New tune in progress and DAW nerd talk…I’ve using this time at home to get deep into learning Bitwig, a DAW that I now prefer to Ableton. Thought I’d share a few things that make BW shine over Live.
- Open multiple projects at once. The audio engine is decoupled from the project (!!) Super easy to pull elements in and out of other projects or reference what you were doing in previous versions. Live has a clunky approach to project component sharing, but it’s so bad I never use it
- Modulators. EVERYTHING can be modulated, in many crazy ways. This is natively built-in, not an LFO tool bolt-on. It’s insane how much this has made my textures richer and more complex. Plus my approach to working with samples is completely fresh
- The Grid. Bitwig’s friendlier version of Max/MSP. It’s so fun I find myself building my own synths
- Shortcut key map everything. Extremely powerful, I’m much more productive. TÂCHES has a template file to make all the Bitwig shortcuts mimic Live’s
- Hybrid Audio/Midi tracks+bounce in place. Productivity win here. Less frustrating to bounce a clip, which means more fun to experiment tweaking with ideas
- Hard to quantify, but the interface just feels slicker
- Library browser on steroids. Half of music production is choosing which tools to use
- Combined session/arrangement view. Workflow++
- Hide tracks out of view. Focus on what I’m working on. Remove all the garbage. Focus++
- Manipulate audio within the clip view. Session Jamming++
- Inline Help. The detail they put into their help dialogues is insane and actually…helpful
- Stability. The decoupling of the audio engine makes a project still workable even if a plugin crashes. Reload it inline
High level thoughts:
- Took me only 3 weeks to be able to fully flow in Bitwig. Would have been quicker if we had a nanny for more hours a day 😉
- I think Bitwig is worth making the switch if you’re an intermediate or advanced Live user (3+ years). BW community support is not yet as robust, so Live wins if you’re new to production.
- I’m not dropping Live altogether. I’ll still have Live in my pocket for Mentorship sessions and collab work
For this month’s Discord Demo day I was very happy to host one of the nicest and most talented guys in our scene, Kora. In addition to Kora being a dear friend and top level producer, he gives some of the best critical feedback on the industry. I actually send all my own work to him before I release any of my work because his ear is so good. Enjoy!
If you’d like to submit your music for the next Discord Demo day, join my discord channel here: http://atishmusic.com/discord
Who would have thought that last week’s Discord Demo Day would lead to a few tracks offered to sign or continued on as collaborations with TÂCHES?
Overall, the session was a smash. Taches and I were supposed to go only 1 hour, but we had so much fun we doubled it and went for two. Just goes to hammer home the point I made last week: don’t be afraid to put yourself out there. You never know what opportunities might be around the corner. Also, it’s incredibly satisfying to hear feedback within my Discord community that producers – even the ones who aren’t submitting demos – are finding great value in improving on their own creative journey. I think we’ve got something special going 🙂
This is a little snippet from the full thing, hats off to the producers featured here: Will Anjers, Drew Proud, Reza Safinia, Wave, Howl, Goodboy James, Words Of Nio. Who should I have as my guest host next month?
Link to the full 2 hour session here: https://youtu.be/szye-3nWsn0
And feel free to join my discord channel at http://atishmusic.com/discord
Last year, my wife suggested I read the book Art & Fear, and this fundamentally changed my approach to making music. There’s a section in the book that illustrates that it’s better to think about quantity rather than quality when approaching creative work. The act of finishing a piece of work, even if you don’t think it’s great, teaches you about your own artistic process and the many steps that are involved in going from start to finish. This means we must strive to finish as much work as we possibly can, rather than obsessing over a single perfect piece (which we’ll probably never achieve). When we do this, we will get much closer to mastery of our craft at a much faster rate.
Art & Fear: https://amzn.to/36ASJQF
Sharing a few bits from last week’s first #feedbackfriday, a livestream where I critique demos in real time. I really enjoyed this, and I was glad to see in the Discord chat that many of you found it valuable as well. It’s hard enough making yourself vulnerable to critical feedback privately, so having me critique your work in a public forum is a win in itself. One unexpected upside was two of the tracks submitted were heard by a label owner and were offered to sign!
I wish I had enough time to make it through all the submissions, but fear not, I will do another one of these in a month. Also, if you subscribe at the “My Dear Hotdog” tier on Patreon, I can ensure that your track will be prioritized next time around. Be sure to hang out in my Discord server for updates around the next one, both Patreon and Discord links here:
Hey Hot Dogs,
There’s been lots of chatter (and cash flowing!) these days with regards to NFTs. I’ve had many great conversations about it these last few weeks, and a few of you have asked me for my thoughts, so I thought I’d share my 2 cents.
If you’re not familiar with NFTs, here’s an article that gives a background
I’ve toyed with a few ideas of minting my own NFTs for my music, stems of my tracks, Manjumasi’s tracks, forming a new NFT record label, and even minting an NFT representing myself. After thinking through all these approaches, my current stance is that NFTs are not a worthwhile investment of my time and resources. In their current incarnation, the NFT ecosystem may be destructive to most artists. I’m highly skeptical of the movement, but at same time, deeply interested in seeing how it plays out. I’m certainly open to changing my mind.
