23 Music Production Tips Every Producer Should Know | LANDR

Summary

In this insightful video, Patrick offers a wealth of mix and production tips for music creators. He emphasizes the importance of diversifying one's DAW knowledge, trusting instincts, and overcoming the 'demo-itis' mindset. Patrick advises against bashing mainstream music, encourages using loops and samples, and suggests experimenting with different genres to find the best fit for a track. He also covers technical tips on synth sounds, chord choices, and workflow efficiency, advocating for a balanced approach to mixing and mastering, and the value of music theory in enhancing production skills.

Takeaways

• 😀 Diversify your DAW knowledge to be prepared for various sessions with different software.
• 🔧 Trust your instincts when creating music; there's no wrong way to be creative.
• 💊 Cure 'demo-itis' by rerecording and elevating the song beyond its initial demo stage.
• 🎵 Avoid bashing mainstream music; learn from its popularity and apply insights to your work.
• 🔊 Get music out there and create feedback loops to understand what resonates with listeners.
• 🎼 Challenge the notion that loops and samples make you a 'fake' artist; they're industry standards.
• 🔄 Experiment with new DAWs, melodies, and keys to break out of production habits.
• 🎹 Fatten synth sounds by stacking octaves or using distortion and saturation for harmonic content.
• 🎹 Integrate familiar instrument sounds with unique synth textures to help listeners connect.
• 🎹 Use chord functions in DAWs to explore new voicings and enhance chord choices.
• 🎼 Utilize arpeggiators to add tension and resolution to chord progressions effortlessly.
• 💻 Commit and bounce tracks during sessions to manage CPU load and maintain workflow efficiency.
• 🎶 Demo tracks in different genres to find the best fit for a song's potential.
• 🔄 Remix your own tracks without getting caught up in the details; focus on creative momentum.
• 🔊 Track loud to catch imperfections and ensure EQ is effective at higher volumes.
• 📁 Organize tracks with clear naming conventions including date and purpose for easy retrieval.
• 🛠️ Set up session templates for efficiency, such as sidechain compression on vocal buses.
• ✂️ Apply the 'less is more' principle by muting tracks to identify essential elements.
• 🎼 Learn music theory to communicate more effectively and improve your productions.
• 🔧 Conduct thorough pre-production to resolve any issues before recording sessions.
• 👂 Listen in context when applying EQ or compression to ensure elements blend well together.
• 🤚 Know when to stop tweaking;细微差别通常不会被察觉，信任你的第一判断。

Q & A

What is the main advice Patrick gives for overcoming the 'DAW snob' mindset?

Patrick advises diversifying your knowledge of different digital audio workstations (DAWs) instead of believing that one is inherently better than the others. He suggests getting comfortable with various DAWs to be prepared for any session.

What is the term 'demo-itis' mentioned in the script, and what is its cure?

Demo-itis refers to the phenomenon where artists become overly attached to the sound of a demo version of a song. The cure is to rerecord and elevate the song with new parts and recordings, focusing on what the listener will experience rather than the demo's sound.

Why should producers avoid bashing mainstream music?

Producers should avoid bashing mainstream music because it is listened to by millions of people, and there is much to learn from its popularity and production techniques. It's important to keep an open mind and learn from all types of music.

What is the purpose of using loops, samples, and presets in music production according to Patrick?

Loops, samples, and presets are widely used in the industry and are not signs of being a 'phony' or 'fake' artist. They are tools that can help in creating music efficiently and effectively, without the listener caring about the specifics of how the sound was created.

How can forcing oneself into a new DAW or starting with a melody instead of a drum section help in production?

Starting with a new DAW or a different approach, such as beginning with a melody, can push a producer into a new headspace. This can lead to experimentation and learning, even if it's more difficult initially, as it breaks old habits and encourages creativity.

What is a simple technique to fatten synth sounds without relying on EQ?

Instead of using EQ to boost bass, stacking octaves or a fifth above and a fourth below the fundamental note can thicken the sound and give it a more mature texture. Adding distortion can also provide more harmonic content and saturation.

How can using a fundamental instrument like an electronic piano help with a wacky synth sound that doesn't fit in a mix?

Using a fundamental instrument and blending it with the synth sound can provide a familiar harmonic structure for the listener to attach to. This allows the unique synth texture to be appreciated while ensuring the sound fits into the mix.

What is the benefit of using chord functions in a DAW for producers who find their chord choices bland?

