First one for 2018 (techno/tech house)

if I may say so, you objective and honest analysis are very helpful, at least for me helps me deal with the reality of where things are by gaining an insight. Thank you.

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Yes @ammanuel that’s why construction and arrangement are not that simple. Michael Jackson probably won’t have the same success without Quincy Jones as an Arranger behind. (a bit of a cliche but I really like to remembering me that… at least for the first albums)

Yes originally i would like to PM what i write to @303abuser and finally i try to be constructive and propose him solution and hints… so it can help other people as well :wink:

without any doubts construction and arrangement comes at some point when you Finnish tracks after tracks… with a certain amount of tracks finished things start to make more sense… you learn that in the experience of making it one by one… and you shape yourself in that regards too in the time…

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no worries at all, this is exactly the feedback i need. if i don’t know what isn’t working, i can’t fix it. :wink:

because my monitoring situation is awful, i do test the tracks on a few different systems to see how it sounds and apply a sort of average to how i mix it. it’s obviously a skill that takes a lot of time to get good at. i’d love to try it on a dance floor, but i’m worried the mix/master won’t hold up to a club system (i may have the opportunity to try it in an empty club though).

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yes @William_WiLD…by trying to identify your point (for eg. @303abuser track) I try to transpose your advice to what I do. Correct every composer has a genius arranger behind them ( Duke Ellingtonhad Billy S ) I am an intuitive one without formal training where I tend to get caught up in a loop :slight_smile:

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If it’s not really your music style and have the feeling to get stuck in Loops I encourage you to listening one of the master at musical/repetitive loop which is to me Moodyman…

and by analyse its track see how he solved things like the Boring effect… Even if you get brilliant THE LOOP there’s plenty things you can do to make the track something unforgettable …

He always keep some energetics things like hats and shaker and bring them later in the construction…
so keep things : the key is not to reveal everything in the introduction

For instance in JAN track there’s Clap but only at 5 minutes…

. it comes but it’s also OUT… it’s never there all the time. there’s a lot of rupture… that’s way the loop is never really boring. but the atmosphere is incredible. With that any DJ can really make something in a club … that’s a incredible track and an incredible dj Swiss knife - tool as well… as it’s playing on people tension… frustration…

Thats’ a good exemple of something repetitive, a very good loop but with a very nice construction (and probably that one was hard to find…)

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Another one very good to analyse, probably one of the best construction tracks I have ever heard between 2000 and 2010 even if the original is from Theo Parrish… :

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Thank you for the example ( Moodyman from Detroit one of my fave) I apologize @303abuser did not mean to hyjack the convo. Peace

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Don’t worry we all on the same boat…

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it’s all good, the discussion really fits what i need.

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Also when you find variations, secondary parts… sometimes you realize you have two tracks in one. And you need to restart except if it’s something you like, then it became an artistic choice.

it’s exactly the opposite on the Falling up (from Theo Parrish, remixed by Carl Craig). Where every Secondary parts are exceptionally complimentary from each other… and the amount of emotional is incredible. From dark to sad to happy… really like if it’s a story telling and that’s what I like in a track. When the producer as something to tell.

Nowadays there’s strategy, people want to take less time to make even more track, so their name is usually noticed in the releases (or music shops) and that’s have a marketing impact on the booking and gigs. More than someone seen with one release every 6 month, even if it’s a master tune.

Personally i prefer to be fine with myself, I like story telling and not conceive music as only beats to get more gigs. Personal choice here.

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Thank you for understanding and sharing your tracks

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no worries, i appreciate how helpful everyone is here.

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yes, its restores faith in my fellow souls who offer help and restore positive contribution to each other without ego, and the freedom to express it without worry of judgment etc…

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This Screenshot is from the Book " The Secrets of Dance Music Production " ?

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Right. it’s a good book… I’m in the process to read the attack magazine one. More page… it’s close but also different… both are interesting to read even for experienced users.


A good thread with books :

My 4 Favorites Books regarding Synthesis and Production.

How to make Noise from Simon Cann is the one to read the last. it’s cover subtractive (analog) synthesis
frequency modulation synthesis (including phase modulation and ring modulation), additive synthesis, wave-sequencing, sample-based synthesis… So it’s a huge amount of informations.

Go Sport now :slight_smile:

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A good tutorial to watch it’s like to me a perfect Mixing 101 in Electronic Music. Of course there’s better and more advanced but this one is the perfect introduction. It’s from the Quick balance, using EQ, Sidechain compression (which I don’t really like for my music genre personally, prefer NY compression instead) Adding Space to the Sounds by Panning, chorus… Create mix groups and busses, Working on Transcients, using multiple well chosen reverbs slightly and some explanations regarding Vinyl Cut.

Note : Books Secrets of House and Secrets of Dance cover more or less the same. But with more depth. (like 101, 202 combined) All techniques learnt can be apply to external mixing, internal mixing etc…

https://www.macprovideo.com/tutorial/logic9404

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Anyone knows Welsh’s Synthesizer Cookbook?

Maybe I will buy this one…

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Yes it’s a good book… good recipe for sound design, a general approach … it’s like designing a full GM set of sounds. interesting and worth the value. Not that much electronic music though appart from 2 bass sounds and few pads. But for a general understanding of synth sounds it’s a nice book.

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Okay, thanks :slight_smile:

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