar: Electric, clean, acoustic, distorted, riff.
Keys: piano, electric piano, wurtlizer, organ, classic, organ. Anything sounding close to a piano.
Bass: Sub, acoustic, analog, synth, wobble, saw, distorted, acid. Anything mid-low or low in frequencies.
Strings: Violin, cello, orchestral, staccato.
Some family overlaps, especially in electronic music, as many of the sounds can be created with a synth in one way or another but to name the base, perceived family is usually where it all starts.
Listening Carefully: The audio engineer will first listen to the sound repeatedly to understand its characteristics. This includes identifying the pitch, timbre, duration, and envelope (attack, decay, sustain, and release phases) of the sound.
Once you have the family, you need to define it’s nature through these characteristics. These will be helpful to either recreate or modify a specific sound. Whenever you start by designing a sound, these elements are the basis of where you start.
Example: Simply zoom on the isolated sound to start with can reveal some of those details: duration and envelope are very clear.
In this example, we see this sound has a fast attack, pretty high decay and sustain but super short release (as there are no tail).
This sound also has a fast attach and a high decay, the sustain is fairly short and it seems the release is mid point. We see there is some sort of texture on the sound as there’s some noisy looking texture that stretches. This could mean that this sound was made by adding a layer to the original sound design.
Spectral Analysis: Using spectral analysis tools, the engineer can visually inspect the frequencies present in the sound. This helps in understanding the balance of fundamental frequencies and overtones.
In this example, the sound has a root key of C1 that is this huge bump in the low end area. After that bump, we see the complexity of the harmonics and overtones.
Understanding the overtones and harmonics is a strong indication of the content of the sound. It’s also telling us that this sound isn’t filtered. If it is, it might be in parallel otherwise we wouldn’t see the harmonics going up all the way there. If you don’t have a good one, I’d recommend getting the free SPAN.
Replicating the Sound
Identifying the Source: The engineer tries to determine the source of the sound. Is it a natural sound, a synthetic sound from a synthesizer, or perhaps a processed sound with effects?
This is where it gets complicated, especially if you’re new to sound design. Whenever I teach sound design, I encourage people to spend some time testing different oscillators and synthesis method. Each companies who build synths also work on having a particular sound and sometimes it’s just not possible to find out what it is. So the best attitude possible at first is to remain open and to try multiple iterations. But it won’t be possible to understand the sound if you haven’t exposed yourself to many of them. Spending a lot of time playing with various synths, emulations and checking online demos of synths can be a very essential activity to train your ears.
Using an oscilloscope is also super useful to “see” the sound if the wave form wasn’t clear enough from the file itself.
Consider foleys! This type of sound is what you see with sound artists that create the effects for movies by manipulating items in order to create a new sound. Perhaps you could be creative and use items in your kitchen to recreate the sound or even with your mouth, try to “say” or imitate the sound in order to see how it sounds like. Maybe you’ll feel silly but it can be pretty interesting in the end.
Synthesis: If the sound is synthetic, the engineer may use synthesizers to recreate it. This involves selecting the appropriate waveform (sine, square, triangle, sawtooth), setting the envelopes, and modulating the sound using LFOs (Low-Frequency Oscillators) and filters.
We saw on this blog that LFOs and envelopes are related to movement in sound so once your have worked on finding the possible sound source, the next is to hear the movement in it. This will let you know how to organize your movement settings.
One of the most useful and powerful tool you can use for modulation is Shaperbox. It has all the different tools for modulation. It has provided me a lot of insight on modulation and sound just by playing with it so it is not just useful for sound design, it is also educational.
Sampling: If the sound is natural or too complex to synthesize from scratch, the engineer might resort to sampling. This involves recording the sound, if possible, or finding a similar sound and then manipulating it to match the original.
Sometimes sampling the sound you want to replicate and play with it within a sampler can reveal details that you initially missed.
Processing the Sound
It’s rare that a sound as is gets our attention. It often is the case that it will have a color. We can process the sound by adding some effects that can twist the phase or open up the spectrum.
Effects Chain: The engineer will then use an array of effects to process the sound. Common tools include equalization (EQ) to adjust frequency balances, compression to manage dynamics, reverb and delay for space and depth, and possibly distortion or saturation for character.
Handy tools are multi-effect tools. Lifeline is one fun effect that can drastically or subtly alter the dull sound into a new one.
Layering Sounds: Often, the desired sound is a combination of several layers. The engineer might blend multiple sounds together to create a complex sound.
When it comes to layering, I like to use the arrangement side of Ableton to do it. You can also use an envelope follower to use the envelope of your desired target and apply it to the sound layers you’re working on. When layering, EQs and filters are your best assets.
Iterative Tweaking
A/B Testing: Throughout the process, the engineer will frequently compare their recreated sound to the original (A/B testing), making small adjustments to get closer to the desired outcome.
Some useful tool to understand the composition of the sound can also be an oscilloscope. Melda has one here for you for free otherwise, again in Shaperbox, you can find one which is very useful to have hands on the design.
Resampling over and over: The engineer might create “feedback loops”, where the processed sound is re-recorded into the system and processed again for more complex effects. What we mean here is not a literal feedback loop which is pretty hard on the ear but more of a resampling of a resampling into something new. This approach is a good way to hunt down variations of what you work on and go further down the rabbit hole of variations.
Final Comparison and Tweaking
After doing A/B testing for a while, you should at some point closer to the target in mind. One thing in mind as for searching for your ideal replication is to come up with something close and also be open to variations to it. Save as many presets as possible by turning multiple effects into a macro. You want to be able to recall your processing into future sounds and if you applied some processing, that is “make-up” that you can apply to other sounds of yours, which will open a new array of possibilities.
Fine-Tuning: Even once the sound seems close to the original, additional fine-tuning is often necessary to capture the nuances that make the sound unique. Sometimes that means to swap some effects (swap reverb X with another) to get subtle new outcomes. Even a musical EQ can change the identity in a little way. A lot of the best outcome is the sum of multiple tiny tweaks.
Environment Matching: The engineer also considers the environment in which the sound will be used. A sound in isolation might seem perfect but could require adjustments to fit into a mix or to match the acoustics of a particular space. Using a convolution reverb can be giving an idea what the sound could be like elsewhere.
Reverse-engineering a sound is as much an art as it is a science. Audio engineers need to have a keen ear, a deep understanding of audio synthesis and signal processing, and patience to iterate until the sound matches their goal. It’s a challenging but highly rewarding process that often leads to the creation of innovative sounds and effects.
Pheek’s Guide To Making Dub Techno
/in Production, Sound Design/by pheekI think making Dub Techno is one of the most requested blog posts I have been asked to do, and for years, I resisted it. I think there was some sort of shyness and perhaps, a lack of technical vocabulary on where to begin when teaching others how to make Dub Techno. But I think it’s time to take a chance and open up on all the ideas I compiled about my beloved Dub Techno direction.
This post won’t necessarily explain how to do the typical dub techno. While I’ll cover some of the most asked questions about it, I want to expand on the philosophy and aesthetic itself so you can take the best part of it and merge it into how you work.
Origins of Dub Techno
Before we get into how to make dub techno, it’s very important to me to honor the artists who were behind the genre and to talk about where the genre started. For this, there are some nice videos by Dub Monitor. There are these 2 videos that explain the origins of dub techno better than I could about how the genre started and how it developed.
Dub techno is a subgenre that emerged from the fusion of two influential musical styles: dub and techno. Dub music itself has its origins in Jamaica in the late 1960s, with pioneers like King Tubby and Lee “Scratch” Perry. Dub music is characterized by its heavy use of effects, echo, reverb, and the manipulation of existing tracks, often stripping away vocals to emphasize the rhythm and instrumental elements.
