Posts Tagged ‘music tips’
Creative procrastination
Creative procrastination
When it comes to productivity, there is nothing the mind loves more than putting things off. Especially if it’s creatively important. Because of this you may need to trick your mind into getting started.
There are a few ways to go about this and I’ve probably mentioned a couple of approaches in one of my past blogs. For a quick recap though here are a couple ways to get yourself started.
Just start – Don’t prepare to start. Just jump in and don’t ask permission or look for advice. Just act like you’ve already got things under control. You’ll be surprised how powerful this can be on your creativity and productivity.
15 minutes a day – it’s exactly as it sounds. It’s a commitment over a certain period of time, typically 30 days, where you commit to doing a task for 15 minutes a day without missing a day. You can go more than 15 minutes each day, but that doesn’t get you off the hook for tomorrow’s 15 minute commitment.
An alternate approach is one I just read from one of my favorite personal growth bloggers Steve Pavlina. He suggests you commit to doing a larger project in 15 minute chunks. You simply commit to get busy for 15 undistracted minutes. If after 15 minutes you want to stop you are free to, or you can immediately re-commit to another 15 minutes or after a short break. I think this is a fantastic approach.
Keep a record – Another Steve Pavlina approach is to keep a log of everything you do for a full day. Anytime you change a task you write it down. So if you are working and then you get a text and you respond, write it down and write the time of day next to it. If you use the bathroom, write it down. Essentially what this does is makes you much more focused and aware of how you are spending your time from moment to moment and you can later determine where all your time is going. This tip is huge!
A new Approach
Here is another approach I’ve just come up with that sounds like it’ll work wonders for me and hopefully will for you as well. One of my biggest roadblocks is the preparation before actually getting started with a task. For example, when making music you need to make sure you have all the correct equipment , sound card, midi controller etc set up as well as access to your sound library, presets and templates. All of that can really be unmotivating when all you want to do is create. Typically you’ve lost your motivation half way into setting up. Unless your setup is dead simple, you typically will avoid setting up to create and thus you avoid creating because you have to set up. It’s a lose lose situation.
Here is a very simple solution:
Devote 15 minute chunks of time just setting up for making music. If 15 minutes is all you can handle, cool, but you’ll probably find that after the first 15 minutes and you’ll have less resistance to the next 15 minutes. When you are finally set up, don’t attempt to start creating. Take the rest of the day off and then commit to 15 minute chunks of musical work first thing the next morning if at all possible. This takes away all the distractions and procrastination tactics you typically encounter and gives you a direct path to starting work immediately. Also do your best to shut off any programs or social media that will distract you and clear your workspace from anything distracting as well. The only thing that should be grabbing your attention is your project. Also if the setup is complex, you may want to take some notes to make it easier the next time you need to set up for a project. For me, I use alot of my equipment for multiple purposes meaning I do alot of setting up, tearing down and reconfiguring. If you have to tear down after a project, allow yourself to hold off til the next day. You may find you have some last minute ideas spark up and you want your workstation ready to go.
By separating the tasks of preparing to create and creating, you are giving yourself a huge advantage. First off, it’s much easier preparing to create get started without fear of failure. You are not going to be judged for how you set up your equipment, so you’ll have much less resistance getting yourself started.
The next day when you actually DO create, the mundane tasks will already be completed leaving you a direct path to take what is in your head and turn it into something physical without distractions or roadblocks. Separating the tasks takes away your ability to use either one as an excuse for not completing the other.
Give it a try if you find it hard to get started on a creative project. Some of these tips helped this blog get written. I hope it helps you as well!
Happy Music Making,
Jason
P.S. – Don’t forget to comment & tweet (down below) & “like” (up above).
All your feedback & support is appreciated!
Dancefloor essentials
Essentials when making tracks for the Dancefloor
When it comes to writing electronic music for clubs, Â it’s often a good idea to have a few things in mind before you tackle that track.
Who is this track for?
What DJ’s would I want playing this track?
What should I use as a reference to keep me on track?
Although plagarism is most likely going to make you look like a sad imitator, not knowing the proper structure and elements that make a track in a certain style work can also make you look pretty amateur.
Templates
For me, it’s not about plagarism or theft (unless you consider any type of sampling to be theft), it’s about understanding the template before you randomly bang out a few loops and expect a dancefloor hit to result. It’s like knowing which colors compliment eachother on canvas to get a certain result. As much as we would like to take credit for being the sole influence of every great piece of work we’ve done, every style of music has a template. Breaking rules can be pretty important in expanding a sound and pushing boundaries but push too far and you’re either in another subgenre of music or your song gives the impression that it has somehow missed the mark. This can be that either  too much is going on, not enough is going on, or that the structure leaves you feeling bored or overstimulated.
