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Upcoming Musicians: You'll Regret Not Listening To This

From Audio: FMP 022 – ill-esha
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The Freio Music Podcast
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Here are some common mistakes that you want to avoid when making music.
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when you're teaching or working with other people that are upcoming will say, What are the most common mistakes that you see? Um, okay, well, one of them, even just a Segway from when I was just talking about is being a little bit too boring with your percussion. A lot of people they take percussion and structure very literally. They hear something in their head, and they do it. But I think what people don't realize is, you know, there's a concept in jazz and other styles of music. Ghost notes write the notes that are almost not there. And so one of the things I have to teach people a lot is hey, like you may not consciously hear this, but there is something there and the biggest issue. And I mean, I still like more experienced producers I know struggle with us all the time is how to create spaciousness and how to also not have things feel empty, right? You don't wanna overload. You don't wanna overdo. And you also don't want to just leave these giant holes in your production. So I think the balance off movement and texture is the hardest thing to get And that's the that's The other thing is, you know, when people start making tracks, they literally were just like glue loops together and they're not really thinking about how to get from one part to the next or how to create tension. And, you know, a song is a story in a in a non verbal language. And sometimes there's lyrics. But, you know, like so you have to figure out how to get people from the intro to the build into the climax and just in a musical form. So I think tension and release is really, really tough. And, you know, they're the white noise. Riser is a classic way to do it, but there's so many ways to do it. And I think coming up with those ways is always a challenge for people who are new, and they haven't really thought about like, Well, I thought about the main lead, but like, how does it get from A to B and like, you know, how do I gracefully get it there and and why does it sound so empty? I was trying not too crowded, but why do I? How do I put something else in there without it taking over. Yeah, And when when you're producing or helping somebody else a student, uh, formulate the structure of the song, What advice would you give A Sfar is make sure that it gets somewhere, but that is not just all over the place. And there is no structure. Well, I think the key is is just a very classic sort of like you have to learn the rules to break them. And again, it's like I hated theory, but because I learned some theory and it's still somewhere deep in my head, like I know how to make a chord progression that works. So I think that, um, people who struggle with arrangement, they also usually will be like, Oh, I don't want to copy anyone. And so when I tell them, Hey, bring a track that you like into your Daw and look at the structure and copy it, they're really afraid of that. But in reality, like you're probably not gonna copy that person's track, you might just get a good idea of like what they did with flowing the energy that made you like it. So I usually recommend just being like Okay, fine. Five tracks where you don't just love the overall sound you love like every minute of it. And then, like, you can't stop listening to it all the way through and try and figure out why that is. Bring it in. Maybe, Oh, maybe it goes into this breakdown and that's really unexpected place. And then when it comes back, it's not even a drop. Maybe it's just like a little gradual thing. Work with that, you know, express that in your own piece. So I definitely think that, um, people get afraid that if they listen to too many other people's music or styles or use it as reference that they will become derivative. But I think if you're afraid of that, it's probably because you still haven't found your own sound. And if you come
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