The Techno Connection: Techno, on the other hand, had its beginnings in Detroit in the early 1980s, with artists like Juan Atkins, Derrick May, and Kevin Saunderson. Techno is known for its repetitive beats, synthetic sounds, and a futuristic, often industrial, aesthetic.
The Emergence of Dub Techno: Dub techno began to take shape in the early 1990s when electronic musicians started experimenting with the fusion of dub’s spacious and echo-laden soundscapes with the rhythmic patterns and synthetic textures of techno, thus making dub techno. The result was a genre that retained the hypnotic beats of techno but incorporated the atmospheric and dub-infused elements.
Basic characteristics to consider while making dub techno: Dub techno is characterized by a few key elements:
Notable Pioneers: Some of the early pioneers of dub techno include Basic Channel, a German duo consisting of Moritz von Oswald and Mark Ernestus, and their various aliases like Maurizio and Quadrant. These artists were instrumental in shaping the genre and creating its distinctive sound.
Global Influence: Dub techno’s influence quickly spread beyond Germany, with artists and labels from around the world embracing the genre. Labels like Chain Reaction and Echocord played a significant role in promoting the making of dub techno, and artists from countries like Sweden, Finland, and Japan contributed to its global appeal.
Obsessing on the “How-To” While Making Dub Techno
Over the last 25 years, I’ve come upon multiple and countless discussions online about how the genre is made. People would discuss what piece of equipment was used and be obsessed with recreating the original sound. While this is a state of mind that I totally get – because I also get obsessed about how certain sounds are made – I can’t help myself asking why would you want to redo the exact same results. In a way, it explains why the genre never died in the last decades. There are always people who keep making dub techno.
I think there are a few motivations to join the sound of dub techno. On one side I see it as a self-soothing experience and on the other, by passion, to join others who also make it.
But my take is that people are puzzled about how something that sounds so simple can actually be so mind-boggling to do.
The Main Aspects Of Making Dub Techno
I’d like to cover multiple techniques and strategies to infuse your music with the dub techno approach while also making sure we apply certain tweaks that can make your music have a similar aesthetic.
The first thing to explain is that there are 3 main categories to consider while making dub techno:
Dub techno has its own touch and sound which will be explored below.
Dub Techno sound design
One of the main characteristics of dub techno comes from the pads and stabs that are fuzzy, melancholic, and enigmatic. In itself, those pads aren’t necessarily that complex to do. I found numerous tutorials on YouTube and have 3 of the ones I prefer. I find they’re well explained and show in similar ways, how to reproduce them.
How To Make Dub Techno Chords
As you see in those tutorials, the way the synth is configured, is rather simple – it’s usually one chord that repeats, but it has specific modulation and color, as I explained earlier. Once you start experimenting with this pad, you’ll already be in business and have the basis for making dub techno.
But honestly, when I found out how to do it, I thought it would make more sense to be inspired by those techniques but to go a bit deeper into the sound design.
In my past dub albums Tones of Void, Intra, and White Raven, I basically used a bunch of synths but kept them very dark in tone (eg. lower notes around 1-3 octaves) with not too many harmonics (eg. filtered). Once you understand that any synths can do that, you won’t be limited to the classic sound of dub techno.
How to make dub techno melodies
When it comes to melody-making, there are multiple approaches. There’s the classic one note (yes, one note) from the old school dub techno (Basic Channel, Chain Reaction) and there is also a more structured approach (Pablo Bolivar, Yagya), almost pop-oriented dub techno. Both work but the harmonic nature of the melodies are often in a minor key, with the root key of D being often a popular choice.
How to make dub techno bass
While making dub techno, bass is often, also very simple, with it being than often than not a one-note thing. Simply using sine oscillators and pushing them forward in the mix will often be the aesthetic of dub.
Dub Techno synth options
As we saw in the 3 videos, dub can easily be created in any context with any soft synth. Over the years, I have tried and tested many of them. While the native plugins of Ableton can do the job, VCV has been my playground but it’s not for everyone even if it’s free and there are so many tutorials out there. Here are some of the soft synths people love.
Once you pick your aesthetic, you can apply the concept to any synths you have.
What you need is to create and amplify your harmonics with saturation (tube and tape do great), then have a colored filter and sent to delay and reverb for cosmetics. This means that if you have any synth of yours, you can make it dirty with a saturation and then filter it. The reverb will then do the trick.
What will make a difference is to juggle with the most genres of saturation: distortion, amp and saturation itself. Using a combination of the 3 will bring really lovely colours but be careful not to overcook your sounds. Keep in mind that in mastering, it will be boosted so what sounds like a pleasant distortion can become overwhelming later on.
Some of my saturation go-tos are below.
Saturation plugins used in making dub techno
Reverb plugins for dub techno
While Ableton’s reverbs option can do the job, I always rely on third-party VST for that part. It’s hard not to mention Valhalla plugins for this. The Supermassive is free and the Digital Reverb is sort of a perfect match for dub. If you have to pick, I would recommend experimenting with “plate” models and some use of a “hall” as well for sustained notes.
Whatever you do, to me, Dub Techno really starts with a heavy use of reverb, which has to be modulated, filtered, and distorted. Understanding how to use your reverb and combining it with a delay will ensure that you have a proper dub mood. If you pick the reverb properly, you almost could say that you have 50% of your job done. The rest are the sum of a lot of details but when you have your reverb done right, you’ll automatically feel you’re making dub.
Anyone who knows me has heard my affectionate passion for reverbs. I compiled some of my favorites for Dub Techno.
The saturation tools native to Ableton aren’t too bad but can be recognizable easily by an educated ear.
Now reverbs for dub are essential but you’ll need delays as well. You can either use long delays or short. There’s no right or wrong but the use of delays helps you take very simple sounds and create repetition, which transforms the straight-forward pattern into psychedelic equations. Delays, combined with reverb, create a thick background and will make any sound – which feel empty at first – fill with a velvety, dreamy carpet. I think for a lot of fans of the genre, it’s a quality they’re after.
Echo and Hybrid Reverb in Ableton. They can do a long run if you don’t want to break your piggy bank.
Additional plugins for making dub techno (delays, pitch modulators, etc).
Modulation in dub techno
If you just take any synth sounds and send it to your effect chains, you have done the first step but it won’t be complete until you make it move, react, and evolve into modulations. There is a lot to take in in this section because this is also one of the most discussed topics in my blog – I have covered it inside out already but you now know why, because Dub Techno is all about modulations. Once you dip your toe in those waters, you’ll become excited about it and apply it everywhere.
If you watched those tutorials on how they make the dub pads and chords, you’ll see that they use modulation on the filter. There is both use of an envelope and LFO to modulate the frequency of the filter but also its resonance. That’s just the tip of the iceberg to me. If there is a parameter on a plugin, I like to think that it shouldn’t remain static and have it move, even a little bit.
But of course, a lot of this can be handled by my favorite “Swiss army knife”, Shaperbox which is designed for modulation on all levels. A must-have.
When to use envelopes and LFOs when making dub techno
Well, if it’s a modulation that is reacting to an incoming signal such as when a sound comes in, I want the filter to react, then you’ll use an envelope. That kind of modulation is excellent for accentuating or attenuating sounds, creating a more organic feel to the processed sound.
If you want constant movement, LFOs are excellent for that. They just move to the tempo or not. They give the illusion that things are constantly on the go and help blur the lines of linear arrangements.
