I sent this originally to Owen but wondered if anyone else felt this way too as part of this learning journey. Background: been producing for ~20Y - and reached my "self taught" limit - could never reach the levels of production excellence I wanted despite being almost obsessive about detail - hence joining this amazing group. I was getting released by some of my favourite labels but increasingly felt unhappy with the quality of my production and especially sound design compared to the scenes top artists. Quality is improving at such a rate and I feel left behind When I started on OTG and started reviewing content I was massively overwhelmed at first - I estimated it'd be 18m-2y to unlearn 20y of self taught/youtube guru bad habits and start embedding new techniques on autopilot rather than focusing so heavily on the techniques while writing. I can't feel/write vibes when I'm thinking technically(kinda like having two brain modes which don't operate simultaneously - I can't learn and exploit that learning at the same time). For me it currently it's all business - when that becomes automatic, it'll be more pleasure. I can write songs, but that bit seems to have been lost because I'm focusing so technically. I still think it'll be that long to start seeing that advance. It's a good thing and it's exciting - I guess this is just my personal journey. What I can categorically say is that the value of this learning is unquestionable - it's incredible. Anyone else been through/going through this journey?

Listening to member tracks sent to me recently, I realise I need to make this point clear. When it comes to the business of de-resonating sounds, LOW frequency resonances tend to pose a LOW risk, and HIGH frequency sounds tend to pose a HIGH risk. That's NOT to say there's absolutely no place for high frequency resonance whatsoever (tambourines, anyone?). Rather, high frequency resonances must be handled with extra care and attention. That's also NOT to say that all low frequency resonance is automatically fine, just that it's relatively less likely to cause real problems. Excessive hi hat, shaker, or ride/crash cymbal resonance in particular seriously give me the ick. Potentially the same issue for the high frequency area on a snare, clap, or even a kick top. P.S. Low frequency resonance is essential/unavoidable for virtually all music, whereas high frequency resonance could, in some cases, potentially be omitted entirely.

Hello guys. I need your opinion on how to distribute your time and efforts during the process of creating a track from scratch. I found myself in a methodological trap trying to mix during production and writing. I always do everything in parallel, however I'm in a doubt because it has some cons that I really feel. So I think if you try to mix or engineer the sound BEFORE you have completed the musical ideas you risk to spend much more time and even get very tired of the track you are working on. And I've got tired of a couple of latest tracks trying to make them sound as perfect as possible.

Hey! Owen asked me to share a technique I came up with yesterday while synthesizing kicks in Serum. It was easier to show than explain, so I recorded a video. Pardon me for being a bit hungover. We had a crayfish party last night, a late-summer tradition that involves a lot of crayfish, akvavit, and vodka 🦞 The technique itself is all about matching the cycles of your kick exactly to a reference. Hope this helps you guys!

Turns out I've been exporting without master effects on for like the past year or so