Tags: posts polarity-music Beginners Bitwig Tutorial Talk

What Beginners Get Wrong in Music Production

Tutorial | Nov 12, 2025

Music production is best learned through hands-on experience, making mistakes, and developing your own taste, rather than relying on paid courses, tutorials, or expensive gear, which often give you the illusion of knowledge without real understanding. Focusing too much on harmony theory, mixing, mastering, or specific genres early on distracts from what matters most: regularly finishing tracks and learning from each attempt. Ultimately, the process should be about making music you enjoy, not seeking validation or following fixed rules, because true growth comes from persistence and personal exploration.

You can watch the Video on Youtube

Short Overview

I believe that true learning in music production comes from hands-on experience and personal struggle, not just from watching paid courses or tutorials. While you can pick up some tips from others, real progress happens when you experiment, make mistakes, and find solutions on your own. Your unique taste and creative journey are what really matter, so it's important to focus on making music you enjoy instead of getting distracted by gear, theory, or the pursuit of perfect mixing and mastering. Ultimately, the process is more valuable than shortcuts, and the most important thing is to have fun and stay true to yourself.

Introduction to My Views on Paid Courses and Music Production

Yesterday, someone asked me if I could offer a paid music production course. My instinctive answer was like always: it feels wrong to take money from people for something that should be accessible. I grew up in East Germany, in a communist society, and maybe that influences the way I see things. Selling courses feels like just taking cash from someone's pocket without delivering the true substance they need for real growth.

Problems with Paid Courses and the Illusion of Learning

Most music production courses are marketed to beginners and seem to sell well. They entice people with the promise that after completion, the student will “know something.” In reality, I think they do not provide as much value as they appear to. You get a set of tips and tricks by watching someone else solve problems, but your brain is tricked into thinking you can do it too, even if you have never actually done it yourself. Watching is one thing; learning happens through struggling with problems and finding solutions firsthand. When you work through failures in your own music production process, you truly understand why things work, have those “aha” moments, and remember these lessons well.

The Importance of Struggling and Personal Taste

You should find your own solutions and develop your unique style through perseverance. Music production is deeply rooted in personal taste. There is no universally “correct” way to mix, create sounds, or design instruments. Whether you love big, aggressive kick drums or subtle, minimal snares, it’s all valid as long as you like it. Your solutions to problems in production will feel more genuine and meaningful if they come from your own explorations, failures, and preferences, not just from following someone else’s choices.

The Myth of Instant Expertise: Super Mario and Talent Shows

The way paid courses and TV talent shows work is similar. Contestants are suddenly thrust into the spotlight, but because they haven’t gone through the necessary struggle, they fade quickly. It’s like being dropped into the final level of Super Mario without having played any previous ones. The only way to level up is by taking each step yourself, practicing consistently, and accumulating experience to apply when it matters most.

Why YouTube Tutorials Can Only Take You So Far

YouTube tutorials, including my own, provide shortcuts and useful pieces of knowledge, but they don’t replace the actual learning you get by producing music yourself. There’s an illusion that watching enough videos will make you an expert. However, you only truly learn when you encounter problems on your own and experiment with possible solutions. Otherwise, you start a cycle of endlessly seeking new tutorials or courses, always chasing the next trick instead of building genuine skill.

The Real Path to Learning: Active and Repeated Practice

The best and fastest way to learn is by immersing yourself in music production. Get your hands dirty. Make beats, produce tracks, struggle with arrangements, structures, and finishing songs over and over again. Improvement comes from finishing tracks, learning what works, and listening back with a critical ear. No shortcut or tutorial-packed binge can replace this cumulative experience.

Misconceptions Beginners Have: Harmony Theory

A common misconception is the necessity to master harmony theory before being able to write great chord progressions or melodies. Many beginners buy harmony theory tools like Scaler, expecting them to unlock creativity. But these tools only generate ideas without explaining why they work or how to use them in context.

Harmony theory itself was originally a way to describe music that sounded good, after the fact. Composers played and experimented first, then theory followed to codify what was discovered. I suggest you start by playing with notes, stacking chords, and finding combinations you actually like. Once you know what you enjoy, then you can use theory to describe or replicate it, but theory should not come first.

