Transcripts
1. Introduction: What's up, guys? Welcome to a new in
the studio video. This time, I'm not
really going to explain anything in FL Studio itself. But I'm going to talk about
seven important things I wish I knew before
I started producing. And we already made a video, an earlier video
about ten things. I wish I knew the DSM things are equally important,
I think. So. Let's get on with it.
2. Tip1: Wait till you're ready: The first thing is do
not release a track on a label just for the sake of releasing a track on a label, I fall it's releasing
a track on a label officially going to somehow
make me a credible producer. And you know, it's
not all for nothing. You know, you're not
spending your time producing just for it's to be forgotten on
SoundCloud or something. You actually released
something officially on a label, your
incredible producer. And although it can
give you that feeling, often for me, I can only talk
about my own experiences. Of course, for me, it's resilience in having regrets about releasing that
trick in a later stage. Am I producing career? I listened to my audio tracks, I'm beat board and I was like, wow, why did I release that? So often, releasing a track
officially on the label, especially if it's
a small label, when your sound is
not really there yet, it's not as important. It's cool to see
how a label goes. It goes through the process
of releasing your track. But especially with
smaller labels. Don't bother. You don't
just go on SoundCloud, it's released free downloads. Build your profile Black Death, but do not draw an ace tracks on the label just for the
sake of releasing a track, I don't label it
doesn't make you a credible producer in any way. It often doesn't do
anything for your career. Goal, go for a bigger label, meeting too big
label as a starter.
3. Tip 2: Keep your volume low: Number two, do not listen to your tracks on a high-volume. And I cannot stress this enough because there's a couple of reasons why you
shouldn't do this. One, you're going to
think that your track is really powerful
and overwhelming, but in reality, it's
not half as good. So we often have this
with collaborations. We go somewhere else
and work on a track and we listened to that track
on a high volume and we're really excited about where it's, where it's
heading and stuff. Now we go back to our own studio and then
we listen to it again. And then we're like,
this is not cool. So it's not a honest
way of hearing. What's your truck
actually sounds like? It's bad for your ears. When you produce a
track on a low volume, you can make it sound
good on a low volume. Just imagine how it would sound that I'm
big speaker system. Its tree really important
reasons I think why shouldn't produce on a loud volume also
your neighbors. But maybe most important of those tree is the health vector. I know a producer and DJ
colleagues which have sorted this now I think hearing problems and it just messes
you up, man, messes you up. So don't do it. It actually makes me think of
a set of monitor speakers, the Yamaha ns tenths their calls and they
are notoriously bad sounding butts producer
still use them because if you can produce and great track
on those moments, our speakers, you can create a great track on every
monitor speaker. So that's just a fun fact. Look them up. It's, it's kind of a
meme at this point, but it's, it's, it works. Just imagine, just
remember it is. You can create a good
sound and track on a terrible set of speakers
are on low volume. Just imagine what
you can do on aid. Big something speaker said, Oh, one more thing about that. It also has something
to do with motivation. If you constantly
create tracks and I high-volume and you're
getting excited about tracks. And if you listen to
them on low volume and you're not as excited
about that trick. It's kinda the motivates
you to keep working on it. I think it's better to work the other way
around because that will just help you in actually finishing,
finishing the project.
4. Tip 3: Inspiration <> Plagiarism: Number tree node, a
difference between inspiration and plaguing arisen. A lot of producers are always listening to other
people's music. That's effect. If you're into the
music business and listening to all sorts of music. And the line between what's inspiration and what's
stealing is pretty vague. And of course, I'm
not saying you should completely copied
some other producer and tried to get that released. No. Buts do get inspired
tomato producers. And don't be afraid that if you're stuck in a
certain projects, be afraid to, oh, how did this producer do it? As, you know, I'm gonna try that in my own track and
see if it works out. It's not stealing stuff that's
just getting inspired by. And especially in
the beginning days of creating, creating music. It's a really cool, a really good learning school to become a better
producer in a quick way. Because they have been
producing for a long time. You know, their
professional producers. Creating well
they're creating is helping you in becoming a
better producer quickly. So don't be afraid to
do that kind of stuff. You know, it's normal,
everyone does it. And you can even
ask the question, what even is inspiration? Is inspiration not just
hearing something cool somewhere else and then
using it for yourself, putting your own sauce over it and reducing death isn't
death inspiration. I think it's a discussion
that's what's taboo, but it is something not a lot of people
talk about it, I think. So. Know the difference.
