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305: There is no such thing as "making it" (ask any big producer). There will always be some new goal/milestone to reach. Instead, find your gratification in the process itself, the people you decide to work/spend time with, and the small moments along the way.
Seriously, props to anyone who puts their music/art out into the world. It’s extremely hard to create and maybe even harder to open yourself up to rejection, criticism or even indifference. Releasing art into the world is an act of strength 👌
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581: New gear, plugins, etc won't make your music better. Sorry! They just won't. Learning how to fully use what you have WILL make your music sound better.
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77: Hey! If you're reading this, chances are you make music, and that's awesome! Kudos to you for finding something unique that you enjoy. Never forget that in the end, we all produce because it's FUN. Keep up the hard work, and always allow yourself to have some fun.
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117: Release music. Too many people think their quality "isn't good enough to release". That doesn't matter, all that matters is that you did your best. Finish a song, release it, then make a new one. Most times, your next song will be better than your last.
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49: Check your ego. Be nice to everyone. Disliking pop music doesn’t make you cool, it makes you short-sighted. Every style, every genre has something worth learning from. If you can’t eventually grasp that, find a different pursuit.
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280: Music production is not a competition. Period. Nobody is "taking" shows from you. Nobody is "stealing" release dates on labels from you. We're all on the same team - be supportive of each other and help others grow. Collective growth with those around you is key.
#Hypertips
69: If you're too tired/unmotivated to produce after getting home from work, try going to bed early and waking up an hour early in the morning to produce. Nobody else will be awake to distract you, so it's a good way to get in a high-quality hour of producing.
#Hypertips
60: If you're in a creative slump, try changing the circumstances under which you're producing. Produce in the morning instead of at night, go to a coffee shop and produce there, start a new song after a workout. Sometimes you just need a little change of scenery.
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348: You will get rejected a lot. Labels won't respond to your demos, you'll have releases that won't get picked up by Spotify playlists, etc. But, all it takes is one track or one big release to move things along. Don't worry about rejection, keep going.
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174: Playing the Ultra main stage won't bring you happiness/meaning in life. It just won't. Family, friends, your health + creativity - these things will bring you joy. Don't predicate happiness on music success - the pot of gold is empty at the end of that rainbow.
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337: Delete, delete, delete... frequencies you don't need, instruments you don't need, FX you don't need, those three clap layers that are basically doing nothing, etc etc. Less is more, stop making things so complicated!
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16: Despite all the productivity porn we love to absorb, sometimes, making music is just fucking hard. If things aren’t clicking on a given day, don’t stress about it and try it again tomorrow. Optional: get outside or maybe, drink a beer.
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477: Ways to make things sound warmer/more organic: 1) roll off the high end around ~15kHz, 2) add some saturation or a preamp plugin to the beginning of your chain, 3) add a tape machine plugin, 4) add a little bit of white noise.
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492: When you finish a song, take 10 minutes to save some of your favorite sounds (especially percussion) as samples. You already put in a lot of work to make these sounds sound great, and you should absolutely be reusing them in the future.
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103: Develop a routine to mentally prepare to be creative. Take 15-20 minutes before a production session to go for a walk, read a book, light a candle, write in a journal - clearing your head works wonders on your creativity.
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865: Porter Robinson once said that he could mix 90% of a track with just gain plugins. When mixing, ask yourself: "Can I fix this with gainstaging?" Often times, you don't need more compression or EQ work, your sound is just too loud or quiet.
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48: Stay healthy. It’s so easy to get obsessed with music and forget to take care of yourself. Break a sweat. Move your body. Your mind (and creativity will reward you). Never underestimate the power of a day outside, spent with friends.
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50: At the end of the day, there are very few things that make producers different from each other. We have access to the same tools and sounds – we are playing the same game in the same reality as everyone else – but what really sets you apart? Well, it’s your taste.
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499: Print your MIDI instruments to audio. When you have a visual waveform, it's a lot easier to understand and address the dynamic range of a sound. You can also do hard cuts to audio regions to create gripping bits of silence. Plus, you save on CPU.
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285: Self impose deadlines. There's nothing worse than feeling like you're not finishing music. Pick a date to finish a project by, and finish it. Even if it isn't perfect, mix it, master it, and move on. Don't worry, it won't be the best idea you'll ever create.
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46: The ‘Mono Build Trick’ is still my favorite tip ever. Automate your build up towards mono, only to shoot the entire mix back to full stereo in the drop. A really cool and easy effect to increase the impact of your drop:
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478: Set a goal to finish a song by next Friday. Take Saturday and Sunday to finish the creative work, Mon/Tues to clean up the production, bounce to audio stems Wednesday, and mix and master it Thurs/Fri.