Misplaced Gear Lust: The Myth of "Build It and They Will Come"

Many people invest heavily in studio equipment before ever making a track. They assemble elaborate setups but then don’t know what to do with them. Start with a basic laptop, free or low-cost software, and play around. Once you actually know what kinds of sounds and music you wish to make, then you can invest in gear to suit your workflow or achieve efficiency. Gear should serve your clear vision, not supply it.

Over-Emphasis on Mixing and Mastering

Beginners often focus excessively on mixing and mastering instead of composing strong melodies, finishing tracks, or building impactful arrangements. Mixing and mastering are the final five or ten percent of a project, the cherry on top when everything else is already good. It’s pointless to obsess over the loudness or mastering tools if your song isn’t interesting or complete.

Part of the obsession may come from the fact that mixing and mastering can be measured, numbers on LUFS meters or frequency graphs, whereas melody, arrangement, and taste are subjective and harder to quantify. But great mixing and mastering cannot rescue a weak track.

Why You Should Try Different Genres

Do not tie yourself down to a single genre too soon. Making different styles of music lets you make more mistakes, learn more, and borrow creative solutions from one genre to another. Hip-hop, techno, ambient, and other genres all require different approaches to mixing, sound design, and arrangement. This cross-pollination will help you grow faster and find what tastes and skills you genuinely value.

Feedback: The Double-Edged Sword

Be careful with feedback, especially early on. Family members usually aren’t equipped to give constructive or knowledgeable feedback on music. If you share your music too early or with the wrong people, you risk getting demotivated. Seek feedback from people who understand your current skill level and can tailor their advice, or sometimes even ignore feedback in favor of your own satisfaction and direction.

Avoiding the Trap of Perfectionism and Detail Obsession

Many producers get lost in endlessly tweaking tiny details, especially in sound design. When creating a song, focus on the big picture: structure, melody, arrangement. Use simple sounds or presets when necessary, finish more tracks, and worry about polishing details later. If you struggle with this, set time limits for how long you work on any single element before moving on.

Track Length and Finishing More Songs

When starting out, make short tracks, two or three minutes long like pop songs, rather than aiming for complex seven-minute club tracks. It’s much easier to finish short, concise tracks and then iterate on what works. The more you finish, the more you learn.

Be Kind to Yourself and Develop Your Own Taste

Don’t be your harshest critic right away. Give yourself space to make mistakes and get better over time. Improvement is inevitable if you stick to consistent practice, and even if your taste in music is unusual, that’s a strength in a world where everything can sound the same.

The Truth About Technical Advice and Tools: The Low Cut Example

There’s much confusion about using latency-free low cuts and the supposed problem of phase shift in mixing. Technically, a normal low cut filter changes the phase relationship (the alignment of waveforms), but this “problem” is actually a tool: you can use phase shifting to help align sounds, such as making kick and bass work together better. It is not an issue that should worry beginners at all. As a beginner, don’t overthink these technicalities or invest in expensive, niche tools that promise to solve imaginary issues.

Listeners Don’t Care About Your Tools

No one listening to your music cares which synthesizer you used, how expensive your gear is, or which mixing plugins you have. In reality, music made with the simplest tools can resonate more than something created in a pristine, over-engineered studio if the idea and execution are good.

My Commitment to Free Resources and Community

Because I believe knowledge should be shared freely, I continue to release free music production guides and courses. In the past, producers closely guarded their secrets, but the scene benefits when we all share what we’ve learned.

Closing Thoughts: What Actually Matters

Stop watching endless tutorials. Take what value you can from a few sources, then turn them off and start making music that excites you. Finish tracks. Experiment. Trust your taste. Improvement comes from doing, not just watching. Make music for yourself first; whether others like it is secondary.

If you want honest feedback or to share your progress, send your tracks my way. Otherwise, just keep creating and learning from the process. Consistent practice and personal exploration are the true teachers in music production.

Full Video Transcription

This is what im talking about in this video. The text is transcribed by Whisper, so it might not be perfect. If you find any mistakes, please let me know.
You can also click on the timestamps to jump to the right part of the video, which should be helpful.