There’s one precious bundle that I love from Make Noiss that has so many little tools, perfect for modulation and midi signal processing. Not to forget my friends at Manifest Audio and their large array of max patches as well that are perfect for modulation but they also curated many racks for dub.
The 3 Amigos are here to turn a static idea into an animated figure.
Colours of Dub Techno
I know you might be confused by colour here as we discussed of saturation as a form of colour but this is the last touch. The colours here are from different sources else than saturation and also, very complementary. What I’m referring to are the effects of the chorus, phaser, flanger, tremolo, vibrato, auto-pan, harmonizer, wobbler, and also, one of the most important parts which is the hiss. Apart from that last one, all those effects are often heavily used in dub and it’s quite a nice touch to pick one or 2 on your sounds.
These guys are a lot of fun and sound pretty lovely.
Chorus, phaser, and vibrato
Chorus, phaser, and vibrato work really well with synths, pads, stabs, and chords. They give this engaging, trippy, stereo effect that quite often, makes a dull sound jump out of the mix. Keep an eye to make sure you don’t get phasing issues which would be an overuse of one of those effects. Phasing is quite common in dub and I often fix those issues in mastering. It’s better to control it when decorating your mix.
Flanger
Flanger gives this jet-sound feel to anything. It brings pfshhh sound to metallic or noisy sounds and can be quite psychedelic if used at a low level. I like it on hats and delays.
Tremolo
Tremolos are sort of a secret sauce that everyone underuses. It’s basically a slow or fast modulation of the amplitude of a sound. It is a superb tool for creating 3D feel where you feel sounds go away from you and come back. It turns anything linear into a lively, feeling motion. At a faster speed, it can even be used as a swing/velocity for percussion. Combine it with an auto-pan and you have head spinning spaced out moments.
The hiss part is quite important as well. The noise floor is something deep in the DNA of dub. There are multiple noise makers. You can dig the internet for noise sources, recordings or noise-making tools (RC-20). Satin has a nice hiss that you can use as well.
Conclusion
Making dub techno should be a playground of experimentation. It’s a genre that I approach with a very open mind and so do many other fans as well. While often people feel like they’re just repeating the clichés and perhaps nothing new comes out of it, then I’d say, dig deeper. There are some gems from people who push the boundaries of the genre.
Lessons I Learnt From Hosting A Music Producer’s Retreat
/in Blog, Production/by pheekI don’t know about you but when you’re passionate about music, it’s both a blessing and a curse. In one way, it occupies a lot of space mentally and can become a bit obsessive, while it also creates this need to connect with others about it (so you know you’re not crazy). If I look at how things are at the moment, to connect and meet other musicians in the real world, we face limitations on where you can come across them. Perhaps you can meet them in a café, or a record store, but it’s not a sure thing. Realistically speaking, you’ll depend on clubs and festivals to have most music-oriented discussions.
But let’s be real here, the options are limited. Raves and clubs are fun but they’re also recess time where having a chat might be distorted by the loud music, noisy atmosphere, and perhaps distorted by mind-altering substances.
There was a time where I had the chance to have access to a rich community in Montreal, way before social media, where we would hang out after events (not after-parties) to make a meal and talk. We would do studio sessions, collaborate, and share tips. Nowadays, it’s still possible and while social media can give you access to anyone, it won’t assure you that you’ll be able to connect properly afterwards.
The idea of making retreats came to a friend named Fred and I, years ago, where we wanted to leave the city with friends and do a weekend of intense music immersion. We did 2 events and they were successful. We had to stop because of the pandemic but since I moved to the countryside, it became clear to me that I had to continue doing them, but in my home. The idea was to give access to my house, have people stay for a weekend, give workshops, share, discover friends’ music, and see where that leads us to.
I learned a lot in the last two retreats I did and I’d like to share some insights but also, some tips if you want to organize one with your friends.
Why make a music producer’s retreat?
There are multiple reasons why one would want to make one. The first is to escape your routine and immerse yourself in a connection with your music, allowing you to start projects and/or finish them. I would say that people who come to the retreat will mostly be motivated to be in a space where others work on music. It’s not alien to say that if you’re surrounded by other people making music, it gives you an inner boost to do the same.
Collaborating and discovering music are also other reasons to throw a retreat.
But whatever you choose to do, I remind participants that there is no right or wrong way to do it. There’s also the option to not do much else than just being around people. However, if you use your time, it will have an impact later on.
The Loneliness of the Musician
It’s not new, but being alone in the studio is often a hard situation. There’s something frustrating about discovering new ideas but having no one around to hear it or validate it. Modern electronic musicians often go towards that genre because they can be a one-man band as you can get to results quickly but this means that success, or failures, will also be lived alone. Having fellow friends and a community is important to go far in the long run as your network will introduce you to new ideas and opportunities, and spending time in a place over a weekend, sharing fun moments, food, and discussions is a great way to build a community.
Technical validation and diversity
Being around other musicians brings the opportunity to see how they work, what tools they use, and which plugins solve certain issues. It’s also a moment where gear can be shared, and you can see how each person handles it, giving it a new perspective.
No one is the beholder of new techniques and there is nothing done that isn’t already known. Pretty much anything and everything is covered online, either in a blog, forum, or simply on YouTube. Holding on to how you work, in my opinion, reveals a good dose of anxiety and insecurity. There is this explanation that keeping secrets to keep your mysterious image is a thing, to which I say that it just takes a few audio engineers to reverse the knowledge. The only thing that no one can take away from you is your soul, your identity. Tools and techniques are simply there for that part of yourself to express itself. The more you open up to others, share what you know, and create dialogs, you’ll be rewarded by meeting like-minded people who will consolidate what you know with ideas you didn’t think about… because you were self-centered.
That said, people around me during a retreat are always a bit surprised and happy to find out that I have no secrets, and the only thing I want is to see others succeed. The teaching mindset goes beyond immediate success; I want to plant seeds in people’s minds to see what will emerge later. There have been so many times when people that I have coached have come back to me later on with ideas that inspired me while I struggled with writer’s block.
The Impact on Creativity
One thing I noticed with people attending is how a sense of flow emerges by the last day. Flow is a mental state where people get into a zone where they create freely and where everything falls in place; where technical limitations seem to disappear and of course, lots of fun happens.
This flow state seems like the ideal way to create. While a continuous flow state may be too good to be true, if we can reach that state once in a while, it is, to me, one of the real goals of the retreat. Because once you experience that state and how you got there, you know you can bring back with you, this way of being as a musician.
Offering workshops is then a gentle push to unlock frustrations. I make sure these workshops are aligned with the technical level of the participants where I can offer tips on what they struggle with.
While we often search for big impacts to feel we have changed as an artist, I notice that the sum of many little tweaks provides more long-lasting results.
Where to organize a music producer’s retreat
Any location could technically work to host a music producer’s retreat, but I would stress the importance of it being at least 1 hour away from home and ideally, in the countryside. There are many benefits from being able to take a break, go outside for a walk, and step back from anything that is too human-influenced (roads, concrete, asphalt, buildings, etc). In my case, I’m in the countryside with lots of land where we can easily walk for an hour before you get to see most of it. It’s like a big park, more or less, but wild and open. Sure, you can record sounds, but one of the important parts is to be able to breathe fresh air.
One option is to rent a cabin with friends. I would encourage you to have people who are in the same mindset as you. You can then have a space for music making and another for eating, and relaxing.
Space is important and having a place where you feel comfortable and inspired is crucial for the ambience.
