Production Secrets

Production Secrets

Production Secrets


Intro
Success isn’t always measured by the amount of money you have -Doing it for the love is enough. But either way, some sound advices are always good to have.
Here some pro tips from artists and producers fom all over the globe on how you can become more successful as a music producer.
Read, think and then put them into practice.


1. Start with a solid idea
"At the end of the day it's not so much the editing style that matters, it's more about having a real cool, solid and interesting idea. Even if it's a whole line of bits and crazy parts, it still has to stick with you and have... almost like a phrase."


2. Know your environment
“I believe it takes a while before you get used to a certain room, the way it sounds and the way the speakers are harmonising. The more time you spend producing there, the better you know the dynamics.
It has to feel comfortable there.”


3. Think like a cinematographer when arranging and mixing
"We have a limited amount of space on the soundstage in the same way a cameraman has a finite amount of screen space. The cameraman can obviously move further afield from the subject in order to accommodate for more visual objects but what happens? Things get smaller, you can no longer see the actor's eyes, etc. The same laws tend to apply to sound."


4. A good technique
"The cool thing today, is that anyone can learn how to make a track. It’s not about your finger skills on an instrument, but your skill in the programs and knowledge of what makes a good track, putting it together and getting to grips with chords and scales in that way.”


5. Get honest feedback
"One of the best parts of collaboration is having a pair of trusted ears to provide instant feedback. Sounds that one of us would have taken hours to arrive at on our take shape much more quickly in each other's company, and bad ideas get quashed well before wasting valuable studio time.
"Whether or not you're collaborating, find some trusted critical ears - preferably someone who can deliver their criticism constructively - and get in the habit of running things by them. A lot of people surround themselves with yes men and their sound develops much more slowly as a result.
“As an artist, you have to be sensitive enough to express yourself authentically, but you also need to be able to take criticism in stride. It may seem counter-intuitive, but you'll do yourself a massive favour by inviting critique from people who understand your aesthetic aims."


6. Don't force writer's block
"I used to go through long periods when I was unable to make music, now I have realised that if things aren't going well I just have to stop and do something else; go for a bike ride, read a book or have a mix.
“Whenever I sat in my studio and forced myself to work on music I made terrible music and ended up frustrating myself and pushing myself deeper into ruts."


7. Be prepared to invest your own money
Dave 1: "Our records have never really sold big and we're more popular now than we ever were before. Record labels come and go and we'll always find a label. The idea is for us to have interesting deals in place but we really concentrate on making good music and our live show."
P-Thugg: "Everything in the studio is ours, y'know. I win a dollar and I reinvest it in those synths. I save $5,000 a month from not living in New York and that gets reinvested in the studio too. We just need to keep some money aside to get somebody like Philippe [Zdar] to mix it."
D: "We spend a lot of our own money on Chromeo for sure. I mean if nobody can give us the budget to do a video, then we'll do it ourselves. I think we're still quite big on the Internet and that's still a vitally important echo-chamber for our music so we see the value in investing in it."


8. Start with good sounds
"…and try not to ruin them. Seems obvious, but it's easier to get things right as you write than do a lot of remedial work later."


9. Mix in reverse
"Instead of bringing the gain up on something you want louder, consider that maybe everything else should be quieter. This is why I call it mixing in reverse. Bringing everything else down isn't always the solution, what's important is realising that just making a certain thing louder isn't always the solution either.
"It's so easy to be mixing for an extended session, only to realise you've slowly ended up with every track completely maximised, and zero headroom for mastering. You've probably heard this a billion times, but it's so easy to overlook.
“I used to ignore this tip because I could make my tracks really loud using lots of compression and maximizing everything, and it worked fine when I was just exporting them and never touching them after, but when I began actually releasing tunes and getting stuff mastered, I realised how I was actually just shooting myself in the foot.
"Mastering is art and if you have a talented person doing your mastering and you leave them plenty of room to work with, they can really make your tracks sound incredible!"


10. Keep an open mind
"The sounds that you use to make a song - whether they're presets or you've programmed them yourself - are part of a larger piece of music. If a preset sound works, why change it?
"The only problem I've found over the years is that some presets can overpower a song. That definitely used to be the case in the hardware days. You'd go into a music shop and flick through the presets going, 'Wow! Incredible!
I must have this synth!'. Then, you get back to the studio and realise that the presets are all so full of effects that they're too big to sit with the rest of the music - they destroy everything else in the song.
“In that instance, of course you look for an alternative, but I'm not going to change a sound just because it's a 'preset'. That seems a bit snobby!"

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