Tag Archive for: being a producer

Where Do I Go Next?

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In case you missed it, I recently recorded a video announcing I wanted to make more YouTube videos and shared that I’m working on a series of courses. Making videos came from the need to stop repeating the same information to new people I coach. The first few hours of my coaching cover multiple aspects of music production, mainly focused on organizing your workflow, which will help set what to practice next. In the video, I invited anyone wanting to create and learn to get in touch so I can connect with others about where they’re stuck in their journey, but mainly, to understand why they are blocked.

There has never been as much help, resources, tutorials, plugins, and tools as now, yet people are still blocked. They are told and sold that this solution will fix their needs, yet it doesn’t. My meetings with these random people aimed to see how they’ve been surfing the waves of music-making, mainly electronic music. In the end, the same stories come up over multiple connections.

 

It seems the main issues people face aren’t technology-based. Yes, some technicalities will be a hurdle in the race to a goal, but people can find solutions with some research.

 

One of the main issue people face is asking the simple question “Where do I go next?”

 

This will manifest in multiple ways, and while each participant had different issues, the underlying problem was that, whatever they did, they felt the next phase was unclear.

 

Let me explain more. Based on 2 main categories, I will explain contexts and solutions.

Photo by Wes Hicks on Unsplash

The Hobbyist

 

This type of musician usually has a job, perhaps a family and makes music a hobby. Maybe that person had a moment where they’d party and go to concerts more, but at some point, they felt like they’d also want to make music. One common need the hobbyist will have is to balance their busy life with some activity that is fun and creative, and this leads to finishing some music. If you work 30-40 hours a week in a corporate job (or anything not so creative), you might find your life redundant and lacking one passion. The call to have a purpose self-imposes, and if music is something you live with, it becomes clear that it can be an exploration. But working full time comes with one challenge: spending more time in front of your computer after a full day of screen isn’t super exciting.

 

Making music has multiple uses other than spicing up your life:

  • It actualizes and crystalizes a moment in your life. When you work on a song for a little while, it creeps into your life as a score. It can follow you as an earworm while doing something not studio-related. It can also be like a story that unfolds gently, where you aren’t sure how it will end, but something emerges as you work on it. This is why it’s essential to finish projects more than perfecting them. It allows you to learn something, feel you’re progressing by learning new skills and leave a chapter behind.
  • It has health benefits. Countless studies show that making music triggers hormones that benefit mental health and sharpen cognitive abilities. It can also help prevent dementia, develop emotional intelligence, and encourage troubleshooting.
  • It regulates emotions. Making music helps you experience some emotional states. It is a way of letting go of emotional blocks, allowing you to focus on a particular feeling and not explode randomly later.
  • Music is communication beyond words. Ultimately, we share music as stories in a bottle, thrown at the world in hopes that someone will find it. While making music for ourselves, we want to connect with others through the sounds we love.

 

But these also can backfire in certain conditions. For instance, if you need a studio session and, within the first minutes, you run into technical issues related to technology failing you, that can impact your need to create. One of the challenges the hobbyist faces is a lack of time to dedicate to his art. If most sessions are organized in the time left, they have, not only is their mental energy isn’t sharp but their patience as well.

Successful hobbyists usually set studio sessions in the “green zones.”

 

Everyone has moments during the day when they have more energy. These are considered “green zones,” followed by”yellow” or “red” zones, which are different levels of energy.

  • Green. This is your peak attention time. You’ll be very effective at creating and solving issues and facing challenges that require attention and concentration. The only downside is that you have only one per day, and it has a time limit.
  • Yellow. You have less energy, but you’re still going. This zone is perfect for organizing, cleaning, and preparing tasks. Yellow zones are more extended, but if you handle them with patience, they can morph into spurts of energy.
  • Red. This state is almost lethargic. You are just unable to focus, and your motivation might be low. In this zone, you can approach the studio time to handle software updates, organize cabling, fix decorations, and, most importantly, use it to listen to music and take notes.

Setting your studio session at the best time is essential, but you can set a session’s activity based on what you can do during that moment.

 

Most hobbyists who struggle with music face a contextual issue: they either don’t go out to music or/and don’t have friends with the same interests. Perhaps one of the key points of my meetings relates to the lack of social validation.

 

Not everyone knows an electronic musician that can share knowledge but also, that can understand where one is and wants to go.

For the hobbyist, some have songs, but what are their options?

 

Having a few songs, you might want to push it to the world because the need they want is related to validation and a feeling of belonging. There’s some desperate need to connect with someone who will get it, and putting it out to the world seems like the best option. But since the person doesn’t go out and perhaps has a restraint network, reaching people might most likely end up being lost in a sea of noise where millions of people also want to be heard. I’m not sure where I read that, but there was a quote that said:

If you want to receive, you have to start by giving.

 

So, for the hobbyist, one strategy and activity to consider is listening to other people’s music and being curious. Connecting with those who share your views can provide potential artistic connections. I coach hobbyists and tell them to spend time digging for music on Soundcloud and Bandcamp. Knowing music and exposing yourself to new ideas is essential to expanding your vocabulary, but you might also come across another musician who, just like you, is waiting to connect.

With too many options, we disconnect from them and tend to focus on our little habits, tastes, and routines. It makes it hard to see potential possibilities for where we can go next. For hobbyists, having a few friends who are also making music will undoubtedly answer many of their questions—not just about what they can do with their music but also about getting updated on trends, tools, and techniques.

 

Where can they go then?

 

This is a bit of a puzzle for everyone, honestly. If I take Montreal as an example, I will speak on behalf of a city I know and share some ideas that come to my mind. Montreal is a very special city, but you might be able to find similar resources locally.

 

Record stores: If you’re a music lover and rely only on digital for listening, diving back into record stores might be interesting to get out of the algorithm bubble. We have multiple vinyl stores that also sell some cassettes and CDs. There’s a market for that still. You might see other people digging and listening to music in a store. This is always a good opportunity to talk with the clerk and ask for music recommendations, but perhaps venues. If you’re not going out to clubs, there might be alternative indie places that are intimate and worth checking out local talent.

 

Music instruments stores: Similar to record shops, those places might have some gear you could consider picking up. You might want to buy basic percussion instruments to spice up your music with interaction. Talking with the staff, they might even suggest some ideas to try. Adding just a few acoustic options to the studio already makes it more playful, and sound-wise, it becomes personal. Someone like Bruno Pronsato would always record his claps and egg shakers manually. A little touch like that gives your music colour. In both cases, those places are spots to meet up and expose yourself to other music lovers of all ages.

 

Exhibits, activities, cafes and random places with DJs: Montreal always have DJs playing in random places, such as a street festival or presentation in a park. Again, befriending DJs is an excellent step in building a network, and perhaps someone can play your music in the sets or podcasts.

 

Independent Radio events: If you can find your local community radio that plays the type of music you listen to, you’ll perhaps hear about events when shows are related. It’s always a form of promotion we overlook, but local radios have a good reach in communities.

 

Follow local artists on Instagram: Instagram or other social media are places where artists usually share news about their creative activities, events, and recommendations. It’s also a place where you can send direct messages; in most cases, people will interact with you. Don’t expect much news back if you reach out to artists with many followers who are often on tour. But following your artists on multiple platforms, even streaming services, is a resource to find venues for the following shows.

 

Production Groups on Social Media: Many groups exist on Discord or Facebook. You might have to search the web a bit, but you might be able to find a community focused on a specific genre or DAW. Of course, you can be in multiple communities.

 

We have places in Montreal with an open mic concept where everyone can showcase a song. The format changes frequently, so a bit of research is worth it. However, playing your music publicly requires preparation. Releasing music is, in fact, the worst approach to getting attention and a network compared to the ideas I shared above.

 

The Semi-Pro

 

I have another category of people I work with: artists who have found a way of releasing music, perhaps also DJs, and, in some cases, are making revenue out of their exploration. This kind of artist is usually pretty aligned with what they want to do; they have perhaps an alias, a music direction, maybe a few releases on specific labels, and a taste of the different aspects of production. Music making might be one of the main activities of their lives and also takes an essential amount of their free time that overlaps work. Some have a part-time job that might be in the creative realm, but sometimes, the money income is purely functional.

 

For these people, music has benefits similar to the hobbyist’s but also:

  • Some make music in a way that promotes certain bookings. Some festivals aren’t interested in DJs who haven’t released music.
  • Endorsing a specific aesthetic can make you join a community. Some genres have leading record labels, and making music in that direction can dictate your identity, attracting people who love that music.
  • Making music for their DJ sets.

 

For the semi-professional musician, making music is not necessarily only for the sake of releasing, as there are various nuances of self-accomplishment. While many want validation from a broad public, some have focused that need on a close circle of people, which makes it easier to be attuned to where they want to go. But now and then, I see people’s mood tanks when they’re not getting attention or if they’re not releasing music. It might be seen as validation; doubt will creep in if that source isn’t fulfilled.

At some point, that category of people will also encounter a moment of not knowing where to go next. This usually happens when the routine of releases/gigs/social media exposure does not provide what the person was hoping to get. It’s easy to think that a release will be the catalytic moment where you imagine one song getting traction and giving you exposure, and then things unfold themselves. While this can happen, it is more from wishful thinking than an actual domino effect leading you elsewhere.

 

The Role-model Problem

 

I see how people spot an artist they like, then look at what they released, what they did, and where they’re playing and then put this information as milestones that made them who they are. For instance, for a while, people would look up to Perlon because of its lineup of talent and think that this was the angular piece of the puzzle that was the doorway to being validated. I know a few people who did everything imaginable to get on that label, and it never worked. Some got signed, but 10 years later, they’re still waiting for the release, which will probably never happen.

The main reason one person succeeds over another artist is mainly related to the network of people they know. But this also raises a few issues. One is the buildup of cliques and closed circles of people where some intrinsic system of politics and approval is mostly unstable. Any group that is impermeable and exclusive can most likely come to a quick end when gossiping and fights erupt. With the lack of new people, it is not set to strive healthily. The second issue with exclusive groups is the lack of open opportunities but cutting networking, and ultimately, you see members leave as soon as they succeed elsewhere.

I’ve seen many scenes where people get cynical and bitter in those situations.

Seeing how others succeed will not be your path to success. While it can inspire, you might find yourself in situations that have nothing to do with your hero’s journey.

 

What are the options to explore?

