Tag Archive for: workflow and organization

Riding the Grooves in Ableton

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Have you ever felt that your music’s rhythmic structure lacked a certain human touch? This seems to be the general consensus among producers, yet there is a simple solution to this hitch in the road. It’s caused by what I believe is the biggest drawback to producing music within a DAW: the musician tends to pigeonhole himself or herself by needing everything to sound perfectly aligned to the grid.

From experience, however, I think I can affirm – with a reasonable degree of certainty – that this method does not reflect how humans operate. We are not precise, monotonous machines, and we are most definitely prone to error when jamming live with acoustic instruments. There is even a certain beauty in this rawness, as music perfused with slight imperfections tends to appeal to the ear as more natural and groovy.

In order to achieve this particular “effect,” Ableton Live allows the producer to import a collection of rhythms, called grooves, into any MIDI or audio track, so as to either alter the current rhythm already written or to add an element of surprise or randomness to the audio.

The Ableton Core Library has a myriad of classic grooves that you can choose from, from MPCs to Latin percussion to hip-hop. However, in this tutorial, we’ll get really advanced and show you how to get creative by making your very own grooves.

Step 1: Record any percussive sound

I’ve recorded myself rattling my keys using nothing but a Macbook (you don’t need to get fancy).

 

Your recording will most likely sound like crap, so feel free to cut out excess noise with gates or tame peak transients with compressors.

Step 2: Modulation (Optional)

Add a creative effect that will automate the gain (volume) of your signal. You can draw automation curves or pump (sidechain) it with Ableton’s Autopan. The point is to create as many dynamics as possible by playing with the volume so that it translates into the clip’s velocity once we extract the groove. You shouldn’t have to do this if your signal is already very dynamic.

Step 3: Bounce

Consolidate the clip and its effects by either resampling it onto another track or simply freezing and flattening the track (by right-clicking the track).

Consolidate the clip and its effects by either resampling it onto another track or simply freezing and flattening the track (by right-clicking the track)

Step 4: Extract groove

Right click on your consolidated audio sample and select “Extract groove.”

Step 5: Groove pool

Open Ableton’s groove pool by selecting the wave in the lower left side. Your groove should appear in this box.

Step 6: Add groove

soundpicture2You can consult the Live manual or other tutorials to better understand what things like “base” and “quantize” mean, but make sure the timing is set really high (i.e., how much the groove pattern will affect the clip). Drag the groove name onto any audio/MIDI sample or loop track, preferably something percussive like a drum loop. Notice how the rhythm of your track has changed, and how certain transients sound louder or quieter, or appear later or earlier. If you increase the velocity of your groove, your signal will respond heavily to the volume changes in your original signal (which is why I used the Autopan to create dynamics).

Press “Commit” in the clip view, to destructively write the current groove settings to your sample. This means the sample’s pseudo-markers will move in accordance with the quantization setting, and your transients will translate the rest of the settings you selected in the groove pool.

 

Original:

Processed:

Step 7: Layering

Hopefully, you’ve saved your original percussion loop so that you can play it with your newly made rhythm. Notice how there’s percussion a bit everywhere now, and that it’s a little bit off. Yet I’ve still opened doors to new possibilities that I couldn’t have predicted by simply drawing in MIDI notes. I even got a wonderful slap-back delay on the snare, which I can edit to my liking.

I’ll go so far as layering the two sounds with a reversed sample of my new groove, which gives me this:

 

 

I’ve then added back the original keys rattle sample, and simply applied sidechain compression to get this beat:

 

Although it sounds a little all over the place, I can always go back and edit it how I want, or even apply some effects! Note how it sounds more human now and not perfectly cut to grid.

soundpicture3

Bonus: Step 8

Go back to Step 6, and drag your groove to an empty MIDI channel instead of an audio or instrument track. An empty MIDI clip will appear with notes matching the groove you created. Drag an instrument onto it to hear how it sounds. Although it will probably sound awful, you can always edit the MIDI notes to your liking!

soundpicture4

Bonus: Step 9

You can even get away with layering organic textures such as strings, or pad with grooves. Make sure to apply different groove settings to each layer by duplicating the groove (CTRL+D/CMD+D) and dragging it onto the track that you want. You can control all the different grooves together with the Global Amount value at the bottom right of your groove pool.

