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24 lessons about producing records that turn amateurs pro — Transcript

by Damian Taylor · 4,379 words · 719 segments · language en · Watch on YouTube

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0:00Did you think becoming a world-class
0:01music producer would be easy? I did, but
0:05it took me three decades of sessions in
0:07studios all over the world to understand
0:09what separates the best producers from
0:11anonymous amateurs. So, to help you
0:14become a world-class producer yourself,
0:15here are 24 lessons I learned the hard
0:18way.
0:19Lesson number one. So, I built my skills
0:21and reputation in London through my 20s,
0:23but once I had an international client
0:25base, became a dad, and realized our
0:27industry was changing, we moved to
0:29Montreal for a better lifestyle and
0:31cheaper warehouse space where I could
0:32build my dream studio. I got obsessed
0:35with making my facility as good as the
0:37great rooms I'd come up in London. For
0:39years, all my spare time went into
0:41making [music] the studio better. From
0:43researching cables to hand-building
0:45analog outboard. Whenever I wasn't
0:47producing or mixing a session, I would
0:49be reorganizing gear, rewiring patch
0:52bays, hunting for the perfect setup.
0:54Now, this crept up gradually, but I
0:57eventually started noticing
0:59the more gear I put in there, the harder
1:02I was finding it to actually enjoy
1:04making music. Taking a full production
1:07from a writing session to a finished mix
1:08became this painful grind.
1:11There were too many details to remember,
1:13gear that would break, software that
1:15would crash. And my dream studio turned
1:17into a vortex of writer's block and
1:20self-doubt where,
1:22without realizing it, I began avoiding
1:25the real creative work. I'd just like
1:28loop up eight bars and sit there
1:29fiddling with plugins for hours, then
1:31convince myself that the song wasn't
1:33working because I needed that latest
1:35piece I just read about in Tape Op. And
1:38after years, I finally realized I was
1:40playing a [music] stupid game. I was
1:42amassing a collection of stuff to
1:45compensate for my insecurities instead
1:47of focusing on finishing [music] as much
1:49music as possible. That's why lesson
1:52number one is focus on your discography,
1:55not your collection. Measure your
1:57success as a producer not by how much
1:59gear you have but by how many records
2:01you finished. The finished music you
2:03make is a much more powerful proof of
2:06your credibility than [music] how many
2:08vintage instruments you own. Lesson
2:10number two. I'm sure you know that
2:12craving for unlimited time and freedom
2:14to explore every possibility a song
2:17could ever want.
2:18But I've seen countless artists and
2:20producers lost in the mirage of infinite
2:23ideas. They get paralyzed by options,
2:26constantly second-guessing themselves,
2:28and their hard drives become graveyards
2:30of unfinished music. Lesson number two
2:32is your studio time may be unlimited,
2:34but your objectivity isn't.
2:36The most valuable tool in the world for
2:39producers isn't vintage synth or tasty
2:41outboard, it's objectivity.
2:44It's your instinct.
2:46Because you can finish a record with
2:49almost no gear,
2:51but you can't finish a record with no
2:53clue.
2:54So defend your objectivity with every
2:57fiber of your being. Learn to gauge how
3:00objective you are in every moment, and
3:02design your creative system to preserve
3:05objectivity at every stage. Lesson
3:08number three. Okay, tell me if you can
3:10relate to this one.
3:12I'm totally committed personally to
3:14making every song for every album for
3:16every artist I work with an original
3:19custom piece of world-class work.
3:22I don't want to make cookie-cutter crap.
3:24Now,
3:25at the start of my career as a
3:26programmer, editor, and engineer, I
3:28achieved this by just working insanely
3:31hard. 18-hour sessions, not leaving the
3:33studio for days at a time. I was always
3:36down to clown. But as my career
3:38expanded, my real-world responsibilities
3:41grew, too. All while recording budgets
3:44and timelines were shrinking.
3:46To keep up, I couldn't just work harder
3:49anymore. There just weren't enough hours
3:50in the day. But the solution isn't to
3:54lower your standards and start making
3:56generic crap with splice loops. Being
3:58formulaic will kill your career before
3:59it's even started. Instead, you need to
4:02start developing creative leverage in
4:05the studio. That's why lesson number
4:07three is develop a personalized
4:09production system while rejecting
4:11musical formulas.
