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Where Do I Go Next??? (What Do I Need To Learn???)
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| MIKE333ACE |
Over the last few weeks, but mainly the last couple of days. I have decided that I really want to begin learning the technical side of producing because I really want to see how far I can take it.
So, yesterday, for the first time in years, I started reading. The only thing I could think of starting off with was how to use a compressor, which now, thanks to a few websites, I now seem to understand the basics of how to use and how they work.
But, more to the point, I now simply have no idea of what I should be reading/generally learning about next. Do I look at advanced EQ'ing techniques even though I already know the basics? Do I look at how to use general effects such as reverb and delay in a more technical and advanced way than what I already know? Where do I start?!?!?!
If you have any articles or E-Books that you recommend I look at that has any sort of information about technical production techniques, please post them.
Also, just a heads up, I'm quite happy with my understanding of chord progressions and music theory in general. So, unless you have a great article or E-Book for me to read that you would strongly recommend, this is not a priority. But, I wont complain if you suggest that this is still something I should look at.
Cheers :) |
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| Looney4Clooney |
| Well I think a fir;t is to get a twitter account or at the very lest stop treating this like it is. You are asking pretty much how to live your life. That is how vague your question is. |
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| EddieZilker |
| Just do, man. While I appreciate the thought and effort you're putting into these questions, ones like this can't really be answered effectively. A lot of the answers you want come from doing. I will say that if you want input on what you need to be working on, posting WIP's and completed songs in Music Producer's Promo, along with giving feedback on other people's work, is a really good way to get those answers. |
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| cryophonik |
Have you gone through the tutorials and recommended books in the stickies at the top of the forum? There's a ton of info there.
| quote: | Originally posted by MIKE333ACE
Also, just a heads up, I'm quite happy with my understanding of chord progressions and music theory in general. |
Well, I will just point out that music theory does not equal composition. Yes, they're closely related, but one can have excellent music theory knowledge, yet struggle to write any decent original material. Not saying that this is your case, but it's something to consider. |
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| TranceElevation |
| quote: | Originally posted by MIKE333ACE
Over the last few weeks, but mainly the last couple of days. I have decided that I really want to begin learning the technical side of producing because I really want to see how far I can take it.
So, yesterday, for the first time in years, I started reading. The only thing I could think of starting off with was how to use a compressor, which now, thanks to a few websites, I now seem to understand the basics of how to use and how they work.
But, more to the point, I now simply have no idea of what I should be reading/generally learning about next. Do I look at advanced EQ'ing techniques even though I already know the basics? Do I look at how to use general effects such as reverb and delay in a more technical and advanced way than what I already know? Where do I start?!?!?!
If you have any articles or E-Books that you recommend I look at that has any sort of information about technical production techniques, please post them.
Also, just a heads up, I'm quite happy with my understanding of chord progressions and music theory in general. So, unless you have a great article or E-Book for me to read that you would strongly recommend, this is not a priority. But, I wont complain if you suggest that this is still something I should look at.
Cheers :) |
Compression imo is one of the easiest and most pathetic topics in music production, if explained correctly.
The problem is that 9 times out of 10 is explained wrongly.
For example, repeating every time what each knob does is completely useless if not contextualized.
Compression on a kick drum is one thing. Compression on vocals is a whole different animal.
There are two moments in the path. When you want a compressor and when you need a compressor.
When you want it is primarly to obtain a certain effect from it, for example to enhance the punch of your kick drum. Make it more tight, solid and present.
And when you need it...is for mixing purpose. For example, a particulary dynamic bassline (where the range between low and high volume is big) may cause a serious problem to your mix.
As you should know, the most important sounds of the bassline occupy, for the most, the same frequency area as the kick drum. So, a bassline bouncing up and down in volume will easily interfere with the kick, thus creating muffle and unclarity.
And to prevent this from happening we grab a compressor. To CONTROL the sound, to TAME it, to make it more STABLE, to render its amplitude more UNIFORME. In this way, having a linear volume (exaggerated) is easier for our ears to place the bassline at the right volume stair.
