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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.

How AI is Helping Musicians Break Free From Unoriginality

May 29, 2023/in AI, Blog/by pheek

When it comes to creating music, there is a never-ending tension between the desire to innovate and the pressure to make money. Many musicians find themselves trapped in a cycle of producing unoriginal music that fits neatly into pre-existing categories, all in the name of pleasing their audiences and making a profit. But what if there was a way to break free from this cycle?

We recently talked about slowing down to learn new skills, but let’s have a view on the the most techno-technology out there.

Enter artificial intelligence (AI), a tool that is increasingly being used by musicians to push the boundaries of what is possible in music production. As AI been bringing a lot of controversy in the artist community because it is a game changer in democratizing its access, I wanted to focus on the positive aspects.

Using AI to Generate Ideas We Wouldn’t Think Of

One of the reasons why musicians tend to produce unoriginal music is because they are constantly aware of the latest trends and what is popular among their audiences. In order to make money, they feel pressured to produce music that fits neatly into these trends, rather than exploring new territory. This results in a homogenization of music, where everything starts to sound the same. If you read this blog often you’ll know that we often refer to the “success trap” where one tries to repeat a success story and that leads to nothing.

AI, on the other hand, is not aware of these trends. It doesn’t have a preconceived notion of what is popular or what will sell. Instead, it is able to analyze vast amounts of data to identify patterns and connections that humans might not be able to see. This makes it a powerful tool for innovation in music production.

For example, AI can analyze existing music and identify common elements that could be used to create something new. It can also generate entirely new ideas that humans might not have thought of. By using AI, musicians can break free from the constraints of their own creativity and explore new territory that they might not have discovered otherwise.

AI Can Recycle Old Ideas In Innovative Ways

But AI is not just a tool for creating entirely new music. It can also be used to recycle existing ideas in innovative ways. For example, AI can take an existing melody and transpose it to a different key, or it can apply different rhythmic patterns to a familiar chord progression. By using AI in this way, musicians can create something that feels fresh and new, while still drawing on familiar elements that their audiences will recognize.

Of course, using AI in music production is not without its challenges. Some musicians worry that it will make their work feel less authentic, or that it will take away the human element that makes music so special. But the truth is that AI is just a tool, and like any tool, it can be used in a variety of ways. Musicians who embrace AI as a tool for innovation and exploration can use it to enhance their own creativity, rather than replacing it.

AI Tools For Making Electronic Music

Amper Music: A platform that uses AI to generate original music tracks based on user inputs for genre, mood, and tempo.
AIVA (Artificial Intelligence Virtual Artist): A composer and music generator that uses deep learning algorithms to create original pieces of music in different genres.
Melodrive: A tool that uses AI to create personalized music for video games and other interactive media, adapting the music to the user’s behavior and emotions.
Google Magenta: An open-source project that aims to advance the state of the art in machine learning for music and art generation, providing tools for creating and exploring new musical experiences.
Amadeus Code: A tool that uses AI to help songwriters generate new musical ideas, providing suggestions for chord progressions and melodies based on user inputs.
Humtap: A platform that uses AI to help users create original music by providing suggestions for chords, melodies, and lyrics based on their inputs.
Emergent Drums: generate drum kits with a few clicks. Powerful!
AI Kitchen: Still not public but this one looks promising. It is basically the Midjourney of audio. You enter prompts and the AI provides ideas.

How To Spot If A Tool Is Actually AI and Not Something Else:

It can be difficult to determine whether a music production tool that is described as AI-driven is really using AI, as the term “AI” is often used loosely and can mean different things in different contexts. I’ve noticed a number of plugins that say they use AI but aren’t really. However, here are some things to look for that may indicate that a tool is using AI:

Machine learning algorithms: Many AI-driven music production tools use machine learning algorithms to analyze and generate music. If a tool claims to use AI, it is worth looking into what specific machine learning algorithms it is using, and how they are being applied.
Training data: AI systems require large amounts of training data to learn from. If a music production tool claims to use AI, it is worth checking what training data it has been trained on, and whether it has been trained on a sufficiently diverse and representative set of data.
Output variability: One hallmark of AI systems is that they can generate a wide range of outputs based on a given input. If a music production tool is able to generate a large number of unique tracks or variations based on user inputs, this may be a sign that it is using AI.
Expert endorsements: If a music production tool is endorsed by experts in the field of AI or music production, this may be a sign that it is using legitimate AI techniques.
Transparency: Finally, it’s important to look for transparency in how the tool is described and marketed. If a tool is vague about how it uses AI or makes unrealistic claims about what it can do, this may be a red flag.

