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eric prydz mastering techniques? (pg. 3)
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| BOOsTER |
| quote: | Originally posted by Kismet7
thats nice and all...hes still a good engineer, and musically average compared to Producers who employ more musical characteristics in their music. The genius is that he can turn musically average stuff into big tracks, through great sound engineering and equipment. I dont follow it as much as I use to, in the big room Prog genre, musically...folks like Michael Cassette or Marcus Schossow do more interesting things, or even Danny Howells lately. |
You kinda misunderstood, what I wanted to say was that I would not underestimate Eric for not having skills to employ more "musical characteristics" but simply not doing that, because he knows his tracks might (not necessarilly always are) be better with this kind of attitude...
I would myself like to listen a thousand songs with a simple melody, which are cleverly composed...than listen to one song which is "snobbishly" overdone with complexity of the melodies...also...this is dance music we are talking about, nah? |
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| Kismet7 |
Ok, but why did you ask that vague question, in response to my statement, did you expect me to derive the reasoning you just described? Logically your question denotes that 'Pjanooo' is what people would call musically talented. When its really rather musically simple. Though if we wanted to get cheeky, it does have some baroque style consonance goin on with the bassline mirroring the main chord driven melody. But thats kinda easy to do, and perhaps an intelligent thing to do, since it obviously works for the masses who cant consume more musicality or complexity. I'll argue alongside anyone to say Eric Prydz is quite intelligent, but musically talented is not really something i'd stand behind. Unlesss we are defining well mixed simple dancefloor music as musically talented, then thats another story. And it is a good story too...
I dont have enough music out yet to show a long enough tangent of evidence coming from myself, being that I dont have a music theory background, I do have a percussion background, so I use other methods to get ideas/emotions/vision into the form of music. Eric Prydz actually is a good example of what i've mentioned in the past, about philosophy and psychology being as important if not more important than raw music theory knowledge. Electronic music in general is a great playground for people of non raw music theory talent to get their voices heard, which is a beautiful thing. They can make enjoyable music in general like Eric Prydz does without employing high musicality or more complex music theory, if we are to go by his thousands of fans. So again, there other dynamics besides music theory knowledge that can come into play when making impactful electronic music, and i'd speculate 80-90% of amazing EDM tracks have been made without any music theory schooling involved. So when I say musically Eric Prydz isnt up there, its a bit of a moot point, which some in this thread noted "simplicity still nets results." So I guess what we learn here, even though Eric Prydz is musically no genius (in essence), what he is good at is sufficient towards a different type of greatness, and there is worth in that. |
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| Beatflux |
| quote: | Originally posted by Kismet7
So when I say musically Eric Prydz isnt up there, its a bit of a moot point, which some in this thread noted "simplicity still nets results." So I guess what we learn here, even though Eric Prydz is musically no genius (in essence), what he is good at is sufficient towards a different type of greatness. |
I watch Gorden Ramsey's "Kitchen Nightmares" and one common problem is that the tastes are muddled in a sea of complexity and/or there are too many flourishes that don't actually matter to the taste of the dish. Ramsey gives the advice to take local excellent ingredients and let them speak for themselves.
One of his recipes calls for only four ingredients: broccoli, water, salt and pepper. That's just four simple ingredients, three of which are in almost every single kitchen. You could write him off and say he isn't skilled, but he knows how to combine simple ingredients for an effective result. That's all that really matters: the result. Unless you are making music for nobody. |
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| LoveHate |
a good example would be like dirty souths-we are
its so simple and has the same melody going the entire time ..with a few layers..but because of the mastering and equing it sounds huge.
thats what im trying to achieve, i guess a bit of it is pure talent and some of its skills learned. |
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| music2dance2 |
Here is another snippet of the interview. It proves that yes it can be done without hardware and he is just working from his laptop and not some big studio.
He doesnt have his tracks mastered and leaves the master out free of eq not sure on the compression. Once again proves if you now what you are doing and know you the software/hardware you have well you can get results you desire.
couldnt find the intervierw on here but found it elsewhere by via google.
