Songwriting AND music production for self-produced musicians

You will gain a good understanding of what a DAW is and how it can be a very effective tool in the songwriting process. Also, links will be provided in order for you to download free versions of a couple of excellent applications.

This lecture will allow you to understand what is MIDI and how MIDI tracks work in a DAW.

This lecture explains a number of key elements that need to be considered if you intend to use audio tracks instead of MIDI throughout the songwriting process.

This lecture will introduce you to the essential components of a song and key aspects that you need to consider in order to create a well-written song.

At the end of this lecture you will have a clear understanding of what are the characteristics of well-conceived melodies. The Chekhov’s Gun principle is introduced and applied to the construction of melodies (and music composition in general). Also, fundamental resources like progression, intervallic compression and expansion, and augmentation are introduced.     

You will gain a good understanding on how to build interesting rhythmic patterns. Another songwriting resource, called anticipation, is introduced.

At the end of this lecture you will appreciate the relative importance of harmony in commercial music, when compared to melody and rhythm. You will understand do's and don'ts when building the harmonic structure of your songs.

You will have a clear understanding of what form is in music. You will also learn how the classic Song format is structured and this knowledge will allow you to build your songs according to a format that has become an industry standard over the years.

In this lecture you will understand fundamental concepts that you need to consider when putting music to words. Common mistakes are explained, and this will prevent you from falling into them. Also, a couple of useful templates for lyrics development under the Song format, are introduced.

At the end of this lecture you will understand the difference between pure and descriptive music. The concept of "leitmotif" is introduced as an essential resource for a wide range of descriptive music compositions (music for film, documentaries, games, etc.).

This lecture explains the importance of saving musical ideas and how this practice can streamline your songwriting process.

You will learn how I use this method in order to unblock you in the songwriting process. Used effectively it can help you build coherent and well-structured songs by making the most out of each musical idea. 

In this lecture, we start the actual process of using a DAW to create a song from scratch. The song will be progressively completed in the remaining songwriting sections. We will then use it during the arrangement and mixing sessions as a real example of a song created entirely during the course.

In this important lecture, we discuss the need to create a balance between inspiration and rational/technical decisions. Different considerations are discussed that will affect the arrangement and final form of your song. At the end of this lecture, we will be ready to complete the remaining sections of our song.

In this lecture, we complete the composition of the remaining sections of our song, in AABA format. The end result is a song with all its foundational components: melody, rhythm, harmony and form. In other words, a complete song ready to go into the arrangements phase.

This first part presents a general discussion on what arrangement entails. At the end of this lecture you will be aware of the creative aspect of music arrangement and the importance of having a clear understanding of the intended audience of your song.

This second part focuses on practical considerations; for example, how to select instrumental combinations that yield a clearer sound. Specific recommendations are provided for rhythmic, melodic and harmonic instruments. At the end of this lecture you will understand key concepts that will allow you to make sound arrangement decisions.

This lecture shows the complete transformation process from foundational tracks to a complete arrangement of the song, ready for the recording and mixing phases.

In this last lecture of the Songwriting section, we discuss the advantages and disadvantages of using a metronome during the songwriting process. At the end of the lecture, you will be able to understand the importance of laying down the final tracks that will be mixed, as early as possible in the process.

In this lecture you will understand key concepts that have a dramatic effect in the quality of your recordings: sample rate, bit depth, conversion. You will learn how to avoid typical mistakes made by amateur producers.

In this lecture we discuss the difference between line and microphone recordings and you will learn how to setup your channels in order to get the best input signal in each case.

Should I apply effects when recording or should I record a totally clean signal? In this lecture we answer this question and explain the rationale behind our recommendation.

At the end of this lecture you will have a clear understanding of the difference between balanced and unbalanced signals, as well as the benefits of using balanced cables in your studio.

This lecture provides a detailed explanation of the different microphones available in the market.

At the end of this course you will have a good understanding on which microphone to use for common instruments like a drum set, vocals, electric bass and guitar, acoustic guitar, acoustic piano, etc.

