Rising Australian duo dekleyn just released their debut self titled LP and it is magical. The 12-track-project is filled with alt/dance-pop vibes from start to finish that will surely have you moving and groovin’ by the time you’re done listening fully through. dekleyn started writing the album shortly after the release of their “Thrive” ep back in July 2019, then after almost a full year of writing, recording and producing, making sure each song was sounding just as it needed to be, they had it all finished up in June 2020. Check out a quote from the rising act below and under that stream their debut LP!
“This album is the product of a year of hard work and many years developing our skills as songwriters and producers. It symbolizes a turning point in the evolution of dekleyn and it has been a huge stepping stone toward our next phase.” – dekleyn
With four Gianni Blu originals already to its distribution credit, the European imprint has invited Blu back for a fifth ChillYourMind outing, enacted with “What It Feels Like.” With the gilded finish of his prior single “Like Gold” still glinting, Blu initiates a stylistic overhaul on his latest.
Whereas the Italian-Haitian producer’s previous two releases saw him source vocals from serial collaborator D. Lylez, “What It Feels Like” plays host to a cameo from Mingue. Further, although “What It Feels Like” delves into deep house, a subgenre that doubles as Blu’s wheelhouse, Blu’s engagement of the sound on this single differs from what he’s done to date.
Allowing acoustic instrumentation to punctuate the electronic forefront of “What It Feels Like,” Blu integrates texture in an intoxicating amalgamation of acoustic, electronic, and vocal elements that will unsurprisingly further his status as one of the Midwest’s most prominent emerging artists.
Widely recognized as one of the pioneers of the future house genre, French super-producer Tchami has cemented himself in the scene over the past years with his uncanny ability to shake up the dance-floor and produce tasteful four-on-the-floor gems. In 2020 alone, Tchami has co-produced four tracks off Lady Gaga’s latest album Chromatica—including “Rain On Me,” a massive collaboration with Ariana Grande—and has shared a handful of singles in anticipation of his debut album, Year Zero.
Marking his 6th original release this year, Tchami has teamed with rapper Gunna to deliver “Praise,” yet another infectious dance anthem. No stranger to electronic collaborations, since he worked alongside NGHTMRE on the braggadocious trap single “CASH COW” last year, Gunna is able to complement Tchami’s instrumental perfectly. His smooth bars work wonders on top of the producer’s atmospheric production before a minimal yet hard-hitting drop takes over, offering groovy basslines and tasteful leads.
Like Kygo and Thomas Jack and Matoma, Bakermat was a part of the rising tropical/chill house scene in 2013-2014. Over the years, he’s stuck to that sound despite diminishing interest as bass and harder house styles rose the ranks. But back in 2018, he dropped a song called “Partystarter.” It was a wild departure from his previous singles “Do Your Thing” and “Lion,” an almost-indie rock piece full of energy with infectious chants and some gritty guitar riffs.
Little did anyone know at the time that they’d just bore witness to the first single from Bakermat’s upcoming debut album, The Ringmaster.
When I was first sent the album a little over two weeks ago, I hadn’t listened to Bakermat in years. I still remembered him as that one tropical house producer, but the album immediately took me by surprise with the opening track, “Trouble” featuring Albert Gold. With Gold’s sublime voice coming in over mesmerizing strings, it drew me in with such astonishing quickness — I felt myself leaning forward in my chair, waiting for the next sultry chords.
It’s that sort of defiance of expectation that dominates The Ringmaster, a tour de force in surprise and amazement. Bakermat himself serves as ringmaster in this circus of rotating contributing artists, from Gold to GoldFord, Alex Clare, Kidda, Emily Lind and BRÅVES, 7Chariot, and Savannah Jeffreys. Like someone who’s honed his craft, he deftly maneuvers and positions his players in key posts.
“With this album, I am the Ringmaster of my own circus presenting you with a big variety of songs in different styles,” Bakermat says. “I hope the listener, just like in an actual circus, will experience a big diversity in emotions while listening.”
Bakermat has made a Circus a large part of his brand for years. Since starting ‘Bakermat’s Circus’ in 2015, the Dutch producer has developed an expanding community where “artists can push themselves musically, and the audience is carried away by the music, the event, and its extraordinary ambiance.” With his debut album, he now includes himself in that ethos.