Click to expand Transcription

[00:00:00] Yo, folks, welcome back. So yesterday someone asked me if I could do a paid course for music production
[00:00:05] And I said what I always say it feels like to me
[00:00:08] I'm drawing money out of people's pockets and that's maybe because I'm East German
[00:00:13] Raised in a communist country. Maybe that's the way I am. I don't know but it feels like to me and it doesn't feel good
[00:00:19] So I know that courses are selling well
[00:00:22] People take them as beginners and they pay a lot of money and then at the end they think they know something
[00:00:28] But it's in my opinion. It's actually not true
[00:00:30] You get some tips and tricks along the way, of course, you learn something at least but not that much in my opinion
[00:00:37] What you do actually or the brain thing it does it's it you're watching someone else do
[00:00:43] Something solve certain problems and then at the end your brain thinks oh, I know this
[00:00:48] I am exactly on the same level, but it's not true
[00:00:51] You need to struggle your way up to find certain solutions
[00:00:55] You have to have a lot of failures in your production life to find certain solutions how they work
[00:01:01] And then you remember them your brain has the gotcha moment. Oh, this is how it worked, right?
[00:01:05] And then you remember these things much better and you also find unique solutions to certain problems to it
[00:01:13] so they end up in
[00:01:15] final
[00:01:17] Final things that you like because you have a certain taste you have a certain taste in music and everything in music is basically
[00:01:23] Based on taste. It's not like there's a right way of mixing down
[00:01:28] There's not a wrong way of doing a sound or doing kick drums
[00:01:32] It's only based on taste if you like big fat kick drums. That's okay
[00:01:37] Okay, don't don't be don't be ashamed
[00:01:41] If you like a small snare drums if you don't like snare drums at all you
[00:01:46] You know you don't do dry snare drums at all. It's fine
[00:01:50] It's it's your taste you can do whatever you want. Okay, so you can find yourself your unique way of
[00:01:56] Solving problems to end up in places where you like the music then or you like your music production in the end
[00:02:03] So that's that's very important
[00:02:05] also with these type of courses is
[00:02:07] It feels like to me like this this show
[00:02:11] American greatest talent or whatever it's called in your country
[00:02:16] where you have like this talent and it's put in front of a jury and
[00:02:20] Then they perform it and when they win they basically get an produced album or whatever I put in the spotlight
[00:02:27] But they never succeed for long
[00:02:29] It's just for the the length of the show and then you never see them again
[00:02:34] And the problem with this is because they are not
[00:02:37] Struggled your way up to this point. They are just put in this place. It's just like playing Super Mario and
[00:02:44] You are put in the last level, right?
[00:02:46] And then you should complete the last level, but it's not possible because you never played Super Mario
[00:02:51] You just put in the last last final level of Super Mario. It's it's not gonna work
[00:02:55] You need to play all the levels in the beginning first to practice practice practice
[00:03:01] learn certain solutions to certain
[00:03:03] Problems that arise and then when you make it up to the last level
[00:03:08] You can complete the last level because you can use all your knowledge from the levels before to complete the level
[00:03:14] So this is how it works and this is the same thing with courses or these type of guides or YouTube videos also my videos
[00:03:21] You can pick up certain tips and tricks
[00:03:25] But you never actually learn anything you learn the best if you just go down in the dirty down
[00:03:32] deep rivers deep hole of
[00:03:35] Producing music in your bedroom and doing this over the years practice practice practice and then you get better at it
[00:03:42] That's that's the best and fastest way
[00:03:44] That's no other way you can watch as many YouTube videos as you want you get never better
[00:03:49] It's it's just feels like it just feels like you learn something because your brain makes you think that's because you watch the screen and on the screen you see
[00:03:57] Bitwig or whatever door you watch
[00:04:00] And then you see someone else do it for you and it feels like your brain picks it up and thinks oh
[00:04:05] I did this myself. I I can do this
[00:04:08] I'm on the same level, but it's actually not true
[00:04:10] And then you try it for yourself and then you are basically in a situation
[00:04:13] That you never watched on YouTube and you don't know how to solve it and then yeah
