Could you share three tracks or releases from the past year that you particularly enjoyed, and what about each of them appeals to you as a Producer?

Sonny Fodera & MK – Asking (feat. Clementine Douglas) 

Overall just a beautiful progression on this one

Meduza – Friends

Awesome synth work here

Tita Lau – One Of A Kind

Super fun and funky 

Were there any tracks or artists from the past year that inspired your own

music production work, and if so, how did they influence your creative

Process?

Chris Lake, Mau P, Noizu – they have shown me that tracks can still hit hard in their simplicity. 

Is there a track by another artist from the past year that you found

technically impressive from a production standpoint, and what specific

aspects of it caught your attention?

Chris Lorenzo – Pump

Unmatched synth, bass and kick work. The leads are so catchy. 

Can you name a few films or movies that you appreciated in the past year,

and did any of them have an impact on your music or your creative

Outlook?

I just watched ‘Leave The World Behind’ on Netflix. It’s a thriller, a good ride. In general, tension in movies like that one, can be translated into production. It’s key to incorporate that. 

Were there any trends or developments in the music industry or production

techniques that caught your interest in the past year, and do you foresee

them influencing electronic music in the future?

Faster BPM’s, One note synths, stutter effects, and more Tech House chart toppers in general. 

Did you explore any new music genres or styles in the past year that

influenced your approach to music production, and if so, how? 

My last release of the year is called ‘Like That’ which is out on Rock Bottom Records. It’s a more Tech House focused song with a heavy bassline. It’s a collaboration which I feel are important experiences in order to try out new things. It’s lighter and more carefree than my usual Bass-forward productions. I’m definitely incorporating a more hybrid style into the new music I’m making. 

Can you describe a track you produced in the past year that represents a

creative experiment or a departure from your usual style, and what

motivated this exploration? 

Aside from the above, I had a few tracks that were more borderline stylistically. ‘Knockin Like’ was a super groover. I wanted to try something different. 

Reflecting on live shows or events you attended or participated in, can you

share a memorable moment or performance from the past year and what

made it memorable? 

I played shows with Kaskade, Matroda, Wuki and many others this year, but the highlight was my own billing on Heatwave Festival. I played the mainstage. It was early and cold but the crowd that showed up was incredible and full of energy. It made my year.  

How do you feel you’ve grown or developed as a producer in the past year,

and have your musical preferences or tastes evolved during this time?

I’m always learning new things and implementing new techniques, so growth is evident. My taste in music remains wide. I’m a fan of so many different styles and genres. That will never change.

We thank Avi Sic for her time sharing her favorites and highlights of the last year, we wish her the best in 2024 and look forward to her continued success and projects in the new year; make sure to follow her across social media to remain updated on her latest releases and news, as her musical journey for the new year, is only getting started.

Avi Sic Online

Website | Spotify | Instagram

The post EDM Insiders – Favorites of 2023 interview with Avi Sic appeared first on EDM Insiders.

So, keep reading to discover more about this rising star as he shares details about his musical journey so far.  

What’s your earliest memory involving music?

When the first Rock Band video game came out long ago, I hopped on the drumset and that’s how I fell in love with the drums. So, I bought a drum set and taught myself. I had guitar lessons before that, but the guitar didn’t really speak to me as much as the drums did.

Can you recall, what was the first album you bought?

Back when CDs were a thing, I remember I’d go to Best Buy to go to the CD area with my mom. I believe my first albums were Getting Away With Murder by Papa Roach and A Fever You Can’t Sweat Out by Panic! At the Disco.

Who was your biggest musical influence growing up? How have your inspirations changed as you’ve evolved as an artist? 

I don’t know if I ever looked to one specific person or band as a musical influence. I have always loved metal and punk rock, so I still look at that music as being some of my favorite. But the thing is, I can’t really create or produce that type of music. Or maybe I just haven’t given it a shot? I love making Dance music because it’s really fun to make; then being able to play it live and see hundreds of people enjoy it too is the best! 

Can you remember what artist or song initially sparked your passion for Electronic Music? 

I went to a concert in New York City to see the jam band Lotus in 2011. The opening act was a DJ called NiT GriT and that was the only time I’ve heard or seen this person play. I wasn’t even really into EDM at that point, but it was that moment, during the act before Lotus, that caught my attention and I knew right then and there that I wanted to DJ and make music like that.

When did you first start making music? How did you learn how to produce and DJ?

I started in 2011 not very long after that concert. I taught myself to do basically everything. As I grew larger and started to learn more. I went to the Institute of Audio Research in New York City for audio school and learned more about the music industry aside from just production itself. That school somewhat recently shut down completely so now I have an Audio Engineering certification from a school that no longer exists. Oh well!