Unlike other albums where it might be best to forget everything about an artist before listening, remembering that Bakermat used to produce exclusively tropical house while listening to The Ringmaster actually provides an ironically powerful experience. When you think that his sound used to be so… tropical, and then hear this, each and every chord and synth is amplified.
At only 30 minutes, the 10-track album is fairly short, but never without something to latch onto and remember. Whether it’s the playful “Pretty Little Jaguar” or anthemic “Learn To Lose” or emotionally wrenching “Out Of Control,” The Ringmaster deftly bobs and weaves through genres and influences with an impressive dexterity. The variety of influences entirely by design, as well.
“I made the album ‘The Ringmaster’ to show my diversity as a producer,” Bakermat says, “and to go against the idea that an artist should stick to one genre or style with his or her album in order for it to be a cohesive body of work.”
He continues, “I think despite the big difference in style and genre between some of the songs, the tracks all have the same sound and express the same love for melody and live instrumentation that I have always cherished as a producer. The album consists of both really happy and really sad tunes. Just as life consists of both really happy, and really sad moments. My aim is for people to be cheered up by the happy songs, and find comfort by the sad ones.”
This week, Ed Brew sat down to chat on the EDM Prodcast.
Ed Brew is the CEO of the popular demo submission site LabelRadar. He has an extensive history in the music industry, working with brands such as Universal, Monstercat, Trap Nation, and running campaigns for businesses like EA, HP, and Audible.
We start with Ed Brew’s background, discussing his charity music compilation that launched him into the music industry. He discusses the various jobs he’s had over the past decade, which includes sync licensing, A&R’ing, influencer marketing, running brand campaigns, and more. He also explains how his early music jobs served as a creative outlet, which contrasted from his previous job working at a law firm.
Later on, Ed Brew breaks down the development and growth of his demo submission site LabelRadar. He explains the steps it took to launch the site and for him to dedicate himself full-time to it, offering insights and advice for those looking to start their own business.
Ed Brew also offers his best guidance for independent artists looking to launch and develop their career. He discusses what artists should focus on in terms of branding, outreach, marketing, and partnership in order to make an impact in a very competitive industry. He also explains his thoughts on whether or not producers should get a job in the music industry, and how to effectively deal with the frustration of tracks not getting signed.
The “Love Songs”, “Problems”, “The Next Chapter”, and “Colours” singles were massive teases leading up to the grand reveal of the newest album from Mat Zo. The “Illusion Of Depth” album is the London-born, L.A.-based producer’s third artist LP.This album stays true to Mat Zo’s sporadic arrangement stylistically, but this time around he aimed for a consistent variable.
“I started working on Illusion of Depth because I wanted to make a body of work that was cohesive. I’m usually known for being all over the place, but I wanted to make an album that had unifying qualities. In this case, partly it’s the tempo. Everything on the album is in the 124-128 BPM range, but within that constraint, I still managed to be all over the place stylistically. There’s also a lot more live/non-digital elements on this album than my previous work. I was getting really tired of how clean everything is in this corner of dance music. Above all else, I wanted to make an album with grit, texture, and attitude. I wanted to make a ‘fuck you’ statement to the safe, sugary, fluffy world of a post-EDM trance.” Zo says.
Tracks from the album that fans haven’t had the pleasure of yet hearing do indeed have a large spread of style. “In Media Res” gives off an energetic video game vibe. “Bruxism” features gritty synths, a deeper bass line, and a catchy vocal sample. “Fly While You’re Still Free” is a wonderful nod at 80’s synths and vocals. “Petrushka” is a slow burn with vocal samples that rides the fine line of eerie and blissful. “Dangerous Feeling” combines a trance build with a house drop. “Paralysis” blissful vocals lead to the type of melody that gives of a very ‘encore’ vibe; which is perfectly fitting for a second-to-last track. Finally, “Begin Again” has gentle bell samples in the build and a hyped dirty synth drop is a great finish regardless of the listener’s mood.
Mat Zo joined forces with legendary jungle/D&B MC GQ in “The Next Chapter”. Zo also introduces Atlanta-based Olan in “Colours”,“Problems”, and “Paralysis”. Olan is a singer and producer that Mat has worked with for a number of years.
“A big part of the conception of the album came from working with Olan. She’s a highly skilled singer, songwriter, and producer and we’ve known each other for years. We had been in the studio working on a bunch of material before this, and that helped us grow a common musical identity. When it came to writing this album, we were already comfortable with each other. This allowed the songs on the album, to be honest, opposed to a bunch of toplines plastered on top of already formed tracks. Every song we wrote together is personal, sincere, and holds a lot of meaning for both of us,” Zo states.
