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This whole concept of "finding sounds that work"... (pg. 14)
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| Richard Butler |
Not much wrong with what you have so far, nice tension and some decnet sounds in there. Maybe de - linited a little.
Now I guess your at the stage of developing a melodic core, from the break onwards.
Keep going, like a soldier in the swamp, step by step, nothing will put you off course, nothing, as the sweat gouges out your eyes, you keep going forwards soldier, right. |
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| BritishLizard |
| quote: | Originally posted by CalvP
I can assure you 10 years ago i visited vinyl record shops & had exactly the same experience - albeit i might not hear 397 terrible (imo) records, the large majority were still irrelevant because they didn't represent my sound. Don't forget there is always gonna be label owners with more £ than sense regardless of the medium or distribution method.
Knowing your LFO's from your HPF's may improve your sound design & theory the musicality, but isn't the simple fact of the matter that some records/artists you will just not like EVER because of your life experiences & the ear you've consequently developed?
I don't mean to lay into you, but i just don't think this situation is ever gonna change! |
Your not laying into me but you also are not saying anything that I have not heard or went through myself, I have been mixing and producing for 12 years. LFO and EQ were just examples. Unfortunately the digital age allows for more to get through that is all. |
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| Morvan |
| Also that kick is too boomy in my opinion. |
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| Beatflux |
| quote: | Originally posted by DJ Robby Rox
You know what I love you guys. I really do I got mad respect for all you people. I like all your takes on what was said here Kysora knows me the best here and M4B makes a great point about fear of failure but what Eddie said genuinely scared me a lot.
Something in my process keeps causing some form of "analysis paralysis" and rather than analyze what my actual solution is I think I need to make a simple fundamental change in my process in order to remedy this.
That change is going to be for my next track ... I am NOT making a bassline. Cause like Eddie said this last track I tried not to obsess over the bassline but I still don't want to finish it because there is tweaking left that I can do and I hate the way it sounds. It is definitely doing something to me because its like I literally can't finish a track as long there is potential left to work on my bass.. which there always seems to be. For some reason I just fear my basses not being perfect. And what Ky said also struck a chord too. I've never really imagine what it would be like to actually produce a bassline I'm happy with.
I never really went through that process in my head.
What the would I do? I honestly don't know. I would not stop producing thats for sure but I think I'd be left with some serious type of empty feeling in my chest. Like x however many ing years wasted on basslines for what? And I have WASTED SO MUCH TIME.
I think it would be like having a part of your body your deeply insecure about so you can never finish sex and people keep telling you "just do it" but they don't understand the anxiety you feel and why it paralyzes you. I don't feel anxious when I'm making my bass its more of an obsessive type of behavoir that I've gotten far too use to.
So I'm removing that variable completely and if this doesn't work honestly I don't know what will like Eddie said. There is just nothing else I can think of I need that inspiration to wanna finish something but for some reason it seems I derive that inspiration totally from my bass. Its ing stupid I know. I need to force myself to get inspiration from other instruments this just isn't normal, and I'm really hoping this works it makes sense so I don't see why it wouldn't. |
Go see a doctor. |
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| DJ Robby Rox |
No need for that doctors are about as useful as the post you made anyway.
I started a new track keeping the bassline out and I'm pretty sure this was what I needed to do. I am working on the atmosphere and melody of the track and it actually seems to have some direction and emotional content this time.
I'm glad Kysora mentioned the fact that the track had no heart because that was something I should have known but once again was not focused on that aspect of the mix. I'm not blowing things out of proportion this time I'm just doing what I say and for now on bass gets done last or it doesn't get done at all. I always go back to the bass over and over regardless of what other instrument I'm trying to work on and need to set new habits. So no crazy talk this time lets just see how this track turns out... I should have it up in about 3 years hopefully :toothless |
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| DJ RANN |
| quote: | Originally posted by CalvP
I have to disagree with you there. The digital age has made it much more viable to release a record - sometimes with no outlay whatsoever, that is undeniable. But this new era stands for a new found ease of use & a plethora of options unavailable to us a decade ago. Just as you can now communicate with 500 Facebook friends at once, you can now find 1000 trance releases a week rather than 50. Therefore if there are more bad then there must be more good too. It always amuses me when i read of DJ's moaning about finding records; they have much MORE time to search now with the rise of Traktor etc do they not? jesus you haven't even gotta leave your front door these days! it is what they're being paid for is it not:p
I used to be a record buyer, so let me offer up this perspective:
I bought using two factors:
1. Guessing what would become popular.
2. What i deemed 'good' myself (with a hope my customers agreed with me)
There were many records i didn't buy at all, or bought in small quantities which if i was wrong would sell out immediately & not be able to be re-stocked. You could of walked into the shop & deemed it a poor week for releases, in part because of my ego. Your ear could be vastly different to mine. I could of handed you 200 records i thought you'd like which you in turn hated & it's highly unlikely you would have the time to listen to much more before life pulled you away to do something else. You walk out disappointed.
What i'm trying to say that your perspective is really someone elses perspective of someone elses of someone elses. Beatport can get 15,000 new releases a week & who has the time to listen to all of those realistically unless you're a professional DJ? the chances are most people are utilising a number of different sources & using an element of luck to find agreeable releases, which is fine & dandy but can only offer a skewed perspective on the whole scene - albeit one which is good for the sanity:p
Judging a record as '' is your prerogative, but just like anything else in the world - somewhere, someone has got their credit card out & is now enjoying listening it. You may dislike something for it's lack of technique, but what's the alternative? the minute you start molding it into something closer to your vision of 'right' who's record does it become?