What was your first piece of equipment?

My first piece of equipment was this little plastic Numark DJ controller that plugged into the iPad that my mom got me for Christmas that same year in 2011.

What would you say has been your biggest achievement to date?

Oddly enough, my biggest achievement was one of the first shows I ever had. In 2013, I ended up playing Kahbang Music Festival in Bangor, Maine because I got spotted on SoundCloud for a Trap remix I made of a piece from the Madagascar movie. Yes, I know that sounds insane, but I played 3 times in that same festival where there were other headliners such as 12th Planet, Paper Diamond, Break Science and many more. Other big Rap Artists such as Hopsin and Earl Sweatshirt were playing there too. Though the crowd was not as big as the ones I’ve been playing much more recently these past few years, my name was up on the poster along with some huge names: so, the achievement was bigger in some ways. 

If you could go back and speak with your younger self, what piece of advice would you like to give him?

I would probably say something like, “It will come in good time” – or something like that. I always heard that overnight success takes 10 years. I’ve been at this for over 12 years now and things really started to pick up these last 2 years so it’s really interesting how everything plays out. I know this upcoming year will be a transformative year. So many surprises and good things are happening behind the scenes that I don’t speak much about. But I know it’s all happening very soon!

If you weren’t producing music, what career do you think you would have pursued?

I would probably be doing something more in business and possibly real estate. I just recently got my license here in California so I’m doing that on the side along with some other business ventures as well. Anyone wanna buy a house here in California? Let me know! (:

What would you say has been the biggest challenge you have faced so far?

There are a lot of challenges in Los Angeles. In a way, it’s just so competitive and the people that “blow up” or get these big opportunities are just influencers or TikTok stars. While some are actually really talented people, others are just popular somewhere else on social media, and it becomes a weird popularity contest. And then when they play live, it’s really not the best set at all. So, I really try to just stay in the shadows and work on the things that are a lot larger than being a local artist in LA. I appreciate every single opportunity I get and the big shows I play here, but I don’t go crazy looking and trying to play every possible little DJ gig here. It usually comes down to just selling a ton of tickets or just who you know. These shows here are fantastic for building my portfolio and allow me to get everything I need for my press kit. But I see a much larger picture in the upcoming future for myself. So, I like to connect with my artist and DJ friends here and just slowly work behind the scenes. There are so many good and talented people here who don’t get the recognition. I see you guys! 

As we conclude our conversation with Meetch, it is clear that this is a Producer and DJ with a genuine passion and love for Electronic Music, one that is sure to continue developing and reaching new heights as he keeps impressing fans with his dynamic signature sound. So, be sure to keep watching as the next instalment of Meetch’s exciting musical journey promises to be just as thrilling as the last.

Meetch Online

Spotify | Soundcloud | Instagram

The post Meetch – My Story Interview appeared first on EDM Insiders.

What’s your earliest memory involving music?

We had a classical acoustic guitar in the house when I was a kid which I found pretty fascinating. I remember randomly strumming on it before eventually learning some chords.

When did you know you wanted to produce music? Was there a specific moment that you can remember?

This one actually came quite late. Having played in bands with more of a live focus since I was 16-17, I wasn’t that often in the studio and when I was, I was generally more focused on working with the sound engineer to get my sound how I wanted it and then playing my part correctly, so as not to waste valuable studio time: that meant that I wasn’t really exposed to the production side of things as much. 

Properly producing music, including both producing for my bands and Clan Brude started about 6-7 years ago: with Clan Brude only really starting about 3 years ago, coinciding with the pandemic. In fact, there might not have been Clan Brude without Covid as my day job at that time drastically reduced in both quantity and travel time which meant a lot more time to focus on the tracks and learn to be a better Producer, to the point where I could pitch to labels and/or self-release. 

Who was your biggest musical influence growing up? 

As a kid, it’s hard to escape your parents’ musical tastes, for better or worse!

When did you first start making music? 

I would have been 14-15 I think when I went from trying to learn guitar to making music (and I’m still learning for sure). The very first few times, a group of us got permission to use the school’s music room after school so we could stay behind once a week to play around. We definitely recorded some of the stuff we came up with then, although I forget how and am not sure where those recordings are now (perhaps for the best).

Who taught you how to produce music?

A school friend had a Tascam four-track recorder (late 90s), and we worked a lot using that. It was a great concept, overlaying a guitar track with a bass track and then some rudimentary percussion or some other weird sound. I produced a lot of solo stuff during that period, none of which ever got released: this was pre-SoundCloud. Fast forward a decade and in terms of Electronic Music production, I have followed several courses including YouTube tutorials over the years, picking up tips that all come together to form my own internal knowledge base that I can now wield whenever I sit down at my DAW. The same goes for producing a band – lots of trial and error trying to EQ a live hi-hat to sit in the mix and so on!

