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What goes into a "professional" track?

As part of my ongoing effort to merge the FAQ and Tutorials and provide a much-needed update (I swear, I'm not slacking!), I've decided that it would be good to have a "reference" thread for this topic. And since it is a subjective topic, it would be great if members here would contribute.

Background:
You know and I know that there is no single right answer to this question. There is no preset, no equation, no formula, no "awesome button" for music production. The objective here is not to try to identify such a thing.

Instead, the purpose is to try to provide a resource for producers of all levels who feel like they've hit a plateau, or just want to try new things. The message is not "doing this will make your track sound amazing." The message is, "if you are stuck, if you feel like you're not improving, here are some things you could try or read about."

I know that we've had similar threads in the past, with less-than-stellar results. That is why I want to take a slightly different tack here. So the question is...

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What is the most important skill, concept, technique, trick, or general piece of advice that you have learned as a music producer?
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To keep this from turning into nonsense, I am proposing the following:

Ground Rules:

• One answer per post.
  Keep it short and sweet. Don't post a complete brain-dump. It's easy to just fire off a list of bullet points, but that quickly becomes noise when 10 people are doing it at once. Obviously you can make several posts, but pretend you're sharing a pizza, don't wolf down seconds and thirds while a dozen people are still waiting for their first.
  
  
• Explain your answer.
  Why is this aspect important to you? If you can't provide this information then you might as well be telling us to wax our sound cards or degauss our monitors. A short paragraph or two is perfect.
  
  
• Don't post rebuttals.
  No matter how stupid an answer may sound to you - don't argue in here. I can remove the posts that are blatantly ridiculous, troll-bait or simply off-topic. Start a new topic if you can't stay quiet about something, otherwise, make your stand by posting a better answer of your own.

Patience

Make sure each sound has it's own space. The frequency spectrum is limited, you can only pack so much sound into it. When two sounds fundamentally occupy the same space, they compete with each other and this is a likely cause of muddyness or lack of clarity in a track. To make things easy, here is an example, typical division of the frequency spectrum:

30Hz - 50Hz - Sub Bass
50Hz - 100Hz - Kick
100Hz - 200Hz - Bass
200Hz - 500Hz - Hi Bass or Low Octave Synth pattern.
500Hz - 2000Hz - Lo-Mid Octave Synth 1
2000Hz - 4000Hz - Mid Octave Synth 2
4000Hz - 8000Hz - High Octave Synth 3
8000Hz - 12000Hz - Low Hats, Percussion or Very Hi Octave Synth.
12000Hz - 16000Hz - HiHats & Other Cymbals

This is a very generic example, but you get the idea. Basically each part has its own space in the frequency spectrum. There will always be some overlap between the sounds in these ranges, but with practice, you will learn how to separate each sound into its own space.

Keep in mind that the above example is an extremely generic example only! Every track is going to be different and there may be differences in how the space is divided up.

Design your own synth patches for your instruments, don't use presets. You don't have to do full "commercial" banks like I do, but it's worth the time and effort to learn your instrument(s). You'll gain a better understanding of each one's strengths and weaknesses and use them accordingly to better your music.

Its all about hearing, identifying what sounds wrong or what is missing and why, then knowing what to add or do to fix it.

Use the tools you are comfortable with!

You are not guaranteed to get the sounds of your favorite tracks, if you are using the software or hardware that was used to produce that track. For example, I'm using ProTools, something I have not found to be common among bedroom producers and professional producers alike, but I get the best work flow out of it...That does not mean you will get the same work flow!

A good tip for mixing that I was taught, is to 0 all the faders, then bring in all the tracks one by one, starting with the lower elements and ending on the track or tracks that you want to 'sit' on top of the mix, and be prevalent. With recorded tracks you probably need only do this once, but personally I re-do it constantly as I build a track, because the levels are altered with the addition of new elements or effects.

By the way great thread.

BE CONFIDENT IN YOURSELF AND YOUR MUSIC

My biggest piece of advice to people is to be able to listen to a track that you're writing and say "Man, this song is fucking awesome!". There's no reason why that you need write songs to someone else's liking. Of course, constructive criticism should always be welcomed and considered, but there's absolutely no reason why you should change something that works for you just because I don't like what you did. Who cares what I like or don't like? Your song is about YOU! Be proud of your work. What's the point in making music you don't like?

i know it was already posted on here, and heaps of other places, but jaytech's track chart is really cool, and can help with the final stages of a mix, or to find that something missing...


http://bit.ly/F6GUA

click to d/l

General Rule of Thumb: Run a high pass(low cut) filter on every track except the kick and the bass.