In business they say that if you want to be successful, you should model someone who is already successful in your field. I think the same goes for music.
For me, I’d be a bit like a train without a track without some sort of template. I usually don’t have a template when I am jamming ideas, but once I get into arrangement and mixing mode, I definitely have a reference, format or template in mind.
Usually I let templates assist me when it comes to figuring out the elements I need for a complete track. Without having something to reference, I can easily fill the song with too much in one area and not enough in another area. So I may listen to a track for guidance, even if it’s one of my own completed songs. I’ll map out the elements something like this:
*Kick
*Drums
*percussion
*crash
*drone
*Bass
*pads
*lead or hook
*cut up bits
*”build up” sounds
*fx
This, of course, is a very basic list off the top of my head, but it’s good enough for this example. With these I take a loose mental note of the basic frequency ranges of each part. This can expose holes in my frequency spectrum and lead me to know if I need to play that pad an octave higher or lower etc.
It’s important to not try to fill up all the frequencies at all times. Without some gaps, it’ll be difficult to build excitement. It’s important to know how few elements the track can run on and stay sonically interesting. Leaving a hole in the high frequencies, for example, can make room for those high hats that come in on the offbeat at certain peak points in the track.
Given these elements above, I would make sure that each part in my song either fell directly into one of these categories or was playing a neccesary support role to one of these elements. A bass for example might need 3 elements working together to get the right sound. Typically each layer will consist of a different frequency range where when put together make one rich, dynamic sound.
If you are playing 3 different parts in the same bass frequency, you’re most likely going to want to either cut something, or re-EQ one of the parts so they don’t interfere with eachother. Interference causes a lack of clarity and the overall impact is likely to suffer.
DJ mixes vs songs
When it comes to building a template of sounds, I prefer to listen to a Live DJ mix instead of individual songs from a DJ I would like playing my track. The reason for this is manyfold.
For one, you are able to find common themes and patterns in the overall sound of the mix instead of taking direct influence from one artist alone. You are also able to hear the elements of the songs that are being highlighted in the mix and which are not being used.
It may turn out that a DJ needs to re-edit or layer a track for it to work on the dancefloor. If you are able to listen to a 4+ hour mix, you can really get an idea how the DJ builds his set in a live situation instead of the snapshot that is given on a commercial DJ mix CD.
This also gives you the ability to know whether your style is best suited for the early, mid or late portion of a set. Where individual tracks come in handy is when looking for inspiration in the arrangement of your song.
I recently took this approach with a track of mine. I produce with a partner under the name Innerstate (not to be confused by the trance artists under the same name). We hadn’t made a new track as partners in several years and although we both are more skilled at making music now than we were in the past, it definitely took us a bit to find our feet.
Ask a DJ
A DJ that has been (and continues to be) a big supporter of our tracks was coming to LA which is pretty close to us and we didn’t want to show up empty handed this time. This put a fire under our asses but also put us in a bit of a rush as we only had 3 days to complete an unfinished track idea.
To make a long story short, we missed the boat on the 1st version of we delivered. I wouldn’t say it was crap but it certainly wasn’t up to the standard people have grown to expect from us. It was also missing the elements that this particular DJ was drawn to, elements that had become a trademark for us.
Our first reaction was to be a bit defensive of the new direction we had taken but we soon realized that sometimes it’s important to hear from a fan or your work to keep you on track.
We took some time to listen to actual live mixes from him which surprisingly had some of our tracks in them. It was nice to know they still worked with current DJ sets on top notch sound systems. This brought back to mind what the name “Innerstate” was all about for us. We realized that not only did we have the wrong elements, the EQ’ing was too “in your face” for this style of music.
We went into a bit of panic and feeling like we failed, but once that passed, we went about to find our own way of expressing the right elements and getting rid of the ones that weren’t working.
I’m happy to say that version 2 of our track was massively improved, and we learned a whole lot from the whole process. Everyone we shared it with gave it great feedback. There will likely be a few more minor tweaks but it’s pretty normal for any producer to have their songs “road tested” before they settle on a final mix. If you have a friend that DJ’s in well established clubs around the world, you’ll be doing yourself a huge favor by listening to what they have to say. This of course, is assuming s/he plays the kind of music you make.
I wrote this blog to expose some of my own weaknesses in hopes that you won’t give up when you have struggles. Almost everytime I write a new track, I feel like a beginner all over again. I wonder exactly how I managed to get that sound in my last track and if I can pull off something as interesting or more interesting than that in my new track.