[00:04:19] You feel like bad then you need the next course or the next YouTube video or whatever
[00:04:23] So it's like this the cycle of you never learn anything
[00:04:27] but it feels like you know something and you need the solution for something and you need to come up with a
[00:04:31] YouTube video or with a course that solves this problem for you
[00:04:35] So it's never gonna work out you need to struggle you need to find solutions for yourself
[00:04:39] You get this gotcha moment and you can use you can
[00:04:42] solve these problems
[00:04:45] It's yeah, it's that's how it is and that's how you learn so there are a lot of things in music production that are exactly this way
[00:04:54] Also where beginners think it's the opposite way, but it's not it's actually exactly the other way around
[00:05:01] so the first thing here or the second thing is
[00:05:04] Harmony theory a lot of beginners think you have to start with harmony theory first. I need to learn the piano
[00:05:11] I need to learn all the stuff in harmony theory and then I am be able to make great
[00:05:16] Harmonies great melodies and I know how to write songs and I just need to watch a lot of tutorials about harmony theory
[00:05:23] Stuff like this, but it never really works out in my opinion
[00:05:27] That's also how beginners or how these harmony theory tools like scaler or stuff like this or salt
[00:05:35] Because then they know beginners will buy this because they think just I need to have harmony theory tool
[00:05:44] then I come up with
[00:05:46] harmonies and great melodies, but never it never really works out you get
[00:05:51] Probably something out of these tools you get a random chord progression out of it and I think it's great
[00:05:56] right, but you never know why it works and what the the magic behind this right you you just don't know it and
[00:06:03] Also, if you need another melody or another chord progression that goes in the same direction
[00:06:08] It's also really really hard because you just click the bunch of
[00:06:11] buttons and
[00:06:13] You came up with something, but you don't know why why it why it works. What's the magic behind it?
[00:06:18] So my opinion is the other way around also how harmony theory was born
[00:06:22] Someone played on the keyboard randomly
[00:06:25] It was it was probably Bach or someone else
[00:06:29] Played randomly on the keyboard stuff. They played melodies. They played
[00:06:34] Certain guitars certain harmonies and it sounded great and then they said well, let's write down some rules
[00:06:42] Right write it down why it works and then they use some harmony theory to describe what they actually discovered
[00:06:48] It's the same thing with you. Just use a MIDI keyboard use the piano rule stack certain notes find out what you like
[00:06:54] This combination of notes sound great to you fine. Keep it
[00:06:58] Combination of chords does it sound good to you? Yes. Keep it, you know make some
[00:07:04] small changes to it for other tracks other productions and
[00:07:09] Then you learn certain combinations you can remember then and then
[00:07:13] Remember these combinations and then do them again and different
[00:07:18] Configurations also with melodies just playing the keyboard to remember certain chord certain note combinations fine
[00:07:24] Do it again, right and then in the end if you figure this out what you like then use harmony theory and
[00:07:32] describe what you just did and
[00:07:34] Then you can see all this is a function. Oh, I use the scale here and so on
[00:07:39] Of course, if you know how many theory
[00:07:41] You can brute-force certain moods better, right? You have like oh I listen to massive attack and oh
[00:07:49] It's probably the fridge in scale. They have exactly this mood a day
[00:07:52] They use the fridge in scale like this and that and then you can force a certain type of mood faster
[00:07:58] But you still need to have you know other music first. You need to listen to a certain type of music
[00:08:05] Do hunts Zimmer or whatever and then you
[00:08:09] Think oh this sounds great
[00:08:10] Then you use harmony theory to describe what he did and then you use the harmony theory to just clone exactly what he did
[00:08:17] but he actually never used harmony theory really to create this kind of mood or
[00:08:24] Melody or whatever so if you watch certain
[00:08:28] Documentations it just sits down on his keyboard. You know so I have this
[00:08:32] I have this paddle Tony and then I play around a certain note combination. So this sounds nice. This sounds cool
[00:08:38] This is a nice mood and so on and then he builds
[00:08:41] note for note to
[00:08:44] Build exactly what he wants and then he uses of course maybe
