Page 4 – Pheek's Mixdown and Mastering

Crafting Club-Ready Tracks

October 4, 2023/in Blog/by pheek

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.

Arpeggios Technical Dive

September 25, 2023/in Production/by pheek

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.

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

September 19, 2023/in Blog, Coaching/by pheek

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.

Music Related Echo Chambers

September 11, 2023/in Production/by pheek

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.

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

September 5, 2023/in Blog, Production/by pheek

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.

Beginner’s Mind in Music Production

August 29, 2023/in Blog/by pheek

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.

LFO Shapes: A Guide to Modulating Sound with Different Waveforms

August 15, 2023/in Sound Design/by pheek

Are you getting to the point where you’ve been playing with many samples and feel like that you want to tweak them a bit so you can give them character?

As you know, I teach music production and the “level 1” of music production involves playing with samples, loops and turn them into songs. Once you get good at it, you can start to to tweak those samples. But where to start?

Well, the main issue with samples is that they’re… dead. By dead, I mean they’re static because they’ve been recorded and if played in loop, there will be no variation, no changes. Music why, this repetition can be challenging to listen to as the brain gets annoyed by an idea it understood because it expect it to change. For people with ADHD, it can even be torture and since a lot of musicians have that condition, you can expect them to want something to happen.

“I’m concerned the listener will be bored by my song”, is one challenge I hear a lot when I training people.

The answer to that is to dive in sound design. One of the main point is to teach yourself to be able to hear changes in sound, because that is movement is what makes a sound always change. There are 2 main types of movement: one that is in sync with a tempo and one that is not.

To relate to how to bring movement to your music, let’s talk about a tool I abuse of and couldn’t see myself without it: Low Frequency Oscillators.

Why using it?

A Low Frequency Oscillator (LFO) is a fundamental component in the realm of audio synthesis and sound modulation. Operating at frequencies below the range of audible sound, an LFO generates waveforms that serve as control signals rather than sound sources themselves. These waveforms—such as sine, triangle, square, sawtooth, and random—ebb and flow in a repetitive manner, influencing various parameters of sound, including pitch, amplitude, and timbre. By imparting rhythmic or cyclical changes to these parameters, LFOs breathe life into static sounds, imbuing them with movement, texture, and complexity. Widely used in electronic music production and sound design, LFOs are pivotal tools for shaping sonic landscapes, adding dynamics, and creating evolving patterns that captivate the listener’s ear.

When you write your ideas/melodies, you can draw your automation for more precision, but the idea of using LFO’s, is to delegate some movement to the machine. Fast paced movement will bring some textures, while slow movement will blur the lines between where modulation starts and stops. Mid-speed will allow ear spotting changes.

In this blog post, we’ll dive into the world of LFO shapes and how they affect sound design. We’ll explore the characteristics of different LFO waveforms and how they sound when used to modulate a filter, both in fast and slow modulation scenarios. By the end of this guide, you’ll have a better understanding of how to use specific LFO shapes to achieve desired sonic effects.

Movement Uses:

1. Sine Wave: Smooth and Subtle

The sine wave is the simplest and most fundamental waveform, producing a smooth and gradual oscillation. When applied to modulate a filter, a sine wave can create gentle and subtle shifts in the sound. At a slow modulation rate, it imparts a calming, almost breathing-like quality to the sound. As the modulation rate increases, the sound becomes more pronounced, adding a sense of movement without being overly aggressive.

Sine movement are also the closest to nature.

Sine Wave: The Essence of Smoothness

The sine wave is a fundamental waveform that closely resembles the natural oscillations found in various phenomena, from the movement of pendulums to sound waves. Its smooth, rounded peaks and troughs replicate the behavior of many naturally occurring processes, giving it a sense of organic elegance.

Harmonic Content and Complexity:

The sine wave has the simplest harmonic content of all waveforms. It consists of a single frequency with no additional harmonics or overtones. This lack of complexity contributes to its inherently soothing and gentle quality. When the sine wave is used as an LFO shape to modulate a filter, it imparts a gradual, almost seamless movement to the sound. This characteristic is akin to the subtle changes in nature, such as the gentle ebb and flow of waves or the gradual shifts in wind patterns.

Emulating Natural Phenomena:

Many natural sounds, such as the chirping of birds, the rustling of leaves, and even human vocalizations, exhibit a certain level of smoothness and continuity in their vibrations. By using a sine wave LFO shape, you’re essentially mimicking these naturally occurring patterns of movement. This can make your synthesized sounds feel more in tune with the environment, adding an organic touch that’s often difficult to achieve with more complex waveforms.

Subtle Dynamics:

The slow, gradual modulation provided by a sine wave LFO can be likened to the subtlety of nature’s changes. Think of how the rising and setting of the sun or the changing seasons bring about transformations that are gentle yet noticeable over time. Similarly, the use of a sine wave LFO can introduce subtle dynamics to your soundscapes, creating an impression of evolving environments that are familiar and soothing to the ear.

Organic Aesthetic:

When crafting music or soundscapes, an organic aesthetic can be particularly appealing. It resonates with listeners on a subconscious level, invoking a sense of calm and comfort. By utilizing the natural sound qualities of a sine-shaped oscillator as an LFO shape, you’re infusing your compositions with an element of authenticity that can enhance their emotional impact.

The innate smoothness, harmonic simplicity, and resemblance to natural phenomena make the sine wave a powerful tool for creating organic and natural-sounding modulations. By incorporating sine-shaped LFOs into your sound design, you’re tapping into the essence of nature’s subtlety and fluidity, giving your compositions a more authentic and emotionally resonant quality. Since electronic music is often cold and very artificial sounding, to include something more organic can be a nice contrast.

2. Triangle Wave: Balanced and Versatile

The triangle wave combines the smoothness of the sine wave with more defined edges. This waveform is often used to achieve a balanced modulation effect. When modulating a filter with a triangle wave, the result is a sound that moves gradually between its highest and lowest points. At slow rates, it creates evolving textures, and at higher rates, it imparts a rhythmic quality without being too sharp.

3. Sawtooth Wave: Building and Dynamic

The sawtooth wave has a sharp ascending edge and a smooth descending edge. When used to modulate a filter, it produces a building and dynamic effect. At slow modulation rates, the sawtooth wave can create sweeping changes, gradually opening and closing the filter. When the modulation rate is increased, it generates an aggressive and impactful movement, ideal for creating dramatic transitions or evolving textures.

4. Square Wave: On-Off Intensity

The square wave alternates between two levels, creating an on-off pulsating effect. When applied to filter modulation, it introduces a distinct rhythmic quality to the sound. At slow rates, it produces a gating effect, with the sound fading in and out. As the modulation rate increases, the square wave generates a clear pulsating rhythm, suitable for adding rhythmic complexity to the sound.

Like any shape of an LFO, you can play with the depth of it’s output. If you keep the depth low for a square shape, you’ll have a nice variation but in two stages.

5. Random/Noise Wave: Chaotic and Experimental

The random or noise waveform introduces an element of chaos and unpredictability to modulation. When modulating a filter, it creates a sense of randomness and texture. At slower rates, it can add a subtle layer of complexity to the sound, mimicking natural variations. At faster rates, it produces a glitchy and experimental effect, making it perfect for unique soundscapes.

I recommend the use of random on sounds you never want to be the same twice such as the velocity of a sound, the length of a percussion, the tone of a pad. It is very useful to add variations, slow or fast.

TIP: Use the smooth option to have less abrupt changes.

6. Binary output: Computer Language

As of my last knowledge update in September 2021, Ableton Live’s “Binary” form might refer to a specific device, feature, or concept that was introduced after that time. However, if we’re discussing a feature related to binary operations or manipulation, here’s a general explanation of how binary operations might be used in a music production context:

1. Binary Operations:

Binary operations involve manipulating binary data, which consists of sequences of 1s and 0s. In music production software like Ableton Live, binary operations can be used to generate rhythmic patterns, create variations, and add complexity to your music. They can be particularly useful for creating glitchy, syncopated, or experimental rhythms.

2. Step Sequencers and Binary Rhythms:

Step sequencers are commonly used to create patterns of notes or events over time. In the context of music production, a binary step sequencer might allow you to turn steps on or off, creating a binary pattern. Each step represents a binary digit (1 or 0), which corresponds to a note or event being active or inactive.

For example, if you have a binary pattern of “101010,” it might translate to a repeating rhythm of long-short-long-short-long-short in a musical context. This can be a great way to generate interesting, irregular rhythms that deviate from traditional quantized patterns.

3. Creating Glitch Effects:

Binary manipulation can also be used to create glitch effects. By toggling certain bits on and off, you can introduce unexpected variations and unpredictability to your sounds. This is especially useful for genres like glitch, IDM, and experimental electronic music.

4. Sound Design:

Incorporating binary patterns into your sound design can lead to unique textures and timbres. You can use binary patterns to modulate various parameters of your synthesizers and effects, producing evolving and dynamic sounds.

5. Automation and Control:

If Ableton Live introduced a feature named “Binary,” it might also involve binary automation, where you can use binary patterns to automate various parameters in your project. This could add a layer of complexity and movement to your music over time.

Since my knowledge is based on information available up until September 2021, I recommend checking Ableton Live’s official documentation, user guides, or online resources for the most up-to-date and accurate information about the “Binary” feature in Ableton Live. This will provide you with step-by-step instructions on how to use it effectively in your music production workflow.

TIP: To hear better how a modulation is affecting sound, map the LFO to a Utility so you can hear amplitude (volume) modulation, which is easier to the ear since it is very obvious.

LFO Modulated LFO

The concept of using one LFO to modulate the speed of another LFO is a fun technique that can yield intricate and non-linear modulation patterns. Let’s explore how this works and why it leads to non-linear results:

LFO Modulation Basics:

Low Frequency Oscillators (LFOs) are typically used to modulate parameters such as pitch, amplitude, filter cutoff, and more. They generate waveforms at frequencies lower than those of audible sound, resulting in modulation that occurs over time. These waveforms include sine, triangle, sawtooth, square, and random waves, each with unique characteristics.

Modulating LFO Speed:

When you use one LFO to modulate the speed of another LFO, you’re introducing a layer of complexity to the modulation process. Instead of directly affecting the sound parameter itself, you’re altering the rate at which another LFO oscillates. This means that the rate of change in modulation becomes variable and dynamic.

Ever heard the sound of a bouncing ball? This can be achieved with this technique.

Non-Linear Effects:

The key to understanding the non-linear effects lies in how the modulation rates interact. When one LFO modulates the speed of another LFO, the resulting modulation pattern becomes intricate and less predictable than simple linear modulation.

Consider this scenario: Let’s say you have an LFO (LFO1) modulating the speed of a second LFO (LFO2). As LFO1 varies its speed, it introduces fluctuations in the rate at which LFO2 modulates the target parameter. The result is a complex interplay of modulation speeds that can lead to unexpected and non-linear outcomes.

For example, if LFO1 oscillates between fast and slow speeds, the modulation from LFO2 will speed up and slow down accordingly, leading to irregular and evolving modulation patterns. These irregularities create a sense of unpredictability and complexity in the modulation, which can add a unique and experimental flavor to your sound design.

Applications:

Texture and Movement: Modulating an LFO’s speed with another LFO can add layers of texture and movement to your soundscapes. The constantly changing modulation rates can create intricate sonic textures that evolve over time.
Dynamic Rhythms: The non-linear modulation introduced by this technique can result in dynamic and evolving rhythms. It’s a great way to inject rhythmic complexity into your music, perfect for genres like IDM, ambient, and experimental music.
Experimental Sound Design: If you’re aiming for experimental or otherworldly sounds, using one LFO to modulate the speed of another can lead to unconventional and unpredictable outcomes that can set your sound design apart.

In summary, using one LFO to modulate the speed of another LFO introduces a layer of complexity and unpredictability to your modulation patterns. This technique can lead to non-linear results that are rich in texture, movement, and dynamic rhythms. It’s a powerful tool for sound designers looking to push the boundaries of conventional modulation and create unique sonic landscapes.