4:13So, this is a huge subject and it's what
4:15this channel is all about, really. Um
4:17subscribe, by the way. But, the TLDR is
4:20to reliably and consistently deliver a
4:23large quantity of high-quality original
4:26music, you're going to need to get very
4:29smart about how every component of your
4:32equipment, your technique, [music]
4:34your mindset, and your outside life's
4:36activities and responsibilities work
4:39together to create the music [music] and
4:41life you're proud of.
4:43Lesson number four. The golden years of
4:45recording are so inspiring. Iconic
4:48artists, classic songs, lush
4:50orchestration, legendary studios. What's
4:53not to love?
4:55Well, it's easy to forget that back
4:57then, studio time was so expensive that
5:00a typical session couldn't run more than
5:02three hours from empty tape to finish
5:04master.
5:06As a producer, you absolutely could not
5:09walk in without a plan and just see what
5:11happens. [music]
5:12Instead, you'd be responsible for
5:14coordinating a small army. To prepare
5:16for the sessions, you'd have to find the
5:18right combination of lyricists,
5:19songwriters, artists, and A&R, then
5:22arrangers, copyists, and orchestral
5:24fixers, [music] and the studio, of
5:25course.
5:26And on the day, you'd ensure the
5:28artists, the musicians, the conductor
5:29and performers, the engineer, and even
5:31assistants and maintenance staff all
5:33performed to their best so that you'd
5:35have a great mix to send to mastering,
5:37manufacturing, and distribution.
5:40As a producer, you would orchestrate a
5:43relay race of expertise to deliver the
5:45record. So, lesson number four is
5:48understand the traditional roles and how
5:50they fit together.
5:52Times have changed, but this map is like
5:54your cheat code regardless of the genre
5:56you're making, regardless of the size of
5:59your team.
6:00Even if, actually especially [music] if
6:02you're working completely on your own,
6:04this proven structure gives you all the
6:06tools to listen clearly and act
6:09effectively for every stage of your own
6:10productions.
6:11Lesson number five.
6:13Lesson number two urged you to defend
6:15your objectivity [music]
6:16at all costs. But, with that sharp
6:19objectivity working overtime, you might
6:22just start noticing everything that's
6:24wrong with your song.
6:26Now, this is an empowered moment for
6:27seasoned professionals who know how to
6:29move forward, but amateurs get
6:32overwhelmed and lock up because you just
6:33don't know where to start.
6:35And that's why lesson number five is
6:37important. You already understand that
6:39objectivity is your most powerful tool,
6:42but it only works when you pair it with
6:44your most powerful resource, which is
6:46momentum.
6:48Now, momentum grows when you just focus
6:50on one stage at a time in your
6:52production. Get it as good as you can
6:54and then move on to the next, then the
6:56next, then the next. And before you know
6:59it, momentum will carry you. You'll be
7:03flying, having the time of your life
7:04riding that creative wave. Which is
7:07where lesson number six comes in. On the
7:09control room wall of almost every
7:11classic band session is a whiteboard
7:13with a simple grid, song names along the
7:15top and the instruments down the side.
7:18At a glance, you can see what you
7:20finished and what you need to do next.
7:22If the drums and bass are done on that
7:24song, perfect moment to do guitars. And
7:27you know, no point recording backing
7:29vocals if you don't even have the
7:30backing track down.
7:31Lesson number six is that if you want to
7:33grow deep discography of resonant
7:36world-class music, it really is as
7:38simple
7:39as knowing what to do next and by
7:41extension, what you cannot do
7:44>> [music]
7:44>> until your foundations are in place.
7:47Lesson number seven. Okay, so you can
7:49see how working through a simple
7:50whiteboard of the parts you need is
7:52really helpful for your production. But
7:54what if you are not a down-the-middle
7:56guitar, bass, drums band? [music] A grid
7:58on your wall stops being an option. Or
8:00what if you're deep into recording
8:01backing vocals, but you're not sure if
8:04you've missed any details? Do you tick
8:06the box or not?
8:08Well, this lesson seems so simple, so
8:11basic that amateur producers always miss
8:13it. Lesson seven is listen to your work
8:16in progress from [music] start to finish
8:18once while taking notes. Then
8:21methodically work through your notes in
8:24order.
8:26Repeat this process until you don't hear
8:29any more notes. Congratulations, you're
8:32done. Lesson eight. Let's get into some
8:35details here because for lesson seven to
8:37work, and two, and five, you have to be
8:40objective enough to clearly hear what
8:42the song needs.
