ARTICLES WRITTEN BY SIRMA

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If you want to write pop songs, you can’t always rely on your piano or guitar. You’ll find your ideas drifting between various tempos without a proper groove for them to latch on to. Your ultimate goal may be collaborating with music producers to add melodies and lyrics to instrumentals. However, no songwriter should walk into the studio unprepared. With a GO:KEYS 5 keyboard, you can create catchy pop songs from the comfort of your home. Here’s how.

Making the jump from music lover to music creator is a bold endeavor. It’s a choice that can open up new worlds of creativity and enjoyment, but the first step can often be a bit daunting. A GO:KEYS keyboard makes the transition seamless, allowing you to explore your favorite genres using a single powerful, self-contained musical instrument. From pop to hip-hop and all points in between, unlock your inner musician with the GoGo series of step-by-step guides. 

Music is a medium that rewards attention. In decades past, the double album was considered the artistic apex. Titles like Elton John’s Goodbye Yellow Brick Road and Electric Ladyland by Jimi Hendrix earned critical praise and commercial success. Still, the evolution of technology affects music fan’s experience, resulting in ever-evolving formats. Social media led to new music-listening habits, and indie artists had to adapt. As a result, many up-and-comers strategized their release cycles around singles and EPs, making albums a dying breed. However, among mainstream artists, the long-form listening experience is experiencing a revival. Here are some reasons why the biggest names in music are starting to lean toward releasing lengthy albums. 

TikTok is arguably the most influential music discovery tool today. Billboard even has a designated Top 50 chart tracking the platform’s most popular sounds. While many of its entries represent contemporary musical obsessions, there are the occasional outliers from decades past. Sometimes, an old record finds a new fandom thanks to a viral video. Alternatively, a TV show placement crosses over to social media and spreads like wildfire. Revived hits like Kate Bush’s “Running Up That Hill” and Tracy Chapman’s “Fast Car” confirm that musical nostalgia is on the rise. Check out these classics that became hits for an entirely new generation.

Playing piano provides the backbone of a solid musical foundation. Some musicians fall in love with performing, while others utilize the piano as a compositional tool. Studying with a piano can accelerate your education in harmony, sight-reading, and ear training. But, with so many acoustic and digital options, how do you find the right match for your needs? We’re here to help you plan and jump-start your piano journey.

Our enjoyment of music creation and practice is inherently linked to our surroundings. This is especially the case with the piano, a beautiful instrument that can make us feel instantly comfortable in a space. When purchasing a piano, there are many choices to make in terms of sound and feel. However, it’s also important to consider how the instrument interacts with your environment. There’s a world of possibilities to make your home piano area a welcoming spot you look forward to visiting.  

Behind each Roland sample pack and factory preset, there’s a sound designer creating, curating, and polishing their work. These collections cover genres from across the world and the music producers who make them contribute their distinctive voices and styles. Artists Alin Dimitriu, Saint Ezekiel, Lightfoot, and Ski Beatz reveal the challenges and rewards of sample pack creation. Along the way, these four creators provide tips for aspiring producers who want to join the sample pack.

Romanian electronic music producer Alin Dimitriu has developed a diverse range of sample packs for respected companies. Some of his titles for Roland include Chillwave, Lo-Fi House, and Indie Dance. At this point, creating sample pack clips constitutes the bulk of his work. In addition to audio expertise, this type of content production demands extensive MIDI expertise. The combination of these abilities makes him a frequent choice to produce preset banks.

Rotterdam-based producer Moods aka Nick Lubbersen has pursued music for 18 passion-filled years. With 100 million streams and counting, he’s one of the most exciting electronica artists out there. While in the past Lubbersen tended to favor a stripped-down studio approach, on his latest release, Music Ruined My Life, he changed it up. This time, he fused his tasteful sound design with a full live band. Lubbersen breaks down the intricate layers from three of the album’s many gems: “Ecstasy,” “Push Pull,” and “Return to 4Ever.”

