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How To ACTUALLY Approach A Music Producer / Engineer

There are a couple of things you have to check in your mind before approaching an engineer for your record.

Communication is very important in this because – after all – we (the engineers and producers) want to make your artistic output the very best.

I hope you liked this and please have a great day!

CAPTIONS

good morning beautiful people welcome
back to another video it is Monday we’re
going to talk about how to actually
approach producer or engineer for your
next project so you are looking for a
producer and in the metal or rock genre
oftentimes people already know which
producer there want to go to before they
have even written a piece of music but
if that’s not the case you want to ask
around other bands you would listen to
other bands that you know other
musicians that you know other artists
that you know who you know and ask them
hey I really like your sound if you
actually like the sound ask them hey who
produced your record who recorded you
oftentimes you get the answer we tracked
ourselves we got someone else to mix it
and then we get someone else to master
it or we get someone who did everything
we got someone who helped us writing and
if you found one or two or three or ten
producers you like because you like the
sound they did with other bands you like
the sound they achieved with them you
like how they help them write songs you
liked how they mastered the record do
you like how they mixed it whatever that
is meet up with them or if they are in
another country and you just need mixing
where you don’t need to be there
physically call them most of the
producers will actually Skype with you
or call you or just to to talk because
they don’t know what you want even
though it is a professional service and
producers like me you want to get the
best out of your project for you
we don’t know what you want you have to
tell the producer what you want you have
to be very specific and before you do
that you have to think about what do you
need done by someone else can you record
yourself can you record guitars yourself
then you need the mix engineer to reamp
the guitars maybe or you need the you
need someone to go over your MIDI drums
or you need someone to edit all your
guitars that you’ve recorded yourself or
you don’t know how to do
anything and you need someone to help
you writing because your album isn’t
done yet so you would need a producer
you wouldn’t need a recording engineer
and the line between a recording
engineer and the producer is nowadays
pretty pretty much the same so I think
of producing a drum sound producing a
guitar sound as well as producing a
piece of music so really think about
what you need which steps need to be
done so you have all the songs written
and everything is arranged you wouldn’t
want anyone to change something in the
arrangement then you need someone to
record you you need someone to track
drums to track your guitars to check
your vocals to track your bass and to
maybe if you have effects to help you
make those sound better
for example there’s no writing involved
for from someone else so you only need
those the classic services recording
mixing mastering and in-between that
micro world you have two recording which
is tracking stuff and then you have
editing and before you send it off to a
mix engineer because maybe the one who
was trekking doesn’t want to mix or you
don’t want him or her to mix so the
editing and everything should be done
before you approach a mix engineer and
the mix should be done before you
approach a mastering engineer and the
most mixing engineers have their go-to
mastering engineer if you do not have
one so there’s a lot of a lot shit-ton
of questions you have to ask yourself
you that you maybe will get asked by the
recording engineer the producer the mix
engineer and it comes down to a lot of
communication and it’s very important to
just have one person in the band
communicate with all those different
people or maybe just this one person so
really create a funnel of this is your
band talking to you and this is just you
talking to the producer it makes it very
easy to communicate with just one person
group chats are the worst do not
approach a producer and approach him in
a group chat with your band it’s the
worst
you can do it’s very important to be as
specific as possible it’s like if you
have ever gotten a tattoo a tattoo which
is very possible if you’re watching this
channel you probably never went to a
tattoo artist and asked him to do a
tattoo tattoo and he asks you what do
you want and you say I don’t know you
decide it’s like well do you what do you
do like what do you like what’s your
favorite music what’s your what are your
favorite artists what’s your do you like
a modern sound do you like an old-school
sound do you like do you like extreme
metal do you like electronic dance music
and you want to bring it into metal then
you maybe it should look for a very
versatile producer so you think about
what do we have for example
let’s just play it this way you have all
the songs written in Guitar Pro
everything is done everything’s written
you don’t need to do any more writing
you just need someone with a computer
who can record you who can record your
drummer can you cut your bass player can
record you playing guitar and you can
record your singer you need someone
recording so you look for a producer and
tell them hey we have all the songs
written we need studio time when are you
available and what you are what’s your
price and this question always comes up
hey what’s your price and the truth to
everything is it’s very very very
hard to come up with a fixed
rate for every band for every artist
because everyone’s different everyone’s
playing guitar differently everyone’s
playing drums differently there are
better drummers there were strong mr.
Feder guitars there were stars there
better basis sometimes the mix engineer
is replaying the bass because it sounds
like
well the recording engineers are playing
the bass because it sounds like
there are so many variables and it’s
absolutely after the tracking stage
where a lot of people charge a let’s say
bucks per eight-hour day and after
the tracking because when they charge a
daily rate you and you’re not done after
the tenth day you need to book an extra
day which is not that easy as it seems
but for example as a mix engineer which
I am it’s very hard to price a four on
the floor rock n roll song at the same
rate than a seven-minute progressive
black metal song and I hope you
understand that and the recording
qualities are so different even if
they’re they’re coming from a different
studio then the one band records at home
the other band records in a professional
studio the other band records into an
iPhone and asking for hey what’s your
what’s your price is a very it’s very
hard you know in this whole artist or
this whole music and art thing you can
ask a stonemason hey how much is this
stone that I need for my house he can
tell you because it’s the stone is the
same the stone doesn’t change he has the
same yes the same material in coming
every day he knows how to work it he
knows how long his employees need to
craft this piece of stone but as a mix
engineer or recording engineer
everything your everything you get is
different every time
so most of the engineers have have their
kind of range in which they are in which
they are making the price or making the
investment for you which I like a lot
better because it is after all
investment for you the artist so I hope
you understand it’s that it’s really
hard and I get facebook messages where
people are like hey I’m looking for mix
engineer what’s your price and I know
that if I say hey I need to see the
project first because everything is
different and I hate to do that because
it sounds a little bit salesy if you
understand if you if you can understand
that because it sounds like I want to
keep them engaged or something I would
love to just give a quote
hey it’s euros or something but it’s
it’s just not possible if you have a
song that needs to be edited completely
I cannot mix it and I need to either
hire someone else to do it or do it
myself which is just a lot more work so
every producer engineer has their own
service and so the better way to
approach someone is to say hey we need
five songs recorded or we need seven
songs recorded our budget is X and then
someone can tell you hey we should
probably better be doing just three
songs but do them really good instead of
just doing five songs with a lot of time
pressure and they’re in a music
production there’s a lot of moving
pieces and you should really make sure
to contact people way early way too
early because if you for example want to
hire top-tier engineer it’s pretty hard
to get your record in pretty fast so
sometimes it’s like months or months
and I hope this can somehow show you a
little bit more of the way on how it’s
what how you can approach producers or
engineers
better so I hope this helps and see you
in the next one and have a great Monday
[Music]

Misconceptions About Musicians and Artists

A lot of misconceptions about musicians are going on out there – so i thought i’d talk about it a little bit.

No – not everyone is financially wealthy.

No – you do not need a degree to play guitar infront of thousands of people.

No – You do not have to be a one of a kind guitarist.