Intention and commitment while at a music producer’s retreat
It’s easy to get this part wrong but it is probably the most important. One thing we clarify with this retreat is that it’s not a space and time to party. This is something accessible in other ways and the retreat is a commitment to get things done. Therefore, we have this no alcohol policy as well as a curfew at a certain time. Not only did I have no resistance from attendees, but everyone was extremely happy we did this once the weekend was over.
At the opening of the weekend, we had a meal where we all discussed our needs, our goals, and things we would like to do. As everyone talked, I noticed that there was some shyness at first but as we had multiple talks over the meals, by the end of the weekend, people were more and more open to sharing insights, struggles, or exciting finds. We all have the same difficulties in the end, which is why if one opens up, others will relate and follow suit.
Unexpected wins
To finish this post, I have learned that working on a song over the weekend isn’t the most ideal approach, I believe. I think there is much more to gain by trying to organize all your songs, macros, and presets and update all of those sleeping tunes in your backup drive. Being curious, trying new techniques, and facing some parts of music-making that are challenging are some of the best things to be in a context where you are supported.
Topics that were very useful and that participants enjoyed:
Testimonials from Participants: Let’s hear directly from those who’ve attended:
Turning Efficiency Into Art With Ableton Templates
/in Blog, Production/by pheekDOWNLOAD MY ABLETON TEMPLATES:
Production template here
Mixing template here.
Every musician, regardless of their experience level, has felt the excitement of sudden inspiration. It’s an ethereal sensation, demanding immediate translation into audible reality. Yet, how often do we find ourselves navigating from scratch through our Digital Audio Workstation (DAW), struggling to set up the basics when all we want to do is create?
Here, the power of templates in DAWs like Ableton Live becomes apparent.
If you haven’t started using templates, I would like to encourage you to do adopt them into your routine. At first, this might be difficult to master, but with some practice, this routine will pay off.
So, what’s a template (if you aren’t familiar)?
It is a project with or without material, that can be used as a starting point. Instead of starting with a new project, which would be 0% in a scale of work out of 100%, a template would be more like 10% or even 40% towards the completed piece of music. This may be confusing because 40% done usually means having a lot of material in a project. However, when everything is organized properly, you are way farther ahead than you imagine.
Creating an Ableton template
To create a template, all you have to do is open a project, go to the File Menu, and select “Save As Template.”
This will allow you to have your finished project as a starting point to start new projects, vastly speeding up the process and giving you a consistent sound.
Two ways to organize an Ableton template:
Two ways I usually organize a template is to either create a project where I organize in advance everything I need like channels with plugins and settings already set to what I usually do, macros, return channels, and master bus ready. Once this is all prepared, I save it as a template.
The other way is to take a successful project, remove all clips, audio, and automation, and then save it as a template.
However, this isn’t an exact science. It’s also fun to save projects with automations and or other weird settings and save it as a template, as inspired by Matthew Herbert Manifesto.
Starting Fresh vs. Jump-Starting with Ableton Templates
There are pros and cons when staring fresh vs jump starting a project with template.
Many musicians will start fresh every time, perhaps because they don’t know about the idea of using templates or perhaps because they just know that way. Starting fresh offers valuable practice, fostering familiarity with their DAW tools, and enabling a tailored approach to every project. However, there’s a flip side: it’s time-consuming.
Imagine being a painter and having to craft your brush every time you felt the urge to paint. While understanding your tools is essential, it’s equally crucial to be ready when inspiration strikes.
By all means, start fresh when the situation permits. But also arm yourself with templates to expedite the process when needed.
Template Idea: Create a project where you add multiple midi channels with each armed with your favourite synths. For each synth, hit cmd+G to turn it into a macro (Group) and map your favourite synth parameters to each knobs. This will ease hands-on control or hit randomize for some new inspiration.
TIP: I would encourage you to grab this selection of free modulators named Mod Squad 2. This has so many useful, essential tools to add to your template.
Ableton Templates: More Than Just a Shortcut
At first glance, a template might seem like just a preset, a way to save time. But there’s no problem with presets and trust me, it is not cheating!
While templates are certainly is a time-saver, it’s actually much more. Think of a template as a supporting musician friend, always ready to jam when you are. With templates, you can:
Ableton Template Idea: Create your own mixing template by creating 5 groups that will host your project’s channels. You can then drag and drop them in each groups. Those can have multiple plugins of your choice. You can even create a mixing template with multiple channel presets and then you can drag and drop them from your browser.
The Art of Crafting Abelton Templates
It’s not just about having templates but about having effective templates. An ideal template should inspire creativity, not box it. Here’s how:
When Ableton Templates Truly Shine
The true test of a template’s efficacy is in its ability to enhance creativity. If using a template feels like you’ve brought an extra pair of hands into your studio, aiding and elevating your music, then you’ve hit the sweet spot. It’s not about replacing the organic process of music creation but about having tools that streamline it.
In the world of digital music production, where the landscape is vast and the tools are many, templates emerge as a beacon of efficiency. They are not just about speeding up the process but about enhancing the very essence of creativity. They ensure that when inspiration strikes, you’re not just ready but equipped to let your ideas soar. Embrace the power of templates, and watch as your music production process transforms from mere creation to pure artistry.
DOWNLOAD MY ABLETON TEMPLATES:
Production template here
Mixing template here.
Crafting Club-Ready Tracks
/in Blog/by pheekIt’s no secret that I’m an engineer for mostly electronic musicians but whoever comes to me for mastering, one of my main task is to make sure their music sound solid in club/festival context. In the last years, it’s been impressive how bedroom producers, not just pros, will have their music played in a context where the music is loud. This is due to the rising number of people who turns themselves into DJs and then this opens door to play in a local pub, party or club.
But it’s the same for producers. There’s been more and more people making music and for a lot of them, their hopes is to be played by DJs, not just in a podcast, but in moment where it can be heard by more than a handful of people. That becomes a test of the quality of their production and mixing.
But it can also be falling flat if the track isn’t following some basic standards.
I’ve been asked to go through a checklist of points that can help anyone to avoid feeling frustrated with their music.
1. Tone: The Foundation of Sound
When preparing music for clubs, tone is paramount. Many producers overemphasize certain frequencies because it sounds good at home, leading to mixes that are either too shrill or too muddy. Having the wrong music references, not understanding that all clubs are different can lead artists to pick some bad decisions.
Aim for a more balanced, flatter tone.
While there’s room for experimentation, avoid excessive highs, which can sound harsh, and overly pronounced lows, which can leave your track sounding hollow or muddy. A balanced tone ensures your track will work across various sound systems and club environments. This would apply to home listening as well.
TIP: I love to put an EQ on the master bus to see the tone of my track. If it tends to have one section higher than the rest, that is not always a good sign. If there are some peaks over 10k, this can be pretty harsh on a big sound system. If your low end is louder than your mids, by more than 4dB, you can expect your song to lack presence in a club. The melodies will sound behind.
2. Loudness and Density: Power Without Overpowering
Loudness is undeniably crucial in a club setting, but it’s a balance as well as a double-edge sword. While ensuring your track has punch, remember DJs need some wiggle room for gain staging during transitions. The goal isn’t just about raw volume, but rather the density within specific frequency areas, especially the low end. While a track that’s slightly quieter isn’t an issue, it should have the right energy and weight in crucial frequency areas.
DJs should know how to do gain staging. When they complain the track isn’t loud enough because they had to turn the gain up, I’d suspect that they might know that this is absolutely normal to have differences. Tracks that aren’t as loud will have more dynamic range, giving the track more details, punch and ultimately, life.
To reach a certain loudness level, the mix will need gain staging done right and then, in mastering, compress and limit more. Loud music means sounds bleed into one another.
