You'll go through plenty of this every time you step out into the world.

and being a teenager is a difficult time, because you're brain is developing into what an adult brain.

take it in strides man, maybe lay off the music for a while and then come back to it.

breaks are important in the creative process, try not to run yourself to empty.

This is also advice for your life outside of music.

i've invested in my drum sound.

I have an 808 emulator that i render out for sampling.

I have a few acoustic one shots that i use for layers and samples as well.

finding bits and pieces of what you like and combining them in different ways makes for a unique sampling experience.

much more so than just finding what other people have done.

you'll always be learning.

just start doing.

it's quicker to throw down improvisation than to cripple yourself and write it one note at a time or w/e

And to be honest, the master has to use a bit of both  (improv and thought) in order to achieve what the situation calls for.

quite honestly, i make some of my best music (personally) when ever i just let things happen. if something is completely off, i'll have to go in and change some things theory wise. but i try to aim for getting things write when ever i play them, so i don't have to always go back over and do it. it's music after all.

and quite honestly, if you're questioning where or not it's counterproductive to think, i don't think that's really a question you should be asking. because at any level, you're always thinking. weather or not it surfaces into your inner dialogue is actually what's happening.

understanding every thing, is the enemy of progress.

No one is asking that of you, but yourself. so then yourself is getting in the way of realistic goals.

take a step back and consider what you're capable of, and then move from there. your capacity to be more skillful will grow over time with the right counsel, until you'd of exhausted their teachings.

If you don't know the why, you cannot do it well.

therefore, balance is what you should consider to achieve a more optimal understanding of your music that you create.

yea, my friend looked into the book and it appears that he sort of bashes every thing aside from classical music. shitty perspective but w/e. mans gotta eat.

it definitely does touch upon cultural values of today and comparing them against what was valued at a different time.

You can't not talk about people when you talk about music. it's apart of us and is basically an extension the human experience.

so what is it now that value?

what is it that we're trying to say about our world and our nature as humans?

i wait and create in different phases until it all comes together.

i almost always start off making drum sounds. Then i move onto writing bass lines for the drop, then i move onto writing intros and outtros.

incorporating every thing from the different section in one way or another also helps feel out what you might want to put into the track as well.

since you've made an intro, i'd suggest seeing what sounds you can use for the meat of the song (verse/chorus) and then add what you don't have.

you can always do research on how to actually understand all synthesizer, and not just specific ones as well.

the specific application, comes with specific understanding. But it also might be beneficial to understand the common components in a synthesizer. your skills can transfer.

also, you'll always get that synthesizer sound, because that's what you're using. these are electric instruments.

best way to add some different character is to add soft or heavy distortion. that helps with the "realness" in one way.