Tag Archive for: career choices

Are online communities replacing labels?

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I’ve recently been wondering what will be the future for labels. Are streaming services replacing labels? Or are other communities? I’ve been running my label Archipel since 2004 and I’ve never really made money from it, if you discount using it as a business card for gigs and contacts. The money and time invested in Archipel have been very high, so it’s hard to say if it’s been good on for ROI. The further and faster the digital music world develops, it seems less and less obvious what roles labels will play for artists. Streaming platforms like Spotify give little to no importance to labels, and since basically anyone can start one, running one nowadays doesn’t have the same aura it once did.

In mid 2016, I offered free coaching to everyone who joined my mailing list, and while this turned out to be a success which I didn’t expect, I had to put it on hold until I could find someone who could help manage the work involved. In the meantime, I created a Facebook group for people I’d worked with to join so I could provide them with feedback and support. There are many Facebook and social media groups for producers out there and many have themes and rules. I’m part of a few that I enjoy; I’ve used them to learn tricks and something get informed of certain music related news. So, for me creating a group was an opportunity to give people a place to feel open to share what they’re working on, to get feedback, and provide words of encouragement to anyone else.

The great thing about this initiative was that people started to really participate and interact, even more than I thought they would. It was pretty amazing to see some people join forces and collaborate, and to see others help out by giving advice with regards to where to send music to get signed. This community has become autonomous; it’s doing what I was doing myself before, through email. I’ve been thrilled by it!

Somehow, when I was running my label, I was hoping to create that same sort of synergy, but for some reason it never came. My label manager and I posted regularly through Archipel, trying to come up with ideas, proposals, concepts…but it was pretty much always the same guys that were interested. That was cool, but it was also puzzling me to have such a huge line up of artists (Archipel has almost 200 people who collaborated through years!) but that only 5-6 people were really into it.

I fundamentally believe that most people want to join a specific label to be part of its community and get closer to the artists they’ve worked with.

Of course, the exposure and networking from a label also play an important role in an artist’s motivation to get signed, but the community is another major part of this motivation.

As it stands, I think these types of online groups like the one I’ve described could be as beneficial as a label because:

  • You have people active in the groups whom most likely the same goals, motivations and tastes.
  • It’s much easier to connect with DJs who can play your music.
  • People are open to communication and giving & receiving feedback.

 

Your music has an impact. A major issue with the current music business is that there’s a huge feeling of hopelessness in the air, which can drain out all the juice we have as artists and creators. Most artists have the energy to build projects or beautiful products, but will their work be something that will remain hidden away on the “bookshelves” of the internet because it doesn’t sell? Are all songs worth being turned into records? Is there that much of a demand to keep working so hard creating?

The ego plays tricks on us. One of the biggest is to believe that our music is worth more attention than it is, in reality. Many artists feel anxious and depressed because of this reality check. We want to share the music but the low hits are depressing us. That said, this major issue can be addressed by being in a community: one of any types of communities that are seemingly replacing labels.

Personally, after years of releasing countless albums and EPs, I’m now more excited to know if my five closest and most trusted friends like my newest song. I know for sure they will listen to it and provide feedback. I’ve decided to share my work with a selective number of people who can echo back the energy I put in it. I’m fed up of running after people and saying, in essence, “listen to my song bro! you’ll like it! leave me feedback!”

Labels won’t be replaced as long as the music industry need representatives for the artists. Every artists dreams to be able to live off music full time but it is becoming clear that it’s not once central thing as a label who will make it happen.

This spammy approach does nothing at all for all parties involved. But sharing your music with five people who care is worth 1,500 who were more or less not into it. I really believe that approach as stopped me from crashing into obscure thoughts.

SEE ALSO :  The Changing Dos and Don’ts of Contacting Record Labels 

The Modular Trap

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The modular synthesis game is a big one right now, and for good reason. Sound designers and synth heads that want to take their sound design to the next level will find no shortage of fantastic modules to collect, and nothing is stopping you from patching together the tweaked out system of your dreams.
That being said the road to modular isn’t without its problems, and before you rush out and get started building a rig of your own I want to share some insights you might find helpful before you dive into the Modular Trap.

Intellijel Rubicon

I’ve spent a good while lately test driving a modular system of my own. I’ve been using the Intellijel Rubicon, and I can attest to many of the uniquely modular things people get excited about – all the hands-on messy fun that make modular such a unique experience, the unique, fat, and rich sound, the many fun surprises that come along with a somewhat unpredictable modular environment. Even with software like Reaktor, Reason, or Softube Modular, the sounds you can generate just can’t be done the same way without real life patch cords and eurorack modules. In my opinion, these are some of the pros about using a modular setup:
The quality of the sound coming from modular is somewhat different and pure. The Intellijel Rubicon I’ve been using seems to have a unique and pure sound, quite different than that from any sine waves I’ve heard from a soft synth. It’s hard to describe but I can honestly feel it more deeply – just like an analog mixdown will be slightly different than a digital one. If like me, you really are fascinated by sounds, you can easily become seduced by this.
Hands-on material plunges its user in a state of flow that can be addictive –. To get anywhere within Modular setup you must be actively involved in every step – patching one module to another, over and over, in different ways requires your full commitment and attention – it’s very engaging. Time can be lost easily when creating music this way, and being so focused on sound feels amazing, it’s truly addictive.
Community – You don’t have to look hard to find helpful, and engaging modular communities online.  You’ll soon learn how to use your modules in creative ways you hadn’t known were possible. Take the time to be a part of these groups as the knowledge shared within these discussions will be precious to you if you’re just starting out.
Knowledge – In educational terms, I feel working with a modular system of any size is one of the best ways to teach yourself how sound can be altered and modified. With automatic results you will train your ears to understand how one module can significantly affect another, and how combining several modulators can create truly strange and trippy sounds