Ultimately, the best way to determine whether a music production tool is really using AI is to do some research and ask questions. Look for reviews from reputable sources, ask the developers about their AI techniques, and talk to other users to get a sense of how the tool performs in practice.

Generative vs AI

Generative music is the ancestor of AI music. What we do in the modular realm is basically prehistoric cavemen stuff compared to the high tech approach of modelling systems. Modular is sort of relying on boolean logic and basic operations. I think it’s important to explore generative music to understand how machines are there to create material for you to use in your music. Generative music will provide you multiple outputs of ideas based on parameters of your choice. Generative music is something that is important to understand if you’re looking to break writer’s block.

One flaw I like from AI is its lack of understanding good or bad ideas.

It just does things it knows how to do.

You can then take clumsy takes to turn them into ideas of yours. A bit like one joke from a toddler can be used to make some funny stories in adult ways.

So, to all the musicians out there who feel trapped in a cycle of unoriginality: it’s time to reconsider your approach. By embracing AI as a tool for innovation, you can break free from the constraints of what is popular and explore new territory that you might not have discovered otherwise. Whether you are creating entirely new music or recycling existing ideas in innovative ways, AI can help you push the boundaries of what is possible in music production.

Slowing Production to Better Learn

May 21, 2023/in Blog/by pheek

In recent years, mental health has become less of a taboo topic among musicians, and for good reason. The music industry, as well as streaming services, have put immense pressure on musicians to create music that may not be true to who they are, leading to destructive conditions that are negative for creativity. It’s sort of sad that some artists are now sharing their mental health updates but at the same time, it also the first step to getting suppor. Therefore, I thought I’d write about mental health and music.

We’ll explore why it’s essential for musicians to live rich, fulfilling lives outside of music in order to create music that has more depth and meaning. I’d like to propose some ways to make meaningful music that does sacrifice your mental health.

Chasing success

The pressure to constantly produce new music is undeniable in the music industry. We’ve been told that if we don’t release music, we haven’t received validation and if we are quiet for a while, people will forget about us. The need to keep up with the latest trends and remain relevant has led to an overwhelming emphasis on quantity over quality. Musicians are often pushed to create music that is less relevant to who they are, sacrificing their authenticity for the sake of commercial success. This can be incredibly damaging to a musician’s mental health, leading to depression, anxiety, and burnout. Let’s not forget that it leaves traces of past albums that you might feel completely disconnected from.

Additionally, touring can be an incredibly stressful experience for musicians. The constant travel, lack of sleep, and pressure to perform can take a toll on their mental and physical well-being. The industry has normalized the idea that musicians should work themselves to the bone, with little regard for their health and well-being. This toxic culture can create a hostile environment that is not conducive to creativity and self-expression. We’re also been told that touring is the dream but once in it, things aren’t as easy as a dream can be.

TRY: Focus on the time you spend on making music instead of the end result. That can be achieved by doing experiences that requires no goals intended, such as making a macro.

Taking Breaks

It’s essential for musicians to take breaks between music releases to live rich, fulfilling lives outside of music. Experiences outside of music can help inspire and inform a musician’s creative process. When a musician has a diverse range of experiences to draw from, their music has more depth and meaning. Taking the time to live fully can help a musician reconnect with their true self, enabling them to create music that is authentic and true to who they are.

Strangely enough to me, I often hear about artists who think that taking break is taking a pause in music making. The distance you take activates your brain and you’ll be flooded with ideas and you’ll be making music, in your mind, as it is still ongoing.