Examples:

SEE ALSO : Background vs forefront to create dimension   

Resistances and Procrastination

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I like to believe that creating music goes beyond simple clicking and assembling. The whole process of making music has always had, to me, a very deep feeling of inner exploration. It’s the same when it Screen Shot 2016-01-03 at 13.27.58comes to listening. Apparently, music has this effect on about 60% of the population, so not everyone gets the same chills from listening to music. But if you do get a sensation like this, then you’ll try hard to get more of it.

Now, when it comes to making music, that honeymoon phase after you first discover how to make your own sounds can be an exciting moment. But for so many, soon after, a sense of frustration begins to set in. It can come from:

  • Not being able to get things to sound quite the way you imagined them.
  • Things seeming to take an awful lot of time to get done.
  • You feeling embarrassed by the sound of something you made.

The next thing you know, you’ll start procrastinating. You’ll feel like there’s some sort of inner balance to achieve each time you’re about to make music. As David Lynch points out in the clip below, a lot of artists think that suffering is a necessary part of creativity, when in fact any kind of suffering just cramps up the creative flow. In my view, this is not a healthy approach to getting new ideas.

So how do you avoid suffering?

That’s obviously a very difficult philosophical question to answer, though it’s clear that relying on substances is not the way to go. They might do some good in the short term, but you don’t want to develop that as a habit. To me, the essential question to ask is existential: why are you making music in the first place?

If the first answer that comes to your head is anything more than simply enjoying yourself, then you’re setting yourself up to feel resistances. When I say “resistances,” I mean those frustrations or blockages you might experience once you sit down and try to make music. You might feel like you’re wasting your time, or be tempted to just stop and play video games instead. You might conjure any range of excuses to plunge into procrastination.

The solution to this is to build up your appetite for music-making.

Here are some tips for doing this:

  • If you’re feeling uneasy or anxious, listen to your body and move away. Do whatever you need to do to regain your calm and motivation.
  • Discover your creative triggers. These can be as simple as listening to music you love, enjoying a rich cup of coffee, or going for a walk. The most important thing is to keep track of when you feel creative, and what triggered it. The more you know about your creative triggers, the more you can fuel your creativity when you’re lacking in energy or ideas.
  • guy-walkGo to your creative place. As Lynch said, if you can go to a place that inspires you, such as to nature or on a trip, then go there if you can.
  • Apply a creative fast. That’s right. If you want to be hungry, you need to empty out first. This means withdrawing from making music, or if possible, from listening to any music in the genre you produce. Observe your musical fast strictly, until you feel that tingling sensation return that tells you you need to make music again.
  • Discover your creative downers. This is the opposite of the above point about your creative triggers. Have you noticed when you feel creatively down or uninspired to make music? In my case, as weird as this may seem, I have a physical downer around 4PM every day, when I know I need to stop and drink tea. What’s yours?

I hope this helps!

SEE ALSO :  The Rule Of 10: Production in Rotation for Big Results 

Deconstructing A Reference Track

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Note: This article is partly related to the Non-Linear Music Production technique explained in my previous post. It offers a complementary method for finding inspiration in your workflow.

Now that you’ve been exposed to my non-linear approach to music production, you know that the early stages of production are focused on building ideas and content. Once that has been attacked, you can start looking into creating a temporary structure for a loop. If you’ve also checked out my One Loop Per Day challenge on YouTube, then you’ll see that the following step is to build a storyline around the idea.

One of the best and fastest ways is to devote your time to carefully analyzing the work of artists you admire. This entails actively analyzing and interpreting others’ work within your DAW so as to carve out a path that you can easily implement in your own production.