Captions

good day back no no back with another
video today and this is why I actually
started my podcast misconceptions about
being a musician that’s what I want to
talk about I thought it would be easy to
just start with you’ve got five reasons
to be a musician but I’m not going to do
that so I’m starting right off the right
out of my head with this list so I
Baretta
I read a blog post by musical musician
you music music you I’ll link it down
below so they had a tiny blog post which
had a couple of great points in it and
I’m going to pick those up and as well
some more of those points that are
coming from the top of my head number
one is that you have to be this super
super talented special one-of-a-kind
person to make anything in the music
world and it is absolutely not true
there are people like these for grant
for example automata beers he plays a
ton of instruments he’s very very
very very good he is talented but it
took a ton of work practice and a
lot of time to get those skills and most
of the skills you can be as talented as
you want but hard work is always putting
talent in a corner because you can be
talented anything but if you don’t put
it to practice you are not going to
craft a skill a real skill out of it and
yeah it’s a total misconception if you
have to be this super talented
one-of-a-kind
to do anything in music it’s not true
most of the people I know in music play
their instrument they play their songs
very good and yet this this super
talented one of a kind person
that you see in this or that band or
online or on these Chinese kids on
YouTube they every single one of those
of those people has practiced shit-ton
on their instrument it’s not coming out
of the womb playing playing guitar like
a god what does this even mean okay so
number two is having studied music going
to be quite honest here
% at least of all the people I’ve met
in music maybe local bands or arena
bands oh and studied music there are a
couple of people who did and they’re
amazing at what they do but the the vast
big majority didn’t study music and you
do not have to have a degree or have
studied in music when you want to start
a band when you want to make it with
your band it doesn’t mean anything if
you have four people that have musical
University kind of Education and four
people that have just been writing songs
and just did what they want being
artists doesn’t mean you have to study
music and they are not showing you how
you can write better riffs it’s a lot of
theory I haven’t I haven’t studied music
I wanted to but it’s just reading about
what the benefits were like you’re going
you you can learn anything all the
theory I mean if you love it I don’t
like to theory if you like it if you
want to teach if you want to be a
craftsman in music like if you if you
want to play by sheet it’s definitely
something to do but it doesn’t have
anything to do with having a successful
band and having studied music it there’s
no there’s no connection I mean you
could benefit from it but there’s no
real connection between those and this
leads me to the next thing that you have
to be able to play by ear so
you have you hear a piece of music and
you can play it instantly or you can
play by sheet so someone gives you a
sheet and you could play after it if you
I mean if you’re starting a band if
you’re trying out for a band you
probably get some kind of music and tabs
and notes up front so you can prepare
yourself for either trying out band
practice or whatever it is but having to
in a you know rock and roll in metal
sense being able to play sheet music is
that it doesn’t matter there’s there are
no musicians playing guitar a rock show
playing from a sheet it’s not true and
you you don’t let yourself be
discouraged by those real world skills I
mean if I see people pulling putting out
a piece of paper and just playing what’s
what’s there it’s pretty amazing I can
do it myself as well with taps pretty
slow but yeah don’t don’t think that you
can can’t do it because you can’t play
from sheet number four everyone’s rich
and this can be like financially rich I
mean six figures in the bank
I don’t know however you define rich
it can’t be further from the truth and
it it’s going from very small bands
through very big bands people are still
working jobs if the if the if the only
thing they’re doing in the music world
is being in a band then there’s a big
chance that this person has some sort of
part-time arrangement when they’re not
playing all year and there are people of
course making a living from music alone
but you have to really diversify your
income if you want to make a living from
just music having some kind of skill
that you can sell inside of music may be
managing or producing or which which is
not too easy I thought it was
easy to just go to a real school and
then make a beautiful make a living from
being producer so for example selling
merch selling everything else building a
brand around your band and bringing a
lot of money in to finance four to five
people which is very hard and I mean
it’s possible but it takes a very long
time to live from just being a guitarist
in one band that’s like holy I I
can’t even imagine like securing
full-year income from just being
guitarist in one band
it’s an insane task and it makes me
think back to a to a conversation I had
with someone at with full force festival
that was five four years ago we came out
of the backstage area and someone asked
me hey something like everyone everyone
back there is rich right why are
you buying your own drinks and of course
I I would never tell anyone the the
exact amount of money you would get and
it’s not a lot and it’s you can cover
your costs and it’s pretty hard and
touring is very expensive playing it’s
very expensive and that is after gear
that is after after in years this is
after everything like renting a bus
sleeping in hotels or having a night
liner bus it’s it’s very expensive and
maybe I will do some kind of fiction
cost breakdown of a touring experience
how much it really costs to make this
work and yeah everyone’s rich it’s not
true and if you see all those musicians
with hundreds of thousands of followers
on Instagram those followers are not
putting food in your fridge they are not
paying you or your your landlord they
are not paying your your car payments
they are not paying your house payments
or whatever really look behind
and the curtain and think about is what
I for example an Instagram it’s really
just a highlight reel of everyone’s life
and of course I’m happy for if musicians
can afford a new pair of shoes I have
been in this myself and posting a
picture of it on Instagram hey I got new
shoes which is like a major life event
if you’re if you’re able to afford the
shoes you want of course it’s a very
sense doesn’t make a lot of sense to
everyone else but if you’re actually
able to make holidays to go fly to some
Island and enjoy a little holiday and I
mean the rich thing you think it is it’s
it’s not what you think it is but people
are still alive so it works out somehow
number five free gear ok this is some
people are blessed and get free gear
once in a time but an endorsement
doesn’t always mean you’ll get free gear
you get some discounts but you still
have to buy the stuff I mean those
companies still have to make money and
especially nowadays with all the
influencers that going on there’s not
much stuff you really get for free for
just playing music because the the the
market is different the buying decisions
is are different back when I got my
first guitar deal I had I was very lucky
and I’m very grateful for that but an
endorsement you shouldn’t want to
endorse everything and because you have
to you have to talk about the bread very
good you can talk about the brand
if something annoys you you can you
can’t really do it because they are
giving you discounts and with the
internet everything is super fast so one
of deals for artists are of course super
cool but you do not get
a lot of free gear unless you are
getting to the big big big boy level and
until that point take care of your gear
really think about what you actually
need and be very practical about what
you have what you really need what you
need to bring what can break
what doesn’t break there’s not a lot of
free stuff out there unless you’re an
Internet star or you’re a very big band
or you’re about to be a very big band it
really depends there are cool deals
there are cool artist representatives
with guitar and gear brands but don’t
don’t make your game plan stick or don’t
make being getting an endorsement stick
to your game plan it’s a very weird
thing to do it’s our art after all
number six once once you have a label
everything is everything gets easier
everyone will do stuff for you you get
stuff for free I did a video about that
and it’s not the truth it gets there’s
more like once you hit having a label
either with or without the label it gets
more and more work so you’re the bigger
you get the war more money more money
more problems is that jay-z I don’t know
that’s what I want to say about the
misconception about a label and you can
check out another video about that this
year that’s it for today let me know if
you liked it
have a great Sunday please have a great
Sunday
[Music]

How To Reamp Through S/PDIF With Your Kemper II In Depth Tutorial

I was asked to do something about the Kemper S/PDIF I/O for reamping.
Yes this is very technical, and I’m absolutely sorry if you’re here for different content. But I actually like to talk technical producer stuff sometimes. 🙂

Who knows – maybe there’s something in it for you.

Captions

welcome back to tutorial day today we
are talking about the Kemper I’m sorry
if you’re here for business tips and
mindset stuff and how to do that’s
not technical I’m sorry but I have a
couple of music producer followers who
are pretty interested in me explaining
technical stuff I’m not doing too much
of these but here we go
today we are talking about this cable
and what it has to do with our Kemper
unit so this is a coaxial cable we’re
using this for the s/pdif function of
the Kemper and talking about how I react
guitars with SPF so ESPA div stands for
Sony Philips traditional interface
format as well as Sony Philips digital
interconnect format but most people just
say Sony Philips digital interface which
is known as SPF so as soon as you are
connected your ins and outs of the
coaxial cable we can start so what is a
clinic what does a coaxial cable do
what’s the difference between this and
an XLR cable so we are transferring data
we’re transferring audio data theta
theta digitally which is way faster when
you’re working in a digital audio
workstation and your amp unit is digital
and if your interface can receive
digital information so a coaxial cable
can actually carry two lines of audio
two streams of information so you could
send stereo information
with just one cable so the tip in the
ring both carry audio which is very
important that you are spending money on
those that if you are going to just
please buy good cables I spend bucks
bucks for two of those and they are
pretty short they are perfect for my
rack and it just connects the focus ride
with my Kemper so as soon as I’ve done
that I’m not getting too much into which
sounds better what does this what that’s
dad is that sounding better I’m all
about effectiveness efficiency and speed
we can jump into the digital audio
workstation okay so as soon as you
haven’t still installed your SPF cable
with the ins and outs and the ins and
outs of your devices there are a couple
of things we have to take care of so a
lot of people are complaining about
clicks and pops in their camper as bit
of ramps first step would be to choose
the sync source in your interface
configuration as ESPA dips so the Kemper
decides the sample rate one thing to
take care of is that your sample rate
has to be forty four point one kilohertz
if you want to use the SPF reamping
feature or the s patife output of the
Kemper because that’s just the way it is
maybe your interface is different but
for Focusrite pro Safari pro you
have to let the Kemper handle the sync
source and I found out that if you go to
settings and choose the ac mode it
works a lot better and the firewire
drive early latency should be kept too
short especially when you track so we
have this part of the process checked
out checked checkbox checked and we are
going to look over here the SPF output
and one and two so the espen if output
is the cable that’s going from your
interface to your Kemper and you have to
look into your digital audio workstation
what outputs are in use right now so for
me it’s one through six and then I have
one and two a bit of left right but in
the translation to my interface it’s
just one through eight so I go to the
outputs and da W and I have one through
eight
everything is named differently for my
mixing reamping editing suite situation
here I didn’t have to rename everything
I can remember the three outs and inputs
I need for everything I’m doing so for
me it’s da w and here I have my little
di track and the output of this is going
to be line six a lot of stuff in audio
is named completely different if it’s
manufactured by a different company
everyone thinks they should name their
stuff completely different so it’s very
chaotic for beginners especially when
you’re in the game a little bit you just
deal with it that everything has a
different name so I’m going with Line
six and as soon as you hit play nothing
happens and why is that if we are going
to our profiling amplifier we have to
use the in puttin up and then we have an
input source so the Kemper has a variety
of inputs and we’re going to turn the
wheel until
we hit the hospital in good reamping and
if you feel like your signal is a little
bit unpleasant or you don’t like it too
much you can play the preamp sense and
as you hear
[Music]
it adds a little bit more or less
definition to the whole signal I keep
this at zero because this is the I put
my own guitar and I know that it just
works very well with zero DB and you
should do that if you’re fun with your
tone you should do that before playing
with all the different knobs so now you
can go ahead
[Music]
if you are getting a weird signal out of
the camper you can as well go to the
output section and look for the SPF
output and I have JIT and master left so
in audio everything the first thing is
always a left so left is the primary
power in audio so JIT always means di
dry signal the direct signal that’s
going in through here and after the –
you have master left so I’m sending mono
signal back to my da W to back through
my interface and this is master left you
could as well you make everything stereo
so you have master left and master
alright but this way you can utilize the
two lines of the s patife for two
different signals and that’s why
reamping with it is so cool and we are
going to re amp this real quick just hit
record
choose your s bit of input from the
right so we have said master left to the
right output I know it’s a little bit a
little bit confusing if you’ve never
done it so ESPA diff right and then we
can just go ahead and press record
[Music]
so yeah this is it I hope you learned
something from this I never planned on
doing any sort of audio engineering
audio education audio tutorials on this
channel but somehow people requested
thank you very much for the request keep
the suggestions coming and ask me
anything about audio engineering if you
want so have a great Saturday
[Music]