Chord functions in a DAW can help producers break out of their usual voicings and discover new chord structures that they might not have considered, leading to more interesting and varied chord progressions.

Why is using an arpeggiator a good idea to complement chord progressions?

An arpeggiator can add movement and interest to chord progressions by playing single notes that create tension and resolution within the chord structure. This can be done without overthinking, making it a useful tool for enhancing tracks.

What is the workflow tip Patrick suggests for managing CPU-intensive sessions with many plugins and VSTs?

Patrick suggests committing and bouncing some of the stems out to manage CPU load. This keeps the workflow going without the risk of a session crashing due to high CPU usage.

Why is it beneficial for songwriter-producers to demo a track in a different genre?

Demoing a track in a different genre can help songwriter-producers explore different sounds and styles that might suit the song better. It's like trying on different outfits to see what fits best.

What is the importance of setting playback volume correctly during the production process?

Setting the playback volume correctly helps in tracking by allowing the producer to hear imperfections that need correction. It also helps in mixing by ensuring that the sound is not irritating at higher volumes, indicating poor EQ settings.

Why should producers not resist learning music theory?

Learning music theory is beneficial because it allows producers to be more specific with their recommendations and suggestions. It improves understanding of rhythm, harmony, and melody, leading to better productions.

What is the significance of doing proper pre-production before recording in a studio?

Proper pre-production ensures that all parts of the song are well-rehearsed and any issues are ironed out before recording. This prevents the microphones from picking up on any inadequacies in the song structure or performance.

Why is it important to listen to elements in context when applying EQ or compression?

Listening to elements in context helps in achieving a cohesive mix. It ensures that each element contributes to the overall sound rather than just sounding good on its own.

What is the advice Patrick gives regarding knowing when to stop tweaking EQs and compressors?

Patrick suggests knowing when to say when, implying that if a mix is 99% there, it's better to stop rather than over-tweaking. The small differences are unlikely to be noticed by listeners.

Outlines

00:00

🎙️ Overcoming DAW Snobbery and Embracing Creativity

Patrick, the speaker, emphasizes the importance of diversifying one's knowledge in digital audio workstations (DAWs) to adapt to various sessions with different software. He advises against the notion of one DAW being superior to others, suggesting that all tools have similar processes. Patrick encourages trusting one's instincts in music production, as there's no wrong way to create. He also discusses 'demo-itis,' a tendency to favor early versions of songs, and the importance of re-recording and improving tracks for the final release. Patrick urges producers to avoid bashing mainstream music, as there's much to learn from its widespread appeal, and stresses the importance of sharing music for feedback to foster a conversation around it.

05:02

🔊 Production Techniques and Workflow Efficiency

This paragraph delves into various production tips, starting with the argument against the belief that using loops, samples, and presets makes one a 'phony' artist, highlighting their widespread use in the industry. Patrick suggests experimenting with different DAWs and starting production with different elements to break out of habitual patterns. He offers advice on fattening synth sounds through octave stacking and distortion, and blending unconventional synth sounds with more familiar instruments for better listener engagement. Patrick also touches on using chord functions in DAWs to explore new voicings and the utility of arpeggiators for adding interest to chord progressions. He stresses the importance of committing tracks to free up CPU during sessions and encourages trying different song structures to find the best arrangement. The paragraph concludes with workflow tips like setting playback volumes for tracking and mixing, and using templates for efficiency.

10:02

🎼 Composition Insights and the Value of Music Theory

Patrick shares composition tricks, advocating for 'less is more' by muting tracks during playback to assess their contribution to the song, leading to a cleaner and more focused mix. He advises learning music theory to improve communication and precision in studio sessions, covering rhythm for better drum programming and harmony for stronger melodies and chord progressions. Patrick also emphasizes the importance of thorough pre-production to address any remaining issues before recording. He discusses the value of listening to mixes in context rather than soloing elements, to ensure they contribute to the overall song. The paragraph ends with a reminder to know when to stop tweaking mixes, as minor differences may not be perceptible to listeners, and the suggestion to compare previous and recent mixes to gauge improvement.

📢 Engaging with the Audience and Encouraging Questions

In the final paragraph, Patrick introduces himself as a representative of Lander and encourages viewers to engage with the content by subscribing to the channel, liking, sharing, and asking questions in the comments. He reiterates the importance of avoiding 'demo-itis' and maintaining an open line of communication with the audience for feedback and questions, ensuring a dynamic and interactive learning environment.

