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Lessons I Learnt From Hosting A Music Producer’s Retreat

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I don’t know about you but when you’re passionate about music, it’s both a blessing and a curse. In one way, it occupies a lot of space mentally and can become a bit obsessive, while it also creates this need to connect with others about it (so you know you’re not crazy). If I look at how things are at the moment, to connect and meet other musicians in the real world, we face limitations on where you can come across them. Perhaps you can meet them in a café, or a record store, but it’s not a sure thing. Realistically speaking, you’ll depend on clubs and festivals to have most music-oriented discussions.

But let’s be real here, the options are limited. Raves and clubs are fun but they’re also recess time where having a chat might be distorted by the loud music, noisy atmosphere, and perhaps distorted by mind-altering substances.

There was a time where I had the chance to have access to a rich community in Montreal, way before social media, where we would hang out after events (not after-parties) to make a meal and talk. We would do studio sessions, collaborate, and share tips. Nowadays, it’s still possible and while social media can give you access to anyone, it won’t assure you that you’ll be able to connect properly afterwards.

The idea of making retreats came to a friend named Fred and I, years ago, where we wanted to leave the city with friends and do a weekend of intense music immersion. We did 2 events and they were successful. We had to stop because of the pandemic but since I moved to the countryside, it became clear to me that I had to continue doing them, but in my home. The idea was to give access to my house, have people stay for a weekend, give workshops, share, discover friends’ music, and see where that leads us to.

I learned a lot in the last two retreats I did and I’d like to share some insights but also, some tips if you want to organize one with your friends.

 

Lesson I learnt #1: Being in the same place as other musicians for a moment opens up music options and leads you to be curious.

Why make a music producer’s retreat?

 

There are multiple reasons why one would want to make one. The first is to escape your routine and immerse yourself in a connection with your music, allowing you to start projects and/or finish them. I would say that people who come to the retreat will mostly be motivated to be in a space where others work on music. It’s not alien to say that if you’re surrounded by other people making music, it gives you an inner boost to do the same.

Collaborating and discovering music are also other reasons to throw a retreat.

But whatever you choose to do, I remind participants that there is no right or wrong way to do it. There’s also the option to not do much else than just being around people. However, if you use your time, it will have an impact later on.

 

Lesson I learnt #2: The reason why I do retreats is to connect with people who have the same intentions as I do, which is sharing passion.

 

The Loneliness of the Musician

It’s not new, but being alone in the studio is often a hard situation. There’s something frustrating about discovering new ideas but having no one around to hear it or validate it. Modern electronic musicians often go towards that genre because they can be a one-man band as you can get to results quickly but this means that success, or failures, will also be lived alone. Having fellow friends and a community is important to go far in the long run as your network will introduce you to new ideas and opportunities, and spending time in a place over a weekend, sharing fun moments, food, and discussions is a great way to build a community.

Lesson I learnt #3: My writer’s block and tendency to fall into a rabbit hole go away during a retreat.

 

Technical validation and diversity

Being around other musicians brings the opportunity to see how they work, what tools they use, and which plugins solve certain issues. It’s also a moment where gear can be shared, and you can see how each person handles it, giving it a new perspective.

Ironically, in the last years, I’ve always seen some producers being very secretive to how they work and the gear they use. I find that silly.

No one is the beholder of new techniques and there is nothing done that isn’t already known. Pretty much anything and everything is covered online, either in a blog, forum, or simply on YouTube. Holding on to how you work, in my opinion, reveals a good dose of anxiety and insecurity. There is this explanation that keeping secrets to keep your mysterious image is a thing, to which I say that it just takes a few audio engineers to reverse the knowledge. The only thing that no one can take away from you is your soul, your identity. Tools and techniques are simply there for that part of yourself to express itself. The more you open up to others, share what you know, and create dialogs, you’ll be rewarded by meeting like-minded people who will consolidate what you know with ideas you didn’t think about… because you were self-centered.

That said, people around me during a retreat are always a bit surprised and happy to find out that I have no secrets, and the only thing I want is to see others succeed. The teaching mindset goes beyond immediate success; I want to plant seeds in people’s minds to see what will emerge later. There have been so many times when people that I have coached have come back to me later on with ideas that inspired me while I struggled with writer’s block.

Lesson I learnt #4: Explaining concepts to others help me understand what I do.

The Impact on Creativity

 

One thing I noticed with people attending is how a sense of flow emerges by the last day. Flow is a mental state where people get into a zone where they create freely and where everything falls in place; where technical limitations seem to disappear and of course, lots of fun happens.

This flow state seems like the ideal way to create. While a continuous flow state may be too good to be true, if we can reach that state once in a while, it is, to me, one of the real goals of the retreat. Because once you experience that state and how you got there, you know you can bring back with you, this way of being as a musician.

Offering workshops is then a gentle push to unlock frustrations. I make sure these workshops are aligned with the technical level of the participants where I can offer tips on what they struggle with.

While we often search for big impacts to feel we have changed as an artist, I notice that the sum of many little tweaks provides more long-lasting results.

Lesson I learnt 5: Ironically, most of us make music to connect with others while we don’t organize enough community related events. Once reunited, goals of finishing songs or other related validation tasks become more than secondary.

Where to organize a music producer’s retreat

Any location could technically work to host a music producer’s retreat, but I would stress the importance of it being at least 1 hour away from home and ideally, in the countryside. There are many benefits from being able to take a break, go outside for a walk, and step back from anything that is too human-influenced (roads, concrete, asphalt, buildings, etc). In my case, I’m in the countryside with lots of land where we can easily walk for an hour before you get to see most of it. It’s like a big park, more or less, but wild and open. Sure, you can record sounds, but one of the important parts is to be able to breathe fresh air.

One option is to rent a cabin with friends. I would encourage you to have people who are in the same mindset as you. You can then have a space for music making and another for eating, and relaxing.

Space is important and having a place where you feel comfortable and inspired is crucial for the ambience.

Lesson I learnt 6: The ideal place is one you know. If you can find a place you’ve been and love, it will be successful.

Intention and commitment while at a music producer’s retreat

It’s easy to get this part wrong but it is probably the most important. One thing we clarify with this retreat is that it’s not a space and time to party. This is something accessible in other ways and the retreat is a commitment to get things done. Therefore, we have this no alcohol policy as well as a curfew at a certain time. Not only did I have no resistance from attendees, but everyone was extremely happy we did this once the weekend was over.

At the opening of the weekend, we had a meal where we all discussed our needs, our goals, and things we would like to do. As everyone talked, I noticed that there was some shyness at first but as we had multiple talks over the meals, by the end of the weekend, people were more and more open to sharing insights, struggles, or exciting finds. We all have the same difficulties in the end, which is why if one opens up, others will relate and follow suit.

Lesson I learnt 7: Having a moderator, leader or experienced musician is the best way to face difficulty while also making sure you can hold space for intentions to remain real.

Unexpected wins

To finish this post, I have learned that working on a song over the weekend isn’t the most ideal approach, I believe. I think there is much more to gain by trying to organize all your songs, macros, and presets and update all of those sleeping tunes in your backup drive. Being curious, trying new techniques, and facing some parts of music-making that are challenging are some of the best things to be in a context where you are supported.

Topics that were very useful and that participants enjoyed:

  • Techniques to start new songs and create unlimited hooks.
  • Sound design and reverse engineering ideas.
  • How to organize an idea into effective arrangements.
  • Mixing a song in 20 minutes.

Lesson I learnt 8: Always accept that there is something you might know enough or properly. Remaining open is a way to always grow.

 

Testimonials from Participants: Let’s hear directly from those who’ve attended:

  • Marino: “I had an unforgettable weekend at Pheek’s retreat. It was more than just music; I learned a lot of things, met wonderful people from different backgrounds, all of whom share the same passion as me – music. Pheek welcomed us with love and kindness in an amazing landscape, always there to help when we faced creative roadblocks. I recommend it to anyone wishing to develop their skills while leaving their comfort zone.”
  • North Motion: “My experience was simply fantastic. I had the opportunity to meet many artists who, like me, are passionate about electronic music. Beyond the skills I learned, I formed great friendships. Pheek’s retreat offers exceptional facilities in a breathtaking location, and J-P’s knowledge and hospitality are unmatched. I give it a perfect 10/10.”

The Dysfunction of Email Promos in Music

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In an age where technology has simplified communication, it’s ironic how it has also, sometimes, made things more complicated. Take music promotion for instance. A once curated art of handpicking who you shared your work with has been lost in the deluge of the digital age. And nowhere is this more evident than in the world of email music promotions.

For a small- to medium-sized artist like me, my inbox is perpetually inundated with promotional tracks. In fact, I’ve had to set up an email rule to funnel these promos into a separate folder just to keep my primary inbox manageable. To give you a perspective, this folder recently crossed the 13,000 mark. It’s overwhelming and, frankly, dysfunctional.

Now, let’s put this into context. I’m not even a significant player in the music industry. Major artists are likely receiving 3-5 times the number of promos I get. The question then becomes, how effective is this method when even a smaller artist can’t keep up?

One of the most significant issues is the scattergun approach. I’m flooded with tracks from genres and artists that are miles apart from my musical tastes. It’s as though having access to my email address has become an open invitation to send anything and everything my way. This mass email system means that around 95% of the music I receive isn’t even relevant to me. And this poses a unique problem, not just for me, but for musicians as well. The handful of tracks that might genuinely intrigue me are lost in the noise.

 

This situation eerily mirrors another challenge – shopping for music. For every gem you find, you’re likely sifting through a mountain of tunes that aren’t quite your style. With email promos, the haystack has just grown exponentially, making the needle even harder to find.

Ironically, in this vast digital world, in-person connections seem to be the most efficient form of music promotion. When you meet artists face-to-face, there’s a directness and specificity to the exchange. But the reality is, these opportunities are limited.

Strangely, it’s hard to admit but Spotify has been my most reliable tool for discovering and curating music I listen to. I usually find music there, then continue my searches on Bandcamp and Soundcloud. But as much as I don’t like the ethics of Spotify, if there’s one thing they do right, it’s keeping me in the loop with music I will mostly like.

 

Where does this leave us?

Firstly, artists need to rethink the blind, bulk email strategy. The objective shouldn’t be about how many people you can reach, but rather about reaching the right people.

Secondly, as recipients, maybe we need platforms or systems to better communicate our music preferences. Labels have traditionally played this role to some extent, but there’s room for innovation.

Lastly, while personal connections remain invaluable, the digital age demands better solutions. We need platforms where specificity and personalization become paramount, ensuring that every promo an artist sends is a potential hit, not just another email in an overflowing folder.

 

But I also have a list of websites that can provide help with promotion.

  1. SubmitHub: A platform where artists and labels can submit their music to bloggers, playlist curators, YouTubers, and even record labels. It’s an excellent way to get feedback and potentially get your music featured.
  2. RepostExchange: This platform allows SoundCloud users to trade reposts. It’s a way to expose your music to a new audience by leveraging other artists’ followers.
  3. DistroKid: While primarily a music distribution platform, DistroKid also offers promotional tools like ‘HyperFollow’ which helps artists to maximize their pre-save counts on platforms like Spotify.
  4. PlaylistPush: Designed for artists to pitch their music to Spotify, Apple Music, and Deezer playlist curators.
  5. Hypeddit: Helps you grow your fanbase on platforms like SoundCloud, YouTube, Mixcloud, and more by trading likes, reposts, comments, and follows.
  6. Feature.fm: It lets artists get their music into streaming service playlists, and they also provide tools for pre-saves and other promotional campaigns.
  7. Groover: Similar to SubmitHub, Groover allows artists to send their tracks to a wide range of bloggers, record labels, radio stations, and playlist curators.
  8. Musosoup: Artists submit their tracks, and curators (bloggers, playlisters, etc.) can browse and select tracks they’re interested in featuring.
  9. Promo.ly: A music promo delivery system for artists, labels, and PR agencies to share their music to industry influencers.
  10. Echio: This is a place where you can follow artists, get workshops, pay for some feedback and more.

 

 

In conclusion, while the digital age has revolutionized music sharing, it’s also important to recognize its pitfalls. As we move forward, it’s crucial to find harmony between the old and new, ensuring that quality music doesn’t get lost in the digital shuffle.

Your Music Direction Coming From Your Community

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The music industry, and more specifically the electronic music scene, has always thrived on the synergy between its creators and listeners. As an electronic music producer myself, I’ve come to realize that one’s journey to success often lies in understanding the pulse of the community. But what does that mean for the artists who feel disconnected, or those who gravitate towards genres with limited local support? Let’s delve into the heart of music communities and how they shape an artist’s journey.

