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what are biggest mistakes beginning producers make? (pg. 8)
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| Looney4Clooney |
| just like dance music is all just bleeps and boops to any rocker. There are millions of threads on how to sound like them but nobody really knows. There are no presets because their sound doesn't come from presets. There is alot more going but i suppose one would have to be able to recreate it to appreciate how involved it is. |
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| elyhess |
| i havent even read thru the thread, lots of posts xD but i'de say over compressing kick drums is overdone alot of the times! |
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| rapt0r |
| quote: | Originally posted by stewart.m
trying to copy the pros just make your own sound good |
Copy in some terms (like mixing) is good. It's actually necessary to learn something and "fit-in" in present way of making music. Doing everything your way and is great, being creative is great, but why not to take shortcuts by trying to copy and learning in that way to make music for present requirements (especially when it comes to sound design). Besides, you have to fit it in what crowd likes to promote yourself, and this is the way to do it, to make everyone hear you. And this should (must?) be done to get attention BEFORE you post something of your "real soul creations"
/Have you noticed, that many artists, especially ones producing some electronic music subtype, change their style almost drastically months after they go on charts? They got attention they wanted, they are more free to do anything their way./
"Fake it before you make it." in my opinion is a good one attitude.
As for the topic:
Rushing - Posting something that you KNOW could be done better. (I've done (and am doing still) this a lot, just get impatient and post on SoundCloud half-breed mix, which, with work, could be times better in terms of..well..everything. Mixing, Production, Sound design...) I don't know real reasons behind this. It may be just rushing and impatience to make your creation public and get the feel of "I created something," without giving a f*** that track is weak, uninteresting, beach dance track reminding 80 year old virgin going berserk on dance floor supported by sounds reminding rheumatism. It's still a virgin though, awaiting for someones ears to "open it's treasure chest." Maybe it's inability to realize that track isn't that good and the fact that you made a track doesn't quite make you an artist. Or at least artist that is praisable in every possible way you expect. Maybe, like in my case, it's just a pure laziness. Do nothing, expect much. Need to do something with this attitude. And Under this one goes many other mistakes like
Not giving attention to details.
Not giving enough thought on idea of track.
Not paying attention on quality and real purpose of plugins (but don't limit yourself, be creative, many times another purpose plugin makes a great, unpredictable, desirable and creative effect). As an example, I will make FL's native Fruity Reverb plugin, which, for electronic instruments is bareable, but when it comes to live intruments, it's just awful. (But, as mentioned above, don't overdo and spend money on stuff that you will do nothing with. Useful thing at this stage is..khem..being a nasty pirate.)
Overdoing. This goes everywhere. Making too much of some effect or raising everything too high. When producing a track, you need to look at the "bigger picture," sight and feel of the whole track is important. Many, when mixing, end their "session" by mixing looking at each track individually and stop there.
Not in thinking mood, possibly wrote some crap here. |
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| Akira_Kayosa |
releasing material before they are ready
there is no rush, and if you keep the same alias throughout you dont want average release smearing your discog, wait, perfect, hone those skills until the time is right to strike.. |
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| Zombie0915 |
If it's all about finding novelty in sound design and we've pretty much exhausted the musically useful settings of subtractive and FM synthesis, then what is left there? I guess you can filter the out of some noise, theres probably some novelty left in granular, additive, and physical modeling methods as well.
Are we to all learn max/msp, PD, csound, supercollider and that kind of stuff to arrive at something new production wise?
Right now what I hear happening is mostly massive and FM8 usage, not that I mind it, the FM8 is rather fun to play with. I'm just not sure if the continued exploration of synth programming as an avenue to new art won't also dry up rather quickly, unless we start developing a taste for different varieties of squelchy noise configurations.
The real artsy folks around me are way into this glitchy computer crashing type stuff but I don't really feel the new in it, people have been doing glitch for ages and to me it all sounds the same. |
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| Looney4Clooney |
i find the use of smart automation combined with resampling and using effects in a non static way what can be explored much further.
I've been exploring modular synthesis with my nod g1 and g2 and there are some tutorials that are mind boggling. |
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| derail |
| quote: | Originally posted by Zombie0915
The real artsy folks around me are way into this glitchy computer crashing type stuff but I don't really feel the new in it, people have been doing glitch for ages and to me it all sounds the same. |
Same here. I'm not hearing anything production-wise which people weren't doing a couple of decades ago. Meh, not that I care. People can do all the glitching and production techniquery they like, each to their own. There's still plenty of good music from people who don't get lost in all that stuff. |
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| Looney4Clooney |
| So the loudness war was all a conspiracy. The useof more than 2 bass sounds was something unprecedentec even a decade ago. There are so many examples I just think you arent listening. |
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| derail |
If we get into a discussion of what consitutes "new" we could be here for years. Is pushing a compressor's ratio knob way higher "new"? Is adding a twentieth "bass" sound "new", as opposed to adding a twentieth drum sound, or a twentieth "synth" sound?
Are we talking in terms of "mainstream" artists, or "nobody at all, no matter how mad-geniusy they were, had ever tried anything like this before Year XX"?
Sure, I can point to changes here and there, but I'd have a hard time definitively stating "this particular sound, or technique, has no precedent".
In the end, to me it doesn't matter whether any aspect of production is new or not. If a song has a catchy melody, I'll give it some ear time. Genre doesn't really matter. |
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| Looney4Clooney |
| And that is your own taste. Part of why we listen to music is that itf reinforces our expectation. But as an artist, doing what has already been done makes no sense. Even from a listener perspective, why listen to new music unless there is something new. You claim it isnt important yet you still seak new music imagine. And so I do think production matters even to those thatg claim its all about the tune which I think is just trying to go against the grain and overall trend for the last 30 years. |
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| derail |
I'm more than happy to listen to people doing something slightly differently, production wise, but the melody comes first for me. And luckily there are still artists where that matters to them.
For other artists, like squarepusher, noisia etc, production technique is the only thing going on. Only when they're doing a remix does a melody stay in there (unless they can find a way to drop it).
For me, what these artists are doing is irrelevant; meaningless.
Maybe it is just me, but I hope catchy pop/dance tunes continue to find more listeners than glitch/noise artists. |
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| Looney4Clooney |
| I think if you studied harmony for even a year, the novelty of a catchy melody will fade rather quick. Melodies are like micro djing at this point. Just plug one in. THey are all the same with some rather small variation. |
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