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Music MasterClass

From Audio: FMP 010 – Aphasia

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station description The Freio Music Podcast: Musician Interviews - Featuring artists from around the w... read more
The Freio Music Podcast
Duration: 14:01
You better not skip this one.
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You better not skip this one.
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when I play shows, it's right. Now it's able to push. It's a Bolton. It's the Alienware. That's it. Um, I D j That way at home, I have a PC that I made. I'm a total nerd, so I built my own PC able to turn on their lots of VSD plug ins and stuff like that. Um, we have some hardware. Uh, my girlfriend and I make music together. We have our page, Adam and Eve A DMX Eve. Um, so she she plays guitar, bass, piano. So we do have some hard where we have, like, we have like a Marshall stack. We have some stuff like that. Sometimes we'll run audio through, and but a lot of my I'll be honest. A lot of my production is in the computer. A lot of software plug ins. Um, we do have the Rolling Phantom or Amber. It's hers, Really? But we both use the Rolling Phantom. Um, it's like a digital sampler synthesizer, but yeah, most of it is VSD plug ins, able 10. Um, I do a lot in midi or at least started in midi. Um, like like I said, growing up, I was a lot of just computer mouse keyboard, so I really don't a lot of times feel like I need to get out of outside the box and start wiring up. Since though, I honestly would have a lot of fun doing that. I'm sure I I don't plan to keep myself all software, and I have done some fun things outside the box with hardware. But let's let's dive into the software for a second because that's where you started. And clearly you know how to make things work. What what plug ins do you seemed to leverage the most? Um, I use ominous fear, a lot of atmosphere. It's got that lush atmospheric base that I really want for my music. But I'll do a lot of even. Just Operator is one of the free ones that comes with a Bolton. People underestimate that plug in all the time. A lot of times people underestimate the ones that come with their dog. So I'll use operator and I think I have a lot of fun using the microphone. I'll seeing some note like I suck at singing, but I'll just put some audio into my microphone auto tune that make that and do a sense. So I like to not stay in any one plug in too much I have been What are you using to auto tune your voice. Uh, even manual ill due to manual tuning and able to a lot of Yeah, interesting. Yeah, there's a few ways to automation mapping, and like you draw depends. You could draw in the notes. It depends. It kind of depends. Case by case, Sometimes I might use like isotope like nectar is one of the vocal processing of use. But it depends. Sometimes I'll just find, like sometimes I'll just try to hum for awhile and just find the section where I was the most consistent and just keep that okay, tune that. It gives it more character. If you use too much of an algorithm to auto tune it now it sounds almost just like a synth. So it kind of depends, though, how I wanted to come out. I'll use a few techniques for that, but yeah, ominous fear serum, a few different ones, but it really depends. I, uh they all do a lot of the same things as each other, and then some of them have some unique things that only they do. But, um, I like to mix it up. And, like I, I've got a lot of the main ones. People will use massive and stuff, but I don't think it's about really the tool. As much as just hearing the good like sorting through the madness is the key with all these different tools, hearing what it did that was good and keeping it and hearing what it did that was bad and just relentlessly deleting or changing. Yeah, not looking back, Yes, taking every little good thing that comes out and just really focusing on it. It's a lot of sifting for me. Create lots and lots of sound and sit down to the good stuff. I get a lot of my crazy, weird sounds. And how do you figure out what the right combination of layers to sift down into like the essence of your song? It's really subconscious for me. That's how I mean there's some best practices, like keeping certain sounds and certain frequency ranges, and I do definitely mindful of those kind of engineering techniques mentioned any. If you feel like it, well, just just, you know, giving something the lows. Giving something them is getting something, the highs and keeping them in there and like that's definitely part of it. But it's an overall feeling I get. It's a subconscious thing, and a lot of times I'll I have to stop and come back to a song to make sure that that was that that keeps happening, that that feeling keeps happening. Sometimes it happens just the first time you get really excited about it and you listen to the next day and you've got to be honest and be like they just don't work together. Maybe I thought that worked right Lot of honesty a lot of just, um, but also not caring too much. Not too much attachment is important with electronic music. Um, there's always more sound that can be made. Just delete it if it's not a if you're not really excited about it, that's something I got from like my girlfriend. She's really when she produces, she's really about like if it's not 100% I'm super excited just to lead it like you don't want people to be like man about all your layers. If you're willing to go man and keep it. You're going to be putting that out a bunch of men. So just going. Okay? I'm not that excited. I gotta delete it. Keep trying harder. Something I read recently, It's either Fuck, yeah, Yeah, that's how really, she says. I mean, it's like it's either fuck yes or fucking. No, I mean you want to. What do you want to give everyone? Or what do you want to hear when you play your own music? A bunch of like, That's pretty good. I mean, come on, you're here. You have the opportunity to change it before you save and export it. Make sure it's like something you're really excited about or something you really get a response out of. So and what do you do, like with songs that you come back to the next day? And it just doesn't sound. It's awesome, as you thought it did the day before. You go back and rework it, or do you kind of start fresh light? Sometimes I'll do either one sometimes, and when do you know when to abandon and when to rework? How do you draw the unconscious? Almost where I'm feeling? Like sometimes It's nice to go back to those and just mute the part that's throwing you off mute. It does the rest sound good. And if that's the case and you mute that part, that's throwing you off and the rest sounds okay, delete the part that's throwing you off stop. Sometimes it's good to go. Try to change it and get it to sound right. I've had that happen where the layer just was throwing me off, but I was able to make it, not throw me off and work good and and complement the rest of the layers. That's tough as an artist, that's really tough, like that's what you have to kind of over time. Develop is the mentality of, well, that needs to just