TRY: Go for a 15 minutes walk and observe what train of thoughts you’ll have.

Coming Down The Mountain

For this, I heard this talk by Lauren Hill who was explaining why she produces slowly and it made a lot of sense to me. The way she explains it, there are mountains and there are valleys. Life is bipolar and even a day has a ups and downs. What’s not viable is to think we always have to remain at the top of the mountain to be successful and recognized. Being at the top of the mountain enforces the need to embrace perfectionism as a way to make music.

Being at the top of the mountain is when you’re in full control of your flow and techniques. Some people learn what’s necessary and are feeling comfortable with it, releasing music, touring. But that gets tiring and if you never learn to go down the mountain, it might be a shock you when you eventually crash, tumbling all the way down to the bottom.

TRY: Spend a studio session mastering one effect or tool in your DAW. Watch a few tutorials and the practice.

Coping With Imperfection

I’ve always been comfortable with imperfection. I think accepting it has helped me move forward with projects, albums. I’d be ok understanding that I can wrap the idea and moving on, I would work on the next using what I learned. In hindsight, I think I spent way too much time in the valleys than on top of mountains, which explains why I don’t tour much but I’m totally at peace with it.

What’s hard is to cope with harsh feedback and people who feel entitled that you should serve them perfect music, each time. I accept criticism and see it as a way to improve, sometimes, if it makes sense but it can be frustrating if I think that the listener isn’t understanding that I am maybe in learning of new techniques which means that my output isn’t as quality as the last one.

So that means, it comes down to dive in creativity as much as possible and not do too much damage control of my music.

TRY: When you’re about to wrap a project, ask yourself which part you’re ok to accept as imperfection. Keep in mind that wherever you are will be an imperfect moment compared to your future-you.

Learning New Techniques To Stay Mentally Fresh

One way to inspire creativity is by learning new music and techniques. However, it’s important not to get bogged down in the technicalities of music. When a musician is at ease with their techniques, they can reach a state of flow where they can tap into their intuition and creativity. This state of flow allows a musician to be fully present and in the moment, allowing their creativity to flourish. That’s when you’re on the top of the mountain.

How to find new techniques?

Mostly by listening to songs you love and then paying attention to one element you love to try to reproduce it. When I listen to music, I listen as a whole but then I take a second listen where I listen with a modular approach asking myself certain questions: How is the percussion? how is the melody evolving? what are the sounds I hear (synths, acoustic, long, short, muffled, detailed)? is there a background? What is in front?

I learn to love songs but I learned to love songs for specific attributes, which was a very important skill for my job. As a sound engineer, I see value in learning to love any music, especially if I have to work with it. When a client ask me to work on a song, I need to find at least one thing I love about it and then build around there.

Then if there are things I don’t like, I want to see how I can improve it. This becomes a learning experience, but through specific themes. Those become an exercise to learn.

For example, chord progressions, kick design, synths, vocal effects, etc. Then you go on youtube and you basically write in your own words what you need to know.

For example:

How to do effective chord progressions in electronic music

How to make a snappy kick

How to design complex synth in Pigments

How to make a vocal effect chain to sound like Tame Impala

What’s exciting is, there are so many videos about one topic and since there are multiple ways to get to a specific result, you can really expand your skill set. Personally, when people come to me for learning mixing or production, I notice that frequently they lack understanding concepts of the previous phase. For instance, the one before mixing is arrangement. You might want to learn mixing, but you need by understanding arrangements first. Sometimes people want to learn about arrangements, but I notice they lack understanding of sound design. When you learn one skill, you’re basically opening roads and easiness for the following ones.

Sometimes, people ask, “I don’t know if there are things I don’t know so it’s hard for me to know where to start!?” or, how to get that started exactly. This starts with curiosity.

Be interested in parts of songs you like. For instance, the bass of that song and the percussion of that other one. Or the chords of a specific song. Then go to Youtube and see if someone can explain you how to do it. Start with simple searches and that will bring more ideas.

