{ "version": "https:\/\/jsonfeed.org\/version\/1.1", "title": "Блоги: заметки с тегом Production", "_rss_description": "Автоматически собираемая лента заметок, написанных в блогах на Эгее", "_rss_language": "ru", "_itunes_email": "", "_itunes_categories_xml": "", "_itunes_image": false, "_itunes_explicit": "no", "home_page_url": "https:\/\/blogengine.me\/blogs\/tags\/production\/", "feed_url": "https:\/\/blogengine.me\/blogs\/tags\/production\/json\/", "icon": false, "authors": [ { "name": "Илья Бирман", "url": "https:\/\/blogengine.me\/blogs\/", "avatar": false } ], "items": [ { "id": "124840", "url": "https:\/\/dsokolovskiy.com\/blog\/all\/wet-to-dry-reverb-trick\/", "title": "From wet to dry: reverb trick", "content_html": "

The transitions between “wet” and “dry” sound are a great way to keep the listener’s attention. Someday I’ll talk about it in more detail, but for now, listen to how Astrix does it:<\/p>\n

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Astrix & Vini Vici - Adhana (Original Mix)<\/a><\/div>\n<\/div>\n
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Astrix & Freedom Fighters - Burning Stones (Original Mix)<\/a><\/div>\n<\/div>\n
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Astrix - Deep Jungle Walk (Original Mix)<\/a><\/div>\n<\/div>\n

At first, the sound drowns in reverb, disappearing into the background, and then the reverb is suddenly turned off and the sound comes to the foreground making the track seem dynamic. Pretty cool!<\/p>\n", "date_published": "2018-02-10T03:58:37+05:00", "date_modified": "2023-12-11T01:58:21+05:00", "tags": [ "Production" ], "author": { "name": "Daniel Sokolovskiy", "url": "https:\/\/dsokolovskiy.com\/blog\/", "avatar": "https:\/\/dsokolovskiy.com\/blog\/pictures\/userpic\/userpic@2x.jpg?1732048793" }, "_date_published_rfc2822": "Sat, 10 Feb 2018 03:58:37 +0500", "_rss_guid_is_permalink": "false", "_rss_guid": "124840", "_rss_enclosures": [], "_e2_data": { "is_favourite": false, "links_required": null, "og_images": [] } }, { "id": "125235", "url": "https:\/\/dsokolovskiy.com\/blog\/all\/the-benefits-of-no\/", "title": "The benefits of “no”", "content_html": "

Success story: Tim Bourne’s behind the scenes on reaching out goal through rejections<\/p>\n

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“Per aspera ad astra”, 1894<\/div>\n<\/div>\n

One of my daily duties as an A&R at JOOF Recordings is listening to incoming demos we receive on a regular basis. And whether I like it or not, I have to say a “no” as an answer very often. Artists react to rejection differently: some of them never reply back, some others get angry. Well, no surprise: getting a “no” answer is tough, I know it myself perfectly.<\/p>\n

But one guy stood out: every time I told him “no”, he came back with the updated track asking for new feedback. Four months later, he managed to make an amazing track that I was happy to sign on the label.<\/p>\n

The guy I’m talking about is Tim Bourne<\/b>, a 22-year-old aspiring music producer from Indonesia. I invited Tim to share his progression in this blog and I hope other up-and-coming producers will find his experience useful and motivating.<\/p>\n

From there, Tim tells:<\/p>\n

“To me, this drive of wanting to get accepted into JOOF started two and a half years ago when my friend introduced me to the label, ever since then my perception towards electronic music completely changed (in the best way possible). Since that it was something that I had to do, it was more than just a goal for me to make a track that lives up to the standards of the label.<\/p>\n

I wanted to know where I sit when it comes to producing, am I really making something that is up to par — quality wise — or am i just making tracks that only sound good to my own ears, even then, my ears wasn’t really catching the small details of music production, I was missing out on so many essential parts of production.<\/p>\n

I knew that it was going to be very tough because in my country there is very limited access to production courses or even Psytrance producers, so I had no one to really guide me on what to do technically or musically.<\/p>\n

I would have never evolved with my music production if it wasn’t for no’s and rejections.<\/p>\n

I started sending out demos to the label since 2015 — 20 years old by that time — and it was just no’s after no’s after no’s. In total, I’ve probably sent over ten tracks and one of the tracks I had to re-do and re-edit over five times due to song length, sound design, not enough variations, you name it... and it was still a big ‘no’. It actually got to a point where I was so pessimistic about myself and my music that after a couple of days after sending ‘The Wounded Healer’ I emailed to Daniel again and assumed that the track got rejected.<\/p>\n

But alongside the no’s, Daniel was kind enough to actually give me very useful feedbacks, he gave me constructive criticism that was essential for my learning. And to be completely honest, I would have never evolved with my music production if it wasn’t for no’s and rejections. It was through this that I was able to learn and not just force any kind of sound into a track.<\/p>\n

Here are some of the conversation we had on the track:<\/p>\n

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Of course, it was really hard to accept the fact that my music wasn’t quite cutting it, but either I stop and give up or just push through and make a track that I would have never imagined I’d be able to make a couple of years ago.<\/p>\n

It started with this very flat sounding bassline loop with no melodies at all, just a pitched down FX:<\/p>\n