(PART 6) 20 Minute Metal Songwriting

CAPTIONS
0:00
welcome back to the this is the last
0:04
part of this some I’m going to talk
0:09
about the survey again there’s a survey
0:11
down there where you can help me make
0:14
better content for you there are a lot
0:16
of great submissions they’re already
0:17
there thank you very much and now we are
0:20
going to finish this one in 20 minutes
0:27
so the last thing we did was this the
0:35
end basically
0:51
and now in the end we’re going to go up
0:54
up up up and it it’s kind of an open end
1:33
we’re going to make the last bars with
1:36
two guitars
2:38
like that
3:36
okay I’m going to end even earlier
4:49
and that’s where the story ends so we
5:02
need to kill all the effects that’s not
5:12
not what I wanted
5:47
okay that’s that’s it for writing I
5:52
think so now we have to this is a huge
5:58
huge huge project I have a lot of songs
6:00
in this so everything else needs to stay
6:08
as it is as you see there are ton
6:15
of songs in here so now we are going to
6:23
listen to it and work on the on the
6:25
production a little bit so it sounds a
6:29
little bit better
6:49
for example when there’s a bass drum
6:52
when two feets when two feet are on the
6:56
bass drum
6:56
you cannot tap the hi-hat or it doesn’t
7:02
doesn’t matter if you tap the hi-hat if
7:04
you’re using TV for the question
7:10
and then I wanted to add all of these
7:14
little ghost notes one in the whole
7:22
chorus thing
7:43
and then there’s more symbols
8:03
and somehow we have a problem
8:07
in here this needs to be all the way up
8:19
here so we can
8:39
and then we need to insert time in here
8:47
thanks for 1 bar 2 for
9:19
actually what I just did was nonsense
9:23
and these drums into a lot adding a lot
10:17
of
10:50
and I think we’re just adding the the
10:57
intro
10:57
drumroll again here
12:06
I can’t work on anything everything in
12:10
those eight minutes but I think this
12:12
part needs a little bit more love that
12:45
sounds – sounds too weird
13:25
something wrong with the bass
14:09
okay we do know what the problem is
15:05
this super weird
16:39
that’s not cool as well
17:31
we could try a little come on try a
17:45
reward reverse reverse
17:58
no snare reverse narrow would be the
18:02
best
18:18
sometimes you have to let silence speak
18:23
let the silence do its job
19:13
I do not know if that’s okay
19:28
I think I think that’s okay so I’m going
19:48
to end this project here we’re going to
19:58
bounce to disk and
20:14
I could spend a lot more time on this
20:17
song but it would take too long did it
20:25
would be interesting me fighting with
20:27
MIDI notes and yeah you can download the
20:38
song in the description and thank you
20:44
very much for watching this it got more
20:48
attention than I thought which is very
20:50
cool and thank you very much
20:54
and I see you in the next one if you
20:59
have any suggestions for more of these
21:04
kinds of unscreened live or not live how
21:10
I’m doing things in real time let me
21:13
know I got some interesting suggestions
21:18
for getting for example getting a couple
21:23
of music styles and then making a raffle
21:27
at the start of the video and then just
21:30
go without knowing what’s what’s
21:32
happening that sounds very interesting I
21:34
don’t know if I’m going to keep the 20
21:36
minute the 20 minute restriction or if
21:39
I’m going to an hour and then I don’t
21:43
know we’ll see what happens
21:45
thank you very much have a great
21:46
Thursday and see you in another one

How To Prevent Writers Block

Writers block – Something we probably all know. Wether you’re writing a song or a text. It can drive you absolutely NUTS. But there are some workarounds!

CAPTIONS
0:00
welcome back to another video thank you
0:01
very much for being here before this
0:03
video starts I would like to ask you to
0:06
go down to the description there is a
0:08
link called content survey I would like
0:11
to make better content for you
0:12
of course I have my own ideas but I
0:14
would like to make it a little bit
0:16
better for you and to tailor it around
0:18
your questions or asks or whatever you
0:21
want to do okay so today we are going to
0:23
talk about writer’s block and there are
0:26
a couple of quick fixes so when you’re
0:29
stuck when you don’t know what to do
0:30
when your brain is just not on the
0:34
project and you can’t get yourself into
0:37
it so a couple of quick fixes are take a
0:40
walk put your phone somewhere else
0:42
preferably where you can’t grab it I
0:45
tried that it doesn’t distract me as
0:47
much so for me that’s okay but everyone
0:50
is just handling it different do
0:52
something else creatively that has
0:54
nothing to do with the song or the
0:56
project you’re working on like doing a
0:59
puzzle or something that stimulates your
1:02
brain something that’s doing something
1:04
that’s not the project Netflix is not
1:07
helping diving into YouTube is not
1:10
helping as well that’s for the quick
1:13
fixes there are probably a lot more
1:15
drinking coffee but caffeine is a little
1:19
difficult topic but let’s get into the
1:22
long-term strategies to avoid writer’s
1:26
block in the first place
1:27
the first thing is to set yourself up
1:30
for writing – you should really be aware
1:33
of what are you doing before writing
1:34
what are you doing after writing when
1:36
are you writing are you writing in the
1:37
morning are you writing it evening after
1:39
work huge respect you can actually do
1:42
that I mean it’s just building a tiny
1:44
house and whatever you do before writing
1:47
leads up to the action of actually
1:51
writing building a little house with
1:54
tiny steps whatever that may be taking a
1:58
run eating a specific food and making it
2:01
making it a habit habit will always
2:03
outperform being inspired if you are
2:05
waiting until you are inspired to write
2:08
something you are going to take a very
2:10
long time to finish anything
2:13
and that is a big problem for most
2:15
people because the longer I talked about
2:18
this in an other video the longer you’re
2:21
not doing something the possibility of
2:23
you not finishing it as rising and you
2:27
don’t want that and the problem is
2:29
especially in rock and metal we are all
2:32
put riding towards releases but you
2:36
should really always be writing and
2:38
making it a habit like two times a week
2:41
three times a week four times a week and
2:43
the second step to that is which is very
2:47
important for the whole process of
2:48
making it a habit you should be in
2:50
control of your success bar how high is
2:54
your success bar so let’s let’s say
2:58
you’re writing a book the minimum the
3:00
minimum output you have to do you have
3:02
to bring you have to prove yourself is
3:04
two pages a day and you could take the
3:07
same thing you can apply the same
3:10
concept to songwriting just 32 bars or
3:13
just 64 bars or just 14 bars or 30
3:18
seconds I’m I’m going with minutes so
3:21
I’m going with either writing music for
3:25
an hour or writing 30 seconds of music
3:29
it depends how my day is planned so I
3:33
highly suggest to make it a habit and
3:37
that way if you are used to writing if
3:40
you if your brain is wired for it if
3:43
your creativity muscles are wired for
3:46
this particular writing session that is
3:49
taking place at particular points in the
3:52
week or in the day your brain is wired
3:55
to have a higher productivity in this
3:58
particular action at this type of day if
4:01
you create the habit over a long time
4:03
and it takes some time to get to get
4:06
used to it and to really force yourself
4:07
to to pump out those 30 seconds or 60
4:10
seconds or 90 seconds or but everything
4:13
after those after your minimum success
4:16
bar is additional its complementary and
4:20
what sometimes you were going to do more
4:23
which is amazing but if you can only
4:25
manage two
4:26
humble 16 bars of music and that is your
4:29
minimum entry every day or every song
4:31
writing sessions session then you are
4:33
already happy with what you did and you
4:38
can always edit out what you don’t like
4:42
but there is there are just a couple of
4:45
things going into this habit of writing
4:47
music or a habit of creating because
4:49
it’s an absolute myth that people are
4:52
inspired all the time and there are so
4:55
many life events that that stop you from
4:57
creating I hope this helps I hope you
5:01
can take something out of this and it
5:03
des mystifies a little bit of the why am
5:05
I not inspired well guess what you’re
5:07
not inspired most of the time and if you
5:09
ask songwriters who are writing songs
5:12
every day they’re not inspired every day
5:14
you have to take the whole thing from
5:18
this pedestal from this songwriter
5:20
staircase and just bring it down a notch
5:23
and just level your expectations of
5:26
yourself and that way you can get more
5:29
comfortable way faster you can pump out
5:32
a lot more you’re trying more and your
5:34
brain is in the headspace a lot more so
5:37
I hope this helps thank you very much
5:39
and fill out this survey I would HIGHLY
5:43
appreciate it thank you very much

Building DIY Monitor Stands

HELP ME MAKE BETTER CONTENT: https://sascharissling.com/contentsurvey

 

Costs of building and material list:

4m of fabric at Ikea at 2€/m: 8€
2x 2000mm*300mm*18mm laminated beam: 30€
2x 1200mm*300mm*18mm laminated beam: 16€
Rockwool 1000mm*625mm*100mm: 16€
(Had all the screws and the cross-beams laying around)

