Is deadmaus still smoking? That shït'll kill you.

When and where is that masterclass?

It's on Google

thanks!

It's worth it if you are a fan of deadmau5 and want to see how he does what he has learnt how to do in a quick condensed way. But the truth is, music creation of a form of artistic expression. You want to find your own artistic voice in expressing yourself. You don't want to just copy someone elses and try to use it as your own. IMO, you are better off experimenting in tweaking settings and knobs in the opposite direction from everyone else and trying to find your own unique sound and voice to use as an artistic expression.

I always considered the SSL G Series comp to be more of a rock and roll compressor. For dance music my opinion is that it can suck too much bass and make the kick smaller. The crunch it can impart is not so suited to dance... It can work, I have done many dance mixes with one and with the Smart C2... but as with many popular hardware pieces of gear, dance/electronic is not its strong point.

Same goes with summing through the SSL Matrix, for some styles it is unbeatable, for modern dance music it's possible that keeping it in the box will sound better.

So I get it.

I love analog outboard but when you need a standard screwdriver a phillips head won't work.

I learned how to play guitar in the 90's because of Metallica. I wanted to sound like Metallica and Hammett. I bought a tablature book, and it cost a lot of money. I actually bought it along with 2 friends who chipped in, and we shared the book. We learned how to play all of our favorite riffs and even tried to get the distortion to sound right. I started producing electronic music when I heard DeadMau5 track called Not Exactly. I thought it was a simple track, but people I knew who were in the house scene were talking about it, so I checked it out and wanted to produce something similar because it was simple but produced really well, and I learned how to sidechain duck tracks by watching a tutorial on someone recreating that specific track.

I like Mau5 production style, at least some of his tracks. I'd like to learn more about how he gets such a polished sound, what techniques he uses, etc. I kept reading he "masters" his own tracks, and I always found that hard to believe, but I think it might be true. He has some early tracks in FL Studio you can still load up from the demo projects if you have FL. They are projects with literally only a handful of tracks, and I think his current projects probably look similar, like they're not 148 tracks tall, but they're smaller than we'd think.

It's foolish to think that isn't any value in observing a pro at work. This goes for anything not just making music.

Look around for his twitch vid on Imaginary Friends. He has 10+ hours of video of him making the track from scratch including mastering and final Soundcloud upload.

He uses a master as you go approach and mixes directly into a master bus which he gradually assembles as the track progresses. So aside from matching media formats or balancing a number of tracks for album release (which he may out source), there isn't much of anything that he needs to done by the time the track is complete.

I think he might be referring to the fact that it's a buss compressor, like others have said, but also because of the fixed attack/release times. There's less room for fine tuning a tight, punchy kick.

I make house and future bass music and actually like the SSL G Series Buss Comp on the master for just like 1-2 db of gain and the color it imparts.

I feel the same way. Unless it's a clone with a bass side chain then yes it sucks down too hard. The TK and the Obsidian work better from this point of view.

It was a clip cut from middle of sentence so it's out of context. Probably to create threads like this that promote the video.

If someone wants to know what he mean one needs subscribe to that masterclass.

OP: why did you do separate thread for this? Mods could merge this with the original masterclass thread.

its a software masterclass so the kicks would be software presets

Since the glue comes with live9 its gonna be everywhere, anyway this sentence is also in the trailer (just watched it), probably from a very pro level inquiry reaching him. The masterclass has also has a digital vs analog synths section!!! How much time we ve got before someone posts his findings in gs? I predict a 50 page minimum.

If that's a strong point (bus comp on a kick) to put in the trailer ... but tbh i didn't see what they charge.

Tom, we need to create our own masterclass - "how to not waste 25 years chasing synths and finish that track, nevermind it's rubbish anyway"

The Anti-GS/anti-AH series.

Antacid masterclass - no gas, just completed tracks

I finally saw the ad for it on YouTube yesterday. I can see how it could be very informative just from the information he shares in the ad, but I wonder how much it's going to be geared toward his absolutist way of thinking and restrict somebody's inclination to experiment. On the flipside, I love the bit in the ad where he admits that he doesn't know his way around a keyboard and then shows his method of almost randomly selecting notes to build a melody, so it's good that he shows that he himself had to work to find his own voice.

To those saying how the best way to learn is through experimentation and not from hearing someone else's approach, I think you're mistaken! It takes all forms, but I can't think of a situation where knowledge has ever hurt someone creatively.

I can: Music theory. Learning theory, especially in the early stages, can stunt creativity. Many great musicians have no idea what they're doing when it comes to proper theory and their music shows that level of naivete.

People always say this and I think it's complete bull****. Show me a successful or talented musician who says they wish they'd never learned theory.

That's harder to track down because everyone's definition of 'successful' or 'talented' is subjective, but I can point you in the direction of bajillions of artists that are creative as hell and pack stadiums that never learned theory while there are so many that never learned theory that can't even pack their mom's basement.

I think your advice is dangerous to make and the onus is on you to prove it before you spout it to those pursuing knowledge.

You would think he would maybe spend an hour or so a day to learn chords and scales on a keyboard? It sounds like it frustrates him to no end? With the time he has on his hands and funds available for lessons he could probably be a pretty good keyboardist in a year or two.

Fine then. Metallica. They spent all that time learning to actually play their instruments and then Load happened. Maybe they don't regret that decision, but their fans sure do.

Then he'd be as bad as Metallica! ...wait, he already is. IT'S A GOOD IDEA!!!

I'm pretty sure Kirk Hammett and James Hetfield knew how to play a bit on the previous albums...

OTOH, talking about Lars...

Checkmate, I can't argue with this solid logic.

seems like this comment was deleted, but:

I tried to learn chords and scales and how to read music for years, and I can't commit it to memory. It just won't stick. It's like telling an adult to learn a new language. Go learn a new language you don't speak. It's not easy, and it may never stick. It's only easy for those who pick it up quickly and naturally, or in other words, it's easy if it's easy . Think about that for a while.

Well, they switched from doing chromatic riffing to actual chord progressions. Somebody put a bug in somebody's ear for that to happen.

In all srsness, that's a fun one to try to Google to find specific examples, but I know a couple years ago there was a thread about it here and I wasn't the only one that expressed regret at learning theory. I spent about a year after learning theory trying to write music with what I learned and hating every bit of my output. That's when I switched to writing on a guitar. With a guitar, I didn't have all the notes committed to memory so writing my riffs around guitar gave me that uneducated punk style of writing like what I started with.