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0. Flat Bassline Loop<\/a><\/div>\n<\/div>\n

Then I played around with the sound, added a little bit of processing, added hats and a clap and i played around with the notes because my ears were so exhausted of hearing the same note playing over and over again. Came up with this kind of groovy bassline:<\/p>\n

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1. Groovy Baseline<\/a><\/div>\n<\/div>\n

As I was trying to fiddle around with the bass, I found a vocal sample that was perfect for creating anticipation for the groovy bassline. So I decided to add the vocal alongside a drum fill. I also added more processing to the kick and bass to make it sound thicker:<\/p>\n

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2. Vocal Entry<\/a><\/div>\n<\/div>\n

After creating what I thought was a strong body to the track, I know I have to accompany it with also a strong melody:<\/p>\n

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3. Rough Melody<\/a><\/div>\n<\/div>\n

But i was not pleased because it felt like it was forced and it didn’t go smoothly with the track, so I changed the sound and came up with these two melodies:<\/p>\n

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4. Better, Smooth Melody<\/a><\/div>\n<\/div>\n

Then comes the breakdown which I really enjoyed creating. I always have a thing for breakdowns, to me, it creates the emotion of a track. This was the very first version of the breakdown, very empty and the arp melody just didn’t feel right:<\/p>\n

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5. Empty Breakdown<\/a><\/div>\n<\/div>\n

So I decided to completely change the arp melody because turns out that it was the melody that made it sound a bit weird. I changed the arp melody, brought back the FX’s and i added some ethnic percussion which drew the breakdown more into the theme of the song:<\/p>\n

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6. Final Breakdown<\/a><\/div>\n<\/div>\n

I created this melody as a draft but It just didn’t sound right to my ears, I was okay with it but I wasn’t happy with it:<\/p>\n

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7. Draft Melody<\/a><\/div>\n<\/div>\n

I tweaked the notes of the melody a little bit, got rid of the acid and added more saw’ish sounding synths to layer. And this is what i came up with:<\/p>\n

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8. Final Melody<\/a><\/div>\n<\/div>\n

And alas, ‘The Wounded Healer’ was born:<\/p>\n

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9. The Wounded Healer (pre-master demo)<\/a><\/div>\n<\/div>\n

I want to say thank you to Daniel who has given me the opportunity to tell a little bit about my upcoming EP, The Wounded Healer and also the story of how I managed to pull through after so many ‘rejections’ and ‘no’s’. ”<\/p>\n

Download the EP on Beatport<\/a><\/p>\n", "date_published": "2017-04-04T13:19:59+05:00", "date_modified": "2019-05-11T16:00:03+05:00", "tags": [ "Behind the scenes", "JOOF", "Production" ], "author": { "name": "Daniel Sokolovskiy", "url": "https:\/\/dsokolovskiy.com\/blog\/", "avatar": "https:\/\/dsokolovskiy.com\/blog\/pictures\/userpic\/userpic@2x.jpg?1732048793" }, "_date_published_rfc2822": "Tue, 04 Apr 2017 13:19:59 +0500", "_rss_guid_is_permalink": "false", "_rss_guid": "125235", "_rss_enclosures": [], "_e2_data": { "is_favourite": false, "links_required": null, "og_images": [] } }, { "id": "128764", "url": "https:\/\/dsokolovskiy.com\/blog\/all\/getting-started-with-ableton-live\/", "title": "Getting started with Ableton Live", "content_html": "

Recommended tutorials and courses<\/p>\n

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Dear Daniel, one of these questions you’ve probably been asked a thousand times if not more... You inspire me to produce all the sounds I have in my mind, so I bought Live 9, and I’m at the step to start the learning journey of producing music with it. But I don’t know how to start :)<\/p>\n

Is there a special tutorial about Live you would recommend me, or a good course on the web that for you is a must for whom is willing to learn in a proper and professional way with Live? Thank a million time, and also thank you for the hard professional work you share us with your music.<\/p>\n

Nicolas Gateff<\/p>\n<\/div>

I appreciate your words Nicolas, and very pleased to be an inspiration for you to start music production. Congratulation on getting Ableton, this software is amazing.<\/p>\n

Perhaps my advice may sound obvious, but I’d recommend starting off with Ableton Reference Manual. Unlike of other software manuals which are usually too complex and outdated, Ableton team did an amazing job on creating a full guide written in simple words, and what’s even more important — they keep it up-to-date with each new Ableton release.<\/p>\n

That is the reason why I won’t do my own beginner’s guide on Ableton. I mean, these are the guys who’ve made this software in the first place, they know it better than anyone else! This manual is enough to get started, everything else is just a matter of practice and experience that you’ll gain throughout the learning.<\/p>\n

Although, I’ll be glad to help with some more specific issues, for example, stuff like creating a pitch rising effect<\/a>.<\/p>\n

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Ableton Reference Manual<\/a> on Ableton.com covers all aspects from the ground up<\/div>\n<\/div>\n

However, if you want someone to teach you or just prefer to watch rather than read, there are several schools, courses, and tutors which I would recommend. Their programs vary a lot, but all of these are trustworthy names. You can choose any up to your budget and needs.<\/p>\n

Online schools<\/b><\/p>\n