Basic concepts that you should really understand early on, should you lack ideas:

Gain staging
How envelopes work.
Signal flow (a bit advanced).

Try referencing artists, use software you use and try to articulate your best ideas. But the more you search, you’ll be exposed to may different ways to do things and will have material to practice with.

Two softwares that I regularly recommend for referencing are Bassroom (for the low end) and Reference for the overall understanding the difference between your references and your music.

I find more important to record a lot of ideas as a way to document your journey. That is a good lesson to let go of controlling imperfections. A way to let go is to understand that there will always be imperfection but you’ll be limited with what you know, at a specific moment. Leaving it as is, shows you’re ok with it.

In conclusion, the music industry and streaming services have put immense pressure on musicians to create music that may not be true to who they are. I think we need to reverse this by slowing down and spending more time learning. There are too much time trying to produce without being in control of your techniques and this leads to much time being lost.

Getting Started in VCV

May 13, 2023/in Blog, Production/by pheek

Modular synthesis has been around for decades, but with the rise of digital technology, it’s become more accessible than ever. Then came VCV, Cardinal, Mirack to name a few. VCV Rack is a free and open-source software that allows you to explore the world of modular synthesis in a virtual environment. In this post, we’ll discuss the three types of modules in modular synthesis, the differences between VCV Rack and VCV Rack Pro, how to use VCV Rack in Ableton Live, essential free modules, and the benefits of using master sequences and modulations.

Creating sounds, then modulate them

Modular synthesis involves building a sound-generating system out of individual modules.

There are three types of modules: sound generators, sound modifiers, and signal movers.

Sound generators create the initial sound, sound modifiers shape the sound, and signal movers control the flow of the sound through the system. By combining these modules in different ways, you can create complex and unique sounds that would be difficult to achieve with traditional synthesizers.

VCV Rack is a popular modular synthesizer software that emulates a modular synthesizer system. It offers a vast library of modules, including sound generators, sound modifiers, and signal movers. While VCV Rack is a free and open-source software, VCV Rack Pro offers additional modules and features for a fee. These additional modules and features can enhance your sound design capabilities and workflow, but the free version of VCV Rack is still a powerful tool that can be used to create amazing sounds.

If you’re an Ableton Live user, you can use VCV Rack as a plugin in Ableton Live. This allows you to control and record VCV Rack within the Ableton Live environment. You can use Ableton Live’s MIDI clips to trigger VCV Rack modules and automate parameters in real-time. This integration makes it easy to incorporate VCV Rack into your production workflow.

Essential modules

When it comes to essential free modules, there are a few that every modular synthesizer enthusiast should have. For sequencers, the SEQ-3 module is a great starting point. It offers three independent sequencers with up to 16 steps each. The reason why you want to have a sequencer with 3 built in sequences is because you can use them for not only melody making but also for other types of modulations like velocity.

The VCO-1 (VCV) module is a simple yet powerful oscillator that can produce a wide range of 4 different wave shapes: sine, triangular, saw and square.The idea is usually to pair this with the 4 input mixer from VCV where you can decide how much of each sources you want to use to create your own signal. I would encourage you to add a noise source (VCV again) and have a bigger mixer such as the 8 inputs by Bog Audio and then add some noise to it. Noise seems to gel all of it together and also add harmonic content.

For filters, the VCF-1 (VCV) module is a great choice. It offers low-pass, high-pass, and band-pass filter modes, as well as a resonance control for shaping the filter’s frequency response. But I would also high recommend the simple VCF from Bog audio because it has more options (filter curve slope and v/oct) which is super useful for shaping your sound.

The heart and the brain

One of the biggest benefits of using VCV Rack is the ability to use master sequences and modulations. Master sequences are sequences that control multiple modules at once. This allows you to create complex patterns that evolve over time. Modulations are similar to master sequences, but they can be used to control any parameter in any module. This allows you to create dynamic and evolving compositions that change over time.

I put them into 2 categories:

The heart: Anything related to the tempo of the song. Is it constant or broken? Everything will be in sync or not, some might be following the tempo but perhaps double speed or half.