Eric:
I do everything myself. I think that a lot of people tend to think that I have this massive, really expensive studio. And a lot of people think that it's the mastering guy that does it all for me, but when it comes to mixing music in the mastering process, you're really limited because the track is one file. The only thing you can do in the mastering process is raise or lower the volume of certain frequencies, so you're very limited in what you can do. I think the strength in my productions is kind of the separation, and how all of the sounds are mixed together, and that's something that I kind of put a lot of effort into, because I always wanted my music to sound you know, really really good in a club. If you have a really good idea for a track, but it doesn't come across well on a big system, it sort of gets a lost in a way. So I would say 50% of a track is the actual mix of it. You have to make sure that you can hear all of the different channels clearly. I always try to make my tracks sound like this big powerful pack of muscle sort of thing you know, and it's kind of hard to explain how I do it because I use my ears, and I know how I want it to sound. Over the years I sort of learned how to get it to sound like that. Nowadays I don't even need to master my tracks after I'm finished, because I do the mastering, but while I'm doing the mixdown sort of thing. I never actually EQ the track on the master; i do it in the actual track with the elements, because that is how you get a good result really. So no, to answer your question again, I do everything myself. The only mastering that is done on the tracks is for the actual tracks that are gonna' be cut on vinyl, because on vinyl, you cannot have the music sounding as it does digitally. If you want to cut out music on vinyl, you need to cut out certain frequencies. You need to have the bass sound in mono, because if you have it in stereo then the needle is going to jump around a bit. And they do cut out a lot of the high-end as well, everything over 15,000/16,000 Hz, something like that. It's kind of a science in itself to get the level of the vinyl as high as possible. But they don't do any physical mastering of the track. What they try to do is cut out frequencies and press it as loud as possible on vinyl. So that's how it works. All the tracks on beatport and stuff like that is my own mastering really.
http://www.inthemix.com.au/forum/sh...ad.php?t=210693 |
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| Tom Smykowski |
| omfg, i know i'm new and everything, but why the hell doesn't someone just ban kismet already? you ing know-it-all. gawd. |
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| Beatflux |
| quote: | Originally posted by Tom Smykowski
omfg, i know i'm new and everything, but why the hell doesn't someone just ban kismet already? you ing know-it-all. gawd. |
There are no mods here...
If you really want to see a storm search "Chronodevir." I respect his ability to drive people completely up the wall. |
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| Kismet7 |
| quote: | Originally posted by Tom Smykowski
omfg, i know i'm new and everything, but why the hell doesn't someone just ban kismet already? you ing know-it-all. gawd. |
"i'm new and everything"
bullchit
more like "i'm an alt that trolls people who arent my fellow trolls"
hello new troll ;p |
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| BOOsTER |
| quote: | Originally posted by Tom Smykowski
omfg, i know i'm new and everything, but why the hell doesn't someone just ban kismet already? you ing know-it-all. gawd. |
this is kinda irrelevant in this post, I'm the last guy to defend Kismet7 in a case lol...but...in this case he has had good arguments and was well explaining his points of views...and I kind of DO agree with him now, seeing his point explained.
Kismet: yes man, you're right. End of argument ;) you got me :-) good job :D |
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| Blake_Jarrell |
Hes posted a few screen shots on twitter:
from what i can tell by looking he uses alot of logic preset channel strip settings. |
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| LoveHate |
| thanks for the pics, guess hes not using a old pc laptop from 04 anymore. |
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| Kismet7 |
He uses a Mac and Logic for Arrangement/Composition and perhaps the bulk of mixing (which we knew.) That said, those pictures are vague to reason or safely speculate that everything is done ITB, without any outboard processing, mixer, or any synths.
The whole point is, and I dont benefit from more contenders (neither does Prydz obviously), a great sound is a result of mixing skills coupled with good equipment. For the average producer, it will be a heavy uphill battle without having good equipment to produce on or an engineer that does things for you. So either you can think that an entirely ITB mix will regularly get you the sound that can be played by countless DJs on countless systems, or you accept the reality that a good mix requires proper equipment alongside developed sound engineering skills. |
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