But before you dive into your sources of influence and follow the process outlined below, I’d like you to consider this famous quote:

“Art is theft” – Pablo Picasso

 

Step 1: Finding Your Track

  • Pick a track that you really like and whose arrangements you would like to more or less imitate.
  • Make sure that the track is un-warped so that it doesn’t sync with your DAW’s BPM, and so that it’s unaffected by any transient markers you might have set.
  • If your track is in Ableton’s Session View, drag it into the Arrangement View by hovering over the 3 vertical lines at the top-right corner of your screen, or by simply pressing the tab key.

 

Deconstructing a reference track Step 1: Find your track

 

Step 2: Correcting Grid Settings

  • In order to properly match the grid with your track’s tempo so that you can use the waveform to spot what happens at what time, you need to find the BPM. You can do this in many ways, by:
    • Finding your track on Beatport. The track information should include its key and BPM.ableton, arrangements
    • Accessing the track’s metadata by right-clicking on it in Windows and then clicking on “Properties>Details” (if it’s available).
    • Finding the BPM on your own using Ableton’s Tempo Tap.
      • Make sure to tap “tempo” in the Session View or else it will fall out of sync in the Arrangement View.
    • Type in the appropriate BPM.
      • Manually adjust the track with Ableton’s grid so that the sections of your track begin on beat.

 

Deconstructing a reference track in Ableton, Step 2: Correcting Beat Grid

 

  • Picture4You will notice this will help you to analyze your track’s arrangements by determining at which bar a section will start.e.g.: The breakdown starts at 80 bars.
    • Feel free to cut out any elements such as silence,noise, or “pre-intros” before the actual intro, as in my example above.

 

Step 3: Placing Markers and Locators

  • If your sections are starting on beat and are properly aligned with Ableton’s grid, this is where you will be able to start learning how tracks are arranged.
  • Listen to the track a couple of times, and marPicture5k its waveform with appropriate section locators. To do this:
    • Right-click in the Scrub Area.
    • Click on “Add Locator.”
  • Mark all relevant sections with locators throughout the whole song. It should look like this:
    • Note that you can label your sections however you wish, depending on the style of music you’re writing. You don’t need to call a section a chorus, for example, if you just want to call it A or B.

 

Deconstructing a reference track, Step 3: Placing Locators

 

Step 4: Analyzing

Now for the important part…

  • Pull out Ableton’s Loop Brace in the Scrub Area above the track’s waveform, and stretch it from the beginning of a musical section to its end (from verse to chorus).
  • Count the amount of bars there are within that section by subtracting the last bar of the section from its first.
    • Example: If your section starts at 61 and ends at 93, do 93-61. That’s 32 bars.
  • Count the amount of bars for each section and you’ll start to notice when new elements emerge: sections and themes begin and end every 8 to 32 bars. That’s just how dance music works.
  • For example:In dance music, sections begin and end every 8 to 32 bars.
    • Everything works in multiples of 4.
    • You won’t hear a new section begin on bar 5 unless you’re not writing in 4/4.
  • Once you analyze how many bars are within a section,it becomes easy to understand how long your instrumental arrangements should be and where to place them in your own track.
    • Example: “My reference track has a chorus that lasts 16 bars. It also has a pad for that entire section. I can apply this to my own productions by placing a pad in my chorus for 16 bars only and making sure that it doesn’t overlap with the bridge.”

 

Step 5: Taking Notes

Once you map the structure of the track with locators, it’s important to take note of all the musical elements that come into play for each section. This is how you’ll get to understand what to place and when within the sections of your own track.

  • You can take notes down on a piece of paper, or even simpler, directly into Ableton’s clips. Here’s how:
    • Split the waveform into multiple clips by clicking on it and pressing [CTRL+E/CMD+E], or right-clicking on it and then selecting “Split.”
    • Once you’ve split the waveform into multiple clips, write down the most important elements for each section.
    • Then right-click on the Ableton clip and select “Edit info text.”
  • For the build-up section, you can write things like “white noise sweeps, risers, automated filter cut-off, percussion repeating faster and faster,” etc.