For the latest Moods album, Music Ruined My Life, you spent four lengthy days in the studio with your band. How did you prepare for the sessions?  

When I work in my own studio, I’m more in control of what I do. But for this album, it was definitely more about improvising with the band on the spot. I made sure that the foundation and structure of each demo were clear. But the most beautiful bits of the record came together in those little improv moments thanks to the band, Lennard Vink (keys), Yasper Molle (guitar), Rik Kraak (bass), and Joris Feiertag (drums).  

Having a vast source of meticulously designed sounds in your library is a wonderful thing. But let’s face it: sifting through hundreds of presets can be overwhelming.

Here at Output, we’re all about fast-tracking your creative process. We don’t want you to spend hours looking for the right sounds, which is why we categorize them for you.

SIGNAL presets are no different.

If you already own SIGNAL, you know that it’s all about generating sounds that move. It provides any rhythm injector you can think of, from LFO to step sequencer and arpeggiator. Plus, it offers an inimitable library of instruments such as guitars, strings, analog synths and even some percussion! For producers who are looking for a software instrument that covers all the bases, SIGNAL is a prime choice.

All the Output instruments have one wonderful thing in common: track-ready factory presets. But now and then, it’s fun to dive in a little deeper.

Thanks to their fully customizable wide selection of FX, layers, and rhythm engines, you’ll never get sick of these plugins!

If you associate reversed samples with transitional elements and risers, you’re not alone. In fact, you’re one of many producers who think too small! Reversing sounds opens up a wealth of audio opportunities.

Imagine laying down some lush chords made out of reversed piano pads. Picture sprinkling some flipped and plucked strings to liven up your instrumental in a way you’ve never done before. All that and more is possible with REV. 

After producing tracks for Bruno Mars, Cardi B, and Justin Bieber, The Stereotypes are ready for the smooth sailing days of their career. 

“We’ve been doing this for a good 12 years, full time. We’ve had some highs, we’ve had some lows. Knowing what we’ve had and where we’ve been, even in that low spot, we have to figure it out. I feel like in the industry if you’re in a rut, you’re just one song away from changing your life. That’s basically what happened with Bruno, we broke through,” says Jeremy Reeves of the prolific music production team. And what a breakthrough that was: They ended up taking two Grammy awards home for “That’s What I Like.”

Retreats have been around for decades in the music industry. Sometimes songwriters and producers get together to make magic in a cabin in the woods. Other times it’s a summer house by the beach that fuels musicians’ creativity.

The idea is that a change of scenery and a chance to socialize with other creators may lead to happy surprises. The best music tends to come out when its maker is having fun. So why not give them the perfect setting to do so?

Atrium Creative Retreats takes this idea a step further by bringing mental health and wellness into the mix. “Atrium is an artists’ retreat where artists can go… a safe space for a week, internationally, with other artists that they may know or may not know,” states co-founder Chrissy Stuart. 

Composing string arrangements with a DAW can be easy and painless. But only if you’re truly touched by the sounds you’re working with.

There’s nothing like lifeless virtual strings to ruin what should be an exhilarating process. The notes might be perfect, but what’s the point if the samples don’t match their quality?

Analog Strings is considered a revolution by many because it’s all about giving composers an inspirational starting point. Browse through a few presets and you’ll eventually find the right fit for any production, whether it’s classical or contemporary.

Whether you compose for films or want to create the perfect retro backdrop for a beat, Analog Strings has you covered. 

With realistic orchestral samples and vintage string synth sounds, it’s an expansive instrument unlike any other. 

The Neon Strings addition provides delicate plucks and massive pads that will take you back to decades past.

Some producers already got their hands on it and we can’t stop listening to the tunes they’ve made so far!

Songwriting can be an elusive form of art.

Some writers enjoy creating alone… Others depend on their peers for a spark of inspiration. 

