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hubb wrote:

nowaysj wrote:(think I'm going to have to redo my rack)

nowaysj wrote:I find it extremely difficult to go back and work further on old tunes. If anything, I've got to let them lie for extended periods. Only then while listening back, hearing things that need to be done, can I do them. I usually ditch toons when I hit a point where I've done something that fucks up the toon, but I don't know how to fix it. Usually with 6 months of rest, I can actually see the error, and know a solution.

But to what end Bud? Why go back and rework, polish? Is that an enjoyable process for you? If you're releasing, and people are listening, it makes sense. But if not, you know I'm only interested in one direction, forward. New.

i hear you totally
but i think people do start to listen and enjoy
so like i feel the urge to deliver sth worth a listen
like now people compare me and my brothers old stuff to our new
all in a small space
but you know it does bother me one way or another knowing people judge me for my decisions

That's great Bud. You and your bro do make music worth listening to. Love your stuff. Yeah, I guess you gotta make the right decisions then, if people are paying attention! Haha. You've been making the right decisions so far, so just keep on.

thanks man:3
yeah so far i just did what i want haha
but yeah its a really wierd feeling to be really judged like not like this sucks
but in your overall "piece of art" or whatever like with comparison to dif stuff you made

a i sound like a tool but that stuff bothers me

[+] Spoiler

nowaysj wrote:

you said you needed a new rack, so i got a guy on video to show you how to mold some

-------------------
revisions or times you save a project ... is there any difference?

I dont think I can even think about that properly ... but some tracks take 4 months with like 100+ saves .. but then there's the question how often I decide to save or whatever..

I think you need to not have a barrier for how long it can take and then just get on or continue by working on and finishing up other tracks at the same time.

I feel weird about the thing that leads to creative people not being able to work on more than one track/job at a time, because to me a track is like a million little jobs.. some planned and some that come about during the 'work'.
It's absolutely central for me to be able to dip back in that zone and carry on what was going on initially... but I think this question has made me realize that it's a principle I noticed and then decided I needed to have going in the process on from then on.

let me rephrase then

my problem is finding the right balance between spending time on tunes i personaly like and tunes that might or might not take me further in terms of possible listeners and all this stuff

like i dont have a problem working on 3 tunes at a time but i spend time on tunes that might end in sth that only i like

dont wanna even start with all this learning to mix better etc stuff which takes alot of time too

i guess my question is
how can i use my time most effectively?

Aufnahmewindwuschel wrote:my problem is finding the right balance between spending time on tunes i personaly like and tunes that might or might not take me further in terms of possible listeners and all this stuff

Further towards what, though?

In all honesty, you appear to be the most productive producer on dsf (amongst the 6 of us left).

Everything is knowledge through experience run through chance. You never know if it is going to pay off. Everything is like this. Songs are like this, no? There are so many avenues a song can go as you are working on it. Sounds you discover, rhythms you discover, melodies, harmonies, textures, emptinesses. You have to let so many of them go to get anything done. Like that track in my sig, haha, pursued as many avenues as I could. Follow everything down its path. But that is madness. You have to make choices. When you choose to read this you choose not to produce!

Will it ever payoff? And what would that payoff be?

If you're gonna do that stuff you maybe don't like, like maybe the Blanc stuff, are you doing it for recognition alone? Or $$$?

I don't know dude.

S'why I like 'hobby' music better. The 'professional' has to do certain things. Has to accept certain limitations, constraints. Many are more than happy to do so. But I treat my days as they are my last. I do what I want to do with the time I have. You can jump on the nwj bus, or get off, but the nwj bus is going where it is going (into total obscurity).

yeah man

i always say to myself we all die anyways

i didnt do stuff for certain tunes i wanted to just to get a sound my brother was more satisfied with

but in the end is it our call to just do what we want or do we have to bend to make the sound we might wanna have made all along ( not saying that this my answer but maybe a more understandable standpoint)

but to understand your point you say its better to have fun and enjoy the ride on a rainbow rather than trying to follow a rainbow to the other end forever?

Aufnahmewindwuschel wrote:yeah man

i always say to myself we all die anyways

i didnt do stuff for certain tunes i wanted to just to get a sound my brother was more satisfied with

but in the end is it our call to just do what we want or do we have to bend to make the sound we might wanna have made all along ( not saying that this my answer but maybe a more understandable standpoint)

but to understand your point you say its better to have fun and enjoy the ride on a rainbow rather than trying to follow a rainbow to the other end forever?

First, working with someone else changes things. A huge part of who I am was becoming an adult, while being in a band, and sharing artistic vision. That is a hard one to do. Trust, respect, self confidence, self awareness, proximity of truth, that stuff is really important. I do think it is valid to subjugate your artistic vision, at moments, when working with other people. The output is the sum of your contribution, it is not just you or your bro. So if he is like do your magic to this sidechained bass, and you're like that is played out... maybe you do it anyway. Respect his vision, when you can.

I also had a business with a partner. We started a design studio, and it was different than with a band. With a band, you can get majorities , but in a duo, at best you can get 50/50. What we worked out in the 50/50, was that each member could veto. So if I wanted to take on a project, and my partner was dead set against it, he could veto. I'd have to accept his veto, and we'd let the project go. BUT, likewise, if I wanted to do a project, and he didn't, but didn't seriously object, he'd go along and we'd do the thing, and this holds true for every level of the fractal, from kerning letters to the direction the business would take. It is a give and take. Each duo is different. Different ways that you guys zipper together.