8:44I remember late nights getting angry
8:45that my speakers couldn't go louder. I
8:47was confused and desperately searching
8:49for inspiration, but the only thing I
8:51got was ringing in my ears. If you're
8:53serious about having a great discography
8:55to show for all your work in the studio,
8:57you need to embrace lesson eight, which
9:00is listen less to hear more. Anytime you
9:04feel your objectivity slipping, anytime
9:07you lose touch with your [music]
9:08instinct, it's time to step back and
9:10give your ears a chance to reset.
9:13While this happens, your subconscious
9:16will process that sonic puzzle you're
9:18grappling with.
9:19Whether you get an early night's sleep,
9:21go for a walk, or even mode switch to a
9:23different role in your production
9:24process,
9:26you're creating a chance to hear the
9:28song fresh so that it becomes obvious
9:31how to move forward again.
9:33Lesson nine. Many years ago, I had to
9:36walk off an album I was co-writing and
9:39co-producing. And I was
9:41devastated because I'd sunk a year of my
9:43life into trying to build something with
9:45this artist. We kept making one big
9:48mistake over and over, and I wish I
9:50could go back in time to fix it.
9:52See, we were obsessed with one of the
9:54biggest songs in our scene at the time
9:56and constantly referencing it during
9:58production sessions.
10:00Now, you think, "Oh, I'm going to
10:01inspire myself. You're You're going to
10:03give yourself a clear target to move
10:05towards."
10:07But,
10:08your brain just starts obsessing
10:11about all the differences between your
10:14two songs, the things your production
10:16does not have.
10:18And we wound up going sideways, even
10:21backwards, as a result. Lesson number
10:24nine is the fastest way to sabotage
10:26yourself is with one great reference
10:28track. Because if you do that, you
10:31destroy your objectivity. You crowd out
10:33the space your own music needs to grow,
10:37and you even undermine your belief in
10:38yourself. If you want to get inspired
10:40during a session,
10:42do it properly. Listen to music from a
10:44ton of different artists, and make sure
10:46to step outside of your genre, too.
10:49This way, your brain will expand.
10:52Options will open up because you're
10:55creating like this blue sky of
10:56possibilities instead of trapping
10:58yourself in a tunnel of direct
11:00comparison.
11:01Lesson 10.
11:03Now, we all want to make the best
11:04records possible,
11:05>> [music]
11:05>> and it's natural to think that the more
11:07we add into a song, the better it's
11:09going to be. But, this is a terrible
11:12illusion.
11:13Amateurs haven't learned lesson 10,
11:15complexity is not the same as quality.
11:18More often than not, a complex
11:21production is a sign that [music]
11:24foundational decisions haven't been
11:26made.
11:28You just wind up trying to compensate
11:29with like more stuff.
11:31And that's when you find yourself caught
11:33in the mixing tutorial rabbit hole,
11:36convinced that if you just smash your
11:37layer cake through soothe and God
11:39particle, you're finally going to love
11:41it. Andy Benoit famously said, "Geniuses
11:44prosper not by deconstructing intricate
11:46complexities, but by exploiting
11:49unrecognized simplicities."
11:52Lesson 11. Now, Albert Einstein has some
11:54brilliant quotes. From "The true sign of
11:57intelligence is not knowledge, but
11:59imagination" to "Life is like riding a
12:02bicycle. To keep your balance, you must
12:05keep moving." You'll find a goldmine
12:07from him to apply to producing music.
12:09But probably my favorite one is this.
12:11Now, it's too long to read out, but it
12:13illustrates its own point so perfectly.
12:16Because this profound idea of Einstein's
12:18remained totally obscure until a
12:20musician distilled it down to "As simple
12:23as possible, but no simpler."
12:26These seven words are our like guiding
12:30beacon in the sky for everything we do.
12:33>> [music]
12:33>> From the shape of our arrangements to
12:35the clarity of our lyrics to the
12:37elegance of our songwriting, and of
12:39course, how we personalize our studio
12:41systems. Everything Everything benefits
12:44from being as simple as possible, but no
12:47simpler.
12:49Lesson number 12. Now, in my career,
12:51I've mixed a vast number of records
12:53produced by other people. And once
12:55you've mixed thousands of songs, you
12:58realize it doesn't really matter which
13:02of the cabinet mics winds up in the
13:03final mix.