TIP: How many LFOs should be used in a project isn’t important. But you’ll have more cohesion if you use a few “master LFOs” that control multiple parameters across the song as they will move all together elements, creating an orchestral effect.

LFOs as Melodies and Compositional Tool

Certainly, LFOs combined with a sample and hold module in the modular synth world can produce intriguing and unique melodies. The type of LFO waveform used in conjunction with the sample and hold module directly influences the character of the generated melodies.

If you look at a melody in the piano roll, you’ll see that notes go up and down or perhaps go up then down. Those are shapes an LFO can do.

How to set it up?

Send the output of the LFO to a Sample and hold. You can ping the sample and hold at the moment you want a note to play. The sample and hold will look at the data sent by the LFO at the moment it was pinged and then output the note which can be sent to an oscillator.

Let’s see how different LFO shapes contribute to specific types of melodies:

1. Sawtooth LFO: Progressive Ascending Melodies

Using a sawtooth LFO with a sample and hold module can create melodies that ascend progressively. As the sawtooth LFO ramps up, it triggers the sample and hold to capture and hold the voltage at specific points. The resulting melody will have a rising, stair-step quality, with each note being slightly higher than the previous one. This combination is well-suited for building anticipation and tension in a composition.

2. Square LFO: Stepped and Rhythmic Patterns

A square LFO paired with a sample and hold module generates stepped and rhythmic melodies. The square wave’s on-off nature causes abrupt shifts in the sampled voltage, creating distinctive steps in the melody. When used at different rates, the square LFO imparts a rhythmic quality to the melodies, making them danceable and syncopated.

3. Triangle LFO: Smooth and Flowing Melodies

A triangle LFO combined with a sample and hold module produces melodies with a smooth and flowing character. The triangle waveform’s gradual rise and fall influence the sampled voltage, resulting in melodies that transition between notes in a less abrupt manner compared to square or sawtooth waves. This combination is ideal for creating melodies that evoke a sense of fluidity and motion.

4. Random/Noise LFO: Chaotic and Experimental Melodies

Pairing a random or noise LFO with a sample and hold module leads to chaotic and experimental melodies. The unpredictable nature of the random waveform causes the sample and hold module to capture varying voltages, resulting in melodies that seem to wander unpredictably. This combination is perfect for generating avant-garde or ambient melodies that challenge traditional musical expectations.

5. Sine LFO: Serene and Ethereal Melodies

Utilizing a sine LFO with a sample and hold module produces serene and ethereal melodies. The sine waveform’s smooth undulations translate into gentle fluctuations in the captured voltage. The resulting melodies are subtle and soothing, with a dreamlike quality that’s well-suited for ambient or meditative compositions.

Thanks for reading my tribute to a often overlooked tool in music and now you know why I’m in love with all the possibilities behind it.

Rituals, Routines, and Habits in Music Production

August 8, 2023/in Blog, Coaching/by pheek

For us musicians, where creativity meets discipline, the secret symphony lies in the art of rituals, routines, and habits. Like the intricate notes of a melody, these elements intertwine to create a harmonious process that elevates musicians from novices to virtuosos. From finding the perfect hook to crafting intricate arrangements, these rituals serve as the conductor’s baton, guiding musicians through the labyrinth of creation. In this melodic exploration, we delve into the common threads that tie these practices together and uncover their transformative impact on the journey of music production.

One thing I observe with people I know and work with, is their lack of organization or time for making the music they want to do. Taking the time to make space for self care is an important thing for enabling more satisfying sessions. That’s what we’re all interested in, no? So why not allowing ourselves healthier skills?

Most of the time, it seems like many artists have the impression, or superstition, that their unhealthy way does it better. Call it self medication or stubbornness, one can stick to it until it works no more or because they’ve entered a self destruction phase.

So let’s talk about upgrading your sessions.

Let’s define what each mean.

1. Ritual: A ritual is a set of actions, behaviours, or practices that are carried out with a sense of purpose, intention, and often a deeper meaning. Rituals are typically associated with symbolism, significance, and a heightened sense of awareness. They are performed to mark a specific event, transition, or moment and often carry cultural, spiritual, or personal significance. In the context of music production, a ritual might involve a specific pre-recording meditation, setting up a particular workspace arrangement, or even a symbolic gesture before starting the creative process. Rituals can help create a focused and intentional mindset, bringing a sense of reverence and mindfulness to the creative endeavour.

Rituals are intentional practices with symbolic meaning, often used to bring mindfulness, focus, and deeper significance to a specific activity or event.

2. Routine: A routine is a sequence of tasks or activities that are regularly followed in a specific order. Routines provide structure and predictability to daily life. Unlike rituals, routines might not carry the same level of symbolic or spiritual significance. Instead, routines serve practical purposes and can encompass a range of activities, from the mundane tasks of daily hygiene to more complex processes like a musician’s routine for setting up equipment before a recording session. Routines provide a sense of organization, help manage time efficiently, and establish a consistent pattern for accomplishing tasks.

Routines are sequences of tasks that provide structure and organization to daily life, helping manage time and accomplish various activities in a systematic manner.

3. Habit: Habits are automatic behaviours that have been repeated consistently over time until they become ingrained in our daily lives. They require minimal conscious thought and effort to perform. Habits can be positive or negative, and they often develop as a result of repetition. In the context of music production, a habit could be a regular schedule of practicing an instrument, a daily ritual of listening to music for inspiration, or even the tendency to start each recording session with a cup of coffee. Habits are powerful because they shape our behaviour over the long term, whether for creative endeavours or daily routines.

Habits are automatic behaviours that develop through repetition and become ingrained in our routines, shaping our long-term actions and behaviours.

Rituals, Routines, and Habits: A Collective Symphony

1. The Prelude: Setting the Stage

Rituals, routines, and habits all share a common purpose: setting the stage for productive creativity. Just as a well-rehearsed orchestra tunes their instruments before a performance, musicians tune their minds and environment through consistent practices. These practices create a mental framework, signalling to the brain that it’s time to enter the creative zone.

There are multiple little things that you can do to enhance your studio and make it cozier and providing inspiration.

1. Thoughtful Lighting: Using LED lights that you can change the colors is a great way to change the mood on the fly. using candles is also lovely.

2. Comfortable Furniture: Invest in comfortable furniture, such as a cozy chair or a comfortable couch where you can take breaks and listen to your work. Also useful for visitors.

3. Personal Touches: Decorate the studio with items that inspire you, such as artwork, posters, or memorabilia related to your favorite musicians or bands. Personal touches can make the space feel uniquely yours and spark your creativity. Seeing people who inspire me to create helps but it has been shown that having picture of people you care for that look at you can raise your efficiency.

4. Acoustic Treatment: Incorporate acoustic panels, diffusers, and bass traps to improve the sound quality of your studio. Not only do these treatments enhance the acoustics, but they also contribute to a more professional and inviting atmosphere. In general, this is a must.

5. Natural Elements: Integrate natural elements like indoor plants, flowers, or even a small tabletop fountain. Greenery adds a refreshing touch to the studio and can create a calming ambiance.

6. Inspiring Colors: Choose colours that evoke the right emotions for your creative process. Soft, muted tones can promote a relaxed atmosphere, while vibrant colours might energize your space. Experiment with colour combinations that resonate with you.

7. Inspirational Quotes: Hang up motivational or inspirational quotes on the walls to keep you inspired and focused during challenging moments. These can serve as reminders of your creative journey.

8. Proper Organization: Keep your studio tidy and organized. Use shelves, storage containers, and cable management solutions to reduce clutter and create a clean workspace. An organized environment can lead to a clearer mind and more efficient work.

9. Personal Soundscapes: Play ambient sounds, like gentle rain or a crackling fireplace, to create a cozy atmosphere while you work. These sounds can help reduce stress and enhance focus.

10. Multi-Sensory Experience: Engage multiple senses by including scented candles, incense, or essential oil diffusers. A pleasant aroma can contribute to a relaxing and inspiring environment.

11. Comfortable Flooring: Choose a comfortable flooring option, such as a soft rug or carpet, to provide insulation and cushioning for long hours spent standing or sitting. Carpet can also help with acoustics.

12. Creative Break Spaces: Designate a cozy corner for relaxation and brainstorming. A bean bag chair, floor cushions, or even a hammock can provide a comfortable space to step away from your workstation and let your ideas flow.

13. Inspiring Instruments: Keep your instruments within arm’s reach to encourage spontaneous creativity. Display your guitars, keyboards, or other instruments prominently, so they serve as constant reminders of your musical pursuits.

2. Finding the Motif: Inspiring Creativity

Whether it’s a pre-recording meditation or a daily walk in nature, rituals stimulate inspiration by encouraging mindfulness and presence. Studies suggest that these practices activate the brain’s creative center, enhancing the ability to make connections and generate novel ideas—a valuable asset in the search for musical hooks.

1. Mindfulness Meditation: Mindfulness meditation involves focusing your attention on the present moment without judgment. You can start by focusing on your breath, gradually expanding your awareness to sensations, thoughts, and emotions. Regular practice can improve your ability to stay present and focused in various situations.

2. Guided Meditation: Guided meditation involves following the instructions of a recorded voice or a meditation app. It can lead you through visualizations, body scans, or relaxation techniques, helping you stay engaged and centered.

3. Breath Awareness: Concentrating on your breath is a simple yet effective technique. Observe each inhale and exhale, noticing the sensations as you breathe in and out. This practice can help anchor your attention and calm your mind.

4. Body Scan Meditation: In this practice, you systematically focus on different parts of your body, bringing awareness to physical sensations and releasing tension. It’s a way to cultivate bodily awareness and maintain focus.

5. Mantra Meditation: Using a repetitive word, phrase, or sound (mantra) can help direct your attention and quiet the mind. The repetition can be soothing and help prevent distractions.

6. Visualization: Visualization involves imagining a peaceful scene or a goal you want to achieve. Focusing on this mental image can help you concentrate and foster a sense of positivity.

7. Walking Meditation: Instead of sitting, you can practice meditation while walking slowly and mindfully. Pay attention to each step, the movement of your body, and your surroundings.

8. Progressive Muscle Relaxation: This technique involves tensing and then relaxing different muscle groups in your body. It can reduce physical tension and improve your ability to focus.

9. Yoga: Yoga combines physical movement, breath control, and mindfulness. The combination of these elements can help you improve focus, flexibility, and overall well-being.

10. Tai Chi: Tai Chi is a slow, flowing movement practice that promotes relaxation and mindfulness. It can enhance balance, coordination, and mental clarity.

11. Binaural Beats: Binaural beats are auditory illusions created by playing two slightly different frequencies in each ear. They’re believed to affect brainwave patterns and can aid in achieving different states of focus and relaxation.

12. Colouring or Drawing: Engaging in creative activities like colouring or drawing intricate patterns can have meditative effects, as they require sustained focus on the task at hand.

3. The Crescendo: Engaging in Routine

Routine, often synonymous with discipline, plays a crucial role in music production. Just as a musician practices scales daily to refine their technique, establishing routine can aid in refining skills such as recording, editing, and arrangement. Research indicates that regular routines enhance focus, memory, and overall cognitive abilities, all of which are integral in the intricate process of producing music.

If you’ve been following my blog, you know that I strongly encourage certain things as a routine such as:

Dividing your studio session in different phases (brainstorming, Concept testing, editing, loop patterns, arrangements, mixing) and approaching them one at a time.
Working on a song for 30 minutes and then work on another. Working on multiple tracks at once is helpful for self validation.
Taking breaks every 10 minutes for a few minutes.

All these will be helpful to develop as a routine as they’ll provide you the necessary to feel more satisfied with what you do.

4. Harmonizing the Elements: Rituals for Arrangement

Arranging a musical composition can be akin to composing a complex symphony. Here, rituals provide the structure necessary to weave different musical elements into a coherent whole. Studies highlight that rituals promote a sense of control and reduce anxiety—essential ingredients for tackling the intricate task of arranging various elements into a seamless composition.