Cost: 70€ for two stands / Basstraps

CAPTIONS
0:00
we’re building some mother stands DIY
0:05
from Home Depot materials so my monitors
0:16
are standing on my desk before this
0:20
video starts I would love you if you
0:22
could go to the description and click
0:26
the link for the survey because I want
0:29
to provide you with better content with
0:31
amazing content content that you are
0:34
interested in and of course I have my
0:38
old ideas but I would like to tailor it
0:40
a lot more to the audience which is you
0:44
lovely at two hundred and ninety-six
0:46
guys at the moment that would be a huge
0:49
favor thank you very very much
0:53
so my monitors are standing on my desk
1:00
which was convenient because it’s just
1:03
one piece of furniture but it’s not very
1:09
it’s not the best solution and
1:14
if you’re looking for stands online
1:17
they’re either 20 bucks and they suck
1:21
because I had the 20 bucks once I’m not
1:25
saying they suck suck suck but I didn’t
1:28
like him I just didn’t like the
1:31
three-point thing to just with the with
1:37
with the screws I didn’t like the
1:41
manufacturing I didn’t like almost
1:45
anything about it because I couldn’t
1:47
even them out and then sometimes when
1:50
you in Central Europe the floor is not
1:52
really level and it’s just so many
1:57
things to consider to build or to to buy
2:04
am I understand and after all the ones I
2:08
would buy expensive
2:12
I was probably very expensive
2:14
manufacturing costs and itself audio is
2:19
kind of like you don’t buy audio stuff
2:23
in a supermarket maybe in the States you
2:26
do but in Europe not so everything is
2:29
kind of expensive and my friends over at
2:33
ghost city recordings in Nuremberg noon
2:37
back
2:37
known back they they got some new
2:42
monitors and built some really
2:43
interesting stands for that and I asked
2:46
if I could have more detail on the on
2:52
the building so I got some pictures and
2:56
now I’m kind of doing it myself with
2:59
cheaper materials can’t film the
3:02
hardware store so here’s the rock wall
3:04
and all the stuff I got big surprise
3:08
we’re going to Ikea to get the fabric
3:11
IKEA
3:13
I gotta beg out of every man’s every
3:18
male person’s favorite store even though
3:23
you want just one thing you spend at
3:27
least five minutes in there just for
3:29
walking and you start thinking about hey
3:33
what can I get besides what I wanted to
3:37
get so that I can spend a little money
3:39
well IKEA gotta love it so yeah why am I
3:46
even doing this I think I didn’t explain
3:53
so my monitors are standing on my desk
3:56
and my desk has this drawer drawer unit
4:04
which is basically a wooden box and if
4:09
you’re watching this channel you
4:10
probably know what a wooden box does
4:13
sound good vibrates so my desk has a lot
4:20
of bass response I can just go and buy a
4:24
studio desk but those are
4:30
expensive
4:32
so I’m starting to improve in little
4:35
steps and I actually think when I’m done
4:39
improving in little steps I could have
4:42
just bought a desk which doesn’t
4:45
resonate resonate this much
4:49
but after all
4:51
the journey is the goal is this an
4:56
English sentence I have no idea but yeah
5:02
I enjoy building stuff even though it
5:06
probably suck at it
5:07
I enjoy it anyway I enjoy improving I
5:11
enjoy building stuff I like the the
5:15
feeling of creating something whether
5:19
it’s a piece of furniture or a piece of
5:23
music I just like making stuff luckily
5:35
I am living close to IKEA and the the
5:41
hardware store and just everything
5:46
so here’s a voiceover to make the
5:50
building process less boring this is a
5:54
time lapse because I’m still
5:55
uncomfortable talking English in my
5:57
backyard you see me screwing stuff into
6:03
the wood building a little cabinet you
6:07
can see me doing exactly that nothing
6:11
else and putting the fabric on the Wow
6:17
and then wow this is too fast and
6:23
putting the rock wool inside and yeah
6:29
this clip is over in three two one
6:33
yes that’s that’s one of them the fabric
6:39
will be taken off soon because I’m gonna
6:42
put it on the inside that’s what it
6:44
looks like with monitor on on top so
6:48
that’s what it looks like now I have a
6:51
very different sounding room now these
6:54
are basically two big bass traps who are
6:58
now housing my speakers upon them yeah
7:06
thanks for watching I have to really get
7:10
used to this and have a good day
7:13
[Music]

(Part 5) 20 Minute Songwriting Metal

HELP ME MAKE BETTER CONTENT: https://sascharissling.com/contentsurvey
Watch Part 1-4 Here: https://www.youtube.com/playlist?list=PLFtrvVJj_WpDsEnkLMt5J0iZ2Xk2056IJ

CAPTIONS
0:00
welcome back to the next 20 minutes of
0:05
writing the song before I start I would
0:08
like to ask you to do me a favor down in
0:13
the description there is a link to a
0:15
little survey because I want to provide
0:20
good content for you to watch and I
0:24
would like if you could just take 2-3
0:26
minutes and just go through this survey
0:28
I would be very thankful to you if you
0:30
could do that just down in the comments
0:33
thank you very much
0:34
and now let’s head it to the next 20
0:36
minutes and we have stopped with this
0:43
part
0:47
and I think we should come to a point
0:55
soon
0:56
[Music]
1:08
come to a point with this sue and
1:18
[Music]
1:38
[Music]
1:55
that’s too slow
1:57
[Music]
2:07
[Music]
2:16
is that humanly possible I don’t know
2:22
[Music]
2:53
[Music]
3:03
[Music]
3:29
[Music]
3:42
[Music]
3:53
sounded better with the ride cymbal
3:57
[Music]
4:10
and now we have we are at a time point
4:18
of minutes and seconds are three minutes
4:28
and two so let’s see how we can get into
4:32
a rising sensation celebration in here
4:38
and actually end this with a bang and
4:42
not make this I thought about making
4:45
this riff the outro like having a
4:51
fade-out with this but that’s not the
4:54
point here we’re not lame
4:56
I like fading out ultros but this is not
4:59
the point of doing that what can we
5:08
maybe we don’t need to write much more
5:10
riffs
5:14
[Music]
5:25
[Music]
5:33
[Music]
5:57
maybe that’s the riff we need sounds
6:01
like a plausible next step I didn’t copy
6:12
the drams so let’s get the drams and
6:22
paste the drams
6:24
[Music]
6:48
[Music]
6:55
no I want a transition see what happens
7:16
if we do that
7:18
[Music]
7:25
I know it doesn’t fit but let’s be a
7:46
little progressive
7:50
[Music]
8:13
and
8:23
[Music]
8:36
[Music]
8:47
maybe get into a metric system again
8:52
that’s what I call non Triads
8:56
[Music]
9:06
[Music]
9:39
[Music]
10:04
[Music]
10:22
and then back where is it where is the
10:40
riff there it is
10:47
[Music]
11:02
okay
11:21
[Music]
11:28
little production idea change the meter
11:33
to give it one more we get a 5 for know
11:46
in time insert time meter 1/4 1 apply so
12:05
we have one more
12:07
[Music]
12:42
[Music]
13:04
[Music]
13:09
why is this so weird right now
13:24
sometimes it’s a fight with Pro Tools
13:32
now it works and what we are doing is
13:43
we’re going to take these rhythm guitars
13:47
or at least this part of it apply it
13:52
here lower the volume
14:03
grab it reverse then we are taking these
14:15
guitars not 100% what I want
14:35
[Music]
14:49
[Music]
15:03
[Music]
15:22
[Music]
15:34
[Music]
15:59
[Music]
16:02
and now we can do what I actually wanted
16:06
to do before
16:10
[Music]
16:36
[Music]
16:52
[Music]
17:14
[Music]
17:31
[Music]
17:42
this could be a possum an hour
17:44
[Music]
17:57
[Music]
18:06
[Music]
18:15
[Music]
18:36
[Music]
18:42
no track set record of course
18:51
[Music]
19:00
[Music]
19:15
[Music]
19:17
it’s hard to find a the perfect thing
19:22
I’m looking for which I can’t describe
19:33
[Music]
19:58
[Music]
20:09
[Music]
20:40
so I’m trying to create this movie
20:45
kind of ending where it’s a wasteland
20:47
and everyone’s dying but there’s a hero
20:50
and he’s not dying
20:52
but he’s kind of alone that’s the
20:54
feeling I would like to achieve with
21:01
that so here’s how far we have gotten
21:15
yeah thank you I have suggestions
21:19
suggestions coming in for what I can
21:21
should do thank you very much for those
21:24
I definitely consider them and I hope no
21:30
we definitely will finish this in the
21:33
next session thank you very much and
21:37
have a great rest of the day
21:39
[Music]

Please STOP complaining about music streaming!

HELP ME MAKE BETTER CONTENT: https://sascharissling.com/contentsurvey

It is 2018 – if you like to live in 2001 – music wise – then please go ahead. It is your choice. But just be aware that there will be almost no money for you in music.