TIP: After years and years of mastering, playing and attending, I find that -10LUFS is sort of the ultimate sweet spot. Some will argue that music should be louder but I believe not.
3. Mono Signal: The Unsung Hero in Club Tracks
While stereo spread adds richness and dimension to tracks on headphones or home systems, the mono signal is a powerhouse in a club setting. Songs that rely too heavily on stereo spread without considering their mono compatibility often lose potency on club systems. Prioritize the main elements in your mix to be mono-compatible, ensuring they drive the track without muddying the sound.
Sounds that should have some presence in the mono signal: Kick, Bass, clap/snare and melodic content between 200 and 800hz.
TIP: Create a return channel, add a utility plugin set to mono and then send your different sounds towards that channel. This will solidify your mono signal as you’re either doubling or enhancing your sounds’ presence.
4. Resonances: Subtle Saboteurs
High resonances can wreak havoc when played on large sound systems, turning subtle tones into screeching sounds. I often say that as a mastering engineer, I hunt those. Resonances can come from various sources such as resonance on a filter or the use of sine waves. I won’t get into details about what they are exactly but they’re sort of the type of sound, just like distortion, that sort of sound amazing at the right dose.
It’s vital to control and tame these, ensuring that your track remains pleasant and consistent across various volume levels and systems.
I’d add in parallel to this, as a 4-B, transients. Those are also to be careful with.
TIP: Using an EQ, you might want to tame the resonances but if you can’t spot them because this concept is not easy for you, don’t hesitate to start by putting in solo each sound and find the ones that have a “eeee” sound in it (it can be pitched high or low). We often find resonances into synths, because they often have either a sine wave oscillator or a filter with resonance.
5. Clarity: Space is the Place
Every sound in your mix should have its designated space, both in the stereo field and in the frequency spectrum. Overcrowding with prolonged decays or excessive reverb leads to a soupy, unclear mix. By ensuring that each element has room to breathe, your track will retain punch, definition, and that coveted dance floor energy.
TIP: Gating is your best ally in mixing. You can remove tails and reduce the decay of sounds with it which helps much.
6. Phasing: The Silent Song-Wrecker
Phasing issues can lead to essential elements of your track disappearing, especially during mono playback. This phenomenon is exacerbated by phase-inducing effects like flangers, phasers, chorus, delays, and reverbs. By understanding and addressing phasing, you ensure that your song’s core elements remain consistent across all playback scenarios.
A good way to find out if one sound is phasing in your project is by using a Correlation Meter such as SPAN (it’s free!). You’ll see this moving meter and basically, you want it to stay from 0 to +1. If it goes into negative, you’ll have phasing. Another way is to put a mono utility on your sound to see if it loses a lot of power or disappear completely.
TIP: How to fix is a bit tricky but you can start by lowering the stereo width, remove effects or make them drier.
7. Low-End Clarity: Making Your Bass Dance
The relationship between your kick and bass is akin to a dance. These elements should groove seamlessly, complementing rather than conflicting with each other. Using techniques like gating or side-chaining can ensure that these foundational elements coexist harmoniously, driving the rhythm without muddying the mix.
In the recent years, I have been enjoying shorter kicks beyond long powerful ones. There’s too many issues with using long kicks and in a club, they eat up too much space to be interesting enough. Short kicks support well a song and leaves you plenty of space for lower notes of a bass.
Rumbles, depending of the genre you’re making, might be a problem. You might have a DC Offset as well so I would highly recommend cutting (highpassing) at 20hz to block the garbage down there. Most clubs but at 30hz anyway but cutting at 20 is a good safeguard and will also provide some headroom for your mix.
Align the phase of your kick and bass! Simple trick that does a good little difference in some cases.
TIP: For people that heavily rely on side-chaining for making both work, I always say that arrangements are the root of mixing. In other words, if you program/design your kick and bass properly at the beginning, then it will be cleaner and you won’t have to fix it with gizmos.
Club environments pose unique challenges for electronic music producers. By taking into account these seven pivotal factors, you can ensure your tracks not only sound great in the studio but also shine on the dance floor. Remember, a club-ready track is a synergy of balance, clarity, and energy. Aim for these, and you’ll have club-goers moving to your beat in no time.
Arpeggios Technical Dive
/in Production/by pheekIn the vast world of music, arpeggios have served as an integral element in composition, bridging the gap between harmony and melody. By understanding its roots, one can appreciate its profound effect on modern electronic music.
Origins of Arpeggios
An arpeggio, derived from the Italian word “arpeggiare,” which means “to play on a harp,” refers to the playing of individual notes of a chord consecutively rather than simultaneously. Historically, arpeggios have roots in classical music. Classical guitarists, pianists, and harpists frequently employ them to express chord progressions melodically.
Functionally, an arpeggio can convey the essence of a chord while providing movement. It serves as a bridge between harmony, where notes are sounded simultaneously, and melody, where notes are played sequentially. This bridging effect imparts a richer texture to compositions, allowing for a smoother transition between harmonic and melodic sections.
Arpeggios in Electronic Music
With the evolution of electronic music, arpeggios found a new platform for exploration. When synths started to be commercialized, they more than often included an internal arpeggiator. Even smaller options like Casios had some simple one. Synthesizers, with their ability to shape and modulate sound, provided the perfect tool to push the boundaries of traditional arpeggios.
For many people, when musicians would first test a synth, they would at one point test the arpeggiator. In the 70’s until the 90’s, electronic music had more than often, some arpeggiation used. It could be for the bass or for the main hook.
The Impact on Electronic Music
Arpeggios in electronic music often lend rhythmic drive and melodic structure, especially in genres like trance, techno, and synthwave. The repetitive nature of these genres marries well with the cyclical patterns of arpeggios.
Additionally, with the sound-shaping capabilities of synthesizers, the tonal quality of arpeggios can be manipulated. By modulating aspects like filter cutoffs, resonance, and envelope parameters in real-time, arpeggios can evolve and transform throughout a track, adding dynamic interest.
A fascinating aspect of electronic music lies in the observation that many of its melodies are constructed from sequences which can be effectively replicated using an arpeggiator. This isn’t mere coincidence. Electronic music, with its repetitive structures and emphasis on timbral evolution, often favors linear, cyclical melodic patterns. An arpeggiator excels in this realm, offering a systematic approach to crafting these melodies.
Consider classic electronic tracks: many feature melodies that iterate over a set pattern of notes, evolving more through sound manipulation (like filter sweeps or resonance changes) than through note variation. This approach provides a consistent foundation upon which the rest of the track can evolve, allowing other elements, like rhythm and harmony, to play more dynamic roles.
Parallel and Modulated Patterns
1. Parallel Arpeggios:
2. Side-by-Side Arpeggios Modulating Each Other:
Power user super combo
TIP: Arpeggiators become super powerful if you use an Expression Control tool so that you can modulate the gate, steps, rate and distance. This will spit out hook ideas within a few minutes of jamming.
Plugins
There are multiple plugins that can be good alternatives to your DAW’s regular arpeggio. It’s always good to have 3rd party plugins so you can step out of the DAW’s generic sound.
Stepic
This is definitely inspired by the various modular options existing. They’re all regrouped under one plugin that does a bit what many different free tools do like Snake, but of course, the played root note will influence the sequence, which something like Snake doesn’t. Stepic is often used online in Ambient making tutorials. It is great for creating generative melodies and psychedelic melodies.
Cthulhu
Everything the guys of Xfer do, is always solid and well thought out. This one doesn’t disappoint. With so many presets existing out there, you can also randomize and quickly tweak your own sequence.