What was the first DAW that you used?

Cubase! I forget which version now, but it was definitely the free version that you get when you buy a MIDI keyboard.

What was the name of the first track you produced? What was it like?

In general, I was using the four-track recorder to produce music as a teenager (with a lot to learn). I had one track (which I won’t name here necessarily!) which ended up turning into a reggae production – again it never saw the light of day except amongst school friends. As Clan Brude, I was experimenting with House and Techno beats and grooves, with some of these experiments never really getting to finished status and so never really had titles, but the first track I put out is called ‘When You Call’. I love the chords in this one which anticipate the beat. It’s a bit of a meditation really. 

Before you knew you wanted to pursue a career in Electronic Music, what did you want to do?

Rock Star. Premier League goalkeeper. All the achievable stuff! I ended up pragmatically in teaching for a while, but music has always been a constant.

Which of your achievements are you most proud of? 

I think this is twofold in terms of playing in a live situation and production. For the live situation, I’m proud of touring China a number of times, this has included a few big gigs in Beijing, Shanghai and Hong Kong, as well as some more obscure ones such as a performance in Sichuan, which went down well with the locals but less so the local authorities.

In terms of production, I have a new EP coming out this month and I think it’s the best I have achieved in terms of production style and interesting songwriting. I am particularly proud of the cohesive nature of the EP which draws on a central concept as inspired by events at the time of writing (the Shanghai lockdown of 2022). 

What would you say has been the biggest challenge you have faced so far?

Like many producers I suspect, my focus is on the music creation side, and there is a tendency to forget the other aspect which is the promotion of it. Getting your tracks recognised either by a label or DJs is tough and it’s hard to say when that breakthrough moment comes, if at all. Having said that, it is lovely to see people responding through social media and music platforms, liking, commenting or following, as you then see that people are making a connection with what you are doing. 

Clan Brude’s dedication to music, enthusiasm for his art, and motivation to carve out a unique path within Electronic Music make him an exciting Artist to watch. As we close out this interview, we thank Clan Brude for sharing his story with us and eagerly look forward to following his journey as he continues to explore new musical territories and impress listeners with his powerful sound.

Clan Brude Online

Website | Beatport |Instagram

The post Clan Brude – My Story Interview appeared first on EDM Insiders.

In this exclusive interview, Castor & Pollux share their creative process, delving into the inspiration behind ‘Walk Away,’ and giving us a glimpse into their collaboration with Ozgun. So, join us as we explore their creative journey and discover the story behind their latest release. 

Hello Castor & Pollux! How are you?

Hey guys, we’re doing great. Thanks for having us!

Congrats on the release of ‘Walk Away’! Can you tell us more about the inspiration behind the track?

Appreciate the kind words on ‘Walk Away’! For this track, the inspiration behind it was the entire Big Room Techno movement that really started to hit its stride late last year when we first started with the initial idea. With Techno, there are a lot of different elements that can be used, and we saw it as an opportunity to try something new on this record.

How did the collaboration with Ozgun come about on this one? 

The collaboration came about with meeting at ADE last year. Since we both were moving towards that style, we thought it’d be cool to meet up and talk ideas on what we’d like to do and what direction we wanted to take the track.

Which elements of the track do you think best showcase your signature style?

The elements from the first drop best showcase our signature style, with the different synths and FXs creating a certain uniqueness to the track. In the initial idea, the first drop was totally different so making the necessary changes created a very cool vibe that we knew was needed.

Did you face any struggles during the production process? If so, how did you work to overcome them?

This track came together very easily. The process between us and Ozgun was very seamless in terms of sending the project back and forth for ideas, as well as carving out the track’s direction. Usually, there are pain points in collaborations, but we were extremely happy with the workflow that we created on this record.

How did you know that the track was finished?

Once we made the changes to the first drop and added elements to the break, the last thing we needed was the acid in the second drop to complete it.

The track is very synth modulation heavy, what synths are you using to create these sounds and what parameters are you manipulating over time to create movement? 

Some of the VSTs we used in this record were Spire, Sylenth, Nexus and Serum. We also used some hardware for the acid. One of the things we used to create movement in the first drop was the channel pitch on the leads with a phaser to give the listener something different to hear.

The acid sound in the second drop is huge! Please explain how that was created, was it through a classic 303? 

We all agreed that we needed an acid so Ozgun actually has an acid modulator to create that, so he put the finishing touches on that sound to create that acid sound that we all hear in the second drop.