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4: I’m pretty sick of people talking about talent. Talent isn’t given, it’s earned. No one was born great. If you want to be great at something, get to work (it takes time).
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313: You never know until you try. Not sure if your song is good enough to send to THAT label? Send it anyways. Not sure if a production tutorial on your Instagram story will get any engagement? Only one way to find out... Try. Fail. Learn. Try again.
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40: Reverb on vocals is super important, but can sometimes also drown out the vocal. Try sidechaining the reverb to the vocal so that the reverbed signal dips when the vocal is playing. Try long reverbs here for truly beautiful, dynamic responses.
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28: To get your sounds to gel better and pump together, try using slight bus compression on all your groups. ~30ms attack, fast release, 2:1 ratio, and about 2-3 dBs of gain reduction generally works pretty well.
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482: Reverbs/delays are their own instruments. This means: 1) think about their gain-staging just as much as every other sound, 2) you should EQ them all individually, 3) things like panning, compression, and saturation are all on the table for possible processing.
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143: Quantity of quality will always win in music production. Write tons of ideas, finish songs, don't obsess over perfectionism - the more tracks you create, the better you'll get. Fine tuning that one idea from 6 months ago won't accelerate your production journey.
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248: Get a plant in your studio. In fact, just make your studio more livable in general. It should be a comfortable, welcoming, inspiring place where you WANT to spend time.
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260: If you are mixing your own music: 1) Bounce stems of your production file and mix in a separate project, 2) Take at least a day off from listening to the song before you start to mix, 3) Save your favorite sounds from the mixed project for future songs.
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44: Don’t forget about silence. Silence is an instrument. Even some of the most aggressive and energetic music I listen to uses silence to create impact. It’s the removal of frequency space that makes the return to a full-frequency section so special (ie. the drop).
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1: Put finishing music above everything. Set deadlines. Make bets with friends. Do whatever it takes to make sure that you are finishing at least one song every 2 weeks.
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1004: I've recorded tons of vocals in mostly untreated rooms. I think adding a noise gate at the beginning of a vocal chain helps clean up recordings a lot. Set it so that it doesn't affect the main recording, but kills ambient room noise in between words.
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1108: Music production is not a competition. Period. Nobody is "taking" shows from you. Nobody is "stealing" release dates on labels from you. We're all on the same team - be supportive of each other and help others grow. Collective growth with those around you is key.
"Don’t think about making art, just get it done. Let everyone else decide if it’s good or bad, whether they love it or hate it. While they are deciding, make even more art." - Andy Warhol
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294: There is no "right" way to do anything in music production, only strategies that will likely give you a desired result. Don't just do things because you're "supposed" to do them, ask WHY you do them. When you don't have an answer, experiment with a new process.
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173: If something sounds good, then it IS good! You don't need to follow production "rules" all the time - even if you do something "the wrong way", if it sounds good, keep it.
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320: Never stop learning. You will never know all there is to know about production or the music industry. Any knowledge you can pick up along the way will only help you in the long run. Strive to learn one tangible thing every day.
“I make art because the process of making art makes me happy. Being successful with it and doing it for personal fulfillment are separate ideas.” - Emily Barletta
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513: This is your friendly Tuesday reminder that if something sounds good, IT IS GOOD! It doesn't matter how you got there or what production "rules" you did or didn't follow. The only thing that matters is that what you made sounds good.
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38: Try using the same room reverb on almost every element in the mix except your kick and sub. This will help glue the mix together and place it in a real space. Keep it light! Room reverb should be used very sparingly in your mix (no more than -18dB send amounts).
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583: Don't glorify being busy - just make your hours count. Getting 1 hour of productive studio time and 2 hours to chill will almost always be better than 3 hours of studio time when you check your phone every 5 minutes. "Working" 24/7 is unsustainable.
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460: Reductive mid-side EQ is a great way to get clarity in your track. High pass the sides up to around 150hz, remove resonant frequencies in the mids or sides of reverbs, and carve out a pocket in the mids of instruments for your vocal to sit in.
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57: Guitarists, bassists, pianists, etc. don’t try to reinvent the tone and timbre of their instruments for every song, so why do you think you need to use different synth patches in every song? Help define your sound by repeating synths across several songs.
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84: Reduce, reduce, reduce. Reductive EQ is your best friend. Very rarely does your mix need "more" of something. More often than not, it just needs less of the stuff that doesn't sound great.
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994: Almost every mixdown can be improved with precise reductive EQ on hi hats. I like to comb through 4kHz-10kHz on every hi hat to try to remove a few resonant frequencies. Use a narrow Q (start with 8) and reduce 3-5dB at two or three separate frequencies.