Olan adds, “Problems” was a song that came together seamlessly at the time. We wrote the entire song in a day, but its meaning and depth wasn’t clear to me until recently. It feels like a conversation with myself or some inner spirit that’s trying to find some neutral ground or peace when I’m overwhelmed by things I can’t control. The lyrics seem to be about accepting things as they come and trust the voice in my head that tells me to keep trying my best.”
Nicky Romero has made his Universal Music Group (UMG) debut with his melodic new single, “Nights With You.”
Romero’s inaugural UMG single drifts far away from his robust electro house sound to unveil a much more abstract yet radio-friendly side of himself. “Nights With You” coalesces unfeigned melodies and heartfelt vocals into a striking orchestra of acoustic strings.
Assisting on the formulation of “Nights With You” is an array of familiar faces such as Sam Void of Romero’s own label, Protocol Recordings, and Digital Farm Animals.
Speaking on the making of “Nights With You” and his newly forged partnership with UMG, Romero said,
“‘Nights With You’ is a song I have loved from the very first moment I finished the demo. We went through many versions of this record, but when the acoustic strings came in, I knew instantly we had something special. Sometimes, to get the best results and bring out the magic, certain elements of a track need to be preserved as raw.
The team at Universal Music [Group] has been thoughtful and flexible in the way they look after artists in 2020, particularly in dance music. I feel like they understand me as an artist and don’t attempt to put a box around creativity.”
“Nights With You” is a continuance of Nicky Romero’s endeavors throughout the year, following a 2020 edit of one of his world-renowned hits, “Toulouse,” and the institution of his new alias Monocule in September.
Featured image: Rukes
Tags: Digital Farm Animals, Nicky Romero, nights with you, protocol recordings, Sam void, Universal Music Germany, universal music group
KAYTRANADA has dropped the curtain on the official music video for “The Worst In Me,” his stunning electronic-soul collaboration with Tinashe.
Directed by Arnaud Deroudilhe, the sultry video combines the spellbinding sonic flair of KAYTRANADA with the seductive allure of Tinashe and funnels them through a Halloween lens. Dark orange hues, satin robes, and vampire fangs all make appearances, serving as a siren song to the protagonist’s fate.
The video serves as a stellar accompaniment to the original track, which was a standout cut from his Grammy-worthy sophomore LP, BUBBA. Last month, KAYTRANADA doubled down on the wild success of the record by releasing all of its instrumentals, which stripped the vox from each track and offered a rare barebones glimpse into the production prowess of one of electronic music’s most gifted producers.
You can watch the video in full below and stream BUBBA on all platforms here.
To date, Vision and DIVISION label darling Posij has put out some of the deepest and most interesting halftime, techno and even D&B releases these labels and others have seen. Former has also had some heavy hitters on Vision, Division and beyond. The pair have releases a number of bonkers bass collabs as well and so fans know when they see both names on a release like the nine-track EP Sun Tracker, it’s time yet again for more mind-blowing beats.
Stylistically, Sun Tracker is all over the board in the best possible way. There’s a lot of lo-fi influence throughout, with muted tones and a focus on balance between beats and synths but beyond that, pretty much every track differs a little in terms of beat pattern, tempo and tone. The style pendulum swings from the melodic, ameny progressive breaks of “Blue Flesh” to the jazzy, hip hop-tinged deep bass of “Shadowmoon” to the classic, heavy halftime of album closer “Half Monk.” There’s jazz, deep bass and funk throughout but each track has its own personality. And then there’s the title track.
“Sun Tracker” is probably the highest energy track on its namesake EP save for the equally intense “XBells” and sister track “Ultra.” It’s also one of the few that follows a semi-trackable EDM composition route with obvious buildups, drops and breaking. It’s a bit faster than most of the other tracks but the intensity comes mainly from the old school tech synths which introduce each drop, the cyclone-fast and oft-syncopated snares and the exquisitely beautiful vocal sample. It’s uncertain where they got that vox but it has the intense and pitch perfect yet eerie and haunted feel of Alice Glass’s (fomerly of Crystal Castles) vocal work. It’s pretty, punk and creepy all at once and really sets the track apart.
