Leave a comment if you have more tips to share or if there's anything you want me to cover in the future! Some links for you: My online music production course: studio.com/andrew My plugin Transit 2: babyaud.io/transit Stream "Julian" everywhere there's music: fanlink.tv/julian
Tip 6: Change what types of intruments you used in a song (e.g. making an entire of a song with no percusion or drums). This can focus the attention of the song on other instruments or make it easier to pick up on more subtle things that are quieter in the mix. I found this video really helpful as a beginner and will be using some of these myself on my next songs.
Where do I begin? this is an extremely offensive video. Not as offensive as the shirt! As a beginner myself I personally felt attacked. Why would you not address the fact this is subjective or other very obvious things? Nor did you address the shirt! This is my form of satire btw and definitely learned a few things. Thanks for the help lol
Andrew, in the example tune, what are you using in mixing or mastering, besides the notes themselves, that has such a pleasant balance of in-tune harmonics with the song?
The thing I like most about Andrew is he genuinely seems to enjoy sharing his vast musical knowledge. He wants everyone to love music as much as he does.
@@juankplaysmusic It is rare for a person to build a career to a level where they can enjoy it themselves and also enable others to enjoy it as much as possible with enthusiasm.
I think there's one tip that many people miss: Don't be afraid to automate stuff. Whether it's a simple volume automation, a 6 minute long filter cutoff automation, or turning on and off 8 different effects in the span of 2 bars. Automation can be really useful to add variation, and if you use it right, you can make one sound turn into a completely different sound in different sections of the song! I use that for kicks for example. In one drop I'll have a kick, and in the second drop I'll have the same kick but with a lower pitch and more distortion. Really useful stuff!
Abolutely. I recently used one nuero style bassline and automated a bunch of different glitchy and rhythmic effects to comepletely change it in multiple sections for example.
Yeah, but automation makes anything sound overprocessed and in the realm of hyperpop. Don't get me wrong, I make dance music from time to time, but really good SONGS (the ones who withstand the test of time or become true classics) don't need that much bells and whistles, and ideally the variations should come from actual notes/instruments/musicians, not a plugin parameter change
@@juankplaysmusic Yeah, for sure! The point is not to automate absolutely everything, but to be deliberate about it. I just personally like automating things a lot because I value sound design and having variation in my sounds without having to open another plugin, and I think more people should adopt that because sounds are cool!
@@juankplaysmusic I honestly think what a lot of people associate with those over-processed styles isn’t the automation per se, but the automation being super jagged and geometric. Not something you could do on a real mixing desk. Sometimes I like to record in various knobs and sliders over MIDI, instead of just using the automation lane directly with my mouse. It usually sounds more “natural” that way in the end.
A few of the tricks I like to use: 1. Have a secondary vocal track that emphasizes certain lyrics. I often make this layer wide with the lows cut to support the lead. 2. Add background ambience to your track to put it into a "place" like a beach or forest and then use filters/eqs/reverb to create natural sounding risers/down lifters. 3. Subvert people's expectations with song arrangement. Don't fall into the pattern of Intro-Verse-Chorus-Verse-Chorus-Bridge-Chorus-Outro or Intro-Buildup-Drop-Break-Buildup-Drop-Outro. 4. Add an instrument solo or call and response style licks to compliment your vocals/lead melody. I often "respond" to my own vocal with a guitar riff or synth lead. 5. Use negative space to create anticipation prior to choruses/drops. The absence of sound prior to a drop makes the drop hit much harder and builds the feeling of anticipation for it.
@@KidAstronaut If that was a joke, it's hilarious. 😸 If not: I don't think that was "pan" as in Left/Right. It was pan as in _metallic cookware._ #IAintGetNoSleep 🍳🍲
Tips 1 and 2 can both be done with the right kind of foley sounds, by the way. And they don't always have to be the highest quality if they're buried in the mix, just take your phone and record random things around your house or whatever. The offbeat and unpredictable nature of a lot of these sounds make textures that would be hard to deliberately create with a synth or recorded instrument.