Writing music for the public can be pretty scary. Putting something out into the world is your way of saying “I think this is good and I’m gambling my reputation on it”. Don’t let that scare you off though, every artist is going through the same thing, so you’re in very good company.
Happy music making,
Jason
P.S. – Don’t forget to comment & tweet (down below) & “like” (up above).
All your feedback & support is appreciated!
Professional 1 on 1 Ableton Training
Personal 1 on 1 Ableton training
Although I believe that my tutorial video collections are very helpful for most, I know of several people who prefer direct interaction with me. You may have a specific topic that is challenging you or perhaps you run into a rough spot in one of your songs that you need guidance on.
Whatever it may be, there are several reasons to opt for personal training. I personally find my learning and production skyrockets when I’m working with another person. I find that the power of 2 or more people working on a creative task can accomplish quite a bit more that each individual on their own. Each person brings certain skills to the table that the others may not have.
Since 1999 I have been doing 1 on 1 training on a number of programs including Cubase, Acid, Fruity Loops, Pro tools, Sonar and Reason. My experience over the years helped me understand what was most important tips and tricks are that would be most helpful and productive. This also led me to making video tutorials and starting my blog.
The reason I switched from personal training to making videos was simply the ability to reach and assist more people through the internet than I possibly could privately. There were only so many people I could help within my local area & to go outside of that zone was very time consuming. The reason I return to a limited amount of private training is that I now have the ability to do sessions with anyone in the world from the comfort of my home. Now we can access my studio or yours at any time during the session. That prospect is exciting and inspiring to me.
My sincere goal has always been to empower people to be more productive and to help them make music they can be proud of. Sometimes knowing all the tricks isn’t enough to give you that creative instinct. Sometimes you get stuck with too many choices and you freeze up, afraid of making the wrong choice.
This is where personal training can come to the rescue. You can have someone on your side taking you directly the the right tool in your toolbox to accomplish what you have in mind.
You’ll also have someone who can see and hear potential issues before they turn into a problem. To know your tools well is definitely important, but more important is to know which technique will give you the best result for your immediate task. This is why many people hate reading manuals. Sure the information is most likely in there (if it’s a decent manual), but who wants to dig through all 500+ pages to get to the 1 paragraph that will solve your issue? Out of the 1000′s of choices you have from moment to moment in your songwriting. wouldn’t it by nice to know that you’ll only need 15 or 20 of them to finish the song in front of you?
Although I have a Remix walkthrough collection that has helped a number of people, some want that experience applied directly to their song. Perhaps your song needs different tools that I didn’t address in my video collection. For whatever the reason, I am making myself available to help you get to the next level.
When you book a Personal Training session, it will be your time to learn exactly what you want to learn. If you want to learn a certain technique, I’ll walk you through it until you have confidence performing the task yourself.
Maybe you want to watch how I might approach a certain songwriting task. Perhaps you want me to help you work on your own ideas to try to pull out the potential that hasn’t yet shined through.
Remember that very few people do everything on their own. Pretty much everyone has people they go to when they are in a jam. Even the best of the best. I do it ALL the time. There is no shame in asking for help when you find yourself stuck. If I can be of service, I encourage you to contact me.
As I expect to be booked up pretty quickly, it’s probable that i’ll be raising my prices if wait times get too long. I would rather charge more and be able to work with people more quickly. Also if you would like to go in on a session with a few friends, that is also fine by me. Just make sure you are organized in what you want to learn or work on.
This should also help those of you who read my blog and watch my videos as I’ll be able to share more challenges and solutions that I come across.
What this is not
Those of you with viruses, software problems, or computer repair needs will not benefit from my services. Make sure you sort out your glitches before booking a session with me. I work pretty specifically with Ableton Live so I won’t be doing training on 3rd party synths, effects or other DAWs. If you have specific needs, make sure to discuss it with me prior to booking a session.
Booking a session
If you are interested in booking a session click on the link below:
http://www.musicsoftwaretraining.com/1-on-1-training/
Happy Music Making,
Jason
P.S. – Don’t forget to comment below with any questions.
All your feedback is appreciated!
A Minimalist approach to songwriting
A minimalist approach to songwriting
A common situation many people fall victim to is that the more tools that you use for your songwriting, the more that can potentially go wrong. This is not to say that tools can not be incredible time savers, but they can also be huge time wasters as well. What I want to share with you is a new way of thinking when it comes to writing and completing songs.
Preparation
How long does it take you to “prepare” to make a track?
Do you plan this out beforehand or do you just fumble around for the right sample, plugin in, effect, synth, or synth preset during the songwriting process?