Arrangements are to music, what the scenario is to a movie. Stories are made in so many different ways that to dive into how to do it, it’s important to get inspiration from storytellers you love. Personally, I love David Lynch and here are some of the points that he uses for his stories.

His style is characterized by surrealism, dreamlike sequences, and a blend of the mundane and the mysterious. Here are some key aspects of David Lynch’s approach to storytelling:

1. Embrace of the Subconscious: Lynch often delves into the subconscious and explores the depths of human psychology. His stories frequently incorporate dreamlike elements, blurring the lines between reality and the inner workings of the mind. This approach allows him to tap into universal emotions and fears that resonate on a deeply emotional level.

2. Dark and Mystical Atmosphere: Lynch’s storytelling often features dark and mysterious atmospheres that create a sense of unease and suspense. He blends the ordinary with the uncanny, infusing the mundane with an air of mystery that keeps viewers engaged and intrigued.

3. Visual Symbolism: Symbolism plays a significant role in Lynch’s work. He often uses visual symbols and metaphors to convey complex themes and emotions. These symbols may be recurring motifs or objects that hold deeper meanings within the context of his stories.

4. Unconventional Narrative Structures: Lynch is known for subverting traditional narrative structures. His stories may not follow a linear path, and he’s willing to leave certain aspects open to interpretation. This unconventional approach invites viewers to engage with the material on a more contemplative level, often sparking discussions and theories about the meanings behind his work.

5. Exploration of Dark Themes: Lynch’s stories frequently explore dark and taboo themes, such as violence, identity crisis, and the duality of human nature. He is unafraid to confront uncomfortable subjects and present them in a way that challenges the audience’s perceptions.

6. Use of Sound and Music: Lynch pays meticulous attention to sound and music in his storytelling. The auditory elements in his films contribute to the overall atmosphere and mood, enhancing the viewer’s experience and adding an additional layer of depth.

7. Character Depth and Ambiguity: Lynch’s characters often have hidden depths, and their motivations might remain ambiguous. This approach invites viewers to actively engage with the characters and their journeys, encouraging introspection and analysis.

8. Collaborative Approach: Lynch often collaborates closely with artists, musicians, and other creatives to bring his stories to life. This collaborative approach results in multi-dimensional works that integrate various artistic forms.

Perhaps these will raise some ideas.

Creating Your Own Musical Overture: Crafting Personal Rituals and Routines

1. Identify Your Goals:

Before crafting your rituals and routines, define what aspects of music production you’d like to enhance. Are you seeking greater inspiration, improved focus, or a more organized approach to arrangement?

2. Harness the Power of Consistency:

Choose rituals and routines that resonate with you and align with your creative process. Consistency is key—repetition helps solidify the connection between the practice and the desired outcome.

1. Set Clear Goals: Define specific and achievable goals for your music practice and performance. Having clear objectives gives you a sense of direction and purpose, making it easier to stay motivated and consistent.

2. Create a Schedule: Establish a regular practice schedule and stick to it. Consistency thrives on routine. Whether it’s daily, weekly, or monthly, having dedicated time for practice helps build momentum.

3. Start Small: Avoid overwhelming yourself with overly ambitious goals. Start with manageable practice sessions, gradually increasing the duration and complexity as your consistency improves.

4. Break It Down: Divide your practice sessions into smaller, focused segments. This approach helps prevent burnout and allows you to work on specific areas of improvement.

5. Practice Mindfully: Quality matters more than quantity. Focus fully on your practice without distractions. Engage in deliberate practice by identifying areas that need improvement and working on them purposefully.

6. Use a Practice Journal: Keep a practice journal to track your progress, challenges, and areas of improvement. This reflection helps you identify patterns, celebrate milestones, and stay accountable.

7. Embrace Repetition: Consistency is built through repetition. Repeatedly practicing scales, exercises, and songs helps you develop muscle memory and master techniques over time.

8. Prioritize Consistency Over Intensity: Regular, shorter practice sessions are often more effective than sporadic intense sessions. Consistency builds steady progress, while intensity can lead to burnout.

9. Find Accountability: Share your goals and practice routine with a friend, teacher, or fellow musician. Accountability can motivate you to stay consistent and track your progress.

10. Reward Yourself: Celebrate your achievements, no matter how small. Treat yourself after reaching milestones to reinforce positive behavior.

11. Embrace Imperfection: Perfectionism can hinder consistency. Accept that progress involves making mistakes and learning from them. Focus on improvement rather than flawless execution.

12. Stay Inspired: Seek inspiration from other musicians, genres, and styles. Exploring new musical territories can reignite your passion and keep your practice engaging.

13. Be Patient: Consistency takes time to yield noticeable results. Don’t get discouraged by slow progress. Keep the long-term perspective in mind.

14. Mix It Up: Vary your practice routine to prevent monotony. Experiment with different practice techniques, styles, and genres to keep your sessions fresh.

15. Rest and Recovery: Incorporate rest days into your routine. Rest is essential for preventing burnout and maintaining physical and mental well-being.

16. Adapt and Adjust: Life can be unpredictable. If you miss a practice session, don’t be too hard on yourself. Instead, adapt your schedule and get back on track as soon as possible.

3. Mindfulness and Presence:

Integrate mindfulness into your rituals. Whether it’s a pre-recording breathing exercise or a quiet moment before arrangement, cultivating mindfulness can amplify your creative presence.

My favorite book about this practice is “Wherever you go, there you are” by Jon Kabat-Zinn.

4. Document Your Journey:

Keep a journal to track the impact of your rituals and routines on your music production process. Reflect on moments of breakthrough, increased focus, or enhanced inspiration.

I personally love the Voice Memos on my iPhone to record some notes.

5. The Science Behind the Symphony: Insights from Studies

A study published in the “Creativity Research Journal” found that engaging in consistent creative rituals enhances creativity and provides a sense of control over the creative process.
Research in the “Journal of Neuroscience” reveals that mindfulness practices, often integrated into creative rituals, stimulate the brain’s default mode network, fostering divergent thinking and innovative ideas.
The “Journal of Experimental Psychology” suggests that routines can boost cognitive performance and improve memory, thus facilitating efficient editing and arrangement tasks.

In Conclusion: The Symphony of Productivity and Creativity

As musicians compose their sonic tapestries, the interplay of rituals, routines, and habits creates a symphony that resonates with discipline and inspiration. Just as a symphony conductor meticulously directs each note, crafting your own set of practices can transform your music production journey into a harmonious masterpiece. By understanding the common threads that unite these practices and embracing their transformative impact, you’ll not only find the hooks and arrangements that resonate but also unlock the full potential of your creative symphony.

Noise In Music

August 1, 2023/in Blog, Production/by pheek

In the realm of digital music production, there exists a fundamental concept known as the “noise floor.” It represents the level of background noise present in any audio system or recording environment. Interestingly, our world is never entirely silent; there is always a gentle hum of ambient noise surrounding us. Human hearing has evolved to appreciate and find comfort in these subtle noises, making them an integral part of our daily lives.

If you record with your phone or a handheld device some sounds on the street, you’ll hear this smooth white noise in the background. Listening to the recording afterwards will have this reality with a blanket of noise that we get familiar with. Through the history of music recording, depending on the era and medium, the noise differed. If you grew up with a certain sound, there might have been a typical noise you associate with it.

Noise in music can be nostalgic.

Not to forget that some people actually love sleeping with noise in the background as it blocks outside sounds. With ADHD, some noise (like Brown) can help with focus.

The concept of noise finds a captivating application in the world of modular synthesizers. Modular synths offer a playground of endless possibilities, where musicians and sound designers can manipulate and harness different types of noise to create lush and music landscapes. In this blog post, we will go through the world of noise in modular synths, exploring the different types of noise available and the creative opportunities they offer.

White Noise – A Hissing Foundation:

White noise, resembling a gentle hiss, is one of the most common types of noise found in modular synthesizers. It features a consistent amplitude across all frequencies within the audible range. Embracing white noise in your patches can introduce exciting possibilities. For an exercise, patch a white noise generator to trigger an envelope, and use it to create rhythmic bursts of noise at irregular intervals. This technique can produce percussive and glitchy elements in your music, adding a touch of randomness to your compositions.

I also like to introduce a noise floor of white noise, slightly filtered, to create a feeling of proximity. It’s hard to explain, but sometimes clients feel their music is empty and will drown everything in reverb. Adding some white noise is a good alternative to that as reverb can also introduce various mixing issues.

Pink Noise – A Softer Alternative:

Pink noise, also known as 1/f noise, is characterized by equal energy in each octave. Unlike white noise, pink noise contains more low-frequency energy, resulting in a warmer and softer sound. To explore pink noise, connect it to a filter module and use an envelope or an LFO to sweep through the filter’s frequency cutoff. This exercise will help you understand how pink noise can add depth and character to your sounds, particularly in filter sweeps and ambient textures.

There’s also some theories about mixing with noise. Some people put a pink noise as a background and then will mix it over. The idea is that you want to mix each channel through the noise and when you hear it, then you know it’s levelled equally (since pink noise is full range). I’m not too keen of that approach but it can be useful to try it.

Gaussian Noise – Emulating Natural Sounds:

Gaussian noise, also known as normal distribution noise, features a bell-shaped amplitude distribution, mimicking natural sounds found in our environment. It is particularly useful for simulating wind or water sounds. Experiment with this type of noise by using it in a sample and hold module to generate random voltages. Then, patch the random voltages to various parameters in your modular system, such as oscillator pitch or filter cutoff. This exercise will demonstrate how Gaussian noise can add an organic touch to your patches.

Any noises passed through a quantizer will offer random melodies. A technique to generate random melodies is to to send noise through a sample and hold, then trigger a moment where the note should be played. The sample and hold will pick a note from the noise, which then you can pass through a quantizer to make sure it is set to a scale. The result will be musical.

Digital Noise – Infinite Possibilities

In the context of modular synths, digital noise refers to the generation of noise using digital algorithms and processes, as opposed to analog noise generated by analog circuits. The term “infinite possibilities” refers to the vast range of creative and unconventional sounds that digital noise sources can produce. Unlike traditional analog noise sources like white or pink noise, digital noise allows for extensive manipulation and sculpting, leading to unique and experimental textures.

Digital noise generators in modular synthesizers often provide various types of noise algorithms that can emulate natural or chaotic phenomena, simulate environmental sounds, or create entirely new sonic landscapes. Here are some examples of what digital noise can offer:

Granular Noise: Granular synthesis is a technique where sound is broken down into tiny grains, and these grains can be randomly rearranged and manipulated. Digital noise sources can implement granular synthesis algorithms, producing a vast array of grain-based noises that can range from glitchy textures to ethereal pads.
Custom Noise Algorithms: Some digital noise modules allow users to upload or create custom algorithms. This feature empowers sound designers to craft noise with specific characteristics, opening up possibilities for entirely novel soundscapes that push the boundaries of conventional synthesis.
Sampled Noise: Digital noise sources can incorporate sampled noise recordings, allowing for the recreation of real-world environmental sounds, machinery, or other interesting textures. These sampled noise sources can be creatively combined with other elements in the modular setup to create evocative and immersive sonic experiences.
Noise Modifiers: Digital noise modules often come with various modifiers and processing options. These may include waveshaping, filtering, amplitude modulation, and more, giving you the tools to sculpt the digital noise in unique ways and tailor it to fit your artistic vision.
Randomized Algorithms: Some digital noise sources have algorithms that introduce a degree of randomness into the sound generation. This stochastic nature can lead to unpredictable and evolving textures, which can add an element of surprise and excitement to your patches.

As you experiment with digital noise in modular synthesizers, you’ll discover a wide range of creative possibilities. Whether you seek to create atmospheric soundscapes, experimental textures, or unique percussion elements, digital noise sources offer a playground of sonic exploration. The ability to customize and manipulate noise algorithms within the digital domain gives you unparalleled control over the sounds you generate, making digital noise a powerful and indispensable tool for innovative sound design.

