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How good does it have to be?
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| CrayC |
I see myself as a song writer rather than a producer, producing being a skill that seems to be a necessary for writers now - that's why I'm on here trying to pick up a few production secrets. I learned this fact by sending a very poor demo out to a European management company, trying to get them interested in the songs (rather than in me as an artist or anything). The CD, by amazing luck, landed on the desk of the Nicest Person in Music and she explained that even though she liked one of my songs (wayhey!) she could do nothing with it in the state it was in. What they were looking for she said was an almost complete track that they could slot their own singer's vocals into.
Arrrgh! This is expecting a lot surely? Do you guys who produce at home (i.e. not in a professional studio) make stuff that is 'releasable'? Some of my stuff sounds OK, but none of it could go on the radio.
(Or admittedly it could have been the fact that I was doing the vocals. Not a great sound, and it was a song for a girl rather than a guy.)
Anyone got any experiences or stories to share?
CrayC |
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| SPAWNmaster |
Everyone's interests vary. I think its safe to say that for the most part, most releasable material coming from TA producers and "no-name producers" is made at home rather than in a "professional studio." The technology is simply at the point where spending days in a studio is no longer necessary to produce quality dance bombs.
But going back to the advice you're asking for (I think that's what you're getting at)...
Practice. The more you produce the more you will learn and the more techniques you will pick up. Production is not an instant gratification sort of thing like DJ'ing. You put years of learning, workflow building, hardware/software collecting, and trial/error on top of blood sweat and tears and you might start popping out the sort of tracks you started producing to make.
That said...since a lot of producers are composers, writers and sound engineers all in one, I'm not too sure if there's a market for stand-alone composition talent. This is just my opinion and my take on the scene so don't be discouraged. Like with all things, practice practice practice. |
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| flutlicht junky |
Or seriously just pay to go into a dance orientated studio. Loads of good producers use engineers - ever wondered why some many tunes by different people sound the same?
If my memory serves me correctly YOMC did engineering for half the overdose/pulse stuff back in the start of the hard trance days. Tyas did stuff for Beam and Dave 202 - basically wrote generate the wave.
Some good producers (admittedly from the hard house scene) rent out their studios. Tinrib used to, Eufex and OD4040 does. |
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| CrayC |
Thanks for the responses.
Just out of interest (as I really don't think I'm there yet) would the studio come with an engineer? |
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| Pjotr G |
| you should team up with a producer who can mix and make great sounds but it weaker at composition. |
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| meDina |
| quote: | Originally posted by CrayC
Thanks for the responses.
Just out of interest (as I really don't think I'm there yet) would the studio come with an engineer? |
most professional studios have engineers attached for a fixed-rate. A lot of the studios arround here (Hollywood) give you the option of which engineer you would like to use based on their resume. |
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| zodiac9 |
| quote: | Originally posted by CrayC
I see myself as a song writer rather than a producer, producing being a skill that seems to be a necessary for writers now - that's why I'm on here trying to pick up a few production secrets.
CrayC |
I always considered myself primarily a composer and producer. I didn't have much to do with the sound engineering side of things until I got into EDM. As you've learned, in the world of EDM you are expected to take care of the whole production process, from mixdown to mastering. Some of the more successful labels will pay a pro to master your tracks though. So you either must learn how to do it all yourself, or find someone else to do it. If you have the funds, by all means hire a sound pro that can get your tracks sounding professional. It seems that is the path you've chosen. Wise choice I say.
I'm not willing to invest money into my productions yet, so I decided to learn all I can about the sound engineering side of things. The learning curve is pretty steep, and I'm no pro yet.
It's nice if you can find a production partner who is good at mixing and mastering. That's pretty much a wild goose chase, specially trying to find one through the internet. So it's either do it yourself, or pay someone to do it. Hopefully there's a studio in your area that can do the job. That way you can supervise the progress of your tracks. You might even learn something by watching. |
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| echosystm |
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:) |
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| mysticalninja |
| quote: | Originally posted by CrayC
Arrrgh! This is expecting a lot surely?
CrayC |
not rly |
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| david.michael |
| quote: | Originally posted by Pjotr G
you should team up with a producer who can mix and make great sounds but it weaker at composition. |
+1 |
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