[00:08:48] Harmony theory to write it down for his orchestra or whatever. So this is how how it works
[00:08:53] It's not like how many theory first then music. It's more like you have music first and then you use harmony theory to describe it
[00:09:02] Another thing exactly the same way is a gear I
[00:09:06] Met a lot of people that bought a complete studio from scratch without making music all the sins
[00:09:14] Recommended on YouTube right put in the studio nice speakers all the pristine stuff
[00:09:19] They have a lot of money put stuff into the studio and then they basically sit in front of your PC all the gear up there
[00:09:26] This is a nice and this is nice and then don't know what to do with this. What do I do now?
[00:09:31] What's what's what do I do with this and how do I do a track right? This is not not how it works
[00:09:36] Start with a small little PC laptop. It's more open source software
[00:09:42] Maybe first you think around all this it sounds interesting, right?
[00:09:45] So like FX twin basically you think around find certain combinations that you like you do more and more and more and then at some point
[00:09:53] You know exactly what you want to do, you know exactly what kind of sound you want what kind of melodies you want and
[00:10:00] Then you go out there and buy some gear and tools that allow you to do these type of things faster and more efficient in a way
[00:10:08] So this is how it works
[00:10:10] You're not buy the gear first because you saw oh, this is a nice and maybe I figure out what I do with that with this
[00:10:15] This leads basically do this kind of gas situation where you
[00:10:20] Accumulate a lot of gear. I never really know what to do with it
[00:10:24] So with this you know exactly I want to make this I need these type of tools and I buy these tools
[00:10:31] And then I can make the music I want so this is how it works in my opinion if you ask me maybe I'm completely wrong, okay
[00:10:37] Then also we have mixing and mastering. That's also something that's over
[00:10:44] Emphasized by beginners for some reason. They basically have no melody that works no structure that works
[00:10:50] and they never finished really a project, but they are super into
[00:10:55] Mastering and mixing for some reason right everything needs to have a big fat mastering compressor and mastering tools on them
[00:11:03] And it's not really important at the beginning. So mastering mixing is basically like five ten percent at the end of your project
[00:11:10] It's it's just so so small. It's not important at all
[00:11:14] It's just cherry on top if you have great music great structure great vocals great hook and everything is really great
[00:11:21] Then you use great mixing and mastering to put the cherry on top
[00:11:25] But if you never finished anything if the structure doesn't work as the melody doesn't work is it's boring to listen to then
[00:11:33] Why mix and master it what's what's going to do why you have like this expensive mastering tools?
[00:11:39] It doesn't do anything like focus on the right things first
[00:11:42] Practice on the stuff and it's also not something I'm prone to right. It's also something I over emphasized in the past
[00:11:51] That's why I'm telling you this. I made all these mistakes
[00:11:54] And it's that's that's a common mistake
[00:11:58] And I guess my reason why it's that it's probably because you can measure something
[00:12:04] You have like this loves to and you see a number right and you can measure the number and the number gold needs to go higher
[00:12:09] And it's go lower and all the other things are not really measurable. So you can't say oh
[00:12:15] My song this melody is like five good or six good or something like this, right? You it's
[00:12:21] Really up into air and you don't have maybe the
[00:12:25] Tool set to judge what you just did if it's good or bad and the mastering you can measure it better
[00:12:31] You have like a love meter and you can compare it to other tunes how the
[00:12:35] Frequency distribution isn't something like this. Maybe it's because of that. I don't know maybe because there are so many mastering engineers on the Internet on YouTube
[00:12:44] I don't know
[00:12:46] So anyway, so too much focus on mixing and mastering
[00:12:49] Also, when you are beginner don't tie yourself too much to one style to one genre use or try to make multiple genres
[00:13:00] Because you can make more mistakes you can more
[00:13:03] You can fail more and you can learn more this way and you can also combine certain knowledge from different styles, right? So
[00:13:10] techno
[00:13:12] Is completely different than hip-hop you mix a different different sound aesthetics different snare sounds different kick drums ambient has no kicks