So, respect your bro, his vision. Work towards his vision, hopefully, he'll work towards yours. I know sometimes it can feel like you're being subsumed, or you are being too domineering, but that comes with the territory. And honestly, when duos work, as I think you guys do, it is worth it. Collaboratively we really can be more than the sum of our parts. Imagine just working by yourself, it might seem like it'd be nice, from where you are now, but truss, once you walk away, you're gonna be like, shit that was something special. Or not! Like I said, experience x chance... you never know.

Re the rainbow road. Yeah, I'm not going anywhere. I am where I am. If I don't like where I am, then I move on. But there is no goal for me other than making music I think is good. But we're different. I'm so bad at making music, it is unbelievable that I've kind of built my life around doing this. It is absurd. If I stop and think, I can become hysterical. It is just to ludicrous. But you and your bro, or at least you, I don't know what your bro's input is, but you're very musically talented. You've got a great ear, and great sensibilities. You're also in a different place. For some reason, I think music is more viable in Europe. I don't know if it is grass greener or not. It just seems very hard here in America. The people are so destroyed. Walking shells of humans.

I really think you're talking to the wrong person. Ask Benga or something.

It's good to see another brothers production duo out there. My younger brother and myself are a production team (for acoustic music). He does most of the tracking and we do the mix together. I usually take lead on mixing since I have a bit more experience than he does, but he has great ears and is a fast learner, so that's evening out more these days. I handle the mastering. So the way we've worked it out is that we each have a stage of the process that we have complete ownership over, but get to really collaborate on the mix and sound design part. It's made us both better at what we do, because we are both bringing different skill sets to the table. It's a great way to collaborate. Maybe if you are feeling creatively constrained within your current setup, try alternating every other track where one person takes lead composition and sound aesthetic, while the other makes more of the mix and arraignment decisions. Keep changing the distribution of decision making for every track to keep things fresh maybe?

Where can we hear your acoustic music?

spend time on tunes that might end in sth that only YOU like

would be my weird clouded answer haha tbh

FEEDBACKCKCKCKCKCK
(better late than never)

Rizlo:
I especially like the bit around 1:12 where it sounds like your percussion is falling down the stairs! For me personally I would incorporate more of those sounds into this and make it like a heavy techno banger cos al the sounds are perfect for that sort of thing. The robotic high end synth sound needs some highs taking out cos my ears were knackered after listening haha! but overall very interesting and intense to listen to.

bud:

Fuck me those vocals are beautiful on Am beat a very nice atmosphere (i hate to say it but kinda reminds me of fostercare by burial ) I dont have anything else to say about that one other than its rly nice#

Kaltar is more my cup of tea it has a proper banging two step beat which i like and that synth that filters in in the beginning gives the song a really nice pulse, idk again not much to say, it progresses beautifully right up to the end where all the layers come together in a beautiful swirling vortex.

Knob goblin:
A rly cool vibe on this one, my only improvement would be to make the distorted snares less harsh cos at high volumes its quiet peircing to my ears. other than that i love the dark industrial mechanical vibe u have going. Its like travelling down a convenor belt into the bowels of a giant machine.

Dfaultuzer :

that is a sick beat, would love to hear someone spitting on it, but at the same time its fucking sick on its own. Particularly like those clicky clacky clap sounds layered over your drums and the samples just fit perfectly. not got anything id want to change rly.

Danny:
this is a propper sick beat, id like to hear spaceghost purppp or danny brown on that one, its very dark. For some reason i kept hearing voices coming from behind when listening to this one.
I think you cold maybe get a bit more smack to your snare drum idk wether it just needs a slight volume boost but thats it, i love the breathing deep atmoshpere on this one.

NWJ:

I really think this shit is insane, I have never heard anything like it. idmish vibes breaking into the track every now and then, and at points i felt like i was going to take off. id like to know a gear list on this one hahaha. samples fucking kill it too.

Was a good week guise.
BIG UPS

thanks for the opinions guys
thanks for the feedback genrl

hubb wrote:

spend time on tunes that might end in sth that only YOU like

would be my weird clouded answer haha tbh

He's got a fan base, though, dude. You know, like, people are invested in his group. He has responsibilities.

nowaysj wrote:

hubb wrote:

spend time on tunes that might end in sth that only YOU like

would be my weird clouded answer haha tbh

He's got a fan base, though, dude. You know, like, people are invested in his group. He has responsibilities.

I'd never agree with something like that, but that's the same point.

@NWJ: heres something that we did recently as a promo. Heading of at the end of this month to work with the artist on her next record.

https://soundcloud.com/alisonmay/sets/dusk-interval

Sweet. She's buttoned up.

Where are you going to work? What kind of space?

A studio in the mountains of Colorado, in a small town called Carbondale (partly why I was trying to figure out where you were disappeared to). Large tracking room, maybe 20'x35', decent sized iso booth, big enough to get a drum kit in. Nice treated control room. Pre's are API, Rupert Neve Designs, Chandler, Universal Audio and Grace. Focal monitors. a few bits of outboard processing, but we will do the mix downs and the bulk of the processing back here in Oakland, so we are just using it for tracking. There is also a nice 1/4" tape machine there for bouncing stuff thru, not sure if we are gonna dive into that on this project or not though.

Noice!