I disagree "slightly". its what the music needs, not what you as artist needs. Also in techno/trance simple stuff and polyrhythms adjust the focus of the listener to be more "pulled back" and less concentrated - that's when the Kick and hat disappears on the dancefloor right? The reason you find it harder to finish your tracks is you concentrate on them more - you find it harder detach into a flow awareness. The problem of tracks not finishing themselves is down to over attachment. You kind of do it anyway so whatever if this doesn't make sense - hey that's why hardware right? - flow is easier with such immediacy. Its just a slightly different way of understanding it. Here's an experiment y'all can try - write a track while commenting on it to yourself - don't use possessive nouns no "I's", "mes" or "likes". That means instead of "I like it" "The tune likes it".
That is an interesting concept. The anthropomorphization of art. I do something similar with specific instruments, as in: "How does this specific guitar want to sound?" Or "What noises does this synth want to sound like?". That definitely helps a bit, if for nothing else than to just get a unique perspective of sorts. Your comment also seems like some solid advice in addition to the more subjective and self-aware sort of approach. It is often very difficult to take a step back and view your art(or the art of someone else) in an objective form. Exercises such as that can potentially help.
@@py_a_thon yeah it's something I've been looking into, Rick Rubin recently released a book about this topic. The Zen way of looking at production is quite a rabbit hole.
@@Inhibitd I can't recall any specific content: yet there has also been quite a bit of research in the field of neuroscience that also can unlock a bit of the mysteries regarding how creativity works. I'm sure you can also find some helpful articles and multimedia content in regards to that if you search a bit on the internet. The neurologist style explanation for how someone enters a so-called "flowstate" of hyperfocus, and exactly what is happening in the brain is quite interesting. The easiest example I can think of is baseball. It is absurdly difficult to hit a 100+ mph fastball. It is faster than human reaction time. So basically: the athlete needs to be in a state of hyperfocus where reaction time is slightly bypassed by experience, muscle memory and instinct. That same logic can also apply towards creative endeavors, improvisation based tasks and abstract thinking. Peace. Enjoy the book. Rick Rubin is an interesting dude.
@@py_a_thon my music tutor told me a story about Indian Asian masters who could start and maintain a song in perfect sync while being totally isolated. In addition when I was first starting (incidentally on a friend's 303/909 setup) I created something that Fatboy slim released a couple of weeks later. Rubin mentions this shared composition occurrence in his book as being not uncommon as well, I suspect that there may be something going on at the quantum level also. Is it possible that classic instruments such as 303 open the mind to the quantum well when repetition allows it to defocus? It would be nice to think so after all Techno is a wonderful divine thing when the room is pumping.
@@AnalogKitchen haha. I hope you were old enough, like me, to know where the Fatboy (Slim), reference came from, and wasn't calling you, well you know. 😉
I have been writing for the same guitar song for almost a decade lol. I still lack the skills for the song to be how I hear it in my head. That is the benefit I suppose of being a hobbyist musician compared to being a gig musician or something like that. For all my other music that I do want to actually polish, mix/master and call done: yeah, it is definitely still a struggle.
Why is the guitar song changing then? It must've undergone a whole heap of styles and phases then? Are you trying to perfect it or are you adding newfound skill sets to it?
@@AnalogKitchen The latter. I have been trying to play in the style of people like Antoine DuFour and Luca Stricagnoli for years. Not for profit or fame or anything...just out of a belligerent drive to add every possible acoustic skill I can learn: into one single song. Some of those skills are just absurdly difficult. The combination of the natural fretboard notes, finger picking(and hammer ons, pull offs), natural and artificial harmonics, percussion on the guitar body and tapping on the fretboard...is so difficult yet so perfectly fun. I need more muscle memory I think.
Again another great video 🙏🏻 good inspirational start of the day, too! Love the dawless OG style 😎 some nice insights! But for now, onto the Onderzeebootloods to enjoy the fun part on the dance floor 🥳
Excellent advice ! Loved it. Thanks a lot !I also like to think about MOOD when I start a project. Sure I might want a house track, but is it hard/dark, Deep/trancy, ???? etc...then it's a coin flip Wether I start with a melody,bass, or drum beat.
@@AnalogKitchen for example , if I start with a wishy washy pad, then I'm able to categorize it better and then I just decide " aha!....dark progressive trance right here!" Sometimes I don't care and just start "blurring genres " a bit. I'm trying to build a small catalog of my favorite genres. So I guess I'm used to picking that first 😂. It works for me at least :) Excellent vid! I'll be watching rest of your vids soon! Thanks bro!
That is kinda amazing how that slightly meh sounding snare, sounds actually awesome when it is interacting with the ride cymbal sound. That sort of dusty snare is my least favorite snare type in electronic music that I try to make myself, and I always wondered how to use it properly. That seems like one way to use the sound well. Very cool.
Contrasts help to spark interest and create a landscape where sound can live and breathe. Sometimes I deliberately search for sounds on the opposite side of the spectrum as sounds tend to appear more clear
@@AnalogKitchen Yeah, that 9khz to 12khz space is very difficult to use(and probably needs to be lower volume), yet is essential for some types of music. Subwoofers and tweeters. Right?