Seqund
AlexKid has done multiple tools for Ableton Live and each of them found their way into so many people’s workflow, either to start an idea or to have a quick placeholder. This one is similar to Stepic in a way, but just a different workflow. The UI is cleaner and easier to read than Stepic, making it a quick tool for adding decorative melodies or simple basslines. The randomizer has nice options for controlling its results.
Conclusion
From their origins in classical expressions to their modern applications in electronic music, arpeggios have remained a compelling tool for musicians. Through synthesizers and plugins, electronic music producers have a vast palette at their fingertips to experiment and innovate. As technology advances, it’s certain that the use and evolution of arpeggios in electronic landscapes will continue to captivate and inspire.
The Dysfunction of Email Promos in Music
/in Blog, Coaching/by pheekIn an age where technology has simplified communication, it’s ironic how it has also, sometimes, made things more complicated. Take music promotion for instance. A once curated art of handpicking who you shared your work with has been lost in the deluge of the digital age. And nowhere is this more evident than in the world of email music promotions.
For a small- to medium-sized artist like me, my inbox is perpetually inundated with promotional tracks. In fact, I’ve had to set up an email rule to funnel these promos into a separate folder just to keep my primary inbox manageable. To give you a perspective, this folder recently crossed the 13,000 mark. It’s overwhelming and, frankly, dysfunctional.
Now, let’s put this into context. I’m not even a significant player in the music industry. Major artists are likely receiving 3-5 times the number of promos I get. The question then becomes, how effective is this method when even a smaller artist can’t keep up?
One of the most significant issues is the scattergun approach. I’m flooded with tracks from genres and artists that are miles apart from my musical tastes. It’s as though having access to my email address has become an open invitation to send anything and everything my way. This mass email system means that around 95% of the music I receive isn’t even relevant to me. And this poses a unique problem, not just for me, but for musicians as well. The handful of tracks that might genuinely intrigue me are lost in the noise.
This situation eerily mirrors another challenge – shopping for music. For every gem you find, you’re likely sifting through a mountain of tunes that aren’t quite your style. With email promos, the haystack has just grown exponentially, making the needle even harder to find.
Ironically, in this vast digital world, in-person connections seem to be the most efficient form of music promotion. When you meet artists face-to-face, there’s a directness and specificity to the exchange. But the reality is, these opportunities are limited.
Strangely, it’s hard to admit but Spotify has been my most reliable tool for discovering and curating music I listen to. I usually find music there, then continue my searches on Bandcamp and Soundcloud. But as much as I don’t like the ethics of Spotify, if there’s one thing they do right, it’s keeping me in the loop with music I will mostly like.
Where does this leave us?
Firstly, artists need to rethink the blind, bulk email strategy. The objective shouldn’t be about how many people you can reach, but rather about reaching the right people.
Secondly, as recipients, maybe we need platforms or systems to better communicate our music preferences. Labels have traditionally played this role to some extent, but there’s room for innovation.
Lastly, while personal connections remain invaluable, the digital age demands better solutions. We need platforms where specificity and personalization become paramount, ensuring that every promo an artist sends is a potential hit, not just another email in an overflowing folder.
But I also have a list of websites that can provide help with promotion.
In conclusion, while the digital age has revolutionized music sharing, it’s also important to recognize its pitfalls. As we move forward, it’s crucial to find harmony between the old and new, ensuring that quality music doesn’t get lost in the digital shuffle.
Music Related Echo Chambers
/in Production/by pheekIn the intricate tapestry of music production, there’s an underlying thread that has been silently weaving its way through for years: the phenomenon of the echo chamber. Just as politics is sometimes ensnared in these chambers, the world of music production isn’t immune. While they might offer the comforting illusion of unity and harmony, these echo chambers can become a pitfall for creativity, authenticity, and growth.
Moreover, social media platforms and music streaming services with their algorithms can create a reinforcing feedback loop. An artist might gain popularity for a particular sound, and suddenly, that becomes the benchmark. New artists aiming for success tend to emulate that, leading to a saturation of similar-sounding tracks. While the initial artist might have been revolutionary, the subsequent floodwaters can drown the innovation.
In the political world, echo chambers arise when individuals surround themselves only with voices and opinions that align with theirs. In music, a similar phenomenon happens. If artists and producers only expose themselves to a narrow band of influences, it limits their growth and stifles innovation. In both spheres, these echo chambers can lead to a stagnation of ideas and a resistance to change or evolution.
For artists to grow, it’s essential to break out of their comfort zones. Collaborating with people from different genres, attending workshops that don’t directly align with their musical interests, or even actively seeking feedback from outsiders can be invaluable. A hip-hop producer might gain a fresh perspective by working with a classical musician, or a techno artist might find inspiration from folk melodies. It’s these intersections of diverse ideas that lead to the most groundbreaking music.
There’s been a huge fuss started by Guti recently about how many fake sets made by some artists have been going on for a while and to me, this is a pure side effect from an echo chamber. Artists encouraged by the industry to go with a pre-recorded show who anyone who would confront, would be pushed out of the way.
I believe the onus is on both industry veterans and newbies. Veterans should mentor and guide newcomers, encouraging them to learn the craft properly and not rely solely on tools. New artists should be hungry for knowledge, pushing boundaries, and not just following the beaten path.
Mr. Bill Masterclass @ KMGLife Inc. Youtube Video
This week I was watching an older video from Mr. Bill, who is a solid Youtuber with creative content and I noticed something about him that sort of irritated me. Over his video, he was explaining all kind of approaches about how to be loud and also, be cool. While I gave up on the whole debate of the loud is cool topic, i get annoyed at one thing precisely which is when someone spend time showing that his sound is cooler than my sound.
Like Deadmau5 said recently:”Who the F_ are you? The sound police?”
I understand that if you want to sound like him and since he is very confident that he is cool, then it makes sense but in a world where trends flashes so quickly, I believe that Mr. Bill is probably looking at this years old video and probably think that his newer sounds are cooler. Don’t get me wrong, I’m not trying to put him down because I love his sounds and techniques, but not to the point of putting other genres or sound design down. I want to remain far from a competitive mind and his view could encourage that mindset.
If you’ve been reading this blog, you’ll know that I prefer having a much moderate approach to understanding sound. I prefer remaining open.
Calling some sounds cool or others not, creates duality. And that creates echo chambers, hierarchy, ego boosting. So I prefer nondualism (advaita).
At its core, non-duality emphasizes the interconnectedness and oneness of everything. Translated to the realm of music, it suggests that genres, styles, and techniques are all part of a vast, interconnected web of musical expression. Rather than pigeonholing oneself into a single genre or style, a non-dualistic approach encourages exploration across musical landscapes. By seeing all music as interconnected, producers can cross-pollinate ideas, techniques, and inspirations from diverse genres, leading to innovative and fresh sounds.
A significant barrier to innovation and growth in music can be one’s ego. An inflated ego might make one resistant to feedback, reluctant to explore unfamiliar genres, or even dismissive of new techniques. A philosophy that promotes selflessness can help dissolve the ego, allowing the artist to be more receptive to external influences, feedback, and collaborations.
1. The Allure of the Echo Chamber
On the surface, there’s undeniable allure in surrounding oneself with like-minded enthusiasts, especially when one embarks on the journey of music production. The initial phase is fraught with uncertainties and questions. In these moments, having a community that echoes your tastes and preferences is undeniably comforting. The conversations flow smoothly, validation is often just a nod away, and a bubble of shared enthusiasm and aspiration forms.