So far it’s all good and fun, but when the initial buzz wears off, you’ll likely find yourself surprised by a few things you might not have anticipated earlier. Here are a few drawbacks to working with a modular setup.

Cost can be a limiting setback. Building a modular rig of your own can and will get expensive. Just the price of patch cords needed for every module alone could very well make you sweat, and you’ll of course also need a case, output, input, VCAs, modulators, oscillators, LFOs, filters…, and that’s just the beginning.
Time Investment. I can’t complain about losing yourself for hours in synthesis, but it’s pretty easy to do with a cool rig begging for your attention. Like any other tool in your arsenal you’ll want to be productive and useful with it, so knowing how to create the sounds you need quickly will take some getting used to.
Steep learning curve. For many producers used to creating sound entirely within software, getting things up and running can be a little more complicated to set up.
Overwhelming options – with dozens of companies producing filters, effects, and everything in between for Eurorack, you might get the feeling that you’ll never have enough for what you want or need.

All that being said, I recommend taking an opportunity to get hands-on with a modular system. But before you build a rack of your own do yourself a favour and ask yourself this ~

Exactly what you want out of this?

What I mean is, are you performing live? are you a sound designer looking for unique and original sounds for your projects and work? are you creating a rig for your enjoyment during your off hours? Those questions are important to know because you can then begin planning with help from a site called Modular Grid – a website and resource that will prove to be incredibly helpful in answering questions about getting started.

One last note – I feel like there are many ideas about ‘going modular’ that are quite misleading, and not at all true. I often hear

“how much easier it is to make music using modular synths, how you’ll be taken more seriously as an artist, and how so many more opportunities will come to you if you can build the ultimate rig…”

Reaktor Blocks: A killer alternative.

As I pointed out earlier, setting up a modular system is going to take a lot of time, plenty of money, and a steep learning curve you wouldn’t anticipate at first. Look at software systems like Reaktor where you can patch together virtually anything you can do with the same modular components. Reaktor is just $199 usd, and requires a modest computer, that’s it. Many people love the look of their ever-growing systems, but many less so are becoming well-respected musicians using modular gear. There are a few role models out there who have accomplished a lot with their analogue toys yet on the flip side there are way more people who are only spitting out random bleeps and farts, feeling mid-ground between fascination and frustration. That’s all fine if bleeps are your thing but the tidal wave of fan mail probably isn’t coming in as fast as you hoped it would. And lastly, building the ultimate rig is in many ways a never-ending race. As soon as your newest filter or VCA arrives you’ve already decided you need another component to make it even better, and you’re almost never satisfied with what you have.

Other possible alternatives: Softube Modular, Reason, Bitwig, VCF Rack (Free).

The consensus is in – Modular is awesome, addictive, and a great way to learn about synthesis. Its also true that building a rig of your own is extremely pricey and not necessarily more productive in the end. Since this blog is about productivity, creativity and tackling anything that stops us from getting there I hope my impressions about going Modular will help make your experience getting started a positive one.

I want to hear about your experiences, hit me up about your thoughts, impressions, or anything else by leaving a comment below.

Cheers ~ JP

SEE ALSO :   What is the Electronic Music Equipment Needed to Start Producing?  

Deleting all yours tracks and selling your gear.

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Since the very beginning, I can remember many times I’ve questioned my abilities as a music producer. Feeling stuck on a project or coping with negative feedback from a track I was proud of left me wondering if I was starring down the path of a musical dead end. Sometimes it doesn’t take much to consider unplugging, and putting it all away for good. Several colleagues of mine have similar stories, and more than once I’ve seen someone debate deleting all their tracks and selling all their gear.

High highs and low lows. There is a wealth of research which supports the fact that making music can produce a massive dose of satisfaction, a high similar to the effect of drugs or the rush of an intense workout. The thrill after completing a track is huge, yet on the flip side when things aren’t working out the low can often be depressing. At times it can feel like you’re living in a constant state of low-grade misery. Our perspective often governs our moods, and with just a twist our outlook can turn from sour to super very quickly.