The pandemic has had a negative effect on almost all songwriters’ creative process. Those who normally enjoy attending co-writing sessions don’t feel at ease enough to do so anymore. Those who choose to go it alone feel that they ran out of topics to write about a long time ago. 

So, how does one get inspired when their life experiences are limited? 

In other words, how does a songwriter write when they have nothing to write about?

It’s not every day you meet a music producer who lights up the room with his positive energy. But Larrance Dopson is all smiles all the time.

With ARCADE, the fun doubles.

“Normally when I work, I start off with the chords. Then after that, I’ll do this thing I call peekaboo, where it’s just stuff coming in and out from all the cool ARCADE sounds,” he reveals.

But before ARCADE became a part of his creative routine, Dopson was already making waves in the music industry. 

As the founder of the legendary collective 1500 or Nothin’, his list of collaborators includes Justin Timberlake, Alicia Keys and Kendrick Lamar, to name a few.

So what’s the secret behind his success?

“It’s always about the artists and the vocals,” the producer answers. He leaves enough room for the melodies to shine. And that’s where the magic happens.

Superstar producer Dante Jones doesn’t have a one-track mind. Having collaborated with stars such as Kelly Clarkson, Skrillex, and blackbear, he has built a wide-range portfolio within a decade. He continues to turn heads today with his passion project THEY., attracting other massive collaborators like Tinashe and Jessie Reyez. 

But how does he manage to adapt his skillset to so many genres? 

“Don’t be afraid to use certain sounds that may not make sense on paper,” he says. 

When asked to give an example, he replies, “One of my favorite things to do is use things like scissors. Random found sounds. Instead of hi-hats, maybe you use scissors. There’s a whole bunch of different things that you could do and you’re still creating a rhythm.”

Welcoming the Output crew into his 17 Hertz studio, Jones reveals the inner workings of his creative process.

Every year, the National Association of Music Merchants (NAMM) hosts one of the largest music conventions in the world. 

A historic show that dates back to the early 1900s, NAMM attracts musicians and sound engineers alike. 

But not everyone can take the time to go all the way to Anaheim in the middle of January. 

If you’ve missed this year’s show, do not fret. We’ve got you covered!

Here is a list of a few NAMM show launches that caught our attention.

Tori Letzler decided to launch the nonprofit that funded the “The Future Is Female: A Concert For Women In Film” in a moment of catharsis.

“I was just getting a little frustrated,” she admits. After surviving several battles of her own in the male-dominated film industry, Letzler was done waiting for the change to happen on its own. “I know a lot of talented female film composers personally. Why can’t the rest of the world? Why is there not a platform for them? I’m just really excited to showcase all these women,” she says.

As a vocalist, Letzler’s credits include various blockbuster movies such as Batman v Superman: Dawn of Justice, Wonder Woman, and Thor: The Dark World. She has also composed the music for TV series like Vikings and Iron Fist. 

Although she managed to find her footing, Letzler believes that many film producers and directors need convincing when it comes to hiring women composers.

“They’re hiring men over and over again, because it’s what they’re comfortable with. To put someone out of their comfort zone can be a difficult thing,” says Letzler. 

Having been born and raised in Wales, Joanne Higginbottom didn’t dream big at first. But she ended up in the heart of the film industry anyway. All it took was a friendly message to a certain high-profile film composer she had always looked up to.

“I was at the Royal Welsh College of Music studying music technology and sonic art,” she recalls, “I just said, ‘Hey, I admire your work.’ I specified some certain cues and scores and stuff that I thought were fantastic. I came out and did an internship with him for a month. I worked my ass off, but, obviously it worked.” 

That composer was none other than Tyler Bates. With blockbuster films like Watchmen and 300 already under his belt, he was hot and in-demand.

After completing her internship, Higginbottom returned to Wales to finish her degree. But she never broke contact with Bates. Her first recording session with him as a pro was at Capitol Records in Los Angeles. The rest, as they say, is history.