However, beneath this surface of congeniality, a subtle drawback emerges. When we insulate ourselves within a particular genre or style, the nuances of that very style start to become our universe. And while it’s essential to understand and master a niche, the danger lies in becoming so immersed that we miss the symphony of diverse musical expressions outside.
2. The Downside of Self-Referencing
As a music label owner and sound engineer with over two decades of experience, I’ve observed an interesting pattern. Artists and producers, particularly when starting, tend to lean heavily on references that mirror their own aspirations. This is entirely natural. However, when these references are flawed or limited in scope, the resultant art can lack the depth and polish it might otherwise achieve.
A case in point: I recently mastered tracks for a techno artist. His reference tracks, though popular, had many inherent issues. This artist, having always been in his echo chamber, hadn’t realized the potential flaws. But once I introduced him to more diverse, quality references, it was like a revelation. Suddenly, he could perceive the richness and depth his tracks could achieve, and the difference was palpable when played in a club with a top-notch sound system.
3. Breaking Free with New Tools
The world of music production is ever-evolving, with tools like Izotope’s recently released Ozone version offering fresh perspectives. Such innovations are a boon, not just for their technical prowess but for their potential to act as doorways out of these echo chambers. By leveraging the new features and capabilities they bring, producers can explore uncharted territories, challenging their ingrained notions and biases.
It was interesting how tools like Ozone (Version 11 came out this week and it’s really well done – I don’t even understand how they keep improving it!), while designed to improve the mixing and mastering process, can also inadvertently perpetuate these echo chambers. In the hands of a novice, presets and popular mastering chains can quickly become a crutch. Instead of learning the core principles of mixing and mastering, many young producers just slap on a preset, thinking that’s the ‘industry standard’. These tools, if used without proper understanding, can contribute to a homogenized sound in the industry.
There’s no denying that the familiarity of an echo chamber offers solace. But for an art form as dynamic and ever-changing as music, these chambers can sometimes stifle the very creativity they aim to foster. It’s imperative to recognize when we’re in one and muster the courage to step out. Only then can we truly hear the boundless melodies that the world of music has to offer.
Your Music Direction Coming From Your Community
/in Blog, Production/by pheekThe music industry, and more specifically the electronic music scene, has always thrived on the synergy between its creators and listeners. As an electronic music producer myself, I’ve come to realize that one’s journey to success often lies in understanding the pulse of the community. But what does that mean for the artists who feel disconnected, or those who gravitate towards genres with limited local support? Let’s delve into the heart of music communities and how they shape an artist’s journey.
The Role of Community in an Artist’s Growth
Having spent considerable time producing music and interacting with fellow musicians, a pattern emerges. Those producers who are part of an active music community tend to climb the ladder of success faster and more organically. It’s not just about having people to network with, but also about receiving immediate feedback, understanding what works and what doesn’t, and drawing inspiration from communal energy.
When you are plugged into a community, it’s akin to having your fingers on the pulse of the music you love. You not only learn about the intricacies of the genre but also understand what the audience desires. The shared knowledge and insights from a group of like-minded individuals can often be the difference between a track that falls flat and one that resonates deeply.
In my case, I quickly found my community of people loving the same music as me and got lucky there were events where everyone could meet. It was easy to connect and I felt quickly involved to it. One of the strength of this early boost was that I could present my music easily and got bookings organically. Nowadays I see people contacting venues for bookings but if you’ve never been to the venue, you will not know of it’s culture and direction. Going there is very important so you’ve seen and to see if the attendees are in the same mentality as yourself. There’s nothing more hard to play a gig where people don’t get what you do.
As I toured, I discovered bubbles of people in each city that reminded me of my local community. Even physically, I’d meet someone who reminded me of someone back home.
The Challenge of Non-Local Genres
But what about those producers who are passionate about a genre that isn’t prominent in their local surroundings?
Many artists look outward, connecting with labels or online groups that share their passion. While the internet has bridged many gaps, online connections often lack the depth and warmth of personal interactions. The very nature of digital communication can sometimes render these relationships impersonal.
There are people who live in smaller towns or aren’t close to a bigger city and this can be challenging because locally, there might be no chances of creating a community. How does this work?
Artists may produce exceptional tracks, but the age-old adage holds: people tend to support who they know. A community can sometimes be hesitant to welcome outsiders. This protective approach is natural, but it can inadvertently close doors for new talents who could have infused fresh perspectives and sounds. No need to think of labels who receive music from people they never heard of and those people expect them to reply. In the best of worlds, this would happen but in reality, this doesn’t happen much. It leaves artists confused.
So for people who aren’t well musically supported, there are multiple choices possible. One of them is to try to go to the closest place where there are events and a community to enjoy it as well as the music. Eventually you may find your role and space in that tribe. Then afterwards, using online communication tools maintain contact.
Let’s not forget that building your own local network and community is possible but can be challenging at first.
The DJ Solution
In such scenarios, one strategy that I’ve seen work is reaching out to DJs.
Why DJs?
Because they hold the power to introduce new tracks to an eager audience. DJs are always on the lookout for the next standout track, and they can be instrumental in helping an outsider’s music get the recognition it deserves. Having a DJ play your music can be the perfect bridge between the artist and a new community. You could also do the same with local restaurants or boutiques where you can ask them to play your music sometimes, but of course, you’ll need to do that in person after showing you care about their place and music tastes.
Also DJs love music for podcasts and that is a good way to breakthrough to a new bubble of people.
Building Inclusive Communities for a Vibrant Future
As we discuss communities and their importance, it’s also essential to talk about inclusivity. While protecting the integrity of a community is necessary, it’s equally vital to ensure it doesn’t become insular. By welcoming new members and being receptive to their unique musical offerings, a community not only adds to its diversity but also ensures its longevity.
To all the music communities out there: let’s remember that today’s outsider could be tomorrow’s trendsetter. By being open to new members and their distinct sounds, we guarantee that our community remains vibrant, fresh, and future-ready. Outsiders will bring new energy and ideas what will make sure the music won’t fall in the equivalent of an echo-chamber where everything sounds the same after a while.
Ideas to Discover and Connect with Music Communities:
Closing Notes: A Call to Artists
To my fellow artists feeling a tad adrift, remember that every community started small. If there isn’t a community for your genre, consider starting one! And if that seems like a monumental task, don’t hesitate to reach out in person. Attend local gigs, music events, or even workshops. Establishing a face-to-face connection can be more impactful than a dozen online interactions.
In the ever-evolving landscape of electronic music, one thing remains constant: the value of connection. So, whether you’re an artist seeking your tribe or a community member wondering about the next step, remember that it’s through inclusivity, understanding, and personal interactions that we’ll continue to thrive and create harmonious symphonies for the world to enjoy.
Keywords: electronic music, music production, community, DJ, networking, inclusivity, artists, local gigs, music events.
Beginner’s Mind in Music Production
/in Blog/by pheekIn the world of music production, the concept of “beginner’s luck” is something that many people aren’t familiar with. It’s not just about chance or serendipity; it’s about the uninhibited creativity that arises when a newcomer, unburdened by preconceived notions, fearlessly dives into the world of music creation. I’ve always seen it as a proof that sometimes, it’s not about making something to perfection, but more about spontaneity. The more you know, they more you get stuck in your mind, trying to control all the little details you know about, which then will kill the initial idea. It’s very common that I have people contacting me for help because they ruined an initial lovely idea, by trying to make it “better.”
As I said in previous post, people remember ideas, not technical perfection. Also, technically perfect songs don’t always age well as they can easily sound clinical, cold, soulless.