Other sounds with low and low-mid frequencies can add up and affect the clarity of the kick and the bass. Samples that were ripped from other tracks can have low frequencies that you may not hear, but can still muddy other sounds.

quote:

Originally posted by Eric J Make sure each sound has it's own space. The frequency spectrum is limited, you can only pack so much sound into it. When two sounds fundamentally occupy the same space, they compete with each other and this is a likely cause of muddyness or lack of clarity in a track. To make things easy, here is an example, typical division of the frequency spectrum: 30Hz - 50Hz - Sub Bass 50Hz - 100Hz - Kick 100Hz - 200Hz - Bass 200Hz - 500Hz - Hi Bass or Low Octave Synth pattern. 500Hz - 2000Hz - Lo-Mid Octave Synth 1 2000Hz - 4000Hz - Mid Octave Synth 2 4000Hz - 8000Hz - High Octave Synth 3 8000Hz - 12000Hz - Low Hats, Percussion or Very Hi Octave Synth. 12000Hz - 16000Hz - HiHats & Other Cymbals This is a very generic example, but you get the idea. Basically each part has its own space in the frequency spectrum. There will always be some overlap between the sounds in these ranges, but with practice, you will learn how to separate each sound into its own space. Keep in mind that the above example is an extremely generic example only! Every track is going to be different and there may be differences in how the space is divided up.

is this to do with equing? and ive never seen those numbers in my life besides on compressors.

@ Lovehate: This is about EQ-ing. Compression hardly has anything to do with frequencies.

In response to Eric J's post (even though it's an approximation not a list of fixed values) I'd like to add:

Don't rely on fixed values/numbers for any type of plugin of effect. No song is equal thus every song could benefit from having different settings applied

Check out music production videos from some respected producers. It contains tons of valuable information, simple production tricks, which could easily take your productions to a new level with minimal effort.

Here's a couple

Martin Buttrich:
[[ LINK REMOVED ]]


Booka Shade:
[[ LINK REMOVED ]]


In the studio with...D'Ramirez:

Part 1 - Setting up and choosing sounds:
[[ LINK REMOVED ]]


Part 2 - Adding Extra Drums:
[[ LINK REMOVED ]]


Part 3 - The Arrangement:
[[ LINK REMOVED ]]


Future Music Interview Sandy Rivera:
[[ LINK REMOVED ]]


Future Music Interview The Remote (Asad Rizvi)
[[ LINK REMOVED ]]


Computer Music Interview with Chris Lake:
[[ LINK REMOVED ]]

quote:

Originally posted by LoveHate is this to do with equing? and ive never seen those numbers in my life besides on compressors.

lolwut? what kinda compressor you using mate?

Try to recreate existing productions to unravel the way certain sounds/song structures/effects/mixdowns have been realized. It could provide valuable insights (mostly) in the making of effects and sound design, which you apply on your own music from then on.

Before I offer what I think is the biggest tip, let me just say always have FUN doing this. Never be afraid to try new things. Never get too comfortable. Never get too satisfied. If you make a banging song and you love it, it's fair to get bored with it the next day as you prepare to make something newer and better. Don't idolize DJs or producers. Listen to a LOT of different dance music. Only the most extremely dedicated, ambitious, talented, hardworking and patient individuals succeed at creating the world's best dance music. If you think you aren't very good, you probably are not. If you're being honest with yourself and you have gotten enough feedback from people and you think you are good, you probably are. Either way, there is always room for improvement. Armin didn't just fold his arms across his chest in total satisfaction after making Shivers, he kept going and look where he is now.

Know *exactly* who you are making music for. Are you creating it for yourself for personal satisfaction? Is it for a game? Is it for a packed out arena of 20,000 people? I'd say that's extremely important to have figured out before you start a tune. Monitor your song on your laptop, headphones, living room stereo, TV, your grandmother's pace maker, and most importantly the car. The car stereo is a fucking amazing way to see how your track "bumps". It's more physical because you're pretty much trapped in a sound room with awesome bass. If it doesn't sound good, go with your instincts, it probably sucks.