CAPTIONS
0:00
they’re all streaming streaming is cheap
0:03
they’re not buying records they are not
0:05
buying vials they are not buying my
0:07
special packages they are not buying my
0:09
shirts they’re not buying my special
0:12
edition of your third USB stick that is
0:15
limited there were 50 editions it’s time
0:18
to stop and quick pass before this video
0:22
starts I would love you if you could go
0:25
to the description and click the link
0:29
for the survey because I want to provide
0:32
you with better content with amazing
0:34
content content that you are interested
0:36
in and of course I have my own ideas but
0:41
I would like to tailor it a lot more to
0:44
the audience which is you lovely 296
0:48
guys at the moment that would be a huge
0:51
favor thank you very very much it’s time
0:54
to stop and I’m very sorry for people
1:00
who have been into music for decades and
1:03
who are now struggling financially who
1:06
couldn’t adapt to the digital age and
1:08
I’m very sorry and I hate that you may
1:12
had to transition into part-time jobs
1:14
again and it sucks
1:15
I understand but after all the market
1:19
decides how it consumes the market our
1:24
fans your consumer your customer they
1:30
decide how to consume you cannot unless
1:33
you are maybe Apple who is billions of
1:36
billions of billions of dollars you
1:38
cannot decide how your consumer how the
1:40
market consumes your music you just
1:43
can’t you just have to be there you have
1:45
to be creative you have to adapt you
1:48
have to come up with ideas on how to get
1:51
your music in front of people
1:53
yes it’s crowded yes it is not as
1:57
profitable to just release music anymore
2:00
but if you are complaining about it it’s
2:03
not going to get you anywhere and
2:05
especially if you’re come complaining
2:07
about it hey it’s pretty sad that you
2:10
are not buying as much cities anymore as
2:11
you did that’s fine
2:13
but like really exaggerating and
2:16
complaining and whining and getting down
2:20
to your fans and being an asshole to
2:22
them that’s a different thing and why am
2:25
i coming up with this now there’s a bad
2:29
Germany who is actually not that huge
2:34
huge but they’re making a big deal out
2:37
of it and they just released a record or
2:40
something I’m not really deep into this
2:42
and it’s a man they are calling their
2:46
fans names and really getting down to
2:50
them latest streaming revenue is more
2:53
than City sales which is a clear like
2:57
it’s obvious that people are streaming
3:00
music I’m streaming music I’m not buying
3:02
cities people are streaming music and a
3:06
fracture of people is buying vinyl again
3:09
which is cool and release vinyl do it if
3:13
you’re in rock music if you are in heavy
3:15
music release vinyl it’s a cool thing
3:18
don’t ever do it don’t put all your
3:20
money into it it’s just time to stop to
3:23
call people out for their consuming
3:26
behavior and everyone’s streaming if
3:28
you’re romanticizing with the old way
3:32
with your valve tube CD player that’s
3:36
cool I really appreciate the love you
3:39
have for the old way but it’s 2018 and
3:43
it’s not going to get back where it was
3:45
it’s going to get worse I think it’s
3:48
going to get better consuming stuff is
3:51
in your face and I like not having
3:54
cities I like having that’s not just my
3:56
personal very personal opinion I
4:00
occasionally buy special boxes if
4:04
they’re really really cool I don’t even
4:06
have a vinyl player but two years ago we
4:10
bought the Opeth special edition because
4:12
it came in a nice wooden box and the
4:15
trend is going to releasing special
4:19
special stuff which is fun to pack out
4:21
but just fun to unbox which is fun to
4:24
look at which is cool to put on your
4:26
shelf
4:26
and that’s really where you should put
4:30
your money if you are doing physical
4:32
release make it very special make it
4:35
cool it is the Internet the internet
4:37
destroys retail destroys regular retail
4:42
stores and the internet doesn’t care if
4:45
you’re an artist the internet doesn’t
4:47
care how old you are the internet
4:49
doesn’t care if you’re a Muslim Christ
4:51
or Jew it just doesn’t care who you are
4:55
and it’s going to destroy you and either
4:59
you’re going to hide in your room
5:02
complain about it on Facebook and tell
5:05
everyone how the politics are
5:07
responsible for your losses in Digital
5:10
streaming versus CD sales or you can go
5:13
out and just inform yourself read books
5:16
consume online content on how can you
5:19
how can you get ahead of the game how
5:22
can you be in the tooth of time is that
5:24
even an English term it’s a German term
5:27
I don’t know if it’s English tooth of
5:30
time and just adapt and think about how
5:33
can i how can I
5:35
I mean you’re a musician you’re a
5:37
business owner and it’s when it comes
5:40
down to it there’s you’re not special to
5:44
the market you are of course a special
5:46
artist but you have to think about how
5:50
can how can I stand out how can i
5:54
monetize my music how can i monetize my
5:57
art how kind of monetize my brand and
5:59
it’s probably not going to happen again
6:02
with physical CDs DVDs and some sort of
6:07
I don’t know USB stick its own that’s
6:12
just over it’s where we’re living in a
6:15
different era kids are talking to their
6:19
phones that are not even typing anymore
6:20
like we are very slow we are I’m almost
6:25
30 and I’m already in the slow lane like
6:28
you have no idea how the internet is
6:31
going to twist and turn and fuck you up
6:33
again and if you are romanticizing with
6:38
the old way and how streaming is sucks
6:41
and everything please evaluate your
6:45
whatever you think about it and there’s
6:48
a reason why young people are still
6:50
starting bands because it’s just
6:52
different
6:53
there’s no CDs for them it’s just a
6:55
different kind of kind of thing and it’s
6:57
not stopping people from having a band
6:59
from starting a band from going on tour
7:01
and even if you are older please don’t
7:04
let this discourage you from making
7:06
music just because there’s no money in
7:08
it or there because you think that
7:11
there’s no money and there is definitely
7:13
money in this and you just have to go
7:17
where it is and it’s not in City sales
7:19
I’m repeating myself I could talk about
7:22
this for hours again so I think it has
7:27
to stop – complaining about streaming
7:30
that’s all I’m saying
7:35
thank you very much for watching and I
7:38
hope you have a great day
7:40
[Music]

How I pre-produce music fast and effective

In this video i’m showing you how i preproduce the music of my band by myself in pro tools 12 and guitar pro 5.

I hope you enjoy it.

If you have any questions please leave them down in the comments!

Thank you and have a great day!

CAPTIONS
0:00
hey what’s going on back with another
0:01
more on the music production side video
0:04
just wanted to show you what I’m working
0:07
on now right now except for posting
0:11
videos every day so right now I’m going
0:15
through the pre-production for the new
0:17
da record and I thought I just
0:21
I’m just going to show you my workflow
0:24
or how it how it’s done in my my work
0:30
space so here’s my Pro Tools session
0:34
which has all the tempo mapping all the
0:42
track marks all the MIDI everything that
0:47
has been written here are the guitars
0:50
which are kind of the how can I say is
0:57
it
0:58
this is guitar pro into Pro Tools here
1:02
we have a base which is deactivated for
1:06
processing processing reasons so I
1:12
printed it into a audio file and
1:19
whenever I’m learning a riff and I’m not
1:24
sure how to translate it into Pro Tools
1:25
I can just have the MIDI guitars run
1:28
with the track while I’m tracking so why
1:35
aren’t we hearing this of course the
1:38
media guitars are
1:46
and these are clean guitars because
1:51
they’re cutting through the mix when I’m
1:54
tracking a lot better so yeah I have
1:57
these MIDI guitars going for the four
2:00
tracks that I’m working on right now in
2:03
bulk we have the bass which sounds like
2:12
this and the MIDI drums which have been
2:22
programmed but I printed them into a
2:25
stereo audio file to save processing
2:27
while tracking so as you maybe know we
2:32
are a technical death metal band somehow
2:36
we’re going a little bit less technical
2:38
in case you’re wondering what’s
2:40
happening we are focusing more on
2:43
writing better songs rather than writing
2:46
heavier riffs because we have all grown
2:48
up we’re heading into our 30s and we
2:52
want to have fun creating fun music so
2:57
what I have set up here is so I can just
3:05
have one hour a day where I track guitar
3:09
so one hour is my minimum goal because
3:11
once I’m in the zone it the time flows
3:14
pretty fast in one hour feels like a
3:16
second so I have my tuner to the left my
3:19
camper to the right and everything is
3:22
set up through as pitov and then I have
3:25
my trusty ibanez RG a 1:21 to a drop see
3:34
and it’s hanging very very high the
3:41
reason for that and I have a I’m
3:43
actually using a longer cable this is
3:45
seven meters into my Kemper which is
3:48
just here so I don’t I’m not messing
3:53
around with the cable while I’m while
3:55
I’m working or while I’m moving and this
3:57
way I can
3:58
it I can have it here and I don’t have
4:01
to worry so this way I’m having my pick
4:08
right here
4:09
and I have my trackball and my keyboard
4:13
right in front of me so whenever I’m
4:17
getting to the next track where am I
4:23
or the next the next riff and some of
4:30
these parts are three to four years old
4:33
and I can’t play them anymore we’re not
4:36
rehearsing right now we are just riding
4:38
and I do not know how to play this stuff
4:43
so I have to be very fast and efficient
4:46
and effective to track the
4:50
pre-production pretty fast and because
4:53
I’m I hate when it takes long so I have
4:57
to work spaces on my Mac whenever I hit
5:01
the tab control come on
5:03
tap I’m either in Pro Tools or in Guitar
5:07
Pro and the reason for that is I have to
5:14
play it very fast so I learned the riff
5:19
and I have to reproduce it very fast
5:24
because I would forget it and that is
5:28
the so I’m at this g3 Dream Theater 7
5:35
which is 7 4 beat with a 1/8 beat in
5:40
between and then going back to a 4/4
5:42
this happens when our drummer is writing
5:44
the music so I would be here in Guitar
5:48
Pro and learn the song in half speed and
5:56
learn two to eight bars in a row
6:05
learn to to eight bars in a row and then
6:12
[Music]
6:16
so I would learn it I would learn two to
6:19
three two to eight bars in a row and
6:22
then just switch over have a pre-roll
6:28
going of two bars and hit record and as
6:41
long as this pre-roll is running I can
6:43
hit come on
6:44
tap back and and play the thing after
6:49
the notes so that way I can get it done
6:52
pretty fast that way I have the riffs
6:55
played with an actual guitar in front of
6:58
me pretty fast and so we have the
7:00
pre-production really fast because we
7:01
want to push this out we want to have
7:04
you maybe you’re a fan of this band we
7:09
want you to listen to our new music as
7:12
fast as possible so yeah this is
7:17
basically all about that I am not as
7:24
tight on guitar as Tobias so I’m not
7:29
going to talk about that so yeah that’s
7:32
how I go about pre producing guitars and
7:35
I’m filming a little bit of the process
7:38
maybe we will have some kind of
7:39
documentation at the end of this and I’m
7:44
I’m not showing you too much of the
7:47
music because you see there’s a lot of
7:50
chords and you see there’s a lot of a
7:54
lot of this because maybe you know or
7:59
you don’t know recording extremely
8:02
technical music is very difficult to
8:05
play tight if you have been to one of
8:08
our live concerts you may know that I
8:13
focus on performing a lot more than
8:15
playing every sixteenth or eighth very
8:18
tight so I hope this was something
8:23
valuable for you maybe you have
8:25
even learn something about music
8:28
production I don’t know
8:30
so long have a great day
8:33
[Music]

Should you go to audio school?