 

The Role of Community in an Artist’s Growth

 

Having spent considerable time producing music and interacting with fellow musicians, a pattern emerges. Those producers who are part of an active music community tend to climb the ladder of success faster and more organically. It’s not just about having people to network with, but also about receiving immediate feedback, understanding what works and what doesn’t, and drawing inspiration from communal energy.

When you are plugged into a community, it’s akin to having your fingers on the pulse of the music you love. You not only learn about the intricacies of the genre but also understand what the audience desires. The shared knowledge and insights from a group of like-minded individuals can often be the difference between a track that falls flat and one that resonates deeply.

In my case, I quickly found my community of people loving the same music as me and got lucky there were events where everyone could meet. It was easy to connect and I felt quickly involved to it. One of the strength of this early boost was that I could present my music easily and got bookings organically. Nowadays I see people contacting venues for bookings but if you’ve never been to the venue, you will not know of it’s culture and direction. Going there is very important so you’ve seen and to see if the attendees are in the same mentality as yourself. There’s nothing more hard to play a gig where people don’t get what you do.

As I toured, I discovered bubbles of people in each city that reminded me of my local community. Even physically, I’d meet someone who reminded me of someone back home.

 

The Challenge of Non-Local Genres

 

But what about those producers who are passionate about a genre that isn’t prominent in their local surroundings?

Many artists look outward, connecting with labels or online groups that share their passion. While the internet has bridged many gaps, online connections often lack the depth and warmth of personal interactions. The very nature of digital communication can sometimes render these relationships impersonal.

There are people who live in smaller towns or aren’t close to a bigger city and this can be challenging because locally, there might be no chances of creating a community. How does this work?

Artists may produce exceptional tracks, but the age-old adage holds: people tend to support who they know. A community can sometimes be hesitant to welcome outsiders. This protective approach is natural, but it can inadvertently close doors for new talents who could have infused fresh perspectives and sounds. No need to think of labels who receive music from people they never heard of and those people expect them to reply. In the best of worlds, this would happen but in reality, this doesn’t happen much. It leaves artists confused.

So for people who aren’t well musically supported, there are multiple choices possible. One of them is to try to go to the closest place where there are events and a community to enjoy it as well as the music. Eventually you may find your role and space in that tribe. Then afterwards, using online communication tools maintain contact.

Let’s not forget that building your own local network and community is possible but can be challenging at first.

 

The DJ Solution

 

In such scenarios, one strategy that I’ve seen work is reaching out to DJs.

Why DJs?

Because they hold the power to introduce new tracks to an eager audience. DJs are always on the lookout for the next standout track, and they can be instrumental in helping an outsider’s music get the recognition it deserves. Having a DJ play your music can be the perfect bridge between the artist and a new community. You could also do the same with local restaurants or boutiques where you can ask them to play your music sometimes, but of course, you’ll need to do that in person after showing you care about their place and music tastes.

Also DJs love music for podcasts and that is a good way to breakthrough to a new bubble of people.

 

Building Inclusive Communities for a Vibrant Future

 

As we discuss communities and their importance, it’s also essential to talk about inclusivity. While protecting the integrity of a community is necessary, it’s equally vital to ensure it doesn’t become insular. By welcoming new members and being receptive to their unique musical offerings, a community not only adds to its diversity but also ensures its longevity.

To all the music communities out there: let’s remember that today’s outsider could be tomorrow’s trendsetter. By being open to new members and their distinct sounds, we guarantee that our community remains vibrant, fresh, and future-ready. Outsiders will bring new energy and ideas what will make sure the music won’t fall in the equivalent of an echo-chamber where everything sounds the same after a while.

 

Ideas to Discover and Connect with Music Communities:

  • Local Music Stores and Cafes: These places often have bulletin boards with events, gatherings, or workshops. Even chatting with the store owner or regulars can lead you to local music groups.
  • Music Workshops and Masterclasses: Enrolling in or attending these can introduce you to like-minded artists and instructors who can guide you to relevant communities.
  • Music Festivals and Gigs: Attend local and regional festivals. Even smaller gigs can be goldmines for networking. Often, they are organized or attended by people who are part of music communities.
  • Online Platforms: Websites like Meetup.com or Facebook groups often have local music groups where you can join and participate in discussions or events.
  • Community Centers and Universities: Many of them offer music courses and often have active music clubs. Engaging with these can open doors to local music communities.
  • Music Production Forums: Websites such as Gearslutz or KVR Audio have active forums where producers from around the world discuss music, equipment, and events.
  • Collaborate Online: Platforms like SoundCloud, Bandcamp, or Splice can be great places not just to share your music but to collaborate with others, which can organically introduce you to communities.
  • Attend Open Mic Nights: These nights often attract local musicians and enthusiasts. It’s a relaxed environment to meet people and get feedback on your music.
  • Visit Recording Studios: Interacting with studio managers or technicians can give insights about local musicians and communities they work with.
  • Engage with DJs: As mentioned before, DJs have their fingers on the pulse of music communities. Engaging with them can often lead to introductions to these communities.

 

Closing Notes: A Call to Artists

 

To my fellow artists feeling a tad adrift, remember that every community started small. If there isn’t a community for your genre, consider starting one! And if that seems like a monumental task, don’t hesitate to reach out in person. Attend local gigs, music events, or even workshops. Establishing a face-to-face connection can be more impactful than a dozen online interactions.

In the ever-evolving landscape of electronic music, one thing remains constant: the value of connection. So, whether you’re an artist seeking your tribe or a community member wondering about the next step, remember that it’s through inclusivity, understanding, and personal interactions that we’ll continue to thrive and create harmonious symphonies for the world to enjoy.

Keywords: electronic music, music production, community, DJ, networking, inclusivity, artists, local gigs, music events.

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.

 

Difference Between Art Music And Commercial Music

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I often get asked what the difference between art music and commercial music is. And while there is a lot of subjectivity in music, I think I have a pretty good answer for it. 

Before I get into it, I would like to note that all musicians are artists. However, there is a difference between art music, and commercial music.

People have different reasons for why they make music. Some do it because they want fame, or at least relative fame within their niche or region. Other people do it because they have an insatiable desire to innovate. And when they innovate, they often take risks.  And it’s this risk that separates the two.

I would hypothesize that the majority do it for somewhere in the middle, where they desire to be noticed, but at the same time have an innate desire to create something groundbreaking. Then from that middle, it skews to either side, depending on the individual. 

While it is possible to be artistic and commercially successful at the same time, often one has to make concessions depending on what their motives are.

First, let’s define what I mean by both.

 

Commercial Music

In my mind, commercial music doesn’t necessarily mean Top 40. There is tons of commercial music that you will never hear on pop radio. But you may hear it on a genre specific radio station. And to get on these stations, typically songs have been focus grouped to hell; where consultants, and market research have determined what the winning formula is for a song. This could be length, song structure, instrumentation, and lyrical content, among other factors. 

In other words, it’s template, or formula based music.

Since this is primarily a dance music blog, let’s concentrate on techno. If you look at the Beatport Top 100 Peak Time Techno songs, the prevailing techno sound nowadays is 130 BPM +/-3 BPM. 

They all have some sort of “DJ intro” for easy mixing, usually a kick drum, or repetitive synth line. Additionally, their breakdowns happen at roughly the same times – 2 or 3 shorter breakdowns in the first half of the song, followed by an extended buildup and breakdown somewhere in the final third of the song. 

There isn’t much variation in the composition, because it’s music designed to be mixed by DJs, and the second you change up the composition, it becomes harder for a DJ to mix.

Basically, this sort of music, no matter what the genre, is designed for people to understand quickly. 

a wav file illustrating the difference between art music and commercial music on beatport. a wav file showing how underground music can still be commercial music on beatport. a wav file illustrating the difference between art music and commercial music on beatport.

Music Can Still Be Commercial, Even If It’s Underground

So you made a Rominimal track, which is undoubtedly an underground genre. However, underground doesn’t mean it’s not commercial. If it’s a Rominimal track that follows the same formula as what came before it, borrowing sounds and structures from groundbreakers like Raresh, Petre Inspiresu and Rhadoo, then chances are it exists to be sold to other Rominimal DJs, rather than the art. A producer who is taking an artistic approach would take the Rominimal framework and turn it on its head, just like those three pioneers did when they reimagined Minimal.  

 

Art Music

Art music is music that doesn’t try to be anything else, more or less. It’s music that comes from a place of authenticity, rather than a desire to be heard, or understood.  It involves unconventional song structures, reimaged timbres, like a trash can lid for a snare, stream of conscious lyrics, odd time signatures, key changes, etc. In other words, art music takes risks.

The Balance Between Art and Commercial

One thing to note is that art music can also be commercially successful, and even sound popular. There are plenty of uber successful artists whose music is artsy. Classic examples include The Clash, The Talking Heads and Pink Floyd. More modern examples include Radiohead and Billie Eilish.

So, what makes these musicians art focused, rather than commercial?  While they have their commercial hits, these aren’t what define their entire catalog.

Classic Examples

Pink Floyd, with their hit “Money” is in ⅞ and uses extensive folly sounds. However, this song is probably played thousands of times a day and has been for almost 50 years. It’s this time signature, and use of sound that is the difference between art music and commercial music.

A photo of losing my religion's artwork. It's a stellar example in how the difference between art music and commercial music can be thin. An image of Money's artwork.

Another good example of this is “Losing My Religion” by REM. There is no discernable chorus in this song. It’s only verses, with a repeating melody. It also heavily features a mandolin. However, this is still one of their most popular songs, despite it kicking convention in the face. When evaluating the difference between art music and commercial music, looking at the structure is a good place to start.

Modern Examples

An example of a modern art pop song is Blood Orange’s “Uncle Ace.” What’s interesting about this song is that it sounds like something that would be written by Prince. It also has parts that sound like a chorus, but in reality, it has no chorus. 

The song structure instead goes intro>verse>bridge>verse 2>bridge/hook>pre-outro>outro, with no part being discernible similar to each other besides maybe the verses. Once again, it’s this structure that empathizes the difference between art music and commercial music.

Screenshot from the music video for Billie Eilish's Bury A Friend. Album art for Blood Orange's Uncle Ace.


Another contemporary artist that does artistic commercial music is Billie Eilish. Her hit, “Bury A Friend” is a shuffled, syncopated song that samples a dental drill, Easy Bake oven, glass and a staple gun. Its song structure is equally as odd. It goes hook>verse>pre-chorus>drop>hook>verse 2>alternate verse 2>bridge>pre-chorus>drop>hook. Most modern songs with that level of fame are verse, chorus, verse, chorus, bridge, chorus. 

In electronic music, art music becomes a little more apparent than most. Good examples are Aphex Twin, Squarepusher, Arca, SOPHIE, and Burial. However, they are all successful, and this is often by design. 

 

What Makes Art Music Successful?

 

Popular Themes and/or Lyrics

The late SOPHIE is a great example of this. One of her most popular songs, “Immaterial,” is almost an off kilter tropical house and reggaeton song. However, it’s peppered with atonal sounds, and vocal yodels. Ultimately it’s a pretty jarring song. However, the song repeats the same simple lyrics over and over again, and those lyrics are about materialism, something we can relate to. Additionally, it uses R&B, auto tuned vocalizations that are common in contemporary pop music. 

Same can be said for artists like Arca. While most of their music sounds like an ambient, distorted dystopia, the beats are largely hip hop beats. That’s why they have worked with mainstream artists such as Kanye West.

Standout Marketing

Good examples here are Boards of Canada and Burial. Both have cultivated a sort of mystery around their work. Neither perform live, and while their identities are known, they are shrouded in mystery. Take Burial for example. Even when he was up for a Mercury Prize, his identity was still speculated. However, despite being up for one of Britain’s most prestigious cultural awards, his music was hardly pop. It was lo-fi, future-garage made from samples from YouTube videos and video games. Placed up against songs at the time, it sounded thin. But that didn’t matter, because of the questions around his identity.

Boards of Canada are all about mystery as well. When they released their latest album, Tomorrow’s Harvest, they built a cipher for fans to figure out, slowly revealing details and further ciphers until fans realized it was a new album. 

Having Commercial Success And Then Doing A 180

The best example of this is Radiohead. They blew up with their post-grunge, Brit-Pop single “Creep”, which followed traditional song structure. They then followed that up with their album, The Bends, which featured the similarly Brit-Pop-esque song “High And Dry.” Then they started to get bored. 