 

For anyone who has hit a wall on where to go next, there are multiple things you can look into.

Change of scene, genre, alias. Expanding and exploring other genres are fun. Artists rarely limit themselves to one genre, so it might be time to step out of your comfort zone to see what awaits you.

 

Releasing hiatus. If you are fueling on releasing to manage your ups and downs and your music validation, I strongly encourage you to take a hiatus. A pause from releasing is like taking a break from social media or smartphones. It improves your mind, and you can focus your energy on other things. Try supporting a friend in their first release or study reference tracks.

 

Go to a festival abroad. Find a festival of your choice and go on a vacation to participate. Try to go far and be somewhere you’ll know no one. Experiencing the feeling of being new again can spark fun and inspiration. Not only is going to a different city and seeing other people healthy and inspiring, but sometimes we also discover micro-communities that resemble ours. That was one thing that was constantly surprising me when I toured. I would meet doppelgangers from my Montreal crew in various places, and people who would love the same music as me would connect easily with me on a personal level.

 

Listen to music from clubs you’re new to. This is the same as above, but locally. I name clubs, but if your music is for any other context, you need to visit those places and hear your music, leaving it up to the people there. Very often, artists are studio hermits and forget about the outside world. Hearing certain songs you love in context gives a better understanding of how you can translate your ideas out there.

 

Spend time in Record Stores. Just like the hobbyist, this activity explains why we’re making music. To see records and people shopping gives an outlook to a passion. I like to see this as someone who grows crops and then can go to a restaurant where they use it for their meals. It connects the dots. Sometimes, you might even be able to play your music to the shop owner and see people’s reactions.

 

Collaborate. As it says, opening up a project with someone else, perhaps someone who is not a musician, to see what happens can lead you to unexpected places.

 

Take a class. Learn anything. It can be visual design, coding, or electronic soldering. Having another hobby is very welcomed by the brain that will appreciate the new information, and this is proven even to feed your ongoing desire to learn.

 

Music is more than releasing. It comes and lives in various ways. I hope this article inspires you to try something new.

 

The Success Trap

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I went to a local club to hear a visiting friend from Romania for an all-night of music that was more aligned with my tastes, and while the DJ before him was a bit linear and predictable, my friend opened up with fresh-sounding music. He didn’t drop the Beatport top 10 music or anything directly linked to the previous DJ, not even an introduction to please the crowd. He dropped some obscure techno, which was a bit audacious, and he quickly followed it with a song from the 90s. The main idea of that track was a vocal saying, “Get House,” which was this song by Caliesto. Beautiful contrast.

 

 

Just hearing the sample, I had flashbacks of raves, lasers, glow sticks, and people dancing and sweating, just from a single sample that I heard, which brought me back to a specific era. In contrast to the previous DJ, where all songs blended well together in a seamless flow, there was unfortunately nothing memorable or tangible to grasp from it. I don’t remember a single moment, just a week after. This is not a criticism of someone’s music, but more to say that solid ideas age well because they create intense moments. If you listen to the Caliesto song, you’ll realize it’s relatively simple. Still, the hook is catchy enough for anyone to tell their friends later on about the primary sample, which others can probably remember easily.

It occurred to me that the definition of success has changed since the 1990s. Of course.

 

Back to DJs

 

As I got back into DJing, I’m exploring the options available, as numerous tools are now available. For instance, I got a professional account on Rekordbox and paired it with an experienced account on Beatport. This allows me to sync my playlist from the store directly to my Rekordbox, add any songs I want and then have this endless catalogue on hand. It’s basically like having Spotify, where your limitation is your music knowledge or culture. But even if you are new to it or limited, there are discovery tools to help you search what others like and play.

After synchronizing Beatport to Rekordbox and opening the music section related to it, I got overwhelmed. If you know me, you’d know that technology rarely overwhelms me. It took me a lot to get there, but I was staring at the selection and feeling lost. I wasn’t overwhelmed with possibilities; I was confused by how much junk was out there.

I’m not here to criticize the music again, but more from a meta-level, stepping back as a global view.

The number of songs that sound exactly like the previous one was blatant. Some of my favourite artists suddenly make songs with questionable sounds or presets, and many new artists create music with strange, unusable arrangements.

Am I too old for this?

Nah, don’t worry. Once I start digging, I still find a lot of fantastic music. So what happened exactly?

 

Music Democratization and Open Business Opportunities

 

In the 90s, electronic music software aimed to allow more and more people to make music by making it more accessible and affordable. This opened the path to countless music lovers interested in making music. I’d be a hypocrite to complain because I was one of those people with no music background; technology was my saviour. Jump 30 years later, add YouTube for knowledge sharing (fueled with the motivation of popularity of likes), and add aggregators who allow anyone with a finished song to access all online stores and streaming platforms. You’ll get albums of barking dogs, techno EPs made by eight years old, fart-fueled drone music and whatever you can think of, you can probably find it.

Is that bad?

It’s not me to judge, but the advantage of people being solid selectors is probably what can make a DJ stand out from their colleagues. But as a producer, I think the question is, can one escape the appeal of the mass wave of music similarity and perhaps be irrelevant?

Absolutely, but this is a tad complicated to cover because it is defined by multiple aspects, such as your Definition of done (DoD), your culture, your community, and what you consider success.

 

Success Trap

 

Whatever you see or identify as a “problem” is directly related to a micro-culture of habits that created that situation. For instance, if your bedroom is messy, you have a terrible habit of not keeping it tidy. If you want to clean it, once you have cleaned it, it will remain that way for a day or two until it gets dirty again. The real goal behind this is not to organize your room; it’s to develop cleanliness habits so it remains clean.

We can translate this to the music business as well. A considerable amount of people who consult me in private wish to finish more music because their goal is to be successful, which they translate by having:

  • Music being finished
  • Signed to a label

Labels see success by releasing music that eventually gets attention and sales. DJs see success with gigs, and Instagram reels with loads of likes.

While there’s nothing wrong with these, the focus is set on something that defines the success of an external party. You might never feel like it’s enough because there will always be options for better, and while it can become addictive, it can also feel depressing. But the appeal of seeing people having many likes, playing on the big stage, and having many streams is an image we might all crave; I can get it.

Seeing success in others as an end goal is a trap because it doesn’t focus on the habits that successful artists built.

 

Behind the successful DJ is daily research of old and new music, rehearsals, and research, but also many failures. Behind the successful release is the habit of the producer making music every day and making 23 different versions of each song. Behind the successful label is a team that spends time daily networking with media, DJs, and festivals. Behind each role model, there is a lot hidden, and that is where success lies.

While everyone is debating AI music (or images) generating tools, I rarely see anyone talk about how this is aimed at results and bypassing the creation processes and habit forming.

If you focus on having solid habits, results will follow. This starts with keeping your bedroom tidy, making your bed every day, and washing the sheets once a week. In the end, your room will be clean and remain clean.

This is not my pure invention. It comes from a book called Atomic Habits. I discovered that book years ago, and it made such an impact.

Breaking The Standards

 

In my last post, where I gave points on speeding up your work process, someone asked how this can flood the market with more unnecessary copycat music when I posted on social media. I asked him if my music was, and he said no (I know the person, so it was a good chat). It came down to how you use your speed and the aim of your intentions. But yes, if you work fast and aimlessly, you may get in the queue to make another version of the best seller on Beatport, which has probably already existed 200 times.

But how can one break standards, routines, clichés?

 

Forming Habits Based Around Originality

 

This is where it should all start. That implies recognizing what makes a song original, unique, and memorable.

 

 

Being more personal in your expression

 

There are two popular types of producers: those who want to sound like everyone and those who don’t want to sound like the rest. Each faces some issues:

  • Sounding like everyone else will not elevate you to the status of a leader. However, it can pay off if you find other people who quickly like the same sounds as you.
  • Sounding like no one will marginalize you, making it hard to find your community. When done right, originality can be acclaimed and turn you into an innovator.

But being more personal in your music doesn’t mean turning yourself into an alien. It means you can take known ideas but shape them into who you are. For instance, I love it when there is a melodic harmony in my music (using root keys and scales), but I have a hard time following typical chord progression that is popular in songs (progressive, lo-fi hip hop, etc.). When I make melodies, I just hit keys randomly using my ear and eventually organize my notes to make sense (to me). It’s weird for anyone into music theory because it doesn’t follow convention, but it makes sense because it is not harmonically wrong.

My friend Bryan, a jazz musician, said he preferred my weird melodies to some too-organized songs because ” they sounded more like you.”

A client used his voice to sing notes that he’d convert to midi. He felt like his voice would put to melody, something very personal.

It’s the same for percussion. You can follow conventions or play it weird with whatever you like… while remaining on the grid, so it’s playable by a DJ.

 

Master one or more music production techniques.

 

The more you master one technique, the more you can push its boundaries. Using a method on its low level is missing that zone where you can extract ideas entirely different from what everyone is doing. Thinking of J Dilla, he mastered sampling and swing groove, which brought his recognizable signature.

If you think of that Caliesto song I mentioned, it’s also about understanding execution more than just relying on the content.

 

 

Cross-pollinate genre inspiration.

 

If you read my blog, this often comes up. Songs that get attention are usually innovative, and recently, there’s been a news saying that David Guetta has done some country music, which is a good example. You might not like him, but in terms of business decisions, this guy always takes decisions that show the way. This also applies to handling sampling as a way of constantly innovating yourself. If you think you’re mastering that technique, think again.

Splice is also an excellent place to dive for inspiration. Their AI that suggests ideas to start with is pretty innovative and helpful. It allows you to break the routine and pick samples from other genres.

 

Avoid popular sample packs and presets

 

I can’t say this enough, but some genres rely on the same packs. Unlike drum and bass with the amen break, it’s a sample. We’re talking about a pack of multiple samples just used and reused to the point where it’s breaking any chances of growing as a musician. Considering the number of samples we can access, I have difficulty understanding why this is happening.

Using the same sample packs falls under wanting to sound like the others. One of the excellent features of Ableton Live 12 is the “Find similar samples” feature, which, with a click, proposes a wide array of options. So, perhaps you can start with a base of a few samples but then dive into your library to get similar-sounding ones.

 

While advocating for presets, primarily for self-education, I also encourage you to tweak them a bit so you can find various colours you didn’t know you had under your nose. While mastering and listening to a client’s music, it often happens that I’ll go, “Ah, he used this synth with that preset,” which is not a problem, but I find it a bit lazy. But that’s me, which means others might also think that. If you aspire to release it, you might not want a label to believe that of your music.