I’ve spent a lot of time reading comments within Facebook groups from people flirting with the idea of selling their gear and calling it quits. On the digital side, I hear people talk about deleting entire hard drives filled with a rough version of tracks, and I think about the hard work and time they’ve invested in projects that will never be completed. They feel the work is simply not worth the effort. So often the feeling of excitement and energy from listening back to our next best track can be replaced by frustration and self-doubt when seeing it stored away in the unfinished bin. Another great idea that stays just that, and idea – incomplete, unheard. Back to the drawing board. Again.

A personal rule of mine is never to delete any project or sample. I just won’t do it. 0% chance.

I believe the main enemies that alter our judgment are overexposure and adverse reaction. If I am working on a project that just isn’t happening, I remind myself to simply store it away and come back to it after a time has passed. Once re-opened and listened to with a new perspective, you’ll likely find something that inspires you, or at the very least – something you can work off of right away. As artists, we are always changing. The artist you’ll be a year from now might like or dislike what you’re producing right now. By keeping your unfinished projects somewhere safe, you are investing in your time and talent for tomorrow rather than throw away what you’re frustrated with today.

Tip: This might feel silly but if you don’t feel good about music, try simply saying:”For the moment, I don’t feel like making music.” Insist on “for the moment“, because it takes away the idea that your mindset is permanent.

In past posts I’ve talked at length about the benefit of planting seeds, creating a master project where all your ideas can be grabbed from and used as a springboard to something great with minimal effort. The benefits of having a library of sounds and tools custom-made, ready at a moments notice, is huge because momentum is critical to completing your tracks.

One thing that’s common is the search for old gear to achieve a particular sound. At some point, it’s natural to feel like you’ve outgrown your equipment and you’re sure that buying new (old) gear will solve the problem. We are constantly being tempted with new products and tools that promise to solve our problems and make everything that much easier. Even after buying new gear we sometimes don’t take time to truly audition them. How often do we ask ourselves what it is we truly need to fix? Can gear solve this? The hype and marketing work for sure, yet without fail the next time we turn around there is yet another must-have tool we’re after, because this one…. man this one, is going to make the difference.

Tip: Some gear can be rented. If you can test drive what you want, that can be really useful.

Take a minute to reflect what your goals are before making another investment.

To truly move on as a producer the best personal investment I can think of is to simply finish something, anything. I believe deleting your tracks reinforces your inability to finish what you started, and doesn’t bring anything good. You certainly aren’t farther ahead as a producer, and you’ll never have anything to show without completing your projects.

Take a moment to look at your progress or lack thereof. Where do you get stuck? Where does it come to and end? Is your sound design weak, do you break apart while arranging it? Find your weakness and draw a circle around it with a big, red, pen. That is your problem area. This is the tough part for you. This is where you give up and call it quits. Nothing you can buy is going to fix this for you. The good part is that now you know where you break down you can learn ways to improve on it.

Youtube. Thank the Lord. Whatever you are looking for I promise there will be a video to help you overcome your sticking point. Just don’t get stuck endlessly watching videos that hours later morph into a totally different topic (it’s easy to do). Also, to wrap things up, here’s a production tip I love doing: At the end of a session, bounce whatever you have, then store this in the folder of the production. Always do “collect all and save” It can be a 30-second loop ,the arrangements you have ongoing, or even export all your session stems.  Doing this is extremely useful when going through older projects but also, you can open a blank project and then import several bounces and play with them straight away. This tip has been so useful for my past albums!

 

SEE ALSO :  Finishing Your Projects

An Interview with Techno Producer Stan Soul

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This post is a Q&A with Dj, Producer, and label owner Stan Soul. Stan is based out of Tel Aviv, Israel, and has just put out an impressive 7th vinyl release as of late.

In this Q&A we find out where the energy to record 4-5 songs a week comes from, why vinyl is still important, how one contact he made opened the door to starting his own label, and what’s his favourite club to play at right now.

Hello Stan ~ I’m really excited to be speaking with you here, and I know many people will be looking forward to reading and learning more about you.

You’ve had a lot of success getting records signed, congrats!
Q. As an artist, where does your drive to produce music come from? Where is your choice of sounds and textures coming from?
A. I think that all music is going through people from the universe. So, in fact, we are just instruments in the hands of our world, and we are not in control during this process. Just a small part of it. All that I can say that I feel the music, since my childhood I hear new ideas in my head. Once I realized that all my life I can hear music in my head and I have to share it with people. To make music, you have to accumulate energy so nowadays my life is firmly oriented to save mental energy during the day and express it in a music session.

Q. Is there something within your tracks that is very personal, or unique within music right now?
A. Every track consists of things very personal because it’s totally based on my feelings in that current moment. I’m producing around 3-5 tracks per week and it’s always different because the universe is changing every minute with me.
Q. When you were a less experienced producer, (still dreaming of having releases signed), did you experience an ‘a-ha’ moment in your music making? If so can you describe that breakthrough?
A. Sure. It was very hard to understand what people were thinking about my stuff. I was very excited when I signed my first release and understood that some people did like it. I still enjoy the process more than the results. After some releases, I would like to play live sessions on my gigs.