Noise as a Modulation Source – Adding Life to Your Patches

Noise can be a versatile modulation source in modular synthesizers. Use a noise source to modulate parameters like oscillator pitch, filter cutoff, or LFO rate. Adjust the amount of modulation to understand how noise affects the timbre and movement of your sound. This exercise will demonstrate how noise as a modulation source can introduce dynamics and unpredictability into your patches, bringing them to life.

This is not something you can do with Ableton Live, sadly and this is why sound design in modular contexts open up new options that are complementary to Live.

Noise-Based Percussion – Unconventional Drum Sounds

Create unique and unconventional percussion sounds by utilizing noise sources to trigger envelopes that control VCAs or other sound generators. This exercise will help you craft snare drum-like sounds, hi-hats, and other percussive elements with a distinctive character, setting your compositions apart from traditional drum kits. From a Pink Noise, you can easily build percussions with all octaves being covered so if you pair it with a filter or two, there can be very powerful results coming from that.

Noise in Feedback Loops – Chaos and Creativity

Create feedback loops involving noise sources and various modules. By adjusting the gain and routing of the feedback, you can explore chaotic and unpredictable sounds. Be cautious with the volume levels to prevent potential damage to your speakers or hearing. This exercise will challenge your creativity and inspire you to push the boundaries of sonic exploration.

Feedback Loops in Modular Synthesis: In a modular synthesizer, feedback loops occur when the output of a module is routed back into its own input. This setup creates a self-sustaining loop where the output continually feeds back into the input, generating a chain reaction of sound. Feedback loops are known for their potential to generate unique and evolving sounds, often characterized by self-modulation, harmonics, and sonic complexity.
Noise in Feedback Loops – Unpredictable Oscillation: Introducing noise sources into feedback loops can lead to chaotic and unpredictable behavior. When noise is fed into the loop, it injects random variations into the signal chain. As the noise interacts with other elements in the loop, it produces intricate patterns of oscillation and modulation. This generates a sonic landscape that is ever-changing, with an array of dynamic textures and tonalities.
Harnessing Chaos – Musicality from Disorder: While noise in feedback loops may seem disorderly, skilled sound designers and musicians can find musicality within the chaos. By carefully adjusting parameters, such as gain, frequency, or filtering, you can sculpt the noise-induced feedback to create musical tones, harmonics, and rhythms. This process requires experimentation and an intuitive understanding of your modular setup.
Non-Repeating Patterns – Endless Exploration: One of the most intriguing aspects of noise in feedback loops is the creation of non-repeating patterns. Due to the chaotic nature of the feedback system, the resulting sounds may never repeat in the same way twice. This opens the door to endless exploration, where every patch becomes a unique sonic journey, allowing you to discover new sounds and compositions with each iteration.
Sonically Evolving Patches: Noise in feedback loops can lead to sonically evolving patches that morph and transform over time. These patches are akin to living organisms, constantly changing and adapting. By letting your patches run and evolve, you can uncover unexpected and inspiring sonic discoveries that may serve as foundations for your musical compositions.
Creating Textures and Soundscapes: Beyond musical tones, noise in feedback loops is an excellent tool for generating rich sound textures and atmospheric soundscapes. By tweaking the feedback parameters and manipulating the noise source, you can create immersive sonic environments that add depth and complexity to your music.
Cautions and Limitations: While noise in feedback loops can lead to exciting results, it’s essential to be mindful of potential pitfalls. Excessive feedback or high gain settings can lead to uncontrollable and overwhelming sounds that might damage speakers or cause discomfort to listeners. It’s advisable to approach feedback patching with care and gradually increase parameters to explore the sonic boundaries safely.

In the world of modular synths, noise is a captivating element that adds depth, complexity, and a touch of unpredictability to your compositions. From white noise’s rhythmic bursts to pink noise’s warm textures, and the experimental possibilities of digital noise, each type of noise serves as a powerful tool for sound design and artistic expression. Embrace noise in your modular synth patches, and let it take you on a sonic adventure where creativity knows no bounds. Remember, in a world that is never truly silent, noise holds the key to unlocking your unique musical voice.

References From Clients And Exercises

July 27, 2023/in Coaching, Production/by pheek

When it comes to making music or mixing, you sort of need to start somewhere and to get inspired by others if often a good way to get started. There’s a lot of misconception on how to use references. While I covered that in a past article, I thought I’d go deeper on the topic.

While there’s no right or wrong way to use references, I often use references for one thing in it. It can be a sound that intrigues me, a type of sequence, rhythm or concept that tickles my brain into trying to reverse engineer it. While I can most of the time understand what is going on, it doesn’t mean I can reproduce it as is. Some clients that I coach became really good at reproducing what they hear, sometimes with my help or not.

But the idea is to try something out and be open to where that will bring you next.

While I do a lot of production from clients, sometimes people wonder what others are into, who are the artists to follow but also, who are the artists that I personally follow for my own inspiration.

Many times, I have clients who start an idea based on a reference but they struggle to get it “right” as they want. I give here a few things to check first in order to get things started properly (in other words, this is where clients fail).

Load your reference song in Ableton (or other DAW) and you may solo it at first to be able to compare it to your project. I would advise to lower the volume of your reference as it may be mastered while yours isn’t.

There are a few initial points to consider:

The tone: Use either an FFT analyzer (SPAN from Voxengo is free or Fabfilter ProQ3) on the master to see if the tone is similar. Is the curve similar or different from you

Root Key/Scale: You can use a Key detector on your reference to see what is the root key and scale, then check if yours is set properly. While you don’t need to have the same as your reference, some clients don’t realize that their different elements are not in the same key. This will often translate with the feeling that the song doesn’t feel one or perhaps, that is sounds off. Note that it might sound off if you were overexposed and then you got used to it but for a fresh pair of ears, it might be awkward sounding.

Speed and rhythm: Find the BPM of your reference and try to match it to yours. What is the time signature.

Lately I’ve been enjoying Decoda as a full analysis software. You can do so much with it as well as extract melodies in midi. I find it essential to work with demanding clients.

When it comes to artists my clients love the most, I compiled a few and will drop a few words why they are loved.

Ricardo Villalobos

Not a surprise here since he’s one of my favorite artists and a lot of people come to me know that I spent decades understanding his unorthodox style and can explain how certain of his songs are made. Love or hate him, that guy has certainly develop his own persona when it comes to production and his music composition is always opening new grounds to what you can do in music.

Things he has inspired us:

Making super long tracks with more or less structure can be fun.
Leaving your songs sloppy has a more human side.
Combining really weird sounds all together can work if you keep some elements one can refer to.
Not afraid to sample obscure records as the main idea of his songs.

Ricardo is known to have a huge collection of modular synths but compared to many people who have a lot, he records new tests weekly so you can see the wide array of his tools.

Exercises related to studying to his music:

– Use VCV to try the modular thinking he use and randomize some elements for madness.

– Polyrhythms are the key here with uneven time signature. Also look into Euclidean rhythms.

– Ric uses a lot of granular synthesis on percussion instruments or synths.

Vid

This is another that is often referred to as a reference. People love the simplicity and yet complex songs he makes. As opposed to Villalobos, his songs are quite polished and organized.

Things he has inspired us:

Atmospheric techno is quite fun to make and is both exciting, while meditative.
Lush pads over field recordings are hypnotizing.
Dark tone gives a more mysterious vibe.

Exercises related to studying to his music:

Collect field recordings and ambient space sounds such as a restaurant or a church inside.
Grooves and beats that are groovy are worth being studied and I often recommend looking into pre-made loops and then copycat them. Removing a lot of the sustain of percussion to keep them short really helps having a minimal house feel.
He often doesn’t have bright elements and keeping sounds low will give a mysterious vibe.

Pablo Bolivar (Or Dub Techno)

Since I have a long background in dub techno, I get a lot of questions on how those pads are made. While it is not necessarily complicated, it still needs a bit of tweaking because what makes the dub techno pads captivating is the always moving side of them. That is coming from modulation or automation. Pablo does a great job of picking some nice sounds, pads and beautiful, lush melodies which makes him a reference for a lot of clients.

Things he has inspired us:

A lot of classic dub techno has a 1 or 2 notes melodies, going full on minimal. Pablo brings in simple melodies but more complex than 2 notes which gives it memorable moments.
Super clean production and mixes. Nothing unnecessary is ever added.
Just like Vid, his approach to have dynamic ambient makes it enjoyable for relaxation or dancing.

Exercises related to studying to his music:

Use a key root with a minor scale. Minor chords as well to complement the melody. Most of his melodies are 4-5 notes maximum. Consider doing chord progressions.
Use field recordings to complement the melodies.
Percussion are fairly straightforward here and repetitive. It does a fine job.

J Dilla

I wouldn’t say that anyone contacted me to make music exactly like him but I do have some clients into lofi hip hop, which in my opinion, is a derivative from J Dilla. He’s from the MPC generation where people would sample records and then play with it. His album “Donuts” is considered an innovative album for hip hop and is worth listening to it.

Things he has inspired us:

Sampling blatantly and being bold about it. Sample some music from any source and use short notes of it, either to make your hook or to put an accent on whatever is happening.
Go short. Learn to make songs that are under 3 minutes long. A challenge for techno but for electronic music, it’s an exercise that forces you to be straight to the point.
Exaggerate on swing for your percussion. Try to push it to the max to see what happens.

Exercises related to studying to his music:

As stated above, those learning are also things to try. But I would recommend digging some records at a second hand shop and sample obscure parts.
Use a midi controller like the PUSH or with pads and try to manually punch in your beats.
Within a clip, play with the warp points to create weird stretches and elastic beats.
Slice up beats and reprogram them into a new patterns.

Fred Again

I’ve lost interest in pop music years ago and commercial electronic music has always been something I stay away from. But Fred Again has been impressing me for how he makes music and of course, for the end results. The thing about his music is that it’s basically the typical approach from any commercial, standard structure music that is made and good tastes is what matters here.

This means understanding chord progressions and working with key/scale is going to be the main focus. Using plugins like Captain Plugins suite will make a huge difference unless you have a lot of patience to learn music theory.

There are no shortcuts to this kind of music. But the tools you can use will make it easier.

His recent album with Brian Eno is what made me appreciate him.

Daft Punk

I’ve been following the pair from 1995 until their separation. I don’t think there’s been many music acts that had the impact over their career like these guys did. It’s mostly due to their desire to innovate but also to take ideas that work really well and pull out some solid ideas to give it a new twist.

In a past article, I was stating that there are 2 main modes when it comes to working on a project: you might want to repeat an idea you love from a song or artists vs you might want to innovate something from what you do.

The things I’ve learned from working with clients who want to get inspiration from them are mostly about, once more, digging for samples and then play with them. It’s sort of like what we covered from Dilla, but with a faster pace and 4/4 time signature. There was a point where the French Touch house/disco was all rage. That music was about using a sample with heavy filtering and the classic pumping/ducking effect. This technique is still used nowadays but with a bit more control where you perceive it less.

Besides filtering, some notable effects they use that you can explore today: Bit crushing, tape saturation, vocoder, heavy chorus/phaser. They also love a good 909 kit.

And to finish up, who are my personal references?

Ada Kaleh, Gigi Masin, Jan Jelinek, Rhythm and Sound, Vladislav Delay, Ricardo Villalobos, Matt Dear, Lawrence… but way too many to name.

Applying Da Vinci Principles to Music Coaching

July 18, 2023/in Blog, Production/by pheek

As you already know (well I hope, at this point), one of my speciality is to work with young or veteran music producers and remove struggles so they can create freely. Recently I’ve been studying how Leonardo Da Vinci was learning and creating, so I saw a crossover to what I do. After all, each song we make is basically a creation in itself, an innovation and a prototype for future project of ours. If it’s not already, I invite you right away to think of each song you make as a step taken in a direction that will lead you to greater things.