I find that people that have less technical knowledge and who focus on one idea, often pull out a simple song that actually works. I’ve seen people come out of nowhere, make a song that works without really knowing what they do and then for years, try to learn everything they can to sound pro but then they sometimes lose touch with this magical spark. Having the beginner’s mind is a practice that is approached in Mindfulness Meditation. I noticed it is an approach that serves people who struggle with jadedness and lacking inspiration.
In this article, we explore the significance of cultivating and maintaining the beginner’s mind in music production, drawing some inspiration from the mindfulness approach advocated by Jon Kabat-Zinn.
Beginner’s Luck in Music Production
People naturally want to listen to new music and sometimes, also, want to relate to music they know. But there is definitely a number of people who want to learn about the next big thing. Therefore, new comers are caught into this strange zone that it’s difficult for them to emerge while others in the same position as them, will stand out. Nevertheless, when you’re new to music, you are in luck for obvious reasons: everything about music is new and might sound fascinating. This state of mind is idea for creation as you’re not clouded with judgemental views on certain sounds because you’ve been told that some aren’t good enough for a specific genre.
Here’s some points and strengths:
1. Uninhibited Creativity: When beginners enter the realm of music production, they are guided primarily by their passion and intuition. Lacking a deep understanding of complex techniques, they rely on their raw talent and instinct to craft their music. This approach often results in unconventional, fresh, and innovative tracks that captivate audiences. This is something that personally I’m always interested in new people’s music because of their use of basic techniques, used sometimes wrongly, that turns out nicely. In the art world of painting, there’s a similar equivalent called “Naive Art“, where the artist does some portrait in a unusual way. I also noticed that Midjourney, who is a AI based art generator, would be similar as the early version struggled to make hands, resulting in very bizarre but yet mind boggling results.
Credits: Bootcamp
2. Fearless Experimentation: Novices aren’t held back by the fear of failure or the constraints of established norms. They explore various sounds, genres, and techniques without the burden of expectation. This bold experimentation can lead to accidental discoveries and the creation of music that defies categorization. Sometimes I noticed that new music makers who have no DJ experience will create tracks with very strange arrangements not knowing they might DJs to rage when they’ll try to mix the music but this is also part of a certain charm.
3. Authentic Expression: Beginners often create music as a means of personal expression rather than aiming for commercial success. This authenticity resonates with listeners, who are drawn to the genuine emotions and stories embedded in the music. The more someone makes music for a long time, the more they might be tempted to fall into routines, habits or conform to a genre’s aesthetics so they may “remain relevant.”
Recently someone on Facebook shared this remark:
To which I explained:
Signs of a Shift in Beginner’s Mind
Can we pinpoint the moment someone lose his Beginner’s mind?
Yes and no. It’s definitely not a linear process nor something permanently lost. But when a client comes for a consultation, I have a “BM meter” that I imagine and will try to spot the flags that will point towards a negative state.
There will be signs of the effect leaving you based on a few points. As you see it leave, there will be some issues appearing.
1. The Allure of Perfection:
As fledgling artists experience success, there’s a tendency to chase perfection. The definition of success is very different from one person to another which makes it a bit tricky. But whenever there’s a fixation or high concern over technical details, something tells me that there’s a desire to be impeccable, before sounding authentic. They might start obsessing over technicalities (ex. searching endlessly for a specific sample, adjusting levels by 0.5dB, have decision fatigue over arrangements, etc), overproduction, and conformity to industry standards. In doing so, they risk losing the distinctive essence that made their initial creations so appealing.
Symptom 1: The technical part takes over the artistic side, both in importance and in time invested.
TIP: Spend more time in being spontaneous, record ideas in real time, limit the number of iterations a song will have or limit the time spent on a specific song in a day.
2. Overthinking and Self-Doubt:
With experience comes the inclination to overthink. Artists may become overly critical of their work, stifling their creative flow with self-doubt and self-imposed limitations. This self-consciousness hampers their ability to tap into the natural creativity that characterized their early work.
Symptom 2: Worries take over the excitement. Most of the thought process is focused on the listener’s experience instead of what the song is about. Imagine you’re in a conversation and you’re more concerned on how the listener hears you than what you want to say, then there are good chances you’ll make no sense.
TIP: Focus on what the song is about and putting it to term.
3. Creative Stagnation:
Clinging to a tried-and-true formula can lead to creative stagnation. Repeating the same patterns and techniques, even if successful in the past, can lead to a lack of innovation and artistic growth.
Symptom 3: All your songs are sounding the same. They all end up sounding like a different version of a previous (successful) song.
TIP: Change your reference songs, explore new music out of your comfort zone.
Embracing the Beginner’s Mind with Mindfulness
One thing that is important to understand about beginner’s luck relates that people are naturally attracted to novelty. Or at least, many people are. I remember when I started to make music and played live, I was offered so many opportunities compared to today. Even though I’m still labeled as an emerging artist, because I’m not famous, I’m also considered old, therefore, perhaps less relevant. But again, that is really different from whoever hears me out. Some people who had a strong start will chase the first feeling and try to recreate that by changing how they work or compensate with many new acquisition for their studio.
Enter the wisdom of mindfulness, as shared by Jon Kabat-Zinn. At its core, mindfulness encourages being fully present in the moment without judgment. Here’s how artists can apply this approach to music production:
1. Letting Go of Preconceptions:
Approach each new track with an open mind, free from preconceived notions about what it should sound like. Allow the music to evolve naturally, embracing whatever direction it takes.
This means that when you start new ideas, you want to be less picky about how the session should start. Maybe one day you’re interested in playing pads or another day, do quirky percussion loops. Don’t corner yourself out in a modus operandi that work before and let yourself always try something new.
TIP: Divide your music sessions in 2 categories: one that is related to making music (finding new ideas, playing, jamming) and the other is purely technical. When these two overlap, the mind can have a difficult time being open to new ideas.
2. Non-Attachment to Outcomes:
Instead of fixating on the end result or seeking external validation, focus on the process of creation itself. This detachment from outcomes liberates creativity and encourages risk-taking.
Does this mean that sloppiness is tolerated?
What we’re relating to is more towards how you manage your arrangements. It’s also about not thinking of the end results and be open to whatever emerges.
TIP: I often say that I work to bring music close to 90% done and come back later with the option to completely revise it.
3. Embracing Imperfection:
Understand that flaws and imperfections are integral to the creative process. Accepting these imperfections fosters authenticity and prevents overpolishing that could strip away the track’s soul.
When I’m close to the final stage of a song, I notice sometimes that my mind chases imperfections, wanting to cover them all. I find that leaving some deliberately leaves some human touch to it and I swear that years later, I don’t even see them as mistakes but as part of the identity of the song itself. More than often, all the stuff I fixed end up being overkill.
TIP: Find a friend who can listen to your final idea and ask them to listen to it once, then provide feedback. If they didn’t notice anything, you’re safe.
4. Continuous Learning:
Just as a beginner is eager to learn and explore, maintain a stance of ongoing learning. Keep up with new techniques, sounds, and tools to infuse freshness into your creations.
As stated before, in my case, I search for tutorials every day and usually start new song out of trying a new technique. This is quite useful while creative.
In the realm of music production, the concept of beginner’s luck is more than just a fleeting stroke of fortune. It’s a mindset that, when embraced intentionally, can lead to enduring creativity and a distinct artistic identity. By applying the principles of mindfulness, artists can sustain the raw, unfiltered creativity that made their initial works so captivating. So, whether you’re a seasoned producer or a newcomer, remember to embrace the beginner’s mind—the gateway to music that resonates deeply with both creator and listener alike.