I understand you’ve been really busy with Tevol, your vinyl label. I’d like to talk about that –
Q. Can you tell me what motivated you to get started with Tevol?
A. I’m always trying to make something that I want to play. So after experience with my digital label TEOL I realized that I want to create a vinyl label with dubby music oriented more towards dancefloors. After some research, my friend put me in touch with a contact from Memoria distribution. Since that time I’m very happy to be a part of Memoria’s family :).

Q. As a label what are you looking for in a track to sign/release, and what do you get excited about hearing?
A. I can’t explain what am I looking for because I never know. I just feel the music.

Q. How do you find artists & music you’d like to sign?
A. I just look around. Some music has come from my friend, some from my label mailbox. One track set for release I found within a forum related to techno music in a topic where people are releasing unfinished tracks. I just found a snippet, contacted guy and told him that I would like to release it on my label once he finishes it. It’s just fate, be in the right place at the right moment.

Q. How would you describe the feeling and vibe of a typical Tevol release?
A. I’m always trying to make release different. From the very deep hypnotic dub techno vibes to the full of energy minimalistic techno tracks. You can find something that you’d play on warm up and something that will exasperate people in the prime time of the party.

Q. Is the development and production for a record going to vinyl different than for digital? (aside from the actual pressing)
A. In fact there no differences. But sometimes I’m trying to make a track for vinyl a little bit longer because in that format I like “slow mixing” (when two tracks you are mixing are playing for 2-3 minutes). It means that the introduction part of the song should be longer because you can’t make a loop like in case with digital decks. I’m not releasing my music in digital anymore, so every track I’m producing is for vinyl 🙂

Q. Why is vinyl still important?
A. Vinyl is important because you can feel it. I can go deep into the process of mixing only with vinyl, and it sounds awesome as well 🙂

Moving along to the final set of questions, I believe that as an individual I am very influenced by my surroundings. Given this idea,
Q. How has being based in Israel shaped your musical tastes?
A. This is complicated. I repatriated to Israel from Ukraine two years ago and I’m still not feeling that I’m a perceptible part of the local scene. But it takes time, and now I’m fully concentrated on my label, production and always opened for any booking requests

Q. Is there anything great or unique about the Israel scene many might not know about?
A. The most valuable thing that has an effect on my production is the fantastic weather during the whole year and beautiful sea which I can see every day from my window.

Q. What is your favourite club to play out in?
A. In Israel, my favorite club is The Block. And Closer (Kyiv) If we are talking about worldwide it would be Closer.

Q. In general, do you experience music differently at home than playing out?
A. It alway different. Every gig for me is something new.

Q. Where do you see your music making in 5 years?
A. I can’t predict anything but I hope to continue producing music to be heard all over the world.

Q. Any final thoughts?

A. I just want to add that Pheek is a fantastic mixing and mastering engineer, and he’s been providing amazing service to make my music way more enjoyable and productive.

Thank you x10 for taking the time today Stan ~

Feel free to keep up to date with Stan by jumping over to the Tevol Facebook & Soundcloud page for more info and music.

 

 

 

Guide to shameless self-promotion

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Let’s face it, self-promotion is certainly one of the most loved & hated topics musicians face on a daily basis. I mean, you make music, it’s hard to repress that inner compulsion of wanting to share your work to the world right? Finishing music and releasing your hard work to the world feels amazing. Receiving constructive feedback from people you respect will also help unlock obstacles that make us reach the level of production we aim for. But we have to get it out for others to hear right? This post will help you be being your guide to shameless self-promotion.

Many people see self-promotion as something they need to do, which can make it feel like a painful obligation.

Music is a very strong, and personal form of expression. As artists we want to know if our message is understood and appreciated by others. In a way it’s self validating. Proper self-promotion is always about how to do it in a way that is truly authentic, and not make us look like something we are not. Now that we understand this – there are a few facts we need to check in order to make our self promotion efforts work for us. I’m not talking about going viral on social media, but specifically your daily efforts on social media as a way to leverage our network, and create something useful.

The minute you understand that it’s not an obligation but more of a catalyst to get things done, the dynamic will automatically change. This is a process called reframing your train of thoughts.

If you share your music with the intent and idea that you’re trying to unite, bond and communicate something personal, a huge chunk of guilt be removed from the idea of self promotion.  Giving up on hustling sales and popularity will create a positive pivot in your career. We need to stop seeing the act of sharing music as a way to be seen, heard, known. 

I’ve been reading a really helpful book named “Designing your life” which approaches what you want out of life through the mind of a designer. The point of the book is – to become who you want, to have the life you want, you first need to self reflect, and ask yourself what is going on to pinpoint what issue you’d like to fix. In our case, our target here is to build a healthy and strong network.

Over the past weeks, I’ve come across a few articles that state the importance of your surroundings and contacts to achieve the level of success you want. One of the main reason I am where I am right now was that I’ve been lucky enough to have amazing people helping me along the way. Behind every success story, there’s often a dedicated team working in the shadows of that success. One of the ways to keep riding high is to constantly share your wins with your tribe, and go out of your way to make sure everyone in your tribe is appreciated and part of your success.