Keywords

💡DAW

DAW stands for Digital Audio Workstation, which is a software application used for recording, editing, and producing audio files. In the context of the video, Patrick emphasizes the importance of diversifying one's knowledge of various DAWs to be prepared for different sessions and to avoid being limited by a single tool. The script mentions 'Logic session or an Ableton session or, Pro Tools session' as examples of different DAWs that a producer might encounter.

💡Demo-itis

Demo-itis is a term used to describe the phenomenon where artists become overly attached to the initial demo version of a song, often to the point where they resist making changes or improvements. Patrick discusses this in the script, suggesting that producers should help artists move past their attachment to the demo and focus on elevating the song with new recordings.

💡Mainstream Music

Mainstream music refers to the popular music that is widely consumed by the general public. Patrick advises against bashing mainstream music, arguing that it has value and can offer lessons for producers. He encourages producers to listen to and learn from it, rather than dismissing it as inferior.

💡Loops and Samples

Loops and samples are pre-recorded audio segments that can be used in music production to create rhythms, melodies, or other elements of a track. Patrick addresses the misconception that using loops and samples makes an artist 'phony' or 'fake,' stating that these tools are widely used in the industry and are part of the creative process.

💡Synth Sounds

Synth sounds are electronic sounds created using synthesizers, which can be manipulated to produce a wide range of tones and textures. Patrick provides tips on how to fatten synth sounds, suggesting techniques such as stacking octaves and using distortion or saturation to add harmonic content and depth.

💡Chord Functions

Chord functions refer to the roles that chords play in a piece of music, often based on their relationship to the key or scale. In the script, Patrick recommends using chord functions available in most DAWs to explore new voicings and create more interesting chord progressions.

💡Arpeggiator

An arpeggiator is a tool that can be used to convert a played chord into a repeating pattern of notes, often used to add movement and interest to a track. Patrick suggests using an arpeggiator to complement chord progressions and create tension and resolution within the music.

💡Bounce and Print

Bounce and print is a process in music production where individual tracks or elements are combined into a single audio file, reducing the load on the computer's CPU and ensuring a smoother workflow. Patrick mentions this as a workflow tip to prevent sessions from crashing due to high CPU usage.

💡Songwriting Producers

Songwriting producers are individuals who not only produce music but also contribute to the creative process of songwriting. Patrick provides a tip for these producers, suggesting they demo the same track in different genres to explore various sounds and styles that might suit the song better.

💡Mixing Volume

Mixing volume refers to the loudness at which one listens to a mix during the production process. Patrick shares his personal preference for tracking at a relatively loud volume to identify imperfections and ensure the sound is not irritating, while mixing at a quieter volume to focus on balance.

💡Music Theory

Music theory is the study of the practices and possibilities of music, including elements such as rhythm, harmony, and melody. Patrick emphasizes the importance of learning music theory for producers, as it can improve drum programming, melody creation, and chord progressions, allowing for more precise and effective communication in the studio.

💡Pre-production

Pre-production is the phase of music production that occurs before the actual recording, where the song is prepared and rehearsed. Patrick advises doing proper pre-production to work out any issues in the song structure and parts, ensuring a smoother and more professional recording session.

💡Listening in Context

Listening in context means evaluating audio elements within the framework of the entire mix, rather than in isolation. Patrick suggests that producers should apply EQ or compression while considering how each element fits with the others, as the goal of mixing is to create a cohesive sound.

💡Knowing When to Say When

Knowing when to say when refers to recognizing when a mix or production is complete and not overworking it. Patrick advises producers to stop tweaking when they feel they are nearly there, as the subtle differences may not be noticeable to listeners.

Highlights

Diversify your DAW knowledge to be prepared for various sessions with different software.

Avoid the mindset of one DAW being superior; all tools and processes are similar.

Trust your instincts in music creation; there's no wrong way to create.

Cure 'demo-itis' by rerecording and elevating the song beyond the demo phase.

Don't bash mainstream music; learn from its popularity and apply insights to your work.

Put your music out there and create feedback loops for a conversation with your audience.

Dispel the myth that using loops, samples, and presets makes you a fake artist.

Experiment with new DAWs or starting points to break out of production habits.

Fatten synth sounds by stacking octaves or adding distortion and saturation.

