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-- what do you think is the hardest part of production....?
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Getting ideas, doing leads, basslines, percussion, I now find it all very simple....
...The hardest part is when you've created a good rhythm with a nice lead and stare at your computer screen and think "What now!?".... 
I have a hard time filling in all that empty space between kicks, snares, and hi-hats.
The biggest problem for me is how to build the track, I mean eventual breakdowns etc, and to make the song evolve right 
only got it right in one track and that was L.E.E.A. *back to the drawingboard*
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for me it has to be the technical side of things. I can layer good sounds an dnotes but mixing them down, EQ'ing and compression is tough.
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| Originally posted by Low Profile Getting ideas, doing leads, basslines, percussion, I now find it all very simple.... ...The hardest part is when you've created a good rhythm with a nice lead and stare at your computer screen and think "What now!?".... |
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| Originally posted by Thois Creating that perfect Kick + Bassline combo The rest is peanuts  |
mixing is the hardest part, especially since I have no monitors, a shit PC that can't handle more than 2 or 3 vsts and...hopefully it should change when I buy a new PC & monitors over the summer.
Another hard part is the structure of the song...and how to do transitions that are a bit different.
Definitely arranging and making the track unpredictable.
For me? Hmm...
Actually finishing a tune and being satisfied! 
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| Originally posted by Mr.Mystery Production isn't a problem for me nowadays, the ideas are. Once I get the main idea down everything else comes together very quickly. |
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| Originally posted by DJ_Sea +1 im in completely the same situation. |
creating a massive driving bassline. I need to practice creating driving bassline sounds.
Basslines are my cryptonite I have a friend collab with me everytime i do the basslines haha
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| Originally posted by mysticalninja +1 I've been perfecting my 4/8 bar loops for so long I forgot how to arrange a song. =( |
Production part isn't hard for me at all. I easily get things to sound good in the mix. What can be harder is getting an idea that is good. I get ideas often, actually more often than is healthy, but getting on that truly has something... That's a whole other thing.
But eventually I'll learn that too.
Its all relative. I find everything hard. Because I will be happy with my tune and then 2 weeks later I will hear a new track or I will hear something and it will make me completely re evaluate what was good about my tracks.
Movie soundtracks in particular usually have an attention to detail and fidelity that nothing in Dance music has yet to approach consistantly. I sometimes would like to put a cinematic quality of production into Dance music but the cost of the gear in order to ge half way there is enormous. The engineering supervision is also out of my reach at the moment.
Same deal with music. Been scoring music for 8 years. Theres always some facker that comes along and writes a tune and makes my one look like old tat when they are played next to each other.
Hardest part of music writing and production is keeping up with all the talented fucks out there doing the same thing.
For me its finding the right sound. Like a percussion sample, the right sounding synth, etc. Sometimes I find myself going through hundreds of sounds taking hours and not being satisfied and I'll have to just stop myself and move onto something else. It seems as my productions get better, I am getting more and more picky. I just won't settle for anything that doesn't sound awesome to my ears. I'm guessing this type of thing is going to happen naturally as time goes on and one improves his production skills overall.
It definitely does get easier to find the right sounds over time, thank God! Used to drive me nuts!
Thats weird because my productions started to get a little better when I stopped doing that and started building my own. since I moved to a new PC, I have most of my shit on my old PC and only Thrillseeker Steve's sample pack on my new one with a clean install of FL Studio and impOSCar + ABL. And my Virus B. Voxengo freeware plugins. Thats it. I cant be arsed to port all the old renders, projects and sound assets across and its nice to start from a clean slate.
I used to be really picky about very specific sounds. To the point of obsession and I used to lose the point of the song which is the interaction of different sounds. Not so much the sounds themselves. I used to zone into just the kick drum and fiddle with it for like, days but to be honest it never worked out and it never made any of my crap tunes any better. My mixes still arent top notch so, I could hear that beautiful kick get progressively more recessed as a I added more elements, thus totally negating the point of putting days worth of processing into it.
Nowadays, I dont tweak a sound to death so much now.
I dont EQ or compress sounds that much, if at all.
Any sound can work with any other sound. It really is true but you need to work out how they can do it. Sometimes you might have to put a delay between transients that hit at the same time, or pitch it up or down or stick an envelope follower or gate on it for it to work better. But it can always be done.
I'm going to ditch impOSCar/ABL/Virus for my next sound test and Steve's samples and go all Fruity and see what happens.
Best advice I can offer if you really want to go all out with a tune. Produce and go as far as you can. Then book the best studio and engineer you can afford for a day and get the track mixed down in a high quality pro studio. It should give you that extra 10 to 20%. Then book a top mastering engineer and get it mastered properly.
Armand van Helden created Professional Widow on a little sampler sequencer. Found some loops off vinyl, lifted the bassline which was buried in the original. Added the vox and arranged it. Then took it into an SSL 9000 room and had it mixed down. 6 million copies later!
Im less interested in trying to get a record out there as I am with learning new things. I want to know everything about production and be able to make any sound and control any aspect of a mix. I dont want to rely on others.
So I am content to make millions of mistakes so long as I am learning new things. Alot of people in this industry wont acknowledge your mistakes and some will even think less of you for even making them in the first place.
But the best lessons learned are the ones you learned the hard way. And you are more than the sum of your successes - rather the sum of your successes and failures and many other things besides.
I dont want people to make sounds for me. Mix my songs for me. Play some of the instruments because I cant play them. Eventually perhaps I will be able to play alongside musicians whom I respect but until then - lotta learning to do.
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| Originally posted by Derivative Im less interested in trying to get a record out there as I am with learning new things. I want to know everything about production and be able to make any sound and control any aspect of a mix. I dont want to rely on others. So I am content to make millions of mistakes so long as I am learning new things. Alot of people in this industry wont acknowledge your mistakes and some will even think less of you for even making them in the first place. But the best lessons learned are the ones you learned the hard way. And you are more than the sum of your successes - rather the sum of your successes and failures and many other things besides. I dont want people to make sounds for me. Mix my songs for me. Play some of the instruments because I cant play them. Eventually perhaps I will be able to play alongside musicians whom I respect but until then - lotta learning to do. |
Agreed, most big producers will tell you that for every hit record they had they had at least a hundred failures!
Heheh. If they are working 1 hit per 100 duff tunes, then I'm not that far behind.
Im on 0 hits and 100 duff tunes so far. All I need is 1 hit. HAH! 
One of our famous golf stars, gary player, said, the more you practice, the luckier you get!
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| Originally posted by jahnlay Best advice I can offer if you really want to go all out with a tune. Produce and go as far as you can. Then book the best studio and engineer you can afford for a day and get the track mixed down in a high quality pro studio. It should give you that extra 10 to 20%. Then book a top mastering engineer and get it mastered properly. Armand van Helden created Professional Widow on a little sampler sequencer. Found some loops off vinyl, lifted the bassline which was buried in the original. Added the vox and arranged it. Then took it into an SSL 9000 room and had it mixed down. 6 million copies later! |
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