There's a WRONG Way to Produce Music (FIGHT ME!)
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- Опубликовано: 7 фев 2025
- Is there a right and wrong way to produce albums? Justin Colletti says yes. Here's why.
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I've always said that the RUclips algorithm favors mixing videos over arrangement videos because mixing is what sells, both figuratively and literally. Learning to become a good arranger is less sexy than finding a sleek plug-in that you can just throw on something and turn it into magic. The funny thing is that you can 'set your levels' during the arrangement process as well. Instead of turning the fader down later, play it softer earlier. The same is done when specifying dynamics when writing sheet music for classical music
Yeah dude. TBH everyone should be geeking out about songwriting.
Doing covers isn’t just a way of getting attention but you will also learn a lot by learning how to play already existing songs, things like possible chord progressions, song progression/arrangement, new techniques, or in terms of electronic production if you find a song or a beat you really like do your best to recreate that. Like Justin said, do this as more of a “pre production” method as the goal shouldn’t be to show the world per se but more so to teach yourself or prepare yourself for when the real moments come. When you do this pay attention to volume levels, panning, transitions, what elements are in the forefront etc. if you do this a couple times you will start to notice yourself implementing these newly discovered concepts in your own music. 👍
100%!
Listened to the end, truly great episode, thank you Justin!
Awesome to hear, thanks for tuning in Brian!
Sometimes great songs miss the train, i can enjoy the search.
Incredibly helpful information!!!
I did notice something was off with what you said.
9 years is a tenth of 90 years. Not 9 months.
CORRECT! I think I said something like "it's not exactly 10% because there are 12 months in a year". But I should have said "it's not exactly *1%* instead".
I made up that analogy 100% on the spot so I botched that math in real time 😆
Almost every analogy in the podcast is thought up in the moment, so that kind of thing can happen.
1 month is 8.3% of a year, so 9 months should be 8.3% of 9 years, and .083% of 90 years.
Unfortunately, doing math wrong is not like hitting a "wrong" note in jazz, where you can make it sound "right" by simply hitting it again with even more confidence 🤣
Great to see this video, Justin. I always appreciate you insight. Mixing breakthroughs has changed my mixing for the better!
So awesome to hear!
Super vid. Right now I'm so screwed with a visa bill I'm not doing any spending. But in the future I will get to check out some of your courses.
super insightful and enlightening, thank you Justin ! 🙌🏽
Thank you for tuning in!
Great insights. Thank you Justin for all the knowledge you share with us.
Thank you for tuning in!
I recently started doing that exactly what you mention at 14:00 , A cheesy as it sounds , it was a big game changer. Also I had strong resistance to doing Demo's/production but following your advice I now do them and It made a big difference in quality , thanks!
That's so awesome to hear!! Thanks so much for sharing your experience with it.
That was awesome. So informative, and also entertaining! I left a message in the chat about wanting to add the mastering course to the mixing one, but the numbers weren't working out. So please advise. Thanks, Justin!
Hi Frank, thanks for noticing that glitch with the pricing on the mastering course. Fixed! I updated it on the sales page, and emailed you a special link for your added discount as well🙂
@@SonicScoop Thanks, Justin! Mission accomplished, much obliged. ❤
A punch in the gut but definitely coming from a good place and lots of actionable info. Thank you!
We've all been there! Thanks for tuning in.
Always on point. Always! 👍
Thanks for tuning in!
Very, very good! Have you read anything by Henry Ford? He basically lays out the exact same process:
- Make a prototype before making the whole
- Test your prototypes until you 100% know they work
- Make assemblies out of prototypes you know work individually
- Make assemblies of assemblies that you know work
... and so on
Basically, pre-production before pre-production before pre-production. Such that every new step becomes more than easy.
Thank you for this great "jazz improvisation". I made hand written notes of everything and they are now in my rehearsal and studio space.
Awesome to hear about the notes! And thanks for sharing your take!
Love everything about this. Thank you Justin! 💪
Love that you love it, thanks for tuning in!
Absolutely brilliant. Alternate title: Songwriting Habits of Highly Successful Musicians.
Wish I could hit the like button more than once...such excellent advice! Thanks Justin
Thanks for checking it out!
So cool. Thanks. Yeah ive been delaying even getting familiarizes with my daw just because of pluggins, acoustics, gear, processing and mixing,learning all that, theory and more theory... and meanwhile havent been composing, even just playing guitar...
I've been bedroom producing for 10 years and I feel like I've been doing it "wrong" for a long time. Starting fresh with every new project choosing new sounds every time taking away from the forwards momentum of writing the actual song (no templates etc). For the most part I've been writing the arrangement for a song more times than actually writing any lyrics that need a arrangement around it, making a lot of "instrumentals" more than a song.
But when I started actually writing more with guitar in the beginning and using that as a pre-production stage actually having the arrangement with vocals and knowing the song that made it so much better. Writing with only guitar makes me be able to record and print songs in a day or two if I have the song down already.