Their next album, Ok Computer, still had its rock oriented structure, but started to rely more on timbre, and texture instead of traditional rock sounds. They introduced more pedals into their array, and concentrated on using the studio as an instrument, taking cues from early British artists like The Beatles. They even had experimental vignettes such as “Fitter Happier,” a jarring, Speak-And-Spell driven, ambient hellscape of a track that criticizes the numbing of society by commodities and pharmaceuticals. 

While Ok Computer had one foot in commercialism, one foot in experimentation, it was with Kid A that they went a full 180, replacing guitars with synthesizers, drum kits with drum machines. Their songs started to have less of a discernable structure, concentrating more on themes, and timbre. However, Thom Yorke’s voice still remained a constant, allowing their previous fans to find grounding in their new, forward thinking sound. Sure, it alienated some fans, but Radiohead still continues to release albums, and sell out stadium tours. If you want a good example of a song off this that sounds like one of their more commercially viable rock songs but in reality has a complex, and unique arrangement, check out this video about the arrangement of “How To Disappear Completely.”

Intention Matters In The Difference Between ARt Music And Commercial Music

Ultimately there is no right or wrong way to create; it’s all about your intention. If you want to make music that’s easy for people to understand, so that it gets wider acceptance, then you should absolutely do that. This is probably the most surefire way to make money as a musician, and you will ultimately have more people listen to, and appreciate your music. You may even find some fame.

If you want to make abstract, ambient, noise music, go for it as well! There is no shame in that at all. You are making art for art’s sake, and nothing else. You are being true to you, and nobody else. While you may not find fame and fortune in it, you may at least feel creativity fulfilled.

Just keep in mind, while it can be done, it’s hard to square the two. So when creating, it’s all about your intention.

Social Dilemma Of Social Media For Minimal House Producers

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If you’re like me, when you watched the new Netflix documentary, drama hybrid, The Social Dilemma, you felt a sense of disgust. The main takeaway: social media isn’t addicting by chance, it’s addicting by design.  The effects of social media for minimal house producers is no exception.

Facebook, Google, Twitter, and the other media conglomerates invested an obtuse amount of resources into making sure that there was an active dopamine response from your brain when you use their platform – the same response people get from using drugs, or drinking alcohol, or having sex. 

They hired the brightest neuro, and behavioral scientists to work hand in hand with interface designers to keep you hooked, and make their investors money. This, on top of an algorithm that feeds you tailored content based on your previous interactions, has led to the consequence of the spreading of fake news, lies, and polarization between our communities. Admittedly, this wasn’t their intention from the get go, but often the road to hell is paved with good intentions.

However, it’s a necessary evil in a lot of ways. While marketing used to be reserved for the well funded, and tightly networked, social media has opened up a sort of democratic ecosystem, where, if you play the game right (the algorithms), a budding producer can now reach a targeted fanbase with little to no investment. 

This has allowed for many bedroom producers to have a shot at success based on savvy, and talent, rather than relying on a suite of marketing consultants. But with that, bears the responsibility of ultimately, these artists, no matter how big, are fueling the machine of dopamine release for ad impressions that is psychologically encouraged by these mega corporations.

However, some artists have stepped out of the rat race of social media, and forged other ways of networking. Some of these methods are creative, while others are dangerous. In this post, I hope to lay out my views on the advantages and disadvantages of social media for minimal house producers, ways to detach from the grasp of these mega corporations through alternative media channels, and techniques you can use to have a healthy media balance.

 

How much are we responsible, as artists and labels, for people’s addiction to social media?

As “content creators,” we are the fuel for the proverbial social media engine. By creating stuff that people interact with, we are reinforcing the reward pathways in our audience’s brain. Every time we create something quality, we are responsible for a brief dopamine release by our audience. This is what keeps our fans coming back to our page, to listen to our music, to interact with us. However, this ultimately keeps people on the platform longer, allowing advertisers to solicit them, and quick information to satiate them, which influences their opinions.

However, it’s not necessarily a bad thing if content creators are creating something that people ultimately want to see, especially artists. By putting a song out there, unless it has a greater purpose beyond just being enjoyable to listen to, we’re not creating misinformation, we are not eliciting fear, or promoting division. However, by keeping them on the platform, we provide more opportunities for these bad actors to impact our fans. We must remember that every time someone comments on our stuff, and gets a response, negative, or positive, we are stimulating that neural pathway, and keeping them hooked to the platform. 

 

Benefits of social media for minimal techno producers

1. Promotion 

This is pretty obvious. In the past, you would have to spend days sending demos and press releases to media channels to get syndicated by them. If you were more digitally savvy, you could build an email list, but that took time through creating a simple way for people to sign up for it at shows, on your site, or through general networking. 

If you wanted to advertise, you would have to buy a spread in a magazine, flyer, or get on someone else’s mailing list. Spreads in magazines are expensive, and have no trackable Call To Action. Flyering is expensive too, and doesn’t have any way to track, or target. Joining someone else’s mailing list costs money too, and isn’t necessarily targeted either, as it’s someone else’s fan base, not yours.

Now, with social media, you can put a post out there, and your biggest fans will ultimately see it, because algorithmically, they are important. Additionally, if you want to promote something beyond your following, you can drop it into the hundreds of targeted Facebook Groups that exist, use hashtags, or spend somewhere between 1 and 3 cents per targeted advertisement. Sure, there is more noise now-a-days than there used to be, but you know that your ads are getting in front of people who care, and you’re not killing trees from all the paper you’re printing. 

2. Networking

photo of checking social media for minimal house producers

Nathan Dumlao

Labels, artists, groups are all on social media. It provides a channel for you to make yourself known to labels before you solicit them. You can like their posts, comment on their stuff, send them DM’s on Instagram, and tag them in your Twitter posts. After doing this enough, unless they are a huge label, they will recognize your name, and thus be more likely to check your stuff out when you eventually send it to them. In psychology, this is known as the “mere exposure effect,” where if someone is familiar with something, even subconsciously, they are more willing to engage with it. 

As a producer, you most likely want to have your music spun by DJs, and respected by your industry peers. These artists are mostly all on social media. Doing the same “mere exposure” thing as you would with labels, with a little effort, you can make your name more known to them, and thus increase your odds of having them listen to your track. These artists can also provide a valuable gateway into networks that you would otherwise not have access to. By making friends with these artists through social media, you too can have some of this access.

Also, one must never underestimate the usefulness of Facebook Groups. For instance, Pheek’s Coaching Corner, the one that I run, was created to find like minded people who were into what I am into. I have made many valuable connections through it.

3. Artist pages 

Most labels expect you to have a social media presence (except in rare exceptions, which I will get to), since it shows a sense of professionalism. It also allows for promoters, and other industry people to gauge marketability, thus leading to more opportunities. 

 

Disadvantages of social media for minimal house producers:

1. Takes away time for creative things

Social media is distracting for the same reason why it’s useful – it produces dopamine release for you just as much as it does for fans. By interacting with social media, you are participating in this neverending feedback loop. Therefore, this feedback loop can distract minimal house producers from actually creating. As Chris Liebing recently said on his DJ’s and Beers podcast, every time he replies to someone’s comment on Instagram, that is just one more thing that is keeping him away from making music. 

While larger artists like Liebing might be more desensitized to their social media interactions, since they get so many, for a small artist, a new comment, or new like can be very distracting, since it produces a high, in a way. Every time your phone vibrates, or dings, you are being pulled away from whatever you are working on at the moment, and will eventually affect the outcome of whatever that is.

2. Mental Illness

Using social media for minimal house producers can be dangerous. 73% of musicians report suffering from a mental illness of some sort, and are three times more likely to suffer from depression. 

Additionally, research has shown that social media use is causated to increased depression. In a study published in the Journal of Clinical and Social Psychology, researchers concluded that, “What we found overall is that if you use less social media, you are actually less depressed and less lonely, meaning that the decreased social media use is what causes that qualitative shift in your well-being.”

This combination is volatile, and can lead to some serious consequences, if not properly managed.

3. Private life being used for commercial interest by bigger companies.

artistic representation of tracking social media for house music producers

Tony Liao

A quote that stood out to me in The Social Dilemma was the business adage, “If a company isn’t selling you anything, then you are the product.” Every interaction that you make on social media is analyzed by algorithms designed by data and cognitive scientists who are vetted to be some of the best and brightest in the world. To think that these algorithms are oblivious of your deepest personal secrets and desires is willfully ignorant. They exist to hyper target you, and sell you products, so advertisers keep on using their services. Unless you install plugins, and software, these algorithms track you well beyond the platform, looking at how you interact with all websites, not just theirs, using tracking cookies, and pixels. They listen to you on your phone, and translate what you say into text to analyze (if you think that talk to text was just a convenience, think again). That time you looked up something that only exists in your medical records? Well, that’s recorded too.  

 

How to detach from social media for minimal house producers

You don’t necessarily have to be a slave to social media; there are artists who get away with not using it at all. Ricardo Villaobos doesn’t have a social media presence, and he’s a shining star in the minimal house scene. Nils Frahm doesn’t have one, and he’s considered one of the greatest living pianists. Burial doesn’t have one either. Neither does Aphex Twin (or at least one that is maintained in any serious manner). However, with the exception of Frahm and Burial, these artist’s careers flourished before social media was a thing.

So how are these artists able to get away with this, and what can you do as an alternative to social media for minimal house producers? 

In the case of Ricardo, he made his connections by partying excessively. Late nights with promoters, PR professionals, and A&R allowed for chemically induced promises to be made, which he followed up on. While Ricardo doesn’t have a social media presence, memes of his sweaty, sleep deprived visage certainly do. 

a photo of Ricardo Villaobos not using social media for minimal house producers

With Frahm, he had a social media presence up until 2017/2018, when he decided to deactivate it before working on All Melody. By this point, he was already a globally recognized artist, whose label and publicist got him all the promotion he needed to sustain his career. He also studied under Nahum Brodsky, a protégé of Tchaikovsky, so he was obviously connected.

Burial had a couple things working for him. The first, is that his marketability was in his enigmaticism and mystery. Having a social media presence would have worked against him in a lot of ways. He also started sending demos to Hyperdub in 2002, years before social media was a necessity. One thing that can’t be ignored either is where Burial grew up. He went to the same school as Four Tet, Hot Chip, The XX, and dozens more. In other words, this guy was connected, whether his profile leads you to believe that or not

So what can you do if you weren’t blessed to go to private school, study under a world renowned mentor, or aren’t willing to sacrifice your health with copious late nights and consumption?

  1. Find out a way you can help the scene and make connections. Volunteer at events, become a journalist, throw events, become a radio DJ, intern and eventually work at a studio. These are all options. 
  2. Do things old school – hand out fliers after shows, solicit journalists with a solid press kit, and a compelling story. Not all stories need to be about your music. If you were a refugee, or had a parent who was a murderer, or you survived cancer, these are all stories. Think of alternative publications as well. If you are really into healthy eating, you can get a story published about your diet while touring on health blogs.
  3. Trim down your network of relevant people to 5. It’s like real life, you don’t have a ton of really close friends. Concentrate on the people who really care about what you do, not the people who kind of care. Only care about the people who will provide honest feedback, and encourage them to help you make connections.
  4. Find a mentor. Just like Frahm had a teacher, so can you. They all won’t be protégé’s of fabled Russian composers, but they will have their own set of connections that when the time is right, you can capitalize on. However, it’s sometimes easier to connect with these people on social media.

Alternative social media for minimal house producers:

1. Telegram

A great social media for minimal house producers. For instance, there are 640 members in the minimal techno channel. Telegram doesn’t monetize through ads, as it’s an encrypted network. This encryption means more privacy as well.

2. Discord

Just like Telegram, there are music networks on here. Here is a list of channels.

3. Twitch

While not necessarily a forum, this is a place where established producers have opened up a community to watch them do things like DJ sets, and produce music. Artists like Kyle Geiger have been doing almost daily tutorials for music production, and answering questions. If someone has something interesting to say in the chat, you can private message them, and make a connection that way. You can also ask Kyle questions, and send him tracks. He encourages it.

4. Reddit

More anonymous, and focused, these groups, also known as subreddits, can be an excellent place to find like minded people. If you can think of a genre, there is probably a subreddit for it. People ask for feedback on tracks, DM people who they want to connect with, find playlists to be a part of, and even promote their own tracks on these forums. Major artists are often found on reddit, doing question and answer sessions, called IAMAs. It’s generally a helpful community, but beware of being too self promotional. 