What I love most on the topic of chorus and repetition is when what's repeated is recontextualised rather then just changed, both via lyrics and instrumental by having the same idea repeated but the evolution of the song or the emotions linked to it giving a new meaning
Great tips - I’d add automating more parameters in general of sounds using automation lines or modulators like LFOs to keep the sounds interesting and evolving.
Very big on Miss #5! I like to use something loose called Rule of 8, where something different occurs every 8 bars, either by adding/taking away a track, changing what the instruments are playing, chord progression, etc... just ANYTHING
The only tip I think you could use is: Please never stop teaching music production. Side note: I took your Monthly course, so I'm saying this with the utmost sincerity!
The difference between the ear candy at 3:17 and without it at 3:30 is SO STARK that's wild! So helpful to have them in comparison thank you for such fantastic educational content!
best ever advices for beginners but when I was like 13een I was free from any limitations and a quote came on my mind all your life you learn to paint like a child. but literally intellectually that's the best ever advices ive ever heard.
I think building on what you said about expectations and anticipation, specifically building expectations and then intentionally breaking that expectation to create the surprise and intrigue.
Great selection of misses, thanks for that. My counter-miss would be: leave room for something. Not every section of a song has to be as dense as possible, with layers upon layers of ear candy and harmonies and effects. It can be very effective to deliberately focus on a single element or on a very reduced version of a section.
Shiny Andrew drops the most important information of the video at 9:31. Try to intuit what sort of stuff gets better with each repetition vs what gets old with each repetition. I have no idea how to do this, it's just gut feeling. Andrew could you do a video on this?
Generally from my own experience: Stuff that gets better: - small inconspicuous bits that have multiple variations or evolutions that make you go "oh, that's a bit different" and not "um, wow, that's... pretty different" if you know what I mean lol -soft sounds, slow movements with added layers. Generally things not in the foreground - slight deviations from the listeners expectations but nothing too jarring that'd throw them off completely. Stuff that gets repetitive or exhausting: - complicated/complex stuff without some simplicity that helps the listener to "understand" the structure a bit - fast riffs that stand out or - overpowering things in general - symmetry and exact copies without variation - tricks that (usually) only work once in a song, e.g., outro modulation, short silence before the chorus/breakdown, ending a vocal phrase in a climax, i.e., going high up in pitch and/or adding heavy harmonisation and backing vocals. Nice in the final chorus but if it happens every time it's boring and takes out the organic/dynamic development throughout the song. - on that note, having the exact same energy all throughout the song. In general you'd want to be like a pendulum swinging between relative low(er) and high(er) energy to give the listeners short breaks and build tension and resolutions.
For folks who do mostly electronic production: Tip number five, CHANGE YOUR DRUMS! It’s absolutely amazing how much a varied, “alive” sounding drum part will affect the feel of the song.
This would have been rad to have back in 99 when I began creating tunes with a demo of FLP 1.1! Things have come so far, and info and knowledge such as this are nuggets of gold! You bring a ton of good to our world, homie. Also, isnt that shirt hot! Its bada$$!
I have had similar thoughts unclear and lost in my brain and I am thrilled to finally hear it so clearly explained! It takes a true veteran expert to be able to identify these and make it so simple.
@@BobbyDoesMusic oh that’s cool! I guess it was mentioned in the book or smth? TBH I “smelled gender” on some of these outfits for a couple years, but I tried not to think too deeply about it haha.
@@kaitlyn__L I think it was on their Twitter/X or maybe they crossposted it to their Insta, I really don't remember. I just remember seeing them post it, and my brain locked it into place. 😅 😅
I've been producing and making music for forever now, and the thing I've always had a problem with was making things full, and some of these things I've completely overlooked. Thanks Andrew. Obviously, for everybody else, honing this type of skill in production and texture takes time and practice. Hell, it's been 6 years producing my own music on a "basic" level, and I still get things wrong. Soak in as much as humanly possible and don't be afraid to make a ton of mistakes. Wish I could've done learned sooner.
3:02 subtle swells and sparkles make it interesting, and un-not-noticeable. Like a momentary otherworldly glimmer. Unmentioned but you can’t ignore them.