How to build and design your music life comes with at least 4 important teamsters:

  • The feedback. That guy has the culture of the music you’re making and loves the music you also love. Therefore, his input means something as long as he’s being honest, of course.
  • The knowledge. This member is someone who has technical knowledge you don’t have and can be answering critical questions in time you need it.
  • The creative. This person feels the trends, surfs the ideas better than no one. He can propose ideas that are unusual but that can be leading you to something. See this person as a muse.
  • The propaganda. If you are shaky with social medias, let this person rave about your music while you can post about other things. This person becomes the validator and that is useful for your success.

Finding your team takes years and can also be shifting over time. But you need to connect with others and build your network to find the gems.

Ok, so how can we apply that in practice? How do we get started from scratch?

  1. Don’t ask without giving first. I’ve made this #1 because this is often misunderstood. For instance, I often get emails from people giving me lot’s of compliments about my music, and quickly send me a follow up  email asking me to listen to their music and provide feedback. There’s nothing wrong with asking for feedback, but it doing so out of nowhere makes me question the integrity of their compliments in the first place. It takes a lot of time to gain someone’s attention and trust. Involving yourself with someone is an investment, and building a genuine relationship takes time and often cannot be made overnight.
    1. For networking, try: approaching and following people at your skill or experience level. You can and will grow with them. Leave feedback and appreciation on their music whenever there’s something you enjoy. Do not ask for anything in return.
    2. For social media, especially Twitter or Facebook – share the music you are really into right now, especially from artists that aren’t well known. People love discovering new artists, and if YOU are that artist and find someone spreading praise for you the feeling will be an amazing one.
  2. Be a supporter. You probably saw that video of the guy dancing in a festival in a super weird way, someone with a huge crowd following him comes to join the dancer, and just like that the party goes off.  The second guy joining is crucial, he is the social influencer, the supporter. In the same vein as the previous point, you can be that guy by being the first one who leaves comments on Soundcloud and proposes to play people’s music in a podcast (if you’re a DJ).
    1. For networking, try: Going to shows to meet people. The in-person contact never fails. If your contacts are abroad, try engaging conversation through messaging.
    2. For social medias, try: Offering your help to labels, in any way possible. This is an important way to be part of something. You have no idea how difficult it is to run a small label, so any help can be useful and appreciated. Look at what you are good at and see if you can help. Perhaps you can help with the blog, graphic design, website, PR, etc… If it’s a small organization at least one part of the label might need a hand. Then on your social medias, you can support and champion the label, which will bring many unsuspected contacts.
  3. Curiosity pays off. People think that approaching and forging relationships with fellow music producers involves talking about music. I’ve known artists that refused to forge any kind of contacts with people who initially approached them for music related reasons. They wanted to spend time with the person first to see if there was true chemistry. I believe many artists (to some degree) are social weirdos who often lack a variety of social skills. Being patient and curious will be essential in the way you engage with him/her, to make sure that person feels comfortable talking with you.
    1. For networking, try: reading articles, start conversations, think of how someone approached you in a way that made you feel great. I’m pretty sure it wasn’t just music-related. Apply this to others.
    2. For social medias, try: Share information about your own interests. People in general hate self-promotion if it’s constant but if it’s something that is either useful or occasional, it will be seen positively. So, if your feed is self-centred it’s going to be annoying for your contacts. I’ve seen some artists spend a lot of their time sharing their passion for traveling, food, clothing, cars or memes… We all know you like other things than music and if you can share what it is you’ll attract minds alike which can become supporters of your music, later on.
  4. Consistency is crucial. Not only for yourself but in others. Successful people have no tolerance for others who are inconsistent, unreliable. If you’re going to connect with someone, be there and always come back. I’ve built some solid contacts with some people who have been always sending me messages and be there for me. They won me over and now I love working with them.

In closing – within the book I was relating to, there is talk about creating a prototype to know which method of promotion feels and works best for you. To get comfortable communicating, sharing, showing your personal side,  you need a lot of practise to get into a groove. Building your network takes time. But once you found your way to work, you know you have a formula you can repeat and always feel good about.

SEE ALSO :  Find a track tester for your productions

Experimental music

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It was suggested to me to write about experimental music. The topic is extremely broad, and even when limited to electronic music production it could make for the subject of an entire blog all by itself. After a long while spent thinking about how best to approach it, I realized that for many producers, it is something that is largely misunderstood. Let’s try to clarify what we mean by experimental music, so you can see how useful it could be for your creative development.

First off, defining experimental music can be difficult, and it’s often a matter of perspective. What’s experimental for one person might seem fairly conventional for others. No surprises here. One way to understand it is “music made with the intention of centering its content around an experience (instead of trying to replicate an existing model or genre).”  An experimental approach is one that chases a bunch of “what ifs…”, and that takes you out of your comfort zones to break free of your usual routine of sound making.

