REFLECTIONS – PRODUCING A RELEASE (PART 3)

Let's recap the key points covered in the previous two chapters: First: Without an idea, preferably a good one, you have nothing. Second: You also won't get very far if you have a good idea but can't bring it to life with great sound and a polished, distinctive production. Therefore, what I have left to tell you in this third and final installment is nothing other than the use of something that, ultimately, is a fundamental part of any creative process: the means to make it happen.

And for that, we must again be clear about who we are and where we want to go, because the resources available can overwhelm us if we don't have a clear vision. By "resources," we mean the "tools" with which we can or will have to reach our goal, and in this sense, beyond wanting or being able to have the best that technology can offer, what truly matters is the skill of the person piloting the plane or riding the motorcycle. I want to elaborate on this because I consider it essential that this be clear. Certainly, certain minimum requirements are necessary to get started in the world of electronic music, but having the best software, a powerful external mixing console with the best components, the most highly regarded external synthesizers, the most expensive and prestigious processors, or the best sound card won't make us sound better than those using only their modest laptop. Something more is needed, something you must provide.

It's obvious that U2 albums aren't recorded on a laptop, but you can program the synthesizers for a Madonna album on one, or even do the entire music production, and then record vocals, process the sounds, and mix it all in a top-notch studio. So it all depends on what our judgment dictates can be done with a given device, and not on the device itself, which is incapable of doing anything, good or bad, without us.

Leaving comparisons aside, since we're not going to record symphonies or produce pop groups, for the music we're discussing, with a PC/Windows or Mac, a sound card up to the task and capabilities, and, VERY IMPORTANTLY, good listening skills, we can start CREATING. As I assume most of you reading this are enthusiasts, and some of you may even have some released productions, I'm addressing the newcomers or those who are simply curious to mention that, nowadays, most professionals in our creative field work with Macs. After having been in contact with many producers, and having read about the world's top producers whom I admire and who enjoy international success and recognition, it's safe to say that, on the one hand, one of the main reasons for their fame lies in their loyalty to the various software applications for the system, and who knows, perhaps also in the cool aura surrounding Apple products.

On the other hand, it's equally important to consider that Logic Audio can only be used with Macs. Logic Audio is, quite simply, the result of the evolution of MIDI sequencers. By MIDI, we mean a signal that allows a computer to communicate with a musical instrument, which will then execute what we've programmed beforehand. What began with those Atari computers, which some of us still remember, has evolved into a powerful creation tool that does more than just trigger and control MIDI. A program that allows you to record and play individual audio and MIDI tracks, as well as mix them, treating each one with equalization, compression, and multi-effects, without the need for modules or an external mixing console, is like the conductor of an orchestra.

Thus, the producer has the ability to manipulate each sound and play with its tools as if it were a game of cut, copy, and paste. The same is true for the legendary Cubase or its sibling Nuendo, available for Windows and Mac, the latter being more focused on video sound design. I think it's safe to say that all these programs have become the production standards, although nowadays there are professionals who work with programs like Live or Reason. Reason is a very good friend for beginners, as it's the virtual version of an old-school studio (and some modern ones too), with its external modules and cabling. Even renowned producers have released projects created with Fruity Loops, though don't tell anyone.

However, and apologizing if you find any programs missing from this list—which, in any case, would be based on the elements already described—it's necessary to mention that a significant number of creators work with PC/Windows, and the result is exactly the same as what can be achieved with a Mac. These programs need to be fed with synths or virtual instruments (which would be the real instruments in a band) or sound processors, whether from the program itself or plugins—although I've referred to them several times without explaining what they are, we could say they are something like 'inserting an application to process or alter the sound'. And we have to play all of this with a sound card that connects the computer to the monitors. But since these lines can't delve into technical aspects, I'll avoid going into further detail, although I can't fail to mention one fundamental point: the one that will allow us to have a good listening experience.

I modestly believe I can advise that, before spending a large portion of your money on the best sound card or a good plugin package, invest it in quality monitors. A good pair of speakers is ESSENTIAL, and the space where they are placed is equally, if not more, important. No one should panic yet, because, lacking the funds to build a studio like the ones featured in magazines, MANY of the producers who have achieved a Top 1 hit have been able to record their tracks in what we know as a 'Home Studio,' obtaining excellent results. This is because they know perfectly the sound their room produces with their speakers and, consequently, have a clear sonic reference point when working, so there are no surprises when the product is released and heard in clubs. What good is having the best sound equipment if you don't clean your ears, or train your ear to identify the frequency spectrum of a track, or to figure out if, for example, you're exaggerating the bass, mids, or treble? A great piece of equipment is useless if you don't make the effort to technically interpret what you're hearing, so that your initial good idea can develop as it should. Remember: Have a great idea, put your best creative effort into it, make it sound good, and when you finish a project—the one you've conceived and worked on for weeks, months, or even years—you'll have to find it a home, or in other words, a record label, for its promotion, release, distribution, etc. Although, in the world we live in, perhaps they're no longer necessary? Oops! I think that would be a whole other topic… I hope what I've shared here has been helpful.

This concludes issue number 20 of this section, which began in June 2009. I don't want to close this new reflection without first expressing my sincere gratitude to Jordi Carreras, former editor of Deejay magazine, for the kindness he showed me during his years at the helm of this publication, and for the opportunity he gave me by offering me these modest pages. From these same pages that have allowed me to express myself freely, I wish him a happy and prosperous new chapter in his life, both professionally and, most importantly, personally. Thank you, Jordi! And good luck to you all with your productions!