The Brain: This is for modulations that will be affecting multiple parameters across the patch such as scaling, transition, melodies/hooks, velocity, accent and even mixing.

Starting kit for a patch:

I’d recommend building a template patch to start with that has the essentials to get started. Then you can start adding to it. I think it’s important to start fairly simple too because it can easily get complicated.

Main tempo (Brain):

Simply use a LFO. I love the 4FO from Bog Audio because it features 4 of them at different phases.
Then I’d add a divider to have a different multiple and speed from the heart. You could use Clocked by Impromptu both for tempo and divider but I prefer an LFO for tempo because the modulation is easier.
I love to have multiple dividers so my full sequence is offering 1/4th, 1/8th, 1/16th steps covered so I can decide what to populate and where.

Hook (heart):

This is where you could SEQ-3. It has 3 lanes so you could also have 3 variations.
Quantizer for global scale: use the VCV one.
I’d use a sequential switch to go through the lanes. Count Modula has a few but I also like the switch by ML Module because of the various options it has.

Voices:

Use samples or oscillators of your choice but you’ll need an ADSR, a VCA and 2 filters so you can properly control the signal. I’d add an octave shifter so you can have one voice per octave.
I find Bog audio has everything you need here or you can use the default modules by VCV.
You’ll need a mixer for all those voices. I’d recommend the one by MindMeld. It is perfect.

Percussions:

Using the SEQ 3’s sequencing, you can use that as triggers for your percussion.
I’d use a Bernoulli Gate to add probabilities to your percussion or switch between sounds. The one by Audible Instruments will do the trick.

Modulation:

One master LFO. Again, a 4FO would do.
One master random. Use the random module from VCV.

Conclusion and Using VCV Rack In Ableton

In conclusion, VCV Rack is a powerful tool for exploring the world of modular synthesis. It offers a vast library of modules, including sound generators, sound modifiers, and signal movers. The free version of VCV Rack is a great starting point, but the pro version offers additional modules and features that can enhance your sound design capabilities and workflow. If you’re an Ableton Live user, you can easily integrate VCV Rack into your production workflow. Essential free modules like the SEQ-3, VCO-1, and VCF-1 can help you get started with creating complex and unique sounds. Master sequences and modulations allow you to create dynamic and evolving compositions that change over time. With VCV Rack, the possibilities are endless, and the only limit is your imagination.

Minimalism in Music Production: Drawing Inspiration from Arthur Russell, Brian Eno, and Terry Riley

May 9, 2023/in Production/by pheek

Minimalism is an approach that emphasizes simplicity and a reduction in the number of musical elements. This approach can be applied to many genres of music, but it has been particularly influential in electronic music, where technology and sound design can lead to overwhelming complexity. In the end of the 90’s, minimal techno had a huge bloom in popularity. It was in reaction of maximal music such as trance and hard techno. This is when I started making music because I felt a strong connection with minimalist music.

In this article, we will explore how minimalism has been used in music production, drawing inspiration from three influential artists: Arthur Russell, Brian Eno, and Terry Riley.

The Power of Minimalism

The essence of minimalism in music production lies in the ability to create a focused and spacious sonic environment. By using fewer sounds, producers can create a clear and uncluttered atmosphere that allows the listener to focus on the details of each individual sound. This approach works well in electronic music, where sound design and texture are often the main focus.

Modular and eurorack synthesizers, in particular, are great tools for exploring minimalism in music production. With their limited number of modules and limited space (but also their costs!), these instruments force the producer to be creative with fewer resources. This constraint can be a great source of inspiration, leading to innovative and original compositions.

One of the most important differences between now and the late 90’s is the accessibility to music production tools. Back then, you’d be caught to use only a few things you’d have, such as a drum machine and a sampler. Now we have so many things that it is hard to focus on what to pick. Minimalism starts with fully embracing limitations one has to impose to themselves.