go like there's sometimes an analytical component of like. I have tried to rework that for three days. Now let's just get rid of it, you know, or you mute it and you really hear potential without it. That's another reason to get rid of it. It's just hard to say that's the thing. It's really hard to articulate a lot of these scenarios. Yeah, you're you're just knowing when to call it quits on certain things that gets developed over time. And it also comes with, like, putting out music and then listening to it after and be still being kind of perfectionist, like, I'll listen to stuff from when I was younger with my other brands that I had. Well, I can't believe that sounded okay, and I just put that out like it just doesn't sound okay, Um, yes, being honest with yourself so you can grow and get even better and better again, The attachment. Sometimes. Like my older music, I realized well, I kept it because I liked it. I felt proud about it, but don't be so attached to its just a noise you made. But at the time, it might have been the best thing you have ever created. And, yeah, as as a kid, you know, when you're making that first song, it's precious, you know, and that's I think that's a masterpiece of a first song. Yes, yes, and that's the introspective aspect of music is going well. Sometimes you think you're making good things that are good. That's deep like you had. Sometimes I had an emotional reaction to us. Think I made and later I went. It's just it's out of key, like that's not even in key or something. So tuning your mind to it's just crazy. It goes both into yourself and into your and then back out into the world. It's cool to watch that evolve, and you just can't hold on to much. You gotta just keep moving forward and making honest music and try to have fun. I think at the end of the day, but it is an art to choose what to keep and want to get rid of. And there's not always a why, like because your brain is going to know why. Because you're doing like you're doing like a You know, if you're going to hit delete on your keyboard, analytical part of your brain is going to start asking questions, and it's part of the artist just turning it off and not caring. If it leads to things like in life, you really want to ask questions. Why are you turning right? That's important with music. It's not as important to have that analytical component, and the creative part of the process is really important to know. Maybe I don't care maybe there's no good medical reason. Maybe I don't care. It's like swimming until you find this warm water. I guess you're like Okay. No, this just feels right. I can't even break it down intellectually. Why this sounds Writer feels right. It just doesn't know I'm here and I'm gonna try to develop this part of the something more. It was tough because especially if, like, I'm a pretty analytical person. But it almost doesn't serve me a whole lot in music. Sometimes it's really helpful when you're done with the creative part and now you're mixing and mastering and you want to tune it all real good. Analytical brain is amazing at that. You can start to get into the science of sound, and you can start to get it to sound right for various analytical reasons. But you can't use analytical reasons to get to an emotional reaction for me. I can't think my way into that. I have to find myself there and just develop it to spend lots of time in my software and working on music to finally kind of more or less sometimes stumble upon it and then just develop it When I find myself there when you say, like, stumble upon it. Does that mean that you start out the day wanting to make a song and you're not sure what there is to be or do you start out with a pretty clear idea of the direction? It's never clear, but sometimes the slightest blank, sometimes the slightest blank. And I just started hitting buttons and pulling up patches. Start with some sound. What happens until something feels cool? It's really like a lot of subconscious reactions. I'm kind of tuning myself to here and to respond to my brain. I'll just say like, No, that was like, That's cool. That makes like you listen to like when you read a blog post on a song. It's interesting. They have to come up with really clever adjectives. The warm they call things warm, they call things, inspiring the call things this and that, but that those words never quite get it. So it's more like this. There's this feeling you can tune into, so you just start throwing sounds at your brain or I do throw a bunch of sounds in my brain. Something sticks in a weird, subconscious way. That's a lot of times hard to articulate, and then I I try to take it as far as I can without moving it away from that initial feeling. It gave me just stretching out that feeling, seeing what more I can add or change without that feeling going away. So and that takes a lot of being in tune with yourself and finding ways to get back to that mental state when you go to work on the track again and sometimes you can't get back there and now you're working on the same track with a different mental state and it'll evolve because of that. But, um, yeah, it's a lot of weird cues like that. So I'll Sometimes, though, I'll go to like, let's say, I've gone to a festival a lot of times after a festival. When I come home, like if I was just attending, I'll have a lot of content flying around in my brain that will definitely influence the production of my track, meaning things and artists that you've heard. Yeah, yeah, and I usually try to not focus on anyone show. I just try to take all that content and render it down into, like, one and influence while I'm going out and making a new track to try again, to try to as a defense against copying, which is really easy to do subconsciously. And I try not to hold that against artists too much, either because it's really hard to like. Not especially if something is really impressive to you and you responded to it, Why wouldn't you, you know, But to be genuine, I think it's important to at least notice if you're doing that. And so, for if I come back from it festival or some huge concert, there's going to be influenced. There's definitely influence in there, especially if I had a really good time. It's gonna be a strong influence, and there's gonna be things about their music that I was really into. Um, that will definitely find its way into the production process in some way. I think for me it's just trying to boil it down to be more subconscious than anything like I don't want to go in and go. Oh, his kicks are always super like, punchy, like this. I'm gonna do that exact kick drummer like I want to try to get too specific. So if I'm not analyzing specifics in my head, I can kind of sink into the subconscious and just work its way organically into my already the sound I've already developed for myself. And it becomes more of an interpretation of the event than just me making a song like a guy I just saw. But it's in there. I just I try to because to answer your question of like, do I go in with an idea or not? I just go in and try to make music on a regular basis no matter what.
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