In Ableton, you can save notes directly in the clips

 

Bonus Tip: Creating Ghost MIDI Clips

The last trick I want to show you for deconstructing your Bonus Tip: Creating Ghost MIDI Clipsreference tracks element by element is to create ghost MIDI clips for every instrument. This is the best way to learn from other people’s tracks, because it will allow you to break them down layer by layer.

  • Create MIDI channels for every instrument you hear in a section, and label them.
  • Make sure there’s nothing in them.

Using this method, you can even go as far as deleting your chosen reference track and just filling in the MIDI skeleton with your own synths, pads, drums, effects and more! You’ll have the same arrangements as the artist you chose to mimic, but it will be your sound!

SEE ALSO :  Where to Get Fresh New Ideas for Tracks

Non-Linear Music Production

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patienceOne of my goals is to help people be more productive and finish more tracks. I’ve learned that for many people out there, getting a project done can seem overwhelming. Many will never complete them, because the sole thought of finishing it to perfection stalls the whole process. We could even call this a form of writer’s block, even though the blockage occurs mid-project instead of at the start.

But starting new projects is and should be fun. That’s why I’ve even been encouraging people I coach to try to start one project a day.

Having multiple projects on the go is not only a great investment in your own potential, but it also forces you to practice, learn new techniques, and get outside of your comfort zone.

I swear, it will even become addictive.

So you might be wondering: how does this help you finish tracks if you just keep starting new ones?

Have a look at my Discogs page and you’ll see that I’ve released many EPs and albums. This is the technique that I’ve been using, which I call Non-linear Music Production (NLMP). And I can honestly say that I couldn’t have done it any other way.

The main mistake many producers make is to tackle a project from start to finish in a single sequence. This is how they operate:

  1. Find a hook, idea, main loop.
  2. Develop the idea into a structure.
  3. Do the arrangements.
  4. Do the mixdown.
  5. Finalize the track.

How to work faster with music production. creative process. electronic musicThe problem here is that producers also tend to move back and forth between the steps as adjustments are required. This often results in artists hearing their own track so many times that they can’t even tell what’s working or not anymore – and they start to go a little crazy! This way of organizing your production workflow might be motivated by your love for the idea you found, and by your desire to finish up the project so you can share it with your friends. But it forces it too much.

By comparison, Non-linear music production, or NLMP, works very differently. But after introducing it to people, I started seeing them improve.

 

The first thing that’s different is the introduction of what I call “rounds.“ A round is an iteration of the same work process. But to define your round, first you need to decide how many tracks you need in your project. Usually, an EP will be 4 tracks and an album, 8 to 10. The number of tracks will decide the number of rounds.

Let me explain.

Once you have decided on the number of tracks, here’s how to work rounds:

  1. Find a hook, idea, main loop. Try to spend less than an hour on this at once.
  2. Save the project and close it.
  3. Create a new project, then repeat step 1.

Now, you will repeat this for each track on your EP or album, and each of them will evolve in parallel instead of one after the next. It will give you the impression that you’re not going fast enough, but you are actually farming your tracks all at once. Once you have your X number of tracks, all with an idea/hook, then you can move to the next stage of rounds.

  1. Develop the idea into a structure.
  2. Add more elements as needed.
  3. Save the project and close it.
  4. Open the next project, then repeat step 1.

Again, try to not spend too much time at once on each project. Plus you should try to space out each of your sessions by at least 24 hours. Rested ears know better. Then the final stage will follow:

  1. Arrangements.
  2. Add more elements as needed.
  3. Save the project and close it.
  4. Open the next project, repeat step 1.

As you can see, whenever you start a new round, you then repeat it for all of the other tracks. This goes as well for the mixing and such. You can develop your own workflow too, but in the end, what matters is that each track evolves in parallel.

What’s really exciting about this technique is when you get to the last week and finish all the tracks. You’ll see the end results all together, then you’ll just have some final touches to make, and boom, your project is done.