While there’s no “find similar presets” in Live, you can sort of work around it by creating a macro of your plugin by mapping parameters to knobs (as a group), then creating snapshots of your knobs. If you record yourself playing with your snapshots, you’ll see the knob’s position being recorded as well. Then, you can make a slew between the positions. There’s also a max patch that can do it here.

 

I hope this helps!

 

Photo by Matthew Moloney on Unsplash

Shortcuts And Speed Up Tricks

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In case you missed it, I declared 2024  “my back-to-production year.” It started slowly because I had a lot on my plate, but as soon as it slowed down, I got into full force. Ironically, the last ten years of education I provided to students and people I mentored were based on my peak time experience, but I wasn’t applying my tricks to my workflow so much.

Sometimes, you need to focus on yourself; other times, focusing on others will provide insights. You can only explain what you truly understand; explaining to others often forces you to rethink your knowledge. Since time flies, it has made more sense to do a lot of music to see the real challenges in 2024 and perhaps find new approaches.

In this post, I will try to summarize the different shortcuts and hacks that have led me to be on the road to work incredibly fast, making 1-2 songs per day on top of my regular workload.

 

Why Work Fast

 

If you read this blog, you know I embrace speed in music-making for multiple reasons. The number one reason is that you get better at something with practice, and if you work fast to make music, you’ll work with techniques, face issues and learn something new with each session.

 

By stating this over and over, it only made sense that I would be fast myself, and at first, I felt a bit rusty, so it didn’t take much time to get back into it. The first step to speed is to understand where you lose time.

 

For this, there are two main spheres:

 

Idea generation: Melodies, bass lines, percussive patterns, sequences, chord progression, hooks, song structure, arrangements, etc.

Content: Sounds, recordings, effects, etc.

 

Idea generation matters when developing your song, while the content sphere is about how it sounds. You can have all the best ideas in the world, but what does it sound like? You might have all the sounds, yet how you arrange them will be what your song is about.

 

It’s a challenge to come up with both, and many people get lost in one part of this, hyper-focusing on making the best of it and forgetting that there are other things to address. Building speed involves delegating some parts to tools that can handle it while you focus on the ones you are the best at.

 

A good example is the use of a drum machine. One might want to focus on hook and song structure but will leave the percussive side to a drum machine that won’t need much programmation nor sound design, as it comes with its sound. Another example is from the acoustic genre, like folk music, where the sounds will be guitar and voice, so the artist can focus on the lyrics and perform without worrying about finding many sounds.

 

Finding Your Shortcuts Through Tools

 

Once you know where you lose time, it’s time to realize that technology exists to simplify your workflow. Regarding tools and plugins, here is a complete list of all the tools I use to enhance my music.

 

Idea Generation

Hooks, Melodies, riffs, motifs: After analyzing so many hooks from songs I love (you should do the exercise to see what you like), I can understand that they’re either sampling-related or short phrasing of notes. If you expect to make great melodies without understanding music, your best asset would be to become familiar with the basics. Knowledge is always the best investment before any use of the tool.

That said, writing ideas can be tricky. Plus, if you want to write melodies yourself, you might likely always come up with the same routine. I suggest starting with generators that can propose some starting point and then build on that.

Ableton Live 12 has many different seed generators for creating fresh ideas. I recently related to Phil Meyer’s Suite of Generators, but I also looked at Manifest Audio, which has its palette of tools freshly ready for Live 12.

If you’re not familiar with the various tools AlexKid made, he humbly started with a drum machine sequencer in Live, but soon after, he came up with multiple tools for generating ideas, such as Seqund and the suite bundles.

I also love AudioModern and Riffer, and Rozzer and Sting can be super powerful free tools. Snake just got a new version of Live 12, which is lovely.

 

Sounds and Content

 

If we are going to relate to samples, there are multiple options on the market. In the subscription model, there is always Splice (one-shots, loops, plugin rent-to-own and more), Loopcloud (one-shots, loops, midi), Tracklib (royalty-free song content to reuse), and Soundsnap (sound library from field recordings to one-shots, used mainly by movies). You can also explore free options with Freesound, Archive.org, and Samplette (random YouTube searcher).

The best way to generate new sounds is to create a macro where I have mapped the parameters of a sampler or Synth as a macro and then hit the macro’s randomizer to access a new sound.

 

Creativity comes from action and motion. You need to sit and work for ideas to come.

 

Collaboration

 

This is not a plugin, but collaboration has the most significant impact on speeding things up. It also depends on who you work with. In-person sessions can often result in distractions, chatting, smoking weed, and not doing that much. Ideally, I prefer remote sessions where each participant works when they have time, at the peak of their focus.

The other benefit of working remotely is collaborating with anyone, anywhere. In my case, my collaborators are often in different countries.

If you want to learn how to make music fast, work with someone who knows their way. When you swap projects, knowledge will be shared. You will find collaborators in people who do something you love and do something well that you don’t. Someone who complements you will do better than someone at your level or who has the same ways as you.

Now, here’s a twist. Sometimes, it’s good to work with someone with zero music-making experience who is in good spirits and will provide you with some ideas. I find it inspiring to be sitting in the studio with someone who will go, “I imagine the song to do this, and that can go there.” then you do what you can with that information, and whatever happens, it gets you to a place you would not explore on your own. A beginner is often enthusiastic about things you might be jaded about, giving you an appreciation for things you got bored with.

During a recent retreat, we did a jam with four people. While this wasn’t new to me, everyone else had never tried that before, and they were mind-blown by what we were doing. There was no preparation at all. We just improvised, and everything felt natural and fun. What felt like 10 minutes was almost 2 hours of weird music. That was energizing, and we all shared the music that we saw fit with others.

 

Templates and References

In my fast pace of music-making, I’m having two initial sessions. One is building a base idea, and the other is creating a skeleton song. As you have learned from this blog, fetching, developing, and organizing ideas should be the base of your work, and it takes a lot of time to find the ones you love. But that shouldn’t stop you either from advancing within your music-making.

Building songs from basic ideas is a good starting point; sometimes, the main idea appears as you work on them.

You will be creative by working it out and not by waiting to feel creative.

 

This is where templates are handy. I like to save a finished song as a template, but first, I remove it from all the sounds while keeping the MIDI and effects. If you think about it, in the 1970s, people organized a mixing board for an entire album recording, which kept uniformity across the project. It would also often be recorded in a unique studio.

Keeping the song as a template speeds up your organizing for the follow-up song(s).

 

Rekordbox

I once saw someone on Instagram saying everyone should DJ, and I agree. I don’t mean that everyone should perform as a DJ in clubs, but more for self-educational purposes and because it’s fun. It opens you up to many exciting understandings of how electronic music works. If you disagree, fair enough, so we should agree on one point: anyone who makes electronic music for DJs should at least learn and play as a DJ themselves.

In the last months, I went back into DJ mode and found a new range of inspiration. Plus, playing unfinished music in Rekordbox alone pointed out flaws in the arrangements and the mix that I initially felt were ok. It even altered my workflow, where I would make a skeleton arrangement for a song and then directly drop it in Rekordbox to play it with music I love so I could see what happens, what works, and what does not.

So, in a way, stepping out of Ableton Live and going into Rekordbox is a shortcut and also a headache saver.

Everyone should learn how to DJ. There is a lot to learn and it gives you appreciation for the art, for the music while educating you on how music is made. Just as much as everyone should learn how to play piano.

 

Templates

I’ve discussed this multiple times, but when you start making music, I recommend starting by making one template per studio session. From simple to complex, creating a template ensures that you structure future sessions, organize what you do each time you start a song, and store potential techniques to explore.

Here are some ideas to explore:

  • Mixing template: Create a template of multiple pre-made channels with effects for mixing.
  • Minimal (or any genre) template: Have a template with a collection of kicks, synth presets, and other sounds ready for you to put in the spirit of making one genre.
  • Sound scrubbing: Build a template with different tools for altering and destroying samples, such as granulators, distortion, modulators and samplers.
  • Complex routing: Perhaps you’d like to explore weird techniques of gating and side-chaining with some complex routing made in advance.
  • Pad collection: Load up a bunch of synths and samplers to have complex textures in layers.
  • Percussion swapper: Open multiple drum kits and send the same midi to various kits so you can preview your options.

 

The beauty of having options in a template means two possible points: the first is that you can open a template and start working on it or import channels from a project you are currently working on.

 

Macros and Systems

 

Quite often, when I open up the projects from clients, I see they use a chain of effects. Some make no sense, while others are interesting, but however it works, I never see them being grouped as macros. I’m always surprised how so few people miss the opportunity to use one of the most powerful aspects of Ableton. Not only is it easy to group that rig of effects, but who knows if it can be used later on in another song.

Turning multiple effects into a macro means:

  • You can map essential parameters of the effect to knobs so you can control them with PUSH or quickly have access to the knobs, all centralized in one place.
  • Save parameters as global presets to have different colours quickly.
  • Randomize your rack for unexpected results.
  • Modulate elements from one spot.

I’d encourage you to add this as a habit, as it will automatically pay off in the short term.

 

Systems are a bit like macros but a bit more advanced, so they are not easy for a newcomer to explore. What I refer to as a system is when you have built a macro that generates content for your music. This falls under the umbrella of generative content but uses macros. The advantage of generative tools are to create ideas to add to your music. It can be related to percussion or melodies or weird glitches. I have a lot of generative tools I always pull out when the idea “something’s missing” pops into my mind.

Photo by Marc Sendra Martorell on Unsplash

Music Related Echo Chambers

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In the intricate tapestry of music production, there’s an underlying thread that has been silently weaving its way through for years: the phenomenon of the echo chamber. Just as politics is sometimes ensnared in these chambers, the world of music production isn’t immune. While they might offer the comforting illusion of unity and harmony, these echo chambers can become a pitfall for creativity, authenticity, and growth.

Moreover, social media platforms and music streaming services with their algorithms can create a reinforcing feedback loop. An artist might gain popularity for a particular sound, and suddenly, that becomes the benchmark. New artists aiming for success tend to emulate that, leading to a saturation of similar-sounding tracks. While the initial artist might have been revolutionary, the subsequent floodwaters can drown the innovation.