Thank you Andrew! I’ve felt very confident in my songwriting but have been struggling to translate into production. I think these tips were exactly what I needed for more dynamics
For someone who speaks so quickly, it's amazing how not annoying you are.... knowledge is one thing, but your ability to transfer information with ideas and explanations is exceptional - many thanks....
Thank you so much for all you do for us Andrew. I know that shirt is not comfortable at all but you still put it on just to flex on us. And we appreciate it.
This is so real, I am a beginner and these are super good. Something I have had so much issues to know how to do is a intro. I am usually playing the piano for fun with some cool plugin sounds. Then I find a cool melody that I like and I record it. But then I don't really know how to create a song around this melody haha.
This will help out a lot of producers. Another important tip is to have a different type of song as a reference, so you do not have ear fatigue working on your song and referencing similar songs for a long time
at least in terms of mixing, two biggest things i’ve had to accept is 1) you probably need more compression and 2) you probably need less distortion/reverb 😅
Recently I’ve been wondering what’s holding my music back from sounding professional, this confirms for me that it’s all this subtle things, the supporting elements.
I like these videos going into concepts and tips and tricks of music production, I've made some songs myself, mainly in the realm of BGM, but I struggle coming up with original ideas, a jumping off point, and even when I have the beginnings of something, I stuggle to find anything that works well with it.
Same vein as item #4, Prince's Forever In My Life had the backing vocals originally planned to be the response of call and response. They got cued up wrong, and instead happened before the lead vocal so it became response/call. Susan Rogers thought Prince was going to be furious, but he loved the mistake and that's what we hear on the album.
here's my guess before watching 1. compositions need empty space to breathe. 2. arrangements are about making parts of a whole, not just stacking layers on layers 3. mixes should have punch (transient sounds gainstaged WAY louder than sustained sounds) and clarity (vocals and leads also up a couple dB) 4. Recordings need to be delivered with confidence. Even if you don't think you can sing that chorus or nail that solo, sing and play like you think you can. (also, do just one more take) 5. Confidence, overall is key. This is your toolbox and you can do anything. Go for it.
oh on the part about repeating i think a great example is snarky puppy lingus the main motif really hits hard and is satisfying after the insane solo sections. it amplify the festive vibe of the track and leaves the listener incredibly satisfied.
i also want to add that these tips work with *ANY* genre! I'm a deathstep producer myself and I've been using these tips in my songs for a good while now, and they work just as well
One tip I've found for learning how to do those vocal harmonies that's outside of traditional voice-leading - Listen to a lot (a LOT) of prog/soft rock/RnB from like 1968-1995. People used to get really insane about this stuff when recording.
I could stand to do better on all of these, but I think I'm best at #5! Ever since I started producing music, I've tried to avoid simple copy-pasting of sections. I don't like writing needlessly long songs, so I often try to budget the lengths of my sections and plan a general idea of what each will feel like. I like to keep things structurally dense! The balance of repetition and variation is very important to me. The best essay I ever wrote in college was on that topic!
Leave a comment if you have more tips to share or if there's anything you want me to cover in the future!
Some links for you:
My online music production course: studio.com/andrew
My plugin Transit 2: babyaud.io/transit
Stream "Julian" everywhere there's music: fanlink.tv/julian
Hi im a big fan!
Shiny! 🤩
Tip 6: Change what types of intruments you used in a song (e.g. making an entire of a song with no percusion or drums). This can focus the attention of the song on other instruments or make it easier to pick up on more subtle things that are quieter in the mix.
I found this video really helpful as a beginner and will be using some of these myself on my next songs.
Where do I begin? this is an extremely offensive video. Not as offensive as the shirt! As a beginner myself I personally felt attacked. Why would you not address the fact this is subjective or other very obvious things? Nor did you address the shirt! This is my form of satire btw and definitely learned a few things. Thanks for the help lol
Andrew, in the example tune, what are you using in mixing or mastering, besides the notes themselves, that has such a pleasant balance of in-tune harmonics with the song?
the drip is insane
ong
Literally
100%
Sauce
It’s outshining the content
The thing I like most about Andrew is he genuinely seems to enjoy sharing his vast musical knowledge. He wants everyone to love music as much as he does.
