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I never said reimbursement - I said debt. Thre are plenty of articles about this, as well as documentaries.Alright, I can't disagree with what you're saying. i'll watch the documentary about the music industry. It seems interesting.
If you assume a record label is NOT trying to take advantage of you at every opportunity, you're doomed to repeat the same mistakes other artists have made.
The fact that he's studying music (and the business of it) don't prove that he's right.If you think your personal experience is indicative of the music industry as a whole, you're welcome to that belief.You are the one who stated that practically everybody does this, and when I say that I have never seen this on my own behalf you come off like a know-it-all. Well lucky me who have not encountered "practically everybody".
My experience is that the labels gamble the release cost against a percentage of rights and royalties, not lending the artist the basic cost for reimbursement later.
I'll defend mussar's perspective in sharing the knowledge that comes with understanding.
He's not a know it all, other wise his attitude might be a little different (plus you have the consider the body language context that's taken out during text)
Mussar is also studying music(and probably the business of it to some degree; either on his own in depth and at the very least in his classes), so what was given was a time and monetary investment on his part, for free.
This is an important time to remind everyone that composition and orchestration are also a critical part of a good mix: the more notes happening at once and the more instruments playing at once, the more sounds are present.This is important.
Good questions to ask yourself, before trying to process your way out of this:
- Can I simplify any of the melodies or rhythms to allow more room in the track, without compromising the musical idea?
- Can I remove any of the instruments or layers, while maintaining the feel of a "finished" song?
- How much fluff can I trim off of this song? What are the essential elements of this track, and what can I take away from my current arrangement to get to that?
Big Room is really loud because there's three or four sounds happening at any one time - Dat Big Kick™, Dat Percussive Lead™ or Dat Supersaw™, and maybe Dat Clap™ or Dat Ride™. Hardstyle is surprisingly quiet in comparison, because holy shit what did you do to your 909 you shouldn't pu-DONK DONK DONK DONK DONK DONK
I think we need a beginners area. I'm starting producing and I would love a place where I can ask stupid question to have a north! What you guys think about it?There's no stupid question. Everything is worth asking.
Is there much demand for this? New humans to production and all? I would like to see this as well. Obviously if there is not much demand it's further along the pipe for implementation of course..The forum is already well designed for beginners. there's sub-forums for everything. No need for a specific one about beginning.
I always had the same thought, Lydian.FL 12 has the option now. Fader can be selected (more than one) and we're able to lower them all at once.
But I think there are daws that don't have the option to lower all faders at once (like FL 11)? And then people start messin with the master fader.
Headroom is important while recording analog instruments; once it's recorded too hot (distortion) or not loud enough (bad signal to noise ratio) it can't be changed.
But for people like me, only working with in the digital domain, the creation of headroom is just a fader move away.