In the political world, echo chambers arise when individuals surround themselves only with voices and opinions that align with theirs. In music, a similar phenomenon happens. If artists and producers only expose themselves to a narrow band of influences, it limits their growth and stifles innovation. In both spheres, these echo chambers can lead to a stagnation of ideas and a resistance to change or evolution.

For artists to grow, it’s essential to break out of their comfort zones. Collaborating with people from different genres, attending workshops that don’t directly align with their musical interests, or even actively seeking feedback from outsiders can be invaluable. A hip-hop producer might gain a fresh perspective by working with a classical musician, or a techno artist might find inspiration from folk melodies. It’s these intersections of diverse ideas that lead to the most groundbreaking music.

There’s been a huge fuss started by Guti recently about how many fake sets made by some artists have been going on for a while and to me, this is a pure side effect from an echo chamber. Artists encouraged by the industry to go with a pre-recorded show who anyone who would confront, would be pushed out of the way.

I believe the onus is on both industry veterans and newbies. Veterans should mentor and guide newcomers, encouraging them to learn the craft properly and not rely solely on tools. New artists should be hungry for knowledge, pushing boundaries, and not just following the beaten path.

Mr. Bill Masterclass @ KMGLife Inc. Youtube Video

 

This week I was watching an older video from Mr. Bill, who is a solid Youtuber with creative content and I noticed something about him that sort of irritated me. Over his video, he was explaining all kind of approaches about how to be loud and also, be cool. While I gave up on the whole debate of the loud is cool topic, i get annoyed at one thing precisely which is when someone spend time showing that his sound is cooler than my sound.

Like Deadmau5 said recently:”Who the F_ are you? The sound police?”

I understand that if you want to sound like him and since he is very confident that he is cool, then it makes sense but in a world where trends flashes so quickly, I believe that Mr. Bill is probably looking at this years old video and probably think that his newer sounds are cooler. Don’t get me wrong, I’m not trying to put him down because I love his sounds and techniques, but not to the point of putting other genres or sound design down. I want to remain far from a competitive mind and his view could encourage that mindset.

If you’ve been reading this blog, you’ll know that I prefer having a much moderate approach to understanding sound. I prefer remaining open.

Calling some sounds cool or others not, creates duality. And that creates echo chambers, hierarchy, ego boosting. So I prefer nondualism (advaita).

At its core, non-duality emphasizes the interconnectedness and oneness of everything. Translated to the realm of music, it suggests that genres, styles, and techniques are all part of a vast, interconnected web of musical expression. Rather than pigeonholing oneself into a single genre or style, a non-dualistic approach encourages exploration across musical landscapes. By seeing all music as interconnected, producers can cross-pollinate ideas, techniques, and inspirations from diverse genres, leading to innovative and fresh sounds.

A significant barrier to innovation and growth in music can be one’s ego. An inflated ego might make one resistant to feedback, reluctant to explore unfamiliar genres, or even dismissive of new techniques. A philosophy that promotes selflessness can help dissolve the ego, allowing the artist to be more receptive to external influences, feedback, and collaborations.

 

1. The Allure of the Echo Chamber

 

On the surface, there’s undeniable allure in surrounding oneself with like-minded enthusiasts, especially when one embarks on the journey of music production. The initial phase is fraught with uncertainties and questions. In these moments, having a community that echoes your tastes and preferences is undeniably comforting. The conversations flow smoothly, validation is often just a nod away, and a bubble of shared enthusiasm and aspiration forms.

However, beneath this surface of congeniality, a subtle drawback emerges. When we insulate ourselves within a particular genre or style, the nuances of that very style start to become our universe. And while it’s essential to understand and master a niche, the danger lies in becoming so immersed that we miss the symphony of diverse musical expressions outside.

 

2. The Downside of Self-Referencing

 

As a music label owner and sound engineer with over two decades of experience, I’ve observed an interesting pattern. Artists and producers, particularly when starting, tend to lean heavily on references that mirror their own aspirations. This is entirely natural. However, when these references are flawed or limited in scope, the resultant art can lack the depth and polish it might otherwise achieve.

A case in point: I recently mastered tracks for a techno artist. His reference tracks, though popular, had many inherent issues. This artist, having always been in his echo chamber, hadn’t realized the potential flaws. But once I introduced him to more diverse, quality references, it was like a revelation. Suddenly, he could perceive the richness and depth his tracks could achieve, and the difference was palpable when played in a club with a top-notch sound system.

 

3. Breaking Free with New Tools

 

The world of music production is ever-evolving, with tools like Izotope’s recently released Ozone version offering fresh perspectives. Such innovations are a boon, not just for their technical prowess but for their potential to act as doorways out of these echo chambers. By leveraging the new features and capabilities they bring, producers can explore uncharted territories, challenging their ingrained notions and biases.

It was interesting how tools like Ozone (Version 11 came out this week and it’s really well done – I don’t even understand how they keep improving it!), while designed to improve the mixing and mastering process, can also inadvertently perpetuate these echo chambers. In the hands of a novice, presets and popular mastering chains can quickly become a crutch. Instead of learning the core principles of mixing and mastering, many young producers just slap on a preset, thinking that’s the ‘industry standard’. These tools, if used without proper understanding, can contribute to a homogenized sound in the industry.

 

There’s no denying that the familiarity of an echo chamber offers solace. But for an art form as dynamic and ever-changing as music, these chambers can sometimes stifle the very creativity they aim to foster. It’s imperative to recognize when we’re in one and muster the courage to step out. Only then can we truly hear the boundless melodies that the world of music has to offer.

Beginner’s Mind in Music Production

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In the world of music production, the concept of “beginner’s luck” is something that many people aren’t familiar with. It’s not just about chance or serendipity; it’s about the uninhibited creativity that arises when a newcomer, unburdened by preconceived notions, fearlessly dives into the world of music creation. I’ve always seen it as a proof that sometimes, it’s not about making something to perfection, but more about spontaneity. The more you know, they more you get stuck in your mind, trying to control all the little details you know about, which then will kill the initial idea. It’s very common that I have people contacting me for help because they ruined an initial lovely idea, by trying to make it “better.”

As I said in previous post, people remember ideas, not technical perfection. Also, technically perfect songs don’t always age well as they can easily sound clinical, cold, soulless.

I find that people that have less technical knowledge and who focus on one idea, often pull out a simple song that actually works. I’ve seen people come out of nowhere, make a song that works without really knowing what they do and then for years, try to learn everything they can to sound pro but then they sometimes lose touch with this magical spark. Having the beginner’s mind is a practice that is approached in Mindfulness Meditation. I noticed it is an approach that serves people who struggle with jadedness and lacking inspiration.

In this article, we explore the significance of cultivating and maintaining the beginner’s mind in music production, drawing some inspiration from the mindfulness approach advocated by Jon Kabat-Zinn.

Beginner’s Luck in Music Production

People naturally want to listen to new music and sometimes, also, want to relate to music they know. But there is definitely a number of people who want to learn about the next big thing. Therefore, new comers are caught into this strange zone that it’s difficult for them to emerge while others in the same position as them, will stand out. Nevertheless, when you’re new to music, you are in luck for obvious reasons: everything about music is new and might sound fascinating. This state of mind is idea for creation as you’re not clouded with judgemental views on certain sounds because you’ve been told that some aren’t good enough for a specific genre.

Here’s some points and strengths:

1. Uninhibited Creativity: When beginners enter the realm of music production, they are guided primarily by their passion and intuition. Lacking a deep understanding of complex techniques, they rely on their raw talent and instinct to craft their music. This approach often results in unconventional, fresh, and innovative tracks that captivate audiences. This is something that personally I’m always interested in new people’s music because of their use of basic techniques, used sometimes wrongly, that turns out nicely. In the art world of painting, there’s a similar equivalent called “Naive Art“, where the artist does some portrait in a unusual way. I also noticed that Midjourney, who is a AI based art generator, would be similar as the early version struggled to make hands, resulting in very bizarre but yet mind boggling results.

Credits: Bootcamp

 

 

 

 

 

 

 

 

 

2. Fearless Experimentation: Novices aren’t held back by the fear of failure or the constraints of established norms. They explore various sounds, genres, and techniques without the burden of expectation. This bold experimentation can lead to accidental discoveries and the creation of music that defies categorization. Sometimes I noticed that new music makers who have no DJ experience will create tracks with very strange arrangements not knowing they might DJs to rage when they’ll try to mix the music but this is also part of a certain charm.

 

3. Authentic Expression: Beginners often create music as a means of personal expression rather than aiming for commercial success. This authenticity resonates with listeners, who are drawn to the genuine emotions and stories embedded in the music. The more someone makes music for a long time, the more they might be tempted to fall into routines, habits or conform to a genre’s aesthetics so they may “remain relevant.”

Recently someone on Facebook shared this remark:

To which I explained:

 

Signs of a Shift in Beginner’s Mind

Can we pinpoint the moment someone lose his Beginner’s mind?

Yes and no. It’s definitely not a linear process nor something permanently lost. But when a client comes for a consultation, I have a “BM meter” that I imagine and will try to spot the flags that will point towards a negative state.

There will be signs of the effect leaving you based on a few points. As you see it leave, there will be some issues appearing.

 

1. The Allure of Perfection:

 

As fledgling artists experience success, there’s a tendency to chase perfection. The definition of success is very different from one person to another which makes it a bit tricky. But whenever there’s a fixation or high concern over technical details, something tells me that there’s a desire to be impeccable, before sounding authentic. They might start obsessing over technicalities (ex. searching endlessly for a specific sample, adjusting levels by 0.5dB, have decision fatigue over arrangements, etc), overproduction, and conformity to industry standards. In doing so, they risk losing the distinctive essence that made their initial creations so appealing.

Symptom 1: The technical part takes over the artistic side, both in importance and in time invested.

TIP: Spend more time in being spontaneous, record ideas in real time, limit the number of iterations a song will have or limit the time spent on a specific song in a day.

 

2. Overthinking and Self-Doubt:

With experience comes the inclination to overthink. Artists may become overly critical of their work, stifling their creative flow with self-doubt and self-imposed limitations. This self-consciousness hampers their ability to tap into the natural creativity that characterized their early work.

Symptom 2: Worries take over the excitement. Most of the thought process is focused on the listener’s experience instead of what the song is about. Imagine you’re in a conversation and you’re more concerned on how the listener hears you than what you want to say, then there are good chances you’ll make no sense.