At the end of this section you will understand what phase cancellation is, how it is produced, and how it can have a dramatic effect in your mixes. You will also learn how to resolve this commonly unattended issue.

This lecture provides a number of recommendations that will allow you to reduce the coloring effect of the environment in your recordings and mixes.

This lecture describes the difference between far, mid and near field monitors and when you should use each.

This lecture addresses the very important issue of monitor placement. It provides specific recommendations in order to minimize undesired sound distortions produced by reflective and standing waves.

At the end of this lecture you will understand the benefits of using preamps in your recordings. Also, different types of preamps are discussed.

This lecture explains why many sound engineers use different microphone types and placements when recording a single source. The advantages and disadvantages of this practice are discussed. You will gain insight on this polemic subject and will be able to make informed decisions on whether or not to use this method.

This lecture introduces basic notions of how a mixer works and its essential components. It provides an overview that will be very helpful for those who have never mixed before.

In this section you will learn about all the components that usually conform a mixer channel and their functionality. Each element is described in enough detail for you to be able to use them effectively during the mixing process.

This lecture describes what a "bus" is and how it's used. It includes a tutorial that will show you how to use buses to create a submix for the drum kit.

At the end of this very important lecture you will be able to apply useful guidelines that will help you resolve the usual conflict between the electric bass and the kick drum. You will understand how different types of EQ's work and how to apply them effectively in a mix, without abusing its use (an unfortunate common practice).

Compression is discussed in detail in this lecture. You will learn what compressors do, and useful guidelines on how to use them effectively. You will also learn what Limiters do and how they differentiate from ordinary compression.

In this lecture you will learn what are noise gates and how they work. But most importantly, you will learn useful guidelines that will allow you to use them very effectively.

This lecture provides a detailed description of both sound effects, including an explanation of their most usual parameters. A good knowledge of these processing tools is important because, if used unproperly, they can destroy your mix.

In the next group of lectures you will gain a deeper understanding of how a DAW works. This lecture revisits the concepts of MIDI and Audio tracks, so you can reinforce your understanding of how they work and how they differ.

In this lecture we will take a close look at a typical audio track in a DAW. The concept of audio clip is introduced and the main elements of audio tracks are described.

A discussion on MIDI tracks was already presented in Section 1, in order to allow you to create your song with the support of a DAW. In this lecture, we analyze MIDI tracks in more detail. You will learn how to use the "events view" to make detailed edits of your performances like, for example, correcting or adding sustain pedals.

In this lecture you will understand the rationale behind the assignment of sounds to MIDI tracks. This will allow you to make sound assignments effectively in most common DAW's, both using internal sound sources or external sound modules.

This lecture is particularly useful if you, like in my case, use many different sound modules and MIDI controllers. At the end of the lecture you will understand the setup that I use in my studio and will also understand how I use this setting when playing live.

In this lecture you will learn what plugins do and how Audio and MIDI plugins differ. This lecture also include practical recommendations in order to handle performance problems that may arise if you end up using too many plugins in your mix.

In this lecture we take a closer look at audio clips and how you can edit them. You will also learn why it is preferable to use non-destructive mechanisms to process your audio clips.

In this lecture you will learn how to use one of the most powerful features of a DAW: automation. A tutorial will show you how to use automation to control changes in the volumen and panning of the tracks in your mix. You will also learn how to use cross-fades in order to allow a smooth and unnoticeable transition between different audio clips.

All DAW's feature a virtual mixer. You will learn how they differ from physical external mixers; this information will help you determine which type of mixer is right for you.

Even though the concept is the same in external mixers and DAWs, you need to understand that DAW's have virtual and physical buses. This lecture will allow you to understand the difference and will enable to use buses effectively if you use a combination of internal and external sound sources.

After this lecture you will understand how to bounce several tracks into fewer ones in order to create sub-mixes. You will also learn how to use rendering to create the final version of your mix. The lecture includes recommendations on the use of dithering during the rendering process.

This lecture will allow you to gain a thorough understanding on how MIDI controlled devices work. With this knowledge you will be able to make informed decisions about what MIDI devices to use and how to integrate them into your studio setup.

