Again, one of those "I'm still alive" type of short posts. I was out of town for a few days plus I've been extremely busy with work and life, so very little time to make music.
Because of that I have no new tracks to present, but a DJ friend of mine made a mixtape of my tracks he liked the most. It's a good chance to hear my tracks in the environment they were meant for ie. in a DJ mix. I also had the chance to hear my tracks on a good PA yesterday, which gave me a much needed confidence boost as I was somewhat satisfied with how they sounded.
Also in the news: Kerri's gig over here has been postponed a few weeks so I have some precious extra time to make new tracks.
Next post will be longer again I hope.
Barfunkel out!
Monday, June 27, 2016
Thursday, June 16, 2016
Feelin' kinda low
I'm tired. Too much (unpaid) work. Not enough sleep. Lots of pressure from everywhere. Absolutely no inspiration to write anything of note.
However, actions speak louder than words, so I finished two of the few tracks I've been working on lately.
And that's it for now.
However, actions speak louder than words, so I finished two of the few tracks I've been working on lately.
And that's it for now.
Friday, June 10, 2016
Dance to the drummer's beat
As promised, this post is about drums. I'll try to get in to the details and explain how I make the drums in my tracks.
The kick
Most of the time I start my tracks with a kick. Yet, I wouldn't say it's the most important part of my production, far from it. I just like to have some sort of a metronome to which I can make the rest of the music. Most of the kicks in this project originate from Wave Alchemy's sample pack called 2 Keyboards Worth of Kicks. It's a really nice and especially varied kick drum collection that always seems to have some sort of a starting point for me to mould the kick to my liking.
After I've picked a kick sample that I happen to like at the moment, I start to process it to fit my needs. The first thing I usually do is to simply edit the amplitude envelope of the sampler software. I use a freeware sampler called Grace by One Small Clue. It's fast, simple and free. There are probably better commercial alternatives out there but I'm satisfied with Grace. The envelope editing is a very important phase, as most raw samples are just that, raw samples. Many drum samples, kicks included are quite long and I usually prefer shorter, more defined sounds, so I usually edit the envelope to shorten the kicks and occasionally mess with the attack phase of the envelope as well, as sometimes kicks have quite aggressive transients that are simple to smooth out with an envelope.
With a quality sample and the right envelope settings you should have a decent kick going on already. The next phase is turning something decent into one monster of a stomp. The secret sauce to that is proper EQ'ing. Classic Pulteq style EQ especially. I obviously can't afford a real Pulteq or currently even a commercial plugin, so again, I turn into the freeware world. There's a really nice Pulteq emulating EQ called SonEQ by Sonimus (tipped to me by an online friend Ronny Pries, to whom I'm grateful for his help). You need to register to be able to download it, but believe me, it's definitely worth the trouble. It's not a jack of all trade kind of EQ, but for kicks it does magic. I don't really understand how it works internally (you boost and cut the same frequency, which is counter-intuitive but just works), but just semi-randomly turning knobs leads into happy places pretty much every time. SonEQ isn't a surgical, fully parametric EQ, so I occasionally use a second EQ for kicks, typically Reaper's built in one. If I hear (or see with a frequency analyzer) some frequencies that bother me, I just cut them out with finely tuned EQ.
What about compression then? I'm not quite sure whether it's my lack of a proper tool, lack of skills or what, but I don't use compression on kicks that often. They often seem to suck the life out of the kicks or at least make such tonal changes to the characteristics of the kick that what made the kick good in the first place is lost.When I do use compression, I usually use another free plugin called Blockfish by Digitalfishphones. When the kick occasionally needs compression, that plugin usually does a decent job.
The clap and the snare
I love a good snare but I hardly ever use one in my housier productions. I prefer to use claps, playing a very basic rhythm, typically on the 2 and the 4. It's not rocket science, but there's still a lot more to a good clap than just taking some unedited clap sound and placing it on the grid.
As with my kicks, I usually start with choosing a basic sample I like, then editing the envelope. Most of the time I use a trusty old 707 clap sample. It just seems to work and takes all kinds of processing well, meaning it can be quite versatile when needed. As with kicks, most clap sounds are quite long by default, so I typically edit the envelope to make them a bit shorter and snappier.