TIP: Focus on what the song is about and putting it to term.

 

3. Creative Stagnation:

Clinging to a tried-and-true formula can lead to creative stagnation. Repeating the same patterns and techniques, even if successful in the past, can lead to a lack of innovation and artistic growth.

Symptom 3: All your songs are sounding the same. They all end up sounding like a different version of a previous (successful) song.

TIP: Change your reference songs, explore new music out of your comfort zone.

Embracing the Beginner’s Mind with Mindfulness

One thing that is important to understand about beginner’s luck relates that people are naturally attracted to novelty. Or at least, many people are. I remember when I started to make music and played live, I was offered so many opportunities compared to today. Even though I’m still labeled as an emerging artist, because I’m not famous, I’m also considered old, therefore, perhaps less relevant. But again, that is really different from whoever hears me out. Some people who had a strong start will chase the first feeling and try to recreate that by changing how they work or compensate with many new acquisition for their studio.

Enter the wisdom of mindfulness, as shared by Jon Kabat-Zinn. At its core, mindfulness encourages being fully present in the moment without judgment. Here’s how artists can apply this approach to music production:

1. Letting Go of Preconceptions:

Approach each new track with an open mind, free from preconceived notions about what it should sound like. Allow the music to evolve naturally, embracing whatever direction it takes.

This means that when you start new ideas, you want to be less picky about how the session should start. Maybe one day you’re interested in playing pads or another day, do quirky percussion loops. Don’t corner yourself out in a modus operandi that work before and let yourself always try something new.

TIP: Divide your music sessions in 2 categories: one that is related to making music (finding new ideas, playing, jamming) and the other is purely technical. When these two overlap, the mind can have a difficult time being open to new ideas.

 

2. Non-Attachment to Outcomes:

Instead of fixating on the end result or seeking external validation, focus on the process of creation itself. This detachment from outcomes liberates creativity and encourages risk-taking.

Does this mean that sloppiness is tolerated?

What we’re relating to is more towards how you manage your arrangements. It’s also about not thinking of the end results and be open to whatever emerges.

TIP: I often say that I work to bring music close to 90% done and come back later with the option to completely revise it.

 

3. Embracing Imperfection:

Understand that flaws and imperfections are integral to the creative process. Accepting these imperfections fosters authenticity and prevents overpolishing that could strip away the track’s soul.

When I’m close to the final stage of a song, I notice sometimes that my mind chases imperfections, wanting to cover them all. I find that leaving some deliberately leaves some human touch to it and I swear that years later, I don’t even see them as mistakes but as part of the identity of the song itself. More than often, all the stuff I fixed end up being overkill.

TIP: Find a friend who can listen to your final idea and ask them to listen to it once, then provide feedback. If they didn’t notice anything, you’re safe.

 

 

4. Continuous Learning:

Just as a beginner is eager to learn and explore, maintain a stance of ongoing learning. Keep up with new techniques, sounds, and tools to infuse freshness into your creations.

As stated before, in my case, I search for tutorials every day and usually start new song out of trying a new technique. This is quite useful while creative.

In the realm of music production, the concept of beginner’s luck is more than just a fleeting stroke of fortune. It’s a mindset that, when embraced intentionally, can lead to enduring creativity and a distinct artistic identity. By applying the principles of mindfulness, artists can sustain the raw, unfiltered creativity that made their initial works so captivating. So, whether you’re a seasoned producer or a newcomer, remember to embrace the beginner’s mind—the gateway to music that resonates deeply with both creator and listener alike.

Rituals, Routines, and Habits in Music Production

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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.

References From Clients And Exercises

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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:

 

  1. 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

 

  1. 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.

 

  1. 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.

 

Lessons Learnt After Years Of Making Music

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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.

 

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

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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

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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:

  1. 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.
  2. Close Friend Musician – This person is familiar with the musician’s style and can provide constructive feedback on the music’s technical aspects.
  3. Music Producer with Similar Production Experience – This person can provide feedback on the music’s production quality and offer suggestions for improvement.
  4. Someone from the Music Industry – This person can provide insight into the music industry and offer advice on how to navigate it.
  5. 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:

  1. Contact people with the objective to get to know them, not to tell them of a business agenda.
  2. Be yourself, let the ego aside. Don’t talk about your achievement and what you do best.
  3. 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.
  4. Be generous and adopt a listening role. People tend to appreciate others who pay attention to them.
  5. 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.

 

Slowing Production to Better Learn

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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.

 

Chasing success is a failed model

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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:

  1. 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.

 

How To Compose With Consistency

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I’ve always been interested in the restaurant industry and particularly with the whole process of how they give awards like Michelin Stars. There are a number of criterias that will define if a chef will earn one and I find there is some inspiration to take from those points to apply them to one music producer’s work. While there’s no written notes on what the criteria are, what we do know is that there are key points such as ability, quality, and the chef’s personality. However, one that really stands out is consistency.

 

This is a common shared topic with clients of mine. Everyone pretty much dreams of finding a formula that will make sure each song is good and that each time they hit the studio, something worthy will come out from the time invested. There are straightforward ways to make sure we get there but there are also some points that I will explain that might be a bit unsettling.

 

Managing Expectations

It’s always a bit hard to talk about expectations with clients. There are a few points to keep in mind when it comes to that. First, many people are passionate about music in the first place and rely on that hobby for multiple hopes such as, acceptance and validation from their community or other hero producers of theirs. This alone creates some big goals, which creates stress that can glitch creativity and productivity. Same for other producers who have released some music and feel a pressure to do more, but they’re facing some tensions towards what they do: feeling of being inadequate, hitting technical limitations, unfair comparisons to others, etc.

I personally don’t really believe that having constant positive sessions from the studio, where you are 100% happy with your music, is humanly possible. For those who do, I would also question how much fun that is since in the long run it can be really stressful and tiring.

 

So rather than having perfect consistency in music, I think it’s better to change the approach to defining what your victory conditions are. In the Definition of Done article we covered how to set yourself clear points to know you’re done with a project while accepting how many imperfections you can live with. But victory conditions are slightly different, yet, also similar.

 

So for instance, I used to know some professional musicians that were forcing themselves to go to the studio everyday and make one song minimum. Since I worked with them, I had the chance to listen and I had to say I thought the songs they showered me were interesting about 5% of the time (there were a lot of them). We talked about it and realized not only was he not happy about the situation nor the outcome, but he also realized he was just not achieving anything he hoped for. So we worked together to shift his workflow and expectations.

I proposed my non-linear music making technique where he would work on several tracks at once instead of one song at a time. I also talked about what he loved doing so we can make sure that part would be at least 50% of his studio time. In his case, he loved sound design and creating new songs which are perfect. I showed him that music can also be about that and that making music is an important part of music making but it is not the only part of it. Starting new songs is, to me, just as important as finishing them. The more you start one, the better the odds to really create solid and original ideas. Then you harvest the best ones to turn them into a song. We also revised different ways to do sound design and techniques to try.

 

This changed a lot the outcomes of his music and the quality of the following tracks got much better, even if the pace of them coming out got a hit. This is why I sometimes encourage people to focus on tracks made per season instead of days, or weeks.  

 

Victory Conditions

We all have different conditions and there’s no real best way to do this but I find that victory conditions should be different than releasing goals. Some people feel victorious if they get their album out after months of work, but soon they want more of it and then they face a return to the studio that feels like a pain. In my case, after years of experience, I find that my victory conditions has boiled down to having a blast when I’m in the studio, even if that implies working hard on solving issues.

 

This implies two different things: First, there is a part of me that is there to solve issues, install gear, create an environment that is workable and fix details to ensure all is well. Second, I have to prepare for my conditions by making sure that I have all the necessary skills to make music. So, if in a Definition Of Done, we set the points that would make us see we’re done, in the Victory Conditions, we establish what is needed to go there and what is also to make it possible. 

Since for me, it is related to fun, I had to reverse engineer it. 

 

That implied that I had to look back at a really fun session and see what happened to make it work, and to enjoy it. More often than not, while a session can be ruined by technical problems, it’s clear that some sessions in the studio should be dedicated to preventing issues, but also, some other sessions would be dedicated to practicing a technique or new concept, so that when I hit the zone, I have all on hand.

 

So what about you?

 

In the development of an artist, there are numerous stages and phases. You might be in one that is so challenging that the fun doesn’t happen too much. It might be because you feel overwhelmed by a specific issue, some software limitation, lack of knowledge on a topic and aiming for fun might seem a bit of frustration. The thing is, if that can help, I have to say that there has been many years in my life where I accomplished so many things without knowing much and that the more I knew, the more I slowed down. I often say that it’s important to finish something and learn rather than chase perfection.

 

In other words, whatever you are struggling with might actually be a distraction. There are a lot of things to learn on Youtube and if you can’t find it, there are always people to help – that includes me. You don’t have to stay with a problem for long nowadays, compared to times before the internet’s abundant tutorials.

 

Perhaps you can create conditions where you work on a few things at once, small things and try to make the most of that.

 

Quality Control, being practical

We talked about the philosophical and workflow part of this topic but what about the technical side of things? What are some of the main elements that do maintain consistency between songs?

 

There are multiple points you could use a checklist. After years and years of working on music, I do see correlations between songs that manage to get some kind of success. I won’t dive into the promotion, releasing and anything unrelated to production though because that’s a bit of a rabbit hole which changes every 3-6 months. I can’t follow.

 

In music making, I feel there are 2 types: commercial and artistic.

 

By commercial, I don’t mean it in a derogatory way. I’m basically relating to music that is intended to be pushed for sales. If you make music and want distribution, there are chances the distributor might turn it down if they consider it will not sell enough. This is a norm for P&D (press and distribution) deals, because the distribution is basically covering the costs and will expect a ROI (return on investment). In my book, if you make music with the idea to make sales, it is mostly and clearly commercial (eg. we’re producing it in a sales angle). 

On the other hand, artistic music might be simply digital or released at the expense of the artist, without distribution and there is very little expectation of sales. This kind of music is often a bit more edgy, abstract, risky, not following many rules and has a bigger chance of not being able to be fitting any rules.

 

If we compare that to a restaurant, the commercial one is often knowing what sells and will feature a direction, style with some star dishes that people want each time they visit. The artistic ones would be a restaurant where they change the menu each day and take risks. 