I saw a nice video with Deadmau5, who I’m not a fan of personally, though I respect him very much for what he has done. In it, he was explaining how his life is all about trying things just to see what will happen. A lot of producers seem to want results quickly, and will try to emulate recipes, use presets, or buy samples to get to where they want. The problem is that this lack of experimentation will only slow their artistic development and pursuit of a personal sound signature.

guitar pedals, experimental musicSo is experimental music nothing but pure noise and nonsensical buzzes and beeps? Not necessarily. There doesn’t have to be a lack of structure unless you decide that the structure is what you’re experimenting with. Other areas you can experiment with include:

  • Sound design.
  • Mixing technique exploration.
  • Arrangement reorganization.
  • Unusual routing.
  • Unusual effect uses.

The most rewarding part about experimental music is how you’ll end up somewhere you never thought you would go. Along the way, you’ll learn something new and provide the listener with a fresh experience. Trying to sound like nothing else can become one of the key motivations, but the intention itself is what matters most.

 

The audience watching the concert on stage.

One of the main reasons experimental music has received a lot of recognition in the last decade is that it’s become an ever-growing nest for new ideas. Some of the now normal tricks found in commercial music initially sprouted from experimental grounds. At some point we completely forgot where it came from. Even electronic music itself grew out of a long journey of trials and errors that lasted nearly 50 years. I mean, back in the 80s, the hypnotic techno we’re so used to today was considered very weird…

 

So with all that being said, let’s talk about some pointers for how to start your very own experiments.

  1. Create a new project with the sole intention of it being an experiment. I might have just heard you say “duh!”, but having a firm intention before setting to work really focuses your mind on a specific task. Why bother stressing this? Because one of the most crucial parts of making experimental music is learning to let go of any expectations you had beforehand. It’s one of those activities where the journey is more important than the destination. This is a tough one for music producers, because the usual goal is to arrive at the most polished song possible. Let’s try to change our mentality for this exercise.
  2. Decide your area of experimentation. Consult the list above or come up with your own personal focus. I find that listening to music that you don’t really understand is a good source of inspiration. You can test the concept by replicating one sound in that song.
  3. Record the tweaks as you work. This is something guys like Ricardo Villalobos do. He’ll record 2 hours of himself tweaking the sounds. It will become pure chaos at some point, but he’ll edit out the parts he likes the most. The great thing about Ableton Live is that it will also record your knob and fader movements, which can then be edited.
  4. Give yourself a deadline. A good way to leave material in its raw form is to impose a deadline on yourself, and then just bounce the track and declare it done, with all its strengths and flaws. Accepting a track with its imperfections is a great way to move beyond what you initially thought of as a good result. If mistakes can inspire you for the following track, it can actually influence your listeners too!

Once you have a bunch of these experiences, they’re also really cool to recycle into other tracks if you haven’t released them or use the experiment to develop new sounds in new projects.

And please share your tracks with me. I always love seeing what readers come up with!

SEE ALSO : Creating Beauty Out of Ugly Sounds

Getting Lost in the Sea of Tracks

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Searching for music these days has become a real skill. I was in a few music stores recently browsing for new tracks for an upcoming DJ gig, and I realized just how counter-intuitive the experience had become — not only because music stores are, in general, a huge mess, but also because the noise factor was so high that I just couldn’t find what I was looking for. By “noise factor,” I’m referring to the ratio of songs I found that were irrelevant to my search.

sea of tracks, music production, crowd, vacationsWe can attribute part of this to the accessibility of music softwares today, which helped democratize electronic music by bringing production within reach for so many people. Part of it can also be blamed on the fact that launching a label has become so simple that basically anyone with the resources can start one. It might seem ironic for a music production blog to point this out, but this is the reality. I’m pretty sure that if you’re reading this, you’re someone who is dedicated to your art and is looking to really make something happen.

But how do you find your way through this wall of noise?

Consumers have more difficulty than ever finding the music they like. Scroll back in time and you’ll understand that the invention of records was to answer a simple need: to be able to play something again. Once that need was met, a lot of the innovations were centred on making the music sound better. robot, missing hubRadio appeared later as a way of broadcasting over distances. Then, at the same time as music was becoming easier to make, the internet came along to dramatically expand its accessibility and reach, leading to an overall decrease in the quality of what’s available. The sea of music out there today is the result of this over-proliferation caused by these technological advances all converging at the same time. For the consumer faced with thousands of new songs daily, it can be very disorienting. One’s community of peers therefore become an important reference.

Artists have difficulty finding appropriate labels to release their music. If you’ve overcome the technical challenges and are now hunting for a label, you might feel overwhelmed. Like I explained in a previous post, you’ll have to spend a considerable amount of time in music shops and online just trying to pinpoint which labels are a good fit for your sound. But with so little time and so many choices, finding what you’re looking for can be a huge challenge.

What seems to be missing is a hub between both parties.