Processing-wise, a solid combination of EQ, transient designer and reverb with some compression thrown in seems to do the trick. As I use a basic 707 clap sample a lot, I don't need to rely on EQ that much. Usually I just highpass filter a bit of the unnecessary low end content away and that's it. The real magic happens with the transient designer and the reverb. Typically I remove a bit of the attack with the transient designer, which both makes the sound a bit smoother as well as changes the perceived timing a bit. As mentioned before, I often edit the envelope to shorten the clap, sometimes to the point of it just being a short snap. It sounds a bit strange in it's raw form, but that's only because I haven't put the reverb on it yet. I typically use a bit of plate reverb from a freeware plugin called EpicVerb by Variety of Sound. I use quite short reverbs and almost always mess with the predelay settings as well. After this treatment the clap fits the music better than by just using a long clap sample to begin with. It blends in and is somehow a bit airier and takes less valuable frequency space. Most of the time the clap is done by now, but if it's not, I might add some gentle compression to make it smack a bit more.
While the clap usually sits on the 2 and the 4, I practically always mess with exact timing of it. When it lies exactly on top of the kick, the rhytm often sounds quite stiff. While you can of course just move the clap around with the sequencer, I prefer to use a specific plugin for the job. In Reaper, there's a handy little plugin with which you can make some very accurate timing changes to the whole channel. My go-to setting is moving the whole clap channel about 5 milliseconds to the right. It's not much, but it's often enough to turn a boring kick-clap-kick-clap pattern into something a bit funkier.
The Hi-hats
The most important drums in house, the hi-hats. Also, the most difficult to get right. Kerri is the king of swingy house hi-hats, I wish I knew what's going on with them but since I don't, I just do them the Barfunkel way.
As always with my current workflow, I start by going through my sample collection, trying to find something that fits my mood or the music I've written so far. Most of the time I start with something a bit different, only to change them to basic 909 hi-hats a bit later. I do this with the closed hi-hats especially often, which could partially be caused by my lack of a variety of really nice closed hi-hat samples. 909 hi-hats do sound really housey though and take processing well, so they can be used in different kind of tracks.
As with kicks and claps, I start by editing the envelope. Hi-hats can be quite tricky to edit, as they often convey tons of energy but if the shape of the sound is wrong, it's the wrong kind of energy which can almost ruin a track. The attack phase of the sound is of especial importance, as many hi-hats can have quite loud transients, which can be great for aggressive techno, but if you want to make smooth house, it's usually for the best to soften them a bit, almost to the point of making them sound as if they were played with brushes instead of sticks. I typically want to have quite a subtle hi-hat sound, not a Dance Mania type of in your face sound.
Processing-wise hi-hats are quite simple most of the time. EQ them a bit, maybe add a transient designer and occasionally some kind of an actual effect like a flanger or a bit of delay. There are no rules really with hi-hats, I just do what sounds good to me and fits the context of the track. Not that there are rules in anything else either, I just mean that there's a much wider variety of possible hi-hat sounds that work in a house context than there are kicks for example.
What makes the hi-hats difficult is the sequencing. Anyone can make a basic, offbeat open hi-hat pattern in about 2 seconds, but if you want more than that you probably need to spend some time on your hi-hat pattern. The placement of the notes, their exact timing, the swing settings, the length of the notes (if applicable) all matter, to a degree that a very minor change can make or break the pattern. I wish I could teach it, but unfortunately I'm not very good at it to be honest and it's also something that's very difficult to explain. You just gotta change stuff up until you like what you're hearing, then stop immediately before you ruin it.
The cowbell
While most would just lump the mighty cowbell along with the rest of the random percussion sounds, I'm writing a separate paragraph about it. Why? I love the cowbell, that's why! It's also surprisingly difficult to use subtly but effectively, because it basically screams "look at meeeee, they made an SNL sketch about meeeee". Don't get me wrong, I love that sketch but living in the post more cowbell-era has it's difficulties. Namely, it's difficult to approach the cowbell seriously. I'm not opposing using humour in music, I mean seriousness as doing it properly and with class, even if the intent is comedic.
I don't use the cowbell as a comedic effect though. Ever. I'm dead serious about my cowbells.
Looking at it from the production angle, the cowbell is actually quite problematic. It's difficult to make sit in a mix, it almost always kinda like floats around the mix, without ever landing in it's proper place. Don't ask me how Kerri did it with Bar A Thym, as I don't know. I kinda assume that he put the cowbell there first, then wrote the rest of the music to support it. Doing it the other way around easily leads into tracks that sound almost like two separate pieces of music, the actual track and the cowbell that sits on top of it. The example track I made (scroll to the bottom of the page if you want to hear it now) kinda suffers from this. It's the best cowbell I ever made, but it's far from perfect.