[00:13:20] No snares how to balance stuff how where to put the vocals
[00:13:25] How to make this vocal sound great between a lot of pet sounds what do I do?
[00:13:30] Do I just put the pets pets down in volume? Do I just a cue it out?
[00:13:34] Maybe I use different vocal and if different octave or whatever, you know
[00:13:40] There's a lot of solutions to different problems
[00:13:42] All of these solutions have different outcomes different tastes or you need different tastes for certain things and you need
[00:13:49] To know what you want and that's also something that's very hard to learn to know exactly what you want
[00:13:56] Why you wanted to what your taste is and also to fight?
[00:13:59] to fight for your
[00:14:02] taste
[00:14:04] that's also a beginner problem that they want to have a lot of feedback from other producers and they are
[00:14:09] you know in a certain type of range of knowledge or
[00:14:14] Different skill set right and they put it out and they want to hear maybe oh, that's great. That's that's really really good
[00:14:19] But it's actually not good, but then you have like a very honest blue and say this is like shit. It's like nothing, right?
[00:14:27] and it's very
[00:14:29] saddening and it hinders you actually in
[00:14:31] succeeding and you know
[00:14:34] being motivated so
[00:14:36] Feedback is not always a good thing and you need to have someone
[00:14:42] That gives you good feedback for tailored more to your skill set
[00:14:47] So they can hear oh, this is a beginner. I should it should be maybe that harsh right or this is a pro
[00:14:54] He knows exactly what it does, but he does this kind of big mistake there
[00:14:58] I don't like also. It's all based on taste so you can say oh, I
[00:15:03] Really like bad mixed
[00:15:06] Bad mixed songs. That's that's my taste can say it. It's not a problem
[00:15:12] So also music production. That's not right or wrong. You can do everything in all kinds of different ways and it's completely fine
[00:15:18] It's also a bit like art what it is art and that's not right or wrong
[00:15:22] You can do it in all kinds of ways. It's completely fine and
[00:15:26] Maybe don't get feedback too early on from family members and stuff like this. They have no idea what they're talking about
[00:15:34] They don't usually don't know how to give feedback and probably demotivates you
[00:15:41] Too much. Okay. Don't send it your mother. They probably love you, but they don't know how to give feedback
[00:15:47] That's that's that so not don't focus too much on certain styles tie yourself to not just one style do multiple styles
[00:15:56] It's very very good and as a beginner just start maybe with hip-hop first
[00:16:01] Nice simple hip-hop groove just kick bass kick snare bass
[00:16:08] hi-hats
[00:16:09] Very basic groove. Maybe a sample on top and you have a lot of things to do in you know
[00:16:15] But it's very easy and you can do it. It's fun. It's quick to do and
[00:16:19] Yeah, maybe focus on simple things first
[00:16:23] Also
[00:16:26] Details okay, and don't don't lose yourself in details too early too fast
[00:16:32] I hope I hear this a lot from people when they talk about the grid in Bitwig studio
[00:16:38] They want to make a song a track and then they open up the grid and then they are lost for hours
[00:16:43] Just tinkering around. It's yeah a big common thing
[00:16:48] And it's also something you can learn to focus on the grand scheme to just you know
[00:16:53] Never lose focus on this the big picture. I want to make a track. I need a baby sound
[00:16:59] I need to have a lead sound. I don't need to tinker on this lead sound for two hours to make it
[00:17:04] Exactly like this other sound. I hear it from another producer. It's not important. Just focus
[00:17:10] What you want to do you want to make a track you want to finish this track?
[00:17:14] Just take any lead sound that sounds okay to you. You can change it later on anyway
[00:17:21] Just take an okay lead sound take an okay bass sound that does its job. It's there
[00:17:27] It's bassy it uses a sine wave maybe as a fundamental
[00:17:30] Done. Okay, just work with it. Work your way up until you are finished your track
[00:17:36] And I know it's hard, but you can learn it just you
[00:17:39] Or maybe it's a good way of doing things
[00:17:42] Maybe use a timer if your brain doesn't work like this use a use a timer
[00:17:46] And if you start the sound if you start another track give yourself maybe two minutes three minutes
[00:17:53] And then when the time's over just move on to another track to another task arranging
[00:18:00] Creating melody
[00:18:04] creating another track
[00:18:05] Finishing the track and so on also if you start out, maybe don't make your track too long