I mean he is getting money in return, it's a (nice) job at this point.
@@juankplaysmusic It is rare for a person to build a career to a level where they can enjoy it themselves and also enable others to enjoy it as much as possible with enthusiasm.
I just like the shiny shirt. Mithril
I think there's one tip that many people miss: Don't be afraid to automate stuff. Whether it's a simple volume automation, a 6 minute long filter cutoff automation, or turning on and off 8 different effects in the span of 2 bars. Automation can be really useful to add variation, and if you use it right, you can make one sound turn into a completely different sound in different sections of the song! I use that for kicks for example. In one drop I'll have a kick, and in the second drop I'll have the same kick but with a lower pitch and more distortion. Really useful stuff!
Abolutely. I recently used one nuero style bassline and automated a bunch of different glitchy and rhythmic effects to comepletely change it in multiple sections for example.
Yeah, but automation makes anything sound overprocessed and in the realm of hyperpop. Don't get me wrong, I make dance music from time to time, but really good SONGS (the ones who withstand the test of time or become true classics) don't need that much bells and whistles, and ideally the variations should come from actual notes/instruments/musicians, not a plugin parameter change
@@juankplaysmusic Yeah, for sure! The point is not to automate absolutely everything, but to be deliberate about it. I just personally like automating things a lot because I value sound design and having variation in my sounds without having to open another plugin, and I think more people should adopt that because sounds are cool!
@@juankplaysmusic I honestly think what a lot of people associate with those over-processed styles isn’t the automation per se, but the automation being super jagged and geometric. Not something you could do on a real mixing desk. Sometimes I like to record in various knobs and sliders over MIDI, instead of just using the automation lane directly with my mouse. It usually sounds more “natural” that way in the end.
A few of the tricks I like to use:
1. Have a secondary vocal track that emphasizes certain lyrics. I often make this layer wide with the lows cut to support the lead.
2. Add background ambience to your track to put it into a "place" like a beach or forest and then use filters/eqs/reverb to create natural sounding risers/down lifters.
3. Subvert people's expectations with song arrangement. Don't fall into the pattern of Intro-Verse-Chorus-Verse-Chorus-Bridge-Chorus-Outro or Intro-Buildup-Drop-Break-Buildup-Drop-Outro.
4. Add an instrument solo or call and response style licks to compliment your vocals/lead melody. I often "respond" to my own vocal with a guitar riff or synth lead.
5. Use negative space to create anticipation prior to choruses/drops. The absence of sound prior to a drop makes the drop hit much harder and builds the feeling of anticipation for it.
Thank you for sharing!
November 17, 2024
Very practical ❤
bro is shiny
Catch bro
he's an r.e.m song
fr
@@RaniplaAndrew Huang is a legendary Pokémon confirmed
Going to Vegas with this song 😂
Tip #1 IS SO TRUE! Use random stuff like a pan or whatever to make grooves so much more interesting!
Automate a pan throughout the groove loop? Never thought about that but I guess it’d give it some movement and depth
@@KidAstronaut If that was a joke, it's hilarious. 😸
If not: I don't think that was "pan" as in Left/Right. It was pan as in _metallic cookware._ #IAintGetNoSleep 🍳🍲
@@crnkmnky Oh okay! Yeah I'm new to production so still learning. I assumed it was left-right automation
@@KidAstronaut I'm not even sure anymore. 😅 Honestly, you could combine both techniques!
@@crnkmnky I thought he meant pan as in left/right too lmao
I haven’t felt inspired in over a year to make music but these tips made me really excited to get back into it again!! Thank you!! 🌟
I don't think you have to wait to be inspired to make music, it is more like a habit, and the more you do it the more you become good at it.
Tips 1 and 2 can both be done with the right kind of foley sounds, by the way. And they don't always have to be the highest quality if they're buried in the mix, just take your phone and record random things around your house or whatever. The offbeat and unpredictable nature of a lot of these sounds make textures that would be hard to deliberately create with a synth or recorded instrument.