The breaks
What do crusty old breakbeats have to do with house production? In my case quite a bit! Almost every single one of the tracks posted to this blog has had breaks in them. The thing is, I don't just put an unedited Funky Drummer there in it's entirety and call it a day, I try to be a bit more subtle with them. Lots of times you can't even hear them, but you would notice if they weren't there. They're quite quiet, but an extremely important little piece of the rhythm puzzle for me. They create the groove in almost a subliminal way.
While I use Grace for my one shot samples, I use another free plugin for my breaks called Short Circuit 2. The thing with Grace is that it's user interface isn't ideal for breaks, as zooming is very cumbersome with it and chopping a break into little pieces that you spread across the keyboard is impossible.
Strangely, I usually audition breaks outside the DAW, meaning I have the basic drum beat playing on the DAW, then I pick and play different breaks with the Windows Media Player until something tickles my fancy. Only then I load up the sampler plugin and the break sample. Before I start to chop it up, I usually just play the entire break and change the pitch until it loops roughly in time with the house beat. I typically use something like 3 to 6 chops of a single break, spread over the keyboard for easy sequencing. There is no standard to this, as breaks can be very different. Sometimes I use them just as additional single hits, sometimes I use little bits of the original rhythm as well, especially hi-hats and congas/bongos. I sequence them to add a nice little groove to an otherwise sometimes too static house beat and voi la, you have a nice groove going on. This is my secret sauce.
Processing-wise I mostly use some extremely heavy-handed EQ. I often hi-pass filter most of the kicks away, occasionally I just leave a little trace of the hi-hats playing. It's entirely context dependent, but I try to remember that a break is usually the entire drum section of a finished track, which means that without EQ there's very little room left for the rest of the drums. Less is more is usually a good starting point for everything music-related, but when EQ'ing the breaks more is often more. Just cut away to the break of dawn! I'm not a big fan of sidechain compression, but I do occasionally use it with breaks. Just a tiny bit of pumping can make the breaks sound like the belong to a house track a bit more.
Percussion
I just lump everything else under this umbrella. Shakers, tambourines, congas, bongos, toms, finger snaps, random bleeps, bloops and whatnot. They often play an auxiliary role in house, which is a good thing to keep in mind. They aren't always even necessary, tons of classics have been written with just kicks, hi-hats and snares, They can, however, add a little bit of extra funk to your music, just try to not overdo them as they can easily overpower your rhythm section.
The same principles that work with the other drums apply to percussion as well. Start with a quality sample (or synthesize one yourself), then edit the envelope and finally use some plugins to process it to your liking. There's too many variables in place to make any kind of a useful blanket statement.
Bus processing
So, your individual drums are done now, then what? While I didn't do it in my hardware days (mostly due to the lack of gear that can actually do it) I have a drum bus all the time nowadays when I'm ITB. A drum kits carved out of random sounds can sound a bit incoherent, which bus processing can rescue in a nice way.
While the specific vary, the bus usually consists of some variations of EQ, compression and saturation. Nothing too drastic, as the intent is to not completely crush the life out of it, just give it some gentle glue and presence. I don't usually EQ the bus that much, because can always just EQ the individual sounds with more precision, but I occasionally use gentle high frequency boost on the whole bus, to give the drum track some sense of air and excitement, typically with the Baxter EQ by Variety of Sound. Compressing the bus gives it some much needed glue, a sense of togetherness. For this I usually use either TDR Kotelnikov by Tokyo Dawn Labs or SlickHDR by Variety of Sound, both freeware. For saturation (to make the drum kit sound a bit less ITB-like) duties I often use FerricTDS by Variety of Sound, combined with a reel to reel tape simulator plugin called Ferox by Jeroen Breebaart. I would love to own the U-He Satin for this, but it's unobtainable for me at the moment.
I also have a new track to represent. It started as a simple drum workout, but in the end it became a fully fledged house production that I personally am quite fond of. The intention was to make a DJ toolish drum track, but as these things often go, a real track showed up it's little head and I didn't want to restrain my creativity because of some principle.