Besides all the sounds and effects, how many controllers are you setting up (or attempting to set up)?
Are you struggling with getting hardware up and running in order to simplify your songwriting process?
Are you working with a midi controller or 2? How often does it speed up your songwriting process rather than just giving you a prettier button to push to do pretty much the same thing?
I’m not trying to talk you out of using hardware or software tools, but rather warning you against trying to make everything “look” pretty and “professional” before you get started. This is a mistake myself and many other producers have run up against. Hopefully it will start to break this cycle for those who read and share this blog.
Remember: This is your songwriting time, this isn’t your “sound design, muck around with effects you’ve never used, try to get this damn controller working because everyone says how badass it is” time.
All that stuff needs to be set aside for another time, a time that isn’t devoted to writing and completing songs.
A DJ’ing Analogy
Think in terms of a DJ on stage, with a crowd ready for a great show…
Does a DJ get on stage and then start trying to learn new tools?
Does he think “wow, I think i’m going to read the manual on this new effects unit I just bought”.
Does a DJ think “wow, this is a perfect time to listen to all those tracks I bought on beatport to see what is worth playing”?
Does s/he decide that now is the best time to warp those songs in Ableton?
Of course not!
A proper DJ presents a set using the tools and the songs already familiar to him/her. Even though there are 1000′s of great tools available for DJ’s, common sense tells us that regardless of how amazing some tool might be, it will only take away from the performance to use tools that are unfamiliar to you and probably get you some strange “what the hell is this guy doing?” kind of looks.
This is exactly the way you should look at songwriting….
Only look to tools you are familiar with
Although there are a TON of choices out there (and probably on your hard drive), your best results are dependant on using the tools that are tried and trusted to you. This is not the time to learn a new skill. This is a time to put the skills you have already learned to use.
This one habit will help to build your production vocabulary and also force you to put to use what you know instead of filling your head with more techniques that you aren’t likely to use.
Another huge benefit is that when you hit a roadblock, you have just been shown exactly what it is you need to learn next!
Don’t bother reading manuals or watching videos that you don’t plan on putting to use right now. Why fill your head with information that is likely to be useless to you in this moment? Doesn’t it make more sense to only gather new information when you have run into a problem that needs solving?
This is powerful for 2 reasons:
1. Your focus stays on your music and it’s completion
2. When you learn a new technique that you put to use right away, you get this great feeling of discovery. For you, this is a new world you have opened up. You haven’t let it sit in your head and get stale.
How to get started…
Have a direction
This might seem obvious, but I can’t even count how many times I’ve convinced myself to just “go with the flow”. This, although it can create some magical moments and happy accidents, it’s usually a bad idea when you are in “song completion” mode. Going with the flow is much more of a sound design type mentality. A practice of open minded improvisation. Believe me when I say that this is a powerful way to get inspiring nuggets that can become songs, but a mind in that mode tends to want to continue on that path instead of actually finishing anything. If you do this type of thing during your songwriting time, make sure to set a time limit (i’d say 15 minutes at a time), and make sure you are using a tool you are familiar with. You don’t want to get caught up trying to teach yourself a new skill when you should be using the skills you have to finish songs.
Repeat after me:
“I know enough right now to finish a song”.
Now believe it..
Your “to learn” list
You may not be perfect, and it’s possible your song can suffer on a technical level because of it, but those are technical things that can always be revisited. A song can always be revised, but there is nothing quite like listening back to something you’ve done from start to finish and thinking ” I made this”. When you find limitations in your song, take note and put it on the list of “things to learn”. Keep this list to 3 things tops and make sure to tackle those and put them to use before you add anything new to your list. This should become a sacred practice. Use what you learn as soon as possible. If you don’t plan on putting a new technique to use, take it off your list. “This is really cool” is a completely different list, so don’t get hung up on that. It only stands to overwhelm you with choices and lower your confidence in the tried and true techniques you already know.
Take inventory
What works right now?
I’m talking about things that don’t need to come out of the box and be set up. Once again, What is working right now? What tools are you already comfortable with? If you are an ace at using Ableton’s Impulse, don’t jump onto Drum Racks or Sampler. Yes, those tools are amazing, but they aren’t going to be amazing for you until you’ve learned them. Put it on your “to learn” list and use those new skills on your next project.
During my last remix project, I bypassed all my controllers because they weren’t making my life any easier with completing the track. I even bypassed my studio monitors because my sound card was acting up on me. This just left me, my laptop and a pair of good headphones. I wasn’t even using an asio driver (low latency driver for pc). Although this wasn’t the idea situation, it was liberating to solve technical issues by simply not using what wasn’t working. I worked at using my limitations to my advantage by cutting myself off from too many choices and forcing myself to get to the business of completing my remix.