What I love most on the topic of chorus and repetition is when what's repeated is recontextualised rather then just changed, both via lyrics and instrumental by having the same idea repeated but the evolution of the song or the emotions linked to it giving a new meaning
Great tips - I’d add automating more parameters in general of sounds using automation lines or modulators like LFOs to keep the sounds interesting and evolving.
Andrew's songs I always come back to:
- Liftoff
- Dorian
- Bookmobile
- Miracle
And now Julian, was just listening to it this morning.
Very big on Miss #5! I like to use something loose called Rule of 8, where something different occurs every 8 bars, either by adding/taking away a track, changing what the instruments are playing, chord progression, etc... just ANYTHING
That’s really good advice
Rule of 8, great way of naming it, there is no exact same repeat w either verse, chorus, or breakdown!! Progressive thinking
man these vids are a public service, thanks for being a gateway into the music creating world for so many (including me!)
I'm only 5 seconds into the video but HOLY SHIT THAT OUTFIT!!!! I'm so jealous!!!
I am jealous for everything else
Dude, I cannot fathom how clearly you can explain things - where were you all my life. Thank you
The fit is giving 90's Madonna and I'm here for it
The only tip I think you could use is:
Please never stop teaching music production.
Side note: I took your Monthly course, so I'm saying this with the utmost sincerity!
he is GLISTENING!!!!
The difference between the ear candy at 3:17 and without it at 3:30 is SO STARK that's wild! So helpful to have them in comparison thank you for such fantastic educational content!
It's disco time, baby! Can't wait for the new FOO!
Wow.. ok SUNGLASSES ON! 😎
I feel like I need sunglasses to handle that shirt...
best ever advices for beginners but when I was like 13een I was free from any limitations and a quote came on my mind all your life you learn to paint like a child. but literally intellectually that's the best ever advices ive ever heard.
I think building on what you said about expectations and anticipation, specifically building expectations and then intentionally breaking that expectation to create the surprise and intrigue.
Great selection of misses, thanks for that.
My counter-miss would be: leave room for something. Not every section of a song has to be as dense as possible, with layers upon layers of ear candy and harmonies and effects. It can be very effective to deliberately focus on a single element or on a very reduced version of a section.
Shiny Andrew drops the most important information of the video at 9:31. Try to intuit what sort of stuff gets better with each repetition vs what gets old with each repetition. I have no idea how to do this, it's just gut feeling. Andrew could you do a video on this?
Generally from my own experience:
Stuff that gets better:
- small inconspicuous bits that have multiple variations or evolutions that make you go "oh, that's a bit different" and not "um, wow, that's... pretty different" if you know what I mean lol
-soft sounds, slow movements with added layers. Generally things not in the foreground
- slight deviations from the listeners expectations but nothing too jarring that'd throw them off completely.
Stuff that gets repetitive or exhausting:
- complicated/complex stuff without some simplicity that helps the listener to "understand" the structure a bit
- fast riffs that stand out or
- overpowering things in general
- symmetry and exact copies without variation
- tricks that (usually) only work once in a song, e.g., outro modulation, short silence before the chorus/breakdown, ending a vocal phrase in a climax, i.e., going high up in pitch and/or adding heavy harmonisation and backing vocals. Nice in the final chorus but if it happens every time it's boring and takes out the organic/dynamic development throughout the song.
- on that note, having the exact same energy all throughout the song. In general you'd want to be like a pendulum swinging between relative low(er) and high(er) energy to give the listeners short breaks and build tension and resolutions.
For folks who do mostly electronic production: Tip number five, CHANGE YOUR DRUMS! It’s absolutely amazing how much a varied, “alive” sounding drum part will affect the feel of the song.
So now you're a Disco Legend as well. Got it.
This would have been rad to have back in 99 when I began creating tunes with a demo of FLP 1.1! Things have come so far, and info and knowledge such as this are nuggets of gold! You bring a ton of good to our world, homie.
Also, isnt that shirt hot! Its bada$$!
I have had similar thoughts unclear and lost in my brain and I am thrilled to finally hear it so clearly explained! It takes a true veteran expert to be able to identify these and make it so simple.