The kick
Most of the time I start my tracks with a kick. Yet, I wouldn't say it's the most important part of my production, far from it. I just like to have some sort of a metronome to which I can make the rest of the music. Most of the kicks in this project originate from Wave Alchemy's sample pack called 2 Keyboards Worth of Kicks. It's a really nice and especially varied kick drum collection that always seems to have some sort of a starting point for me to mould the kick to my liking.
After I've picked a kick sample that I happen to like at the moment, I start to process it to fit my needs. The first thing I usually do is to simply edit the amplitude envelope of the sampler software. I use a freeware sampler called Grace by One Small Clue. It's fast, simple and free. There are probably better commercial alternatives out there but I'm satisfied with Grace. The envelope editing is a very important phase, as most raw samples are just that, raw samples. Many drum samples, kicks included are quite long and I usually prefer shorter, more defined sounds, so I usually edit the envelope to shorten the kicks and occasionally mess with the attack phase of the envelope as well, as sometimes kicks have quite aggressive transients that are simple to smooth out with an envelope.
With a quality sample and the right envelope settings you should have a decent kick going on already. The next phase is turning something decent into one monster of a stomp. The secret sauce to that is proper EQ'ing. Classic Pulteq style EQ especially. I obviously can't afford a real Pulteq or currently even a commercial plugin, so again, I turn into the freeware world. There's a really nice Pulteq emulating EQ called SonEQ by Sonimus (tipped to me by an online friend Ronny Pries, to whom I'm grateful for his help). You need to register to be able to download it, but believe me, it's definitely worth the trouble. It's not a jack of all trade kind of EQ, but for kicks it does magic. I don't really understand how it works internally (you boost and cut the same frequency, which is counter-intuitive but just works), but just semi-randomly turning knobs leads into happy places pretty much every time. SonEQ isn't a surgical, fully parametric EQ, so I occasionally use a second EQ for kicks, typically Reaper's built in one. If I hear (or see with a frequency analyzer) some frequencies that bother me, I just cut them out with finely tuned EQ.
What about compression then? I'm not quite sure whether it's my lack of a proper tool, lack of skills or what, but I don't use compression on kicks that often. They often seem to suck the life out of the kicks or at least make such tonal changes to the characteristics of the kick that what made the kick good in the first place is lost.When I do use compression, I usually use another free plugin called Blockfish by Digitalfishphones. When the kick occasionally needs compression, that plugin usually does a decent job.
The clap and the snare
I love a good snare but I hardly ever use one in my housier productions. I prefer to use claps, playing a very basic rhythm, typically on the 2 and the 4. It's not rocket science, but there's still a lot more to a good clap than just taking some unedited clap sound and placing it on the grid.
As with my kicks, I usually start with choosing a basic sample I like, then editing the envelope. Most of the time I use a trusty old 707 clap sample. It just seems to work and takes all kinds of processing well, meaning it can be quite versatile when needed. As with kicks, most clap sounds are quite long by default, so I typically edit the envelope to make them a bit shorter and snappier.
Processing-wise, a solid combination of EQ, transient designer and reverb with some compression thrown in seems to do the trick. As I use a basic 707 clap sample a lot, I don't need to rely on EQ that much. Usually I just highpass filter a bit of the unnecessary low end content away and that's it. The real magic happens with the transient designer and the reverb. Typically I remove a bit of the attack with the transient designer, which both makes the sound a bit smoother as well as changes the perceived timing a bit. As mentioned before, I often edit the envelope to shorten the clap, sometimes to the point of it just being a short snap. It sounds a bit strange in it's raw form, but that's only because I haven't put the reverb on it yet. I typically use a bit of plate reverb from a freeware plugin called EpicVerb by Variety of Sound. I use quite short reverbs and almost always mess with the predelay settings as well. After this treatment the clap fits the music better than by just using a long clap sample to begin with. It blends in and is somehow a bit airier and takes less valuable frequency space. Most of the time the clap is done by now, but if it's not, I might add some gentle compression to make it smack a bit more.
While the clap usually sits on the 2 and the 4, I practically always mess with exact timing of it. When it lies exactly on top of the kick, the rhytm often sounds quite stiff. While you can of course just move the clap around with the sequencer, I prefer to use a specific plugin for the job. In Reaper, there's a handy little plugin with which you can make some very accurate timing changes to the whole channel. My go-to setting is moving the whole clap channel about 5 milliseconds to the right. It's not much, but it's often enough to turn a boring kick-clap-kick-clap pattern into something a bit funkier.