With almost 35 years of experience under his belt, Canadian film and TV composer Mychael Danna needs no introduction. He has won numerous awards, including the Golden Globe and Oscar for Best Original Score for Life of Pi. He pushes the boundaries of Western classical music with instruments he collects during his travels around the world.

As he gives us a tour of his 1910 and Bombay-inspired studio based in Hollywood, he explains how he ended up here: “We all started music because we loved it, because it was fun, because we got to hang out with cool people and play together. Fast forward 20 years, you’re alone in a black room with light blocked out, sound blocked out, with you and your computer.” 

But how does he continue to make it fun after all those years?

The New Zealand-born singer, songwriter, and producer, Kimbra, is an artist who achieved global recognition early on in the beginnings of her career.

As the featured vocalist on Gotye’s instant classic, “Somebody That I Used to Know,” she won two Grammy awards in 2013. Since then, Kimbra has evolved and blossomed as an artist, pushing the boundaries of pop music with each project she embarked on.

One of the main reasons why Kimbra remains an exciting act to watch to this day is the fact that she uses her voice to its full potential, not just for belting out top-line melodies. Her unique approach to vocal production in particular makes her stand out even more; and she’s only getting started.

Technology plays a big part in music education today and is more accessible than ever before. With so many music creation applications, parents can convince kids to make music from an early age. Let’s look at some of the app choices available and the reasons for introducing your child to this approach.

But how do you strike the right balance between traditional music education and utilizing technology as a learning tool? Traditional subjects like reading music and playing an instrument remain crucial. However, some applications might help make the learning process more efficient. 

In most modern pop productions, vocals are the centerpiece.

For any vocal take, the goal is to not only make them sound polished, but also engaging all the way through.

That’s why vocals always take a lot of work to get them to the finish line especially when it comes to songs with busy arrangements.

To make your vocals stand out the creative use of vocal effects is crucial.

With the pandemic re-defining the rules of collaborations in the music industry, it can be tough to assess how to utilize your time wisely.

Many musicians love collaborating with other songwriters and producers. Some artists have just found themselves in need to collaborate more often due to lack of human interaction in the recent months.

Regardless of which category you might fall under, as an artist, you should set your priorities straight before you take on a collaborative project.

In the second part of the series, I explored some arranging and instrumentation strategies for newcomers. 

In this final offering, I’m going to introduce processing and mixing techniques every producer should know about.

You don’t have to learn how to use every single audio effect out there, but you should understand the ones that are essential in any mix.

There are 4 audio effects that producers and mixing engineers use more often than any other: EQ, compressor, reverb and delay.  

So many artists that have found success with a signature style are content to stick with a formula.

The enormous effort it takes to break into the industry leaves many at the top unwilling to take risks.

But there are certain pop visionaries who can’t help but reinvent themselves—and their craft.

In this article I’ll look at some of the most creative artists currently rewriting the rules of mainstream pop.

In the first part of the series, I offered some pointers about how you can get started with your demo-making process in the comfort of your home.

In this article, I’m going to break down how you should approach arranging your songs and editing your productions.

Electronic music producer Christopher Kah highlights Roland instruments in ECHO, his new immersive 3D audio performances.

Christopher Kah started out like any other self-taught producer 15 years ago. Today, he is a respected performer known for his intricate take on techno. With his latest installation, ECHO, Kah is raising the bar for 3D audio. Christopher explains how he found new meaning in sound through the process of playing Roland instruments through 32 speakers.

A lot of music producers are very excited about the new Step Sequencer in Logic Pro X. And for good reason. The way it’s laid out right next to the Piano Roll makes it so easy to incorporate to anyone’s workflow.

With dedicated, automatable parameters assigned to each note division, Logic’s Step Sequencer pushes the boundaries of a traditional but monumental creative tool that’s usually found built into synthesizers.

Before this update, I often refrained from using sequencers in my arrangements, since I generally found them a bit rigid. So here’s why the Step Sequencer has changed my point of view as a producer, and nine ways you can integrate it into your creative process from the beginning.