6 years of experience yet I'm still coming here to see if I'm missing something
And this is how I found out I'm still a beginner!
This was comforting to read lol 😂
Fax
@@Rowanexenlmao what a journey we all took together ❤😂
Me 25 years… don’t worry ! It is always interesting to ear those things again and again, especially with Andrew’s expertise
THE SPARKLE SPARKLE, cant focus on the words anymore, THE SHINY SPARKLESS❤
Sparkley wizard teaches you sparkley music!
Looks so masculine lol
brilliant as always, thank you Mr. Andrew, your productions are so good, both in music and in videos 🙏🎶
Andrew's mom said they could be anything they wanted, so they became a disco ball (respectfully; it looks great!)
Fantastic tips! Thanks, Andrew!
He* hes not "non binary."
@@sr-kt9ml actually iirc he is, or at the very least is open to being called other pronouns
@@uncroppedsoop Andrew has said in the past they don't have a pronoun preference, any pronoun is acceptable. She/he/they.
@@BobbyDoesMusic oh that’s cool! I guess it was mentioned in the book or smth?
TBH I “smelled gender” on some of these outfits for a couple years, but I tried not to think too deeply about it haha.
@@kaitlyn__L I think it was on their Twitter/X or maybe they crossposted it to their Insta, I really don't remember. I just remember seeing them post it, and my brain locked it into place. 😅 😅
I've been producing and making music for forever now, and the thing I've always had a problem with was making things full, and some of these things I've completely overlooked. Thanks Andrew. Obviously, for everybody else, honing this type of skill in production and texture takes time and practice. Hell, it's been 6 years producing my own music on a "basic" level, and I still get things wrong. Soak in as much as humanly possible and don't be afraid to make a ton of mistakes. Wish I could've done learned sooner.
Holy crap I love whatever you're wearing right now
Music is all about finding that balance of what is predictable and what is surprising! Love that line
3:02 subtle swells and sparkles make it interesting, and un-not-noticeable. Like a momentary otherworldly glimmer. Unmentioned but you can’t ignore them.
Thank you Andrew! I’ve felt very confident in my songwriting but have been struggling to translate into production. I think these tips were exactly what I needed for more dynamics
The details makes it shine. Great tips, Andrew!
Great tips, and a cool shirt.
havent even barely started the video but that outfit goes crazy
Julian is my favorite of your recent songs! and flippin out
You have such an incredible talent for teaching! Youre living your purpose friend
andrew you are serving !!
For someone who speaks so quickly, it's amazing how not annoying you are.... knowledge is one thing, but your ability to transfer information with ideas and explanations is exceptional - many thanks....
Haha thank you I try to find the shortest but most effective way to convey each thing
Thank you so much for all you do for us Andrew. I know that shirt is not comfortable at all but you still put it on just to flex on us. And we appreciate it.
looking majestic frr
Nice shirt andrew. I first found out about you with that Sony collab you made. Love watching your videos and thanks for the advices
I definitely need to up my ear candy game. And the repetition with variation is another good point that I need to be more deliberate about.
thank you again for the knowledge and positivity. i opened up an ableton session immediately ✨💙
Yessss, keep them tips coming, love this. 💜💜🙏
crazy top sir...
Really good information, I will redo a lot of my uploaded songs with this in mind! Thanks Andrew!
Sparkly outfit matches brilliant tips😅 nicely done!
This is so real, I am a beginner and these are super good.
Something I have had so much issues to know how to do is a intro.
I am usually playing the piano for fun with some cool plugin sounds.
Then I find a cool melody that I like and I record it.
But then I don't really know how to create a song around this melody haha.
Thank ya
EXCELLENT VIDEO!!! Absolutely loving the explanations and examples given. Super enlightening!
4 on the floor, groove percussion, disco ball shirt - dude sends a consistent message
I always enjoy the ear candy you add, it's always so enjoyable to listen to your music because of it
This will help out a lot of producers. Another important tip is to have a different type of song as a reference, so you do not have ear fatigue working on your song and referencing similar songs for a long time
Extremely valuable tips in such a short video, and everything was super clear without watching the video, just listening. Thank you!