 

Ways To Moderate Your Social Media

1. Install tools to restrict access

Tools like OffTime can limit what apps on your phone you can use, between certain times, or with certain permissions. It will also track the amount of time that you use apps, which could be humbling.

If you use Chrome, there is an extension called Work Mode that allows you to block all social media URLs between designated times. Stay Focused is another great extension.

If you use something like Mozilla, there is an add on called LeechBlock, that allows you to block certain websites.

If you are concerned about them tracking you, plugins like AdBlocker and UBlock restrict this. However, keep in mind that if you end up advertising on their platforms, you will have to disable these blockers so that you can monitor your own ads.

2. Only interact with certain people so the algorithms only show you those things.

Ultimately social media will display things to you that you want to see. If you don’t want to see anything about politics, or celebrity gossip, don’t interact with it. This will tell the algorithms that you aren’t interested. Conversely, if there is something that you are interested in, then interact with those things, and the algorithm will reward you with more of that.

3. Outsource

Get someone else to manage your social media presence. You can use places like Fiverr, and UpWork to hire virtual assistants who can create, and post on your behalf, for a reasonable price. Therefore, you will have a presence, but not have to be managing it day by day. There are also apps and bots out there to streamline this process, such as HootSuite or InstaZood. 

 

Hopefully this post provides you with some resources that you can use in order to make an informed decision about how you want social media to impact your routine as an artist. There are ways to step out of the social media game, but to do so prematurely will have long lasting effects on your success. Therefore, strategize carefully, and see what you can do about limiting your access to it, rather than disconnecting entirely. If you do feel the need to remove yourself from the algorithm’s grasp, there are ways, but it will require a lot of effort, and can be less cost effective. 

Social media isn’t going anywhere, so we can either lament at its destructive capabilities, or harness it’s potential to benefit ourselves, while using tools to reduce its negative impact on our health, and society’s perceptions. 

Find A Record Label Looking For Talent

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So, you’re looking for a record label looking for talent? We’ve been talking about collecting references for your mixes in previous posts quite a lot. By using software to help you match the tone of a track you like, with some analysis, you can now reverse engineer your favorite tracks to eventually make something similar. With this approach, eventually you’ll end up having music that you want heard and eventually published on a record label looking for talent.

There are many advantages of being on a record label. I covered this in previous articles. However, the crux of it is that being on these labels gives you access to a community of artists that you enjoy, provides social recognition by peers, and can provide accolades that artists can leverage for more gigs. Being on a credible label also allows artists to move up the ladder to larger labels, just as having a job on your resume allows people to move onto bigger, and better jobs. 

 

Independent Record Labels Vs. Major Record Labels

Finding a record label looking for talent like yours comes down to having a song that fits the aesthetic of the label. You wouldn’t release a Dubstep song on a boutique Minimal Techno label, just like you wouldn’t release a Minimal Techno song on a boutique Dubstep label. While they are both electronic music, the contacts that said label would send the song to are inherently different, since Dubstep DJ’s not usually spin Minimal, and vice versa. This is especially true for independent record labels looking for talent. 

Major record labels might have a broader approach to what genres they accept, and might sign a minimal techno track, and a Dubstep track since they have more resources to handle a diverse sound, since these genres have a place in their business model. However, to get noticed by these labels, you need marketability that a lot of smaller artists don’t have. You need a solid fan base already, a brand, and professional tunes.

Sometimes it is possible to get lucky with talent alone, and being in the right place at the right time, but this is not the norm. So if you decide to go the Atlantic Records demo submission route, and don’t have a credible foundation, then it’s really like winning the lottery. Sure, major record labels looking for new talent is a thing, but it’s a special circumstance if they get selected.

 

How Do You Find A Record Label Looking For Talent?

There are many approaches to this. A solid way is if you made a song based on a reference track, see what label they signed to. If you have a similar stature as the artist referenced, then chances are that you may be a good fit. If you aren’t on a similar tier as this artist, that doesn’t mean that they were always at this level. Go back into their catalog, and see what labels their earlier releases were on. Next, make sure they are accepting demos. They will usually say on their site, or social media if they are. Make sure they are recent posts, and releases as well. Small labels don’t last forever, just like small businesses, and the information may not be up to date, especially if they don’t exist anymore. 

Next, see if they still are curating the sound that you have produced. Labels evolve. Just because they were into Minimal in 2007, doesn’t mean that they are into Minimal in 2020. They could be into hard techno now, since that’s what sells. 

One thing to keep in mind is that a lot of popular labels have smaller sub-labels that cater to up and coming artists. Make sure to pay attention to what those are. For instance, Get Physical has Poesie Musik, which caters to a melodic sound, and signs small artists.

If you’re part of a scene, and your colleagues have signed to a label that fits your sound, ask for an introduction. That is the most surefire way to get on any label. 

 

How Should You Approach A Record Label Looking for Talent

Keeping the aesthetic of a label in mind, it begs the question – should you make music with a label in mind, or find a label based on the music you make?

It’s something difficult to answer and there’s not a right answer either. It’s the chicken or the egg question. There are different options and perhaps one will suit you best. But let’s look into the different types of feedback they can provide as they could be giving you an insight on what is happening. This is where many people get confused.

In the most common scenario, people come to me for mixing and mastering with the idea of having music done. Once it is, the question that always comes is “now what?” Sometimes it happens I just did mastering of similar music and will suggest some clients of mine or in other cases, it reminds me of someone I know, so after looking up Discogs, I share a hint or 2. This is the “finding a label looking for talent that fits something already made” approach. 

The second option is to find a label that you want to be on, and design music to fit that label. You analyze the songs BPM, you take reference of its genre, you incorporate the timbre and instrumentation that you hear in the records. You make sure that your mix and master have a similar color to the ones on the label.

However, sometimes you can do all of this, and the work can come off as being derivative, because what you made has been sterilized down to elements. Not even labels with a specific sound want work to be derivative, they want it to be complementary. This is a skill that takes lots of dedication and practice to hone. The process of making something contextual, yet with its own signature is one of the hardest things that any artist can accomplish, no matter what the medium. So, if you’re going to take the “finding a record label by producing to fit the label” approach, then you have to be confident in your skills. By taking this approach, you are also diluting your potential to submit it to other labels if it’s rejected. 

Record label looking for talent

Credit: Tim Marshall

 

Key Factors When Approaching A Record Label Looking FOr talent

However, sometimes your music fits perfectly, and you have invested a lot of work into it, but the label rejects it. What does it say exactly? What it says is that you probably didn’t have one of these factors:

Dedication

The most important thing you can do to get signed to a label is to have dedication. Artists need to dedicate themselves to being the best at their art that they can possibly be. They need to dedicate  themselves to learning the best practices to succeed as a musician, whether that’s reading blog posts like this, or talking to successful peers. Remember, artists are going to fail at what they try to do, often. That’s just a fact of life. It’s what they do after they fail that defines them. As Winston Churchill said, “Success is not final, failure is not fatal, it is the courage to continue that counts.”

Marketability

Credit: Jorik Kleen

The next thing you want to do is make sure you’re marketable. Yes, just like major labels, more boutique labels want to make sure that artists have a brand. Branding can sometimes be seen as the antithesis of creativity, but it’s always been a necessity in music. Name one moderately successful musician that doesn’t have an image? Artists need to make sure their social media is in order, have an Electronic Press Kit, have a website, take some press photos, and just overall look like they care. 

Depending on the size of the record label looking for talent, artists should expect to have a fan base that is relative to said label’s stature. If an artist only has a couple releases, and a few hundred fans on Facebook, it might not be wise to go after a label like Toolroom Records, or Kompakt. Most likely their demo will just get lost in the mix, so to speak.  

Submitting Your Best Work

This next thing should be obvious, but it’s worth mentioning anyways. Artists should make sure to present their absolute best work to labels looking for demos. Make sure everything is mixed properly, and even better, it’s mastered. I can provide those services at a reasonable price, and it will go a long way to showing the labels that the music is serious. 

Having A Solid Network

Another factor that is important in getting signed to competitive labels looking for talent is networking. Artists should make sure not only to nurture themselves, but nurture everyone around them. Reciprocity goes a long way as a human being, so be helpful. Burning bridges don’t always light the way. As I’ve mentioned in previous articles, this is the most surefire way of getting signed to a label of your choice. 

Personalization

Finally, when approaching a label, make sure to add a personal touch to your approach. If you can find the name of the A&R, that’s helpful. If you know someone who works for them, or is connected, get a referral in, or drop their name. Maybe mention why you think your sound fits well with the label. The more you can personalize, the better chance you have to get heard, because it shows that you’re dedicated.

 

Final Thoughts On Finding A Record Label Looking For Talent

If you follow these approaches, then you have a much higher probability of getting signed to a label. Nobody said that it would be easy though. There is a reason why many people laugh off art as being a career path. However, if you are willing to have dedication, network, and be vigilant in your craft, it can be a long, rewarding job that can jetset you around the world, and introduce you to some incredibly interesting, and talented individuals. Remember, without art, there isn’t culture, without culture there isn’t society. Don’t let anyone tell you that what you do doesn’t matter. It’s just to matter, you have to work hard. There are no shortcuts (unless you have a trust fund, and a connected family).

It’s Time for Musicians to be Inclusive

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Anyone making music regularly goes through numerous phases of wisdom. Sometimes, it can seem like the music industry is a video game, where—with some luck and networking—you can “level up” until you attain glory. Making music with this frame of mind, which many artists seem to do, produces certain unattractive behaviours:

  • An unwillingness to share knowledge and contacts
  • Taking a competitive approach to music
  • Snobbery and arrogance towards other people and artists

New producers are often thrown-off by the attitude of established artists. Established artists do filter people for other reasons, as being completely open to everyone and everything can become draining, especially if many are trying to “use” them (i.e. for attention, feedback on music, etc). Some artists are also really bad at communicating or just shy, which makes them adopt a closed persona as a way to hide. That said, there exists a very thin line that can be crossed from filtering to snobbery.

Where Does Arrogance Among Artists Come From?

If people work hard on learning something, giving what they spent time and money to understand to someone else for “free” might seem unfair, right? People might also feel that if they’ve reached a certain status, maybe others coming up behind them might bump them out of their position.

Sharing knowledge doesn’t make you lose it.

Sometimes people also feel that opening up to someone to share valuable information and getting anything in return can be very frustrating, as it feels like a waste of energy. Or worse, sometimes there are concerns that there will be some sort of betrayal if the recipient gets “further” with the shared piece of information than the original artist did themselves. It’s not really a surprise that many artists are extremely protective, as they constantly feel like they’re at risk of being “surpassed”.

Seeing someone succeed doesn’t mean you failed.

Reality check—a music career is just a series of ups and downs, with some peaks and plateaus. You can’t escape it, it’s part of the game. It’s never related to other people’s success, it’s just organic. A music career is absolutely bipolar and extremely volatile. These conditions are conducive to feelings of hyper-vigilance, anxiety, and depression. Some people manage to reach a flow where things work longer than others—this is related to a good combo of solid networking, natural talent and a good dose of charisma. Sometimes helping other artists can actually help an artist’s career for the better.

What are the Benefits of Being Inclusive and Helping Other Artists?

While for many this might seem obvious, you’d be surprised how for many others, the idea to work with other people sounds like a bad or compromising idea. I’m not one to judge anyone’s opinion because there is indeed a big risk we need to first address: theft and knowledge abuse. Many artists are taken advantage of by labels, club promoters, Spotify or other giant takeovers in the music business, and even other artists copying or “stealing” content/ideas. Does being inclusive pose risk for these types of situations to increase?

Being inclusive is not being naive. It is—first and foremost—trying to help others, as you wished you were helped when in need.

While writing this post, most of us are in quarantine and have no idea what things will be like in the near future. Interestingly enough for me, for the last 20 years, I’ve become used to being in my studio, secluded and working remotely. I’ve done countless collaborations online and ran labels as well. But now this lifestyle is imposed on many people who aren’t used to it. Not everyone can feel comfortable in this position, even musicians. In the last two weeks, I managed some online groups through Zoom to support my community. Sessions of three hours with more than 30 participants made it clear to me that we all want to reach out to one another, and that our life is far from a dystopian movie depicting revolts and violence. I see way more creative collaboration, online performances, tons of entertainment, classes and people spending their time helping strangers. I want this to happen with music-makers as well.