I just don't think it's an argument that helps anybody! if what you say is true, wouldn't that INCREASE the perceived value of something good? or in other words get writing & ignore the negatives:D |
Not to derail this thread anymore than it needs to be (where's Chronodevir when you need him?) but here's my post from the other thread about it becoming too easy to make music:
| quote: | Originally posted by DJ RANN
A simple answer to the thread title, is YES.
I know some of us have touched on this before (Dave, Alanzo, Lolo, Eric J etc) but in the old days it used to require a lot of investment in terms of both equipment and time.
Now also factor in that you would probably have a pro engineer involved at some stage and that it would be mastered and pressed to vinyl (an expensive process) and you essentially had a quality filter.
Don't get me wrong, there were still some atrocious vinyl releases but neither artists or labels would spunk all their money, time and effort if the track was crap.
It also meant you had people who knew what they were really doing, both musically and technically, were the ones producing records.
Now all you need is a computer, a bunch of plugs and digital label to get a release out. None of these "filters" are in place anymore. It's never been easier to make a track or to get it out there.
Now combine this with the rise of "rockstar", jesus posing, fist pumping DJ culture (a' la guetta and SHM), and any twat with a PC thinks they will be the next big thing at wet republic.
This means the mass standard has dropped in terms of the quality of music. This doesn't mean that quality music is not being produced, it's just harder to find amongst a sea of disposable dross.
At least one positive thing out of the increased accessibility is that there is the potential for people who are talented to create something great with not much outlay, which previously was impossible.
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You may well say that more people now can release music and therefore music should in theory be better for it etc, but if that's the case, why is it widely accepted that the standard of quality music is not what it used to be? I think someone asked in the other thread, why are there so little classics? or to put it another way, why is music so disposable now? (again, see the above for my answer).
I've been mixing for (gulp) nearly 18 years and I can tell you now, the ratio of crap to great tracks was FAR lower in the days of vinyl only DJ'ing. I would maybe only buy 5 or 8 tracks at a time (5 quid was a proper meal in them days) our of a pile of a 100 or 200 records but I remember having to actually choose which ones I really wanted and the rest would sadly get put back.
Now I'm lucky if I wade through 500 and pick 3 that stand out. It's even much easier to track labels, artists, remixers, producers that you like rather than having to just remember it(beatport does it for you and even suggest other similar crap you may like).
I completely understand it's all matter of perspective and it's a common occurance in the human condition to think that things were better in the past etc, but this is not that.
I have so many memories of hearing a track for the first time and just thinking "0instant classic" and now it just doesn't happen anywhere near as often, and I'm proved right as there are very little modern tracks being produced that warrant that classification.
I'll just leave this here:
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| Vector A |
| quote: | Originally posted by DJ RANN
You may well say that more people now can release music and therefore music should in theory be better for it etc, but if that's the case, why is it widely accepted that the standard of quality music is not what it used to be? I think someone asked in the other thread, why are there so little classics? or to put it another way, why is music so disposable now? (again, see the above for my answer). |
I used to have the same complaint. But eventually I realized that my complaint had more to do with the fact that people were no longer making the particular kind of music that I cut my teeth on than any objective "loss of quality," and what I needed to do was stop complaining and open up to new stuff.
What impartial metric of quality can you offer that will give you a winning argument about an overall decrease in good music? I would like to see it.
As far as market saturation goes, psychological research has shown that when you give people a ton of things to choose from: (1) they get stressed out by having to examine so many things to make a choice and (2) they are less satisfied with their ultimate choices than if they had picked from a more limited set. I think that to whatever extent people have lost that sense of "instant classic" and such, we are seeing that effect in play. Having choice is a good thing, but it does not follow that giving people a thousand or ten thousand choices will make them happier. In fact it seems to make many of them uncertain and dissatisfied.
On the other hand, maybe you are just getting old and jaded.
;) |
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| Raphie |
Is easier to start pretending being producer, label or mixing / mastering guy.
But i have to agree with RANN, though the threshold to get involved is lower than ever, It doesn't help you at all to producer better music.
you still need good ears and musical skills to create something sales worthy. look at TS, he's got everyting he needs and more and is now spending more time on overthinking how to sort his wealth of illegal downloaded sample and patch settings rather than making music....
Robby the problem is between your ears, not in the current era, year and age... |
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| Beatflux |
| quote: | Originally posted by DJ Robby Rox
No need for that doctors are about as useful as the post you made anyway.
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Shrink/Psychologist/Life Coach |
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| Beatflux |
| quote: | Originally posted by DJ RANN
Now I'm lucky if I wade through 500 and pick 3 that stand out. It's even much easier to track labels, artists, remixers, producers that you like rather than having to just remember it(beatport does it for you and even suggest other similar crap you may like).
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I started downloading a ton of DJ sets from the dj promo forum section and they were all filled with loads of crap.
When I go through beatport top 100 I can only find a few that I like.
It's terrible to think that DJ's force themselves to play the latest plus they have to sift through hundreds or thousands of songs...its really a low blow to everyone. The cream gets mixed in with the coffee and the grounds shuffling at the bottom...
Am I just not looking in the right places for the good stuff? |
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| BritishLizard |
| Waiting CalvP... |
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| Andy28 |
| quote: | Originally posted by BritishLizard
Waiting CalvP... |
What for?
You a troll?? |
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