Your art of producing

[Guest Wall Bird]

 

i like the aproach that alot of new producers use which is to keep the kicks and snares and maybe a short melody on a 16 bar loop and improvise around that with basslines,sweeps and extraneous bloopity bloops

 

 

Yeah, you can do pretty much whatever the fuck you want sonically as long as there's a steady pulse/backbeat/four-on-the-floor underneath it all. It's great. I guess the next question becomes how to liberate (If it does need to be liberated at all) modern music from a 4/4 kick/snare combination. It's great, but I feel like what we now know as dance music is far too unimaginative and is very lowest denominator in it's approach to rhythmic invention. I think we could all try a little harder than simple backbeats, sometimes. Hell, have you guys even heard Bulgarian wedding music? There's proof right there that people can dance to something way more far out.

[o00o]

I stopped making music and got lost in thinking about music theory

 

did you ever had this experience?

[Guest theSun]

don't try too hard and never treat it as a job. if i tell myself i have to make a track it comes out as utter shit.

 

lately i've been making music more for myself than others, experimenting with patches/effects/techniques. sometimes a cool track comes out, sometimes not so much, but i feel like in a few years i'm going to be a lot better off with the quality of my production. it's always fun to work on tracks you haven't touched for years.

 

i also like to make a song along the same ideas as some ae/afx/etc song, and what usually comes out ends up sounding way different than the song i was trying to emulate.

 

getting discouraged for any reason sucks, but don't get worked up if you can't seem to write a good track, no good music was ever forced.

[Guest Adjective]

Get the ideas out before I lose them, and make sense of them later.

[Guest Blanket Fort Collapse]

I always kind of thought to make progressive ambient or brain busting IDM there was some kid of rule that nothing could simply repeat itself. (as someone mentioned on the first page about classic composers/completely dynamic never repeating movements) So I think for a while after I got reason I wanted to follow that rule and make really off the grid, crazy progressions where nothing repeated itself... Then I realized the my sections, grooves, melodies, were just nearly too incoherent to repeat and realized in order to make really dynamic complex stuff you should be amazing at composing simplistic hypnotically repeatable loops. So I guess ever since I realized that, I've focused on programming the best loops possible. After quite a few years focusing on simplicity and dynamics within repetition I'm finally almost ready to completely change my productive mindset to make more complex, human/inhuman sounding non-repetitive compositions.

 

That post about classic composers really makes me want to listen primarily to music with a lot of movement and lack of repetition for a while to ready a shift into a different direction in my progression as a musician/attempted artist/composer.

[Guest abusivegeorge]

I compose with a big black rubber cock up my arse while a ten year old girl tickles my balls.

[Guest Blanket Fort Collapse]

prefer purple dildi'z actually