A few thoughts that got me here:
Whenever there is any new technological, political, or cultural movement, I think it’s important to take a step back and consider who the clear winners are. In this case, there’s a small group that I like to call the crypto-oligarchy. These are early cryptocurrency investors and infrastructure stakeholders (hobbyists, institutional, VCs) who have multiplied their investment by orders of magnitude through the crypto market. It’s still not clear to me that cryptocurrencies currently have much of a real-world value, other than speculation (I acknowledge this is an extremely loaded statement here – but let’s save that for another chat)….so it’s in the oligarchy’s interest to pump the value of crypto as high as possible to maintain and enrich their fortunes. NFTs are a perfect vehicle for injecting perceived value into their currency. The oligarchs get artists onboard to mint and sell their wares on the blockchain, under the pretense that they are democratizing art and giving a middle finger to the man!
I call BS.
Upper class artists
I believe the only artists who truly benefit from this are what I call the “upper class” artists – those who already have enough social or financial capital powerful enough to draw attention to their endeavor. A bedroom artist can spend $50-$100 and mint an NFT amongst the overwhelming firehose of content, but it’s unrealistic for them to expect any kind of meaningful return as they will be ignored and forgotten in the digital ether. Unless, of course, they bring on a management team and runs a PR+social media campaign, but exactly that’s the kind of thing some of the NFT utopists are fed up with – those music business middlemen. I think the current state of the music industry is highly problematic for everyday artists trying to make a living, but this new ecosystem feels like a lateral move, at best.
It’s worth mentioning that I’m generally a fan of regulated capitalism, though I do think American capitalism reveals its worst blemishes. The NFT movement is currently a microcosm of the huge income disparity we see in the US. The rich artists get richer, and those at the bottom are promised many things, but at the end of the day, exploited, while the crypo-oligarchs are laughing all the way to the bank.
Capitalism without any guardrails is a terrifying thing. I think of the NFT market as the NYSE without any regulations or oversight. Will this economic system help improve a majority of struggling artists? Hell no. We’ll still have hedge funds, scammers, and day-traders, with even LESS accountability and MORE anonymity than ever before. I struggle to see how the honest little guys come out on top here. Again, the current music industry is a disaster, but I’m taking caution before jumping into a pool with 10x as many sharks.
Haven’t we been here before?
I was only 18 years old at the time of the 2001 dot com crash, but I remember enough to see some of the same warning signs here again. The internet was emerging as the next new thing in the late 90’s / early 2000’s. Insane amounts of capital were being thrown around for ridiculous startup ideas that brought no value to society. These days, I’m told that an entrepreneur merely has to mention “NFT” in their funding pitch, and American investors will throw money at them. This is a bubble.
Now of course, the internet did end up completely revolutionizing the world and many of those companies brought immense value to society and long-term financial return. But for every 1 idea that survived, 1000 others failed.
As for how this relates to my artist career: I’m not a speculator, I’m not an investor, I’m not a startup founder…I’m not looking to make a bunch of cash overnight. I’m interested in establishing a sustainable long-term career through music, building real long-term relationships within our community.
And to be clear, I am also a technologist and I’ve also worked as an engineer at an early stage Silicon Valley startup – I get it, this shiny new thing is REALLY exciting. I’m happy to read the articles, have ongoing conversations, and keep my ear to the ground within the community, because I do think it’s possible we may see real value in this space emerge over time. But it’s not there yet, so what’s the rush?
Agree, disagree? I’m curious what you think!
This is an extract from Atish’s Hotdog Mailer. Sign up to the mailing list here.
Hey Hot Dogs,
Long time no email. Hope you’ve all been grand. Big update on my end, I had a son! Say hello to Zian Singh Mehta 🙂 My capacity for love has extended beyond what I ever thought was possible.
Having a child in middle of a pandemic has its share of challenges, but overall the timing of Zian’s earthly arrival has never been better. I love spending nearly every moment with this kid. If I step out of the house to run an errand, I dearly miss him and want to rush home. I can’t imagine having to get on a flight to play gigs while this cute little bug is cooing and babbling at home. I’m oddly grateful for this unexpected pandemic upside.
It’s interesting how having a kid has guided me towards looking at society from a new lens. My thought process usually begins by thinking about how it’s CRIMINAL to not have mandated parental leave in the US. I then reflect on stratified access to health care, day care, and quality education – all compounded by our gridlocked political system, polarized culture wars, inability to handle and prepare for crises (pandemic, climate, cybersecurity, energy infrastructure), taste for authoritarianism, and the preponderance of misplaced distrust in facts and institutions.
I feel quite a bit of dread about the world in which my son will grow up. This system is devoid of empathy, compromise, civility, and rationality – values I hold dearly.
I’m desperately searching for any calculation that we’re not heading towards a failed state, but it’s honestly a struggle. Though the bright side is perhaps counterintuitive: my inability to visualize us digging ourselves out of these moral holes may itself be a sign towards the solution. Gen Z and Gen Alpha are much smarter, more capable, and faster to iterate than my fellow Millenials (and older). They are thinking about the world in ways that I may never comprehend…perhaps our minds that created these problems simply aren’t equipped to solve them.
So the next time I think “kids these days, what the fuck are they thinking”…and as adolescent Zian and I inevitably get into fights…I’ll hold on to the idea that my objections to their values, lifestyle choices, and priorities may just be indicators that they are on the right track towards fixing what we are destroying. No pressure Zian, but my faith in you is my sliver of hope for humanity.
In my previous video, I discussed the best way to submit your demos to record labels to maximize the chance of getting a response. But the truth is, working with record labels can really suck. For this video, I’ll discuss the up and downsides of working with labels and the tradeoffs against bypassing labels and releasing music on your own.
Submitting demos to music labels is one of most nerve wracking parts of building an artist career since most labels never respond, let alone listen to our demos. I wanted to share a few small suggestions from a label manager’s point of view that can increase your chances of getting your music heard, and hopefully signed.