So what’s the solution?

headphones, music, selectiveStop searching elsewhere, rely on your network. I have a few people who I follow attentively on Spotify or Soundcloud. These guys seem to either have a great radar or amazing connections, because they’re always finding gems. I’ve been told that a great way to keep up to date is to follow as many artists as you can, and then cut out those who are idle too long or change styles abruptly. I also ask my friends who are DJs or label owners to share their recent discoveries with me every now and then, and I do the same. Very efficient.

Find influencers. Influencers are individuals who seem to be at the intersection of multiple networks, who are followed by many people and will make waves with their track picks in charts or podcasts. Each genre has its own influencers, of course. Perhaps check a site like Resident Advisor to get an idea of who they think is trending currently.

SEE ALSO : The New Face Of Albums 

Make the Leap from DJ to Producer

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Many people dream of being able to enjoy a self-sustaining life while working as a DJ or music producer. If you’re a DJ, you might be contemplating the idea of jumping into production. Both avenues can lead you to doing it full time, but not if you do it half-way. Make it your passion.

It’s always a bit delicate to talk about how to get started in a new hobby like making electronic music. There’s so much to cover, as there’s an extremely wide range of options to consider. While I already discussed how to get started with your equipment and such, I feel we can take the topic a bit further.

DJs often think about how they can make it to the next level, and it’s obvious to me that getting into production is the best choice you could make.

Channel your ideas into making your own music

Have you ever loved a track but didn’t like a certain part of it, and then arranged a hack in Traktor to get past that part, only to still not be happy with the result? Well this is actually very common, and as there are so many tracks being released every day, you can spend way too much time just finding the tools you need to make your sets.

So, while everyone is playing the top 10 on Beatport, you might want to pour your time and energies instead into looking through some of your unreleased material (or maybe starting to make some).

I do have to say that there’s nothing quite like playing your own music, and having people ask you what it is because they’ve never heard it before.

That’s the power of being a producer and making your own music.

 

DJ experience will help you as a new producer

With your DJing experience, you know what tracks will work well.

Not all producers are DJs, but if you are only producing, it might be a good idea to learn how to play in clubs. You’ll get to know how certain things sound on big systems and what it’s like to have a track that doesn’t create the proper momentum in a given space. Those things are hard to learn if you’re just hanging out in the studio and receiving feedback from your Soundcloud friends.

Listening to and mixing music, and seeing how a live crowd responds, is a valuable experience that will improve your studio work as a producer.

 

If you can score a deal with a label, you’ll get access to a whole new network of contacts, which can mean more gigs.

It’s not easy to be able to tour as a DJ, as it demands you work hard to expand your network. Making your own music is kind of like sending a business card out into the world, and the more people play it, the more it will travel around. If you work things out, it will be the leverage that gets you out there and travelling too. This is why the quality of your production work will matter so much, and so the more effort you put into getting things right, the better it will pay off.

Lastly, if you’re already a DJ, you’ll have a head start. There are many things you’ll know, from what a loop is, to how sound works in general, to having a basic understanding of technicalities.

So there’s just no reason not to try to produce; in no time at all, production will become your new playground.

 

Making the leap from DJ to producer can be easier if you know producers

Shortcuts to make the leap into production

Team up with another producer first. If you know people who produce, one of the best ways to start is to hang out with them one evening and participate in making music. If they have gear, you can try to ask questions. And if they’re open minded you can make a track with them, or at least make a sketch of a song.

The idea here is to see how it feels to you and if you like it. If you get excited, there’s a good chance it might be for you.

Also, this person will be able to give you pointers on what to get first.

Watch tutorials, use demos. There are many softwares out there that will let you try before you buy. Be sure to wait until you have a good period of time to actually try it out properly before choosing to install. If you’re in school and exams are coming, for example, you might want to wait so as not to sabotage your efforts, both in music learning and classes. Plus, there are tons of videos out there on how to start a track or how to get started. The number one mistake people do is to buy a DAW because someone told them to without trying it first. I’ve learned the hard way, trust me.

Remix. Before making you own tracks, try remixing and playing with loops. This is the fastest way to get something done at first. You can get parts on various sites such as this one. Eventually you’ll make your own when you get to see how people do it.

Making the Choice To Be Exclusive to a Label

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You might have heard of record labels asking for exclusivity, or maybe you’ve at least heard the term mentioned in one way or another. But what does it entail exactly, and how should you approach the decision if you’re ever faced with such an offer?

In another post, I shared a personal story of mine where I had the chance to commit to a huge label and bring my career to the next level — but I refused. It’s the kind of moment that doesn’t happen many times, but when it comes, it calls for careful reflection before making a decision. In my case, it was hard to seek advice from friends, as not many of them had been in the same situation before. I followed my gut feeling, and opted to follow my dreams without considering the possible outcomes.

All and all, there are a few questions to consider:

    • Where do I see myself in 5 years, musically speaking?
    • How can this exclusivity arrangement help me reach that goal?

 

So that should pretty much form the basis of your reflections.

While it’s hard to imagine ourselves down the road or even to give ourselves a reality check on how achievable our goals are, it is still quite essential to develop a vision of where we want to go. There will be certain things you have in mind, and if you have a firm idea of your goals, it will make it easier to decide whether you should commit to being exclusive to a label or not.

