Best Music Production Tips by Top Artists & Producers

Summary

This video script offers insights into music production techniques, emphasizing the importance of capturing initial creative ideas quickly to avoid overworking them. It discusses the technical aspects of recording, mixing, and mastering, including using the GainStation 2 plugin for sound enhancement and the Fairchild for warmth. It also touches on the business side of music, advising against publishing deals and the importance of understanding royalties. Additionally, it covers the process of recording MIDI in Maschine and configuring external controllers with Ableton Live.

Takeaways

• 🎶 When creating music, it's important to focus on the initial idea and not overwork it, suggesting the use of scratch vocals and melodies to test potential.
• 🔊 A mixing trick involves reducing the output level by 0.06 dB to prevent distortion when converting high-quality WAV files to MP3 or AAC formats.
• 🎵 The goal of layering in music production is to create a harmonious blend where individual elements are not discernible, akin to the flavors in a well-prepared soup.
• 🔁 For a natural, organic sound, using delay on 16th notes can add a flutter and wow effect, making the music feel less precise and more authentic.
• 💰 In music production, understanding royalties and publishing is crucial, as they are part of the revenue stream once the initial advance is recouped.
• 📝 A publishing deal is not recommended due to the potential loss of 'mailbox money', emphasizing the importance of learning about splits and royalties.
• 📱 Recording MIDI in Maschine involves setting the clip length and ensuring both Maschine and the host DAW (like Ableton) are set to record.
• 📊 Ableton has a feature that captures the project's jam session, including the BPM, providing a way to review and work with the spontaneous creative process.
• 🔧 The GainStation 2 plugin by Mike Dean is highlighted as a versatile and powerful tool for shaping sound, with features like preamp, air, clipper, and spread.
• 🎤 Vocal recording often involves using EQ after the fact to define the tone, but in some cases, EQ is used during recording to enhance the singer's natural vibrato.
• 🔄 When setting up preferences for MIDI control in Ableton, selecting the correct input and output is essential for instant mapping and control of the DAW.

Q & A

What is the suggested approach when creating music with an artist on the spot?

The approach is to focus on the initial idea and not overwork it. The artist can do scratch vocals or hum melodies without lyrics to see if there's potential, rather than spending too much time perfecting the track in the studio.

Why is it recommended to lower the output level by 0.06 dB when bouncing a WAV file?

Lowering the output level by 0.06 dB prevents distortion when converting a high-quality WAV file to MP3 or AAC formats. This is because the conversion process may produce artifacts if the file is right up against the end stops.

Why is AAC preferred over MP3 for sharing music files?

AAC is preferred because it provides better sound quality than MP3, which is important when sharing music with others who may not want to download the larger WAV files.

What is the goal when adding layers in music production according to the script?

The goal is to create a harmonious blend where the individual elements are not distinguishable to the listener, resulting in a 'brilliant symphony' that is greater than the sum of its parts.

What is the purpose of using delay in music production as described in the script?

Delay is used to create a 16th note pattern, which adds a natural, organic sound to the music. It introduces small flutter and wow effects, making the music feel less precise and more authentic.

How does the royalty system work in the music industry as explained in the script?

Royalties start once the advance, which is a loan given for production, is recouped. After recouping, royalties are paid every six months as long as the record continues to make money, providing a continuous income stream.

What advice is given regarding publishing deals in the music industry?

The advice is to avoid publishing deals altogether, as they can limit the potential income from 'mailbox money'. Instead, it's recommended to learn about splits and royalties to understand the business side of music.

How is MIDI recording described in the context of using Maschine within Ableton?

MIDI recording involves setting the length of the clip, ensuring that Maschine is set to record the MIDI information, and using Ableton as the host to control the recording process.

What feature in Ableton allows for capturing a jam session and its BPM?

Ableton has a feature where, if the metronome is off and the project isn't playing, a square button under the project name can be used to capture the jam session and its BPM.

What is the GainStation 2 plugin and how is it used in the script?

GainStation 2 is a versatile plugin by Mike Dean that can be used to enhance various aspects of sound production. In the script, it's used to modify the sound of an 808, with features like preamp, air, clipper, and spread for routing.

How is the Fairchild compressor used in the script to enhance vocal recording?

The Fairchild compressor is used to capture the warmth of a singer's natural vibrato, providing a more defined tone and enhancing the overall quality of the vocal recording.

What is the process for setting up an external controller with Ableton Live?

The process involves selecting the MIDI control service, choosing the input and output for the controller, and mapping the controls if the controller is not supported by Ableton's settings.