I found myself debating wether i should go to audio school almost three years ago. And i did. Now i’m talking about it a little bit.

I hope you can find something for yourself in here if you are in the same situation like i was.

Thank you!

CAPTIONS
0:00
welcome back to another video and today
0:05
we are I’m answering a question that if
0:09
you would ask me should you should I
0:12
should my brother should my uncle go to
0:15
audio school and I have to say it’s a
0:18
very it it’s a very personal question if
0:22
you get down to it I couldn’t say yes or
0:24
I couldn’t say no to everyone like it’s
0:27
not something you should generalize
0:30
that’s the that’s the first layer of the
0:33
question I’m going to talk about my
0:36
experience so it was very hard for me to
0:40
decide to go study something and if it
0:43
wasn’t a very relaxed schedule it was
0:46
only once a week at the beginning it was
0:49
only one day of eight hours or seven
0:53
hours so and I could go play with the
0:57
band on the weekends and I could work
0:58
the rest of the week so it was very it
1:01
was it was okay so I had an employer who
1:04
was cool with me going on tour which was
1:07
amazing and I found myself in this kind
1:12
of rut so I had the band and the bands I
1:17
was we were touring a little bit and I
1:21
had this part-time job who was okay with
1:24
me going on to her and I am very bored
1:30
very fast so I had this situation going
1:34
on for half a year when I realized the
1:36
CAF did I have to do something I have so
1:38
much free time and I want to learn a new
1:40
skill and I don’t I do not always for
1:43
ever want to work in a part-time job
1:45
where I get paid 10 euros an hour to
1:47
lift heavy out of trucks and so of
1:51
course I decided to become an audio
1:54
engineer and as well my family wanted me
1:56
to have some sort of degree and they
1:59
were very kind and helping me out with
2:01
the financial situation so I went to an
2:04
institution called
2:06
Deutsche puff which is now established
2:08
in Australia in Holland and Austria and
2:12
all over Germany
2:13
it’s basically something like SAE but at
2:16
half the price around half the price and
2:19
less crowded less less hyped and I did
2:24
my I kind of did three mini degrees and
2:28
one audio engineer degree which was the
2:32
audio assistant audio technician and
2:35
there’s this term called tone my stand
2:38
Germany which is the tone master if you
2:40
would translated or audio master which
2:44
is not a master’s degree this was not a
2:49
proper university degree but rather a
2:52
diploma so I had very cool professors or
2:57
mentors or however you would call them
3:00
lecturers and I learned a lot so in the
3:05
first half year all the basics of audio
3:08
which you do not necess
3:10
I mean you can definitely learn
3:12
everything online you can crush
3:15
everything learn the business side
3:17
learned the engineering side and learn
3:19
everything online without going to any
3:22
institution and it’s the best way to
3:25
start to see if you actually are
3:27
interested in this so I was interested
3:30
in this I tried to produce my own music
3:32
for ten years and when I started playing
3:37
guitar I had this little interface
3:40
and I tried to produce something I
3:43
played with the first drum computers but
3:44
I always sucked right because I I
3:46
couldn’t get myself to learn like I
3:49
cannot sit down and learn something I
3:53
always have to do stuff that’s why I
3:55
quit school early so the first half year
3:58
was all the basics all the audio basics
4:01
were the learning progression curve was
4:04
like this which is learning all the
4:07
different types of microphones learning
4:09
about all those different types of
4:11
microphones like what is the cardioid
4:14
was a super car cardioid was a hybrid
4:16
car B cardioid was what’s an
4:18
omnidirectional mic understanding all
4:20
those technical terms to really learn
4:24
the whole
4:25
kit – for example record a whole drum
4:28
kit the best thing I learned in the
4:32
whole thing when the technical side was
4:35
how to record a drum kit because it’s
4:37
very complicated and understanding a
4:40
little bit of the anatomy of a drum kit
4:42
and that every little piece of the drum
4:46
kit has his own sonic footprint so all
4:50
the things all the screws and all the
4:52
all the heads and everything builds this
4:56
one unique sound which was very good
4:58
because I didn’t do a lot at home like
5:01
when I when we got the first homework
5:03
which was the I remember it being the I
5:08
don’t know what the English term is
5:09
let’s let’s call Google
5:13
[Applause]
5:15
[Music]
5:18
[Applause]
5:21
it was the comp filtering effect and
5:23
these were pretty much one of the few
5:26
homework stuffs I did I redid and I when
5:31
I did homework when I was interested in
5:32
the homework I I obsessed with it like
5:36
when there was mixing homework to do or
5:38
production homework I really liked it
5:42
when there was research to do I didn’t
5:44
do anything and because of sometimes we
5:49
would go on shows on Thursdays and
5:50
return on Monday so I wouldn’t go to the
5:54
two audio school on Thursdays and
5:57
sometimes I wouldn’t even go and if I
6:00
was in Cologne because I just wasn’t
6:02
interested in the subject so I did it
6:04
all for this piece of paper and after
6:09
the first half year and was fun I
6:11
learned a lot even though I had to
6:15
delete all the knowledge after audio
6:18
school I had about mixing because I
6:21
started to mix for other people and the
6:23
workflow I learned in audio school was
6:25
not at all compatible to or not at all
6:29
adaptable to working with clients for me
6:32
at least so especially in mixing and you
6:37
learn the way of the tutor who is
6:41
teaching you you’re learning his
6:42
workflow and in especially in mixing
6:45
it’s so everyone is working completely
6:49
different for example I’m working
6:50
top-down in audio school they told us
6:53
not to work top-down which is you mix
6:58
into a mastering chain so every time I
7:01
mix I already hear the finished master
7:04
so I if you don’t have to collect debt
7:09
and it’s kind of a part-time arrangement
7:14
especially if you’re in Central Europe I
7:16
and you want to go in these kind of
7:19
private studies such as SAE touch a pop
7:22
and you don’t have to go into debt I
7:23
definitely encourage people to go there
7:27
go into a learning environment one or
7:29
two days a week and you will survive and
7:33
just learn
7:35
really learned the audio basics because
7:38
the real basics of signal fall and all
7:41
the electronics you could adapt are
7:44
really important for you to understand
7:48
everything that’s going on top so I’m
7:50
very thankful for for that and after
7:52
that a lot of people leave I didn’t
7:57
leave because I paid for everything up
7:58
front so I went whenever I liked the
8:01
subject and when it came to the final
8:04
the final exams I learned a little bit
8:07
and it turned out just fine
8:11
so in conclusion there’s no be-all
8:15
end-all answer to that is and there’s no
8:17
be-all end-all answer to should you go
8:20
study in general I think you have to
8:24
decide in our society way too early if
8:27
you should go and I decided to do that
8:30
when I was 25 and I already had another
8:33
way of education behind me and I had a
8:36
loop to decide I did a little bit of
8:38
traveling I been on tour with the band
8:40
and I had all of these different
8:42
influences that brought me to this
8:45
decision so this is my take on should
8:50
you go to audio school you really have
8:52
to decide what you want and you can
8:55
learn a shit-ton for recording but what
8:59
you do not learn is the business side of
9:01
it no one tells you about how to make
9:04
money how to get new clients how to talk
9:08
to bands how to be how the psychological
9:13
side of being a producer at the
9:14
psychological side of talking to people
9:16
of course there’s a little a little bit
9:20
of that like don’t be an asshole or the
9:25
singer will not be happy which is be
9:29
nice to artists but getting into this
9:31
you are probably an artist yourself so
9:34
you know how to talk to your self as an
9:37
artist and you can talk to other people
9:38
like the empathetic and business side
9:42
comes a little bit too short and
9:47
there’s not much of an employment going
9:52
on after this so you are pretty much on
9:55
your own and if you’re lucky you will
9:57
you can let Theater jobs and nothing
10:01
like if you’re looking for rock and roll
10:03
you pretty much have to learn how to run
10:06
a business at the same time because no
10:09
one’s telling you that’s the major
10:10
downside of going to audio school so
10:14
yeah if you are in the same situation
10:16
you’re a musician you’re thinking about
10:18
going to audio school it’s not it’s
10:22
probably not what you think it is but
10:24
you can learn a lot and if there’s an
10:27
institution like that in your area or in
10:30
your city just go there for a day
10:32
usually they let you set sit in for a
10:35
day and you can see how it’s how it fits
10:39
your taste of Education so if you’ve got
10:43
more questions about going to audio
10:45
school about my experiences let me know
10:48
in the comments and I’ll get back to you
10:50
as soon as I can
10:51
I think you for watching have a great
10:53
day
10:58
[Music]

The Downsides Of Touring

After almost one year of leaving my main touring band “Der Weg einer Freiheit” i thought i’d do a little video about all of this.I’m still in the music industry, I’m still touring with artists as a technician or tour manager. Because i love it.