Leonardo da Vinci, mastered the art of innovation and interdisciplinary thinking, modern musicians and producers can draw inspiration from his principles to unlock their potential in the realm of music production. In this blog post, we will delve into each of the seven principles from the book “How to Think Like Leonardo da Vinci” and explore how they can be skillfully applied to music production, enabling you to become a true maestro in your craft. If you’re seeking to enhance your music coaching journey, embrace these principles as guiding stars to navigate the musical cosmos.

Curiosità – Embrace Musical Diversity

Leonardo da Vinci’s insatiable curiosity fueled his passion for knowledge and exploration. As a musician and producer, nurturing curiosità involves delving into various musical genres, styles, and cultures. Too often, as a producer, we get obsessed by a genre, a song, an artist and we focus on it for a while, forgetting anything else. Sometimes, the answers to our questions and inspiration pitfalls come from another unexpected source.

Break free from creative boundaries and venture into new territories to experiment with new sounds and musical elements. Diving in genres you dislike, switching to past eras of time, exploring the roots of another country are good places to look into. Drum and Bass took loops from funk. Hip hop samples jazz, while dub techno is inspired by reggae, which has roots in old African music. All genres taps into another culture and this means you can softly break rules by doing the same, whatever genre you’re doing.

TIP for inspiration: Find a genre to explore, pick any song and isolate an instrumental moment where you can hear the main melody then convert it to midi in Ableton.

Attend music festivals, workshops, pay attention to street artists and listen to a wide array of musicians from different backgrounds. Learn who inspired your heroes such as Villalobos’ love for Keith Jarrett. This diverse exposure will not only enrich your musical palette but also infuse your productions with unique flavours.

Dimostrazione – Hands-on Learning and Experimentation

Da Vinci’s approach to learning through practical experience resonates with music production. Aspiring producers should engage in hands-on experimentation with different instruments, digital audio workstations (DAWs), and audio effects. There is different projects one can do such as DIY reverb units, foley ideas or simply recording percussion out of anything at home.

A fact that I share to clients all the time: practice, practice, practice and make mistakes.

Practice creating diverse arrangements, experiment with modulation and synthesis, and explore various mixing techniques. By consistently practicing dimostrazione, you’ll build a deeper understanding of music production that theory alone can never provide.

TIP: I am curating a Youtube list of experiments you can try. That list is growing everyday and is filled with ideas to try.

Sensazione – Developing a Keen Ear and sharp vision

Sensazione refers to the sharpening of one’s senses, and for a musician, this means cultivating a keen ear for music. Train yourself to listen actively to various musical compositions, both old and new. Pay attention to the nuances of melodies, harmonies, rhythm patterns, and the subtle production details that make each piece unique. Regularly practicing ear training exercises will help you identify and appreciate intricate musical elements, allowing you to apply them creatively in your own productions.

TIP: Write some few notes and test all music scales to see how it sounds for you. Try all different chords as well. Spending time to know them will help later to understand melodies.

While we know music is about the hearing and that ear training is important, I also encourage to train your eyes as well. One thing I disliked when I used to work in a music school was that all teachers were telling students to only rely on their ears and from what I was seeing, that tip was frustrating for them. This is why I tell people to first learn to trust your eyes when you use sound analyzers and then train your ears to make the link with what you see.

As we work with visual tools such as a DAW, training yourself to know what happens when you click here and there or where to find your tools comes with practice but the visual organization is essential for speed. The faster you are with your tools, the more you’ll be in the flow when you think of an idea and want to execute it. This speed and understanding can only happen with practice… yes, once more and now you know it. I notice that even for myself, if I skip a few days of not practicing, I forget some ideas I have.

One thing I invite you to do is to learn and practice critical listening. That skill is extremely important for whatever you want to achieve and you’ll thank me later.

Sfumato – Embracing Musical Ambiguity

In the realm of music production, Sfumato encourages you to embrace ambiguity and uncertainty. This is where many producers struggle but also, the average listener. In the psychology of music listening, people can be on various modes. One is about listening to a song to reconnect with the mood, emotion, idea because of the emotional craving of having the song inducing that. An other is about discovering something new. Even when someone is open to listening to something new, they’ll have a bunch of personal filters that will make them decide if they like it or not: sounds used, tones, density, speed, scale, etc. If you come with expectations, you’ll most likely be not enjoying it.

Understanding that your listener has it’s own personal story once they listen to your creation will help you understand how you want them to hear it. Finding the right balance of ambiguity is the key to educate your listeners to be able to deal with more.

Music is an art form where unexpected twists and creative risks often lead to remarkable breakthroughs. Allow yourself to explore unconventional chord progressions, atypical song structures, and unorthodox sound combinations. Question what others tell you that you can’t do. Of course, some technicalities are essentials but if it’s purely arbitrary and personal tastes, it might be worth exploring the why behind anyone’s discomfort. Embracing the uncertainty will open doors to uncharted musical territories and give your productions a distinct, avant-garde charm.

But uncertainty is also the path of the musician. We don’t know if people will like our music, we don’t know if what we do will be understood, what kind of reaction it will bring us and ultimately, open or slow down our ascension as an artist. To develop ambiguity endurance is a good investment.

TIP: Consider that there are so many songs that have technical imperfections that eventually became seen as a risk, that they set the path to new standards. Accepting ambiguity means to accept imperfection, which is hard for perfectionists.

Arte/Scienza – Balancing Artistic Vision with Technical Expertise

Leonardo da Vinci famously harmonized art and science, a practice that resonates with music production, especially in electronic music. I firmly believe if he was around, he’d certainly be interested in how electronics can mimic sounds. Balancing your artistic vision with technical expertise is essential for achieving a polished and professional sound. While artistic expression fuels creativity, understanding the technical aspects of audio engineering, mastering, and sound design empowers you to bring your musical ideas to life with precision and finesse.

Some classes, courses and technical knowledge you could look into that would be beneficial could:

Studying computer science. I often say that if you’re computer challenged, it will be a hurdle to make electronic music for all the technology needs behind it. Studying how your computer works, hard drive, files management, hardware optimisation and also, coding, will definitely help in one way or another, especially if you have to troubleshoot.
Signal flow. Understanding the basics of sound with phase, polarity but also basics as what is loudness, how speakers/monitors work will help. You don’t need to study engineering in itself. But if there’s one concept I find essential, it’s gain staging. Especially for DJs, since so many are completely clueless on how to use a DJ mixer properly, which leads them to misunderstand how music is made. This would also cover bits and sample rate, two concepts essential for basic quality upgrade of your music.
Music theory. Maybe not that much needed as one can go a long way with little knowledge but to know the basics will certainly help.
Computer logic. If you’re not familiar with Boolean maths, logic (If, Then, etc), I would encourage you to look into it.
Sound synthesis. Looking into envelopes, LFOs, MIDI, signal rate, etc. There’s a lot to learn but getting the base will help you across many tools you’ll use because those ideas are general and used across many plugins, synths.

If you want to break rules, you need to understand them first. It will be also useful to be able to criticize all the misleading feedback you’ll read online.

Corporalità – Nurturing Physical and Mental Well-being

In the fast-paced world of music production, it’s vital to prioritize your physical and mental well-being. Long hours in the studio can take a toll on your health and creativity. Make time for regular physical exercise, meditation, and activities that rejuvenate your mind. A clear and focused mind leads to enhanced creativity, allowing you to channel your emotions effectively into your musical compositions.

Over the past 30 years, the rave scene and electronic music world has built a lot of glorification upon drugs consumption and many artists received royal treatment for how poorly they’ve treated their body. While I value the importance to celebrate and do experiment, I also think that all the self care possible will do justice on the long run. If your art needs years to be recognized but your health won’t let you see it, then you’re failing your success.

In my case, I see how running, doing workouts and lots of yoga has paid off. The days where I run 10km are extremely productive and more creative than any evenings I spend partying and trying to accomplish something. Finding the balance helps much. I’m happy that in the last few years, there are more importance for healthy lifestyles and I totally see the point of that.

TIP: Learn to spot inner tensions when making music which should be a cue that you need to stop, go for a walk to think about whatever is happening and then come back.

Connessione – Uniting Musical Elements

Finally, embrace Connessione, Leonardo’s principle of recognizing interconnectedness. Music production involves various elements like melody, harmony, rhythm, and texture. Learn to see the bigger picture and identify how each component contributes to the whole. Effortlessly blend diverse musical influences and genres, making your productions a testament to the beauty of unity within diversity.

One exercise I’m doing much these days is to listen to melodies in any song and then pay attention if the notes are going up or down, what is the pattern. Then I pay attention to the rhythms of those notes and see if they come at the same time or not. That kind of attention is a way to observe how music is made across genres in order to see how I can create my own melodies. Any notes can then be applied to my music, maybe also reversed engineered in modular terms, such as a way to use an LFO to create regular melodies.

As you embark on your music production journey, channel your inner Leonardo da Vinci and embrace his timeless principles. Cultivate curiosity, experiment boldly, and listen attentively to the musical world around you. Embrace ambiguity, balance artistry with technicality, and prioritize your well-being. Recognize the interconnectedness of musical elements, blending diverse influences into your unique compositions. By applying “How to Think Like Leonardo da Vinci” to music production, you’ll unleash your creative genius and pave the way for a remarkable musical legacy.

The Importance of Practicing Ambient and Experimental Music

July 12, 2023/in Blog, Coaching/by pheek

In the vast realm of music creation, there lies an uncharted territory where boundaries are blurred, and sonic landscapes become a canvas for exploration. It is in this genre that experimental music and ambient scores find their essence, sometimes blurring the lines on which is which. These forms of music not only push the boundaries of traditional music-making but also serve as a gateway to developing skills in narrativity within musical compositions, because each song defines its own rules.

If you’ve been following my music career or read this blog, you know that exploring and breaking the norm is an important value for me.After making music for years, I have hit some walls of frustration. Each time, it was the feeling of having the impression I had seen it all, said it all. How much can one reinvent himself within a genre?

If music is about having fun, the idea of making the same song over and over felt alienating. Exploring the techniques behind making ambient and diving in experimental helped a lot with any desire to evolve, grow.

Ambient or Experimental Music

To understand the significance of ambient and experimental music, it is crucial to unravel their origins and intentions. Ambient music, pioneered by visionaries such as Brian Eno and Tangerine Dream, sought to divert the focus from conventional patterns to approach music as a tool to set moods. Music becomes then a tool, a tapestry. Ambient music invites listeners to listen, attentively or not, to music that has or not, a destination or goal. By embracing ambient compositions, music creators develop a keen sense of space, dynamics, and the art of capturing evolutive ideas.

Understanding how to make ambient music opens up many opportunities for any other genres you wish to make. Especially for dance floor music, if you remove rhythmical parts, you’re left with ambient music.

Ambient music is intended to induce calm and a space to think,” Eno elaborated in the record’s liner notes. “It must be able to accommodate many levels of listening attention without enforcing one in particular. It must be as ignorable as it is interesting.” Brian Eno

On the other hand, experimental music emerged from the roots of musique concrète, a genre that pushes exploring techniques and boundaries. The experimental approach to music-making involves understanding the boundaries and rules of a genre, its traditional structures, inviting artists to push the limits of their tools and venture into proposing a new approach. It encourages musicians to question the norm, embrace the unpredictable, and find harmony in chaos. In this ever-evolving landscape, experimental music fosters an environment that encourages innovation and unearths new possibilities.

If you have been working on the same genre for a while, you are totally ready for exploring experimental music. Composing without a goal else than breaking your routines is where I’d encourage you to start.

Since a lot of music that succeeds into being recognize often involves revisiting an idea, it often starts with the artists breaking rules while keeping a base. The same-same but different is a good way of describing it. What I often see as experimental music are all these attempts at taking risks, without filters. There is no right or wrong. If you are trying something new, you’re on the right path.

There are different axis of exploration:

- Deconstruct arrangements or review the patterns. If a genre has a specific percussive pattern, try to move the beats around.
- Using tools in a way they weren’t originally designed.
- Taking an idea and shuffling it around to see all its possibilities.
- Learn about generative techniques for music making. This can be done in Ableton Live and VCV, but also in Bitwig.
- Spend time in the nature and listen to the sounds as they come. I love listening to bird songs and try to understand the pattern and sound design of their singing. I sometimes record them and use them in Ableton as a sequencer.