It’s always great when you expect a lot from an artist and they still over-deliver as is pretty much always the case with Posij and Former. Their partnership has produced some of the best bass music of the last decade and with Sun Tracker it’s pretty clear they have no intention of stopping. Just a few more hours until the full madness drops but in the meantime, revel in the beautiful rays of the Sun Tracker.
Sun Tracker drops tomorrow, October 9 on Vision. No pre-order or pre-save links for the moment but check out “Xbells” here.
Whenever we as producers think about making music, we encounter this force that stops us from doing just that.
Author Steven Pressfield calls it ‘the resistance’. Writer James Clear calls it ‘friction‘. Others might call it a form of ‘creative block‘ or ‘writer’s block’.
But as a producer, I like to call it ‘dawphobia’.
With thousands of directions you can go in, and so many reasons that things could go wrong, the mere thought of having to make music can often seem disheartening.
But how can you overcome this ‘dawphobia’ and start making the music you want?
In this article, we’ll cover exactly that, including:
The real reason that opening the DAW is scary.
Why overcoming ‘dawphobia’ is probably the #1 thing that’s holding you back.
How to turn your DAW sessions into habits.
Some practical hacks you can implement today for overcoming this fear.
Other factors that can be holding you back from making more music.
Let’s dive in – starting with a deeper look at the problem.
But first, if you’re a new producer, opening your DAW is only the first step. You need a comprehensive guide for learning all of electronic music.
That’s why we created our FREE eBook – How To Make Electronic Music. You’ll learn about all the techniques, the gear, workflow and much more.
Producers often underestimate the power of mindset.
A poor mindset stops you from finishing music. A poor mindset stops you from taking risks. And yes, a poor mindset can stop you from opening the DAW.
This is because we’re only human, and humans have a tendency to build up fear at the thought of performing an activity, even before we’ve taken the first step.
And I’ll tell you something – overcoming this hurdle is the one thing that is going to help you grow. Especially if you’re a beginner.
Why? Because:
Opening the DAW ➡ Starting Ideas ➡ Finishing Ideas ➡ Improving Your Skills
It’s the first link in the chain, and without it, you have no hope of getting anywhere.
But here’s the problem – it’s subtle.
It’s not as obvious as the problem of having 50 unfinished ideas. Opening the DAW might be a minor mental decision, but it has massive implications.
It’s easy to tell yourself, “I won’t open the DAW today, that’s for tomorrow.”
But what you don’t realize is that tomorrow you’ll have the same hurdle and the same excuse.
Then suddenly, weeks, months, or even years have passed and you still haven’t touched your DAW.
And you’ll never make music.
It’s the silent killer of thousands of potential producers. So how do we overcome it?
Recommended: The Best DAWs for Electronic Music
Turn ‘Opening The DAW’ Into A Habit
The first thing you need to do is just click it.
Right now.
Click your DAW open.
…
See, was that hard?
Great, you just overcame 50% of the problem.
You might already be thinking ‘how does this even help?’ – but bear with me.
Yes, it’s not enough to open your DAW once, work on some music and pat yourself on the back. But you just convinced yourself to perform the action.
Believing that you can is the way forward.
There’s a reason the Bruce Less ‘10,000 kicks’ analogy is popular. For those who haven’t seen it, here it is:
I fear not the man who has practiced 10,000 kicks once, but I fear the man who has practiced one kick 10,000 times.
Bruce Lee
You need to build this simple action into a habit that you perform daily, over a long period of time.
And it just so happens that opening the DAW sets in motion everything else you need to grow as a producer.
Like I said – subtle but crucial.
In fact, in his book Atomic Habits, James Clear talks about the importance of this initial step when forming habits.
In the case of music production, opening the DAW is the first thing that signals to your brain that it’s time to work on music.
So what can you do about this?
My recommendation – simply tell yourself that you will open the DAW each day.
You don’t even have to make music. Just click it, like you did earlier.
If you do this, you’ll notice an interesting pattern – you’ll be more likely to follow through with making music.
Practical Hacks For Overcoming ‘Dawphobia’
On that note, he also takes about two other concepts: reducing friction and environment design.
I briefly mentioned it earlier, but friction is simply the amount of energy required to take a certain action.
Generally speaking, more friction = less likely to take action.
As you may have started to realize, ‘dawphobia’ creates a lot of friction, resulting in you giving into your excuses.
But you can reduce this friction, through this other concept of environment design.