They both need consistency on a number of things: fresh ingredients, recipes being respected, taste being coherent on each serving, temperature, etc.

 

It’s pretty much the same with music as well. There are certain criterias you can follow that will ensure that your songs will always deliver. Sometimes it might not have the same punch but if you cover the basics, you’ll have for sure some coherence.

 

Here are the criterias I have in mind:

 

  • Solid hook, main idea. What makes the reason for a song to exist is that you found a solid idea you want to share a story about. That’s how I see music. If you think of traditional music, people write a story and that will be the main idea. For electronic music, more than often there will be no vocals so the sounds and ideas are your story. Don’t make songs for the sake of it (note: I encourage people to make music for the sake of it though, which is different). Find an idea and build a story about it. It can be a sample, a pattern, a fun sound… There’s no rule here but to find one thing you want to listen for 3-6 minutes and really push forward that idea. 

 

  • Song in key, scale. This might sound weird, especially for people making atonal music or industrial techno who use a chromatic scale, but making sure all your elements are in key will give the song a much more wholeness to it. Not all songs follow one but having a coherent harmony will please many people, especially if in a specific genre, some scales are respected. Optional point here would be chord progression. You don’t always need one but if you have one, make sure that it is solid and coherent. Often when I give feedback to people who are starting in music production, I notice they aren’t respecting this basic point and once they do, they really bring it to another level already.

 

  • Rule of thirds in arrangements. This is a bit of a concept I bring up in feedback where I explain to producers that if they divide their song in 3 sections, they all should have some variation, to give the listener a sense of evolution and to keep the attention. If you understand the listening experience as a challenge of keeping attention, you know you need to bring new ideas, but not too much. The rule of third never fails. If you compose pop or anything needing a structure, keep that in mind as well.

 

  • Flat mix, coloured master. Clients don’t always understand what a good mix is. If you keep your tone flat but work with an engineer that can color it to match similar songs on the market, you’ll most likely always have a solid, enjoyable song that can compete well. Also, a flat mix means that your elements are not too all over the place, which is important.

 

  • Avoid masking, phasing. This is more technical but if you have a busy mix where many elements are used, you’ll most likely end up having a muddy mix. I won’t go into how to fix this in this post and you can google about it but keep in mind that it’s essential to quality.

 

  • Get Feedback. Show it to people you trust and ask for specific feedback. Otherwise people will say its cool. Be technical about what you need from them.

 

  • Get help. I don’t understand why people want to do everything themselves. It’s basically setting you up for average music. You’ll learn yes, but why not become a master at making music you love doing and get a master to help you mix so you get the most of it? It’s like, if you want to make a sandwich but you want to make the bread yourself, mayonnaise from scratch, grow the veggies, make the cheese, etc. Yes you can, but you could also buy the best ingredients possible and have a killer sandwich too.

 

  • Quantity for quality digging. If you see each song as an experiment to learn something new or master a technique, you can speed up your process and make more music. A good way to keep up with quality is to producer many, many songs and then trim down your output to the ones you know are shining. The more you finishing music, the more you’ll develop skills, which make sure the following tracks are better quality. Then when you can pick what you share abroad, to the outside world, they’ll only see quality.

 

If you cover these points, you’ll most likely have something you’ll be proud of and when you share a song, people will know what to expect from you, even if you take risks, creatively wise.

 

Common Beliefs and Misconceptions about Music Production

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Perhaps you’ve been making music for a little while or you’re completely new to it, perhaps on the verge of jumping in this as a new hobby, and you have this overwhelming feeling of being overwhelmed or lost. Let’s be fair, some hobbies are easier than others to start with. Maybe you’ve tried DJing and you saw how fast it is to get into it and then tried producing and found it to be a steep learning curve. Therefore, I thought I’d write about the different challenges people face when they start and the workaround or strategies that I give to students in order to get through the difficult emotions. 

 

Common Beliefs and Misconceptions about Music Production

 

There are so many different misconceptions about our passion that it’s a bit difficult to list them but I’ll try to debunk many ideas that confuse people I work with.

“Electronic music is easy to do” or a variant, “If you have everything you need, then it’s easy to do.”

 

This is honestly the one I debunk on a regular basis. I often also argue with strangers about it and I gathered so much theory. So to start with how easy it is, that’s absolutely not true. I’ve explored making music for 30 years and  there are still times where I’m not totally sure what I’m doing. Also, I learn something new every single day I practice. 

 

Do I need to know everything to make music? No, absolutely not. I’ve been able to make over 20 albums and on some of them, I was just scratching the surface of what production is about. 

 

The idea that it’s easy comes from the idea that compared to someone who grabs a guitar and performs music theory, rhythms and all that is related to music perfectly is harder, that’s something not everyone can do. On the surface, technology has democratically opened music making by making so many tools, software, and hardware that can let many do more than anyone could, 30+ years ago. It doesn’t mean it’s easier.

 

If you want to make a loop and play music, yes, it can be similar to video games and that part is honestly where most of the fun is. Anyone that wants to go deeper will soon feel like that will not be enough and want more.

 

This is where the second variant kicks in, with the idea that you need something else to do that. You’ll also be exposed that you need something from all the ads we are exposed to or if you talk to other producers, they’ll quickly tell you all the things you need… Which is a bit of a trap.

 

I’ve said it many times before, but to do music you basically, at minimum, need one device that can make a sound(mobile phone, tablet, hardware, computer) t and something to listen to (headphones, speakers). That’s really all you need. 

 

When I tell that to people, I often then get the famous “I knew it was easy!” response. 

 

That’s when I drop the bomb. 

 

Oh yeah, it’s easy… You’ll just need to understand the basic theory of sound design, signal flow, music fundamentals, engineering, storytelling, and perhaps also recording too, to name a few. So then again, it’s confusing because as a newcomer, you might be aware of how little you know and this triggers confusion and frustration. 

 

So this is where there’s a paradox. On one hand, everything is there, but it doesn’t mean that you’ll know how to get your way through to achieve what you want to do. 

 

My approach is simple – it’s about convincing  anyone diving into music  to start with little steps. I saw many people wanting to learn how to play piano and some of the first exercises they’ll start with is to get familiar with hands on the notes, play around with scales, and basically just practice going up and down the keys. If you learn piano, this is what you expect to do at first because it’s the basis of playing. 

 

When it comes to electronic music, people are all over the place. They want to make a song, they want to make music like an artist they love, they want to try this and that… So much to do and there’s not much of a methodology anywhere so people try things and it often fails.

 

So, more myths follow.

 

“You make a song by starting from the beginning and then finish it”

 

This one is probably the most damaging of all because it puts people in a workflow that is counterproductive, alienating and just not fun at all. If you are familiar with this blog, you’ll be familiar with my idea that making one song at a time is one of the worst ways to work. So perhaps let’s think about what it means to you to make a song, or what a song is supposed to be.

 

For some, it’s a little story, for others it’s an experiment, or it can be something for a DJ to play. The thing they all have in common is that they have a beginning and an end, plus some ideas that evolve (or not) in the middle. Some songs have one idea, others multiple. But what this means is that each song needs at least one idea. This is where music starts, by finding ideas. That means you can probably listen to music you like and love something in it. Perhaps you want to sample something from an old record or just want to write notes of a melody yourself.

 

I usually stress the importance of finding ideas as one of the main things to do because it’s not hard to do and because it’s fun. The other thing I tell people who start is to spend countless hours in their music software and not have any goals other than to basically test everything with intense curiosity and openness. The more you are goal driven in front of something you don’t understand, the more you might be lost and lose interest. One of the main conditions for finding flow in an activity is to do something that seems doable but a bit challenging while having fun. 

 

Exploring, getting familiar with your software, and doing little experiments is where you start.

 

Here are some little projects you can do if you’re really new to it:

 1- Drag a song or samples you like in your DAW and play with it

chop it, add effects, stretch it, pitch it up or down, destroy it wildly and see what happens. Note what you do and be aware that certain tools bring specific results.

 

 2- Spend time playing 1-2 notes on a keyboard and listen to the results.

This means, test all the synths you have, samplers. Play long or short notes, and see how they behave. Record the notes and try to record the sound, destroy it.

 

3- Be responsive instead of curating.

One of my approaches with music is to pick any sound and have the attitude that if someone paid me $1000 to do a song with this, what would I do?  The problem for many people is that they have access to way too much and they’ll spend the entire studio session searching for a specific sound they’ll never find. This makes you creatively lazy. You’ll learn more working with something crap  than searching for the perfect sound. You might actually learn how to make sounds you love by goofing around.

 

If we agree that ideas make songs and that you like specific ideas, you need to practice playing to gain ease, spontaneity and control in order to eventually make your own ideas. This is why I invite people to play with what they have to become fluent. 

 

So, to sum it up:

 

To make music you don’t need a lot.

There’s a lot to know but you don’t need to know everything to have fun.

If you have fun, you’ll want to spend time exploring.

Remain curious of what you think is useless or too complicated.

Exploration means practice.

Practice brings new ideas. 

Ideas can be turned into songs.

It’s easier to get the most out of a sound than searching for the perfect one.

Simplicity is sophistication.

 

Making music is about having fun. If it doesn’t feel fun, you’re not seeing it from the right angle.

 

Last belief that causes harm:

 

“I have great ideas in my mind but I can’t put them all together in my songs”

 

Anything one has in mind is wonderful but once you try to replicate it, things are never really exactly the same as what you’d expect. In years of making music, I never really was able to translate my inner world to sound. Perhaps if you’re a singer or folk artist, this is easier but in the realm of electronic music, things are completely different. You can have a nice melody idea but you’ll need the right sound. You might have the right sound, but then the melody might not fit. The more you chase something abstract, the less grasp you’ll have on what you actually control.

 

There’s a vast number of elements that can really cloud your judgment and to chase something, always brought me frustration. I sometimes had way more fun working on simplistic ideas than going for a very ambitious project. It doesn’t mean that you have to stop yourself, but it’s important to understand where you stand, technically, and operate with your current skills.

 

Someone was asking, how do I make very long techno tracks like some artists do? My answer was, don’t do that. He was surprised and disappointed. My explanation was that it’s more important that he becomes really good first at doing what he’s doing now. Then you expand and do something a little more challenging once your basis is solid. I explored longer tracks once I managed to make solid 6 minutes ones, then moved to 8, then 10, and then up.