I’m currently working on a document that describes the whole process in detail. If you subscribe to my free coaching service, you’ll get the training and more news as it comes.

 

SEE ALSO:  Making and breaking genres in your music

The Rule Of 10: Production in Rotation for Big Results

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I was speaking with a friend about my approach to making music, and I explained my rule of 10. Most people, especially new producers, will work a song until it’s done. But this is actually a huge mistake. The reason is simple:

after working hours on the same track, these guys have a hard time knowing if it’s still good or making any sense at all.

Plus they fall into the trap of tweaking things endlessly for that one track.

You might already see how this can be quite limiting from a learning perspective. Or maybe you don’t agree. So let me throw a few ideas out there that could help you jumpstart your inspiration.

tomato-676532_1920Let’s compare making music to planting vegetables. You’re not going to plant one tomato plant and then wait for it to produce a tomato before planting something else, are you? To get big crops, you’ll need to plant a whole bunch at once, and nurture them all at the same time. Then you harvest.

The same goes for your songs. Start multiple at a time, and while one is progressing, don’t hesitate to stop yourself and let it sleep for a week or two, especially when you’re entering a very productive phase. This is to make sure you’re always fresh when you open a project and know exactly what needs to be done next. You’ll observe that your perspective on your work will be more accurate. If you open your project and it’s a mess, leave it to rest some more, or maybe recycle it into another, ongoing project.

There are two approaches to the rule of 10:

10 different projects.

Create 10 folders, and drop an Ableton project that you want to develop into each. Also, take the time to insert reference tracks that you love. This is music that you’d like your project to sound like but not necessarily mimic. Don’t hesitate to drop anything in there — get some classical or jazz, record some field recordings, anything. No rules should limit you.

You should also do some careful sample hunting on a site like Splice, for instance. Drop various sounds in there you like, along with presets you want to use. Save some in there in a specific folder.

1 project, 10 songs.

This one might surprise you, but I love this trick.

Open one project and build your 10 songs inside it, one after the next. They will all share the same number of channels, effects, and so on.

This is also an excellent way to keep a particular mood from one song to another.

You will run into interesting results by having some sounds go through the effect chain from the previous song. You can also be creative and not use all the same hi-hats in the same channel. For example, one song could use channel 3 for claps, then the same channel for toms. Don’t alter the EQ and compression on the other tracks. Try instead to take advantage of the settings from the previous track to see how to tweak the following one.

party-629240_1280It’s rare that you’ll think you can create multiple songs in one project, but the idea came to me while I was turning parts of a live set into various songs. I thought it was really interesting to try a different way of working.

For me, two things have always enabled new ideas: limitations, and being forced to work or think in a new way. Both go hand in hand. I know that most people feel like the more gear and gizmos they have, the more productive they’ll be. Yet getting more usually leads to procrastination, since you feel confident that you can do it in the end. I call that the runner’s syndrome: you bought your running shoes and shorts, so you feel you can run. But are you, really?

SEE MORE:  Spending Long Hours in the Studio

Learn Mixing At MUTEK’s Panel Workshop

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Learn more about the workshop here!

I’ve been asked by MUTEK to present a workshop on how to prepare tracks for mastering. This means, in technical terms, how to get the most out of your mixdown session. For many people, the whole music production process seems like a crazy, disorganized back-and-forth of constant tweaking, with the help of a lot of coffee. But if you look at the most common modus operandi, the stages actually go like this:

  1. Sound design/recording. This is where you either create new sounds or select the existing ones that you’ll be using in your next song.
  2. Production. Once you have all the sounds, you try to decide your hook. This stage involves deciding the structure and working on the arrangements.
  3. Mixing. Once your song is canned, you mix the component parts so you get the best sound possible.
  4. Pre-mastering. Shining and polishing. Adjusting so it sounds best, everywhere.
  5. Mastering. Preparing the master copy for duplication.

Get tips for making a great mixdown at Pheek's MUTEK workshopApplying a methodology to your music production can provide many benefits. Many artists embrace the chaos of going back and forth between the stages, or working without a plan. This is fine if you think it’s the best way for you to remain creative. But if you want the best out of your sound quality, it might be a good idea to adopt a more ordered approach.