If a synth sound doesn't fit, combine it with a fundamental instrument for familiarity.

Use chord functions in DAWs to break out of standard voicings and discover new sounds.

Incorporate arpeggiators to complement chord progressions and create tension/resolution.

Commit and bounce plugins during a session to maintain CPU efficiency and workflow.

Demo tracks in different genres to explore their potential fit and adjust song structure.

Remix your own tracks without needing the 'DJ' title; focus on creative process over mix details.

Set playback volume loud during tracking to catch imperfections and poor EQ choices.

Use descriptive names for tracks including date and purpose for better organization.

Create templates for different session types to streamline your workflow and efficiency.

Apply the principle of 'less is more' by muting tracks to identify essential elements.

Learn music theory to improve communication and precision in studio sessions.

Conduct thorough pre-production to ensure readiness for studio recording and polish the track.

Listen to elements in context rather than soloing them to ensure they work together in the mix.

Know when to stop tweaking;细微差别通常不会被察觉，信任你的第一感觉。

Transcripts

everyone I'm Patrick and I'm gonna give

you some mix and production tips so

everyone's either met one or been this

for a minute you know the DA snob and

I've been there

I would used to say X is best but

ultimately I cannot recommend anything

more than diversifying your dog

knowledge because you'll run into a

session where someone comes in with a

logic session or an Ableton session or

Pro Tools session and you just don't

know what you're doing so what I really

recommend is to get over this hump this

idea that there's one dog that's better

than the next

you know dabble around with a bit of

everything and realize that all the

tools are relatively similar all the

processes are you know more or less the

same and and to just move on from this

elite mindset so really diversify your

knowledge and make yourself more of a

Swiss Army knife in a session super

simple tip all you have to do is trust

your instincts because honestly there's

no wrong way to create I don't know if

you guys have heard of this but there's

like a really common disease that goes

around in studios and it's called demo

itis but the good news is there is a

cure if your artist falls in love with

some sort of like tiny sound or a

particular take that happened in a demo

or in a pre-production session you know

you really got to help people move past

that and help them realize that the

listener ultimately is not gonna

remember what the demo sounded like so

rerecord it and and really elevate the

song with this new part this new

recording and move on here's a tip get

your mind out of the musical gutter and

quit bashing on mainstream music because

it's not helping anyone except your ego

the reality is millions of people out

there are listening to this music

and there's maybe something that you can

learn from it so have a listen take a

look but don't ignore it just like any

other craft you won't know if you're

making anything good until you get it

out there so don't be afraid to put

yourself out and to have people listen

to your music and create feedback loops

because music is a conversation and you

got to give people something to talk

about

this tips for all the haters out there

that still say loops and samples and

presets make you phony or fake artists

because the reality is everybody in the

industry is using them right now and if

you really really want to know what your

listener is asking they're asking

themselves whether or not your tracks

laps they don't really care that you

penciled in the hi-hat roll so get in

there use some loops use some samples

and just have fun with it

this production tip is to help you get

out of your production zone because we

all know that old habits die hard so

what I tend to do is I force myself into

a new da or I'll start with a melody

instead of a drum section maybe I'll

write in major instead of minor and

ultimately what happens is I get into a

new new headspace although it might be

more difficult I try to push through

because I know that if I'm experimenting

and failing I'm always learning here's a

production tip to fatten your synth

sounds instead of reaching for an EQ to

turn up the bass try stacking octaves or

a fifth above and a fourth below this is

gonna ultimately like thicken the sound

and give it a more mature texture if

that's still not working you can try

adding a little distortion which is

gonna give it some more harmonic content

and a little bit of saturation and if

that's still not working at that point

you might just want to try stacking

another synth sound underneath it here's

another tip for your wild and wacky

synth sounds if you really can't get

your synth sound to fit into a mix a lot

of the times it's because the sound is

too out there and there's nothing that

the listener can really attach to so

what you can try is using a more solid

fundamental instrument like an

electronic piano or a Wurlitzer or even

a classic piano and fold that into the

synth sound that familiar harmonic

structure is going to give your listener

the opportunity to really like tune in

and catch on to what you're trying to do

while still having this like super wacky

flyed texture on top of it in the synth

if you're finding your chord choices a

little bland these days I really really

suggest that you check out the chord

functions that come with most DAWs these

days it's gonna help you break out of

the voicings you usually use and maybe

come up with something that otherwise

you have never been able to play if

you're looking for that extra sweetener