5. Tip 4: Focus on your individual elements: Number four, and this one is
a really important thing, which I think a lot of
young producers are beginning producers do
not really get yes. People cannot
divide their focus. Often, people can only
focus on one thing. That's the definition of focus. But if you are throwing all kinds of melodic
elements at your listener, urine has gone to, and
I've got to process that. And the annoying thing of producing music is that you're making everything one by one. So you're creating
a baseline for creating a, a synth hooks. You're creating a Vogel, you're chopping it
up or something. And you get all those
individual elements. You get them. You've
created them. But if you throw them all at
once and to our listener, that's going to get
that, you know, they haven't produced
those elements. You have produced
those elements. So just know that the listener, they can divide their
focus like you, they're not aware of every
individual elements yet. If to listen to your track
for the first time and gets how each elements is, is positioned, can throw baseline of vocal and ascend through all
at the same time. If you want listener, they're
gonna be overwhelmed. And a, well, what
should I listen to? Just start with a beat. Do some kind of vocal Chomp. Maybe. Take putting your chords
with a low filter cutoff. Yeah, just divides the attention of each individual elements. And then of course,
when it drops, you can throw them
in all at once. But you know, that's, that's when you have already introduced all the
individual elements. So I think that's
something I hear a lot when giving
feedback to tracks. Just too much stuff
at the same time.
6. Tip 5: Don't worry about EQ boosting: Number five, don't worry
about EQ boosting. So this is what I see in
a lot of tutorial videos. You should always cuts in
your EQs, never boost. And I'm always like, you know, if it sounds good, it sounds
good, it doesn't matter. I often use EQs, boost them 60 bees are
higher, or use that filter, sit around and just
crank it up all the way, or throw something into a limiter and squash
it all the way. There's a lot of
pretentious tutorials that say that it shouldn't be, you should do death
instead of death. And I think those are
all really limiting. And how you produce just boost those EQs if you feel like it and
if it sounds good to you, That's okay, you know,
just throw it in there and there's no rules
to creating music. And especially with EQ
boosting, I see it a lot. It's, yeah, it's not that
it's just not that important. I think of course
there should be, there is some kind of
technical disadvantage of boosting something
instead of cutting it. But in global, don't listen to people that sets
those kind of rules for you. There's no rules
for creating music, and that's just the truth.
7. Tip 6: Stop accumulating, start doing: Number six, stumped downloading a lot of plugins, synthesisers. So there's, the plugin markets is just
a big commercial markets. You know, there's a
lot of money involved. There's always some kind
of new organization or some new plugin that's supposed to be sounding like
something completely new. Well, descent is really what's driving right
now and what's, what's making new
sounds in the scene. That's often not the case. If you have a wave table synthesized or if you
have a FM synthesizer, you have a additive synthesizer, subtractive synthesizer, you almost have everything
in the digital world. And of course, you can
always get more wave tables. And that will make your
sound a little bit different than a lot of synthesisers are just one
of those four categories. And often they are
combined as well. So if you have a FM
synthesizer already, there's not really a lot
of benefits for you too. By another woman or
downloads another one. I was personally the
time of learning that new synthesizer into perfecting what you
know about serum. Already. More plebeians doesn't mean that you're going to create
a better track or something. Unless you're a preset
the answer of course, and you're just clicking
until you get the red south. So don't buy a lot of plugins. Synthesisers, perfects the
ones you already have.
8. Tip 7: Good monitor speakers: Number Seven, Good monitor
speakers are worth the money. And this is maybe
a little bit more for the advanced producers. But for me, I
remember when I had my gentle lack AT twenties, which are like small speakers, and I switched to the
agenda like 1032 Cs, which I have now, it was
such a big difference. And the problem is that
if you're listening on small monitor speakers,
they're just missing. A lot of highs,
are a lot of lows. And the thing is you're not aware that you're missing
those frequencies. And if you're not
aware of something, you can change it
or make it better. So if you're just missing some high frequencies,
low frequencies, you can make that subspace
tighter because they're not, they're coming out
of your speakers. And of course, mine good
monitor speakers is expensive. And this is why this tip this for maybe a bit of the
more advanced producer. But if you have, if you are making money with
creating music, my first investments
will be to create or to buy good monitor speakers and maybe do some acoustic treatments in your room as well. Because if you're not
aware of something, you can produce it. So, you know, you should start
by being actually aware of the entire frequency
spectrum before you can actually create a
good trick around that. It's hard to create
something semi perfect. You're not even aware of all the ups and the lows
in the frequency spectrum. So that's about it. Seven things I think are really important when you're starting
up in the music scene. And I wish I knew already. I
hope you learned something. I hope this has beneficial
to your career in some way, and I hope to see you again
in the next video later.
Mr. Belt & Wezol, DJ/producer duo from the Netherlands
