00:00hey soul state here if you're struggling
00:01with anything in your production i think
00:03you're gonna find at least one thing
00:04really really helpful in here enjoy it
00:06sing the melody skrillex
00:08this tip is cool for two reasons first
00:10singing forces you to feel the music
00:12second if you can't sing it how do you
00:14expect listeners to remember it
00:21i think this could go higher right here
00:46make singable phrases ian kirkpatrick
00:48this is just like the skrillex tip but a
00:50little more advanced
00:51instead of just singing the melody the
00:53whole musical phrase should be singable
00:55like you're about to see you should be
00:56able to remember the phrase
00:57and sing it hopefully a few hours later
00:59i like that you said you only hear four
01:00elements in the song because that's the
01:02the listener doesn't know how many
01:03layers you put on your kick the listener
01:04doesn't know how many things you got
01:06out of all the details and stuff you're
01:10a phrase when i'm walking around the
01:11house sometimes i'm just like
01:14not pretty like i'm just like it's
01:17memorable you know and it might be a ton
01:19of layers but it sounds like
01:20a phrase a unit you know
01:31counter melodies can make a song come
01:32alive by skrillex oftentimes if i
01:34personally can't make a melody come
01:36the solution isn't necessarily changing
01:38that melody the solution can come from
01:41a different melody a counter melody
01:43sometimes the beginning of idea
01:44you'll have this kind of melody in your
01:47almost doesn't make any sense until you
01:49know you kind of put those cater
01:52this is the first idea just it's simple
01:55this gives it an instant move this
02:08and then the baseline simple listen
02:24layer different midi leno let's say you
02:26have a melody that isn't quite there
02:28you don't want to add a counter melody
02:29maybe you already have one and you don't
02:31want to change the melody because you
02:33try adding what i call an accent layer
02:35something in between a counter melody
02:37melody to sort of subtly bring life to
02:39what you already have
02:41synth lead guy another sam fleet guy or
02:45so they kind of like
02:46have this little chord thing going
02:52like when layering stuff you shouldn't
02:53necessarily always try to have
02:55like all the parts play a similar midi
02:58have different layers playing different
03:02will help you like come up with richer
03:04textures and stuff so this
03:06on top of the chords will sound like
03:18so then we have this wobbly arp
03:21which i think is a pretty important
03:23element even though you can't really
03:27or you can't hear it but like it's kind
03:32it sort of like gives the track a sense
03:35try octaves and passing fifths for
03:37better bass lines low file
03:39this is one of the simplest ways to
03:40spice up a bass line really common thing
03:42bassists do when they play they'll
03:44experiment with octaves
03:50always try your octave up and then going
03:53the octave too but hitting a passing
03:56note in between like
03:57a fifth away or something
04:01on top of the cord is also a really
04:12so i'm basically just doing octaves with
04:16little tiny fill in it but the whole
04:18bass line is based off of these octaves
04:38violate space ian kirkpatrick ian uses
04:41this technique a lot it can help create
04:42unique grooves and melodies
04:43even with the exact same notes the
04:45important thing is not to overdo it i
04:47think of this a lot like salt
04:48you don't want to put too much on but if
04:50you put on the right amount it can
04:51really help bring out
04:52all the flavors you already have shout
04:53out to ian like one of my favorite
04:56in production and not in real life one
04:58of my favorite things to do
04:59is violate space establish a room
05:03and then totally violate it you know
05:05introduce a reverb and then cut that
05:07like i said i only do that in
05:08productions not in real life all the
05:10are silence that i chopped out so like
05:12no line noise at all like right here you
05:14a little bit of line noise and reverb
05:20you can really hear the reverb break
05:24lax city if you're still trying to come
05:26up with a great hook or great melody and
05:28just break your daw try something it
05:31forces you to create in the moment
05:33and really pay attention to what's
05:34happening versus overthinking everything
05:36i feel like you need the right attitude
05:38to actually see the potential
05:41in having like all these limited tools
05:44that made the craziest
05:46sounds just by using plugins in ways
05:50they're not supposed to
05:51like literally breaking them just
05:54in your daw that's like not supposed to
05:57be touched like maybe this
05:59master pitch you have to remember that
06:01everything in your daw
06:03can be recorded when you break something
06:05or tweak something that's not supposed
06:08messed around with you might get the
06:11chase the feeling oliver this is very
06:13helpful if you're trying to decide if
