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| quote: | Originally posted by SYSTEM-J
There's been a couple of occasions when I've sat in the studio (or rather, at a desk with a laptop and speakers) with someone who makes their own electronic music, either in FL and Logic, and we've made a track together by me suggesting ideas and them making it come out of the speakers. In both cases they ended up making tunes that were totally different to what they'd come up with in the past. I think this is basically how it works in most cases. A DJ has ideas they can convey in words based on their knowledge of all the records they've played and the reactions they've seen to those records, and that can push a producer into directions they wouldn't have thought about, because they're zoomed in on EQ'ing the kick drum and so forth. |
This is literally how every track Sister Bliss (of Insomina) ever got made. She literally told the engineer things like I want that "rounder" or make it "stronger". Tbh, I think it's also how Guetta makes tracks - He's just telling some ghost producer/engineer what he wants i.e. no I want a punchier kick, add more sidechain etc.
Even a few pretty well know tech house DJ's I know basically just "produce" via an Engineer.
There's nothing wrong per say with it and I've written pages about his on here in years gone by but dance music is actually one of the few disclimpines that required the person making the track to be composer, musician, assistant engineer, programmer, sound designer, synth programmer, midi programmer, arranger, mix engineer and mastering engineer in one.
There's basically no other type of music that required this until dance music came along.
There's an absolutely fascinating documentary from the 60's (?) with Glen Gould where he's playing around with an engineer whose adjusting the levels of a 4 track recording in real time to make a master recording but the 4 tracks would also be included in case someone else wanted a different balance. He predicted that musicians and listeners in the future would have controls to manipulate their music as they wanted...NOT as some producer had dictated and permanently committed to tape as "their" master.
That tells you how segregated even one of the top and most technically inclined musicians in history was from the process of producing.
He was basically mostly right, albeit that technology got to the point that just about anyone could make and record multi instrument, multitrack music in their bedrooms, so more "listeners" became "musicians".
It's bizarre to actually think one person is meant to do all those vastly separate tasks to make a track. If you actually look at early dance music vinyls, there's a lot of people credited for making tracks as the oldschool guys while pioneers, didn't know how to mixdown or engineer etc.
It became some accepted thing that we're meant to do everything yet you won't find another type of music where it's expected.
Therefore I have no reason if people want to farm things out or even "produce" in the traditional sense, where there is a guiding director in charge of technical or musical people to make a track.
What I am against, is idiots getting in to a studio, having someone ghost write the track and then said idiot thinks they made the track because they told the poor eye rolling engineer to "make it sound more purple".
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) do this countless times in sessions. Accidentally come up with an idea that is taken later and expanded in to it's own track.