During a prolonged time of inactivity such as the situation we’re in right now, many institutions, clubs, festivals, and artists will suffer losses. I see people organizing crowd-sourcing campaigns, but they don’t seem to be gaining much traction. Money is only one aspect of the problem—it’s not the real solution to this situation. Where we’ll really need help will in reaching out to one another, supporting local musicians and businesses, and cutting out this business of acting like a “music diva”—we should rethink how we work.

I would like to outline some ways of acting towards others that have been my way of life. I don’t see myself as perfect, but I try to live by these maxims. Being inclusive is something essential to my daily life.

  1. One thing I often do, since of course I don’t always have the time to help is that I teach people to troubleshoot their problems, find answers through efficient researching. For instance, YouTube has solution to many issues and many people ignore that.
  2. I give everyone a chance until they prove me otherwise. Just like in life, if someone comes to me, seems friendly and wants to chat, I’ll usually take the time to chat back. I’m always interested in getting to know others with the time I have. For the most part, people are really friendly. The great thing about an online presence is, you can take distance yourself easily if things don’t go well. But I like to give people a chance and would never snob someone unless I feel there’s a strong clashing of life values (ex. aggressive behaviour, inability to listen, excessive drug use, or anything that can put my health at risk).
  3. I like to be a “yes-man”. For the most part, whatever people ask me, I will do my best to say yes and answer. I’ve been told I’m too nice and that people take advantage of me, but there are a lot of people who are like that and it’s often more energy-boosting than draining. I find that having strong boundaries are essential, though.
  4. I invest in those who invest in me. I’ve often chased after people who I thought were cool, but from whom I wasn’t getting any attention back. I kept trying and usually ended up feeling resentful. That behaviour is in the past now for me, and I only invest myself in people who give attention back. If I send an email and there’s no follow-up, I might poke a second time, but I usually set no expectations. This has cleared up a lot of frustration towards labels who don’t reply or other artists I’ve been wanting to work with that would never reply. I now focus on people who come to me in the first place. There’s a lot more energy there.
  5. Listening to what people have to say teaches me one thing a day. When I do online coaching, I spend time listening to what people have to say. There’s space for learning just as much as for teaching. I believe that everyone gets to teach me something because the world of music making is too vast to claim to know it all.
  6. Develop trust that even when confronted with what seems like a failure, there’s something ahead that will benefit me. Sometimes I felt like some misfortunes were really bad for me personally or for my music career. It’s really impossible to foresee what’s ahead but strangely enough, when it comes to the future no one is in control; magic that can happen down the road, in ways that were impossible to imagine. Stories of missed flights, cancelled events, pirated albums and so on, have been things I went through and I could go on about, but there was always something positive that came out of those experiences. I’m not someone that believes “positive thinking” can in negative situations fixes everything, so I prefer to stay grounded and have a sense of trust that there’s something to come that will be better for me or others.
  7. Always put people in touch—sharing connections creates power. I’ve never ever kept contacts for myself but this is something I often see people do. I don’t see the point to keep people apart. If you can put people in contact and something happens from that, you’ve just created a channel that many people will benefit from.
  8. Never take anything personally—’Nuff said.
  9. You never know who will help you in the future. So many times, I’ve talked with some random people and years later, these people came back to me with something. Recently someone booked my services for a mix and said I gave him a CD in 2004!
  10. Being nice often pays more in the long run. I don’t believe that being difficult pays off in any way, and in the long term, people will avoid you if you’re unpleasant.
  11. Explaining is learning. This is my motto. If you can teach someone a trick, you need to know it well enough to explain it. Therefore, you’re teaching yourself how to do it again. Often, if someone doesn’t get it, you need to find other ways to explain it, which tends to help discover new opportunities in your workflow.

Music Feedback: When to Take the Opinions of Others Seriously and When Not to Care

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If you make music, you’ll get what I’m trying to explain here—the head space where you’re fully aware that it’s important to make music solely for yourself, but yet you really want to share it with the world, with other people who could potentially like it. If you love what you do, maybe someone out there also loves it, too?

Where should you draw the line between making music for others versus making it for yourself?

Honestly, it’s a tough question. The voice of reason in most people will answer it with something moralistic, like:

Making music for yourself is the way. Sharing is good, but don’t make a big deal out of what people say.

Unless you have a real mastery of your emotions, if you’re an artist, you will, at some point, want to share your work. If you share your work with “random” people, especially close friends or family, you’ll mostly get random feedback which can be confusing and hard to analyze constructively. Sharing your work is, at its most fundamental level, about seeking validation. Even old fart producers like me who have 20+ albums and have toured, still carry the need for validation. The difference I see between myself and younger artists, is that I carefully pick the people I share my music with—a way of knowing if you’re still relevant to people you trust. In past posts, I’ve explained how to network properly and how to build a circle of solid contacts.

A pattern I often see is artists having a very productive session, and the resulting track feels very emotionally powerful to them. Validation comes in when they seek to determine if the emotions in the session were valid, or if they were hyped over something bogus.

This sort of pattern results in an “they’re right, I’m wrong” thought process that causes cognitive dissonance. Let’s examine this pattern from a technical point of view:

  1. You make music absolutely for yourself, but this is artistic masturbation; it’s normal to want to connect with others to validate these feelings.
  2. The opposite is making music for a label, other artist, crowd, club, or festival, in which an artist is chasing other people’s opinions and lacks control over their own work—they usually end up frustrated.

If you ask someone for advice about music, sometimes people come at it from the problematic position of “I’m right, you’re wrong.” They’ll tell you what they think is good or not, based on their point of view. Sometimes people are not totally open to giving real feedback and will be biased. When most people are given the opportunity to criticize, they’ll find something wrong. It might not always be useful, but sometimes with music, particularly concerning technical aspects of production, there’s value in receiving good feedback.

When Should You Take Someone’s Feedback Seriously?

It’s up to you, but it’s heavily dependent on your ability and accuracy in evaluating your own work beforehand. Here are a few tips for evaluating your own work before seeking external feedback:

1. If your track creates emotion in you, never doubt it, even if it never reaches anyone. Not all tracks need to be released, heard publicly, or shared. You can make a song for yourself and perhaps a few friends—this is a totally valid way of making music. The “need” to release all your music is really a misconception that you’re entitled to be heard because you made a song. Honestly, you aren’t.

2. Listen to your song in different contexts to see what it feels like. For example, listen to it while commuting, in your living room, in your car, in front of a friend (in person!) or in the middle of your favourite playlist. This can reveal flaws in your work. If something feels off and you are limited technically, then you know that asking someone for feedback with a precise request should provide value to your work.

3. Use a reference tool such as Reference from Plugin Boutique which, if you compare your work with a song you like, you can easily see what is missing (tone or loudness). Fixing issues might be a roadblock for some artists, and that’s another reason it might be useful to get feedback.

Once you’ve done these three things, I’d upload a snippet to Soundcloud to get a reaction or share it privately with a few friends. I would never post music in forums without knowing what regular users are like in the first place. I also don’t share with close friends; they never get it and sometimes it can make the friendship awkward. I prefer having two circles of friends: music-related and non-music.

Never forget that it’s important to age a song for a few weeks or months, just like a wine, then come back to it afterwards—this trick reveals incredible details you can’t initially see or hear.

When is Feedback Disposable and Not Worth Taking Seriously?

  • When someone implies that you should change something in the arrangement or sound design based on their tastes.
  • When someone discusses some so-called “unwritten rules” about how music “should” be made (ex. you have to make all your sounds from scratch, you can’t use samples, etc).
  • When their technical feedback is questionable. For example, some people might comment on bass without having access to a sub.
  • When someone who lacks empathy can’t understand the vision of the track and tries instead to see it from their own point of view. For example, my ex never understood that music I made at home would translate differently in a club.
  • When someone tags your music with buzzwords. Sometimes people would listen to a song and say “oh, it’s chill” but not understanding that on a large system, it might groove.
  • When you receive comments such as “X is good” or “X is bad“. As if the person had the universal understanding of some permanent elements in music—such comments don’t mean anything at all. We all know that if person X finds it bad, person Y might think it’s genius.

I hope this helps you understand what type of feedback is worth taking seriously!

SEE ALSO : Common mindsets of musicians who have writer’s block and how to solve them

Changing Genres: Coming to Electronic Music from Other Genres

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Since interest in electronic music really blossomed in terms of popularity, musicians from different spheres have all tried to capitalize on it. 20 years ago, big musicians in rock, pop, dabbled with it. We saw Madonna and some other bigger names venture into electronic sounds, but they sounded mostly like tourists in a country that they were visiting. With the recent victory of Billy Eillish at the Grammy’s for her album, not only it is mostly electronic, but it was also recorded in their modest home (precisely, in a bedroom) in Los Angeles. I’m currently involved in a few mixing engineer groups on Facebook, and while many were laughing at the album, some people took real interest in it—sometimes, less might be better, and you don’t need the latest toys to make something interesting.

Most newcomers to the scene, however, lack the knowledge of electronic music culture, and understanding of what electronic music is or sounds like. For people like me who have been listening to the genre for decades, when I hear someone with a rock background pick up synths and try to make techno, there’s something that always sounds slightly off: it doesn’t sound like what electronic is generally like, or it sounds something like rock, but not in a good way. In the 50s, people experimented with making classical music on synths—most of it was plainly horrible. Same goes for the early attempts of synth presets mimicking very colourful instruments like a trumpet. “Trumpet” presets make jazz musicians cringe, and with good reason.

Should an experienced musician restrain themselves from venturing into a new genre? Of course not. But knowing some tips to make the switch is probably the right course of action.

References and Getting to Know What Works

The biggest mistake I see from people who come to electronic music from a different scene, is not understanding who they are making music for. I can’t speak for how it works in the rock industry, but I think there are fewer fragmented areas of it than there are in electronic music. Electronic music has DJs, fans, labels, media, internet, etc., all with different sub-scenes. Knowing your specific audience can influence how you make music itself. For “musicians”, this is something many have a hard time getting their head around. For instance, if your track is made for DJs, you wouldn’t approach it the same way as if you make music for yourself, or for the general public.

“Why would I do it for DJs?”, a rocker once asked me.

Well, they expose your music to a public that might be interested to listen to it in a specific context. Your purpose is not the same as if you make music for, let’s say, home or even, after-parties.

“Oh, there are different types of DJs?”, he replied.

Yes indeed, I replied, and that’s another level of complexity in electronic music. You don’t make music for opening sets or after-parties, the way you would for peak time—and even for peak time, each genre has their own standards of what constitutes “peak music”. House, EDM (aka Vegas music), minimal, techno, etc., all have different styles. Even ambient and drone, have their own version of “peak time music”, which might sound bizarre if you’re not familiar with these genres, but go to an ambient or drone festival and you’ll know what I mean.

“But I just want to make cool music”, he then said.

Yeah, I know, I do too. But then again, if it’s for yourself and friends, you then know who you make it for and that’s very cool. If you’re aiming for a broader market and want to commercialize it, that approach probably won’t work well. Electronic music is a genre where you are free to do whatever you want and have unlimited resources to make many dream ideas come true, but the whole commercialization aspect of it is really messy, complicated, frustrating, paradoxical, and sometimes counter-productive. I’m aware this is the case in other genres as well, but the “successful” dance-oriented market is pretty tricky.

So what’s the real problem if you don’t follow a certain aesthetic?

Well, the most common scenario I see is enthusiastic people following their current tastes (often based on music that was cool 5-10 years ago) and without any self-criticism or feedback release music, and years later feel embarrassed about how off they sounded, or how badly it aged. Not a big problem, but it’s simple to not fall into this trap.

If you’re familiar with this blog, I frequently discuss the importance of references.

  • One thing that might surprise you is that I often recommend Spotify as an exploration tool. Let’s say you like the Chemical Brothers… Spotify can expose you to similar sounding artists. You can also see the latest releases by an artist and how he or she has developed. Personally, I love that.
  • Another thing I suggest is to spend some time listening to a lot of different artists. That also includes checking online magazines (I love XLR8R), get familiar with DJ charts, see what festivals book them or other artists you like, and get to know the other artists playing.
  • Going out to events is important, too. To hear music in context really gives huge insights to a musician. As an engineer and coach, I occasionally pop in to local events to see what’s happening.

Collaboration, Mentoring, and Networking

I think another very important thing to do when you venture into other genres is to quickly find someone of reference or reputation that you can trust. Develop a relationship where there’s no filter on your discussions or feedback—this can take quite a while to find or build.