In this lecture you will learn a very cool method that will give you total flexibility to assign the sound you want to each component of your virtual drum kit.

In the remaining lectures of the course we will do an actual mix, using the song we wrote and arranged in the previous sections, as an example. We start by introducing the powerful method of making a visual representation of sounds in a mix. Armed with this notion, you will be able to apply key elements like panning, EQ, volume and reverb very effectively in order to achieve clean, uncluttered and powerful mixes.

This lecture explains how drum tracks are usually arranged in a mixer. It provides a detailed explanation that will allow you to map your drum tracks into the drum channels in your external mixer, the same way that seasoned audio engineers do.

This lecture describes recommended guidelines for the arrangement of the rest of instruments in your mixer. The lecture includes a discussion on the differences between analog and digital channels in an external mixer. At the end of the lecture, all tracks will be mapped unto your external mixer and we will be ready to start the actual mixing process.

As most audio engineers do, we start the mixing process with the kick drum. A detailed discussion will allow you to understand how to set up your kick drum in order to have a strong and well defined sound. The lecture includes a real example on how to resolve the usual conflict between the kick drum and the electric bass.

This lecture provides guidelines and recommendations that will allow you to tackle common issues like "rings" in the snare sound as well as things to watch for if you used several microphones to record the snare.

This lecture provides common procedures for placing the Hi Hat correctly in the mix (placement, use of filters and EQ, etc.).

This lecture provides a detailed explanation on how to place these important drum components in your mix. Improper placement of toms and inadequate use of the overheads may yield an amateurish drum sound. The lecture ends with a tutorial where all the element of the drum kit in our song are mixed.

The quality of the bass, together with the kick drum, will make or break your mix. In this lecture you will understand how to set the bass, get rid of "offending" frequencies, and make it work nicely with the kick drum. The lecture ends with a tutorial where the electric bass is incorporated into the mix of our song.

This lecture describes how to incorporate broad range instruments like piano, organs or string pads into your mix. Useful tips will allow you to place them correctly, so they don't end up fighting for their space in the mix. The lecture ends with a tutorial where the piano, the organ and the synthesized strings are incorporated into the mix of our song.

This lecture discusses how to incorporate other instruments like backing vocals or rhythmic guitars into your mix. It includes a procedure to create a very effective "wall-of-sound" effect and shows a very well produced example.

This lecture describe the final adjustments usually made before incorporating the lead instruments. The settings of various processing effects like compression and reverbs are revisited. The objective is to create what I call a "karaoke" mix. In other words, a complete mix with all the instruments correctly panned, EQ'ed and with their correct volume and audio processing. Everything in its place, except for the lead instruments. The lecture ends with a tutorial that shows how to use a stereo imager plugin to enhance the synthesized strings. A complete "karaoke" mix of our song is also shown.

In this lecture you will see that shared lead instruments and solo lead instruments are treated differently. You will learn how to place instruments that share the lead role effectively in the mix, achieving presence without cluttering the space. Also, a technique is shown that will allow you to place solo leads with enough presence in the mix, without having to resort to compression. The lecture ends with a tutorial where the lead instruments of our song (a sax and a synthesizer) are incorporated into the mix; thus, completing the mix of our song.

This lecture addresses the importance of automating all the parameters that change throughout the song: volume, panning, reverb, delays, etc. You will understand why you should not make manual adjustments in your mixer while the mix is being generated. A tutorial is included that shows how to use the "snapshot" functionality in order to get rid of unwanted noise and bleeding in the audio tracks.

This lecture explains important aspects to be considered when generating your final mix; especially if you intend to master it afterwards.

In this lecture we will discuss some useful tips that I have learned throughout my career, that will help you achieve your best possible mix.

In this lecture you will learn what is the objective of Mastering. It includes a discussion on mastering compression and its dangers if used excessively. Finally, you will get some useful recommendations on how to select adequate mastering services.

In the final lecture of this course, you will get recommendations on several topics where, as a musician and self-producer, you should acquire more detailed knowledge.