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- The Importance of MUSIC FEEDBACK
WHY MUSIC FEEDBACK IS IMPORTANT. Music feedback is an essential part of artist development. Seeking feedback on your songs will help you improve your music and production skills. As musicians, we become so immersed in the music production process it makes it hard to hear our music objectivity. Useful music feedback, both positive and negative will give you a fresh perspective on your work. It also drives artistic decisions, presents new ideas, and reveals problems that may need fixing. The feedback you receive can also help with writer’s block and provides continuous learning. WHAT TYPES OF MUSIC FEEDBACK TO EXPECT. Knowing what types of music feedback you may receive will help you apply it. There are three common critique types: Technical feedback provides specific advice. It’s also the most constructive and useful kind of feedback. People with a particular skill set are best qualified to give feedback on technical aspects of your songs. For example, a mixing engineer or songwriter. General feedback relates to your artistic decisions. It provides general advice rather than specific technical advice. For example, adding vocals or not. Opinion feedback is the most common. It’s also the hardest type of feedback to apply. For example, an opinion is someone saying your song is good or bad. HOW TO ASK FOR PROFESSIONAL FEEDBACK AND USE IT TO IMPROVE YOUR MUSIC. Services such as RM Vibes Music Feedback gives you the opportunity to read a detailed constructive feedback from a outside listener who is A&R from a Label and have experience such as Mix and Mastering Engineering, production skills and already have released great songs at great labels. Last, how do you interpret feedback on your songs? Here are ten things to remember when asking for feedback on your music: HOW TO ASK FOR MUSIC FEEDBACK TO IMPROVE YOUR SONGS 1. KNOW WHY YOU’RE SENDING THAT SPECIFIC SONG FOR FEEDBACK. Are you sending your song because you’re out of ideas? Or do you have many ideas and need help deciding? Specify this to the listener. For example, “I’m still working on this track and would like to know which of the drops at 1:15, 2:08, and 3:22 is the strongest.” Furthermore, don’t ask for feedback if you’ve stopped working on the song. Don’t waste someone’s time if you’re not going to incorporate any suggested changes. 2. KNOW WHY YOU’RE SENDING THAT SONG TO A SPECIFIC PERSON. Your listener should have experience relating to whatever technical needs that may need improvement. For example, if you want feedback on something specific with your mix, ask a mixing engineer. Or if you don’t like the lyrics, ask a songwriter. Also, don’t discount song feedback from non-music people. You don’t have to ask people to give feedback because they have musical experience. However, best not to overwhelm them with technical jargon. Try to keep things to emotional or stylistic aspects. For example, ask “How does the song make you feel” or “What artist does the song sound like?” Conversely, you may not get useful feedback asking someone without musical knowledge what they think of your mix. 3. KNOW WHAT SPECIFIC ASPECTS OF THE SONG NEED WORK. Don’t expect the listener giving you music feedback to critique everything. Most feedback covers one or two aspects of a song. So, it’s crucial to be explicit about what areas of the song you need help improving. For example, ask “What do you think of the lyrical concept and song structure?” Asking for specific feedback will also give you in-depth advice that’s easier to apply. Specific music feedback is always more useful than vague opinions like “this song is awesome!” Moreover, general feedback takes more time and can be overwhelming for a listener. It requires several listens and provides less helpful advice than technical feedback. Again, if it’s something technical, ask someone with that specific skill set. 4. KNOW YOUR ARTISTIC OBJECTIVE FOR THE SONG. Music evokes an emotional feeling. Knowing how your music makes people feel is important. Besides asking for technical feedback, ask how your song makes the listener feel. For example, does it make them feel happy or sad? Also, know what emotion you are trying to convey with your music? For example, ask “I’m trying to evoke x/y/z emotion. Does it come through?” Evoking a specific emotion is the hardest part of writing for many songwriters and music producers. Also, bias plays a role in the way we feel about music. For example, we all have preferences on the genres or styles we like and dislike. So, if you think the feedback comes out of a certain bias, communicate that to the listener. Let them know your artistic objective. 5. KNOW YOUR COMMERCIAL OBJECTIVE FOR THE SONG. If you have a specific commercial objective for the song, be specific about it. For example, are you releasing the song for club play, radio, sync/licensing, etc.? Let the listener know how you plan on using the song. This feedback may be harder to apply. It’s also hard to get useful feedback from someone who doesn’t have experience in a particular industry. However, knowing your objective may influence the feedback, even if the listener doesn’t have a foot in that world. 