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Re: Top 10 guidelines for aspiring producers
| quote: | Originally posted by Eric J
- Don't be lazy - This is the fastest road to making your track sub-par. Always work on something until it sounds "right" to you. It may take you a while, but the results are worth it. This can be particularly frustrating when you are just starting out, but it will get better with time. Don't ever "settle" and think "yeah it sounds OK, I'll just go with it". Before you know it, you have 10 parts that just "sound OK", and then you are left wondering why your track sounds mediocre. You need to have a good work ethic (and be a little obsessive).
 A lot of the more recognized producers got where they are because they worked harder than anyone else. Talent does make a difference, but few recognized producers are Julliard graduates.
- Study, don't just listen - You need to know why things work in a track and why some things do not. Listen to how your favorite producers arrange their tracks, how the drums fit together, how each piece in a good track compliments the others. Use others' tracks as a REFERENCE (read: do not copy). It is much easier (and rewarding) to figure this out for yourself, then to have someone try to explain it to you. You might not be the next Ferry Corsten, but you can certainly learn a thing or two by studying his music (this isn't aimed at Ferry fans in particular, just insert your favorite producer there). You need to become more than a fan this music, you need to be a STUDENT of this music.
- Don't get too caught up in hardware synthesizers or effects - There are tons of producers that use all hardware synths and effects, there are also tons of producers that use all software. Either one will work fine if you know how to use it right. Don't get too caught up in what type of setup your favorite producer is using. It is much more important to understand HOW a particular sound is made, rather than with what. For the most part, all analog synthesizers (real or virtual) are constructed of the same component pieces (oscillators, filters, envelopes, etc.) and should be able to replicate a sound from one brand of analog synthesizer on a different brand. Just because your favorite producer uses a Virus TI, does not mean that you cannot create the same type of sound on your JP-8080 or K-Station or even your favorite virtual instrument. The subtle variations between each brand really does not become important until you get to a certain level.
- Get monitors and a decent audio interface first - I cannot stress this enough. A good audio interface with a good monitoring setup is ESSENTIAL for learning and improving as a producer. I know this isn't always the "sexy" choice when looking into investing into a studio, but these two basic things are vital to improving your work as a producer.
If you have nothing more than a computer and some software, please consider getting these two pieces before purchasing ANY other type of hardware. If you are serious about doing this, these two things should be at the top of your list. Think about it, if you can't HEAR properly, you'll never be able to hear your mistakes and learn from them. Although any type of decent monitor (not computer speakers) or audio interface other than a consumer grade soundcard (no creative soundblasters) will do, here are some examples of audio interfaces and monitors that should do the job.
Audio Interface:
Good: Echo Gina 3G PCI Audio Interface
Better: Mark of the Unicorn (MOTU) UltraLite 10x14 FireWire Interface with MIDI
Monitors:
Good: Behringer B2031A Truth Active Monitors
Better: Dynaudio BM6A MKII Active Nearfield Monitor
Keep in mind that these recommendations are based on my own experiences. I strongly encourage you to go to your local music store and check out as many pairs of monitors as you can before making a purchase.
If you can spend a bit more on monitors, I recommend that you go ahead and do it, it will make your future purchases (especially in hardware synths), that much more rewarding.
- Less is more - Sometimes it is best to have a few really well produced pieces working together than 10 parts that don't gel well. Try producing a few very simple, but well-produced tracks. Nothing fancy, good sounding drums, bass and a simple melody line. A lot of well-received tracks are exceedingly simply from a musical standpoint, but they work well because the production is done right. Minimal can be a stellar example of this philosophy. Simple tracks, outstanding production.
- Layer your sounds - Try having a single pad playing a simple 4-bar melody with chords, then adding a different pad playing a single note line an octave up with a harmonized melody. This can add interest to an otherwise static chord progression.
- Vary your parts - Instead of having the same 4-bar loop playing through out your track, try stretching it out to an 8 or 16-bar pattern and vary the melody just a bit. Change the line up a bit at, say, bar 8 or bar 16. The human brain is very good at picking out a pattern and switching off, so always try to vary things enough to keep your listeners interested. A good rule of thumb is that if you can listen to it looped for 4 hours straight and STILL not get bored with it, then you probably have something worthwhile.
- Have singular focus - Do not try to put every single melodic idea you have into one track. A good track has a singular melodic or rhythmic focus. One or two main parts around which all the other elements are constructed is all you really need.
- Always be producing - Even when you are away from the studio, be thinking about music and listening for inspiration. Sometimes it can be a stupid melody line from a pop song you hear, and you think "Wait, that gives me an idea". Sometimes it can be when you are watching a movie and you hear a good line of dialogue that you can sample and use in your track. Inspiration is everywhere, you just need to find it.
- When you finish your work, ask yourself, "Why am I listening to this track?" - It may seem stupid, but in all good tracks there is always something about it that makes you want to listen to it more than once or pick it up to play in your sets. Sometimes it can be a good hook line, or a really well programmed rhythm & bass section that adds a unique groove to the track or a really cool sample. If you can pick out a reason why you like your track, then chances are that there are others will zero in on the same thing.
A good example for me is Chunk & Twist - Battery life. When I ask myself why I like this track, the answer is: "Its got a really rocking bass line and the sample is really unique." Put yourself in the shoes of the average DJ who has to sift through tons of garbage just to find the good stuff. Would he/she give your track a second listen?
These are just simple words of advice from someone who has made many, many mistakes and learned a lot of these lessons the hard way. I'm sure there are some who will disagree on some or maybe of all of these, but I see a lot of other producers making the same mistakes I did, so hopefully some of this advice will do someone a bit of good. |
very good advice there,it's all about fealing your way through a track.dont get bogged down with what other people may say or think.
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