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In The Moment Music Production Constraints
“I feel the important part of making a track is to recognize the point where you have to listen to what the track wants. This point comes in around 40–50% of the whole process, where it’s not so much about what you want with the track anymore, but what the track wants you to do… Continue reading
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Database: Ryan Lee West On Exploring Tone, Destroying Sounds, And Going Off The Grid
“I think it’s really essential to explore tone—the tone of synths and drums and how bright or dark they are and to listen carefully to how they behave alongside other sounds, exploring tiny amounts of distortion, delay, filtering and compression. But also, don’t be scared to destroy sounds. Sometimes, chaos is needed in electronic music… Continue reading
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On Reducing Workflow Pressure
A pernicious music production pressure is the unreasonable hope for each step of the process to generate immediate results, offer no resistance, and to go perfectly. I try to reduce this pressure. One way to do that is to divide the process into separate, self-contained steps. (The steps feel like games.) An example from my… Continue reading
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Speculative Music Theory
Music isn’t argument,it isn’t practical,it can’t answer questionsor prove theories. Music isn’t competition,it isn’t a talent display,it won’t boastor make a show out of notes. Music is attentionand time intensified,a sound witness conjuringcounterpointsand the rhythms of feeling. Continue reading
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On Redoing A Not-So-Great Version Of A Track
“It was all change until the very last second.” Verlyn Klinkenborg, Several Short Sentences About Writing Recently I was getting a track ready for release. Usually this involves revisiting music finished some time ago. I find it helpful to let time pass between a first draft and its subsequent edits so I can forget about… Continue reading
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