Also, by coompressing the sound we get a higher average volume, which permits us to turn the volume down and still not loose it in the mix, cause the sound is more present, its stable, it doesn't fluctuate. (But that's a different animal, search somewhere for RMS vs Peak volume).
So, to make the picture easier.
1) When you wanna use the compressor to make your kick punchier, think of it as a DOOR.
The kick starts, rises...and when it reaches its punchier point you shut the door! Enhancing in this way that exact spot of your kick drum.
2) When you need a compressor to tame an excited bassline, think of it as a super fast volume automation (you're FL user right?)...so think of it as automation clip that constantly automates (controls the volume).
3. When you need it for a vocal, again...it controls the amplitude, but this time with a gentler manner, cause we wanna preserve the natural beauty of the speech without making it dull and lifeless.
So...the compressor has multiple tasks depending on what you're utilizing it for.
My advice is to use it with a precise goal in mind.
A mistake I was making when started was to use it cause that's how is done, that's how it should be, that's what the rest does, without actually knowing and understanding the effect it was producing on my entire mix.
A good way to start is from David Gibson's "Art Of Mixing" dvd. It is not technical, is well structured and very funny and entertaining to watch. |
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| MIKE333ACE |
| quote: | Originally posted by TranceElevation
Compression imo is one of the easiest and most pathetic topics in music production, if explained correctly.
The problem is that 9 times out of 10 is explained wrongly.
For example, repeating every time what each knob does is completely useless if not contextualized.
Compression on a kick drum is one thing. Compression on vocals is a whole different animal.
There are two moments in the path. When you want a compressor and when you need a compressor.
When you want it is primarly to obtain a certain effect from it, for example to enhance the punch of your kick drum. Make it more tight, solid and present.
And when you need it...is for mixing purpose. For example, a particulary dynamic bassline (where the range between low and high volume is big) may cause a serious problem to your mix.
As you should know, the most important sounds of the bassline occupy, for the most, the same frequency area as the kick drum. So, a bassline bouncing up and down in volume will easily interfere with the kick, thus creating muffle and unclarity.
And to prevent this from happening we grab a compressor. To CONTROL the sound, to TAME it, to make it more STABLE, to render its amplitude more UNIFORME. In this way, having a linear volume (exaggerated) is easier for our ears to place the bassline at the right volume stair.
Also, by coompressing the sound we get a higher average volume, which permits us to turn the volume down and still not loose it in the mix, cause the sound is more present, its stable, it doesn't fluctuate. (But that's a different animal, search somewhere for RMS vs Peak volume).
So, to make the picture easier.
1) When you wanna use the compressor to make your kick punchier, think of it as a DOOR.
The kick starts, rises...and when it reaches its punchier point you shut the door! Enhancing in this way that exact spot of your kick drum.
2) When you need a compressor to tame an excited bassline, think of it as a super fast volume automation (you're FL user right?)...so think of it as automation clip that constantly automates (controls the volume).
3. When you need it for a vocal, again...it controls the amplitude, but this time with a gentler manner, cause we wanna preserve the natural beauty of the speech without making it dull and lifeless.
So...the compressor has multiple tasks depending on what you're utilizing it for.
My advice is to use it with a precise goal in mind.
A mistake I was making when started was to use it cause that's how is done, that's how it should be, that's what the rest does, without actually knowing and understanding the effect it was producing on my entire mix.
A good way to start is from David Gibson's "Art Of Mixing" dvd. It is not technical, is well structured and very funny and entertaining to watch. |
Wow, thankyou very much for this. already just from reading it I've gained a bit more knowledge about compressors. And yes, I do use FL, so understand what you were talking about :) |
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| MIKE333ACE |
| quote: | | A good way to start is from David Gibson's "Art Of Mixing" dvd. It is not technical, is well structured and very funny and entertaining to watch. |
Thanks, I'll check that out. |
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| Wayn0 |
Unfortunately it's not so easy as to have a path mapped out for you. There is no "ok go to A, then do B, then C" etc. I haven't been producing for very long, I started because I knew that I had a really good musical ear and a lot of knowledge about trance, as i'm sure is the case for most producers.