6. ASK FOR MUSIC FEEDBACK IN A PROFESSIONAL MANNER. If you’re emailing, keep it simple, concise, straight-to-the-point, and polite. Many people will not read a wordy or sloppy email. 100 words or less is plenty. Also, personalize your message. For example, write a sentence or two that compliments the listener. Let them know why you’re seeking their feedback. Last, always thank people for their time! 7. SENDING YOUR MUSIC TO PEOPLE YOU DON’T KNOW. It’s crucial to send your music to people who will give you credible feedback. However, one day you’ll send your music to people you don’t know. Here are things to remember: Be cautious about asking for feedback on your music from someone you don’t know. People you don’t personally or are not into the music you make are likely to give you worthless feedback. Send your music to people involved in the music industry. For example, a DJ that plays songs similar to your music, an A&R from some label, or someone who listens to the genre of music you create. Remember, the vast majority of people don’t have time to give general feedback to anyone who asks for it. 8. HOW TO RESPOND TO MUSIC FEEDBACK. As musicians, we pour our heart and soul into our music. It’s crushing to read negative feedback. However, it’s vital you respond well to any negative feedback. If you plan on making a career in the music business, get used to criticism and hard truth. If you disagree with the feedback, thank the listener for their opinion and let him know you’ll keep it in mind. Be mindful and avoid attacking someone for giving their opinion. You won’t get honest feedback with that behavior. Also, you don’t have to apply all the feedback you receive. But don’t deflect it either. A listener will never give you feedback again if you push back on their assessment. Remember, don’t waste someone’s time if you’re unwilling to accept critical feedback. So, avoid getting into a debate with the person taking the time to help you! 9. BUILD YOUR NETWORK. Building relationships and networking in the music industry is always helpful. Get out and connect with people in the music industry, regardless of their status. Try to meet other artists, producers, DJ’s, publicists, booking agents, label staff, fans, and anyone else in the music scene. These connections could open new opportunities and provide more helpful feedback. 10. MUSIC FEEDBACK SERVICES. Music feedback services like RM Vibes Music Feedback gives you the opportunity to read a detailed constructive feedback from a outside listener who is A&R from a Label and have experience such as Mix and Mastering Engineering, production skills and already have released great songs at great labels.
- Does FISHER use Chris Lake as a Ghost Producer?
If you follow at least a little of the electronic scene, you've certainly heard about these two artists: FISHER and Chris Lake. Owners of countless electronic music hits, they are drawing more attention than ever. Known worldwide for setting trends in the market in recent years, these DJs are at the top of an increasingly growing niche, with their explosive tech house tracks and performances at the biggest electronic music festivals in the world. CHRIS LAKE Chris Lake is a British DJ and producer who has had an extremely respected career in the electronic music industry. At the age of 37, he conquered the world of music production becoming a true hitmaker, acting in different musical styles. His first pseudonym was Christophe D’Abuc, a project for which he became known worldwide with his remixes for the bands The Prodigy, Leftfield and Eurythmics. 2006 was the year of his first hit “Changes” with vocals by Laura V. Already emerging on the “UK Singles” chart and with the release licensed by Universal Music, the song became the summer hit of that year, reaching the TOP 10 of Billboard. He then released singles such as “Carry Me Away”, “Only One”, and “If You Knew”, securing his place at the top of the US dance music charts and showing all the glamor that house music could offer at the time. This was just the beginning of his great musical journey. We can clearly see that Chris Lake has made his mark on the most prestigious labels on the market, such as Defected, ULTRA, Strictly Rhythm, Toolroom and Cr2 Records, in addition to collecting numerous hits in his catalogue. And he hasn't stopped in time or become obsolete as a producer, he's always reinventing himself in line with the trends. His recent tracks like “Operator”, “I Want You” and “Give Her Right Back” have won over a new generation of electronic music lovers. Not to mention the songs "Stay With Me", "Lose My Mind", "Deceiver", "Free Your Body" , "Turn Off The Lights" and many other, all released by his own label Black Book Records. CURIOSITY: Chris Lake is mentioned on Discogs as one of the composers of the hit "Arguru", by Deadmau5, even