13:04Or if that warm poly-synth was Japanese
13:07or American. Now, of course, you'll
13:09notice the difference if you AB them on
13:11their own, but because they serve the
13:14same role in the song, the differences
13:17don't really matter once you're
13:20performing your final mix.
13:22Lesson number 12 is to obsess over
13:25roles, not model numbers.
13:28Do you need something warm and wide,
13:30fast and spiky, solid, airy? Defining
13:33the role of a part in your production,
13:35then manually dialing it in and
13:37performing it is like 97% of the result.
13:41Lowering the filter and speeding up the
13:43envelope will make way more of a
13:44difference than whether your synth is a
13:46Juno 660 or 106. You're going to build
13:49your discography so much faster
13:51>> [music]
13:51>> when you focus on how to fulfill the
13:53role the song needs using whatever you
13:56have on hand. Lesson 13. Okay, when I
13:59was 16 years old, I sold my mountain
14:01bike to buy a used Fostex four-track
14:04cassette recorder. And it took me months
14:06of flailing in the dark on my own just
14:09to figure out that the first step
14:11towards my recordings not sounding like
14:14total utter trash was as basic as
14:18recording a metronome to tape and using
14:20a digital tuner with my guitars. A
14:23consistent timing and tuning reference
14:25is [music] like the preschool level of
14:27this lesson, which I urge you to elevate
14:30to the level of Nobel Prize-winning
14:32scientist. Lesson number 13 is it is
14:35impossible to overstate the importance
14:38of timing and tuning for a great record.
14:41Hearing this stuff is infinitely more
14:43important than like hearing compression.
14:45And getting these details right will
14:46improve your mix way more than a
14:48million-dollar collection of outboard
14:50gear, and it will put you ahead of 99%
14:53of producers on the planet. Lesson
14:55number 14. Okay, in lesson 10 we talked
14:57about how complexity is not the same as
15:00quality, and this is an important cousin
15:02to that lesson. Now, recently I mixed an
15:05album for a young producer, and almost
15:07every song had well over 100 parts, and
15:10I remember the final eight-bar peak of
15:12one song had literally 39 new layers
15:15coming in at once. And I know their
15:18intention was to create a wall of sound,
15:20but they hadn't yet learned lesson 14,
15:23which is that you need space to get
15:26size.
15:28Your record will sound
15:30way bigger with fewer parts working
15:33together in the right way. Lesson 15.
15:35During a recent podcast interview, I was
15:37asked what my advice would be for a
15:39producer whose career growth had
15:42stalled.
15:43And the host seemed surprised by my take
15:44on this because I think producer is as
15:47broad a word as athlete.
15:50And there's no point practicing
15:51three-pointers if you're trying to win
15:53the gold in downhill skiing. But because
15:55the word producer is so broad, it's so
15:59vague these days,
16:01when you try to follow all the advice
16:02you find online, it's like practicing 50
16:05different sports
16:06and winning nothing.
16:08So, lesson 15 is lock in on the kind of
16:11producer you want to be.
16:13Define the type of work, the type of
16:15artist, type of process that's for you.
16:18Are you making type of beats for sale?
16:21Are you wrangling punk bands?
16:24Are you collaborating with solo artists?
16:25There's infinite room to explore within
16:28your chosen field. And it's so much
16:30easier to improve when you have this
16:32clarity. But there's no point putting on
16:35swimming speedos and then running out
16:37onto the football pitch. Lesson 15. I
16:40got obsessed with records when I was a
16:41teenager living in the South Island of
16:44New Zealand.
16:45Back then, pre-internet, it took months
16:48for music press to arrive by boat from
16:50the UK and the USA. And sometimes as
16:52long again for the records to actually
16:53show up on our shelves. So, it was only
16:55like natural for me to idolize the
16:57people making this music, imagining them
16:59as like these supremely gifted demigods.
17:02I was shocked and then inspired once I
17:05started working in person with some of
17:07my heroes a few years later.
17:09And that's because of lesson 15.
17:12Nobody is inherently any better
17:15or worse than you.
17:18We're all just normal human beings
17:22at our own stage of our own paths.
17:26The most iconic artists are no different
17:28to you.
17:29All they did was let their natural
17:31interests and obsessions guide them.
17:34And the greatest engineers and producers
17:36are no different to you. They just
17:37followed through on their commitment to
17:39their craft, and you can, too.