How did you go about matching such a perfectly fitting vocal to this production? Did you start with the vocal beforehand or was it a different approach?

The vocal came about after we sent the first idea to Ozgun. Ozgun sent back another version with that vocal fitted in the break. At the time, the break didn’t have that arp in that section right after the first drop, so we added that to give it more air. The vocal fit in perfectly with the entire idea so when he gave us the project, we knew we had to keep it.

With such a synth-heavy track, it must have been difficult to mix the vocals and the synths, as they compete for space within the same range on the frequency spectrum, how did you overcome this on this production? 

To be able to fit the vocal with the synths, a lot of EQing went into that with ducking frequencies and making sure nothing was clashing within the break.

What is one general mixing tip and one general mastering tip that helped you in this production? 

Don’t ever look to crowd your mix and over-compress sounds in your productions. We tried to keep it as simple as possible in this track and we were extremely happy with the final result.

Could you name your three must-have mixing tools that you cannot live without?

FabFilter Pro Q3, The Glue Compressor, and the DST

And can you name your three must-have synths that you cannot live without (can be in the box or hardware)?

Nexus, Sylenth, Spire and Serum

For those who haven’t heard ‘Walk Away’, what three words would you use to describe it?

Experimental, aggressive and energetic. 

How would you like people to feel when they listen to the song? 

We want them to feel a sense of release and have them walk away from reality and rage the night away. No pun intended lol! 

It is clear, through our conversation, that this is a duo whose impressive talents continue to be supported by their passion and enthusiasm for Electronic Music; so, as we close this interview, we thank Castor & Pollux for their time and look forward to hearing more captivating music from them very soon.   

Listen to ‘Walk Away’ Now:

Castor & Pollux Online

Website | Soundcloud | Instagram

The post Castor & Pollux – Behind the Scenes of ‘Walk Away’ – Interview appeared first on EDM Insiders.

Tell us about the inspiration behind ‘Crush!’?

Crush! was born with the intention of making people think about the falsehood of love in relationships. I will explain it in a simple way. We all have a crush. But contrary to our desire we share our life with another person. Love is a feeling that is freely given but is not required. Therefore, we will feel much happier if we give our love to our crush than to someone else. In short, what I intend to explain is that happiness belongs to everyone, it is within us, but we seek it outside, in others and in things. To love is to give everything to a person without expecting to receive anything in return. So, what do you prefer: to be happy for loving who you want to love without expecting anything in return, or to be unhappy for being loved by whom you do not want to be loved?

What main goal did you have going into making this track?

Apart from the implicit message that I wanted to express in the track, since I am a kind of “mind shaker”, my goal does not go beyond improving as a music producer. I always hope that the last of my tracks outperforms the previous one.

How does ‘Crush!’ differ to some of your other releases?

Consolidation would be the word that would define it and that would differentiate it from the previous ones. I think this track consolidates my music and my artistic career.

Do you feel your music has developed over the past year?

Yes, it has developed a lot, and it has changed for the better. Although I think it hasn’t hatched yet. With my next releases I feel that yes it will, that it will show great splendor.

Which part of the track is your favourite?

This is the same as asking a father what he likes best about his daughter. It will tell you everything. In my opinion, I would highlight the balance that it maintains throughout its development with some subtle and unforced transits in the succession of melodies that give it a lot of naturalness in its resolution, and a very pleasant listening, because it makes you much shorter than it really is in terms of duration.

How has the initial reaction been?

It is still too early to tell but, from what little I know, the track is having a fairly good acceptance among radios around the world.

Was there a moment in the production process when you thought ‘this is going to be good!’?

In music, or in any kind of art, thinking “this is going to be good” is a very particular appreciation. I like the track, but the opinion of the public may be very different. The music I make is risky music that I try not to conform to the usual standards. I make the music that I feel, the one that flows from me. I couldn’t make music that I didn’t like. In addition, I do not try to resemble any successful artist in style, or even copy his way of making music, one has to create his own style for better or for worse, and time will rule on that. An artist has to consider whether he wants to be a genuine artist or a clone of a certain artist. Without a doubt, you have to fight to be the first, all the labels look for genuine artists because for copies of artists there is already the original, and it is the best.

Finally, can you let us into any more projects your working on at the moment?

I have finished productions and others have just started, but I am not going to reveal what is happening with them or what is going to happen in the future. I do not consider myself a superstitious person, but I know that everything that is announced before it happens later does not happen in the way that is expected. So, I am a very reserved person in every way, and more when it comes to my work.

Znas Online

www.instagram.com/znas_official

www.twitter.com/Znas_pm

www.soundcloud.com/znas-pm-1

The post Znas – BTS of Crush appeared first on EDM Insiders.

