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Would you pay for 1 on 1, live teaching sessions from Trance legends? (pg. 2)
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| johncannons1 |
i voted yes.
i would LOVE one of the big guns to come over.. have some beers and go over some things in logic.
and just show me how they get there tracks to the level they do..
all those kind of things and i DONT believe that this would stop you from develop your OWN style .. i would love to learn off them... little production techniques and things like that. it wouldnt force me to make music that sounds like them.. |
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| EgosXII |
I voted no just because i think it's unecessary and would hinder my creativity personally...
not saying music theory does, or whatever, but i find that i usually get my best stuff from opening blank projects (not even templates etc) and just building from a kick... trying different settings or fx combinations etc every time..
i don't mind tutorials, but i can't really imagine a situation where i would really learn much that i couldn't find out myself from playing around when it comes to daws etc...
if anything i think it would be wasted time because i'd be too busy aweing over the pro :p
I've never seen anyone else use their sequencer or synths and i've never really hit any kind of technical wall or thought along the lines of "how did X do that" without easily being able to solve it after playing around a little, and not only would i probably do it differently, making it then sound different, but it's rewarding as hell! :)
obviously fumbling blindly for a very technical skill like production isn't for everybody, i know a lot of people want to be shown the basics and that's obviously completely fine, but personally i get a LOT out of just figuring it out for myself :) |
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| No Left Turn |
| I'd be more interested in a day session with someone who's more technical with things or at least is perceived to be someone who knows more about what they're talking about. Someone like Airbase is great, I'd even be up for sitting with Armin Van Buuren or BT as they seem like they would be better teachers than say Tiesto or Sasha. Everyone's got their workflow and does things their own way to get things done, but it is always interesting to see how other people do things. |
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| derail |
| Yes, it's important that they're great teachers in addition to being great producers. You won't learn much from a great producer if they're not making sure you're paying attention and actually taking in what they're teaching you. |
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| Tarpex |
The "develop your own style" doctrine can only be applied after you've got your technicalities in your little finger, where there's no questioning on to how to do this and that, how to achieve that and that sound, THEN comes the creative part of "developing your own style". If you develop your own style that's total crap to listen to, it's still only well styled crap.
Workflow is a totally different thing here; of course everyone has its own, yet there's some perks in optimizing it everyone could learn from others, for instance, I only recently started adding final drum fx, crashes, fillups&downs and so on after I've done completely everything else, including mastering till limiting, so my DAW window doesn't get saturated with 10+ fx channels and automation lanes till the very end, where it doesn't matter if I can see the rest of the project clearly, where it used to be a do-it-as-you-go approach and approximately 2 days into a project it was getting hard just to navigate the damn thing with all the tracks and automation lanes going around, and now it's a piece of cake setting the levels right so master compression doesn't screw with them, whereas before it was a struggle with crashes & so on disappearing because it was hard to set the right level straight away before hearing what compressor will do.
Difference in workflow? Maybe, but it works. And I bet my ass off everyone has a small perk like this up their sleeve, and I think it's a great idea to have more heads on one place :) |
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| Richard Butler |
It would be useful I guess to spend time with a pro, and why not, but it won't be any kind of silver bullet.
It's not about tricks. |
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| sako487 |
| Well it depends on how much exp/skill you have before hiring a teacher. For example, if someone just started off with producing music, and you tell them "sidechain this, here" or "compress that, there", how would the "student" where to put that the next time starts a project on his own. You obviously need to have some degree of exp to do some "advanced techniques"(not saying side chaning or compression is advanced, just an example). But after you get some of the basics down, sure you can hire a teacher to give you some tips on production. |
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| SDM |
| id rather pay for a course with teachers that know how to teach. its really only a few creative persons around that are capable of learning away their skillz. |
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| Lolo |
Well well well.
To sum things up from my end.
I'd never say no to screencasts and all that stuff. Problem is that it's so impersonal to me. And I can compare with 1to1 or classroom sessions.
As I said earlier, I'm already giving away courses at a private school in Brussels. I take this part of my career very seriously, as this school focuses entirely on Electronic music and Dj'ing.
We're expanding the school right now with facilities in other parts of the country and collaborations with other schools worldwide.
My goal on midterm is to shoot the local Electronic Music Producer diploma that SAE Brussels is giving away. Students seem to get out of there and still know nothing. SAE is a famous school, don't get how their Brussels facililty can rip people off this way.
Second goal: find the 4200 Euros for my Multi-level Logic Grade, as I've more been struggling with money than anything else the last 8 months, and with the little girl who's now there, it ain't easy. I'll get the certification which means I'll be taken more seriously by those morons doing as if they were giving lessons away when in fact they just rip you off.
Third Goal: together with the school, create a fully-featured network of students, artists, booking agents, promoters, owners, linked to each other, as no one at my school can stand the music/event business anymore.
We're now 10 people working on this project and I feel honored to be part of it. And even if it pays "" right now. And YES, we're open, and open to all kinds of collaborations in europe and overseas.
So, of course I'd be happy to get more money with 1to1 lessons, but to be honest, the feeling of a lesson with max 10 students IRL in a classroom is priceless. I think it gives what I've done in the last 15 years a lot more sense. And believe me, when looking at my musician's career, I have big frustrations coming up at times, because I didn't make the right decisions most of the time. But joining the school is probably the best I've ever made in 15 years. |
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| aNYthing |
| $40/hr? Sign me up... The issue is that I doubt proper pros would do it so cheaply. I was trying to get Tom Colontonio to give me some paid lessons and he politely declined.... I was willing to pay as much as $150. |
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| Eric J |
| You know, I'd probably be a lot more interested in learning about arrangement and theory. I don't know that any "trance legends" would be the right person for that type of instruction for me (except maybe BT or Marc Mitchell). Lately, I have been feeling like there is too little attention paid to songwriting in this music. |
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| MrJiveBoJingles |
| quote: | Originally posted by Eric J
You know, I'd probably be a lot more interested in learning about arrangement and theory. I don't know that any "trance legends" would be the right person for that type of instruction for me (except maybe BT or Marc Mitchell). Lately, I have been feeling like there is too little attention paid to songwriting in this music. |
I think the latest threads bear this out where you have people claiming that the most important parts of production are mixing and mastering.
:wtf: |
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