Why?

One of the most important reasons is that if you juggle between these stages, you will lose focus. The mixdown will be done best if you have everything set up first. If you have to keep changing elements around as you go, you’ll be forced to reconsider EQ and volume levels also to make sure that everything fits. Think of it as building with Lego blocks: if you move one brick in the middle of a wall that’s already built, you’ll need to readjust a lot of things around it to compensate.

So while there’s no hard rule on the order of the stages, and one can hop between them to fix certain problems, there is another major issue to consider. If you spent countless hours on arrangements, your ears might be bored to death when it’s time to mix it, and you’ll lose what really matters. This is why mixing is increasingly seen as a stage you might want to leave to someone else — not because you can’t do it, but because you want a fresh perspective.

If you decide to do it yourself though, you want your song’s idea to be sewn up so that only the sound needs tweaking. And ideally, once you have everything set, you might want to take a few days off and then attack the mixing.

For the MUTEK panel, I’ll be sharing some great tips on:

  • How to approach production generally.
  • How to work with a reference.
  • How to do great mixdowns.

I will be using some of the participants’ projects as an example.

You can register here.

 

Music Production And Studio Tips

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When I talk to music producers, both newcomers and more experienced ones, I realize that many of them could use some tips on improving their production workflow. I’m talking about the little things in life that aren’t necessarily computer related, but that can make a big difference in how effective you are with your studio time.

Most of these tips are based on the trials and many errors of my own experience, and on what I’ve learned by applying them every day.

Studio tip 1: Naps can provide your brain with a needed reset to feel productive againWhen it doesn’t feel right, stop. Do you ever get to that moment when you finally have the time and space to make music (sometimes life is a hustle!), but after a few minutes, you realize that it sounds terrible? The weird thing is how in your last session, that same loop or track felt amazing, right? Well, there are a few things you can do here, but before you delete anything, try this:

  • Stop working on the project and start something new. If it doesn’t feel right anymore, it could need to sleep for a bit to be heard again later in a whole new moment of your life.
  • Take a 10 minute pause and listen to something else.
  • Consider: can you say what’s wrong with it? If it’s just a physical sensation more than something logical, then the problem is you. Yeah, you read that right. It’s important to do something else instead of trying to force it out. Smoke a ciggie, make yourself comfortable in any way you want, or just move on to another project. If the blockage persists, then try working on simple sound design with a new synth you haven’t explored yet.

Calibrate your ears. People really underestimate the importance of this one. It usually implies a fair degree of time spent setting your monitor’s volume at roughly 80 dB (there are smartphone apps that can measure this for you), then listening to music that you love and that you know sounds right. If you can listen for a minimum of 15 minutes, your ears will develop reference points of optimal sound levels.

Studio tips: Take pauses often, and space out your studio sessions by 2-3 days.Take pauses, often. I’ll never say it enough, but working a long, extended session is one of the least productive ways to work. You’ll lose your references, as well as your ability to evaluate your own work. Taking a pause is not only important to give your ears a break. When you start up again, you’ll have a fresher perspective on what’s working and what’s not.

Space out your sessions. I usually avoid making music (i.e., working on my own material) two days in a row. I space out my sessions by a few days and I try not to work on the same song more than once a week. This is why I’m always working on multiple projects in parallel. I’ll jump from one to the other, so that I’ll forget what I was doing with the first. Then when I open it up again, I might have a whole new perspective on where it needs to go.

Shorten your sessions. I often hear people say, “I worked on this track for 5 hours last night, and I don’t know why, but I feel like it’s just not working at all.”  Indeed it’s not. Try not to spend more than one hour a day on a song. When you know your time is limited, every minute will feel extremely important, and your mind will pump more quality into the effort. By speeding up and working in short bursts, you’ll eventually get faster at what you do and your flow will be more effective.