What do you have that works right now? Use what you’ve got and keep working until you simply have no more workarounds. Only at that point should you take a break from writing and teach yourself the 1 new technique or tool you need to move beyond your roadblock. I guarantee that this new tool or technique will become part of your vocabulary of production resources instead of just idly sitting inside your head filling up space.
Visualize
I can’t stress this enough. Give yourself the time to get a rough idea of what you are attempting to accomplish. Find some songs that you’ll want to use as references for the mood and arrangement you are looking for. Even if you have a 16 bar loop that you are happy with, being able to reference a completed song will serve to keep you on track and get you past several roadblocks.
If you don’t have any direction, then you are simply sound designing and experimenting. You aren’t songwriting. I am not denying the incredibly importance of experimentation, but rather attempting to keep you from losing focus and ending up with another unfinished idea that will never be heard or enjoyed by others.
Minimize your choices
Once you have a direction and know the basic sound and mood you are going for, it’s time to prepare the tools for the job.
Ask yourself “what is the fastest and easiest way to get the results I want”. Limit yourself to a couple reverbs and delays. Also have your drumkits, swells, reverse cymbals and “go to” fx sounds all ready to go (I personally lose a lot of time by not preparing this stuff ahead of time.. trust me on this one). Layout and name your tracks ahead of time with words that will give you direction (drums, bass, strings, melody, percussion etc..). Only use the tools you are already familiar with. Want to learn a new synth or plugin? Put it on your “to learn” list and take the time to learn it after your current songwriting session.. For now, only use what you know. You can bring your new skills into your next session.
Presets
For many, the word preset is a bad word. I don’t see this as the case. Presets are your friends, not your enemy. There are literally thousands of presets available to you and your own tastes dictate which ones you will gravitate towards.
There is an unlimited amount variations in classical music composers even though they are building their pieces from the same template f sounds. Don’t get caught up on the idea of every sound having to be home brewed. Think of all the great original music constructed from sampling other people’s music exclusively. Or think of how a great DJ takes the works of other producers and combines it together in a way that creates a new experience. In essence, the artist is working with already made presets. Of course you are free to make your own effects and synth presets on your off time, and I highly encourage that, but you want to have some “go to” sounds at your disposal for quick access. You shouldn’t have to mess around with a sound for too long before it sounds “right” to you for your project. You can always come back later to modify your work or introduce a new technique that you previously didn’t have available to you but whenever you are in songwriting mode, use what you know. Ableton makes some fantastic instrument and effects racks that give you a wide variety of results that you can make your own with some simple knob twisting. Don’t overlook those resources for sounds and effects. Take some time to explore these during your off time and you may discover they have solved some of your challenges for you.
As you build your own custom sounds, make sure to save these to your presets for quick access in other projects. A great way to build up some custom presets is to simply name and save all the sounds you use in your other finished and unfinished song ideas. You already know that these sounds are attractive to you, otherwise you wouldn’t have used them in the first place. This can really come in handy and start you building your own “sound”.
It’s completely ok to have your own formula for songwriting. You will always expand and evolve but you’ll be building from your past knowledge. Don’t abandon your current skill sets just because you saw somebody do something really cool on You Tube, instead pick up a couple of tricks that you can incorporate into what you are already doing. By holding to your own identity, you won’t run the risk of becoming a copycat artist that is always jumping on bandwagons but never developing your own personality.
The path of least resistance
Songwriting itself is already a path of a lot of resistance. It takes quite a bit of determination to complete something you started. Completing a song forces you to own your creative decisions and the best decisions you can make are educated ones. Let your past experience guide your current creative flow and let your current roadblocks drive you to new solutions, tools and techniques. Always aim for the solution that doesn’t slow you down. Completing songs is a skill above and beyond all others. You will likely find that many of the guys with the coolest and craziest techniques lack the ability to actually finish something. Don’t get caught up in thinking there is anything more you need to know in order to finish a song right now. Like with any skill, you will improve with consistent repetition and fine adjustments.
Happy Music Making,
Jason
P.S. – Don’t forget to comment & tweet (down below) & “like” (up above).
All your feedback & support is appreciated!
—————————————————————————————-
Follow me:Â http://twitter.com/AbletonVids
Website:Â http://www.musicsoftwaretraining.com
-
- Sign up to our mailing list now and get:
- * FREE Soft Synths, Drum Synths & Effects!
- * Expert Ableton Tips and tricks
- * Be the first to get blog/video updates
- * Engineering & Creativity tips
- * No B.S.!