Working with friends who have great taste or hiring professionals also, for the most part, provides you with some quality control.

  • Try to get to learn about plugins that are used on a daily basis by professionals.
  • Have some ideas of where to buy quality presets for certain soft-synths for the purpose of learning how some sounds are made.
  • Have a good idea of influential artists behind current trends. For every bigger, commercial trend, there’s a lesser-known artist who started a movement, an idea, or a musical direction that often “inspires” bigger names who commercialize it.
  • Get familiar with festivals that are fun and that could be good hubs for networking.
  • Build a network with media, promoters, and DJs. There are a lot of benefits and opportunities this type of network can produce.

However, when everything is said and done, collaboration is about making music, and getting to know the tips and tricks while networking. These are, in my opinion, some of the best things to know about if you aspire to make your way into a new genre!

SEE ALSO : Making and breaking genres in your music

My Music Production Tips and Tools for 2020

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As 2019 comes to an end, I’d like to discuss some of the most important things that went on, things I’ve talked about the most, plugins I loved, topics discussed in coaching, and so on.

Productivity and Writer’s Block

I was pretty busy in the first half of the year. I released my 22nd album and two EPs. While these achievements look great on paper, I can tell you that it was probably one of my least productive years of the last decade. I had a writer’s block (on-and-off) since May, and was unable to really finish a song, so I mainly focused on working on collaborations or engineering. Being hit by writer’s block at this point of my life was unusual, but reminds me that no one is really immune to it.

Signs of Writer’s Block:

  • Everything you do feels or sounds like crap or is uninspiring.
  • Other people’s music is not really hitting the spot either or feels old.
  • Being unable to make music for more than 20-30 minutes. A feeling of discouragement comes in really fast.
  • Mostly unable to turn a loop into a song.

If you’ve been making music for more than ten years, the signs are slightly different:

  • Feeling like you’re repeating yourself over and over.
  • Not feeling satisfied with the techniques or gear you have.
  • Unable to finish music in general or not able to start.
  • Mostly struggling to polish existing songs.

My solutions to resolve writer’s block are not necessarily going to work for everyone, as there’s no cure-all. Everything passes at some point, but you can’t resolve writer’s block without going through it—you can’t get around it.

Suggestions for Resolving Writer’s Block

  • Completely change how you work by trying a new DAW.
  • Test tons of presets from your synths and learn how they’re programmed.
  • Learn about modular synthesis.
  • Try online sound banks such as Archive.org, freesound.org, or even YouTube’s obscure archives.

But more importantly, figure out what the block is in your writer’s block. Is it linked towards your expectations? In my case, it’s simply a question of finding the next concept to build an album upon. The way I discover concepts is by trying to reverse-engineer sound design. The quest to make something similar with the use of different tools to shape the sound is more important than the result itself. I see many people getting writer’s block from trying to identically replicate a sound they want and discarding other techniques.

The difficulty in replicating a technique comes from the “early beginnings of a new producer“, in which someone starts on the wrong foot. I’m always happy to have someone who wants to start producing come to me to make sure he/she will start off well.

How and Where to Start Producing

In 2019, new producers have infinite access to information and tools. Too much information means a few things:

  • Giving you the wrong first impression that everything is easy and doable.
  • Misleading you into investing into things sold as being essential, while they’re not.
  • Having so many choices makes the task of picking one overwhelming. If you have access to all the sounds you could ever dream of, where would you start?

Counter-Productive Tips New Producers are Often Told

  • If you work hard enough, you can learn anything.
  • You can learn and do everything yourself.
  • Not watching tutorials or reading articles is better than education because you learn as you go.
  • Make all your sounds by yourself so you can be original. Hello, down the rabbit hole.

I see people coming into production with the wrong intentions/goals. Of course, if you come with the idea that: a. things are easy and that b. you can learn everything yourself, people set unrealistic goals for themselves before they’ve ever created a loop.

In the last five years, I have been frequently reminded of a client who once came to me with an artist page on Soundcloud and Facebook with thousands of followers, a logo, professional photos, etc., but not a single minute of experience in music production. He had to make some music that could match the image he had been selling, and the first step felt huge.

The other side to early production is the artist who finishes a first song quickly and gets signed. With no experience, keeping up the pace of releasing is difficult, and the quick rise can be a situation that might be difficult to handle.

My Suggestions for People Who Want to Start Producing

  • Listen to a lot of music when you have the time, and attend shows. This is super important for multiple reasons: you’ll learn the relationship between what you hear on your headphones vs. a venue. This is important to develop your mixing skills—learning how people react to sounds and how artists perform music in a live context. This is valuable information for music-making.
  • Try to befriend people who make music as well, a mix of newcomers and older producers. This is super important for building a network of contacts to ask questions, swap music with, share gear, get a bunch of info that you can’t find yourself, and also to break-up periods of isolation.
  • Ask as many questions as you have. No shame, just ask. Ask a lot of how do you do this or that? What is the name of that sound? What effect can create that impression?
  • Have studio jams. This is the best way to learn. You’ll learn so much because you’ll run into so many problems that you’ll have to troubleshoot them, and that’s useful. Jamming also puts music-making into a context that is impossible to replicate—alone in a studio.
  • Try to make loops everyday. You can make them all into one project file or start a new one each time. It’s important to make many because it’s good to first practice how to start making a loop. If you make a lot, you’ll get more efficient, develop tricks, and get faster at finding your way through a new tool.
  • It’s more efficient to do 10-20 minutes everyday than a five-hour session on a weekend. The optimal focus time for your brain is around 30 minutes, so you get the best of yourself. Working for five hours isn’t recommended at all: you’ll feel like you did a lot but after that time, your ears can’t really judge what you’re doing. You can do five hours in a day, but on multiple tracks. I just feel that it’s not the best of yourself that will come out of long sessions on a single project, but you’ll learn.
  • When you can start a loop in 10 minutes and feel great about it, then you’ve leveled up and you can now go back to all the loops you made and practice turning them into a song. Next level comes when you can finish them in a breeze.
  • One song, one idea. If you make a decent loop, it’s probably the middle part of your song. How many layers do you have? What is the main idea? Can you, or a friend, sing that idea?
  • Don’t make a big deal about not finishing songs. It will come naturally if you take things one step at a time.
  • Forget releasing your music or getting signed by a label. If you focus on that, you’re just distracted from doing what you have to do which is to have skills to make music like you want.

Common Issues Other Than Writer’s Block

People often share other struggles in music-making with me like:

  1. A loop or idea feels boring or repetitive at some point in the song. First, don’t reveal your main idea too quickly. Second, create multiple variations of that loop (ex. changing the timing or adding effects). Third, add modulation to the sounds so they’re constantly changing.
  2. A song feels like something is missing. This might be because you’ve heard it too many times. Try leaving it alone for a month. Otherwise, here’s the a quick checklist: percussion, bass, pattern or melody, background, and a supporting idea. If you have all those, you should be more than okay. Otherwise, try to compare your song to a reference, concentrate on all sounds and see if you have about the same number.
  3. A track feels empty compared to references. Often resolved by creating a noise-floor. Try a reverb or a hiss at low level.
  4. Sounds never feel right. You might have bad samples. If you are convinced you should do everything yourself, you’ll indeed sound off, for a while. Try buying and using pre-made sounds. If you can’t make them, find some, and learn how to make killer loops and songs. As you go, you’ll eventually train your ear on how these sounds are made and will be able to make them. Honestly, even after 20 years, there are plenty of sounds I’m slightly not sure how to make even though I know, in theory, how to… it’s harder than it seems!
  5. Creating original ideas and not cheesy ones. If you listen to a lot of music, this will train your ear. If you listen to a lot of music before making music, it will put you in a mood. If you use a reference track, or even try to compose music over it, it can greatly help with this issue.

Essential Music Production Tools From 2019

EQ

Even though it was released in 2018, Fabfilter’s Pro-Q3 has won many prizes this year and has gained prominence with many major engineers. I’ve been watching a lot of tutorials from Mixing With The Masters, and Pro-Q3 is often the EQ of choice. You can use multiple instances to see how each channels are interacting between one-another, do some side-chaining, corrections, and shelving. You can turn any points into a dynamic filter too, which is very useful. If you have the budget, try to get an analog inspired EQ such as the PSP E27. These types of EQs aren’t parametric and can add a musical colour.

Compression

The compressor I loved the most this year was the Avalon from Universal Audio. So badass, so powerful, so useful…no need to say more. If you don’t have a UAD, I always turn to PSP Vintagewarmer 2. Not only does it compress well, it adds warmth—people want both.

The Do-It-All Utility of the Year

No doubts, it comes to Shaperbox 2. It is perfect for resolving many, many issues like modulation, side-chaining, movement, variations, creative ideas on the fly…it’s so good that I blindly bought it when I received it in my newsletter from CurveGuys.

Reverb

If there’s one effect to have on top of your stock plugins is a good reverb. There are many out there such as this gorgeous reverb by Fabfilter but I suggest the Convolution by Melda—it’s fantastic and will be useful for years.

Quote of the Year

We make music to come together, and yet spend so much time alone. Reach out to others, create new concepts and see how viewing music as something fun will build things organically.

SEE ALSO : Design Thinking for Music Production

Make Music Faster: Some Organizational Tips

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We are constantly bombarded by information and it can be difficult to focus on anything properly. Making good music requires slowing down and a high level of focus—often people rush when making music and it comes out poorly. How can you make music faster while still giving the process the attention it deserves?

In terms of file and project organization, there are a number of things you can do to speed up your workflow.

Backup, Backup, Backup

I’ll never say this enough, and I’m sure you might shrug at this first tip, but you have no idea how many clients come to me telling me their computer crashed and they lost everything, hoping I saved their projects! Luckily, many times I have been able to help them with my own backups. After many of my own crashes, I’ve learned to have a number of external hard drives for all my projects, and I have an online backup for my main system that syncs multiple times a day, and I also use Time Machine (from Apple). Generally, I have to use one of these back ups at least a few times per year, because of corrupted data or other issues. Clients email me about issues of their own about once a week! No joke, if you do just one thing to improve your pace-of-output, make sure it’s taking backups of your work.

On backup drives, I keep everything organized by year, label, and project name. Having organized files and folders helps me find things quickly.

Personally, some brands I trust for reliable hard-drives are Western Digital, Samsung, and Seagate. If you can get an SSD, it’s a huge plus—you can work directly from it, without any noticeable decrease in speed. When it comes to online backups, I like iCloud (I personally hate Google Drive), but I recently discovered iDrive and find it pretty impressive and affordable, too. If you don’t have an account with Splice, it’s a good idea to back up all your projects online. Having multiple back ups on different systems can be quite useful.

File-Naming Conventions

All my song files have a title, but they also have a bit more information. On OSX you can use tags—I like to tag files as released/not released, and finished/not finished, for the most part. Avoid project titles like “new song” or “1”. As time progresses, chances are you’ll have many new songs, and titles like those are counter-productive.

I keep very few things on my primary computer hard-drive; I love to discard projects that I’m done with or that I haven’t touched in a while, so I can make room for new material. If you aren’t familiar with my creative process (see my series of videos on Youtube), I create a lot of source material to work with, but it takes up a lot of space on my hard-drive. I don’t like to re-use the same material twice, so cleaning up my hard-drive on a regular basis becomes a safety net against redundancy in sample usage.

When it comes to samples, I buy multiple loops and one-shots, as well as packs, and like to keep them organized in a sample-focused folder. Nothing too complicated, as I use multiple other tools to organize those in my DAWs, so I don’t spend much time on organizing samples into folders. I simply backup the sample folder and that does the trick.

Project Organization

Many producers work in an awkward way when it comes to managing their project(s)—their creative process is often irregular and they are easily distracted. It’s very hard to be completely organized when making music and balancing creativity with efficiency, but there are some approaches you can take to make things flow more easily. When it comes to making music, I work with “motherships“, which is a technique I covered in a past post and often refer to to make things productive again when I lack ideas. It’s basically one big Ableton Live session, where I drop-in all my current ideas. Recently, I found that I like to create multiple ideas in a single column in this project file. For example, I make all kind of grooves and percussion sequences in a column called “groove ideas.” If my mothership has multiple, well-separated content types, I can import an entire column from the mothership into another project and improve upon it. So let’s say I’m working on a dub project and feel like I’m lacking groove, I can simply go dig up whatever I have in the mothership by importing a full column filled with numerous grooves into my current project.