Simple, Constantly Evolving Phrases

One of the key challenges in minimalist music production is to create variation and development with limited musical material. A useful exercise for developing this skill is to focus on creating simple but constantly evolving phrases. These phrases can be created using a limited number of notes, rhythmic patterns, or sound textures.

I also like to think about picking up to 4 different sounds i love and will try to make phrasing out of them.

Arthur Russell was a master of creating evolving phrases in his music. His use of repetition and subtle variation created a hypnotic and mesmerizing effect. In his track “Lucky Cloud,” for example, he uses a simple four-note bassline that repeats throughout the track, but he gradually adds layers of percussion, synths, and vocals, creating a rich and complex texture. He would rely on reverb, delays and use of panning to create all the tension and variations necessary to create engagement.

<a href="https://arthurrussell.bandcamp.com/album/picture-of-bunny-rabbit">Picture of Bunny Rabbit by Arthur Russell</a>

Brian Eno is another artist who has explored the possibilities of minimalist music. His approach is often characterized by the use of ambient textures and drones, creating a meditative and introspective atmosphere. In his album “Music for Airports,” he uses a limited number of simple chords and melodic fragments, layering them to create a constantly evolving soundscape. He is known for developing generative tools to create his music. He will let the machines come up with ideas and then will cherry pick the moments he loves.

Terry Riley is a pioneer of minimalist music, known for his innovative use of repetition and improvisation. His piece “In C” is a landmark work of minimalist music, consisting of 53 short phrases that can be repeated and combined in different ways, creating a virtually infinite number of variations.

Exercises for Minimalist Music Production

Here are three exercises inspired by Arthur Russell, Brian Eno, and Terry Riley to help you explore minimalism in your music production:

Arthur Russell Exercise: Create a simple four-note bassline and add layers of percussion, synths, and vocals to create a rich and complex texture. Focus on reverb and delays, panning. Challenge: use your voice (yes, do it).
Brian Eno Exercise: Create an ambient soundscape using a limited number of chords and melodic fragments, layering them to create a constantly evolving texture. You may try to generative melodies scaled to a key and then keep what you love. Challenge: record 30 minutes of music, unedited.
Terry Riley Exercise: Create a short phrase consisting of a few notes or a simple rhythm. Repeat and vary this phrase, gradually adding layers of texture and improvisation to create a complex and evolving composition. Challenge: Face ultimate repetition and stick to it.

Tools you can use:

Synths I love: I seem to always come back to Pigments as one of my favorites. It features multiple possible options when it comes to modulation and it makes it a very versatile tool. What I love is to start from a preset (it has a shop in the plugin!) and then tweak it to taste. The ones that are included are lovely starting canvas that are in tune with current genres. Quanta 2 and Diva would also be great here, for the quality of their sound.

When it comes to reverbs and delays: I’m a big fan of anything that comes from Valhalla’s effects. They are perfectly priced and the quality is trusted by top producers for a reason, because they sound amazing. Otherwise, if you want something solid, you could consider Fabfilter Reverb and Neoverb for a cheap option. Both are often used on my side.

Generative tools are numerous in the Ableton live environment. You could use simple max patches like Snake or Rozzer and have some LFOs mapping that make them evolve through time. Otherwise, the good old Riffer comes handy. I would recommend Alexkid VST Seqund that really wonderful as well. Otherwise, dive in VCV.

Conclusion

Minimalism in music production is a powerful tool for creating focused and spacious sonic environments. By using a limited number of sounds and musical elements, producers can create innovative and original compositions. Drawing inspiration from Arthur Russell, Brian Eno, and Terry Riley, we can explore the possibilities of minimalist music and develop our skills in creating simple but constantly evolving musical phrases.

How To Mix A Track As You Arrange

May 2, 2023/in Blog, Mixing/by pheek

One question I get a lot when I teach production is, “Should I start mixing as I work on the track?” There isn’t a precise answer to that as each song is different. I will say though, I do start working on the mix in the beginning, but it isn’t necessarily in the way that people would think.

There are 3 things I look into when it comes to making sure my mix is right, from the start.