1) Congratulations on your partnership with SoundBridge! Can you tell us what specifically made you want to partner up with Soundbridge versus other DAW systems?

For us, SoundBridge was the perfect partnership because both of our companies’ missions are strategically aligned. Both SoundBridge and Artist Republik believe in providing extremely high quality resources and services for independent artists at an affordable price. So with our missions aligned, it really came down to functionality. This was the other key part that made partnering with SoundBridge so attractive because although they are still in their early phases (been around for 4/5 years), the platform is extremely robust as it is comprised of leading production systems that enable it to directly compete with some of the best DAW systems in the world. So between our aligned mission and both of our technology platforms providing robust, industry leading technologies; a partnership was really a no brainer.

2) How do you feel Artist Republik’s distribution services can specifically assist producers?

Artist Republik’s distribution service favors all artists across genres in every major way! Whether it be pricing, the accuracy of our delivery to streaming services, customer support, or other resources, our distribution sector is designed to be the most artist-friendly service in the industry. Not only does it already include the baseline offerings of every other major distributor, but due to Artist Republik’s multi-faceted approach, we are able to offer individualized and customized services in a much more efficient and cost effective manner. A perfect sample of this is the way that our distribution runs on the idea of a one-time only fee, without the burden of lengthy contracts and no hidden costs for lifetime distribution. This means artists only pay once for the initial distribution and then never have to pay out any profits from the song. This structure saves independent artists and producers thousands of dollars over the course of the career.

3) How do your distribution services differ from other distributors?

Artist Republik lives in an entirely different ecosystem as compared to most distributors. Unlike the distributors who only offer distribution to streaming services, Artist Republik offers access to tools in production, marketing, networking and more to manage more then just their music. In our production and distribution hubs, Artists from around the world can use SoundBridge to produce their music, while also making use of the Artist Republik production suite to purchase beats, sample packs, and samples, as well as to get their song mastered or to hire someone to design cover art. Then when their song is finished, they can distribute to over 50 of the top global streaming networks directly through the Artist Republik-SoundBridge connection. After that, musicians have full access to the Artist Republik marketing suite which includes free ARTSTLNKS (one link for all their music), Spotify playlist pitching, Instagram marketing tools, social media management tools, and more! We believe in creating a distribution cycle that includes an all-encompassing and easily accessible experience.

4) Your platform also provides access to marketing and design services, ticketing and booking, etc. What do you look for in a company when seeking a partnership for the Artist Republik platform?

The biggest thing we look for is synergy; we want to know: does the company we are partnering with also believe in empowering the independent music industry through legitimate, reliable, and efficient tools? There are alot of companies who use misleading sales tactics to take advantage of artists without providing any real value. So we go through a strict vetting process with all of our partners to make sure they are providing their customers with productive value and not just smoke and mirrors.

5) What are your top goals for disrupting the music industry and why?

Our biggest goal is providing artists with an easy, efficient, and reliable way to get their music out to the world without running into problems or feeling like they are being taken advantage of. We have a full team of high tier customer service reps who are always on call for our users, proving one way that we try to build a system that enables artists to get their music out to streaming services as easily as possible.

6) What about the music industry specifically appealed to you as an entrepreneur?

I have grown up in the music industry all my life. I was involved in theater/musical theater since the 4th grade before going to a theater arts high school until my sophomore year. At which point I realized that I had a stronger passion for working in the music industry as well as helping other artists, instead of being an artist myself.

7) What is some advice you would give to first time users of the Artist Republik platform?

Be patient while we continue to add new tools to the Artist Republik platform. We are introducing a huge undertaking so that we can best serve the artist community. Because of the amount of offerings we already have on our website, a lot of people don’t realize that we have only been around since May 3rd, 2020. We are working everyday, non stop, to improve this platform and to keep innovating through leading tools. Rome wasn’t built overnight and I can say the same thing with us. Also, don’t be afraid to reach out to our customer service! Our customer service team is headquartered with us in the US and is built up of music lovers, and music industry veterans, so we love talking to artists and are always here to help!

Artist Republik Online

Website

Facebook

Instagram

Twitter

LinkedIn

The post Industry Disruptor Artist Republik to Launch Partnership with SoundBridge appeared first on EDM Insiders.

What was the inspiration for ‘Sail Away’?

Collins and I were at my apartment along the Chesapeake Bay working on new songs. We could see tons of boats out on the water. It was ironically a very cloudy day. I played the sax riff and he instantly said, “That right there! We need that!” He then started writing to it as I continued finishing the production of it.

Did the track live up to your initial expectations?