I think that working in a modular way (not in terms of using modular synths)—saving ideas by category—helps to import them faster later on, when they’re needed.

Leftovers & Going to the Store

Finished a new track? Create a new column called “leftovers” and place any unused ideas in it. Import that column into a project named “leftovers” and you’ll have all the leftovers from all your songs, which can easily be recycled in the future.

“Going to the grocery store“, is a phrase I use for days I spend recording noise, sounds, bleeps, and random jams from gear to my computer. I’m not a gear guy in general; I find using a lot of gear multiplies the risk of running into technical issues, which limits creative time. I usually record tons of sounds, or “audio produce”. I then work with that material for weeks or months, or even years. These types of sessions are super useful, but need to be organized as well. I cut down recordings to “moments”, which I identify as specific ideas or concepts. I also slice sections down to one-shot ideas, for percussion elements. Additionally, I like to have tons of low-end material with analog saturation, and analog transients I can use in digital percussion. Both add a very simple twist that can make a world of difference. I also like to use the mothership concept with the grocery store. I’ll create one template project with all my recordings and then slice them, then put them in different columns that I can use to import in any ongoing projects that need something.

Time

Time is precious. If you have a family, it’s even more difficult to find time to make music. How does one organize time given the obligations of social relationships, work, partners, hobbies, and Netflix binging?

My solution to not having enough time to work on my own music is to dedicate blocks of 30 minutes to work on music and try to get the most of them. Your brain can produce high-quality work for about that amount of time. This fact is liberating for parents—you have a human need to create, so you feed it what you can, and then move on. In the early years of being a dad, I thought that having a way to save ideas for music by leaving myself audio notes was the best way to calm my brain down from the restlessness of not making music as much as I wanted to. Sometimes I would have the computer nearby and I’d leave a loop playing and adjust as I could, between changing diapers. Part of who I was a musician changed in those years. The music I wanted to make was completely different, mostly because I was using music in a different ways.

Limiting your time to periods of intense focus is something I learned from the Pomodoro technique. I would make sure to listen to music for 10 to 30 minutes before working. Ideally, I would also exercise or stretch to have my body “activated.”

Since time is crucial, I recommend you eliminate any hindrances of the mind that can disrupt the flow: hunger, need to check phone, energy, thirst, discomfort, etc. A good studio has the phone at the entrance with minimum check-ins on whatever alerts it can send you. Have a water bottle and snacks on hand, a quality chair…make things comfortable.

I also encourage new students to create precise goals and deadlines. For instance, “next Saturday I will dedicate a moment to video tutorials on compression, then do some tests on kicks.”

References

If you want to make music without losing your sense of direction, you need references on hand. I’ve covered references in many past posts, but this is a reminder that having a Spotify playlist is a great idea to give yourself drive. Speaking of drive, it’s not a bad idea to leave your house before making music—go for a walk, jog, or drive around. Have you ever noticed how moving along with music stimulates creativity? If this doesn’t do it for you, try to find an external activity that involves music and that inspires you.

A self-education activity that is also essential is to have a personal YouTube playlist of videos that are reference tracks, mixed with tutorials of techniques you can try. I have a to-do list of videos that I go to for experiments.

That said, references should be archived eventually, too. I like to keep some for a while but change them regularly. It’s a good idea to have a folder on your backup drive for all the references you’ve used.

Plugins

It’s easy to get lost in the sea of plugins out there, and if you’re a collector like I am, once you have many installed, it’s also easy to forget about older ones. Ableton Live 10 has a classification for plugins where you can put them a category with a color—I use it all the time. In my case, I have these categories: Sound design, Compression, EQ, Saturation.

I have a rule that I don’t buy anything new unless I’ve already used what I have bought previously. I don’t mean just having played with it, but actually used it in a project—this also applies to gear and any gizmos I could potentially use. The crave to get something new happens every day, as I’m constantly under fire by ads and emails that promote something.

Networking

If you want projects to get finished, you will have to do some networking at some point, and it can be pretty hectic out there as everyone has an agenda of their own. I’ve discussed the importance of networking before, but here are some basic reminders about how to do so efficiently:

  • Never take any conversation personally, as well as any pauses, silences, or delayed conversations. This is something I sort of have to remind myself daily, as sometimes I get triggered by certain things. Think of networking like you’re chasing someone for something, and he or she is doing the same thing with someone else. Everyone’s chasing each other and yet, we don’t pay much energy to people who are there for us.
  • If you send demos or if you are collaborating with someone, expect no communication or long silences. The music business world attracts people who are full of anxiety and often change their mind. Finding the right moment to poke someone takes time to master.
  • Use an agenda to keep reminders of who to follow-up with.

SEE ALSO : How Long Does it Take to Make Professional Sounding Music?

Music Goals: Using Signposts instead of Goals

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You often hear about setting music goals to keep your drive going and to get you pointed in the right direction. I’ve previously discussed the best ways to set goals and reach them, but as time has gone on, I’m not totally sure if setting goals is still the most efficient way to get yourself going.

However, some goals on your bucket list still might be relevant; but this depends on how you set them. For instance, whenever I have people in coaching, we discuss that setting goals should be done in a way where you can actually quantify the success of your work. For instance, people often try to set a goal of “becoming a known artist”, which, in a way, doesn’t make sense at all compared to “finishing an album.”  The problem with the first goal involves two important things:

  • You can’t control your circle of influence. What does “becoming an known artist” mean exactly? That you’re appearing in charts or that 1,000 people have your tracks on their Spotify playlists? You can’t control that at all and being vague in your objectives will lead you to failure.
  • Becoming a known artist may or may not, happen. If it does, you might not even be aware of your reputation and some people think they’re known, when that’s actually not the case (for example, buying “likes” on Facebook doesn’t mean anything).

In the second goal, “finishing an album”, you’re in total control of that goal – you can clearly make a “definition of done.”  If this definition is reached, then you’re done, and the goal has been achieved. Working in this way can be useful, but I would also highly recommend that you also put an end date on your goal.

Now there’s another alternative to setting goals, which, for lack of better terminology, I’ll define as setting a signpost.  Why? Signposts are signs you see when you’re driving that help you be aware of the direction to go, to get you where you want, and also to reliably re-guide you when you’re lost. I like the term in French for “repères” – it’s sort of like “landmark” but not necessarily for physical places.

What is a signpost in your musical journey?

They are something you can rely on from a community you want to be part of, or a specific sound that you want to immerse your life with. I’ll give you the best examples as of how I applied the community approach to my life and why I use them in parallel to the type of goal-setting we described above.

In Montréal in the late 90s, we were really lucky to have a solid core of people and producers that gathered around the MUTEK festival which was our community but also a sort of signpost; a direction. It was a place where we could perform the music we all appreciated (arranged based on our personal tastes) and where we could also discuss music production. So back then, a goal for me was to play at MUTEK, but at the same time, it was that community that dictated how we had to sound to achieve it.

Another signpost I’ve used was a sort of music “target” I set through Ricardo Villalobos. I’d study his music, his sets, and a recurring question I had was “will he play this track of mine?” There wouldn’t be any goals attached to this besides, perhaps, having him play my music, but it was more as a reference point of how my music could be made or adapted,

I often do mixing and mastering for artists and labels, or do coaching, and one thing I often see is how people are a bit lost on determining who their music is for. Who do you want to reach exactly? Who inspires you? Which community would support and encourage you? This is the type of question to seriously consider, as I often work with people who are far from the physical community they’d like to be part of and rely heavily on the internet to be in touch. For instance, I have in mind some guys from South America who love Romanian artists – that’s quite a distance!

In past articles, I’ve about the importance of networking. Here are a few ways to help you find your own set of signposts:

  • Locally. Is there a club, a venue, or promoter that is booking and playing the music you love? Where is the closest place to you that could be your local reference? This is very important as you can get to meet people who have the same tastes as you. Perhaps it’s a festival that you can attend in another city, like MUTEK (this reminds me of a huge community from Colorado used to visit MUTEK in a group of 20! They would forge bonds and networks on their trips).
  • Online. I find it’s important to find a crew that make good podcasts, DJ sets, or music that gives you goosebumps. A trap however, would be if you aim too high, at very big artists and organizations (ex. Time Warp in Germany) where it is so big that becoming part of organization might become a huge puzzle and is very difficult. There are many smaller festivals that exist that have the same kind of music but on a smaller scale, you can grow with them. That said, try to downscale your target, or follow the bigger names but try to connect with the other, smaller guys who like that same music but are also emerging.
  • Aesthetic, genre, mood, direction. Try to find artists you like that are emerging and look stable and serious about their craft. You don’t need to contact them; it’s more about following their production and supporting them. Be a fan, someone who encourages and gives, while not expecting anything in return. Feeding people that inspire you is a good way to invest in yourself as well. I’ve supported and encouraged artists that started to go well but then have disappeared; it’s a disappointment, and sometimes I wonder what else I could have done to help. Seeing someone you love perform and do well is a great motivation for your own art!

I’d love to hear what you consider to be your own signposts!

Our First Music Retreat

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The idea for a music retreat came from a discussion I was having with my friend Fred about the need to just flee the city with some fellow music producers to spend a weekend making music. I mean, being in the country, being with friends, and then be able to make music seems like a recipe for something very special, right? Well, since returning from our retreat, I can only say it was beyond all my expectations; I believe it might even be something worth repeating on a regular basis.

When I first posted about my intentions to organize a music retreat on Facebook, I was mind-blown by the reaction and enthusiasm it generated. I think the excitement about a retreat comes from a need to be with others who share the same passion, but also to be in a context where we can connect about it.

We ended up having 13 people signing (note: we even had people from France who wanted to come but we didn’t posted the dates soon enough for them to prepare) and we found a beautiful manor outside of Montreal with the views of fields and hills as the place for the retreat. The setting was perfect. Fred organized two separate studios and we had plenty of room to be with our laptops to get in our bubble.

I had planned to do some workshops but after talking and deciding on the plan for the weekend, we didn’t really want to follow any structure. This first experience would determine our needs and how to deal with anything happening.

What came out was pure magic!

Imagine being in a room where everyone is making music, has gear and is focused on working on their own music, where you can show others what you’re working on to get feedback, to get answers to questions you have regarding technical issues, to observe everyone’s workflow and use of plugins…it really felt like a need was being met by everyone present: being part of a community, and getting instant validation and experience being in a creative environment.

We traded Soundcloud and Facebook for real human contact. Hanging out in clubs to find like-minds felt awkward; being around people who share the same interests, and working at the same time as others really responded to a common need we all shared: connecting physically.

No matter how the internet is developing and the tools it offers, there’s nothing like physical closeness. Even myself, I felt overwhelmed with the desire to make sounds and also to comment on other’s or to answer questions people would share out loud. It’s pretty common for music producers to meet in bars and clubs but you can’t really talk because the context is loud and not appropriate, plus you can’t really share your tech set up or how you work. It seems like a retreat is creates a proper space to co-create and see everyone’s game get upgraded. I am under the impression that this could be the best way to shape the sound of a community all together.

As we’re preparing to already organize more retreats, we are also planning to gather music producers in cafes, on a Saturday afternoon. I think that is also something we would love to explore, elsewhere in the world as well.

How I used the Music retreat for my creative flow

I wanted to do exactly what I do with my days in the city but to really concentrate it in a short period of time to see what would come out. My usual routine is to take my sound generators such as synths and then jam. I did that intensively until Saturday afternoon, but then I had a mental crash. It usually happens at some point but it was pretty interesting to see it happen like that. But the cool part was to be around people, talking and exchanging about anything coming. I wasn’t home on Netflix waiting for my energy to come back.

Later, I realized there were some ways I could have improved our productivity on the retreat. Below are some ideas I’m noting down for next time, as well as to give you some suggestions in case you plan to embark on a music retreat yourself:

  • Make samples as a team. Since everyone has a different background and inspirations, we could analyze some songs to try to replicate certain sounds.
  • Try to finish one song where everyone is involved. Each participant could use one instrument, and one person collect them all to put them into arrangements.
  • Use multiple people to do complex field recordings, strange sounds and atmosphere.
  • Make convolution images of different spaces, such as using microphones to sample the different rooms of the place we were.
  • Do the relay method of music making, meaning “try to do as much as you can on this track then pass it on to the next person.”
  • Try to do a cadavre exquis, music related.

If you have suggestions for us to try at the next retreat, let us know as we’re already planning another one!