06:15a certain part of your song is right or
06:16not listen to what you're feeling is the
06:18eq that you're tweaking giving you the
06:20feeling that you want
06:21is the reverb bringing out the emotion
06:24tips are tools but the feeling is what
06:26you're truly after really that's what it
06:29chasing a feeling yeah at least my
06:31mixing process or when i'm actually
06:33trying to dial in the sounds it's all
06:34just chasing a feeling until i get that
06:36feeling where i'm like oh that just hits
06:38right like until i get that
06:40i don't really stop because it's not a
06:41technical thing it really isn't
06:43it doesn't matter how you get there
06:44until i get that feeling i'll try
06:47do i need to eq this do i need to put a
06:48different sound in here
06:50like whatever it takes it's really not
06:52about that it's about the end result
06:53is it does it feel right am i bobbing my
06:55head and dancing cause if i'm not then
06:57probably other people won't until i get
06:59that feeling i'll try everything
07:08get into the zone on demand ian
07:11one thing that distinguishes pros from
07:13amateurs is that pros show up
07:15no matter what that's what this tip is
07:18show up and get to work this sounds
07:20crazy but i i'm telling you
07:22over the years i have learned how to get
07:25on demand still takes me a couple hours
07:28to like really get into something or you
07:30know an hour or sometimes
07:3120 minutes if like the ideas are obvious
07:33like two days ago on my calendar
07:35was allotted one day to start work on
07:39i'm supposed to produce two humongous
07:42most of that day is spent trying to get
07:46i can't get in the zone without a vision
07:47you know so like i'm trying all these
07:48things i'm walking down this road i'm
07:50walking down that road and i'm like
07:51trying to develop a theme for the song
07:53then when i do which i did i don't want
07:56i go as long as i can because i go to go
07:58to like my you know 11 p.m or 11 30
08:00because i gotta be up early in the
08:02and do my exercise i wanted to introduce
08:05discipline into my creativity
08:07my creativity used to be this wild
08:09animal and it still is
08:10it still is wild as [Â __Â ] but i tame that
08:13[Â __Â ] say no to writer's block cashmere
08:15this is similar to what ian said if you
08:17think about most of your favorite
08:19artists they spent most of their time
08:20making songs you've never heard
08:22daftpunk has put out a few hours a few
08:26over a 30-year career my philosophy is
08:28often painful but i just sit in front of
08:31until it happens and if nothing happens
08:33i just go to bed and i feel like
08:34a worthless human being and then i
08:36repeat the process the next day
08:38you know what breaks writer's block
08:39writing something good
08:41often times when you cross the finish
08:42line and you score a touchdown and you
08:44remember what that feels like
08:46then you're back in the spirit of it
08:47you're back in the mode and you're going
08:49to score more touchdowns
08:50becoming blind and reversing progress
08:52morgan page despite everything
08:54we just said forcing music isn't always
08:55the best solution if you're investing
08:57the time in music it's important to be
09:00am i becoming blind and reversing
09:03taking breaks even just 10 to 20 minutes
09:05really helps reset my ears
09:07and helps make sure that i'm actually
09:08making progress not just sitting in
09:10front of the computer
09:11in the past i thought that working a
09:14was the standard and that you're going
09:16to do better work by working overtime
09:19which simply isn't true and you really
09:22you be you kind of can become blind to
09:24what your song sounds like and you can
09:26undo your work and work backwards in
09:28i've worked backwards countless times
09:31and thinking i'm working hard
09:33i'm maximizing my day i've i'm in the
09:36and to be honest and most people will
09:38disagree with this but
09:39you're probably only getting three or
09:41four good really really good
09:42musical hours in a day it's honestly
09:45like if you look at there's a book that
09:47the diaries of famous artists and
09:51a lot of the most famous artists they
09:52put the work in every day
09:54they'll do their three or four hours and
09:55they're like i'm done i'm gonna go you
09:57know go for a walk or hike the rest of
09:59these are legendary writers and authors
10:02it's funny because you don't need those
10:04you're probably fooling yourself into
10:06thinking that you're maximizing your day
10:08i take it as far as i can and then when
10:09it feels like i'm forcing something then
10:12time to take a break the 7k trick jaws
10:14we're all super obsessed with cutting
10:16the low end and making the kick
10:18and bass fit together but this tip is
10:19really about making the synths and the
10:22and the transients fit together really
10:23nicely big disclaimer this doesn't
10:26but it's super helpful if you're looking
10:27for a very very clear high end