Outlines

00:00

🎛️ Music Production Techniques and Royalty Insights

The script discusses various music production strategies, such as quickly assessing the potential of a creative idea with minimal overworking, using scratch vocals, and humming melodies to gauge potential. It emphasizes the importance of not spending excessive time in the studio perfecting an idea and instead focusing on the initial spark. A technical tip is shared about adjusting output levels to prevent distortion when converting high-quality WAV files to AAC or MP3 formats, highlighting the preference for AAC due to superior sound quality over MP3. The concept of layering in mixing is explored, aiming for a harmonious blend where individual elements are not discernible, but contribute to the overall sound. Additionally, the script touches on the business side of music production, including the recoupment of production advances and the receipt of royalties, as well as publishing deals and the advice against entering into them, advocating for understanding splits and royalties for long-term financial benefits. The session concludes with a brief mention of recording MIDI in Maschine within Ableton's host environment.

05:02

🎧 Audio Engineering and Plugin Utilization in Music Production

This paragraph delves into the technical aspects of music production in Ableton and Logic, mentioning a feature that captures the essence of a jam session and Ableton's capability to detect the BPM of the session. It introduces the GainStation 2 plugin by Mike Dean, which is praised for its versatility and powerful effects, particularly on 808 sounds. The paragraph provides insights into the plugin's features, such as preamp, air, clipper, and spread, and how they can be used to shape sound. The discussion continues with vocal recording techniques, including the use of EQ post-recording to refine tone, and the application of the Fairchild and Pultec for warmth and presence. The preference for intimate, reverb-free vocals in the mix is noted, with plans to add light reverb later. The paragraph concludes with a guide on setting up MIDI control services in Ableton, including configuring external controllers and customizing control mappings, ensuring a personalized workflow.

Keywords

💡Track

In the context of the video, 'track' refers to a sequence of audio or MIDI data that can be edited, processed, and mixed within a digital audio workstation (DAW). The script mentions 'track' in relation to adjusting output levels and mixing layers to create a cohesive sound. For example, the speaker discusses bringing the output level down by 0.06 dB to prevent distortion when converting from WAV to MP3 or AAC formats.

💡Scratch Vocals

Scratch vocals are temporary vocal recordings made during the creative process to test ideas and melodies without the need for complete lyrics. The script suggests using scratch vocals to explore the potential of a musical idea, where the artist might hum melodies over a track to assess its viability. This approach allows for a more fluid and less pressured creative session.

💡Melodies

Melodies in the script are the sequences of musical notes that form the main theme or tune of a song. The speaker encourages the use of melodies哼唱, even without full lyrics, to gauge the musical potential of a track. This method helps in identifying the core emotional or catchy aspect of a song during its early stages of development.

💡Output Level

The 'output level' is the volume at which audio is played back or recorded. In the script, the speaker describes adjusting the output level down by 0.06 dB as a technique to prevent distortion when converting high-quality WAV files to compressed formats like MP3 or AAC. This adjustment serves as a safety measure to ensure the audio does not clip or produce unwanted artifacts during conversion.

💡AAC

AAC, or Advanced Audio Codec, is a type of audio compression format that is mentioned in the script as a preferred choice over MP3 due to its superior sound quality. The speaker suggests converting WAV files to AAC for distribution, as it provides a balance between file size and audio fidelity, suitable for sharing music without the large file size of WAVs.

💡Layers

In music production, 'layers' refer to the individual elements or tracks that are combined to create a full arrangement. The script emphasizes the art of layering as a way to create a rich, integrated sound where individual components blend seamlessly. The goal is for listeners to perceive the overall sound as a harmonious 'soup' rather than discerning each individual ingredient.

💡Sample

A 'sample' in music production is a snippet of sound or music taken from another recording. The script mentions chopping a sample, which involves manipulating the sample to create new rhythms or sounds. The speaker describes making pads cut off each other and using delay for a 16th note pattern to add a natural, organic feel to the sample.

💡Delay

In the context of the script, 'delay' refers to an audio effect that records an input signal and then plays it back after a period of time, creating an echo or reverb-like effect. The speaker likes to use delay for 16th notes to add a subtle flutter and wow effect, contributing to a more organic sound in the music production process.

💡Royalties

Royalties are payments made to the creators or owners of a piece of music based on its usage or sales. The script explains that royalties begin once the advance (an upfront payment) is recouped. The speaker also discusses the concept of 'backend' royalties, which continue to be paid out as long as the record recoups, emphasizing the importance of understanding this aspect of the music business.