though he has not signed the song as a collaborator. And for Bass House fans, he also has another side project called Anti Up, in partnership with the talented Chris Lorenzo, which needs no comment. Each release is another successful success in the producer's career. It's been almost 20 years of successful releases, conquering the market in each of its cycles without losing its mastery. Can you imagine how many ghost productions he must have done for other artists? Here at RM Vibes, we specialize in making hits, or putting that finishing touch to your music, and making it just the way you want it. Click here to know our services. FISHER Straight from the exotic beaches of Australia, we have a very crazy surfer who is conquering the slopes around the world, with his irreverent performances and an interaction with the public full of humor. He is Paul Nicholas Fisher, or just FISHER. Famous for his explosive and global hits, the artist was present in the playlists of the greatest DJs in the world, with a meteoric rise in a very short time in a solo career. Hit songs like “Ya Kidding”, “Stop It”, “You Little Beauty”, “Wanna Go Dancing” and “Just Feels Tight” are being played at parties all over the world. And we don't even need to mention “Losing It” - its biggest hit so far - being the most played song at the mega festival Tomorrowland Belgium (2018 and 2019 editions) and nominated for the 2019 Grammy! FISHER was part of the Cut Snake duo, who started out alongside surfer friend Leight “Sedz” Sedley, playing during surf circuit trips around the world. The project already provided a certain pretext for what would become the sound of his solo project. With their first EP released as FISHER by the giant Dirtybird, their success was inherent. The singles “Ya Kidding” and “Stop it” quickly won over tech house fans, reaching the top of the Beatport charts and garnering a lot of attention. Shortly thereafter, “Losing It” came to overwhelming success on platforms and on the dancefloor, signing the first release on its own label, Catch & Release. The song was nominated for a Grammy in the category “Best Dance Recording”, alongside big names in electronic music. CURIOSITY: Before diving into electronic music, FISHER was a professional surfer in the World Surf League and made funny videos on his YouTube vlog. And what is the relationship between the two? We know that Chris Lake and FISHER today tour together with their label party NAFF (Not Another Fkn Festival) performing at various sold out parties around the world and are always together having fun with fans on social media. For as big a success as these artists, we know there's a lot of work behind them, and ironically, one of them is reputed to be the ghost producer for the other. On the internet, there are many topics related to the two artists, pointing Chris Lake as one of those responsible for producing FISHER's hits, always with a mysterious atmosphere in the air. If we analyze the songs themselves, we can see that the styles are very coherent and have some similar characteristics, and for Chris Lake's trajectory, the producer never lacked opportunity to work with great names in electronic music. Another important point is that both artists have the same management in American territory. Last year, some images were leaked onto internet forums, indicating that part of the copyright to FISHER's songs “Stop It” and “Ya Kidding” also went to Chris Lake. And it wasn't the first time that this happened—the track “Lick It” by Valentino Khan was also credited to the British producer and his wife, Gita Lake (who is probably the lead singer of the track in this case). Is Chris Lake the ghost producer for FISHER, Valentino Khan and other artists we don't even know? And is Gita Lake, Chris' wife, responsible for the vocals on the hit “Losing It”? We can imagine that Chris Lake is behind the sound identity of many artists who are making a huge success in the world. And this phenomenon goes far beyond the practice of ghost production. The subject has been debated for years, and it is very difficult to measure the work of each artist based only on the time spent in the studio. We often see artists working together with more experienced producers, looking for a better result, and this is completely natural in the music industry. Over time, ghost production is no longer considered taboo. After all, in the history of every successful musical band, there are audio engineers with a unique ability to shape the sonic aesthetics of each era and help these musicians to achieve impeccable results. Here at RM Vibes, we have many Ableton Live Remakes of these two great artists, where you can start your track using them as a reference and kickoff and the client also has the opportunity to work in collaboration with our producers, seeking to reach their full potential. as a producer and ensuring a high quality of your tracks. What are you waiting for to start making your tracks with us? Click here and let's dive together into the universe of electronic music.
