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What speed do you work at
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| Richard Butler |
This interests me because since reading some posters on anjuna (one in particular - 'Endre' who has an 'artists dump' and makes high quality snippets) claim they can work very fast - much faster than I.
But I don't know how they work fast and to be frank every future music interview reveal a slow painstaking process.
I know you can quickly bang out a basic sketch but when it comes to the work, surely it is not possible to short cut?
Example - of me 'slowly' making a lead AND WHY IT IMO TAKES A LONG TIME;
1) Take a long time finding and editing thr right basic lead sound first
2) Then playing it in - sometimes quick but usualy a while to get it right including getting the right swing / quantise
3) Now layering and duplicating
4)Getting the stereo spread right - maybe delayed in one side
5) Finding the right verb and setting up a send
6) Sorting delay and chorus sends
7) Distortion send
8) Main group fader for all lead components and adding say a warmer / compressor
9) Making a snappy attack phase sound - maybe panning around
10) Automation - sends filters etc
11) EQ (will do some here and usualy more in final mixdown)
12) Commit to audio - freezing is preferable but in cubase 5 all the sends don't freeze with it so it gets too messy for me - Iprefer just one 'done' lead without clutter
13) Edits such as stuttering chops of the waveform for scene ends etc
14) Main volume automation or side chaining to get it pumping / non kick conflciting
15) Realise it's and start over!!
Am I slow - or is this about normal? |
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| Crash |
I dont think you really should care that much about how fast other producers work. Some work faster than others.
To me its alot easier when i have a general idea of what sound i want to get. What mood i want to set in the song. You can start a project without a clue of what your doing but to me that is just relying to much on happy accidents.
When i first start a projekt i try to get the general idea down. Not fokusing on polishing that lead or trying to make the reverb sound great on the crash cymbal or whatever. Just trying to get the general idea down.
Starting with the chorus usually helps me to build the whole tune. |
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| G-Con |
Some of what you list doesn't really take any time if you know exactly what you are trying to achieve and HOW to achieve it. It takes seconds to click the mouse a few times and turn dials.
The time for some of us is taken because we need time to try things out, trial and error, until we get the sound we are after. Experience will gradually cut down trial and error and you'll be much quicker at getting what you want.
Some producers work to a fixed template using the same basic arrangement and saved presets from previous projects, enabling them to speed through a track. I would never recommend this but its clear to hear how some producers are happy to churn out track after track, all sounding very much alike.
Can I also add that judging by your list, you are perhaps too methodical. Try to let things flow and occur naturally as you create tracks rather than, "I need to pick a lead sound, now I need to work on the delay settings, now I need to adjust the reverb and sends, now I need etc etc. |
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| Rodri Santos |
| I can easily have a track in 10 hours, i try to sit on the studio with clear ideas of what i've to do and this saves a lot of time. |
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| Richard Butler |
Swedish House Mafia say they can take 5 weeks to find the right hats for a track. Freemasons in an interview said a typcial track working full time takes 5 weeks.
A dutch duo (can't recal thier name) said they can naver take less than a month.
I would like to become a lot quicker. |
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| Rodri Santos |
| they say , if they need 5 weeks to find a proper hat then they're deaf , if you've 50 hats in your library testing all of them won't take long than an hour. |
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| Mad for Brad |
| but finding a hihat includes the time it takes to go out a do a lot of drugs until inspiration kicks in. You can't hurry masterpieces. |
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| Mr.Mystery |
| quote: | Originally posted by Richard Butler
Swedish House Mafia say they can take 5 weeks to find the right hats for a track. |
That is the biggest load of bollocks I have ever read. |
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| owien |
ive made tracks in a few days and they sound fine but you can tell no real extra producthion time went into them.
so its left at that unless i choise to rip it all apart then it takes a good month.
it all depends on how much you want to spend time on making it all about endless pugins re-edits ect.
personaly i like the get it all up ther working approch and work on one hit arrangement otherwise you just get pissed of with it. |
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| derail |
| quote: | Originally posted by G-Con
Experience will gradually cut down trial and error and you'll be much quicker at getting what you want. |
Exactly. As time goes on and you've worked on hundreds, or thousands, of songs, you get a better feeling for what will work and what won't. So all those steps you listed, you'll only take those steps if you know the original sound is going to work.
I used to spend ages working and working on sounds which were never going to work (even if were to spend a year tweaking).
Have a great song, get great sounds which fit well together and the mixing process will be quick and a lot of fun. It's something extremely fundamental, and something that a lot of new producers totally underestimate. It's not about getting "the best" lead and "the best" kick and "the best" bass and somehow magically they're all going to fit into a mix together. |
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| Mad for Brad |
| if it makes anyone feel better, it took Brahms 20 years to finish his first Symphony. 2 years for his next. I would say focus on quantity when you start but once you've reached a certain level, I would spend more time trying to do meaningful work. |
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| Waza |
| The thing with me at taking my time is my arrangement I just suck at it. I get stuck to long in my 16 bar loops. Wish there was a away to improve that. |
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