Since I don’t put expectations on songs, rather yet the goal is to have fun. I would say yes! I enjoy playing it every time I DJ and from the comments I have been reading, the feedback is fantastic!

How would you sum up the release in 3 words?

Fun / Summer / Vibes

You worked with Sincerely Collins on this track, how did that come about?

We have been close friends for a very long time. He is like a brother to me. It was just another one of the many songs we have created together.

What is your favorite part of the track?

I love the pre chorus build up, when Collins says, “Here in the moment, time is no opponent, why spend it alone, when you can Sail Away with me”. His voice and the country undertone are just incredible.

What are your goals for this release?

To continue building my ALWZ SNNY brand. This is all still very new. My first song ‘Parachute’ came out just 8 months ago! So, to just continue building momentum.

Who would you love to see supporting this release?

I think it would be amazing seeing Martin Garrix support it. He is always spending time out on the water and it would have been perfect fit for his Dutch Waters mix he put out on YouTube.

Did you face any creative struggles at all?

During the video shoot it actually really started pouring rain. So, we were wondering how much time we would get to actually film but luckily it all worked out in the end.

What other projects are you working on at the moment?

I have a new song called ‘As Long As We’re Together’ coming out early October. It has some really cool Avicii vibes to it. I am super excited about that!

Where can people grab their copy of ‘Sail Away’?

All the major platforms have it. I would recommend YouTube though because you will get to see the visual.

ALWZ SNNY Online

https://soundcloud.com/alwzsnny

https://www.instagram.com/alwzsnny/

https://twitter.com/alwzsnny

https://alwzsnny.com/

The post ALWZ SNNY – ‘SAIL AWAY’ appeared first on EDM Insiders.

Hey WNDR, how have you been doing during lockdown?

Hey, I’ve been good considering the circumstances! I’m just trying to stay positive and keep myself busy.

Have you started any new hobbies during your spare time?

No new hobbies for me, I’ve been sticking to what I know best and making more music, now that I’m not allowed to do any shows, I’ve been using this time to really perfect my craft.

What are your opinions of the current situation?

The situation is hard, we live in times where planning ahead is difficult, due to restrictions. A lot of people don’t know what’s around the next corner and are scared, not an ideal situation for anybody, I think.

How do you feel the music industry will recover from this?

I think the artist on the top will be just fine, it’s the come ups that will have a hard time getting back on track. I see a lot of help from services working to keep things going, but its restricted to the people with the most reach. With that model of an approach the industry gains what they need, but a lot of artist will fall short sadly.

What new opportunities do you feel will come out of the pandemic?

It’s hard to predict, it all depends on how long this pandemic will have the world as separated as it is now.

Have you picked up any new habits at all?

I wouldn’t say habits, but life as it was has changing in terms of what a week looks like now, no shows means my weekends have changed the most!

What new series have you been watching?

I have resisted temptation of bingeing series so far, but I have my eye on some Apple TV series that I want to get started on.

Finally, what will you do when the restrictions are lifted?

Hopefully I’ll be relevant enough to get booked, so I can start getting back to playing for my fans again. Doing some session around the world again is also on the list. I’m hoping for the best and keeping positive!

WNDR Online

www.soundcloud.com/wndrmusic

www.instagram.com/wndrmusic

www.twitter.com/WNDRmusic

The post WNDR – My Quarantine appeared first on EDM Insiders.

First off, how did you learn how to produce music?

MJB: I just kind of started when I was 16 without having any idea what I was doing. I would just copy what I heard other people doing… It was like the Wild West back in those days. Not everyone and their mother was a DJ, and even fewer people were producers. I have never had any formal training other than learning from my friends, and learning directly from Jason Ross, Daniel Davis (Fatum/Judah), Leo Lauretti and Myon. It blows my mind that this all started 13 years ago.

Jerry: I first started in 2011-2012. The first challenge was learning to produce on Ableton. Learning your DAW is the first step but some DAW’s have a steeper learning curve. After a year of struggling on my own I enrolled in the Masters of Music Production from Dubspot University. The main points that I was taught was Music Theory, Musical Arrangements of Different Genres, Sound Design & Effects Processing then finally Mixing & Mastering. It was a great thing to learn and the thing that improved my productions the most was Mixing & Mastering. If you are an aspiring producer I would really try to suggest you to focus on mixing and mastering.

Can you recommend any websites/apps/videos that are good to learn from?

MJB: Usually Cosmic Academy is pretty good, right? Other than that, what can’t you learn on Youtube? I sincerely think these master classes are more important for the network that you gain, not the knowledge. Knowing people can take you a long way. I would know. I’m not the most talented producer out there, but I know the right people who have helped me get my music where I want it to be.