17:43Lesson number 16. A lot of developing
17:46and artists that I talk to feel they
17:47can't get their music and careers going
17:50until like they're already an expert. If
17:52your anxiety spikes at the thought of
17:54making a fool of yourself on a session,
17:57ruining a song with subpar production,
18:00then please embrace this lesson.
18:03Questions are infinitely more powerful
18:05than answers.
18:07A question as simple as "What would
18:09happen if we mute the chords in verse
18:11two?" can open up a new world of
18:13possibility for a song.
18:15And a question as direct as "Hey, what's
18:18this song really about?" can take you
18:21from a forgettable little ballad to
18:23heart-wrenching catharsis.
18:25Our buddy Albert Einstein said, "I have
18:28no special talents. I'm only
18:30passionately curious."
18:32So, letting go of needing to know what's
18:34going to happen before you even start,
18:37and just getting curious about how
18:39things can evolve once you get going,
18:41isn't [music] just the fast track to
18:43finishing.
18:45It's also guaranteed to make producing
18:47records so much more fun.
18:50Lesson number 18.
18:52Okay, this one is a real paradox of
18:55production, and it can happen at any
18:58stage, but one perfect example is this
19:00mistake that I used to make over and
19:02over when I was mixing for years.
19:05>> [laughter]
19:05>> So,
19:06whenever I'd be building a mix, I'd
19:08start by going all in on the drums. I'd
19:10like go deep. I'd take hours, and they
19:13would sound insane. They're so big.
19:16They're so powerful. They're so edgy.
19:18I'd I'd be feeling like this renegade
19:20genius. But then you start adding in the
19:24rest of the multi-track, and it all
19:27collapses. The instruments are fighting,
19:30and there's no space for the vocals. And
19:32by the time everything is in, those
19:34earth-shattering drums
19:36just feel tiny. They feel pokey. They
19:39feel lame, honestly. So, lesson number
19:4218 is it will always sound different
19:46once everything is in together. Whether
19:47you're mocking up parts in a writing
19:49session, deep in production, or pulling
19:51a final mix together, just move quickly.
19:54Sidestep the rabbit holes until you've
19:56sketched out a complete picture.
19:58Lesson 19. What's beautiful about our
20:01work is that there's always more to
20:03learn, more to explore, more to discuss.
20:06It is an infinite game.
20:09But, unlike sending human beings into
20:12orbit, we don't have to do everything
20:15perfectly to do our job well.
20:18Lesson 19 is making records is not
20:21rocket science. It's as simple as
20:24listen,
20:25notice what could change, try the
20:27change,
20:28and if you prefer it, keep it. If you
20:30don't, undo it.
20:33If it gives you a new idea, try that
20:35one.
20:36Repeat.
20:37Lesson number 20. One of the Prodigy's
20:40biggest songs had been languishing on
20:42Liam's hard drive for years. He'd been
20:44experimenting with it live and in the
20:46studio. And when we opened it up during
20:48my sessions on Invaders Must Die, I
20:51wound up remembering their manager
20:53playing me interludes from the band's
20:56live set, and a spark went off.
20:59That is when the glockenspiel hook was
21:02flown into Omen.
21:04And suddenly the song clicked. We
21:06finished fast, and the rest is history.
21:09So, lesson 20 is never judge how long it
21:12takes to finish a song. Trust the
21:14process.
21:16Ignore that internet chatter that says
21:18you'll know in the first 10 minutes. And
21:19likewise, ignore the feeling that a song
21:22is only good if you've slaved over it
21:24for years.
21:26Every album has some songs that take
21:29weeks of struggle and some that arrive
21:31in a handful of hours. One isn't better
21:34than the other. It's just part of the
21:35process. And once your music reaches
21:37your audience, it's all completely
21:39irrelevant anyway.
21:41Lesson 21.
21:43So, when I first started trying to make
21:45instrumentals for top line writers,
21:47I spent 3 weeks polishing tiny details
21:50on this one song. But nobody ever wrote
21:53to it and I cannot blame them because it
21:55was awful.
21:57So, here's a question. Do you think it
21:59would have become good enough if I'd
22:01worked on it for another 3 weeks?
22:03Back then, I was a devoted
22:06perfectionist. You just you get all the
22:09details perfect then you have a perfect
22:10record at the end of it, right? But that
22:13changed for me during Björk's album
22:14Volta on her sessions with Timbaland.
22:16The legendary Jimmy Douglas was
22:18engineering while Danger Mouse was Tim's
22:19creative partner. Now, fun story.
