| Author |
Everything's awful and pointless and frustrating ... |
| ObsoleteModular |
... and then as if from nowhere you suddenly hit the sweetest little groove and it's all you can do to stop yourself from just listening to it over and over again and everything makes sense at last. Ahh, and breathe.
I guess that's why we do this  |
|
| RedLab |
| Ye ye but tell us about how you got that groove going, the production technique, that put you out of misery |
|
| JohnLRice |
| RedLab wrote: | | Ye ye but tell us about how you got that groove going, the production technique, that put you out of misery |
Accidents, they aren't just for breakfast anymore!   |
|
| RedLab |
| JohnLRice wrote: | | RedLab wrote: | | Ye ye but tell us about how you got that groove going, the production technique, that put you out of misery |
Accidents, they aren't just for breakfast anymore! |
Accidents count as a production technique too, although it can sometimes be a hard one to master |
|
| Panason |
| ObsoleteModular wrote: | ... and then as if from nowhere you suddenly hit the sweetest little groove and it's all you can do to stop yourself from just listening to it over and over again and everything makes sense at last. Ahh, and breathe.
I guess that's why we do this |
But a few days later you listen to it again with fresh ears and it's a mess.  |
|
| BailyDread |
| RedLab wrote: | | JohnLRice wrote: | | RedLab wrote: | | Ye ye but tell us about how you got that groove going, the production technique, that put you out of misery |
Accidents, they aren't just for breakfast anymore! |
Accidents count as a production technique too, although it can sometimes be a hard one to master |
as a wise man once said...
luck is a skill  |
|
| Cortega |
| Panason wrote: | | ObsoleteModular wrote: | ... and then as if from nowhere you suddenly hit the sweetest little groove and it's all you can do to stop yourself from just listening to it over and over again and everything makes sense at last. Ahh, and breathe.
I guess that's why we do this |
But a few days later you listen to it again with fresh ears and it's a mess. |
Yes, and then you drop it on a Backup Harddisk, and a year later you are stumble over it and ask yourself „ how did i make this awesome Thing ? „
really i have a strange relationship to the Music i make,
in the moment it accrues and a short time after its mostly almost impossible to realize whether it will musical valuable for me. |
|
| Cortega |
| BailyDread wrote: | | RedLab wrote: | | JohnLRice wrote: | | RedLab wrote: | | Ye ye but tell us about how you got that groove going, the production technique, that put you out of misery |
Accidents, they aren't just for breakfast anymore! |
Accidents count as a production technique too, although it can sometimes be a hard one to master |
as a wise man once said...
luck is a skill |
 |
|
| lisa |
I do not recognize this feeling fully. Sure, once in a while I also stumble across something that's just lovely to listen to for hours but in between those glorious moments most attempts turn out ok.
To me, making music is more about work than luck. |
|
| felixer |
| lisa wrote: |
To me, making music is more about work than luck. |
that's right. you have to know technique and repertoire to get anywhere. |
|
| RUMPLEDFORESKIN |
| I've quit music once a month for 20 years. |
|
| CF3 |
| lisa wrote: | | To me, making music is more about work than luck. |
I very much agree with this sentiment.
"Inspiration is for amateurs - the rest of us just show up and get to work" |
|
| ambientnoise |
Everything’s awful and pointless and frustrating till I sell all my gear.. what a relief!!  |
|
| Chevron87 |
| I think a lot of artists go through that pain |
|
| slumberjack |
i read in an interview with four tet that he lets the main loop from each song play the whole day at home in his studio. only if he can listen to the song the whole day it's worth to process further. out of this i developed a way of working similar to his.
there's always a single song in composition state in my studio (which is thankfully at home, i can work on decent levels 24/7 too) and if i'm home i let it run and adjust all parameters, notes and fx until i'm pleased to let run for hours. not only creative wise but also technical. if i'm hanging in my bed, watching stuff or lurking here while my sequencer runs on and on i can figure out for example low end eq settings by the room modes acouring differently in bedroom, hallway or kitchen / eating table or when i move trough my 'stp'. or other stuff. envelopes, lfo movements, adding another track or simply turning the upper frequencies up in volume. then when i come to the point of the need to finish it, arrange, record either it's out of joy or the feeling that i has to be done to move one before frustration kicks in. this can take 2 days (i stopped finishing stuff within one day since the songs grow a lot with only one day more) or up to 3 weeks usually it's done within a couple of days if i find enough time beside my dayjob.
so long story short: everytime i stuck i just hit stop and after my curiosity came back to figure out what was getting into the way of the 'flow' i hit start again. i never experienced a lack of creativity since a couple of years now.
no frustration when it come to making music. (well maybe technical issues can distract me but otoh i know the 'usual suspects' in my setup in meanwhile.)
it just feels like very natural to work that way. it's almost pure play like children do. it actually doesn't feel like work at all, it's just what i do when i'm home.
why the f*kc did i wrote this now here? i apologize if this post went to far or is hardly understandable, but maybe someone of you likes to read... |
|
| Cortega |
| slumberjack wrote: | i read in an interview with four tet that he lets the main loop from each song play the whole day at home in his studio. only if he can listen to the song the whole day it's worth to process further. out of this i developed a way of working similar to his.
there's always a single song in composition state in my studio (which is thankfully at home, i can work on decent levels 24/7 too) and if i'm home i let it run and adjust all parameters, notes and fx until i'm pleased to let run for hours. not only creative wise but also technical. if i'm hanging in my bed, watching stuff or lurking here while my sequencer runs on and on i can figure out for example low end eq settings by the room modes acouring differently in bedroom, hallway or kitchen / eating table or when i move trough my 'stp'. or other stuff. envelopes, lfo movements, adding another track or simply turning the upper frequencies up in volume. then when i come to the point of the need to finish it, arrange, record either it's out of joy or the feeling that i has to be done to move one before frustration kicks in. this can take 2 days (i stopped finishing stuff within one day since the songs grow a lot with only one day more) or up to 3 weeks usually it's done within a couple of days if i find enough time beside my dayjob.
so long story short: everytime i stuck i just hit stop and after my curiosity came back to figure out what was getting into the way of the 'flow' i hit start again. i never experienced a lack of creativity since a couple of years now.
no frustration when it come to making music. (well maybe technical issues can distract me but otoh i know the 'usual suspects' in my setup in meanwhile.)
it just feels like very natural to work that way. it's almost pure play like children do. it actually doesn't feel like work at all, it's just what i do when i'm home.
why the f*kc did i wrote this now here? i apologize if this post went to far or is hardly understandable, but maybe someone of you likes to read... |
thanx for the insight. |
|
| felixer |
| i have known a writer friend who insisted that you always write something every day. and if it isn't any good at least you can start the next day by correcting it. or throwing it away! but you'll stay busy that way ... |
|
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