At the start I was also looking for an A,B,C approach, and am still struggling with the reality of how this learning process actually has to happen (i.e still looking for officially organised FL courses for example).
Now I may be wrong about this but, the way I see it, you have to spend a LOT of time just practicing, it feels like you are never getting anywhere but things slowly begin to digest, I guarantee you that in a years time you will look back and notice a notable improvement in your base knowledge of production, even if you did nothing BUT play around with the software by yourself. But of course you also need to read and watch tutorials too.
I used youtube a lot, and specifically two channels: 'Ste1438' (very nice for the basics) and 'MaryPoppinsMusic' (aka Norland - gives a nice insight and some samples etc). But there are many many more like 'nfxbeats' and lets not forget 'imageline'!
The start pretty much has to be to learn the basics of the software you are using, this will speed up workflow a lot and wont distract you from the task in hand, i.e making music. Following that, I did try to look at specific plugins one at a time, but it didn't do me much good (did of course add something, but out of context). After that I then decided to take a different approach, that was to master each area of my music, e.g. making kicks, then basslines, then the interaction of the two (peak controller etc), then EQ etc etc, you might find that approach useful too.
Ok so i'm rambling now, but really what I am trying to say is, [philosophy] your journey from now to producing quality music will not be the same as ANYONE elses, it will be a long road no doubt, but who knows how you will travel along it![/philosophy] |
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| MIKE333ACE |
| quote: | Originally posted by Wayn0
Unfortunately it's not so easy as to have a path mapped out for you. There is no "ok go to A, then do B, then C" etc. I haven't been producing for very long, I started because I knew that I had a really good musical ear and a lot of knowledge about trance, as i'm sure is the case for most producers.
At the start I was also looking for an A,B,C approach, and am still struggling with the reality of how this learning process actually has to happen (i.e still looking for officially organised FL courses for example).
Now I may be wrong about this but, the way I see it, you have to spend a LOT of time just practicing, it feels like you are never getting anywhere but things slowly begin to digest, I guarantee you that in a years time you will look back and notice a notable improvement in your base knowledge of production, even if you did nothing BUT play around with the software by yourself. But of course you also need to read and watch tutorials too.
I used youtube a lot, and specifically two channels: 'Ste1438' (very nice for the basics) and 'MaryPoppinsMusic' (aka Norland - gives a nice insight and some samples etc). But there are many many more like 'nfxbeats' and lets not forget 'imageline'!
The start pretty much has to be to learn the basics of the software you are using, this will speed up workflow a lot and wont distract you from the task in hand, i.e making music. Following that, I did try to look at specific plugins one at a time, but it didn't do me much good (did of course add something, but out of context). After that I then decided to take a different approach, that was to master each area of my music, e.g. making kicks, then basslines, then the interaction of the two (peak controller etc), then EQ etc etc, you might find that approach useful too. |
Thanks for this.
| quote: | | Ok so i'm rambling now, but really what I am trying to say is, [philosophy] your journey from now to producing quality music will not be the same as ANYONE elses, it will be a long road no doubt, but who knows how you will travel along it![/philosophy] |
Thought that might be the case to a certain extent. I think my best way of learning is to study one tiny aspect at time in detail. So I think that I will now look at advanced EQ'ing. I need to learn how to stop sounds from clashing.
So without trying to completely change the subject of this whole thread. does anyone have any good articles or advice on how to do this. From what I know, you need to cut frequencies on sounds that are playing at the same time so that they dont clash. but whenever I cut lows off a sound it sounds all filtered and "airy." and then the opposite happens when I cut highs. So any help with this new topic, or the original topic of this thread would be great.
Cheers :D |
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| Evolve140 |
| work as hard as you can and be patient :) |
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| sicc |
| as eddie said, just do! and dont stop, and keep reading some basic things such as structure, and get comfortable and efficient with VST's, and synthesis all together, being able to crush presets into new sounds and eventually begin to design your own. Reverse programming. Experimentation. Best method of learning has been experience and practice in my experience. |
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