And as a bedroom producer knowing all the samples and libraries and having a set tonal palette already figured out after years of "pre-production" makes it even faster for me to finish the "instrumentals" when I don't have lyrics. But then the songwriting hinders the forward momentum because I can make an instrumental. But then again that probably makes a great beatmaker.
Great comment! Thanks for sharing your take.
Thank you for smashing the 10 minute tip myth. Real knowledge takes patience.
Thank you for recognizing it!
Great advice 👍
The best things in life are free thank you Justin Colletti
Yes, like this comment! Thanks much :-)
I once wrote and produced a graphic novel. A comic book. I spent as much time in preproduction as i did drawing and inking the final pages.
That makes a lot of sense.
Great video which I am saving for future review.
That said, I’d like to get your reaction to this scenario:
What if you are in a prog band that longs to write and record large-concept projects? Musicians that are inspired to write the next “Close to the Edge,” “2112,” “Hemispheres,” “Tarkus,” “Karn Evil 9,” “Supper’s Ready,” or “The Wall”?
Or has the concept album been relegated to the ash heap of history by iTunes playlists and streaming services? Will such projects be, now and forevermore, mere vanity projects with little hope of commercial viability?
Very good point. I'm in the same spot.
Eegarding the PR thing (if epic albums is a thing of the past): I don't think that epic albums are out. Just think of long form podcasts. Or even contemporary music like (regardless of what you think about her) Taylor Swift with her 3 album concept albums.
I guess it comes down to: do we want to make an epic album because we want to? Or do we want the success of an historical example of a band we admire?
@ Both: we love the artistic possibilities of a long-form musical statement, and we’d like to feed our families.
No reasonable person expects fame and fortune as a prog-rocker, but eeking out a living at it is still a goal for some of us.
I think concept albums are awesome. I think ALBUMS are awesome.
HOWEVER: I would encourage you to make albums only if/when you have an audience or potential audience to release them into.
To build the audience (and the skills) at first, do smaller things.
Work your way up to the big concept album, and you'll do better, and the album will probably BE better.
Honestly, that's probably good advice for concept albums in the old days too. Were The Beatles or Pink Floyd's big concept albums their very first releases? I don't think so :-)
On catch up duties. Lets go 🔥
Great episode and perfect timing. Lots of things to consider 🔥
Thank for checking it out Benj! Hope all is well 🤗
@@SonicScoop All is well thank you 😊 🙏. Likewise hope you're well and not working too hard
Great topic
Also the pixies surfer Rosa was a demo
thumbs👍👍
The wrong way that you talk about is obviously extremely linear. It’s way better to think non linear or better… to do things parallel to the other modalities needed. Split the work - time wise - between songwriting, producing and promotion. It’s super important to keep writing as you are doing the other things. That way you have a constant selection of tracks to release over time to build an audience. Just keep putting stuff out.
The idea that you are ‘going’ for a performance very often takes the spontaneity and naturalness out of the performance. The great thing about playing live is the fact that you are just in the moment… that’s what you should try to achieve in the studio. In the old days there was what they called ‘Red Light Fever/Anxiety’ that described the anxiety that artists felt when the recording light came on. There are a lot of broad brush statements here.
I disagree. Now get your armor on and hope on that horse. It's time to battle ⚔
What will it be? Longswords? Lances? Maces? Warhammers? Pick your fate. ⚔️
Ill say this: if you're being paid to Produce, you do it Efficiently, meaning fast. Dont waste time. Your job is to manage the artists productivity to limit costs of whoever is actually paying you.
Sure. But oftentimes, the way to do that is to spend more time early on in the parts if the process that the artist wants to rush through.
Too few artists are really booking producers who genuinely take a project from inception to finish.
Rather, they are booking engineers to help them in the studio who have other production skills as well.
Big difference!
If they are not there from the initial demoing process, are they truly “the producer”?
Interesting questions.
@SonicScoop it's like a dualism: indeed a foundational decision should be made carefully. Sometimes an artist might be off his rocker what they're thinking and that can definitely make the producer appear less competent if he's spending time booking African choirs, micing a screaming goat, mapping midi that won't be used ... It's tough to be flexible yet stay on point
no wrong ways just less of more distasteful.
Wanted to listen but you never got to the point after two minutes and thirty six seconds. Stop talking and get to the point please.
How am I supposed to get to the point if I stop talking? It’s a podcast 🙃
There are multiple points. Many made through the episode, including within the introduction, which contains unique points in and of itself, not found elsewhere in the episode.
Oh, this is a marketing advice video.
Nope. That’s a part of it. But the majority of time is spent on production advice.
With that said, one of the biggest mistakes that helps ensure that projects fizzle out and going nowhere is ignoring marketing completely during the production process.
If your goal is to make music that resonates with actual people, it’s a surefire way to fail at that goal.
But in pure run time, we mostly talk about production specifics in this video.
To get more into marketing specifics would be a completely separate 1 hour episode.
Great episode Justin - thank you. Always love your content but this one was exactly what I needed to hear today 🤌
Great to hear Paul, thanks for tuning in!