Gain staging. This is something I cover in mixing tutorials and workshops but it’s mostly about normalizing. You want your input (sample, synths) to be close to 0dB. Then you’ll adjust the fader to the level you want (ex. -10dB).
Amplitude hierarchy. Which sound is the leader? That one would be the loudest of your mix for most of the song’s duration. The others will be adjusted in relation to the leader.
Sequencing and negative spacing. This is where the important part is played. Many people struggle with the mixing done at the end of a song’s production because of all the overlapping in the song’s amplitude (volume) and timing. For example, if you need to use side-chaining between the kick and bass, that’s because you didn’t prepare any negative space for the kick to lead. Then you’ll have to carve both frequencies sharing and amplitude.

Proper Sequencing Means A Proper Mix

My motto is that if your sequencing is done properly, you won’t have much to juggle with once in the mixing stage. You basically don’t want the sounds to overlap so much so you won’t have to carve into masking issues.

When I get a song for mastering, one of the main tasks I have to do is adjust the loudness. If the gain staging is poor, then I need to boost it much to reach the standard loudness. If I need to boost the loudness, this means any sound that is overlapping will be squashed and merged with others, killing all the precision an airy mix would have, creating a muddy and lifeless master.

Now some sounds can share the same position in sequencing, such as how, in techno or house music, kicks, claps and hats will shuffle around. But as you know, they are not in the same frequency areas. Kicks will be in the lows, claps in the middle, and hats in the highs. Therefore there is space in the spectrum for all sounds to cohabit. The claps’ transients can also accentuate the kicks, giving them more punch.

(H2 Tag – Make sure to adjust this on WordPress) Pay Attention To Dynamic Range

That said, those sounds will have more punch if you have control of their length. Dynamic range accentuates punch and precision. What we refer to as dynamic range is the difference between the loudest peak and the lowest part. If you insert negative space (silence), your sounds will hit harder in theory.

This means reverb, delays, and background noises can kill the dynamic range as they will take some space out of the noise floor. Adding too much will make a song sloppy and muddy.

When you have this in mind, you’ll start by picking sounds and adjusting their length, then normalize them (eg. bring them near 0dB).

Be Strategic With Your Voicing

When it comes to creating the main idea of a song, we will refer to the sounds as voices. You’ll make your life easier by sticking to 4 maximum.

One voice can be a synth or an instrument. If you add layers to it, then it’s still one voice. But if you add a second instrument that plays different notes at different times, it will be a second voice. So four of them make it quite busy.

Space In The Mix

Amplitude wise, we know the levels must differ, but panning and stereo positioning can also make a difference. You want to keep in mind that you will try to avoid stereo overlapping as well but in terms of amplitude, if two sounds are fighting, you can pan them differently so then you have space, and clarity.

Again, when it comes to amplitude, you can cut some frequency based so that some low-end or mid-range don’t interfere. This is why EQs that are passive, such as Pultecs or 3-4 band EQs come in handy. They’ll let you adjust a range of frequencies without changing the whole spectrum.

In the end, I invite you to consider how you sequence your music with care and I believe your mix will be way easier.

Chasing success is a failed model

April 16, 2023/in Blog, Production/by pheek

There’s something quite misleading about seeing artists we love in their studios, especially when there’s all the gear one can dream of. On one hand, you see someone accomplished with all that equipment and you might be thinking that the success brought all that gear or perhaps, the gear made that success. Then, on the other hand, you see yourself in that exact position where you dream to be the spotlight of everyone else. In both cases, you can imagine success all around and the studio is the key to get to your goals.

Chasing perfection is like running after a mirage in the desert. It is basically hunting a ghost, not knowing if that ghost is really exists in the first place.

In past posts, I explained some challenges regarding that and how to work with a definition of done so that you can have a better idea of where you’re heading.

The music industry has undergone a significant transformation in recent years. With the rise of digital music streaming services, social media, and other digital platforms, the traditional model of chasing success in music production is now an outdated approach. In this blog post, we will discuss why chasing success in music production is a failed model, and provide alternatives for musicians to achieve fulfillment in their music career.