💡Publishing

Publishing in the music industry involves the administration and promotion of songs, as well as the collection of related royalties. The script touches on different types of publishing deals, such as admin deals and co-pub deals, and the concept of advances. The speaker advises against doing a publishing deal, referring to it as 'mailbox money,' highlighting the importance of understanding splits and royalties in the business side of music.

💡MIDI

MIDI, or Musical Instrument Digital Interface, is a protocol for communicating musical information between devices. In the script, the speaker discusses recording MIDI inside Maschine, a software and hardware combination used for music production. MIDI is used to create patterns or clips, which are then recorded into the DAW, demonstrating the technical process of music creation.

💡Ableton

Ableton is a DAW used for music production, mentioned in the script as the host for Maschine, another music production tool. The speaker explains how to record MIDI within Maschine while using Ableton as the host, highlighting the integration between different tools in the music production process. Ableton is also noted for its feature that captures the BPM of a jam session, showcasing its capabilities for live recording and post-production.

💡GainStation 2

GainStation 2 is a plugin mentioned in the script, developed by Mike Dean, known for its versatility and powerful effects. The speaker uses it to shape the sound of an 808, demonstrating how plugins can be used to enhance and modify audio signals in music production. The plugin includes features like preamp, air, clipper, and spread, which can alter the tonal characteristics and spatial imaging of a sound.

💡Fairchild

The Fairchild is a type of limiter used in audio production, known for its warm and smooth sound. In the script, the speaker mentions using the Fairchild to capture the warmth of a singer's natural vibrato. This indicates the use of vintage equipment or emulations thereof to add character and a specific tonal quality to vocal recordings.

💡Pultec

A Pultec is a reference to Pultec EQP-1A, a classic equalizer known for its ability to shape sound with a musical quality. The script mentions using a Pultec to enhance the presence of a singer's tone, illustrating how equalizers can be used to bring out or reduce certain frequencies to achieve a desired sound in the mix.

💡Reverb

Reverb, short for reverberation, is an audio effect that simulates the natural reflections of sound in a physical space. The script discusses adding light reverb to a singer's lead vocal in the mix, while reserving a larger reverb for the backing vocals, to create a sense of space and depth in the audio production.

💡MIDI Port

A 'MIDI port' is a connection point for MIDI devices, allowing for the transmission of musical data between hardware and software. In the script, the speaker explains how to set up a MIDI control service in Ableton, including selecting the correct input and output ports for a controller like the Ableton Push 2, which is essential for mapping and using the hardware with the DAW.

Highlights

Creating music ideas quickly in the studio without overworking them, using scratch vocals and melodies to test potential.

Adjusting output level by 0.06 dB to prevent distortion when converting WAV to MP3/AAC.

Preferencing AAC over MP3 for better sound quality in file conversions.

Mixing layers to create a cohesive sound that doesn't highlight individual elements.

Using delay for 16th note patterns to add a natural, organic sound to music production.

Understanding royalty structures and how advances are recouped before royalties begin.

The importance of not signing a publishing deal to retain 'mailbox money'.

Recording MIDI inside Maschine by setting clip length and using Ableton as the host.

Ableton's feature to capture the BPM and jam session as it happens.

Using GainStation 2 plugin by Mike Dean for versatile sound effects on 808s.

Adjusting preamp, air, clipper, and spread for sound shaping with GainStation 2.

Using EQ after recording vocals to define tone and applying Fairchild for warmth.

Utilizing Pultec EQ for presence and applying light reverb for an intimate vocal sound.

Setting up MIDI control services in Ableton for external controllers.

Customizing Ableton's settings and using personal control configurations.

Selecting MIDI ports for external controllers not supported by Ableton.

Transcripts

Instead of laboring over the track and really doing too much more to it,

you know, if I'm in a session and I'm creating on the spot with the artist

I'm gonna say "hey, this is enough for an idea to get little something to" and you can, you know,

have the artist going, maybe do some scratch vocals, you know sing some melodies, they don't even need lyrics

and just hum some melodies over and see if there's some potential there

you know, for you waste too much time with the artist in the studio, you know,

perfecting this thing, I think, you know, you need to just see if the idea, the initial idea, has something to it.

A little trick, I bring the output level down by 0.06 dB.

So it's not bang on zero, it's just back a little bit.

And the reason I do that is because if you're bouncing a WAV down, which is a high quality file,

and then you convert that WAV to an MP3 or an AAC file,

and I always like doing an AAC because it sounds loads better than MP3,

to give to someone because they don't want to download a WAV, it's too big.

Then, by doing this, it stops any distortion.

Sometimes when you convert files from WAV to MP3, and they're right up against the end stops,

the conversion process doesn't like it, and it produces artefacts and goes a bit weird.

This kind of safety net for that.