Amazing tips! I definitely struggled with all of these. I still do though but at least I'm more aware of them.
at least in terms of mixing, two biggest things i’ve had to accept is 1) you probably need more compression and 2) you probably need less distortion/reverb 😅
Recently I’ve been wondering what’s holding my music back from sounding professional, this confirms for me that it’s all this subtle things, the supporting elements.
This is a goldmine, thank you!!
I like these videos going into concepts and tips and tricks of music production, I've made some songs myself, mainly in the realm of BGM, but I struggle coming up with original ideas, a jumping off point, and even when I have the beginnings of something, I stuggle to find anything that works well with it.
SWEEEEET!! Will definitely keep these tricks in mind, thank you so much!
🤩🤩🤩 I’m in love with the outfit and look - wait now I have to rewatch the whole video to see what it’s about
❤ All of these are AAA tips. Should be part of every DAW when it boots up the first time. Again, excellent work. 😍
Thank you for giving us something to reflect on.
😎
Same vein as item #4, Prince's Forever In My Life had the backing vocals originally planned to be the response of call and response. They got cued up wrong, and instead happened before the lead vocal so it became response/call. Susan Rogers thought Prince was going to be furious, but he loved the mistake and that's what we hear on the album.
very helpful Andrew, I really struggle with beat variations, ear candy and transitions. Thank you!
Always appreciate the continued passion Andrew 💜💜
GOD YES this is exactly what we needed. thank you so much andrew as always
You have tricked me into listening to your excellent song. Thanks for the advice and the art.
here's my guess before watching
1. compositions need empty space to breathe.
2. arrangements are about making parts of a whole, not just stacking layers on layers
3. mixes should have punch (transient sounds gainstaged WAY louder than sustained sounds) and clarity (vocals and leads also up a couple dB)
4. Recordings need to be delivered with confidence. Even if you don't think you can sing that chorus or nail that solo, sing and play like you think you can. (also, do just one more take)
5. Confidence, overall is key. This is your toolbox and you can do anything. Go for it.
These are great too!
One of the best videos on music production that I've seen.
oh on the part about repeating i think a great example is snarky puppy lingus the main motif really hits hard and is satisfying after the insane solo sections.
it amplify the festive vibe of the track and leaves the listener incredibly satisfied.
i also want to add that these tips work with *ANY* genre!
I'm a deathstep producer myself and I've been using these tips in my songs for a good while now, and they work just as well
Could’ve sworn I was subbed to this amazing channel. Glad it came back on my recommended 💪🏾💪🏾❤️❤️
Really really solid tips and examples
One tip I've found for learning how to do those vocal harmonies that's outside of traditional voice-leading - Listen to a lot (a LOT) of prog/soft rock/RnB from like 1968-1995. People used to get really insane about this stuff when recording.
This is a great video and I'm really thankful, as always, for your efforts.
Looking good Simon 🙌🏻
«Julian back to you» should definitely be the transition from the weather segment on a breakfast show😂
Loved everything about this!
Nice video! More like these would be great! Maybe i just gotta buy the course haha, cheers!
Really awesome stuff here, thanks Andrew!
Great content as usual. James Iha wants his style back too btw. Lol😅
7:25 "I see that a lot in beginners"... and all of radioplay and billboard top 100!!!!!!!!
A friend of mine insisted that every same section (verse, chorus) should bd the same and therefore copy-pasted.
Variation is something I try to do religiously. Not just every section is different for me. Every time the chords loop, I have to change something.
the fit hits
great tips - and a great song, thank you for sharing these!
I could stand to do better on all of these, but I think I'm best at #5! Ever since I started producing music, I've tried to avoid simple copy-pasting of sections. I don't like writing needlessly long songs, so I often try to budget the lengths of my sections and plan a general idea of what each will feel like. I like to keep things structurally dense!
The balance of repetition and variation is very important to me. The best essay I ever wrote in college was on that topic!
came for the music production, subbed for the style
9:47 lol I thought he said, “please scream Julian” and I totally just yelled it out loud
Great tips, Andrew!
Great video and nice shirt!
Great tips fantastic fit