[00:18:11] two minutes three minutes make a lot a nice pop song length
[00:18:16] Instead of having a club track for six seven minutes. It's very hard to do to keep it interesting
[00:18:23] across the whole time frame so maybe
[00:18:26] short tracks easy tracks simple tracks and
[00:18:29] Finish more tracks and the more tracks you finish the more knowledge you gain the more things you can listen to later on
[00:18:37] So listen back to your old tracks and then you say oh, this is something I don't like what I did back then make it better in the new
[00:18:43] Track, right? So this is basically how you progress and move on also don't be too harsh on yourself
[00:18:49] Don't be your your most harsh
[00:18:52] critic critic right right from the from the beginning
[00:18:56] Give yourself some time. It needs time. It's very hard to do to find the balance between everything
[00:19:02] It's also very hard to
[00:19:05] Yeah, find your taste and don't be too harsh on yourself, right? It will get better. That's the best thing you can't actually
[00:19:16] Don't get worse. It doesn't get worse. It it only gets better. Maybe you have a completely
[00:19:22] Exotic taste in music this could be so it never sounds like anything else
[00:19:28] But it's also not a bad thing if you find a music style or genre or music that you do that sounds like nothing else
[00:19:35] Perfect. That's exactly what we want in the stay in age of AI where everything sounds the same
[00:19:41] It's the best thing ever to sound like no one else
[00:19:44] Send it to me. Okay
[00:19:46] Yeah, so this is never get lost in details also
[00:19:51] The opposite way that that's actually a funny point here and I see a lot of tutorials about this
[00:19:57] It's about the low cut so people tell you in YouTube tutorials that you never should use a normal latency free
[00:20:04] Low cut because it changes the face relationship between whatever kick drum and the bass probably
[00:20:14] And this is maybe true, but also
[00:20:18] It's not like you do a low cut and you introduce a face shift. It's the opposite way around you introduce a face shift and the face shift
[00:20:26] Results in a low cut. That's how it's technically works
[00:20:31] So it's exactly the opposite way around and the face shift is basically a feature
[00:20:35] because it allows you to
[00:20:38] Latency free without having latency
[00:20:41] To influence the frequency spectrum. So it's a very fast
[00:20:45] EQ that you can use on your sound it also has a feature and this feature is not a downside
[00:20:51] It's always painted as a downside that it changes the face relationship
[00:20:55] But you can change the face of relationship. How great is this with the low cut?
[00:21:00] so imagine you have a kick drum and let's imagine this very rare case that you have a
[00:21:07] Kick drum tail that has the same frequency as the bass sound in my opinion
[00:21:12] That's a very rare case. That's never the case in my productions most of the times because my pitch drop goes either
[00:21:19] Way down past right it goes
[00:21:22] Across the frequency of the bass so it's going lower than the bass or the bass sound
[00:21:28] Sometimes it never actually reaches the bass sound because my kick drums are very short and drum bass
[00:21:34] So it never really reaches the the frequency of the bass
[00:21:38] but
[00:21:40] Let's let's imagine we have this rare case where you have a kick drum and a kick drum has a long tail and the long tail is
[00:21:48] Exactly on the frequency on the bass at the same moment in time at the track
[00:21:53] So it's not like the bass comes after the kick drum. I think it's at the same point. It's the same frequency
[00:21:58] right very rare case in my opinion and
[00:22:03] Usually the kick drum and the bass sound never line up from the get-go just use a sample use a synthesizer
[00:22:11] you put this together and you see oh, they actually don't line up and
[00:22:15] Maybe it's the fact. It's also the rare case where the face is exactly flipped
[00:22:22] It's exactly the opposite right so they cancel each other out a horror scenario for beginners, right? They cancel each other out
[00:22:29] No way, I'm losing loudness at this five million millisecond point in time in my track
[00:22:36] What a horror scenario for a beginner so
[00:22:40] Let's imagine we have this case and you want to change the offset you want offset the face so it doesn't
[00:22:48] Cancel each other out you want to
[00:22:51] You know make the same face basically so you can use the low cut the low cut where you change the face
[00:22:57] So you fade it up and up and down you can see on the
[00:23:01] Oscillator for instance you can see how the face moves back and forth you can use the low cut to line up
