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100 Things Every Music Producer Should Know: #2/ Trust Your Ears Not Your Speakers

If you’ve not spent a small fortune on the best studio monitors and acoustically treating your room (or even if you have), the best way to make sure your final mix is right is by checking it on a wide variety of systems, speakers and headphones.

Check it in your mates studio, on the crappy ghetto blaster in the kitchen, on your car stereo, on your computer speakers (especially on these – most people will first hear your music on something like them), if you DJ try it out in a club, on your iPod through those terrible white in-ear headphones – listen to it everywhere.

I used to have just two sets of speakers in my studio. But when I checked my music elsewhere I was always shocked at how different it sounded. I’d got too used to hearing it in the best possible studio environment. But most of the time most people (including me) won’t hear my music in my studio on my speakers. So now I have three extra sets in here, all of them crappy, and I still check stuff in my kitchen, car and shower.

While it might not be the best idea to completely mess with your mix because it sounds weird on your grandad’s old Walkman, if there’s anything blatantly not working make a note and adjust accordingly. Apart from the useful perspective you’ll only get from listening in different environments, if your music sounds great on everything (especially the most awful speakers) you’ll know you’ve nailed it.

Filed Under: Featured Post Tagged With: building a home recording studio, Computer Music Production, electronic music production, speakers, studio monitors

100 Things Every Music Producer Should Know: #1/ Less Is More

Less musical parts have more sonic impact. It might seem counter-intuitive but if you want your music to sound big, add less. With fewer parts, each have more space in the mix and sound more powerful.

When you think you’ve finished a track, play a section and mute each part in turn. Is it there for a reason? Does it make any difference? Or is it just pointless fluff? You might find that muting it does make a difference: the music’s better without it.

If it’s better without, get rid of it (obviously). If it doesn’t make much difference, get rid of it. If you’re not sure about it, get rid of it. Be ruthless.

Don’t fudge it and add stuff to a section that’s not working just to cover it up. If it’s not working, you’ve either got the wrong part(s) or sound. You don’t need more, you need different.

Filed Under: Featured Post Tagged With: Computer Music Production, electronic music production, less is more

Boing Boing Boing

When writing a tune I used to bounce my individual tracks simply to save on processor power. But it’s now an integral part of my creative process.

When I bounce something (ie record it to an audio track), it’s set in stone in my mind. It’s unlikely I’ll mess with it because its a hassle to reload the original part and synth, sampler or whatever.

This focusses me on getting the part right and forces me to move on. I avoid the dangerous temptations of perfectionism and maintain precious momentum.

So as you create, keep on bouncing those parts. Boing boing boing.

Filed Under: Featured Post Tagged With: Computer Music Production, electronic music production, Music Production Process, Productivity

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