Jerry: Before enrolling in Dubspot I used a guy named “Sadowick Productions”. He covers Ableton on every level really cutting the learning curve. The guy is amazing. If you are looking to get into production I think that the most important thing to consider is a learning environment with a great chance to build a network. Cosmic Academy, I have heard are great for that. The faster you can build bridges with lots of people the quicker your music will pick up traction. Sonic Academy is another great resource where you can buy “how to produce X genre” with incredible instructors who make incredible music. Soundprank and Bjorn Akesson are some of the biggest names. We typically produce trance/progressive so that’s why I like those guys.

What’s the most important thing to keep in mind when making music?

MJB: To not fall into the trap of tailoring your music too much to a label. To a certain extent you have to, but there’s a line that you shouldn’t cross where your music no longer is your music.

Jerry: This may be an earful because there are a lot of important things to remember to make your life easier. Just have fun and really bounce to the grooves you build and create. Really enjoy each moment of what you’re writing and try to visualize what settings you think you music will fit well in. Try not to put unnecessary pressure on yourself to finish tracks as fast as you can. Quality over quantity is such an important thing to remember when building your brand and releasing your music. If a project isn’t really going anywhere and you’re struggling to finish the idea, just try to make things in a few different genres or try to totally recreate a song that you really like and hope to sound similar to.

What are the essentials that any beginner producer needs to have?

MJB: A DAW, some good drum samples, a midi keyboard, and a basic knowledge of Music composition. Plus a fire to create things 

Jerry: Excitement to get into the studio and dream big. Then you need a computer, a DAW and headphones. That’s it. If Deorro was able to become one of the biggest progressive house/big-room producers in the world only using Ableton’s stock plug-ins then anyone can. You also should know why you want to do it. If you want to do it to be famous you can probably do it if that’s what you really want. Some people will try to tell you that your “why” isn’t good enough but don’t ever lose sight of your goals and trust the process. Regularly try to remind yourself that if you aren’t spending every moment you can to improve and release better music you there is someone else out there working harder than you. Work harder than anyone you know and you can have what ever you want out of life and your goals.

What are your opinions on sampling?

MJB: Sampling is what gets us to where we want to be. I sample in every single one of my productions. Now, there’s a way to do it so that it’s unique to YOU and I think that is an artform in itself.

Jerry: All of music production nowadays is based off of samples. If you use any VST with presets it’s all pretty much samples. So use them. If you can organically create your own sounds with VST’s that will help you sound more unique. But sometimes the best music comes from someone who takes and old sampled idea and turns it into something totally new and unique.

Check Madeon’s “Icarus” on YouTube to see how brilliant and fresh someone can reinvent using samples. He samples like 40 songs or something to create something that launched his career. Now if you totally copy an idea with samples and claim it as your own you should strive to have a little more musical integrity than that. Try to push your creative limits whenever you use samples.

Which part of the track do you find its best to start with?

MJB: A chord progression. If that flops, the whole song flops. You can have the coolest bassline, the best sounding drums, etc. but if your chords and melody aren’t good, there is no crux to the song! After that, I make some drum patterns and I fit a bangin’ bassline around that.

Jerry: I think writing a chord progression that really makes you feel something is a great way to start. I usually start with a “drop” section that is the most exciting part of the song. Then work down from there getting powerful bass lines. Again, we make trance/progressive-house/electro-house and starting with a chord progression works for me with those styles. Depending on your genre you can work from different angles. Tech-house for example. I always start with a bass line and groove.

How important is it to learn an instrument or music theory?

MJB: I typically play all my music by ear. To be honest, I think diatonic music theory is overrated. If you stay too much in that box, you really limit yourself. Of course, it should still sound good, but being so influenced by Jazz music, my philosophy is that it’s not the notes you play that are right or wrong, it’s the note after those notes that make it right or wrong… It’s called theory for a reason.

Jerry: I believe that any and all prior music knowledge will help make producing easier. However you don’t need to know how to play music like a concert pianist to make great music. Take Swedish House Mafia for example. I saw in an “in the studio” session that they all admitted that they can’t read music. Deadmau5 is the same thing. Trust your ears and over time you will learn what notes work with other notes and scales. If you really want to learn what keys your tracks are in set a goal of writing 5 songs in C then D, E, F etc… You’ll quickly learn that some notes in key G also work with a track in A. Don’t ever forget that at the end of the day music theory is really “theory”. You don’t have to follow the rules. You only need to love what you create and there will always be a listener for your music.

What is your go-to software for producing music?

MJB: My DAW is Logic. I use a combination of Samples, Serum, Sylenth, Nexus. The Fab Filter Suite is cool, and I like the Waves Maserati plugins too.