Sorry if I veered off, but here's my tip. I think the most important thing I can mention is what Alan said about designing your own patches, but more specifically, ADSR. I started to make my very best dance music once I got a solid understanding of my envelopes. The transience is the first few MS of the sound, and you'd be surprised how much better an attack can sound going from 0ms to maybe 9, it makes a huge difference. The amazing things you can get out of your 2 envelopes (normal, and your filter envelope) and your filter are endless.

So yeah, ADSR!! Master it!!

I mostly focus on one style of music myself. But it is good to let yourself go with the creativity flow every once in a while, no matter where it takes you. This way you'll be working outside the box every now and then. By doing this you can come across cool new productions tricks, new sounds, or even an entirely new approach to the way you've been producing. This will also help you working towards a signature sound of your own.

quote:

Originally posted by Storyteller I mostly focus on one style of music myself. But it is good to let yourself go with the creativity flow every once in a while, no matter where it takes you. This way you'll be working outside the box every now and then. By doing this you can come across cool new productions tricks, new sounds, or even an entirely new approach to the way you've been producing. This will also help you working towards a signature sound of your own.

Totally. If you sit down and *try* to make weird sounds, you can come up with some pretty interesting stuff that might end up becoming usable, since we normally use the same techniques over and over again, maybe we can stumble on something crazy and cool.

A Love for the Music, a desire from within: to create something from within yourself.

A good plan on where you want to head with it 2) the sound & the feel your after. 3) How you see the completed idea (baring in mind, that it may change along the way.

Not to always think that you need the best of the best in terms of equipment. But, in saying so that you ""assess"" where your heading with your production[s] (where you see yourself in the future) and get items based on this need. Starting with freeware, demo's etc before buying a $4500 dollar synth, although:

- Half decent computer Mac or PC (spend a little money here)
- Some good near field studio monitors (spend a decent amount here)
- Reasonable audio/midi interface/soundcard etc (yeah, here you skimp for starters, to get by)
- Midi keyboard controller (again, you can miss this altogether, but good option, one with some knobs and sliders will do the trick)
- DAW (digital audio workstation) i.e. Logic, Cubase, Fruityloops etc (up to you, some have demos out there, but just like driving a car, comes down to personal preference - do some research, functionality can vary but overall the same)

Some may say no spend money here and here, but thats why i say really assess your needs. It's hard without any idea on where you see yourself, but some things you can skimp on a little till you work out your direction.

"I think that studio equipment is somewhat important, though fundamentally if the basic essentials are covered it's a great starting point to creating a professional track, along with adequate personal drive".

"hope that helps"

quote:

Originally posted by alanzo Design your own synth patches for your instruments, don't use presets. You don't have to do full "commercial" banks like I do, but it's worth the time and effort to learn your instrument(s). You'll gain a better understanding of each one's strengths and weaknesses and use them accordingly to better your music.

I agree with this.

I'm probably starting to sound like an Alan fanboy but his Virus bank was full of presets that sat in almost any mix with virtually no processing at all (apart from a HPF).

It's all too easy to fall for a sweet sounding preset and then finally realise by the time you've EQ'd it to sit in a mix it sounds nothing like it did when you first chose it.

The moral of this tale?

Layering is better than massive sounding presets.

For the record Mr Marcero, apart from just getting stuck in, what would your advice be for those wanting to start out in the long road of lerning sound design?

Try and find elements that work well together off the bat without too much work instead of getting something to fit .

If some element is taking to long to sound properly/fit in the mix then ditch it and put it something else.

quote:

Originally posted by Storyteller Try and find elements that work well together off the bat without too much work instead of getting something to fit . If some element is taking to long to sound properly/fit in the mix then ditch it and put it something else.

Word

I think that one of the most important skills you can ever have as a music producer is the to know when to ditch a sound.

trust yourself. not sure its any reason to explain why. its about keeping it real lol.

I think the answers given thus far, while certainly valid, also exemplify the biggest problem with EDM and what really separates the amateurs from the pros in my opinion - too much emphasis on production techniques and not enough emphasis on:

THE MUSIC!!!

I've said it a million times and I probably sound like a broken record...errr...scratched CD by now, but the people listening to, reacting to, and buying music aren't impressed that you know how to use an EQ or a multi-band compressor if you can't write a hook to save your life.

Agree, no more to add to that.

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