Grasp the big picture before digging into the details. I highly recommend that you don’t start working on a song from the beginning. Find the main idea first, which is more or less the middle of your song, and then from there, unfold it to the beginning and extend it to the end. Making sure you have a broader view of your work before delving into the details is a good way to scope out the storytelling and back bone. This will help you identify the critical moments of your track, so that you can then work in the transitions, changes and so.

Listening at different volumes will help you notice what needs fixing in your mix.Listen at different volume levels. I encourage you to listen to your song at a very low volume, then high, and then vary it to a sweet spot somewhere in the middle. People don’t always listen to music at high volumes, so it’s good to know what the experience is at lower volumes too. This will also help you notice some things that need fixing in your mix.

Listen from different points in the studio. Get up and listen from far back, or move around the studio while listening. If you can, try listening from another room. I also use a wireless headset and will pace around the room while listening to a loop. I’m so used to just sitting there glued to my computer that this has a very strange effect on me. You’d be surprised how simply walking can open up a different perspective on a song.

Drink water. This one seems off, but trust me, keeping your hydration level optimal really helps with your focus.

SEE ALSO: Spending Long Hours in the Studio

Get A Free Music Coach

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[Important update, August 2017: The Free program is being redesigned and put on pause. You can still register to get the free Ableton Live Template and get news on when it starts again.]

I made an important decision to remove my newsletter and change it into free music coaching for every subscriber. Sounds crazy? Maybe. But also fun!

A little bit of help to make great things happen

What exactly is a coach?

While you can google for the definition, you may also summarize it with a simple explanation:

“It’s someone who helps you reach your goal(s).”

 

We can add in there self-improvement, knowledge transfer, experience sharing and technical advising. The same applies to a music coach. While it’s pretty common in sports or at work, we often overlook it when it comes to arts. But why not include it?

Ever since I started making electronic music, I’d say that my best stretches in learning often happened when I was in touch with someone who could address my questions. I’d go to them to learn:

  • How to use a specific production technique.
  • How to focus on finishing a song, a project.
  • Tips on sound design.
  • How to expand my network.

 

Anyone can be your music coach. Just reach out and ask.The great thing with helping others is that it opens doors on many things, like when you pause for a moment to find the right terms to arrive at the best explanation possible, and you end up improving your own understanding in the process. Ever since I had a music coach, I’ve been really interested in returning the help, mainly because I asked so many friends how to do things.

It’s been quite fascinating to see how electronics have evolved to make it easier for people to attain their goals of producing electronic music. As time’s gone on and the technologies have become cheaper, it’s become increasingly accessible to make music through computers or machines. The democratization of music has opened the doors for many people to make their dream come true by making music.

But this also raises some questions:

  • What should I get to start making music?
  • Which technology is best suited for me?
  • How do I start a song once I’m equipped?
  • Is this song really done or should I add something?

These issues can be hard to nail down, and there’s no one-size-fits-all answer.

Everyone is different, both in personality but also in terms of how they deal with technology. Some are more tech-savvy than others.

 

The role of a music coach can be summarized as:

A music coach helps you set goals and achieve your objectives

Helping you set goals. The best way to not get lost is to choose a destination. A journey has multiple destinations and a music coach can help break down your long-term dream into multiple mini-milestones. With a plan in mind, it becomes easier to not let your mind run wild and become unproductive.

Understanding your limits while expanding your strengths. One of the first steps in any new hobby, activity or interest is to take a look at yourself. While some skills are transposable from other areas into your new field of interest, you’ll also need to take stock of your own limitations. Quickly identifying your weak points is a good way to motivate you into developing new skills. If you run up against your own limitations in any area, there could also be solutions you’re not yet aware of.

Structuring your workflow. The technique behind all techniques is to coordinate the different parts so that things fall neatly into place. If you mess with your production order, you might run into an episode of counter-productivity.

Being present. A coach is someone that can reply to your questions, listen, encourage, and drive. This part is the most crucial one.

 

If you’re interested in taking advantage of my free coaching, join my mailing list and we’ll get you started!