The Misconception of Success

One of the biggest misconceptions in the music industry is the definition of success. Many musicians view success as achieving fame, wealth, and recognition for their music. However, this definition is narrow and incomplete. All those can’t be measured. You might think that a certain number of followers on a social media will provide some sort of success, but once you have that amount of people, you will realize that it doesn’t bring any passive income or more sales. You need to continue working hard times to get something out of it, which will be taking time away from your studio use. Same for sales. You might make a bunch, but then what? You’ll be chasing something else. Success in music should be viewed as a personal accomplishment, rather than an external validation. I often refer to that as perhaps, happiness.

Alan Watts, a British philosopher, once said, “The meaning of life is just to be alive. It is so plain and so obvious, and so simple. And yet, everybody rushes around in a great panic as if it were necessary to achieve something beyond themselves.” This quote perfectly illustrates the importance of finding personal fulfillment in the music-making process, rather than chasing external validation.

The Context of Success

Another aspect that musicians often overlook when chasing success is the context in which success occurred. The success of an artist is not just a result of their talent, but also a result of timing, luck, and other external factors. The movie “Searching for Sugarman” tells the story of Sixto Rodriguez, a musician who achieved critical acclaim in South Africa in the 1970s but remained unknown in the US. The film highlights the importance of context in success, and how success can be achieved in unexpected ways.

Alternatives view to Chasing Success

So, if chasing success in music production is a failed model, what are the alternatives? Here are some alternatives to consider:

Focus on the Creative Process (the journey)

One of the best ways to find fulfillment in music production is to focus on the creative process. Rather than obsessing over the end result, focus on the journey and enjoy the process of creating music. This approach will help you stay motivated and inspired, and ultimately lead to a more fulfilling music-making experience. As this is easier said than done, how do I do that? Well, when one is focused on the end result, you’ll get annoyed if something goes wrong: for example, a synth doesn’t sound as you have in your initial vision. Focusing on the process mostly means that you’re curious about the task you’re doing at the moment and less trying to perfect things.

TIP: Try to have 50% of your studio sessions aimed at doing nothing but jamming and having fun instead of be productive.

Develop Your Skills

Another way to achieve fulfillment is to focus on developing your skills. The more you practice and refine your craft, the more you will grow as a musician. One thing I tell people is that you’ll learn more by starting 100 songs than trying to perfect one. When you start 100 different projects, the goal is to face a different challenge each time. It could be a new technique, the use of a new plugin or an unusual sound. This will not only lead to personal satisfaction but will also make you a more competitive and capable musician in the industry.

TIP: Try to start 100 songs then work with them in alternating.

Connect with Your Immediate Audience

One of the most rewarding aspects of music production is connecting with your audience. The mistake most people make is to try to reach out to people who don’t really care. What you need to do is foster the close people who could care, which I call (no pun intended) the circle of five (wink to the circle of fifth). This approach will not only provide a sense of fulfillment but will also help you build a sustainable music career.

TIP: Commit to connecting with your 5 people and create a dynamic where everyone can help each other.

Set Realistic Goals

While it’s important to focus on the journey rather than the destination, setting realistic goals can help you stay on track and motivated. Rather than setting goals based on external validation, focus on setting goals that are meaningful to you and align with your personal values. Question your goals, talk to experienced mentors and producers and then try to scale down your projects to a minimum.

Tip: make a list of different sounds you love or songs you often listen to and then aim at trying to understand what you love it. Then work towards in making music you love.

Conclusion

Chasing success in music production is an outdated and failed model. The music industry has undergone a significant transformation in recent years, and success can no longer be defined by traditional metrics such as album sales or chart performance. Instead, musicians should focus on finding personal fulfillment in the creative process, developing their skills, connecting with their audience, and setting realistic goals.

As Alan Watts said, the meaning of life is simply to be alive. The same can be said for music production. The most important aspect of music production is finding personal fulfillment in the process of creating music. So, rather than chasing success, focus on the journey and enjoy the process of making music.