This video isn’t even close to covering everything. But I’m not a friend of Bullet point/ top 10 reasons/ top 5 reasons videos so far.

So i hope this is some what informative!

Thank you

CAPTIONS

so everything is amazing
expensive here actually is free drinks
more gear free stuff attention girls
attention axillary Asst excess hilarious
when you’re not playing
I guess hilarious when you’re playing
excess all areas just because you got
excess all area and free drinks and
expensive gear shout out to vision ears
so everything is amazing yet
everyone is depressed of course not
everyone and I’m exaggerating as always
but let’s talk about the downsides of
being in a touring band being a touring
artist being a touring all the glamour
that people think you have all the
glamour that people say they have
there’s a lot a lot to talk about and I
can’t even cover it in one video so
while being in a touring band is amazing
you see all those places especially when
you’re in Europe being on tour for a
week and being in seven different
countries maybe eight because you’re
passing through Czech Republic I don’t
know this is all amazing and it’s
everyone is so blessed to see another
country even if it’s just from the
inside of a bus to see the the beauty
the beauty of a country for example
driving from Barcelona to Madrid the
landscape is just amazing and every
truck stop is almost exciting because
the view is amazing and it looks so much
different from Central Europe but all of
this amazing stuff comes with a lot of
depressing depressing and this
happens if you’re in a big bus or in a
small bus or whether you are an opener
or your headliner or you have
technicians that are working for you or
you don’t have technicians that are
working for you or you are tuning your
guitar yourself or you’re not tuning
your guitar yourself it’s and everyone
handles it different so at first there
is the aspect of financials which is not
talked about a lot you can make money if
you’re smart if you don’t spend a lot
but if you’re all about the arts you are
not spending a lot of money
hopefully and when you’re out drinks are
for free oftentimes and when the fridge
is empty you have to pay at the bar
which is paying for ten less drinks than
you would pay if you would go out for
yourself for example just the whole day
of a touring day either you are waking
up in your bunk when you’re in a big bus
then you got two to three hours of
driving if you’re lucky you’re waking up
late and there are people you can talk
to or if there are is no one awake you
can talk to the bus driver or if you are
on a van you wake up in hotel pretty
early you have to go on the road pretty
early and it’s just mush of time that
you somehow have to kill while it’s fun
for some for me it became absolute a
little bit like hell in the because you
are spending so much time with yourself
and you’re bored so many times and
Instagram and Facebook there’s only so
much stuff you can see or you can read
if the weather is shitty you don’t
really want to go out if your sound
check is at a up time like
you may have the luck to go out for an
hour and you better be fast because if
you’re in a big city you have to be back
pretty fast so if you’re in the
outskirts of Madrid you have to take the
subway and then you’re in a foreign
country you don’t know a subway verse a
Baba there’s there’s so much stuff just
about the day so and then you have this
hour on stage and this is where
everything this one hour makes up for
the other hours of the day there are
I’m not one of them I do really care
about those other hours and it makes
me go insane to do hours of
nothing to make this one hour justify
those hours and it’s not in my DNA I
did it for six years I’m very happy to
have met all of those amazing people
who
or when they are playing in Cologne I
can meet people from all over the world
which is amazing or when they’re playing
in the Netherlands I can go there and
just hang out with people from Australia
or America or Sweden or Italy or Spain
it’s mind-blowing and I’m very thankful
for having done that by I I just burned
out and there are a lot of people
actually burning out and it’s it’s not
fun and then you have to and you think
yeah you feel like and then you are
like man I’m just playing guitar but you
are you it’s not a real job but many
people don’t they don’t dare to call it
a real job like these are the same
problems that someone in the grocery
store has or that some guy in a
corporate office has it’s like it’s a
job and even if you don’t get paid a
full-time salary out of it you should
still treat it as a job and even if
you’re not touring like in a full
touring setup and you have a job and you
are creating all this music at home or
you are managing a band or you whatever
you’re doing
it’s it is passion of course I agree
with that and that’s why I’m sitting
here talking to you because it’s passion
but there’s only so many hours in the
day and you you have to take care of
your cell and in a touring situation
there’s only so much you can do of
course you can go for a run if you’re
very disciplined if you’re not hung over
from the day before if you wake up early
if you use the time so you wake up walk
around a little go for a one-hour
workout and then you still have hours
of the day which you sleep six to eight
hours and then play for an hour and then
pack down everything so the the workload
is not so much and the pay is so little
so no one would call it burnout in
themselves themselves really
but another downside is all the free
stuff and all the attention and it’s
I have seen artists getting really crazy
about when they get rejected by a
fangirl
which is very scary and I’m so thankful
that I have been with my fiance for the
bigger chunk of my touring life because
I didn’t have to care about about all
this I wouldn’t talk about particular
people or call names because that’s
unfair but I have seen fucked-up
people and who have been at the
beginning of their career and it’s like
you’re starting something and you get
addicted to something pretty early and
then you see the versions of those
people ten years later and they’re still
the same some people can handle with
that some people don’t have a problem
during you for three weeks it’s okay I
know I know funny people that drink
everyday and it’s fun because as soon as
they go home they are out of the touring
mindset and they’re at home they have a
they have a job they have some part-time
arrangement with an awesome employer
which leads me into the next part the
whole financial situation in which you
have to keep your schedule clear for
tourists or for gigs or maybe sometimes
stuff happens you get an email from your
booking agency or from the promoter hey
can you fly it to Hungary next week
are you free we will pay and it’s like
yes of course because either you don’t
ever you don’t have a part-time job or
you have an arrangement with a boss
where your schedule is okay so I had
something like this but I didn’t get
paid properly so that was a big fuckup
and it’s pretty hard to find something
that works with your band schedule
because if you’re honest in your job
you’re always gonna tell them that your
band is more important than this job
because
there’s more important stuff than being
an employee to be honest and as even
though playing music and being on tauron
sitting in the van and playing a Friday
and a Saturday and being up on
the Sunday ok it it’s all fun it’s all
passion but it adds to your weekly hours
of work even if it’s a passion even if
you relief it’s like you’re still on
someone else’s schedule so what I want
to say is there are a lot of downsides
to all of this musician touring artists
stuff you are basically in battle mode
with your own brain for sometimes a
couple of days in in a row like you’re
up for no reason you miss your
you miss your wife you miss your family
you miss your bathroom you miss your
your desk you miss your bed you miss
your even though you are hopefully in
tune with very good friends you miss
like having time alone over the span of
a month and the only thing you can do is
either wait for the three hours in the
sleeping place that you’re sleeping in
that night or you have your curtain in
your bunk bed that you can close and
it’s so people can deal with it better
than others and alcohol really helps and
I don’t know how this business would
work without alcohol I don’t drink at
all I stopped last year but I think I
mean the drinking is a lot of bonding as
well
musicians are born awkward oftentimes so
it helps to connect a lot of the friends
I have I found over third being drunk
honestly which is I would never want to
erase all drunk memories I have never
but it definitely helps bonding and
there’s a lot of business deals or like
not hey let’s let’s make money together
it’s like passive there’s a lot of
relationship building happening when
people during events and coming out to
concerts of each other it’s so yeah
that’s a couple of points about the
downsides of being a touring artist I
haven’t written down anything before
filming this and I could go on about
this stuff for a very long time and I
hope this was somehow interesting to you
or helpful maybe I don’t know let me
know in the comments thank you very much
to you the next one

Eliminate Your Excuses To Create!

A lot of times we tend to keep ourselves from creating just because we think we need this or that specific piece of gear before we can start. I’m a victim of this myself as you can see.

The best gear you can use is the gear you already have. 

It is very important to create a habit about creating. Because it beats inspiration 100 out of a 100 times.

