Dude sorry to burst your bubble, but your going to need years and years and years of experience with music theory and music composition, structuring etc etc.. Deadmou5 has been making music for a really long time now. I believe he got serious with it in the early 90's though I'm not too sure. It also helps to be able to read notes and know how to play something like the piano so you can master the FL piano roll.
You're absolutely right. He's currently the youngest world-class DJ at the age of I forget which. He's been DJing and producing for over a decade. I wanted to last year, but really just mixing my songs into one another doesn't really seem that cool to me. I like deadmau5's stuff cause he manipulates the songs live and uses triggers with the monome so he can control what he wants to do. He's not being ignorant, because if you knew anything about deadmau5 who is my inspiration , you'd know he's not a DJ, so congrats you ignorant cunt lol.
Theres many live electronica-based musicians who are most definitely not DJs. Oh look. You said he needs turntables and a mixer. I said its not requirement for performing live. Playing live! Good job, you've made yourself look comically stupid. I recommended them, I never said he purely needed them. Tell me any nights you know where electro house and progressive is done without mixing software or hardware. Member since: Dec. Member Level 02 Blank Slate. Long story: My tunes lack the quality that club musicians have, but over the next summer, I will really be buckling down and getting into some heavy production.
Thanks Casey. Member since: Mar. Member Level 15 Musician. All the gear in the world won't make your music better. Member since: Oct. Member Level 05 Melancholy. Mastering, it can really help. Member Level 20 Musician. Member since: Nov. Member Level 03 Blank Slate. Member since: Aug. Member Level 09 Blank Slate. Deadmau5 is a meth addict, so You can try starting with that. Member since: May. Member Level 26 Blank Slate.
Another investment could be for one of those giant pedophile-ish looking mouse heads. It is these sorts of creative solutions to musical problems that set this class apart from a more polished, cooking show-style lesson in EDM. The most common complaint I have heard and read about Masterclass courses is that the lessons are not sufficiently technical to benefit someone hoping to make actual progress in the subject matter covered in the course.
Though he never takes us through a single work from start to finish, we do get a look at every step of the process in a systematic way. Having watched through the entire course twice, I have had the benefit of two different perspectives on the course and two radically different experiences. The first time I watched the course was very early in my experience with music production, so I took more away from the broad strokes of each lesson. Some time later, having spent countless hours exploring the technical side of sound design, I am connecting more with the over-the-shoulder and screen capture-driven quality of each lesson.
Perhaps the most useful piece of advice for anyone looking to get started is just as useful for a more experienced producer looking to tweak their creative process: producing music does not have to be expensive. Throughout his masterclass , Joel reminds us that dreadful electronic dance music can get made in high-priced studio environments, and incredible EDM can come out of a laptop loaded with cheap or free or free trial VSTs.
His philosophy comes through very clearly in the masterclass : making music is about more than the gear. That said, a decent amount of time in the deadmau5 masterclass is devoted to the basics of modular synths. In covering a fairly broad range of the elements that color EDM, some of which may tend to be hidden inside the box for those of us who are more likely to use VSTs that emulate hardware instead of the hardware itself, deadmau5 likely introduces something new to anyone watching.
This hypothetical reader may not even be interested in the philosophical monologues to which we are treated in between more technical demonstrations. What, then, can deadmau5 offer to the viewer who knows it all? There are not many individuals out there who could speak as comprehensively to the many stages of artist recruitment, development, and the process of releasing a product as Joel Zimmerman, thanks to his history of work as both an artist and a label manager. The practical guidance he offers up-and-coming artists as part of the last quarter of the deadmau5 masterclass has just as much to do with professionalism and what professionalism looks like in the music industry as it does with music itself.
This makes his M asterclass stand out even further from other courses offered on the platform, as viewers get a window into the perspectives of not only an artist who has experienced success, but also one who has been taken advantage of, and a label manager who is looking for particular traits in the artists he signs.
Though some of the early Masterclass videos were hit or miss in terms of production value, it is clear that the Masterclass production team had hit its stride by the time this course dropped in late Even though other content creators on YouTube are catching up to this level of quality, this work nonetheless continues to stand out. The lighting, the sound, and the rhythm of frame changes all make the experience of this masterclass incredibly aesthetically pleasing.
If you are only interested in this course, you will likely not be happy with your investment. If you are like me, you may have some experience subscribing to a monthly streaming service in order to binge a single series then canceling the subscription after. Well, it seems Masterclass is wise to folks like us, and has built protection against this practice into their subscription model. That said, if there are a few courses that interest you, you might hit a point where the entertainment and instruction packed into each course does become worth the money for some possible examples, check out our reviews of the Hans Zimmer and Armin Van Buuren Masterclasses.
As far as the overall value of the Masterclass platform as a whole, since the user ends up subscribing to a yearly access pass for nearly the cost of Serum which comes highly recommended by deadmau5, by the way , I would offer only a 7. And then I found that happy medium where I can still get shit done. It takes a certain amount of practice or experience doing that for you to be proficient at what you do, versus what you do with 3 million kids watching and hanging off your words, speculating.
With 3 million people watching, that's got to be impossible to manage chat. Do you have a bot? Well, not really. At the start, it was fuckin' anarchy. It was "shit, fuck, piss," waves of emoticons. That was with some other kind of app that we used. Then we went in and we took their chat thing and said, "Okay look, here's some basic rules: You can't send a message more than once every 30 seconds.
That helped. Then I said we should do a kind of mode where we can pick four people at a time at random it'll go into the chat queue and unmute four people and they can ask the questions. That got a little weird because I spent more time moderating the chat than doing what the fuck it is I'm supposed to do, right?
Then I started using Twitch and that seemed a little more tame. While it didn't have that [unmute] thing, it did have slow mode. Depending on the scale of the channel, it's really not a disaster. I can read it; I can follow a theme or a conversation or a topic; just eyeballing it and not getting lost in someone's link to check out their beats. Well, I didn't start that, but I started my Twitch stuff with no gaming. Maybe that mentality didn't translate so well right off the bat with all the users when they said Twitch was going to add music channels.
So I'm curious to see where that's going to evolve, because you're going to have a good crossover of streaming content with people producing content and shows that are using music. But not everybody's a goddamned fuckin' producer so they can't acquire licenses on their own to use stuff. So I actually did that once on my own. The other day I was streaming me playing Diablo 3 , dicking around as one does on Twitch.
I had my MP3 player on shuffle and it was dipping around on my stuff and some other people's stuff. Stuff I enjoy listening to as I play Diablo ; here's me in my natural habitat. Then I look at the stream later and a lot of it is blocked out, but not my stuff. It's the stuff I know I don't have the rights to broadcast. So, fair play. It'll be interesting to see [how] Twitch gets out of the game-streaming-only environment that it's perceived to be now. You know what? I'm not gonna lie, dude.
I haven't really explored much outside of what I'm doing, my own thing. But today I met one very fascinating fuckin' dude, Mr. I'm really excited to get back and explore the rest of Twitch.
It's me going to a music festival, right? You're not going to see me up in front row and fuckin' center of Arcade Fire.
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