for your track try using an arpeggiator

to complement your chord progressions

what's really nice about in our pajetta

is you can play single notes that are

going to flurry up and down they can

usually create tension and resolution

within your chord structure without

having to overthink it here's a workflow

tip that is sure to save your skin in an

upcoming session so a lot of the times

you get halfway through a session and

you've got a whole bunch of plugins and

VST is loaded up and it's starting to

get a little bit CPU intensive so don't

forget to commit bounce and print some

of these stems out because that way you

can keep your workflow going and not

have to worry about a session crashing

while the artist is working here's a

production tip for your songwriter

producers out there you think you may

have a pop gem on your hands but try

demoing the same track in a different

genre after all genres are just like

colors or like outfits so try them on

see what fits see what looks right you

might find that that pop gem is actually

a Down tempo R&B jam so back in the day

it would have been really hard to be

constantly splicing tape to move

choruses and bridges and song structures

around today it's easier than ever and I

highly highly recommend that if ever

you're in a session and you're not

feeling like the song is popping just

try and move the chorus or the hook or

the pre-chorus maybe put the bridge in

front of the second chorus to see how

that's going to change things up there's

no reason that you need to have DJ in

front of your name to be able to remix

your own tracks don't get caught up in

the mix details as you're creating

generally speaking if you spend an extra

hour throughout your session doing

mixing you're probably going to go back

and undo it after your creative process

anyways so start with strong sounds that

already fit in your production and just

keep moving forward here's a production

tip about setting playback volume most

people will tell you to mix quietly so

you can focus on balance and have the

freshest ears for the longest time but

personally when I'm tracking I like to

track relatively loud for a couple

different reasons number one I can

really hear any of the imperfections in

the sound that need to be corrected

before we continue the session and

secondly if the sound is really

irritating at the tracking volume I know

that the EQ is poor to begin with so

I'll move the mic or I'll change the

instrument a little bit I tend to mix

quiet and record loud so this is my last

final last last final most finished last

production tip for you all stop naming

your tracks like that use the date and

maybe even add a purpose like mix or

demo or mastering session that way

you're organized and you can find that

session that your client is referring to

here's another workflow production tip

for you set up templates for the various

types of sessions you're going to run

for example I'll have a delay that's

side change to the vocal bus that way

ducts when the vocalist is singing but

comes back up when they're not this

prevents me from having to write on the

fly and ultimately saves me brainpower

throughout the session so here's a

composition trick for you producers out

there less is always more

so try muting the tracks as you're

listening back to see if the element

that you've muted is really carrying or

blurring the song because by removing

these extra elements you're going to

have a cleaner tighter more focused

track and you'll ultimately be able to

push up the faders on the important

stuff so that your track has the

Headroom to really make all of the

elements shine the way they should

don't resist learning music theory music

is a language and ultimately the more

specific you can be with your

recommendations and suggestions the

healthier the discussion is in the

studio session itself

so by learning a little bit of basic

rhythm you can improve your meaty drum

programming and if you learn a bit of

harmony you'll be able to come up with

stronger melodies and better chord

productions for your next tracks do your

pre-production make sure that you're

ready to record the song before you step

into the studio it's one thing to get

the gang together and to play the song

in a rehearsal space and hit all the

cues it's a whole other thing once you

turn the microphones on they're

essentially going to be a microscope for

all of the little hiccups and

inadequacies that might be remaining in

the parts so by doing the proper

pre-production you'll be able to

straighten out all those kinks and make

sure that you come out with a really

good track here's a production tip about

listening in context so instead of

always soloing elements when you apply

EQ or compression remember to listen to

things as a whole because ultimately

when you mix you're trying to glue

things together not make sure that every

element sounds awesome by itself know

when to say when if you're still

tweaking EQs and compressors and you

feel like you're 99% of the way there

just stop because ultimately no one's

gonna be able to hear the difference if

you want to test it take one of your

previous mix downs and put it up against

your recent one and have your friend

listen to it and ask them if they can

hear the difference they might say they

feel something different but generally

speaking they won't be able to pinpoint

something so just know when to say when

hey everyone this is Patrick at lander

and if you like what you just saw

consider subscribing to our channel

liking or sharing this video and if you

have more questions about production go

ahead and ask some questions in the

comments below and we'll do our best to

try and answer them don't get demo itis