For the DJ and producer, the label you're exclusive to should cover a lot of ground The DJ and producer

Being one doesn’t exclude the other, and while you can do both individually, the winning combination is to do at least some of both. This way you can create a great release, for example, and you’ll be able to tour to promote it, which then brings you more requests for new releases, and then more gigs, and so on. The wheel spins organically. In this case, if you commit to a label, you will need this label to cover a lot of ground for you because there will be a lot of opportunity.

 

The entrepreneurLabel exclusivity might not work well for the entrepreneur

You want a label, you want to do a bit of everything, and you want to be in control because you like things done your way. This is pretty much a scenario that many people see themselves in, but if you’re not an entrepreneur, it is a difficult road to choose. More power brings more responsibilities, but also all the freedom to express yourself. In this case, exclusivity doesn’t work well for you.

The studio artist

This means that you prefer producing to DJing, and that you’re not so interested in heading out to the clubs to tour. This is a tricky road. Exclusivity can be interesting to you because you will have a platform for your releases, and you can still use aliases to release elsewhere. But to make this worthwhile, your flagship label will have to be a major outlet.


Being exclusive to a music label can work well for some artists/producersBeing dedicated to a label

Some artists want to be with a label and plan all their projects around it. They will be okay not creating many releases, will want to tour using the team’s contacts, and they’ll feel comfortable with everything the label does. The great thing about this is that you’re part of the label’s brand. This can make your own image and sound more powerful in a way, because you’ll be part of a collective of artists who you admire, and who will shape the label’s identity. If you produce a bit less, this outcome might be well suited for you.

 

SEE ALSO :  Are online communities replacing labels?

The Day I Refused Exclusivity to a Label

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I don’t always talk about things that happened in my “career.” Since this is a blog though, I thought it would be fun and instructive to share some of the different decisions I had to face, and the consequences of each of them. I have a bunch of fun stories going back to 1998, and some might interest you.

If you haven’t read my bio, I can tell you that I early on took out the standard line all artists have, where they say they’ve been into music from an early age. Instead, I will point you to 1998, to the year where I created my alias, Pheek. What really ignited the project was a performance by Richie Hawtin, who made a rare live show (back then) as Plastikman/Concept:96. It was amazing!

That inspiration was critical in my development. It took me 5 years to figure out where I wanted to go and for me to feel confident enough to send a demo to Rich, which I finally did around 2003. He loved it, and he asked me for more music for a release. What followed was one of the most creative moments of my life: I made and sent him 5 CDs full of music over a span of 2 years. He finally picked one track, “Le Plan B,” which was released on the first Minimize to Maximize compilation, on Minus.

That was a big deal for me. Well, not just for me, but for everyone in the netlabel scene. You see, in 2005, there was no Beatport, selling MP3s was a bit of a weird concept, and people releasing on netlabels were seen as outsiders, even nerds. It was one of the first times that one of the guys from the community graduated to a big label like Hawtin’s Minus. Almost at the same time, there were other artists that followed, and netlabels became more and more recognized as a source for quality music.

I wanted to stay a free artist so I could pursue my own label Archipel, which I launched in 2004.I had my own label, Archipel, that I had founded in 2004 and that I wanted to pursue. There was no doubt that a release on Minus could only mean a great push for my personal projects. I started touring more, and soon there came a big milestone for my career that I still think about often. The guys at Minus offered me exclusivity, meaning that Pheek could only appear on their label, which would have given a huge boost to my career.

I refused. Yeah, you read right. I said,

 

“No, I don’t think I can see myself being exclusive, but maybe under another alias?”

 

To be honest, when I think of that day every now and then, I wonder what would have happened if I’d said yes. It was around that time that Minus was exclusively signing big names like Barem, Gaiser, Troy Pierce, Heartthrob and others. If I’d said yes, I think I could have pretty much become someone else entirely than the person I am today. But in a way, I have no regrets.

One thing to keep in mind is that it’s hard to achieve alone or with friends what an established label and group can do for you. You can build from scratch, but it will take a long time to get things to the same level. I released for labels like Sushitech and Leftroom in their early days, and I watched them grow as they became what they are now. I’m proud do say that I was a part of it at their beginnings.

If I decided to work with other labels, it was because I was producing a lot of tracks and felt like I wanted to tap into different networks and reach out to people I liked, even if that was the more difficult path.

There are two types of artists out there:

  • The ones who want to work with you for the long term. Those are the ones you connect with intellectually, and you love each other’s musical output. The connection is real and both parties feel it.
  • Then there are others who you only want to work with in the short term. Both labels and artists can qualify. Unless there’s drama, if the arrangement ends organically, then it had to be this way.

 

The reason labels want exclusivity is to get a return on their investment (ROI) by farming their own artists. The constantly changing branding is risky and tiring for labels. If the sound constantly changes, it can be an irritant for fans too.

I hope this helps you understand the complexities of label exclusivity from another perspective.