Here’s a track from the forthcoming FatGyver EP, Espresso Addicts Anonymous, out on Redef Records on Aug 21.
Every once in a while, I get asked a few quick and/or important general tips for making music. I’ve been making music for a little over two decades, and made a few tunes every now and then, so maybe that’s why. Or, at least that’s an indication that I manage to finish my feeble efforts.
I’m planning to update this blog a bit more often with production-related material (there already is some), and this time I wanted to get busy with some of the basics.
I started keeping a notepad so that I’d write a blog post on the “useful tips for beginners” topic, and this is it. It’s definitely more of a general one than a technique-specific one.
I’m definitely not a “master” of making music, but these topics are something I can look back on and say at least I’ve learned something valuable regarding them and all of this is based on experience.
These are in no particular order.
1) DO YOUR OWN THING. Continue reading
It’s a nudge towards the old days when crusty breaks and beats were kings and when the production was not über-polished. The vibe mattered.
Akai samplers doing the beats, Moog Minitaur doing the bass.
Inspired to a great extent by the Droppin Science label.
Contains samples from Bill Murray and Yona.
If it’s nice, give it a price.
If it’s not, well, then I suck.
Written, mixed and mastered by yours truly.
This one’s for Ableton heads…
I did a video that demonstrates how you can do dynamic EQing in Ableton Live 9 using Envelope Follower (part of Max4Live) to cut a specific area of sub off of the bassline every time the kick hits instead of compressing the whole signal as in regular sidechaining.
It often happens that the sounds we use in music contain a bit of useless noise that only fills up the bandwidth. Our ears get so used to hearing our songs, we may not hear these things while we’re mixing, so this is a good way of removing what’s unnecessary. We end up getting all kinds of small things with funny resonance in our mix, and Continue reading
The kind fellas over at Reddit’s edmproduction forum suggested I’d do an AMA (ask me anything) session, and we did. A lot of music-production-related talk. Check it out.
[art by Ingrid]
This time, instead of going for more contemporary material, the podcasts focuses on wicked drumworks in D&B. A lot of this stuff is old, and I wanted to include tunes from whom I consider to be among the masters of drumworks in D&B. Continue reading
I added a bunch of my old vinyl releases as rips on my Bandcamp today.
Some of those releases are pretty hard to find, so getting a vinyl rip is the closest you may get to “the real thing”.
Peep them at https://fanu.bandcamp.com
Bristol–Helsinki EP, the much-promised first Fanu x Coleco release, is here.
Here’s a thought relating to sub bass in bass music – i.e., music where the sub bass usually sits below the kick on the frequency range. This doesn’t apply to genres such as rock or house, for example, for there you may have your kick lower than your bass in general.
In bass music, we want to have our sub strong enough around 40–60 Hz area, because that’s where the meat is. Continue reading
I have been receiving questions about my mastering chain and how it’s all done, so I thought I’d write about how it started for me and how I do it today.
Having made electronic music since 1992, if I recall correctly, I have always been interested in all its aspects and obsessed with it in various ways. Super-fast-forward till 2.5 years ago or so: mastering was the logical next step, having tackled pretty much everything else relating to music (production, mixing, DJing, performing live, traveling around the world to spread it, being my own agent, being/running a record label).
I started messing around Continue reading