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RESOURCE
WORKFLOW FOUNDATIONS
HOW TO OPTIMIZE YOUR WORKFLOW
AND MAKE MORE MUSIC
SAM MATLA
© Copyright 2016
EDMPROD LIMITED. All Rights Reserved.
Content may be quoted with permission.
edmprod.com
Ideas & Resources for Electronic
Music Producers
TABLE OF CONTENTS
CREATIVE BLOCK . . . . . . . . . . . . . . . . . . . . 04
THE IMPORTANCE OF WORKFLOW . . . . . . 09
FOCUSED MUSIC PRODUCTION . . . . . . . . 13
THE 4 MOST COMMON MYTHS . . . . . . . . . 24
OPTIMIZING YOUR ENVIRONMENT . . . . . . 29
3 CREATIVE HACKS . . . . . . . . . . . . . . . . . . . 32
CREATIVE BLOCK
AND HOW TO DEAL WITH IT
4
Most artists mistake creative block -- or writer ' s
block -- for sheer laziness.
5
#1 - Purge perfectionism
One of the leading causes of creative block is a
perfectionist mindset.
And let ' s face it, most ideas, at least initially, aren ' t
that great. Ideas need to be developed, they need
to be nurtured, they need to experimented with.
6
No, you won ' t have time to mix it down. Yes, you
will have to use presets and loops. And no, it ' s not
going to be anywhere near perfect, and that ' s the
point.
#2 - Collaborate
Collaborating with other producers and musicians
puts you in a position of accountability - something
that rarely exists when it ' s just you by yourself.
7
#3 - Take a break
Out of all the creative people I ' ve talked to, most of
them have one thing in common - they take regular
breaks when they feel overwhelmed or stuck in a
rut.
8
WORKFLOW
WHY IS IT SO IMPORTANT?
What is workflow?
The definition of the word workflow and how it
pertains to music production will differ among
producers. I like to see it as how you get from A to
B, or in the context of music making - how you get
from idea to finished song.
9
Let me use an example.
Steve and Tim are both electronic music producers.
Tim has his loop and isn ' t sure where to go next. He
knows he should arrange his track at some point,
but maybe there ' s more to add to the loop? Maybe
he should mix the loop down before he starts
arranging? Tim becomes overwhelmed by choice.
10
Steve understands that it ' s important to let the
creative self roam free during the initial stages of
production, but he also realizes that without a
structured workflow, he ' ll encounter overwhelm
and work much slower.
But Sam, music is sacred! You can ' t just follow the
same process every time!
Why?
11
Can you imagine an award - winning film composer
ringing up a director and saying " Sorry for the
delay. We ' ve got the main idea down but we ' re just
not sure what to do with it next. Let ' s give it a
couple of weeks and see where inspiration takes
us. "
12
FOCUS
THE BENEFITS TO FOCUSED MUSIC
PRODUCTION
"Ah, what will a few minutes do? I’m stuck with this
song anyway.”
13
Task-switching suggests that as we switch from one task
to another, we encounter cognitive delay; our brain takes
time to “re-focus” on the task at hand.
To put this into context, let’s say that you’re trying to lay
down a few ideas for a new track. This is typically one of
the more difficult parts of the production process. After
30 minutes, you’re just scratching the surface of some
great ideas, until you decide to quickly check Facebook
and respond to Dave about a highly unimportant topic
that doesn’t require your urgent attention.
14
2. You trick yourself into thinking production is boring
When you’re completely involved in an interesting task,
whether that’s having a stimulating conversation with
someone, being on a date, or watching a great movie, you
tend not to find ways to distract yourself.
The problem with all of this is that you start to act the same
way during a highly involved task such as music production
as you do when you’re bored or tired. You browse the net
endlessly, looking for ways to entertain yourself.
15
How to focus
It’s not easy to break away from constant distraction and
focus solely on music production, but it is possible.
1. Clarity
When you have no clear, overarching goal, it can be
extremely hard to focus. You end up in a position where
you’re just making music for the sake of making music,
which isn’t always bad, but it means that there’s no
measure of importance placed on what you’re doing.