CAPTIONS

hey what’s going on back with another
video I guess that’s the phrase now for
the beginning because a lot of other
people use it and when I watch their
videos I like it’s okay so maybe the
next one will be different
so today I posted something on Instagram
being a little cheesy being a little
motivational and there’s this concept I
really like and I’m I took this from a
podcast or videos from someone called
Chase Jarvis and he’s like this big
personality in the photographer’s space
and it’s the best camera is the one you
have already got so this is a little
story about making excuses excuses
excuses excuses excuses excuses excuses
excuses
so a couple of weeks ago the drummer of
my band fuck you and I to be a sent me
the guitar profiles for four of the new
songs for the new record and I said well
what’s that for
he’s in university he’s studying a lot
he’s out with their vague a lot and he
asked me to just record the
pre-production and I said well fuck I’m
gonna do it as soon as I have an ever
tune upgrade in my guitar which is of
course bullshit and I’m recording music
or writing music every day and I have
everything in my studio that I need to
of course do the pre-production and it’s
just an excuse i Gabe came up with in my
head and it’s very interesting that our
brains can come up with reasons to not
do something pretty quick and so the
files set on my computer for a couple of
weeks and yesterday on Saturday where I
try to keep it a little work free but I
end up working anyways
so yesterday I
tracking guitars for the fucking type
reproduction of five hours and I thought
how could I tell people to go out and
create and eliminate excuses when I’m
what I’m creating excuses myself so what
I want to tell you what that is the
everything you need to create something
every everything you need to write
something everything you need to express
yourself is already in your possession
probably every person watching this has
a mobile phone has a pen and a paper has
something and you’re probably a musician
anyway when you’re watching this or
you’re into the music business or
whatever you do just starting to get
stuff out of your head because the
longer something is staying in your head
the higher the rate of excuse is going
to get and it is I don’t know what book
that’s from but it is the event of
diminishing intent so the longer you
think about doing something the
possibility to not do it is getting
bigger and bigger by by the time and
it’s kind of exponentially so it’s
rising faster that you’re not going to
do it that’s why I have various
capturing apps on my phone so I can get
stuff out there because as soon as you
create a habit around creating or around
doing something you will get better at
actually doing stuff because as soon as
you have an idea you capture something
and you’re done so I said especially
with our phones everything we need to
create something is already in our
possession but I’m not talking about
phones I’m I didn’t talk about phones
when I put that quote out there and it’s
not my quote I probably stole it a
little Ian hated it together with some
other quote from someone else I’m
talking about you have a guitar you have
some sort of amp you have some sort of
computer there’s even free recording
software out there like if you don’t
have a dog you can capture everything
and
in there’s pretty much no excuse
not to do something so that’s what I
want to get out there everything you
need is already in your possession
because if it was if there wasn’t
something in your possession you could
use to create something you would be
thinking about the possibility to do it
or not so tell me what your weirdest
excuses are like I have to shower I have
that a lot like I procrastinate in the
morning when I want to take a shower
when I want to get work done but didn’t
take a shower yet so I procrastinate for
one and a half two hours sometimes I
yeah I hope this helps you I hope this
finds you well
I hope you were having a great Monday
and thank you very much

(PART 3) 20 Minute Metal Songwriting Session PRO TOOLS II Sascha Rissling

Today’s Progress at 21:07

Watch Part1: https://sascharissling.com/20minsundays

Watch Part2: https://sascharissling.com/20min2

CAPTIONS

welcome back to the third session of
this abomination abomination of a song
I’ve just listened to the song if you
don’t know what this is all about
go watch the other two parts if you care
if not just enjoy the process we have
stopped with the chorus ish thing again
[Music]
and on to another minutes let’s go
we’re gonna make this chorus thing end
again going to end this earlier make it
and triads
[Music]
and now
[Music]
let’s make this a little bit of a
die some random riffs
[Music]
that’s too fast
you have a corpse feel when I’m riding
those I’m just repeating the the
standard rhythm and then go over the
drums in the later later point or see
how see what I’m writing and then give
the accents to the riff with the cymbals
let’s see what we’re ending up with
[Music]
I think I got one
why am I not record enabled
[Music]
something like this
[Music]
I have no idea what I just played let’s
hear it
[Music]
let’s try that again
[Music]
[Music]
let’s make the squeal at the end and a
very good one let’s take the time so I’m
not taking the time to play riffs
properly in the intro but for those
squeals we’ve got the time
[Music]
[Music]
you
[Music]
I cannot remember the riff let’s pick
something easier
[Music]
that’s the first part
[Music]
I memorized it I think
[Music]
yeah that’s it let’s get some bass down
[Music]
that was very sloppy but we need a
second repetition I think one of those
minute videos will be a whole styling
session for the drums because there are
no transmissions no breaks no nothing
[Music]
let’s try a second second guitar
[Music]
okay
[Music]
that’s just gonna be the second
repetition
[Music]
[Music]
[Music]
what to do next
[Music]
[Music]
signalizing a break at the end
[Music]
[Music]
[Music]
[Music]
no I know what we’re doing we’re going
to build some some excitement here if
what I think if what’s in my head is
working we’re going to do something cool
[Music]
[Music]
[Music]
I have some extra drums here which means
underwater drums
[Music]
[Music]
[Applause]
[Music]
[Applause]
[Music]
more reverb I have taken a very long
time for this
[Music]
[Applause]
[Music]
[Music]
okay it’s somehow it works somehow let’s
try it and now everything will explode
somehow
[Applause]
let’s just bury the whole mix in this
section with an EQ automation band is
this
this is bent five band five frequency
and this is Bend one frequency and then
we can automate Bend one frequency to to
this and band to five frequency to this
[Music]
and then give it a little more you want
to play with so what i’m doing here is
automating DQ fast
[Music]
[Applause]
[Music]
and we’re going back into the into the
abyss yeah so luckily it’s not everytime
that this works but the more you do it
the more often it works so let’s listen
to this
[Music]
[Applause]
[Music]
[Music]
[Music]
[Music]
I would go and put in a lead which is
not too hectic and not too too boring to
go over this black metal part and down
is over yeah let’s listen to how far we
have gotten so far it’s two minutes and
three seconds so far in one hour yeah
[Music]
[Music]
[Music]
[Music]
[Music]
[Music]
[Applause]
[Music]
[Music]
thank you very much for watching I’m
really looking forward to finish this in
I don’t know how many twenty second
twenty minute parts I can do this but I
don’t want to release ten videos of that
I don’t think I need as much time as ten
videos but yeah thank you very much let
me know what you thought and have a
great Sunday
[Music]

How To Make Your Music Sound Unique

How can i produce unique music? The question of all questions.
It’s just a massive journey and i think there’s no definitive theory or “how to” behind it.
So consider this clickbait!

You just have to execute and put out songs and get better and develop your creative muscle over a veeeery long time.

CAPTIONS

hey Beck with another audience question
so whenever I get into conversations in
the comments with you guys I ask you if
you have specific questions because I
like to do these videos and I have
gotten a very interesting question I’m
very thankful for those m/z asked a
question how to create individual music
and not sound like the thousand other
bands of this John and this got me
thinking I suggested to MZ that you
should go and listen to the curated
playlists by Spotify which is called new
metal tracks then you listen to that and
you can start to think about what’s
really new what’s really different and
what’s really is someone reinventing
something is someone doing something new
and you’re coming to the conclusion
pretty fast that so you see that even
the pros or even the people who’ve made
it are still inspiring each other or
copying which is the bad word but every
time a new piece of music is coming out
and people who are writing songs or
people who are producing music and me
included are listening to it and like
you get a sense for what’s new what’s
happening what new music is out there
how is it done how is it written how is
it crafted and then people go to their
guitars or to their pianos and try to
implement this into their own workflow
or into their own creative outlet for me
I mean there are people there are guys
out there who create music completely
individually without any influence from
outside but I mean everything really is
an influence your coffee machine not
working in the morning your UPS package
not arriving or your DHL guy up
and these are all influences and
especially music you’re listening to our
influences so MZ continued to say that
sometimes when I play my own stuff I
think it sounds like this or that and
start to dislike my stuff I’m playing
it’s a journey
songwriting is a journey no one’s no
one’s coming out of the womb creating
unique music right out of the gate I
mean there are probably outliers out
there but it takes quite some time to do
to develop your own style of writing
your own style of creating your own
workflow of creating and workflow
especially is another factor that plays
into the creativity the the songwriting
process and how it’s coming out how are
you writing your songs and even that is
an individual factor on how the music
sounds like what riffs you’re using what
the drums sound like what the effects
sound like what the singer is singing or
even if you don’t have a singer and do
something like Bolivia you’re listening
to popular music or jazz music and
implementing hook melodies that someone
would sing but with a clean guitar I
mean there are so many examples out
there and if you are if you’re looking
for new if you’re looking for new
inspiration in songwriting you should
definitely go out and listen to other
genres even if you don’t like them and
listen to I don’t know top super
popular music and listen to what’s
listen to what sticks in your head and
then try to implement it into the most
brutal type of metal it’s just taking
parts from everywhere taking what you
like taking what sticks in your hand
taking what you feel and packing it into
your own music and then maybe the new
song you’re writing is sounding like
other artists but it’s your specific
recipe of how you put all of those
influences together so I don’t think
thing is too bad especially if you’re
looking into modern metal there’s a lot
of the same a lot of the same rhythmic
elements a lot of the same riff elements
like low tuned guitars and zero zero
zero which is it’s just the style of
this music and it’s maybe it’s going to
change in two years but it’s just the
it’s just the current state of music and
if it pisses you off then listen to
music that’s from the s and
implement that I definitely definitely
encourage people to try at least to be
unique but if you take your favorite
song and you open your software or
however you’re writing songs and you’re
trying to write a song like it like
using the same building blocks blocks of
chorus
breakdown bridge whatever not the
exactly the same but like the same and
even that is going to bring you a lot
further than just hating your music
because you think it sounds like someone
else it’s definitely a long journey to
to do it but yeah as I said if you
listen to to new music that’s coming out
and people are still sounding similar
and I don’t think it’s a bad thing it’s
just how music develops and it always
has been developing like that and not
everyone is Louie Armstrong but this
shouldn’t keep you from writing music at
all and if you think you’re not unique
continue writing songs until you think
you are unique it’s just work and output
and work I hope this helps you thank you
very much
come at me with more questions and I’ll
give you my opinion Nation about it so
thank you very much have a great weekend
and see you the next one
[Music]