And I’m not talking about hippie scientists drawing a picture – I’m talking about setting up your studio workspace in a way that’s optimal for you to overcome ‘dawphobia’ and start working on more music.
Recommended: The Producer’s Guide to Workflow & Creativity
Hack #1: Auto-open Your DAW on Startup
Nothing like reducing friction than you not even having to do anything.
Enabling your DAW (Ableton Live, FL Studio, Logic Pro X etc.) to open up when you turn on your computer is a genius way to avoid this ‘dawphobia’.
Immediately, you are presented with the environment you need to make music. If you have the option, you could even auto-open the project you were last working on (if possible).
The idea here is that less clicks = less friction, and that you’ll have one less thing to worry about.
Now I know what you’re thinking – that it might be annoying if your DAW opens up every time you want to get onto your computer. Which leads me to hack #2…
Hack #2: Use A Separate Computer Account
Computers and the internet are a blessing and a curse.
On the one hand, I can tweet at the president of the US on demand.
Yet on the other hand, I can tweet at the president of the US while I’m supposed to be working on music.
To avoid scenarios like this, you can create a seperate computer account.
The premise for this is simple – keep your main account for general computing tasks (browsing, email, gaming) and your music account for music production.
That way, you treat each account for its specific purpose, and it’s the next best thing to having a dedicated music production computer.
The temptation to browse Twitter is lower because you don’t have the option.
Now there is a downside to this – it can actually increase friction if you’re not careful. This is because instead of just opening your DAW, you have to log out and switch accounts.
Thankfully, this is pretty easy on most modern computers, so it’s not much different. But to make it easier, combine it with hack #1 and you won’t actually add more steps.
Even better – the best way to avoid this problem is to load up your music account by default.
Some other things you can do on this music account:
Disable your internet connection, or at least your browsers (if using something like Splice)
Don’t install games or any other distractions. If you can, dedicate this account ONLY to music-related software and resources.
Disable notifications.
You can integrate this with what I like to call ‘the producer ritual’ to make it more habitual.
Hack #3: Use A (Simple) Template
I want to be careful here, as templates can either be done wrong or right.
The wrong template will have 20+ tracks, each loaded with a plethora of plugins and devices.
Ableton Live 10
The right template will have a few deliberate tracks, and perhaps a couple of plugins where necessary.
And most importantly, it will encourage you to open the DAW and get creative.
At the moment, my default template is just some reference tracks and some master plugins.
The blank DAW is perhaps the most prevalent reason for ‘dawphobia’.
A template reigns in your focus and gives you a direction to work, without being overly restrictive.
Here are some ideas for your template:
Return tracks with commonly used FX.
A drum rack for sketching down quick drum patterns.
Your favorite synth loaded up with a solid sound for jamming on.
A good reference track to use for the mixdown and creative inspiration.
Your favorite colors for each track type.
You can take this concept further for general workflow improvements:
Change your default plugin/device settings for your most-used devices.
Change your default track settings to optimize dB level, naming, and more.
And this hack works particularly well when combining it with…
Hack #4: Limit & Curate Your Options
The saying ‘less is more’ is absolutely applicable to the world of music production.
Unfortunately, the common image portrayed by ‘dream studio Instagrammers’ is one of having excess plugins, gear, and more.
But here’s the truth: too many options will increase friction and overwhelm you.
And then, you won’t feel like opening the DAW.
A big part of this is setting aside time to curate not only less plugins, samples, presets and gear, but also the right options.
Somehow 300,000 samples doesn’t seem practical.
What’s right for one producer may be wrong for another. The point is that you pick tools and resources that help you achieve the sound you are after.
For example, you don’t necessarily need a bunch of trap chants if you make ambient music (or do you?)
There is a fine line here, so perhaps still leave some of the more ‘weird and wonderful’ sounds or plugins on there for the moment you want to try something different.
But don’t justify having useless sample packs for this reason. You have to be a bit ruthless, but it’s key for inspiring creativity.
Some ways to enhance this:
Use dedicated folders or systems for your most-used resources
Structure your samples and presets wisely – try to avoid having too many subfolders.
Recommended: The Producer’s Guide To File & Sample Organization
Hack #5: Avoid Crashes By Updating & Buying Your Software
Before writing this article, I asked some of you in our artist Facebook community what makes you scared of opening the DAW.
One of the most common responses was ‘crashing’:
Now of course, crashing isn’t always avoidable. Even with the most up-to-date and solidly-tested software, you can get crashes.