The Hi-hats
The most important drums in house, the hi-hats. Also, the most difficult to get right. Kerri is the king of swingy house hi-hats, I wish I knew what's going on with them but since I don't, I just do them the Barfunkel way.
As always with my current workflow, I start by going through my sample collection, trying to find something that fits my mood or the music I've written so far. Most of the time I start with something a bit different, only to change them to basic 909 hi-hats a bit later. I do this with the closed hi-hats especially often, which could partially be caused by my lack of a variety of really nice closed hi-hat samples. 909 hi-hats do sound really housey though and take processing well, so they can be used in different kind of tracks.
As with kicks and claps, I start by editing the envelope. Hi-hats can be quite tricky to edit, as they often convey tons of energy but if the shape of the sound is wrong, it's the wrong kind of energy which can almost ruin a track. The attack phase of the sound is of especial importance, as many hi-hats can have quite loud transients, which can be great for aggressive techno, but if you want to make smooth house, it's usually for the best to soften them a bit, almost to the point of making them sound as if they were played with brushes instead of sticks. I typically want to have quite a subtle hi-hat sound, not a Dance Mania type of in your face sound.
Processing-wise hi-hats are quite simple most of the time. EQ them a bit, maybe add a transient designer and occasionally some kind of an actual effect like a flanger or a bit of delay. There are no rules really with hi-hats, I just do what sounds good to me and fits the context of the track. Not that there are rules in anything else either, I just mean that there's a much wider variety of possible hi-hat sounds that work in a house context than there are kicks for example.
What makes the hi-hats difficult is the sequencing. Anyone can make a basic, offbeat open hi-hat pattern in about 2 seconds, but if you want more than that you probably need to spend some time on your hi-hat pattern. The placement of the notes, their exact timing, the swing settings, the length of the notes (if applicable) all matter, to a degree that a very minor change can make or break the pattern. I wish I could teach it, but unfortunately I'm not very good at it to be honest and it's also something that's very difficult to explain. You just gotta change stuff up until you like what you're hearing, then stop immediately before you ruin it.
The cowbell
While most would just lump the mighty cowbell along with the rest of the random percussion sounds, I'm writing a separate paragraph about it. Why? I love the cowbell, that's why! It's also surprisingly difficult to use subtly but effectively, because it basically screams "look at meeeee, they made an SNL sketch about meeeee". Don't get me wrong, I love that sketch but living in the post more cowbell-era has it's difficulties. Namely, it's difficult to approach the cowbell seriously. I'm not opposing using humour in music, I mean seriousness as doing it properly and with class, even if the intent is comedic.
I don't use the cowbell as a comedic effect though. Ever. I'm dead serious about my cowbells.
Looking at it from the production angle, the cowbell is actually quite problematic. It's difficult to make sit in a mix, it almost always kinda like floats around the mix, without ever landing in it's proper place. Don't ask me how Kerri did it with Bar A Thym, as I don't know. I kinda assume that he put the cowbell there first, then wrote the rest of the music to support it. Doing it the other way around easily leads into tracks that sound almost like two separate pieces of music, the actual track and the cowbell that sits on top of it. The example track I made (scroll to the bottom of the page if you want to hear it now) kinda suffers from this. It's the best cowbell I ever made, but it's far from perfect.
The breaks
What do crusty old breakbeats have to do with house production? In my case quite a bit! Almost every single one of the tracks posted to this blog has had breaks in them. The thing is, I don't just put an unedited Funky Drummer there in it's entirety and call it a day, I try to be a bit more subtle with them. Lots of times you can't even hear them, but you would notice if they weren't there. They're quite quiet, but an extremely important little piece of the rhythm puzzle for me. They create the groove in almost a subliminal way.
While I use Grace for my one shot samples, I use another free plugin for my breaks called Short Circuit 2. The thing with Grace is that it's user interface isn't ideal for breaks, as zooming is very cumbersome with it and chopping a break into little pieces that you spread across the keyboard is impossible.
Strangely, I usually audition breaks outside the DAW, meaning I have the basic drum beat playing on the DAW, then I pick and play different breaks with the Windows Media Player until something tickles my fancy. Only then I load up the sampler plugin and the break sample. Before I start to chop it up, I usually just play the entire break and change the pitch until it loops roughly in time with the house beat. I typically use something like 3 to 6 chops of a single break, spread over the keyboard for easy sequencing. There is no standard to this, as breaks can be very different. Sometimes I use them just as additional single hits, sometimes I use little bits of the original rhythm as well, especially hi-hats and congas/bongos. I sequence them to add a nice little groove to an otherwise sometimes too static house beat and voi la, you have a nice groove going on. This is my secret sauce.