“Sound is the vocabulary of nature. The moment at which music reveals its true nature is contained in the ancient exercise of the theme with variations. The complete mystery of music is explained right there.” Pierre Schaeffer

Brian Eno made a deck of card named “Oblique Strategies” in which you pull a card to get some random inspiration or solution facing an issue. I find that it is a tool to explore and you can use an online version here.

Connecting Unrelated Concepts

One of the most compelling aspects of experimental music and ambient scores lies in their ability to connect unrelated concepts, looking beyond music for inspiration. Just as Rick Ruben’s book suggests, the exercise of connecting unrelated concepts can ignite an unexpected starting points. By drawing inspiration from various music genres, as well as other art forms such as visual art, literature, or film, musicians can infuse their compositions with a sense of depth and uniqueness.

Some suggestions:

Take a scene of a movie and put sounds over it, then keep only the audio. The images will guide the arrangements.
Read a book, pay attention to the story and imagine a sound track for it.
Get inspired from architecture. See how the importance of maths plays a crucial role in the structure of a structure. As you know, music is math and perhaps you can apply some observations to your music.
Learn to dance. I’ve followed so many dance classes in my life and when I get to move, it makes me understand the experience of the dan

Translating ideas from different domains into musical elements can yield astonishing results. For instance, by borrowing the tonal color palette from a painting, a musician can evoke specific emotions or create vivid sounds while darker colors can evoke deeper, lower tones. Similarly, incorporating elements of storytelling into musical compositions adds a narrative dimension that captivates listeners. By embracing this approach, artists can craft soundscapes that transport audiences on transformative journeys, blurring the line between music and storytelling.

Beat Making Revised

Electronic music often places emphasis on rhythm and beat making. However, by honing one’s skills in ambient and melodic composition, musicians can develop a strong core foundation that seamlessly integrates with rhythmic elements. Ambient music and experimental scores allow creators to focus on constructing melodies, exploring harmonic progressions, and crafting intricate sound design. These core strengths, when mastered, provide a solid platform upon which rhythmic elements can effortlessly blend and thrive.

One way that I love to work is to generate ideas, scores and random melodic moments which will then be material to use within sessions where I make beats. In other words, I often divide my music sessions into two categories:

Melodic content, hooks, sampling. Finding ideas and generating some. Arranging random ideas into one coherent hook.
Beats, beats, beats. Work on creating grooves, beats, sound design, complex or simple loops.

And then, two more categories:

Innovate. Try to invent new ideas.
Imitate. Try to emulate or reproduce ideas I love in other’s music.

Experimentation within ambient and experimental music opens doors to unexpected discoveries. Those experiments can be happening by multiple ways such as finding new free tools, new Youtube tutorials about genres or techniques that we haven’t explored yet or by simply exploring randomization within Ableton. By breaking away from conventional rhythmic patterns and exploring sounds that might be unsettling, musicians can unlock new possibilities for beat-making that take a step out of the comfort zone.

TIP: I find that once you have sequences, you can then slice it in detail and then rearrange it to taste.

As music creators, it is vital to embrace the vast realm of experimental music and ambient scores, for they offer unparalleled opportunities for personal and artistic growth. By immersing ourselves in the sonic landscapes that these genres provide, we gain a profound understanding of space, atmosphere, and the delicate interplay between elements. Furthermore, by connecting unrelated concepts and drawing inspiration from diverse sources, we infuse our compositions with a richness and depth that transcends traditional boundaries.

In the realm of electronic music, where rhythm often takes precedence, developing core strengths in ambient and melodic composition lays the foundation for seamless integration with beat making. By engaging in experimental music-making, we unlock our true creative potential and embark on a journey of self-discovery, innovation, and boundless imagination.

So, let us venture forth into the realm of experimental music and ambient scores, where the uncharted territories of creativity await, ready to be explored, experienced, and shared with the world.

Lessons Learnt After Years Of Making Music

July 4, 2023/in Blog/by pheek

I had multiple discussions with clients, friends or other musicians about how things have gone over a span of 20+ years. For people who have been interested in music making, they sometimes find the first few years to be a bit challenging and wonder how it is like when one gains experience, as if it gets easier.

The truth, which is my experience shared with many peers, is a bit unsettling for certain people because I like to say that it is a bit like parenting. It doesn’t necessarily get easier with time but there are constant challenges at first that get easier later on, while new issues will appear. This means that through the development of a musician, you go through stages where you aim to resolve some issues which open doors to more issues you didn’t even know existed.

In other words, when you know less, you also have to deal with less issues because you ignore them and just work your way through. When I hear my son listening to some random songs he loves on Spotify, made by obvious amateurs, I can tell that this was made without any knowledge but the average listener doesn’t know that as well.

Through the years, there are a multitude of facts I compiled that I want to share with you. These are just factual understandings having success, failure, struggles and victories, both from myself and seeing it in others. This is the main difference between a young producer and someone with experience: time teaches you some hard truths.

Fact: The Advantages of Limited Knowledge Are Real

I remember sitting in front of my newly acquired gear. Going to this synth store, I went a bit crazy. I bought a lot of gear without knowing anything about them. Then I went home and struggled to connect everything properly but I started playing with them.

Everything was exciting. Everything sounded awesome. I felt pure joy as I didn’t know what I was doing but it was just really fun. I had no idea what I was doing and I would just try to control what came out of them. There was no Youtube to give me instructions and I’ve never been attracted to read manuals. It was all about trial and error.

What I see is that when you know less, things appear easy and that can give you a lot of energy. I’ve seen people really new at music making and creating a hit. Then, they never were able to really do any more music. The fresh start is sometimes very easy but then as you try to get better, you learn more, realize your mistakes, buy proper gear to then realize you just complicated your workflow. The curve to get in the flow is then harder.

Things get complicated when you build expectations or compare yourself.

TIP: I always recommend newcomers to try to play with sounds instead of aiming at making songs.

TIP 2: Use less to maximize your flow state and idea making.

Fact: Growth through Practice, Not Gear

One of the challenges a producer with a bit of experience will face is to fall in the trap that they need the perfect conditions to be inspired, productive or successful. This is the root of procrastination and writer’s block. People who buy too much stuff while not practicing usually don’t get anything done.

If you want to be good at music production, make it the central part of your life. Make room to practice everyday, listen to tons of music, search for nice samples, recordings, ideas and spend a lot of time learning your tools before acquiring anything else. Build vocabulary of the sounds you like, tools you use and recognize what you hear in other’s songs.

If you have Ableton Live, you already have everything you need. Just go and start new ideas, everyday, all the time and follow what you absolutely love doing. If you practice what you love doing, you’ll become a master in that field. You don’t need to be able to do everything yourself, all at once.

Fact: Completing a Song Does Not Guarantee a Release

Imagine we compare music to pictures. Are all your pictures on your smartphone deserving to be published in a book?

If you finish a song, the hard truth is, it will interest only a number of people and from those, a handful will be interested in paying to listen to it. But we’re so flooded with music daily that we pick carefully what we want to invest in.

This means that the more music you do, that you finish, the more it will get “better” and that more people will be interested in it. The more you make music to be published or please others, the further you’ll be from who you are.

Does this mean it’s not worth finishing music?

No. It’s important that you go through what you do just like you fully cook a meal.

TIP: Adopt the idea that whatever you do, is important to yourself only. Share humbly to the right people.

Note: I’d add also that releasing a song doesn’t mean you’ll get success.

Fact: Validation-Seeking Can Lead to Misleading Feedback

This is a HUGE portion of the people who roam on production forums, Facebook groups and any online debate. Their logic is often a sum of multiple reads, some personal experiences and they’re searching for answers but will also share some of their views, imposing it as a fact.

I’m very picky of who I trust when it comes to getting things explained. Anything non-technical is always a gray zone. One’s story might be true for herself but maybe not you.

When I’m being explained something, I don’t apply what’s said. I try to understand it, by its logic and then test. I’m very allergic to whoever tells me that music should be done in a specific way or not. Feedback on my music is always about technical, and neutral points. If I want one’s appreciation, I will ask directly and also pick the people to share.

TIP: Useful information comes when you ask the right questions.

Fact: Solid Ideas Outlast Solid Production

This one will be controversial I think but I’m pretty firm on that point. Just to prove my point, I can tell you that any ear-worm ideas will stick to your mind for days but a very nice snare/kick, not really.

You don’t remember nice production compared to a 4 seconds catchy hook, but it does create a nice impression. I sadly see a lot of shit ideas being hidden by impeccable production. It makes you swallow the poor idea but it won’t age well. I’ve heard incredible hooks with a shit production and honestly, sometimes it tricks your brain that the poor technical approach was intentional.

This is how some lofi production got big because I think that some were initially made by people who didn’t know what they were doing. But then they’re emulated and copied. When I see people trying to make music sound like in the 90’s, they don’t understand that back then, we were frustrated by our limitations and we were trying to sound futuristic.

Acid house was minimalist because people only had a budget for an 808 and a 303.

Finding good hooks is a mixture of luck and experimentation, curiosity and openness.

TIP: Whatever stage of music making you’re in at the moment is enough. If you accept your limitations, you’ll be able to achieve more than you think.

Fact: The Power of Networking and Community Is a Game Changer

You can be the best music producer but if you have no community to support it or a network to share it, there are a lot of possibilities that your music will never be heard. This is something that I discussed much in this blog but the importance of knowing the right people will lead you to opportunities that your music alone.

There’s this myth that if you do the perfect song, all the doors will open in front of you. That’s not something I’ve seen, ever. There’s way more amazing songs that were never published because of the artist’s lack of contacts.

Fact: Success, Cycles, and Breaking Free from Illusory Competition

Chasing success is something we all deal with at one point or another. Seeing others succeed might trigger the feeling that we’re not on the right track, that we missed something important, that we also deserve the same (for whatever silly reason). What we define as success is very personal. There are different types of successes and if we chase them all, we will always feel like we’re missing something.

The different types of success associated with music production could be organized in different spheres. Some people see it in who they work with, some into their social accountability, who they release with, number of sales, bookings, etc.

If you persist in what you do, you’ll go through ups and downs, just like anyone else. You can’t always be at the top of your game or always present in media/social circles. One’s success doesn’t leave you in their shadow. It might actually open doors for you if you go along with it.

TIP: No one is stealing attention/gigs/success from you. The only person you’re in competition with is yourself and that is a choice.

Fact: The Elusive Nature of Hit Songs

I remember attending a panel at Ableton’s LOOP gathering with Young Guru who is a famous producer from LA. He shared his view on what is a hit and I totally agree with him.

“A hit is a song that is hitting the right idea, at the right time and picked up by the right people.”

One doesn’t control if his song is a hit or not. The minute you understand that this is out of your control, it can be both making you feel free or depressed. If you chase success and want to make hits, it might sound discouraging because you’ll understand it is like a lottery. It really is.

But it can also set you free. Creating with a goal as an absolute is often creating large blind spots where you miss out on beautiful results you’ll discard as you’re focused on something you don’t control.

The day you’ll make a hit, it’s possible that you might not even know it. It just happens, or not. You don’t have control over it. But the more you chase making successful songs, you might end up down the perfectionist path.

The journey of a musician encompasses challenges, failures, triumphs, and personal growth. Through my own experiences and observations, I’ve shared several factual understandings about success, limitations, creativity, and community. Embrace the joy of exploration, persevere through practice, and remember that your music’s impact goes beyond commercial success. Seek genuine feedback, prioritize solid ideas over flawless production, and build meaningful connections within the music community. Success may not be constant, but the fulfillment lies in the pursuit of artistic expression and the continuous evolution of your craft.

Tools To Understand Your References

June 27, 2023/in Blog, Production, Tips/by pheek

We’ve all been there—struggling to compose that perfect melody or write those captivating lyrics, only to be hindered by the relentless pursuit of originality. But what if we told you there’s a way to break free from this creative conundrum and discover a whole new dimension of musical ideas?