[00:23:08] The face of the tail of the kick drum in the base you can line it up
[00:23:13] You can use the low cut as a tool to line up your face to make your sound or your track sound better
[00:23:19] Imagine this the low cut as a safer solution server for your problem. That is this five millisecond in time where you lose a lot of
[00:23:29] Loudness loudness is very important nowadays, of course. So
[00:23:34] Yeah, so it's it's not a bad thing per se
[00:23:40] It's not like something you need to avoid you can use it as a tool everything is a tool in music production
[00:23:47] It's not a problem. That's not right or wrong
[00:23:49] It's not like you need to have a linear face a cue now for that then which introduces a lot of latency and gives you a lot of
[00:23:55] Pre-ringing which sounds super weird on drums anyway
[00:23:59] Don't do it just
[00:24:03] Just don't care for this stuff as a beginner at all
[00:24:06] Just do your tracks and you are fine and then in 20 years later
[00:24:11] You can maybe save yourself from having this five millisecond dip in volume
[00:24:17] Um
[00:24:18] Make it even better, but no one hears it anyway. No one listens to it
[00:24:22] That's the that's also the harsh truth of it. No one cares when listening to your track. No one cares
[00:24:28] No one cares if you use the biggest
[00:24:31] Expand most of expensive synthesizer ever. They don't know it. They people are listening to AI songs
[00:24:38] Where there's a lot of a comp filtering on top of it, right? It sounds like shit
[00:24:44] It's compressed because the learning material is mp3 is from ripped from
[00:24:48] Russian, I don't know
[00:24:51] Voritz websites, right? And then they put this into the model and then they create music from it and people listen to it on the radio
[00:24:57] And then they don't know difference between this is a fine song. There's a nice song and you basically sit at home
[00:25:04] Using the biggest the biggest synthesizer ever the biggest mastering tools the most expensive stuff tinkering for weeks and hours
[00:25:12] And no one listens to your song. That's the harsh truth of it
[00:25:16] Okay, you paid a lot of money to courses to production courses to actually be at this point. No one cares
[00:25:22] It's probably just for you and that's also just fine. There's a lot of stuff
[00:25:27] I do I only care about and no one else cares and that's also fine because I make music for myself first
[00:25:34] I need to like to love what I do and then
[00:25:40] Every everyone else is
[00:25:42] Welcome to like my stuff too. If not, then that's also just fine. So this is how I approach it
[00:25:48] There are probably more things like this where it's exactly the opposite way around
[00:25:52] But this was something yesterday. We talked about in the discord someone asked me and I get this ask a lot
[00:25:58] About courses and yes, there will be some free courses coming up also about music production
[00:26:05] I just did this with the grid with the big week grid. Let me know what you think about this course by the way
[00:26:10] So I think all the stuff needs to be out there for free. Maybe because I'm you know raised in a communistic country
[00:26:18] But also that's how that's where I'm coming from. So in the late 90s
[00:26:24] drum based producing was not
[00:26:27] Something you could read about everywhere. There were no real forums and the big producers never shared
[00:26:35] their knowledge only between themselves right you have to
[00:26:37] Know no certain type of persons and they give you some tips
[00:26:41] so
[00:26:43] Yeah
[00:26:45] That's why I'm sharing this. Okay. Also this it's also so it's the heart. It's the hard truth more or less
[00:26:51] But that's what I think about so don't watch too many YouTube tutorials only my videos, of course
[00:26:59] No, but you know just watch some videos take some take some inputs from from them and use some knowledge here and there
[00:27:08] But it's not giving you the full picture. It's best to actually close down the browser
[00:27:13] Open up your door and just make some new things some interesting things things that you care about
[00:27:21] make some beats
[00:27:24] Small beats big beats make it complex make it very simple. No one cares only you just just make it so it sounds good to you
[00:27:32] Right and then you send it to me. I
[00:27:34] Think that's it for this video. I talked and rambled about
[00:27:37] 27 minutes nice. Let me let me know what you think about maybe I'm completely wrong on certain topics
[00:27:44] That's probably the case, but that's what I think about at the moment in time
[00:27:49] About certain topics. Okay, that's it. Thanks for watching
[00:27:53] watching, and I'll see you in the next video. Bye!