Several US work visas have been put on hold due to the pandemic. But O-1b, which is more commonly known as the "Artist Visa”, is not one of them.

The immigration office classifies the O-1 visa beneficiaries as, "Individuals with Extraordinary Ability or Achievement”. As such, this particular visa does not only apply to musicians, but also athletes, scientists, visual artists, directors and even educators.

Especially the O-1b visa, which is the best suited option for international musicians, is quite competitive. However, it comes with unique advantages and for many, the application process is worth the perks in the end.

Singing is an intuitive activity for most artists. Every vocalist starts out as self-taught, because their vocal cords are built-in, waiting for an excuse to vibrate. And thus begin bad habits and techniques which most singers spend years to correct. 

A lot of that correction process takes place during vocal warm ups, but if you force your voice to project in a way it’s not equipped to do so, you might end up doing more harm than good. Attempting to belt out a high pitch out of the blue, or focusing on vocal range expansion exercises right off the bat, are some of the most common beginner mistakes.

Instead, you should pay attention to the order in which you practice vocalese exercises. Think about it this way: if you were an athlete warming up to train, wouldn’t it make sense to ease your body into it?

If your voice gets tired after a warm up routine, or you feel a strain in your neck, you might be missing a step somewhere. 

It’s easy to get overwhelmed when you’re creating new music.

Distractions come easily when we have so many software instruments, sample packs and audio effects at the tips of our fingers.

There’s been so many times I got distracted by browsing preset libraries that I’ve lost count!

That’s why I’ve been paying attention to pitfalls in my creative process lately.

It’s great to have so many tools to play with and all–but at the end of the day, the best music comes out when you fully immerse yourself in the process of making it.

There are tons of free plugins out there. In fact, there are so many that it can be downright overwhelming to find the true gems while looking through hundreds of options.

That being said, some free audio effects are so invaluable that they’ll make great additions to any producer’s library. In this guide, I’ve listed some of my favorites that no paid software can replace for me. I use them all the time- and so should you!

When you hit a writers block, shifting your creative focus can be immensely helpful.

Can’t seem to find the words? Play around with some chord progressions.

Struggling to put your melodies in context? Perhaps some loops can help you get in the mood.

Even if you’re a traditional songwriter who prefers composing with an acoustic instrument, you can benefit from learning basic arranging skills in a user friendly Digital Audio Workstation (DAW).

There are many options to choose from. The most important thing is to find the right fit for your creative process and dive in.

A vocal chain is essentially a chain of effects you process your vocals with. Some of these are inserted directly on the audio channel strip while others are placed on return channels which you send the vocals to.

Therefore, a vocal chain usually implies a combination of direct and parallel processing.

While many DAWs come with templates and presets designed for vocals, finding the right combination of effects takes some trial and error.

For one thing, most singers prefer a vocal chain that makes them feel confident in the booth. But more of then than not, one that works perfectly at a recording session will not be sufficient to get the job done at the mixing stage.

Inspiration isn’t always there when you need it.

Sometimes you sit in front of a piano and stare at a blank piece of paper for hours.  Other times you might try to make a beat from scratch and struggle to come up with a concrete idea.

Hip-hop producers have been making sample-based beats for decades.

But if you’re a songwriter first and a producer second, you might have your doubts about incorporating samples into your music.

How can you make samples sound authentic? Can you become a great songwriter if all your songs are not created out of thin air?

Until recently, I had the same doubts too.

As soon as it became clear that it might be awhile before we all go back to normalcy, many artists rushed to their social media accounts to host live stream sessions. At first, we got used to seeing more live concerts and DJ sets from our favorite artists’ homes and studios, but soon enough, the live stream trend became all about “Anything goes.” Now, even friends seem to go live on Instagram, just because.