No matter how many times I get to my computer to make music, I’m often on 2 modes: trying to make music that will be completely original or trying to emulate ideas that I love (eg. the opposite of being original). In most cases, I forget that I have fun unless things feel flowy. Luckily there are multiple techniques that can be understood from music we love and there are also many facilitating tools to help understand whatever is the magic of certain songs. I’ll suggest some of the tools I use when I do production for clients.

Recently I read the book by Austin Kleon’s book, “Steal Like an Artist,” where we’ll uncover five valuable ideas to set your musical exploration. I felt like I could see how this applied to music.

Embrace the Remix Revolution:

In a world overflowing with music, finding absolute originality can feel like searching for a needle in a haystack. But fear not! Kleon suggests embracing the concept of the remix—a creative collage of existing ideas and influences. Remember, even the most renowned musicians have been inspired by the sounds of yesteryear. So, dive into the archives, explore different genres, and let the magic of cross-pollination unleash your musical prowess!

The first exercise I give to any client who is in a writer’s block that won’t go away, I suggest them to get a bunch of loops and start remixing, without any goal. I would like to say that while this is the best remedy for most cases, some feel like this is stealing samples and such. But if the mind is stuck, it’s mostly due to overthinking. Getting the ball rolling with a simple exercise of playing with premade ideas is just an opened door to jump back and then expand to whatever feels right.

TIP: It’s hard not to have fun by using the vast amount of quality loops you’ll find on Splice. It also offers possibilities of rent to own synths, plugins or have presets for the genres you like. It also has a desktop app where you can preview loops, then import them in your DAW. I like also that you can sync the app with your project’s tempo by using the Splice VST.

Another alternative is to use Loopcloud, which is a bit like Splice but also features some tools like a really lovely drum machine where you can import any sounds from the library.

TIP 2: I like to use Soundsnap for samples. It features so many found sounds, foleys, random recordings. It’s used in movies and it can be used in your songs as well.

Swipe Ideas, Not Identity:

As musicians, it’s natural to aspire for a unique sound that sets us apart. However, trying to force originality often leads to creative paralysis. Instead, take a leaf out of Kleon’s book (literally!) and steal ideas shamelessly. But here’s the catch: focus on the elements you admire and rework them into something entirely your own. Give credit where it’s due, but don’t be afraid to put your personal spin on things. After all, the world doesn’t need another copycat—it needs the extraordinary blend that only you can create!

Now, remixing can be more subtle. You could listen to Keith Jarrett, some old Studio One dub, modern classical and then pay attention to the sound used, how they are said (melody) and the space created.

What are you noticing? Are the notes slow or fast? Is it dense or open? What is the time signature?

Write down the notes, then apply the concept to whatever you do. That’s cross-pollination.

TIP: You can buy MIDI packs or MIDI melodies a bit everywhere and look into ideas that aren’t in the genre(s) you’re doing. The MIDI notes don’t make a sound, they’re just melodies. You can use random harmonic sounds or use synths of your choice so you can pull out melodies that are out of your routine.

TIP 2: So many clients don’t realize that one step towards their songs feeling more professional is to use one root key with a scale. I like the numerous tools from Captain Plugins. They have studio related plugins that lets you understand the key and scale of important ideas or your own melodies (eg. some clients just improvise some melodies to later find out it is in a specific scale without knowing!). You can also look at Tonic for that type of analysis.

Curate Your Influences:

Ever heard the saying, “You are what you eat”? Well, in the world of music, “You are what you listen to!” Surround yourself with a diverse range of musical influences. From classical compositions to avant-garde experiments, absorb it all like a musical sponge. By curating a unique tapestry of influences, you’ll develop a rich palette of sounds to draw from. So, don’t be afraid to embark on a sonic adventure—you might just stumble upon the spark that ignites your musical genius!

To make quality music, you need to be exposed to quality songs.

This means, listen to music as much as you make some. From what you listen, try to diversify your repertoire as much as possible. When you discover an artist you like, dig his roots, early works and recent ones.

Befriend people who have deep love for music and ask them for recommendations. People aren’t asked enough about their favorites but it’s a loved topic if you’re into music.

I love this max patch that opens up the directory of all the sounds from Freesound.org. I love that site because it’s free but also because you can ask for random samples. I also like this page that gives me random Youtube videos to watch…

TIP: Elphnt did a nice patch that gives you ideas for starting new ideas or if you lack ideas at some point.

Constraints Set You Free:

Contrary to popular belief, constraints can be a musician’s best friend. Kleon emphasizes the importance of setting limitations to unleash your creativity. By giving yourself specific boundaries, such as time restrictions, limited instruments, or even unusual song structures, you force your mind to think outside the box. These self-imposed challenges become the catalyst for innovation, paving the way for musical breakthroughs you never thought possible.

TIP: Make yourself a drum kit and just a few samples for your song making. Pick a random songs and use that as a template for yours (BPM, section, mood, key, scale, etc). I love the tool of Decoda because it can really help pulling out a melody or understanding of how a song is arranged.

Embrace the Journey:

Creating remarkable music isn’t a sprint; it’s a lifelong marathon. As you embark on your musical odyssey, remember to enjoy the ride. Kleon encourages artists to embrace the process rather than obsessing over the end result. Each composition, each practice session, and each stumble along the way is a vital part of your growth as a musician. So, buckle up and savor the adventure, because it’s the journey itself that shapes you into the artist you were meant to be.

But what happens when you’re a dad or you have a demanding job and you can’t invest much time into your favorite hobby? The journey becomes a bit more complicated. Can you still embrace the results without having the time to do what needs to be done to get your project going?

There you have it, intrepid musicians! Armed with Austin Kleon’s invaluable insights from “Steal Like an Artist,” you now possess the secret weapons to break free from the shackles of creative blockages. Embrace the remix revolution, swipe ideas with pride, curate your influences, thrive within constraints, and, above all, savour the journey.

Remember, the music world is your oyster. So dive in fearlessly, create unapologetically, and let your stolen melodies reshape the very fabric of musical innovation.

Max For Live Gems For Ableton

June 20, 2023/in Production/by pheek

(Updated June 23rd 2023)

I’ve been wanting to cover some of my favorite Max patches for a while. There are so many and sometimes, some are just meh and others, will be quite amazing. Since I’m basically hoarding digital tools for my studio, I thought I’d compile a list of some patches that feels like it’s hacking the production flow to the point where it’s like cheating.

Every now and then, I’ll be making music and whenever it feels too easy (it doesn’t happen enough though), I always the impression that it’s wrong.

In coaching, I teach that it’s never a problem. My take on this is to harvest ideas when it feels too easy because you might have found a hack and if it sounds good, then it means you found a way to express yourself.

This is why I never have enough tools that ease my creativity but I don’t rely on them as a quick fix for something I can normally do. If there’s a shortcut to something that takes a long time, which provides the same results, I’ll always go with the shortcut. Decision fatigue is something that ruins many studio sessions, and the meter goes down whenever you need to fix something or run into a complicated workflow.

In terms of tools, I have a few categories and I’ll present them based on a need or problem.

I like to think of the different needs related to music coming from different spheres.

Melodies: Sequencing, hook building, not harmonies, slicing/rearranging, generating.

Sounds: Design, harmonic/inharmonic, quantized, envelopes.

Effects: to be paired with sound sources so there can be variation and alteration.

Rhythms: generating, rearranging, unorthodox patterns, familiar patterns, ratcheting.

If you read my article about VCV and how the brain, the heart work, you’ll have one central source of sequences in one channel and then, you’ll have other channels that are the sounds who will receive the signal from. This is why I separate my sources and receivers. When you hunt for new ideas, you might have a nice melody but not the right sound or vice versa, so you want to be able to swap between them.

This is why I love VCV and modular because you can have built systems of melodies generating tools that send to multiple sound sources.

1- Sequencing : I want to create different rhythms or find patterns out of my usual flow

When it comes to sequencing, there are multiple ways to do it. You can use a note pattern from a midi clip if you want precise ideas. This is useful to lay the main idea of a song and to have direct control over the development of a pattern. But when it comes to generating ideas, I find that step sequencers that have random options, probabilities, phrase length adjustments to name a few, are super useful. It turns your machine into an idea maker and then you can cherry pick what suits your idea.

Drum sequencers that come top of the list for me are XO by XLN and Atlas. Both are quite similar but they offer in-context sample swapping, as well as sample organization, so it becomes really easy and fast to swap a sound to see what it would be like. Both offer different complementary ideas which is why I often use both but they’re not cheap.

Otherwise, if you want a quick fix, the Alexkid Instant Haus max patch is a free alternative. It will create some different rhythms for all your percussion instruments but you can use it to sequence notes or swap percussive for musical elements. Sadly there is no Max patch to hear percussions in context like Xo does. If you like that one, he also made other bundles that are pretty badass here, with more generating ideas for percussion.

I saw this patch here that is quite interesting. It is there to generate ideas so there are some nice potential. Also super powerful, comes Polyrhythm by Encoder audio, which is one of my favorite developers.

I also like Eucledean Pro because it uses the classic Euclidean approach to create beats.

Not long ago, a new max sequencer came out and it’s named Opal. It’s very influenced by Elektron machines. It’s really dope and can achieve so much for drums but also just for textures and even melodies. Powerful.

2 – Sequencing Melodies : Generate hooks, phrases and musical ideas

There are many ways to create a hook. You can use sampling (we’ll get there later), play melodies, extract melodies, combine sounds to make something catchy, record instruments or sounds… All those pretty much cover the main ways to find a hook. Depending on a specific genre, a technique might be used more frequently.

For ambient and electronic music, in general, sequencing ideas/notes to a synth or sound source is quite popular. Basslines, pads, chords and melodies are often coming from the piano roll. But you could use a melodic sequencer to do so.

I’m obsessed with melody sequencers. They’re fun but they also feel like you have a partner which you can tap endless ideas from.

Here are some of my favorites:

Pattern Generator by Manifest audio. Solid for creating complex or simple melodies as well as can be used for drums.

Snake: Brilliant patch for quick sequences.

Ask and answer: Works for creating call and answer hooks.

Turing Machine: inspired by Allan Turing, this device spits out sequences randomly and then you can loop the parts you like.

Aisle: This complex generating tool finds original sequences and patterns based on repetition. I find that this is excellent for percussions and evolutive percussive melodies.

On the more experimental flavor, Dillon Bastian has been a hero. It’s hard to explain in a few words what they do but he’s basically creating patterns and sounds through a visual context. For instance, with Rhythmorphic, he uses visual maps that shape how the patterns happen and what notes are triggered. It’s a bit hard to explain but it’s something quite unique and you can shape some very unique patterns. This can be very organic sounding, sort of like a chime. Or you can also use it to trigger percussion.

3- Sounds: I want to have sounds that are new to me but still not too crazy (or not).

When it comes to making sounds, I often deal with 2 kinds of mindset. On one hand I often find myself wanting to emulate sounds from songs or artists that I really like. I will try to reverse engineer how it sounds and will noodle around a bunch of different presets, pick the one that is the closest and then try to tweak it to something close to the target.

This is where “instruments” get handy. While you have a lot of options already with Ableton’s internal synths which are excellent, I compile a few ones here for you.

Chiral: Named holographic synth, it creates unreal sounds, based on multiple synthesis approaches. Hard to describe, these textures will sound very artificial, in a good way. Think of the ultimate synth for scifi score.

Iridescence: This is a delay unit that turns simple sounds into arpeggios. You can basically turn any sounds into a melody.

Grain Forest: The opposite of Chiral. It creates super organic sounds and environment. Bastian built an evolutive instruments with visuals of wind, seeds, trees that grow and die. It’s very relaxing and mesmerizing on its own.

poly-Plaits: The Plaits module is from Mutable Instruments and while this is an open source synth, it made its way to Max for live. It’s a synth with models. It sounds lovely.

Rings: Another take on Mutable instruments but this one is with the module of the same name. It’s a resonant synth with beautiful chime, bells sounds.