Jerry:

DAW:  Ableton

VSTs/Plug-ins for Synth patches and creation: Serum, Sylenth, Massive

Mastering: Ozone 8, SSL Compressor

Secret Weapons: Oxford Inflator, Metric AB, Fabfilter Saturn Saturation and OTT

Do you think it’s essential for a producer to know how to mix and master?

MJB: Yes it’s the most important part (it’s why we are called producers), unless you’re one of those people with a lot of money who can just outsource everything. Have I had others mix and master my stuff? Yes. Have they always gotten it perfect? No. I won’t name any names, but not even some really big boys got my stuff right. I like to do it myself because, well, what’s the point of calling yourself a producer if you’re not producing?

Jerry: I think this is the most important part about producing. You can write the best melodies and progressions in the world but if your mix is muddy your song is dead in the water. If you have a really clean mix down you can make even the simplest of melodies and progressions sound incredible. Mixing and Master is number 1 in my opinion.

When do you know a track is ready to be released?

MJB: It has to go through a couple rounds of feedback and have a consensus on if it’s good or not. I have had a lot of terrible ideas that I never released because the consensus wasn’t there. That said, these are all people I trust and who I would take advice from, so I trust their opinions. Creating a network of people you trust like that is essential to being a producer. There are also some people that give feedback just to give feedback, and sometimes, it’s absolute trash.

Subjectivity plagues this industry, which is a gift and a curse. You just need to know who you trust. The “Future of Trance” group that I’m a part of on FB along with Jerry is a good starting point, but I branch out of that from time to time.

Jerry: Matt & I have a network of producers who are pros just about to break through to the main stage. When we can get the green light from at least 5 of them then we will let the song go. They all have such an incredible knowledge about listening to songs and picking out when the mixdown is clean and ready to go. Shout out to my “Future Of Trance” brothers! You guys are the best.

But if I can quote Oliver Smith, “Sometimes a track is never finished. You just have to let it go.”

Wæde Wätts Online

https://soundcloud.com/waedewatts

https://www.facebook.com/waedewatts

https://www.instagram.com/waedewatts/

The post Wæde Wätts – Music Production 101 appeared first on EDM Insiders.

How are you currently coping during this crazy time?

A crazy time indeed! But we have organized ourselves well and I have been able to invest a lot of time in Toma Hawk. Also, I’ve realized that I never wanted to become a primary school teacher!

Tell us about the inspiration behind ‘Velvet’?

I always have phases like this from where it simply gushes out. I can then let myself fall completely into the music and I don’t have to study it too much, then it just flows. No conscious inspiration, but rather just let it run.

What is your favourite part of the song?

I like the drop at the beginning when the kick start and also the spherical part in the break.

What was it like working with Dr Acid?

Dr.Acid is a very good and long-time friend on the one side, on the other side he is an absolute crazy 303 freak! Some years ago, he was working with 8 or 9 303 at the same time. Only with 303 without drums or anything. We sat down hour per hour and built some lines. I told him “hey…come on mate, lets go with some of those lines in my tracks” and here we go!

Have you set yourself any goals for the release of ‘Velvet’?

The key in general is to make the people happy with my music and to motivate them to dance. It looks like the people like the music and this makes me happy. We feel that in the community. Every day I have some very cool messages, comments and feedback from the ravers! I am very grateful.

Who would you like to see supporting ‘Velvet’?

If the quality of the music is right and everything goes well, then in the end it’s always a matter of taste. I wish that everyone supports the track who thinks it’s good and cool!

How does ‘Velvet’ compare to some of your other releases?

Of course, I can’t say that in the numbers yet. My productions are always very different in terms of style. Therefore, it is difficult to compare.

How did the remixes of DJ Ralph and Marcel Warren come about?

They are also good friends and very good producers. Also, they give always their best in a project and I feel the drive they have on a deep level. For me it’s a very important part to have success at the end!

What can we expect to hear from you next?

Next will be “Destination Zero” and it’s a mix of melodic and acid techno with deep dripping and embossing 303 lines. Also, we will start with the first release on my second label Lakota Raw. This will be more straight and raw techno. I’m very happy with these prospects!

Finally, where can we go to download ‘Velvet’?

You can find it on all channels from the 12^th of June. Now on Beatport & Spotify! Check it!

Toma Hawk Online

https://www.instagram.com/tomahawkmusic2000/
https://twitter.com/TomaHawkTechno

https://www.mixcloud.com/TomaHawkMusic2000/

https://soundcloud.com/toma_hawk_music

The post Interview with Toma Hawk appeared first on EDM Insiders.