 

Bonus tip here:

 

“My friend told me this software is crap”

 

I could have added a lot of quotes here but my point is that many people will tell you what their experience is, and how they came to some conclusions but in the end, it’s just someone’s perspective. I’m always a bit cautious of people telling me to not do something (especially if I never asked for advice) and will be more curious of people explaining how they managed to do something I like. Many people have self imposed rules that are super weird, not backed by anything technical. Many times I heard some bogus claims that some software wasn’t good enough (FLStudio, for instance is often put down)  or that a plugin isn’t for music, while I know so many people that made amazing ideas with the most ridiculous setup and ressources. It’s not what you use, it’s really what you do with it that matters.

 

Definition Of Done In Music Production

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This seems like a common scenario which involves one’s doubt about the status of their song, mainly to know if it’s done. You may be that person. You’ll be feeling your song is finished, bounce it, listen to it in the car or with friends and then you feel that wave of discomfort overwhelmingly creeping on you because you’re noticing all the mistakes and things that aren’t right. Let me reassure you that you’re not alone and this is more common than you think.

 

The concept of DoD (Definition of Done) is something I borrowed from the Agile process, that is typical of coders dealing with a scrum master, mainly in project management. In Agile, there are sprints where there’s a goal set, then tasks/actions are taken to reach a certain point. They’ll agree that the task is done when a certain number of criteria are met. This could apply to basically any projects possible, from weeding out your garden to cooking a dinner.

In a world that is not from the digital realm, with 1’s and zero’s, the concept of done can be a bit tricky as per the one who sets a DoD, the level of mastery might change. In other words, you might be agreeing that my DoD on a song will be very different from someone’s new to music. And that’s ok.

 

There are a few concepts that we can look into that will help you let go of whatever that inner voice of doubt is whispering you about.

 

A song is never really done

This one hurts, yeah? But I tell you, there will never be a field where uncertainty can hit you the most than music, mainly because things are abstract in the world of sounds. Your main enemy is really yourself and your self-judgment towards what you do will change everyday, sometimes it will completely change within a day itself. You’ll never really know honestly but there are a few things that can help you though. I’m not referring to you to just say to let go of things here. I’m more interested in knowing how much imperfection I can live with and how much a random person will notice. This is where it matters.

There are a number of things we don’t know and there are also a gray area of things we don’t even know that we don’t know of. Your song is in between there and your future self of in 10 years ahead, will have a more compassionate understanding that this song has been done within the technical limitation of that moment. And it’s really ok, trust me. 

 

References will reveal truth

This is where many people fail. You can’t know you’re done if you don’t have a model. So, for instance, you might cook a pizza but honestly, if you never ate one (I would pity you!), it’s sort of hard to compare it with anything. I had some of the best pizza of my life in New York and that taste was forged as my favorite. Whenever I have a pizza now, from the airport to a little restaurant, my mind compares it to that one I had in NY. It’s the same with sound. When I do mastering or mixing, I have models of other projects and know exactly how I want it to sound like.

So for arrangements, what’s easy is to simply load up a song in Ableton or your DAW and just use it as a cookie cutter. I encourage people to do critical listening, counting how many sounds they hear in the reference and compare it to theirs. So many times, people have way too much happening or maybe, there’s one less – and that helps much. Same for levels, in the mix.

But I want to sound like myself… I hear you say. Well, sure, you’ll get there but you need to get your skills of finishing songs to be solid first.

Again, most of the time someone feels they can’t tell if they’re done or not, I’ll first ask “compared to what?” Mostly because if we’re not comparing it with anything, we just feel arbitrary in the decision and this is why you’ll feel like a yes or nay, depending on your mood and insecurity level.

 

Lastly, be careful about comparing yourself to a master file. You might be setting yourself up for failure if you are comparing yourself to a song that has been made by a musician that has more experience than you, that has released a lot of music and also, if the song is mastered and yours is not, well, it will not be even. Checking for volumes (eg. snare vs kick), as well as other details is more of a fair fight.

 

Feedback, ask for it

There are multiple ways to ask for feedback and many places to do it as well. You can get some for free in my facebook group (when I’m free) or through my Patreon program. You can ask other producers, even if they’re not that experienced but be sure they listen to it in the right mind set, or context (some listen on their phones, no!).

 

Take pauses and distance

This has been said many times on this blog but studio sessions beyond an hour long are a road to trick yourself about whatever you’re doing. You might think it’s amazing or shit, perhaps it’s neither because your judgment, honestly, quits after 1h of work. It’s called decision-fatigue and you might have experienced it already.

 

I make sessions of 1h max, but preferably about 20 minutes at a time, with pauses. I let my songs sleep for weeks or months. When I reopen them, I want to have forgot about them enough to be able to feel I’m listening to someone else’s song and we all know how good of a critique we are when it’s not our own. I create projects and often rework them 3-4 years later. It’s really fun and eventually when you create these sessions, you’ll have a bunch and will always rediscover sleeping bombs.

 

When I make a really good idea and feel it would be really good, I usually stop right there and WON’T WORK ON IT! I will let it sleep for months. Mostly because what I think is an amazing idea might not be one and if it is, I want my future self to handle it. Between now and then, i will have thought about it, cumulated new ideas, gained new plugins and experience so that when I open that sleeping gem, I have all the goods to turn it into what I want. Sometimes I am working on a great song and might be missing something so I could also grab that idea and bring it into a almost finished bomb, which is for sure going to be beyong what I expected.

 

Decide when you feel good

This one might be confusing or so obvious you might feel caught off guard. Think of the last time you saw one of your friends in their facebook feed saying they quit their DJ career or something they like… well, they’re basically taking a decision when feeling bad. If you decide to quit, you’ve been accumulating frustration. This is the same about your projects. Like the previous suggestion suggested, taking pauses and waiting before making a decision is quite healthy and let’s you wait for when you feel actually good about your song. Especially if you feel like half of the time you listen to it, it’s shit. When in doubt most of the time, pauses are crucial. If you’re 90% of the time feeling something needs a correction, then do it.

How to set your DoD:

Now that we have covered strategies to find out if your song is done, let’s look into setting your own Definition of Done.

 

1- Pick a reference (or a few), as discussed previously. This is to set the tone, aesthetic, direction. Decide and commit to what this song will be (a ballad? Ambient drone? Dance floor bomb?) then find something you know is solid as your cookie cutter. You’ll refer to that.

 

2- Analyze your reference and know what are the minimum requirements. Understand in advance what you can’t do from that one and what you can control. Ask for help, check tutorials and do as much as you can.

 

3- Decide in advance what you will do and what you can’t. If you know yourself and parts where things are a bit more difficult, you can always ask for help. There’s this misconception that one should be able to do everything themselves but this is counter-productive. Do you want to be average at all the different sides of production? You ideally want to be having fun first and get better but you can also ask for help: friends, other producers, myself.

 

4- Give yourself a plan. You can set yourself a deadline but also zones of no actions to be taken as well. 

 

5- Define some points of what would be some targets of done. This can be a scope of how much mix you want to do (ex. I will spend 2h max in the mix). Or “I want my drums to be very punchy” as something to reach. Perhaps your song will never be as punchy as what you dream but when you ask for feedback to someone who has never heard it, you can ask if they think it sounds punchy. Asking general and vague feedback will bring vague answers.

 

6- Test in context. Play your track in a DJ mix or ask a DJ friend to play it. See what happens, how it sounds compared to other tracks. This alone can reveal many flaws and strengths. I also like to bring a reference in my DAW and play my song with another one, mix them so it is not a mess, so I can see with the arrangements if it works.

 

Conclusion

This approach has proven many times with clients that it works. The more prepared you are, the better. Do you need to always do that? No. I mostly do it when I have periods where I struggle with inspiration or when I’m booked for a bigger contract. But it’s good to put it in practice here and there so that when you’re faced with challenges, you don’t start this with no warnings. It could actually backfire.

 

Photo by Brett Jordan on Unsplash

How To Prepare To Make Music

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When I was 10 I was invited to be part of the track and field crew at my middle school. While I always considered myself a proficient runner, one thing that we started to do more was stretch. At first, it seemed like a huge waste of time, since all I wanted to do was run. Instead, we were spending all this time doing these exercises that, to me, had nothing to do with running. However, after months of stretching, I started to realize that I was getting significantly faster. This is because I was warming up. Just like you have to warm up to prepare for running, the same goes for music. In this post, we’re going to discuss warm-up techniques that help you prepare to make music. 

 

Your Tools Aren’t That Important

I’ve talked about this frequently in previous articles, but it deserves to be reiterated. In music production, clients often think that they can buy all the equipment they want, and somehow, miraculously, they will be inspired to create. However, more often than not, they get stuck and the most productive thing that happens is my client cleans the dust off their wall of useless gear. 

Just buying equipment doesn’t do anything if you’re not intimately familiar with it. Imagine buying a nice guitar and thinking you can play it right away despite not knowing how to play guitar. Sounds ridiculous, right? Of course, it does! It takes time to learn a new instrument. It takes frustration. It takes commitment. However, sometimes they do know how to use this gear, and still, nothing happens. More often than not, their problem is they don’t know how to prepare to make music. And just like I was warming up for track and field, so must a producer. 

 

Come Up With Your Own System When Preparing To Make Music

Now people think there is a uniform way to prepare, however, everyone is different. The mind is not a quadricep, where there are standardized stretches that make it more functional. So what we do in coaching is to come up with a system that works for them. I start with figuring out what their current habits are because one thing we do know is that what they have been doing isn’t working. 

So once we figure out what they have been doing it’s time to figure out a system that works for them. Like I said earlier, everyone is different, so everything I’m about to make is a suggestion, not a catch-all. 

 

Actively Listen To Music To Prepare To Make Music

a photo of preparing to make music by actively listening to musicThe first thing producers can do is listen to music before they make it. This might be a huge “duh” statement, but how many people actively listen to music? How many people come home, crack a beer, put on a record, and then just sit there, doing nothing else, except engaging with the music? 10%, maybe? However, it’s this 10% of people who have set themselves up for success if they are music writers themselves.

When listening to music actively, it’s best to think of it as a reference track, in a way. Listen to the song over and over again. Note the timbre and structure of the song. Like actually note it in a notebook. This will get your mind prepared to make music by actively engaging it.

