REFLECTIONS – PRODUCING A RELEASE (PART 2)

Taking advantage of the start of the new year, last January we gave these pages a radical makeover, and I proposed sharing some of my professional insights on approaching a new project. It's also important to note that this section isn't intended as a Q&A for any doubts you might have about using a gimmick or trick, nor as direct help for a specific production where you've hit a roadblock. Without delving into technical aspects, I'll offer advice on how to connect with the audience with a new production, how to establish a name for yourself to get hired, and how to gain recognition for your work while remaining true to your personality.

It's already clear that, whether it's the first time or the next, we must ensure that, sooner or later, the clubber or the DJ knows who we are. If we want a track to be played on radio stations like Máxima FM, for example, during the daytime "composition radio" slot, we know it must be either an international hit with the potential to appeal to the Spanish public, or a commercially viable creation, or both. BUT BEWARE!! The GREATEST figures in the history of music (in ALL fields, genres, and styles) have often been those who have done something new, something no one had done before, or those who have struck a chord not only with works that are 'easy' to remember. In what we understand as 'Underground,' there are many artists who have triumphed, made a name for themselves, and have more recognition than others who aspire to be in commercial circuits. Think of Richie Hawtin, Jimpster, or Dennis Ferrer himself (to name just a few), big names in electronic and house music, with millions of fans worldwide, who operate outside the mainstream. Dennis Ferrer, with his cult hit 'Hey Hey', managed to get airplay on FM stations around the world during 'commercial' hours, thanks to a 'quality' product, according to critics and the consensus of clubbers and fans worldwide. How is that possible?

Production quality is ESSENTIAL to establishing yourself as a producer. A large part of your personality will reside in the way you treat the sound of your productions. Unless we manage to create a smash hit with a low-quality audio project, using what we call "cheap" elements (sounds that, for example, turn a warm conga into a shrill and annoying saucepan), what generally goes down in history and works is what sounds truly good, what takes care with its elements, analyzes what it envisions, and seeks it out, refining it (equalization, compression, overall sound treatment) to personalize it and use it when it's believed to have the right sound for its purpose. As an A&R representative for a record label, I listen to hundreds of promos and demos every week, and, much to my dismay, I must say that on too many occasions I think they either haven't been listened to properly, or their creators haven't been self-critical enough before sending them.

To anyone thinking of copying, sampling, or making a cheap groove with a catchy vocal or melody to see if it gets them signed to a record label, I can only say that they'll be discredited from the get-go. What initially grabs your attention with its sound is what you end up paying the most attention to. I call it "sounding like a truck" (and let it be known that this is a term I invented myself, so it shouldn't be taken as a theoretical concept). In other words, sounding substantial. Something like having a whole ox on the table to eat, if you'll excuse the metaphor. It has to be a powerful sound in every sense. If it's a Deep House track, it must have that warmth that the style requires; if we're talking about Tech-House, it must have that groove that defines it; if we're talking about Progressive-House, it must take care of the melodies, the chord changes, and create that immersive feeling; or if it's Techno, it must possess that pure spirit of what we know as Electronic Music… and so we could continue with all the styles that exist, and those that will come.

The choice of elements is therefore ESSENTIAL in the approach to a new production. And, whatever we do, whatever path we choose, something with personality must ALWAYS emerge, something with a distinctive style so that you can be recognized. Often, this personality is NOT premeditated; it simply arises from the heart, from doing what you love without the ambition of creating a bestseller. I advise those who are new to the genre that, when they finish a production, they should review it after having previously listened to something from a top producer in the genre. For example, if they have created a Progressive-House track, it would be good to know the sound of Pryda and then compare. If you are objective and self-critical, you will realize how far you have to go to achieve that level of quality, which will serve as an incentive to strive for excellence. However, NEVER copy; listening to the best should only serve to assess how far you need to go to be in the same league as them.

At this point, I believe I've answered at least part of the question of how to achieve success. Of course, a very large percentage depends on individual talent, whether it's innate or not. However, with effort, those who may not possess as much natural talent as others can offer and give a great deal. Throughout my career, I've encountered several cases where a combination of talent and tenacity, along with a bit of luck (which you have to seek out), has led to precisely the goals set, and the artists continue to persevere. It all begins with carefully selecting each element. Some will start with one or more samples (samples from existing tracks, fragments, melodies, or vocals), others with a vocal melody, others with a groove and bassline composition, and still others will give an instrumental piece to a singer or songwriter to compose vocals, and so on.

If we talk again about 'Hey Hey', we'll see that its sound is unique; every element is there for a reason, and they all sound fantastic, starting with the excellent vocal composition, performed by a truly talented singer. On that note, I should mention that since we don't use English as our primary language, we sometimes overlook the lyrics, even though many great hits have a powerful message behind them. Kings of Tomorrow's 'Finally' (Sandy Rivera) is a mega-classic with a very spiritual message, although the average listener in non-English-speaking countries might not fully grasp it. Of course, when we talk about 'Panpanamericano', the message is secondary, and what they've done well, even if you don't like the song itself, is adapt an old classic (a very good one, in my opinion) with enough flair to make it catchy. They may have been largely lucky, but we must bear in mind that they most likely achieved what they were looking for, after many, and necessary, hours of flying, tenacity, experience and a desire to achieve 'that sound we couldn't find'.