Copy Machine: This sampler takes a sample you pick and creates copies of it. The results are a bit mind boggling. Imagine you take a clap sample and turn it into a bunch of people who clap at the same time.

Fortrek: Inspired by the 4 tracker tapes of the 70’s and 80’s, this takes multiple recordings and scrubs through them. Really lovely for lofi feelings.

4 – Effects: Adding spices and colors

Never judge a boring sound as not useful because sometimes, adding the right effects can bring a whole amount of fun to it.

Granular Mirror Maze: A granulator that spits out super nice textures out of percussion or synths. Ideal for pads and backgrounds.

Maze: A looper, tape style with pitch. It is quite fun for creating off the grid ideas and have more of a musique concrète style.

Nube: a take on Clouds, an all time legendary modular effect that is a combination of delay, reverb and granulation.

Muse Concrète: This super advanced tool is not for everyone. It’s the ultimate tool to record and mangle sounds around. Big ups to my bro Offthesky for that one.

All effects from Encoder Audio are amazing.

I recently discovered the work of Robert K / Groov Mekanik and his vast collection of patches impressed me. Not only most of them are free and those who are for sale are at super low price, but the tools he has covers some needs that new and experienced producers want. I was appealed by the High Frequencies limiter that many artists should use as many often boost the highs too much. One patch I’d recommend getting right away is the Note Probability that is super useful for generative patches, adding flow and performances. It simply remove out some notes due to probability. Go have a look, there are some lovely tools in there.

But honestly, I think the most of what you have is by adding modulation to what you already have. This is why modulation options are useful. Here are some of my favorites:

Auto-Slider: Another brilliant essential tool from Offthesky. It records your movement and make turn it into a LFO or super long function signal.

Strange Mod: Dillon Bastian drops this amazing modulator that I use everywhere. Ideal for unusual random modulation.

Source: Inspired by the Buchla 266, it creates random signals.

All LFOs by Kentaro: Advanced and sophisticated, these can bring any modulation to the twilight zone…

I will update this page when I find new things so you might want to bookmark it. If you have suggestions, please share them!

The Power of Validation: How Early Influences Shape a Musician’s Career

June 13, 2023/in Blog, Coaching/by pheek

Validation plays a pivotal role in shaping an individual’s path, and for aspiring musicians, it can have a profound impact on their career trajectory. This article delves into the significance of validation, exploring how it can influence young musicians, propel their passion for music, and eventually transform it into a fulfilling profession.

In today’s interconnected world, we are witnessing a paradigm shift in how validation influences the decisions of children and teenagers in their self-development journeys. As they explore their interests, they seek recognition and support from their peers, mentors, and communities. When it comes to music, this need for validation is no different.

It often begins with an innate fascination for music that prompts young individuals to embark on a journey of self-discovery. They experiment with different instruments, melodies, and rhythms, gradually honing their skills. As they immerse themselves in the world of music, they find solace and joy in their own creative expressions.

During this formative phase, their close circle of friends and the community they engage with plays a significant role. Positive reinforcement and validation from friends who appreciate and admire their musical talent can instill a sense of confidence and fuel their determination. These early validations act as catalysts, pushing them to explore music further, sharpen their skills, and strive for excellence.

Moreover, the importance of surrounding oneself with quality artists cannot be overstated. As young musicians connect with like-minded individuals who share their passion for music, they enter a realm of inspiration and artistic growth.

These connections create a community of musicians who inspire and challenge each other, fostering an environment of creativity, collaboration, and continuous improvement.

Adopting external feedback as approval

In the last years, I’ve had the opportunity to coach multiple artists who faced various challenges. Validation often came as something people often seek in the first place, when it comes to making music. I see artists attend events, see artists in motion, performing, networking and then they want to be part of that movement. You can’t access that easily and making music often comes as a solution to be part of a community of fellow musicians.

On that path of music making, one can adopt multiple sources of validation. One challenge they face is related to their level of experience. It’s rare an experimented producer will open up to connect with people who have less experience. Unless you have met them in person and have a connection, the odds that you connect with them through social media are pretty low.

Another point to keep in mind is while we seek for positive feedback, we might attract misleading people. Through my years of experience, so many times, people have provided feedback that made no sense, pointed me in the wrong direction and often, I could only realize it later on. When I coach people, I often have to break old patterns people have integrated from Youtube influencers or explain how to avoid simply apply a technique without knowing how and why to use it.

Let’s explore three examples that illustrate how artists are inspired by their close friends and community, ultimately shaping their musical journey:

Collaborative Exploration:

Imagine a group of teenagers with an affinity for music and festivals, forming a collective in their high school years. They share their compositions, experiment with different genres, and perform together. Within this collaborative environment, they validate each other’s ideas, talents, and potential. The group becomes a creative hub, nurturing their passion for music and encouraging them to refine their skills. Through mutual support and validation, they collectively grow as musicians, laying the foundation for their future careers.

Mentorship and Role Models:

In certain cases, young musicians are fortunate to have experienced mentors or role models within their community. These individuals may be established musicians or industry professionals who recognize the budding talent and potential in these aspiring artists. By offering guidance, imparting knowledge, and validating their skills, these mentors become invaluable sources of inspiration and motivation. Their validation reinforces the belief that a career in music is not only attainable but also worth pursuing.

The Power of Musical Networks:

In an interconnected world, musicians have the opportunity to connect with a vast network of artists and industry professionals through social media platforms, online communities, and music events. Building relationships within this network can have a profound impact on their careers. By associating with established musicians or collaborating with talented peers, young artists gain exposure to different perspectives, styles, and techniques. The validation and recognition received from these interactions bolster their confidence, expand their musical horizons, and open doors to new opportunities.

Building Self Validation

Ideally, one wants to create self validation. This is the hardest thing to build if you’re an artist. Understanding that you music is a form of communication in need of connection is necessary to split your needs into two parts. On one side, you’ll want to learn to cover the technical understanding of your music to fit the context your music belongs to. This implies these points:

Arrangements: You can validate yourself through your own references that should include music that you know works well.
Mixing: This can be validated through another professional but if you learn validate yourself here, it would come to understanding your different sounds. Again, references will make a difference here.
Mastering: You can mostly make sure you have the same loudness and make sure you’re not having distortions, resonances.

Technical self validation takes a while to understand but working with fellow artists and professional will teach you to recognize what works or not.

No one expect you to cover all of this on your own.

The non-technical part is complicated. It’s either you have incredible trust that what you do works (which is rare), or work with your circle of 5. But everything is relative and arbitrary in that field, including your own judgement. I find that the best way to develop self validation is to learn to accept your music as it is, with it’s flaws.

In conclusion, validation serves as a cornerstone in the journey of a musician. Starting from the early stages of self-discovery and exploration, positive validation from friends, mentors, and communities can ignite a passion for music and drive an individual to pursue it further. Surrounding oneself with quality artists and being part of a supportive network can provide inspiration, guidance, and invaluable learning experiences. Aspiring musicians who receive validation and recognition early on are more likely to turn their passion into a fulfilling career, fuelled by the belief in their own abilities and the support of their peers.

The Benefits Of In Person Sessions For Music Production

June 5, 2023/in Blog, Communication/by pheek

As technology advances, it has become easier for musicians to promote their music and connect with people online. However, meeting people in person can still provide better chances for long-lasting work relationships. Music festivals provide a unique opportunity for musicians to connect with other artists, label owners, festival staff, and industry professionals.

I might sound old here, but the only thing that I think made a huge difference for me in my career advancement was that I had the chance to go out every week for years and meet up with a circle of people that I could share with. In that circle would be music producers but also, non musicians that would attend regularly and with who I could connect about music, what they love and see how music was impacting them. That community all grew together, supported each other and everyone got a chance to have some success. For a while, Montreal’s scene was recognized as very prolific and I’m pretty sure that meeting everyone on a regular basis made a difference.

One thing about being with people in events is related to having common peak experiences. Those create meaningful connections, something that people talk about years after. I sometimes hear people in a restaurant talking about past restaurants and not really commenting on the present moment. Same for events.

A peak experience is a term used to describe a transcendent, ecstatic, or otherwise profound moment or experience that can involve a sense of unity, oneness, or connection with something greater than oneself. This concept was first introduced by humanistic psychologist Abraham Maslow in the 1960s and was later popularized by other psychologists and self-help authors.

Peak experiences can occur in a variety of contexts, such as during artistic or creative pursuits, spiritual or religious practices, sports or physical activities, or even in everyday moments of connection with nature or other people. They are often characterized by feelings of euphoria, awe, and deep insight or understanding.

Some common features of peak experiences include a sense of timelessness or time dilation, a feeling of being fully present in the moment, a heightened sense of clarity and perception, and a sense of personal transformation or growth. Peak experiences can be transformative and have a lasting impact on a person’s worldview, values, and sense of self.

One peak experience for me that I’ll never forget was a night I heard Villalobos play at Club Der Visionaere. He was just from another dimension and the people I was with were all listening, looking at each other in disbelief. There was no one talking as I often see in clubs.

As a musician and artist, one thing that you want is to design such an experience. To go out is one way of living the way people do as well. This makes important connections.

Here are three important reasons why in-person contacts are impactful for musicians.

1. Building Trust and Personal Connections

Meeting someone in person builds trust and personal connections that are difficult to establish online. By attending music festivals and other industry events, musicians have the opportunity to shake hands, share stories, and make personal connections with other artists and industry professionals. These personal connections can lead to long-lasting work relationships, collaborations, and even friendships.

2. Opportunities for Collaboration

Music festivals bring together musicians from different genres and backgrounds, creating opportunities for collaboration. By meeting in person, musicians can discuss their music and explore possibilities for future collaborations. They can also exchange ideas and learn from each other, leading to creative breakthroughs and new musical styles.

3. Gaining Exposure and Networking

Attending music festivals and other industry events provides exposure and networking opportunities for musicians. By meeting industry professionals such as label owners, booking agents, and festival staff, musicians can gain exposure and potentially secure future gigs and opportunities. Networking is also an essential aspect of building a successful music career, and in-person events provide a great opportunity to expand one’s network.

“The Circle of 5”

The concept of the “Circle of 5” is important for musicians who seek validation for their music. Having a diverse set of contacts that can provide feedback and support can help accelerate the validation process and move the musician’s career forward. The five types of contacts are as follows:

Close Friend Non-Musician – This person provides an outsider’s perspective and can provide honest feedback on the music’s appeal to a general audience.
Close Friend Musician – This person is familiar with the musician’s style and can provide constructive feedback on the music’s technical aspects.
Music Producer with Similar Production Experience – This person can provide feedback on the music’s production quality and offer suggestions for improvement.
Someone from the Music Industry – This person can provide insight into the music industry and offer advice on how to navigate it.
Mentor – This person is an experienced musician or industry professional who can offer guidance and support to the musician.

Having a circle of five contacts provides the musician with diverse perspectives and feedback, which can help them refine their music and move their career forward. It is essential to build relationships with these contacts over time to ensure their support and continued input.

Too often I work with emerging artists struggling and most of the time, what I see, are people who don’t go out enough to meet other.

My tips for best impression in festival:

Contact people with the objective to get to know them, not to tell them of a business agenda.
Be yourself, let the ego aside. Don’t talk about your achievement and what you do best.
Don’t prove anything, avoid confronting people on things you disagree with. Sometimes if you meet artists you love, it doesn’t mean you are on the same page. No need to tell them.
Be generous and adopt a listening role. People tend to appreciate others who pay attention to them.
Have trust that meeting people, even if it doesn’t seem to bring anything, is the right thing to do and that it will pay off on the long term.

Conclusion

While technology has made it easier for musicians to promote their music online, in-person connections are still valuable for building long-lasting work relationships. Music festivals provide a unique opportunity for musicians to connect with other artists and industry professionals, leading to collaboration, exposure, and networking opportunities. The concept of the “Circle of 5” is also essential for musicians seeking validation and support for their music. By building relationships with these contacts over time, musicians can refine their music and accelerate their careers.