When actively listening to music, make sure to concentrate on the appropriate parts of a song. Lots of producers obsess over the kicks, hi-hats, and the bass, but at the end of the day, it’s the melody that people remember. So do yourself a favor and try to concrete things that you can easily absorb. You will probably not remember the exact timbre of a hi-hat, but you might remember the melody enough to replicate something similar later.

 

Listening To A DJ Set Will Help You Prepare To Make Music

Many students tell me that they find inspiration while they are in the club, and can’t get home quick enough in order to harness it. A solution? Listen to a DJ set for 20 minutes to an hour. The longer you prepare the better. 

An image of someone DJing, which is a great way to prepare to make music

You can take notes on the transitions and compositional intricacies, something that you couldn’t do while in a club. While not exactly the same as a club, I often find that my students say that all the ideas they had in the club start manifesting themselves again.

One thing I like to do is put on a mix while scrolling through and listening back to the samples on my hard drive. By doing so, you can hear when a sample fits nicely into the mix, which you can categorize, and use later. Just make sure the volume levels match what you’re doing in Ableton. You want your samples to vaguely fit inside the mix, rather than being the predominant sound. This is a helpful way of managing samples as well, because otherwise when you’re just scrolling through samples, and not comparing it to music, you’re just comparing the samples to air.


DJing To Help Prepare To Make Music

I think DJing is a great way to prepare to make music. Similar to the other suggestions, DJing is a powerful form of active listening. DJing trains your ears to deeply understand the structure and mix of a song. You can easily add or subtract frequencies to see how they modify the song. You can also hear where transitions happen, allowing you to build your tracks out to be more DJ-friendly (if that is one of your goals). 

 

Build Categorized Playlists To Help Prepare To Make Music

I know earlier I said that it’s easier to concentrate on the melody of the song, rather than the rhythm of it. So what are you supposed to do when you want to work on a specific aspect of a song? Well, as you’re listening, throw the songs into playlists that are labeled based on the aspects of the song that are inspiring. So have one for the melody, have one for that really specific hi-hat or kick. Have one for a bassline. Then when you want to prepare to make music, you can go back to those playlists and warm-up actively listening to those.

 

Take Inspiration From Your Inspiration’s Inspirations

Another way to prepare to make music is to learn from the people who inspire your inspiration. For instance, I’m inspired by Ricardo Villalobos, so I often read articles about him. Through these articles, I found out that he’s inspired by pianist Keith Jarrett. Jarrett does not make electronic music, however, he’s clearly had a large influence on the genre, whether he knows it or not. So, naturally, I listen to Jarrett to see if I can’t harness some of that inspiration.

 

There Are Many Ways To Prepare Your Brain

At the end of the day, the goal is to get your brain engaged. You can play video games while listening to music, read a book, or go for a run. You can also paint, or write. These are all just suggestions and you should find the one that gets your mind warmed up, since as I stated at the beginning of the article, a mind is not a leg – there is no uniformity.

 

Service Update: Track Finalization Is Now Exclusive

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It’s been a hard decision to make since I’ve enjoyed collaborating on so many tracks that have been sent to me through the track finalization service that I offer. However, I have found that by just allowing anyone to purchase this, it becomes not only a source of a great deal of stress but also the work to reward ratio often doesn’t pan out. Therefore, I am indefinitely pausing my track finalization service, except for people with who I have enjoyed working with in the past. 

However, rather than just pausing the service, I feel like I owe an explanation. This blog post will be a little different than most and will have two authors. First, I’ll explain my reasoning, and then someone who has used my service a few things will explain his thoughts on working with me.

 

Pheek’s Perspective

I have clients that have standards that are pretty high, which I have no problem with. I’m happy to help. However, paradoxically many producers come to me and love their track just how it is. Yet they still want me to work on it. This is confounding to me, because if you love your track, why do anything else to it? Music is subjective, and in the ear of the beholder, so it will never be great to everyone. The only thing that matters is if it’s great to you.

However, they still hire me and have a track that they are emotionally invested in because they have put so much effort into it. They just want the track to be perfect, so they think that I can do this, which isn’t true. Hiring an engineer won’t fix everything, and transform a piece into the hottest track to hit their respective Beatport chart. And while this sometimes may happen (usually by pure luck), engineers can only fix what we are allowed to, and often have to contend with people’s cognitive bias’ towards their track. 

Therefore, with these clients, it’s necessary to communicate that nothing is perfect and that the concept of perfection, especially in art, is folly. To be fair though, as an artist, this concept took many years to accept. I eventually realized that no matter how much I tackle imperfections, the end result is often staleness. And staleness is something that nobody who is writing art-focused music wants since it’s these imperfections that make songs exciting. It’s these imperfections that make them human. And humanity, especially within electronic music is sorely needed since the criticism from detractors is often that electronic music sounds too engineered, or robotic. 

This pursuit of perfection messes up my client’s workflow because they are often obsessed with having the perfect track rather than just finishing them. To me, this is essentially chasing unicorns in a field of chocolate, because, like I said before, perfection is a fantasy. Still, this mindset persists in many since people set standards for themselves that can’t be easily changed.

Now, a perfectionist mindset would be fine, if it was tolerable. However, after all these years of consulting, I’ve noticed that perfectionists always comes with one personality trait – they’re micromanagers. And let’s be real here when was the last time you heard someone praising a micromanager? Probably never, because it drives everyone crazy. 

The end result is usually two things: they will either say that the track is too close, or different from what they gave me initially. However, I usually don’t know which one it is until after I submit the track back to them. They reply with what else needs to be fixed, so I go and fix it, which I’m happy to do because there is no way I’m going to get it right the first time unless I’ve worked with them before. However, quite often, I spend hours going in a loop and reverting it back to pretty much exactly what they gave me in the first place. Or they will ask for so many additions that it eventually warps the track to a point where it doesn’t match the patterns they have set in their own heads. If you’re a producer, you know what I’m talking about – you can anticipate what is going to happen before it happens and if you miscalculate that, or if it’s different, it creates cognitive dissonance.

This cognitive dissonance is because producers are emotionally engaged with their tracks, and they have heuristics in their mind about where things should be in the mix, or compositionally. They EQ’d it a certain way, they didn’t have certain effects or compositional elements in it that are now in it, so when they hear it, it is jarring, because they expect it to be a certain way. Therefore, it doesn’t sound “right” to them. 

However, more often than not, a producer’s home studio is not representative of the outside world, so it’s no wonder that it doesn’t sound “right” to them. But since they are so wrapped up in it, they ask for more modifications, without realizing that what they are asking for is actually incorrect. However, this sometimes forces me to go back to how it was, because of their inability to realize that the reason why they hired me in the first place was to provide them a track that translates well across all systems. 

This happened again recently, where the producer lamented that it didn’t sound close enough to their reference track, which they never provided. So I asked them to send that over, and lo-and-behold, the reference track wasn’t properly mixed. Now, I happened to know this artist pretty well, so I provided them with a reference that was correct. Strangely enough, I haven’t heard back from this client.

As you may have surmised, I’m not a fan of doing business this way. Therefore, from now on, track finalization will only be available to people I’ve worked with successfully in the past. Because at the end of the day, why would you want someone to finish a track that isn’t on the same creative wavelength as you?

 

Alex Ho Megas’ Perspective

Ok, so none of you know me. However, I’ve been doing marketing for Pheek for almost a year now. And sometimes we trade services, and one of those services is track finalization. He asked if I would write something about my experience working with him on this since we have done it a few times. You may be thinking, “how can someone be unbias towards their client?” The answer is, I really can’t. However, I’m going to do my best to explain what working with him is like.

Reading Pheek’s perspective above, I intimately understand the cognitive dissonance that comes from having your track modified. You do expect certain things to be in certain places, subconsciously. Consciously, I know that they are most likely wrong since I don’t have a tuned studio and an acute knowledge of mixing and mastering. I, personally, just like writing music and designing sounds. 

One thing we often agree on is that music is usually a collaborative process and that electronic music is one of the only genres where it’s often not. Therefore, I hire Pheek knowing that collaboration often leads to better music. So you know, I’m not always immediately happy with everything I get back. I just know to give it time and to send it off to people that I trust to provide feedback. Then, I think critically about it and note things I would like changed. 

For instance, sometimes I notice that the tuning on a sample is incorrect, or that an element needs to either be extended or shortened. Sometimes there are parts that I want to have emphasized that Pheek deemphasized, like how a snare hits at a transition. So I confer with him and ask if it makes sense to change those things. Often he says they can be changed, however, I always make sure to just trust that 1) my room is incorrect and 2) that a new perspective is helpful. Sure, sometimes I override his recommendations, but only after careful consideration. And to be fair, I still could be wrong about those decisions, but as he said earlier in this post, music is subjective in many ways. 

I would say that the most difficult one we’ve worked on was the last one we did. Right from the beginning, there were some warping errors that made the channels not properly align, and therefore significantly changed the composition of the track. This was hard to explain because he was not familiar with the track, so he couldn’t figure out what was wrong. To him, of course, it’s correct, why wouldn’t it be? However, I just pointed him to a time in the original track where it was wrong, and had him compare it to the version he sent over. It took some time to figure out an effective communication method on this, but ultimately, we got there.

Then he added a bunch of foley sounds to the track, per my request. However, they were either too maximalist or minimalist, so I asked for a modification. These weren’t exactly what I was looking for, so we went back again. Being content with what it was, I sent it in for a mixdown. Then I sent the mix to another engineering friend to see what he thought of it – and it didn’t think it was right. So I just asked Pheek to bounce down the stems and send them over so I could see what my friends sounded like. Funny enough, after comparing the two, I prefer Pheek’s and will use his version when it’s eventually released. This example just goes to show that this track had a particularly strong hold on my perceptions, which makes sense – I worked on it forever. It was only after a good amount of time that I was able to crack these biases. 

 

The best recommendation I have about his track finalization service is to make sure to clearly mark where there are things that need to be changed. Note the time, note the duration. Make sure to have a copy of the old track handy that you can send him so that you can point to when you need things reverted. Make sure to mark the times and durations on those. He has a blog post about “how to communicate with an engineer,” which provides tips that will smooth the process of working with him on track finalization. However, it seems like now, he’s only working with people he has vetted in the past. So if you’re reading this, and have successfully done track finalization in the past, I recommend reading this article.

Another good thing to read would be his post on finalizing tracks on your own now that the service has been made exclusive to previous clients,