8 common mixing mistakes and audio production errors

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Since starting my label, and after years of dealing with large numbers of demo submissions and artists, I’ve noticed that most of the time new producers and musicians make the same kinds of errors when they are early in their audio producing years. When I started my studio full-time I also noticed that I have – for the most part – been dealing with the same questions and frustrations about producing audio on a regular basis. This post outlines a list of some of the most common mixing mistakes and general mistakes musicians make when they are starting out.

the most common mistakes I see from Musicians with regards to audio mixing and producing:

Not investing in good monitoring (speakers, headphones).

This one is a huge deal. You’re dependent on what you hear to get quality results. This is always a bit puzzling to me, that some people hope to compete with artists who have invested so much into a professional studio with poor monitoring. If you can’t hear what you do, it’s pretty much like working blindly and the results on good sound systems will be catastrophic. So many people go test music in their car to see if it’s done properly which is sort of ok, but not productive.

What I’d suggest is to try to spend an afternoon listening to music you know on different speakers. Do not invest in cheap monitors because it’s all you can afford. It will fill your music with many problems down the road. Trust your ears.

A Lack of references

You can’t produce quality music if you haven’t been exposed to quality music. This means you need to have in your possession a large library of music for listening, but also to spend just as much time listening to music as producing it. The more you immerse yourself in music that sounds great, the more familiar your ears become with regards to how things should sound. This can mean listening to good quality vinyl or wav files.

What I’d suggest is to have regular sessions of listening music you like attentively and also in the background. Both are important. Make a playlist on Spotify or on your computer of music you know sounds right and train your ears to know that music inside out.

Making Comparisons to Professional musicians too often

This is the downside of referencing as it can play tricks on you. I know some people who have amazingly good tastes in music and want to start producing but when they start and see the work that is ahead, they become frustrated quickly. If you compare yourself to a guy who has been around for 20 years, chances are, you’re setting yourself for defeat.

What I suggest is to focus more on the experience of making music than the result, at first.

Thinking making music is easy

Can’t blame anyone besides the general culture that has been saying for years that “making electronic music” is all about “pushing a few buttons”. People see a DJ with fists in the air and they think “I could do that…”.This mindset will give you a rude awakening when you start working in a DAW and dive into sound design. Electronic music doesn’t require the same skills as playing piano, but will be demanding in terms of technical details. There are so many possibilities that you can go crazy trying to know where to start. Sadly, many people realize that and become depressed.

What I’d suggest before diving in music production is to try to befriend a producer and spend time in studio to see if you really enjoy it. Watch videos on music making to see if you can pick it up quickly too.

Investing too much, too fast

I’m thinking of the guy who decides one day to make music and then comes back home with 5000$ of equipment without knowing if he likes it or knowing what he needs. See what you like doing first, then invest around that. Music production has so many different dimensions that it’s important to know your cup of tea. Is it DJing? Playing synths? Sound design? Making loops? There are pieces of gear you need first as I explained in a previous post but you surely don’t need everything your friends will tell you to buy.

What I suggest was written in a past blog post about what you really need to get started. I often get asked what you need to start making music: a laptop and headphones is all you need at first. Build around that.

CHASING “success” before Building up skills

This is a classic. Knowing what you like is one thing, knowing what you do best is another. We all have certain skills that feel natural and sometimes you need to explore to discover all of them. Planning your DJ career without having done a few gigs and releases is getting a bit ahead of yourself. Take your time; enjoy the fun of making music and success might come down the road. Chasing success can be like pursuing a mirage.

What I suggest would be to really focus on loving making music before anything else. I often encourage people to start with things little such as making music for friends or to share with local DJs. If you build a network of 5-10 people, that’s enough to slowly build your self-trust and eventually emerge at the right time.

A Lack of patience

Making quality sounds and music is like brewing wine/beer: it demands time, patience and some sort of personal isolation for a while. It’s important to stop yourself from sharing your work to the whole world before it is really done. The name of the game in music production is patience and it is the same for anyone who want to go to another level.

Misguided Audio Production Techniques

If we’re talking tech, this list of issues are some things I always find in the work of new producers. Perhaps you can start changing your techniques if you recognize yourself in this list.

  • A lack of quality samples.
  • Not using EQs/compression. This one always surprise me.
  • Using too many instances of an effect instead of using the Sends/AUX.
  • Not using at least one, very good quality EQ or compressor. They really make a difference.
  • Not using channel strips in the DAW.
  • No mono for the bass or anything under 130hz.
  • Not using swing/grooves.
  • Missing the boat with saturation. Either it’s not done at all or with tools that aren’t doing the job. Get this free one to get yourself with a good starter kit.
  • Lack of post-production on sounds. Whenever you think you’re done with a song, you just realize there’s a number of details you overlooked. The road often feels endless… because it is.
  • Muting the kick too often in a track. This kills the energy, especially if you have long breaks with no kick.
  • Not letting things go. Sometimes, a simple idea can carry a track for a while but you’ll need to let sink in people’s mind so to do that, you need to trust what you do and let it go. Too often, newcomers are concerned that the listener will be bored and they keep adding or changing things.

You can also ask for help and I will update this list with pleasure!

 

SEE ALSO :  Sound design: create the sounds you imagine inside your head   

Goals You Set For Yourself

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As many of you already know, I’ve been offering personal coaching services since 2016, and seen some amazing breakthroughs with my clients. In every case, it’s best to get a conversation going to learn about what goals you set for yourself. In many cases, I help them to see the bigger picture and then find ways achieve those goals in a way that is very personal, and unique to each of them.

There are many myths about making music that floats around, which aren’t helpful for producers. I feel it’s important to debunk misinformation and share the most common goals I hear from my clients to help do that.

The two most common goals I hear from my clients are:
I want to become a known producer and get signed to multiple labels.
I want to become respected enough so I can tour.

The whole point of offering my coaching service is to help people get from where they are now to where they want to be in the future.

Having someone there to push you creatively can make a world of difference, so we might as well think big right? Big goals will often require big change, and I want to share my strategy to achieving the goals my clients wanted, but couldn’t imagine achieving themselves.

After you’ve set a goal, you need to imagine working backward to determining all the small, and many steps you’ll need to make to arrive there. The thing is, hard work will keep you focused on achieving your goals, but occasionally forces out of your control will make a big difference, one being known as luck.

There are many things you can’t control in your quest to become a known producer, mainly because getting known implies that you’ve been at the right place, at the right moment. Even an attempt to duplicate the step by step actions of another artist who achieved some level of success doesn’t mean those actions will work for you.

It’s very common for artists to try and replicate what others before him/her have done, which can work of course, but, the more likely result will be to be known as someone without originality if you follow someone’s steps to closely.

Now, thinking wide, long term is all fine and good and will test your vision, but often thinking too far ahead will distract you from what must be set in motion in the short term.

The truth is, wherever you want to go in music, you first need to produce a ton of tracks and find your path in that process. Bonus (check out a fool-proof way to know if your tracks sound good)

Now, one of the most common goals I bring people to set is to begin completing one track per week. Their main enemy in this process is getting attached to where the track will end up. It’s safe to say we all hope our music will get attention, will be played, will get signed, but these points are often uncontrollable. Bonus – easy ways to create tracks, and multiple tracks from just one idea.

Being signed, heard, or played out at clubs should not your final destination, this is simply one stage in the every growing process of your life as a musician. The proof is, low-quality music can often get a lot of attention while some fantastic tunes are ignored and get no play time. Why?

This leads me to the second most important goal I generally work towards, (which has been written about often on my blog) developing your network. In my opinion and in one way or another, everything comes down to that. SO much more than your gear, or the number of remixes under your belt, the support you can really count on is the people around you in the long run. Your network can help push you towards making bold work and great things, to outdo yourself, to grow via collaboration and inspiration.

In a very digital age many people have become less social, which can make going out and meeting new people harder. I get that. Yet, not being part of a strong network doesn’t mean you won’t create great music, it simply means without having that support you may not be pushed to create your best music.

Lastly, finding your path is a matter of what path you actually want. This can come to you in two ways: knowing what you love, what you love doing and what you do magnificently well. Whether you believe it or not, everyone has a talent, and through work and practice, that talent can be recognized world wide. So what’s yours? Some people are amazing at creating dynamic arrangements, others at running a label. When you can connect what you do naturally well with what you love doing, you’ll enter a zone of flow where you can achieve truly great things.

My destination as a coach is that zone ~ This is where I want to be leading people to. I find a lot of comfort in seeing my clients reach that point as it truly creates a fullness and purpose to the work they’re creating, as well as my role in the partnership.

In the end, am I trying to divert them from their initial goal of getting signed to labels and touring? No, not at all. What is true is that I’m preparing them to get there by focusing on the only thing they can control themselves: their own personal growth. To tour and be signed, implies to be in control of your art, part of a healthy and strong network, and finding a flow and confidence in yourself as an artist.

 

SEE ALSO :  Make Your Music Bucket List Happen

What Is A Mature Sounding Track?

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Recently, a video artist friend of mine was critical of a clip we were watching, and I was commenting about the audio portion of the video. We were both interested in each other’s point of view to better understand what a professional in different fields felt the video could improve on.

In any domain you’ll eventually find the connoisseur, this is someone with a great depth of knowledge in his/her field, and is always searching for the best within his area of expertise. We can think of wine, poetry, painting, fields where true excellence is sought after. In any area of interest the more you are part of that which you love, the more you’ll be able to distinguish the highest quality.

People with years of experience in any field will have a much deeper understanding and perspective than those fresh to the scene. Without question, an experienced ear will recognize fine details and maturity in the music and can quickly tell if the producer has been around for a little while. This brings up the question –

What is a mature sounding track?

Sometimes I hear sarcastic questions such as “how can dance music be mature”? Different people will always have different standards, yet in this post, I thought I’d share how I perceive a song, both from my engineering point of view but also from the perspective of a label owner.

Firstly, I believe song maturity goes beyond if “it’s good (or not).”  I’ve talked about if a song is good or not before but I’ll comment again because many people confuse maturity with if the track sounds good or not. I believe it has nothing to do with that. If we compare it to food or art, highly acclaimed works are often not accessible from the general public opinion. In music, the more you discover and expose yourself to, the more you recognize patterns, ideas, clichés. To sum up a song by “this is good” has no resemblance to what the track/song may have been intended to do. You’re likely judging based on your preferences, which is biased by how you feel or what trends you are following.

The song brings to light it’s initial intention. An experienced producer will have a particular idea in mind that will be made fairly clear when he makes his song. In some cases, he may have a second purpose working within that track. What I mean here is, what the listener decodes from the song might not be what it is initially suggested, as there might be a second, hidden message behind what is going on sound wise. This depth of songwriting can play a huge factor in demonstrating the craftsmanship of the producer.

The song has a clear voice and something to say. Hence the “aha” moment or the “wow” you might have after listening to just a few seconds of a song. Sometimes the light bulb moment may come only after an exhaustive and focused listening session, or after listening to the full song several times. What’s unique about electronic music is that very often there are no lyrics, yet through the use of sound textures, melodies, tensions, and releases, a producer can communicate a state of mind and emotion that words may not be able to express. Just like the word Saudade which comes from the Portuguese from Brazil only, describes a definite feeling that other languages can’t clearly relate to. The use of certain frequencies can suggest specific feelings, and moods, quite powerfully.  I’ve always felt the title of a song is critical and provides context for the music. As artists, we have the power to shape information to make a statement, which can be very powerful when presented right.

It’s not a matter of complexity or simplicity. I’ve had someone who felt that complexity was a sign of maturity. All the crazy tricks and effects up front,  yet the thing is, with experience, you realize that sometimes doing less will often have more impact than overdoing it. Like I said above, creating a wow effect on people is something, but to capture their attention over the whole duration of a song is often a wow effect in a more subtle way.

Time invested in the song doesn’t make it mature. If you spend 5 hours in a row working on a song, you might bring maturity to the song yet perhaps you’ll dilute the original essence of what you originally heard. Over the years, I’ve noticed the significant benefits of letting a project in early development sleep and settle for a time before returning to develop it further.

Timelessness is one of the central points. Songs that don’t age and those that seem to haunt you are often the results of something very well planned or completely improvised. But in one way, this is the often the result of well-paired elements coming together in the right way. There’s part knowledge, culture, innovation, exploration, risk and good taste. The thing that is magical is when someone, no matter how experienced, gets inspired by a moment of grace and comes up with something even himself, cannot explain. That part, which is often pure intuition, is what fascinates me. It is in those moments that you get the best out of yourself.