And this is discouraging, especially when something is a repeat offender.
What comes after this is our old friend ‘dawphobia’ – we really want a certain tool to make music, but it’s not working, so we don’t even get into the DAW.
So how do you get over this problem?
You can’t avoid crashes, but you can minimize them.
The first thing you can do is regularly update your DAW and plugins. Auto-update if you can.
It’s often a common misconception that updates cause issues in themselves. This is sometimes true, but it’s more often that old versions are the problem.
Note: this does not include your computer’s operating system. Always wait before doing this, otherwise, you will run into incompatibility issues fast.
Additionally, although some of you might not want to hear this, you have to actually buy the software you use.
Yes, we’ve all been there where we use cracked versions. But we can’t expect these versions to work well.
Buying plugins not only ensures they will run as the developer intended, but you also get the support that comes along with them.
So when you run into issues, you can alert the developers and they can fix the issue.
For me, it also helped me feel better when producing music – that I was supporting the developers I used plugins from.
If you do these things, you will avoid crashes and feel more motivated to open that DAW and get working.
Hack #6: Reduce Your Expectations
Okay, these last two aren’t as much hacks as they are mindset advice.
But you’re not close. And you simply need to accept this fact. Because the sooner you do, the quicker you will get closer to the music you want to be making.
These poor expectations, namely of the time taken to produce and the quality of that music, will stop you from opening the DAW.
They are nasty beliefs that invade your mind and convince you not to take action.
How to manage time expectations:
Work fast, and stop focussing on quality.
This is especially true when you are new. You’re going to make bad music. So finish it fast and early, so you can start making better stuff.
Contrary to what you might believe, quitting tracks that are half-finished won’t help you. You’re simply avoiding the skills you need to build to make good music.
Use presets, samples and devices to speed up your workflow.
Get over the trap of ‘being 100% original’. The whole concept is a lie.
Half the sounds you want are available as presets or samples. Don’t spend time reinventing sounds. Spend time making new music.
Set aside 2-3 hour sessions.
Longer sessions allow you to make mistakes without stressing. This is important when you’re new.
Note that you should still work fast, but having the time gap helps you to feel better about it.
How to manage music quality expectations:
View your improvement track-on-track – you will see yourself getting better, which is encouraging.
This one is controversial, but don’t use reference tracks. You might overcompare.
For the record, I think reference tracks are a superb way to grow as a producer. But as a brand new producer, it might not help at all. At least in the beginning.
Start bringing in reference tracks once you have a few songs under your belt and you feel confident in your ability to improve.
If you ever feel like you’re being overly self-critical, stop using reference tracks for a while.
Be process-oriented, not results-oriented.
If you’re waiting to write a hit to enjoy music production, you’ve got it all wrong.
The journey of music production is where the fun is at. The ability to be creative and try ideas is what you need to embrace.
Hack #7: Improve Your Skills
Getting better at music production is a feedback loop that will encourage you to work on music more.
You will start to see this once you’ve set your production habits into motion.
The more you overcome ‘dawphobia’ and work on music, you’ll start to notice that your growth as a producer begins to overpower this fear.
This is where you see producers who talk like this:
The prospect of working on music actually beings to excite you. You’re not a slave to the DAW anymore.
In other words, ‘dawphobia’ is gone. It’s not even a thought anymore.
Each time you open your DAW is another nail in the coffin for this fear. So the sooner you start, the sooner you will overcome.
Recommended: Strategies For Completing Your Tracks
The Next Step in the Chain
Once you’ve overcome ‘dawphobia’, you’re on the right track to making those songs you hear in your head.
But there are other mindset problems that will come up:
“I don’t know where to start.”
“My music’s not good enough to finish.”
“I don’t have all the plugins I need.”
Sometimes, these also contribute to us not opening the DAW in the first place, and the phobia comes creeping back in, just as we thought we were done with it.
Once again, mindset is crucial here. But this time, you need something that can guide you through the whole chain: from opening the DAW to finished tracks.
This is where our course Producer Mindset Mastery comes in. You’ll learn about:
How to build a rock-solid creative mindset.
The roadmap for becoming a productive, creative artist.
The talent myth: why deliberate practice is the solution to the lies you tell yourself.
With 10 years of music production experience and some marketing chops, I head up the content here at EDMProd. I also make music under Artsea. My pastimes include reading, drinking coffee and taking photos.
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