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606: Are you STILL not using Soundtoys Decapitator? Are you STILL not using the "Beefy" preset on all your basses? Are you STILLLL ignoring this little nugget that I've tweeted about before?!? :( Get Decapitator, add Beefy to your basses, thank me later.
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423: If you want a unique-sounding reverb on percussive sounds, play around with the reverb pre-delay. If you set the pre-delay time to be 1/16th note at your BPM, you can create a really cool spacial pocket for that sound.
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118: You don’t need to write brand new chords for every song! If you hear a progression in a song you like, copy it, transpose it to a different key, and change the timing of the chords (or change one of the chords). Voilà! You now have your own progression.
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771: Put finishing music above all your other music goals. Producers who finish songs are always the ones that make the fastest progress. Try to get to the point where you are finishing a song every 2-3 weeks.
“Don’t think about making art, just get it done. Let everyone else decide if it’s good or bad, whether they love it or hate it. While they are deciding, make even more art.” – Andy Warhol
#Hypertips
475: When was the last time you listened to an album start to finish? Set aside an hour, pick an album, get a pen and paper, and listen through and write down all the cool production tricks you hear.
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556: Trying layering two types of reverb on a vocal: 1) a short, wide room reverb that will bring the vocal forward in the mix, and 2) a long (4-7s) plate reverb to give the vocal space and depth.
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374: Remember why you are producing in the first place. You can only go for so long if you are trying to make music for other people. Make the music that YOU want to make - at the end of the day, that's what trusting your taste is all about.
“Creativity is just connecting things. When you ask creative people how they did something, they feel a little guilty because they didn’t really do it – they just saw something.” – Steve Jobs
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1094: Sidechain more than just your kick and bass. You can sidechain the reverb and delays of sound back to the dry signals, or sidechain instruments to a vocal. Do these subtly to get competing sounds out of the way of each other.
“Don’t think. Thinking is the enemy of creativity. It’s self-conscious, and anything self-conscious is lousy. You can’t try to do things. You simply must do things” – Ray Bradbury
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74: Spend separate sessions learning sound design. I will have whole days where all I do is make cool sounds. Save them and bring them into future productions. This is a great use of your time if you aren't in the mood for creative composition.
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500: 500 Hypertips in the books! :D Remember to appreciate the small steps along your journey. You won't remember how many streams you got 30 years from now, but you will remember the people you met and the shows you went to.
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290: Are you writing off your music expenses on your taxes? Even if you don't have an LLC (which you probably should), money you are putting into music can be a tax write-off against your other sources of income.
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530: Layering is essential to professional-sounding music, but more layers are not necessarily better. Each layer should serve a distinct purpose: if 2 layers sound basically the same, delete 1 and try to make the other more full (saturation, extra synth voices, etc).
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571: Ask producer friends for one-off, cool tips. This helps get the creative wheels turning. I'll start: I like making basses out of my kick. Add Echoboy, set to 100% wet, and tweak the Distorted delay circuit. Bounce to audio and process to taste. Who else has one?
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35: Saturation on the low end is crucial in getting a powerful mix. Try saturating basses using 1-3 dBs of drive. My favorite saturator is the SoundToys Decapitator and my favorite preset on bass is the ‘Beefy’ preset. Mix this setting in to taste.
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395: Years later, I still LOVE the "mono build trick". Automate the width on your master inwards using a stereo imaging plugin during the buildup, and then have it explode back out to normal width on the drop.
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291: Plugin recommendation - it's no secret that Valhalla reverbs are some of the best on the market. But at only $50/plugin, there are arguably the best value. If you're looking to step up your reverb game on a budget, this is where to start.
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26: Use reference tracks for arrangement. Find a song you like, map out the exact structure of the song and when certain elements are introduced and go away, and use that to construct your arrangement.
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62: Logic users - take some time to learn the ins and outs of the different Flex modes. They can make all the difference in achieving the sound you're looking for when warping audio.
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252: Don't spend money on new plugins/gear if you aren't going to learn how to use them. It's better to only have stock plugins and know how to use them inside and out than have the entire Waves and Soundtoys bundles (which are amazing, btw). Invest in education.
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243: If you have a day job, invest every dollar you make from music back into your artist project. Make a few hundred bucks at a gig? Great! Buy a new plugin, a new educational course, or get some professional photos taken.
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37: I’m a big fan of writing music solely with piano. But, when I used to only do this, I was losing out on tons of other possible melodies. A distorted bass will have different tones, energy, etc - the melody you write WILL reflect that.
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369: If you want your snare to pack more of a punch, try slightly offsetting the timing of the individual snare layers. This separates the transients out from each other and can contribute to a more full, more impactful sound.