Processing-wise I mostly use some extremely heavy-handed EQ. I often hi-pass filter most of the kicks away, occasionally I just leave a little trace of the hi-hats playing. It's entirely context dependent, but I try to remember that a break is usually the entire drum section of a finished track, which means that without EQ there's very little room left for the rest of the drums. Less is more is usually a good starting point for everything music-related, but when EQ'ing the breaks more is often more. Just cut away to the break of dawn! I'm not a big fan of sidechain compression, but I do occasionally use it with breaks. Just a tiny bit of pumping can make the breaks sound like the belong to a house track a bit more.
Percussion
I just lump everything else under this umbrella. Shakers, tambourines, congas, bongos, toms, finger snaps, random bleeps, bloops and whatnot. They often play an auxiliary role in house, which is a good thing to keep in mind. They aren't always even necessary, tons of classics have been written with just kicks, hi-hats and snares, They can, however, add a little bit of extra funk to your music, just try to not overdo them as they can easily overpower your rhythm section.
The same principles that work with the other drums apply to percussion as well. Start with a quality sample (or synthesize one yourself), then edit the envelope and finally use some plugins to process it to your liking. There's too many variables in place to make any kind of a useful blanket statement.
Bus processing
So, your individual drums are done now, then what? While I didn't do it in my hardware days (mostly due to the lack of gear that can actually do it) I have a drum bus all the time nowadays when I'm ITB. A drum kits carved out of random sounds can sound a bit incoherent, which bus processing can rescue in a nice way.
While the specific vary, the bus usually consists of some variations of EQ, compression and saturation. Nothing too drastic, as the intent is to not completely crush the life out of it, just give it some gentle glue and presence. I don't usually EQ the bus that much, because can always just EQ the individual sounds with more precision, but I occasionally use gentle high frequency boost on the whole bus, to give the drum track some sense of air and excitement, typically with the Baxter EQ by Variety of Sound. Compressing the bus gives it some much needed glue, a sense of togetherness. For this I usually use either TDR Kotelnikov by Tokyo Dawn Labs or SlickHDR by Variety of Sound, both freeware. For saturation (to make the drum kit sound a bit less ITB-like) duties I often use FerricTDS by Variety of Sound, combined with a reel to reel tape simulator plugin called Ferox by Jeroen Breebaart. I would love to own the U-He Satin for this, but it's unobtainable for me at the moment.
I also have a new track to represent. It started as a simple drum workout, but in the end it became a fully fledged house production that I personally am quite fond of. The intention was to make a DJ toolish drum track, but as these things often go, a real track showed up it's little head and I didn't want to restrain my creativity because of some principle.
Wednesday, June 1, 2016
Barfunkel's Disco House Ant-hem
As you probably know already, I've been working like a dog lately. Dead tired all the time, barely time to sleep and rest, very little time for music. No pay either, so it's a lose-lose kind of situation.
Anyways, I did manage a few music hours the last few days and this was the result of those precious hours:
No idea about the quality of it as I had a flu for a week, my ears are half-deaf because of it and like I said, I've been extremely tired lately. Something is better than nothing I suppose?
I still have a month to go to my target, but the chance of success seems very small. The last 3 weeks have been busy, I've had maybe 10 hours to concentrate on my music. At this rate, I don't see a chance to improve enough to write a Kerri-worthy track. I still won't give up, maybe I'll get lucky and hit the right notes accidentally?
The next blog post will be a longer one and the topic is drums. Until then, so long!
Anyways, I did manage a few music hours the last few days and this was the result of those precious hours:
No idea about the quality of it as I had a flu for a week, my ears are half-deaf because of it and like I said, I've been extremely tired lately. Something is better than nothing I suppose?
I still have a month to go to my target, but the chance of success seems very small. The last 3 weeks have been busy, I've had maybe 10 hours to concentrate on my music. At this rate, I don't see a chance to improve enough to write a Kerri-worthy track. I still won't give up, maybe I'll get lucky and hit the right notes accidentally?
The next blog post will be a longer one and the topic is drums. Until then, so long!
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