22:22Timbaland and Björk worked exactly
22:25opposite schedules. Midnight for Tim,
22:27noon for Björk. And they just kept
22:29missing each other. But Jimmy, Danger,
22:31and I would be hanging out in the studio
22:33the entire time. And that gave me a
22:35window into a different way of working.
22:37Around the clock, Danger had headphones
22:39on cranking out like five beats a day.
22:42Then Tim would come in at night, chat
22:44for a little bit, put on headphones,
22:46cook up something again in like 10
22:48minutes, record it, and then leave. And
22:51that's when I realized lesson 21.
22:53Quantity is the path to quality.
22:56I did the math. Tim was making hundreds
22:59of ideas a year. Danger was making
23:01thousands. And in a similar time, I
23:04would make maybe like five.
23:07So, the ratio of music that was used
23:09though, that connected with the
23:10audience, might only be a handful out of
23:14every hundred. But, Tim and Danger found
23:17the music that connected by relentlessly
23:20making more every day.
23:22So, the lesson is get serious about the
23:25quantity, the number of shots on goal,
23:28more than trying to make one shot
23:29perfect. It's not about the perfect
23:32production, but creating the opportunity
23:34for as much music to flow through you as
23:37possible.
23:38By the way, I could actually make 50
23:40videos about what I learned from that
23:42session, and there's some zingers I will
23:44be sharing with my email list. So,
23:45please do subscribe if you're into that
23:47kind of thing, there's a link below.
23:48Lesson 22. There's a lot of chat out
23:51there about making a beat in 10 minutes,
23:53or how you should just make a ton of
23:54music and don't overthink it. And, of
23:56course, that is totally valid, but
24:00unless you're also refining and evolving
24:03your sensitivity, skills, and systems,
24:06your music isn't really going to
24:08improve. So, lesson 22 is obsess over
24:12quality and craftsmanship.
24:15Take pride in the details, the
24:17precision, the fit and finish of your
24:20work, and ensure you're always improving
24:23while delivering reliably. You'll build
24:26a reputation as someone who can elevate
24:28a record. And the cumulative effects of
24:31those small details will make your music
24:33stand out.
24:35Lesson 23. I used to suffer from this a
24:37lot at the start of my career, and I'm
24:40constantly talking to new producers,
24:42mixers, and artists who are in the same
24:44trap.
24:46In our quest to make a record perfect,
24:49we don't realize what makes them
24:51special.
24:52And we mislabel character and rough
24:55edges as [music] imperfection, polishing
24:58them away until our music is like bland.
25:01It's [music] symmetrical. It's just
25:03average.
25:05Lesson 23 is a real mind-bender, but
25:07it's a truth that shall set you free.
25:10Perfection
25:12does not exist.
25:15Perfection is an illusion. It is an
25:17imaginary construct of the human psyche.
25:21Uh perfectionism is not a virtue. It's
25:25our ego's defense mechanism to avoid
25:27judgment from others by always having
25:30one more tweak. And it makes us unable
25:33to truly hear the music as it is.
25:37Now, an amateur might stress out that
25:39imperfections are ruining their record.
25:42But a great producer knows that's where
25:45beauty and character are found.
25:48Lesson 24.
25:50Hey, have you noticed that these last
25:51few lessons are starting to contradict
25:53each other?
25:54Like, how can you obsess over quality
25:57but shun perfectionism? How can you work
25:59fast while being okay with the fact that
26:02every song is going to take the time it
26:03needs? So, it's time for lesson 24.
26:07There are no absolute truths. Embrace
26:11the contradictions.
26:13Making a ton of music that resonates
26:14with your ideal audience and attracts
26:16your ideal opportunities will require
26:18you to let go of everything you think
26:20you know.
26:21Over and over again, sometimes within a
26:23single production.
26:24And once you can hold two opposing ideas
26:26in your head at the same time and still
26:29move your record forward,
26:31that's when you're embodying the wisdom
26:33of a great producer. Push yourself and
26:35your production as far as you can,
26:39then be willing to let go.
26:41There are no objective measures of
26:43quality in art.
26:45We're only here
26:47to touch the hearts of our listener in
26:50the moment.
26:53Okay, so now that you've learned all
26:54these lessons, you're ready to go deep
26:56into a production system rabbit hole.
26:59So, click this next video for a detailed
27:01breakdown of the key elements of a drum
27:05production workflow that will help you
27:06get 3 days work done in 3 hours.

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