10:29specifically on your drums
10:30i swear this is the first time i've
10:32mastered a song like this and it's this
10:34loud and the high end is just like
10:36and i swear to god it's because i'm
10:39cutting all of my synths
10:40at like 7k seven and a half k so all of
10:44and the white noise and everything has
10:47it's nuts so here's without the filter
10:53here's with the filter
10:58everything about that sound stayed
11:01exactly the same you're just missing
11:02that crispy little high end but that's
11:05because we have these hats
11:08so now the hats and the synth aren't
11:11and the mix will sound a hundred
11:13thousand times more clean i won't take
11:15advice as my own i got that from
11:17sullivan king like two months ago
11:19and ever since i started doing it i
11:20swear everything is just so much easier
11:23does your snare slap zed for genres
11:26where you want a big snare a great
11:28does this snare slap we'll do a little
11:31educational moment i'm gonna play this
11:33at full volume and you will tell me yes
11:37the question is does this snare drum
11:55it appears like the snare drum does not
11:57slap the majority of my chats
11:59while that is what we are trying to
12:02the close your eyes vocal test zed even
12:05basic sensory deprivation like closing
12:08can really help you focus on what you're
12:10hearing and not get tricked by plug-ins
12:12and colors and you know all the stuff
12:14that isn't actually sound
12:16anyway just another great question to
12:17ask yourself when you're mixing
12:19oh oh hey i didn't know you're watching
12:24i was just uh getting some dirt off my
12:34your voice sounds a little bit far away
12:36it almost sounds like
12:38you're singing from here um i don't know
12:40if you record it quite far from the mic
12:42or if you like it distant but i always
12:45try to imagine when i close my eyes and
12:47i in my own music i want the vocal to
12:49feel like it's right in front of me
12:51like in my face that's how i like it
12:53limit and saturate your kick
12:54abstract if you're like me you spend a
12:56lot of time too much time
12:58thinking about the transient of your
12:59kick drums ever since seeing how
13:01abstract makes kicks i've been thinking
13:03a lot about how much
13:04air is in my kick transient and another
13:06trick that i really love for kick drums
13:09this is all saturated always
13:19yeah you push it to the edge of clipping
13:22it's too saturated like it's almost too
13:27three is kind of like still at the at
13:31two still has like the low like
13:38just to get the hair off
13:50find a vocalist cashmere one of the
13:53hardest things for me and i think many
13:54other producers is finding amazing
13:57because i think it can be hard to know
13:58if a song is done if you don't have
14:00a really strong hook or vocals to bring
14:03this tip really makes me think about
14:05producing a vocalist really as a
14:08i really encourage you guys to find a
14:11especially if you're getting started and
14:13work with them a lot because it teaches
14:15you a lot as a producer because suddenly
14:17you're not just in there like this lone
14:19wolf suddenly involved another human
14:21in the process and everything that you
14:23do is in furtherance of uh the song that
14:26you've made together
14:27and in furtherance of how to better
14:30around their vocal and so using an
14:33and building around them it it just
14:35really gives you a new energy that
14:37you can start really whipping out songs
14:39quickly my vocalist was this
14:41uh girl dev we did g6 together and based
14:45by producing all of her music i really
14:49how i would produce my own music try
14:52first singer five or six songs and i
14:55learn a lot about producing and and how
15:00outsource your mastering abstract now on
15:02the surface this is obvious but
15:04abstract's reasoning behind it is
15:05brilliant it's very easy to get sick of
15:08a song and not ever finish it
15:09but the decision in advance that you're
15:12going to outsource your mastering
15:13is a way to solve that problem i don't
15:16do my masterings myself i work with a
15:18homie that doesn't for me because
15:19otherwise i would just i could do it
15:20myself but otherwise
15:22i would just spend so much time doing it
15:24again and again and again
15:26switching headphones out it was just a
15:28headache for me it would make me hate my
15:31you know so i try to work on my mix
15:33downs as much as i can and make the
15:36crazy good as i can using just to limit
15:39affect the volume basically and then i
15:41send it to someone that masters it that
15:44makes it a bit you know prettier that
15:46means that don't go back to this project
15:48and touch it again i can move on to new
15:49things if you like these summaries and
15:50you want to see more of them
15:52let me know in the comments below upvote
15:53it so i know you want more of it don't
15:55forget to like and subscribe
15:56thanks for watching and see you soon
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