Don’t get me wrong- I’m all for it. I admire anyone who’s making an effort to stay connected and active at a time like this. But what do you do if the idea of streaming is enough to raise your anxiety levels to an all-time high? How do you motivate yourself to connect with your fans if you’re getting a little sick of seeing so many people appearing on your feed all the time?      

New York had a surprisingly mild winter this year, but the dry cold weather outside combined with the heater running in my apartment all the time led to some of the worst sinus issues I’ve ever experienced.

In the past few months, I spent many mornings trying to quench my thirst with several glasses of water, and waking up with a stiff neck became an ordinary occurrence.

As a vocalist, I try to keep my vocal cords flexible and hydrated around the year. Even if I’m not getting ready for a recording session or a live performance, I’m a big believer in warming up my voice almost every day for maintenance.

If my body doesn’t feel relaxed and healthy, I feel it in the way I sing immediately.

A few months ago, independent alternative pop artist HANA came out of her shell with a revolutionary experiment: an album fully written, recorded and produced by her, live on Twitch, within four weeks.

There have been similar attempts in the recent past: most notably, Esperanza Spalding live streamed the recording process of her album three years ago. Artists who are aware that fan engagement is more important than it’s ever been take over platforms like YouTube, Instagram, TikTok and Snapchat to share bits and pieces of their creative process all the time nowadays.

So then, you might be wondering, what was so revolutionary about HANA’s project?

NAMM 2020 is finally behind us and the latest technology at the industry’s biggest trade show is creating a ton of excitement.

If you follow a lot of music producers on social media, you’ve probably seen a lot of flashy new gear on your feed lately.

If you’re an instrumentalist or a sound engineer yourself, maybe you even got a little envious. You pictured how far you could get in your career if you just had all the equipment you’ve ever wanted.

If you’re a musical artist who runs their career without a team, you probably feel a little stressed every time a new release cycle comes around. With social media rapidly taking over our lives, the visual representation of our work as musicians has never been more important than it is today. From elaborate preview videos for each release to flyers for show announcements, we have to create consistently alluring content for our fans.

In the recent years, playlists have taken the lead in new music discovery. Today, a placement in an editorial Spotify playlist with millions of followers is so coveted because it can be a career-defining moment for some newcomers.

While there are some pretty diversely curated playlists in most major streaming platforms at this point, it’s obvious that just like the rest of the music industry, editors flock towards genres that are well-received by the general public. Perhaps this is why almost every Indie Jazz artist or band I know personally seem to prioritize strategies that are geared towards building a loyal fanbase, instead of putting all their energy and funds into PR and social media marketing. As an Alternative Electronic Pop artist myself, I was curious to find out how some of those friends of mine view the music industry we all live in today.

These days, it’s as common to hear human voices in electronic music productions as it is to see an artist on stage playing a synth. And while the vocoder and talk box have been around for quite a while, they’ve started appearing more and more frequently on chart-toping mainstream tracks — think the vocoder on Imogen Heap’s “Hide and Seek,” and the talk box in Bruno Mars’ “24K Magic.”

And it’s not just in pop tracks. Chopped up and morphed vocals appear in songs in so many different genres, like EDM, electro-pop, and alternative R&B. It’s almost become a recipe — cut and select a few different vowels from your singer’s take, load them into your sampler, and there you go: the ultimate music trend of our generation!

Have you ever found yourself in a situation where the final mix of your track or album sounded perfect to you before, but now, something’s just off?

Perhaps the mix lacks clarity and balance all of a sudden, or perhaps it sounds just totally off on your home speakers, but great on headphones or in your monitors. As you sit here, doubting your own opinion about your own music, even though you’re the one who’s supposed to make the final call, it can be frustrating not knowing how to proceed.

How do you decide if and when a mix sounds “right”?

If you’re set up to produce your own music, but not necessarily mix engineer it, the road to that “final mix” can be a rocky one. People you work with can influence the way you hear any mix, and if you’re listening through expensive monitors in an acoustically treated room, your track may sound misleadingly grand and flawless.