So as you add your layers, there'll be these different elements that when you mix them all together,

the goal is to have most people's ears not hear those layers.

That's the trick, is to add the layers and make the soup where when they taste it,

they just taste a great soup and they're not tasting,

oh, I can sense the cumin and there's the salt and there's the pepper,

it should just be a brilliant symphony.

That's one of the tricks I think I try to do with the MP, with the layers.

Those are some of the tricks as far as what you can do here.

Like I said, if I'm going to chop a sample,

and maybe it's just a basic sample, I'll make all the pads cut off each other.

Again, delay, which gives the 16th note pattern.

I like to do this for 16th notes very often because it just feels a little bit different

than programming straight notes and depending on which character of the delay you're using,

you get small flutter and wow effects and it's just not as precise

and it adds a certain layer of a natural, organic sound to it.

So when we play this together with the kick, it sounds like this.

Now the royalties is, once the advance is recouped,

meaning the advance that they gave you for the production, which is a loan,

which people don't understand, and that recoups and makes money back,

then the royalties kick in.

The royalties will come every six months and you'll get a check in the mail

once the artist recoups or the song recoups or the record recoups.

And that what we call a back end, where money will come forever

as long as the record recoups.

Publishing.

Again, some people do admin deals, some do co-pub deals, some do publishing deals.

Again, another situation, the advance.

Once the advance comes back, you start making money.

I suggest to the young people out there, don't do a publishing deal.

No matter how big you get, never do a publishing deal.

That's going to be, as Nipsey Hussle would say, rest in peace, your mailbox money.

That's why it's important to do the splits and learn about the publishing,

learn about the royalties.

This is the business side that people need to understand.

First of all, we're going to look at how to record the MIDI inside Maschine.

We have Pattern here.

Essentially, this is the same as Clipview inside Ableton.

We can create a clip here.

What I'm going to do is I'm going to set the length of this to eight bars

so that I already know how long the clip is going to be.

At the moment, because Maschine is a VST inside Ableton, Ableton is the host,

so I do have to click Record in Ableton itself for the playhead to move

as the play button no longer works as Ableton is the host.

But we do have to click Record on the Maschine

just to make sure it records the MIDI information into that pattern.

We're going to hit Record.

Now I can hit Record inside Ableton as well.

Ableton

In Ableton, Logic has a similar feature where you can basically,

in Ableton, which I'll show you how to do it in Logic,

but if I'm sat here and I'm...

Oh, latency.

If I'm sat there jamming an idea and the metronome isn't on,

the project's not playing,

if you in Ableton just go right underneath the project name,

there's this little square button,

and if you hit that, it will basically show your jam as it was happening.

And what's sick about Ableton is that it tries and captures the BPM of whatever.

A plugin that I really love,

I think is super versatile and you can use on so many things,

is the GainStation 2 plugin by Mike Dean.

It's really, really fun and it's crazy powerful.

So I'm going to show you how it makes my 808 sound when I use it.

I have this on the Easy 808 preset.

I just wanted to be able to play with the effects here.

We have the preamp,

you can bring out the bass here,

air, which obviously is affecting the EQ,

the clipper,

and then also the spread if you want to make it sound really wide or mono.

I really like this feature,

which is the routing,

which really just changes the sound by the way everything is routed here.

So let's see how it sounds with what I've got on it right now.

I wanted to dial in her lead a little bit more.

A lot of times I don't record vocals with EQ,

I put EQ on after the fact,

but I used it on this one because I wanted her tone to be a little bit more just defined.

So I'm going to play you her lead.

Now she sings with a lot of natural vibrato,

which is one of the reasons why I wanted to use the Fairchild.

It really grabbed the warmth.

I used the Pultec because of her tone.

I wanted it really the presence there.

Right now there's no reverb on her vocal because I wanted you to hear it so intimate.

I would put a little bit of light reverb on her in the mix and let her lead have the bigger reverb.

So let's head over to the preference pane and set everything up.

So you can see that we've got two options.

We've got this MIDI control service.

So these are all supported control services.

So I've got my Push 2 selected,

and then I just need to select the input,

Ableton Push 2 Live Port,

and the output.

So look for your controller service.

If it's not here, don't worry.

It just means that your mappings won't be instant.

You'll have to map them yourself, which I'll show you in a second.

If your external controller is not supported,

then you just need to find it in the MIDI Port section here.

So this allows me to delete all of Ableton's settings and use my own configuration of controls.

So in order to make that work, we just need to set the In.

So this is everything going to Live.

We set that to Track.

And we also want a remote control track, so I'm going to just select Remote.

And Out, this is coming from Live.