16
Now, to achieve that overarching goal, you’re going to need
to spend a fair bit of time producing, which is where your
session goals enter the picture. You sit down to spent 90
minutes making music, but before you do so, you set an
objective for the session that aligns with your overarching
goal. For the first session (and the first track), it might be
something like:
With this clear objective, you know exactly what you need to
focus on. You’re not fumbling around in the dark trying to
make sense of everything, instead you have direction.
17
2. Be enthusiastic
If you start a production session in a state of frustration, or
you view it as a chore, then it’s incredibly hard to become
focused and stay focused.
18
It might look something like this:
4. Embrace failure
It can be hard to focus when you’re faced with a challenging
or daunting task, especially when it’s something you haven’t
tried before.
19
It might be that you’re trying to write a memorable melody.
Granted, writing a great melody is challenging, but it’s not
impossible. If you sub-consciously think that you can’t write a
good melody, then you’re simply not going to focus, because
you know the effort is futile.
You need to realize that it’s okay to try 10 times to write a good
melody, and finally get there on the 11th attempt.
Professionals understand that failure is an essential part of the
process. They welcome it.
5. Leverage momentum
It takes a while to get focused, and when you are focused, it’s
a good idea to stay there for as long as possible.
20
The state of flow
Flow is generally defined as an optimal state of
consciousness where we feel our best and perform our best.
Flow follows focus.
21
Not only is flow beneficial in the sense that it allows us to work
quickly and get a lot done (have you ever produced a song in
3 hours? It’s an amazing feeling), it’s also incredibly enjoyable.
A good production session in which you enter into flow can
often rekindle your passion for music production if it’s
wavered.
However, there are three main triggers that you should know
about in order to reach flow (or at least increase your chances.
Flow is somewhat elusive and random).
1. Clear objective/goal
I touched on the importance of having a clear, overarching
objective as well as individual session objectives. If you want
to enter the state of flow, these are absolutely essential.
2. Instant feedback
As a music producer, you don’t really need to worry about this
as electronic music production always gives immediate
feedback. If you place a wrong note, or EQ a sound in a less-
than-satisfactory manner, then you’ll hear your mistake.
22
3. The right difficulty
If what we’re doing is too easy and there’s no sense of
challenge, then we stop paying attention. If what we’re doing
is too difficult, then we get frustrated.
One’s ability to reach the state of flow varies with skill level. A
new producer may find it difficult to achieve any sort of
intense focus simply due to the fact that they aren’t
comfortable in the DAW and are not sure what to do. An
experienced producer may find production mundane unless
they push themselves.
23
4 MYTHS
ABOUT CREATIVITY
A few days ago I sent you an email about focus, and
how it pertains to electronic music production. It
was a long email, so today ' s one is going to be a
little shorter ( I know you ' re busy! )
24
It ' s likely that some people are born with a tendency
or inclination toward creative thinking, and research
seems to suggest that. However, this does not mean
that if you ' re born with less of an inclination you
can ' t be creative.
Or
The answer is B.
25
Yes, inspiration is nice at times, but it ' s romanticised.
Great ideas from through perspiration - through hard
work. Inspiration is not a prerequisite for creative
ideas.
Let ' s say, for instance, you ' re limited to using one
synthesiser plugin. You still have limitless
possibilities when it comes to sound combinations -
and that ' s not factoring in post - processing outside
the synth.
26
On the other hand, limitations can - and regularly do
- lead to creative solutions.
27
There may very well be a period of time where an
artist lacks creativity due to the fact that they ' re
trying to figure everything out, and they ' re anxious
to step out and " break the rules " per se.
28
OPTIMIZING
YOUR PRODUCTION ENVIRONMENT
30
If you have a set time of 60 minutes, for example, you
know that for those 60 minutes your focus is
production only.
31
3 CREATIVE HACKS
THAT ACTUALLY WORK
Sometimes, things just don ' t work. You ' re sitting
there, trying to come up with an idea or make
progress on that project that was oh so inspiring a
few days earlier, but it just doesn ' t work.
32
One hack that I like to use is writing a melody over
an existing chord progression. Here ' s how you do
it:
33
Allow yourself 5 instruments only. No layering. No
extra little bits. Make a track with 5 instruments and
prove to yourself that simplicity leads to results.
34