- What makes a song a Tech House?
What is the genre “Tech House”? Here you will know When and How Tech House became a genre. The best of techno and house music together to make a new sub-genre. Invented in the 90s and really beginning to surge in the 2000s, this sub-genre takes the groove and melody from house music to combine it with the steely percussion and gritty basslines usually associated with techno. Coming to fruition through the likes of Joris Voorn and Carl Cox, tech house is now one of the most popular styles of electronic music around. The modern resurgence has been clear, with the likes of FISHER, Chris Lake, Solardo, and Michael Bibi becoming household names. Record labels such as Black Book Records, Toolroom , Defected, Solid Grooves, Repopulate Mars have had some of the biggest releases that have pushed this style further into the spotlight in recent times. There is a clear and distinct difference in the sound of tech house when compared to your typical house music and typical techno style. Take techno for example; the tempo is generally faster, with far bigger, booming kick sounds, while the percussion is more minimal with the focus being predominantly on the low end. Then take house music. This takes usually a more melodic approach with instruments like a piano being a common feature. There is often a vocalist on house records too, and it definitely can have an 80s influence in how it sounds. Compare this to the tech house style and you will definitely hear the differences. The groove element of a tech house track is without a doubt a stand out feature. The percussion in a tech house track is more of a focus than that of house and techno. This is a very general statement as it is not always the case, but we will now discuss exactly what 5 key elements make a tech house track. Big Bassline Hook The bassline in any tech house track is one of the most prominent elements. When in a nightclub, that big bassline keeps the dancefloor moving. So you want that hook to be catchy and grooving from start to finish. Keeping the range of notes in bassline close, making a moviment is key. You don’t want your bassline to be really spaced apart in terms of notes on the piano roll. Keeping it from root note up to as high as the 5th of the key in that one octave is usually going to keep it sounding deep. A good tip here would be to study the basslines of tracks that you like; try and see if you can play them, and see how little they actually move around the keyboard. You also have to think about the sound. The sample. The plug-in. There’s no strict way to do this. But using something like the native Ableton’s Operator instrument or the VST Serum (one of the best in my opinion) and playing about with that can create some really good tech house basslines. Sine wave bass shapes are effective, Deep and Clean sounds, and often a sine wave and triangle wave layer work well together. For strong and present Bass, i recommend the Saw wave with a Low Pass filter between 200-300hz and maybe a Square wave layer for make a wider Bass. Don't forget to be sure that your sub bass is in Mono. Don't forget to check our Serum Preset Pack Tech House For Serum with 37 bass/sub bass modern presets. If you can get that low end of your bass to fit nicely with the kick drum, using side-chaining if necessary, then your bass will sound good. Using processing such as saturation is going to warm up the bass. Getting that warm and full bass sound is a definite must in a tech house track. Keeping your bass in mono will also make a difference (at least under the 150hz), which is important as subwoofers and sound systems in clubs generally produce sound in mono. Also, there could be potential phase problems if the bass isn’t in mono, so this will help to eliminate those. The bassline has a lot of energy and would take up a lot of space in the mix otherwise. Kick Drum You’re in the line waiting to enter. Everyone knows the sound. The anticipation of entering the club and hearing that muffled kick drum outside. The importance of having that powerful, punchy kick drum cannot be understated. Not just so you can hear the kick outside the club, but so that it punches you in your chest inside the club too. Tech house kicks are naturally powerful. Soft kicks are usually not always the best choice on their own. Choose a good sample is the key, and i recommend our sample Pack Tech House Drums, that come with high quality drums samples and 25 different Kicks. If you have a good sample, processing isn't so necessary, but if you find a good sample and it doesn't have the perfect low-end, punch, or attack you may process it and keep your kick in mono, just like your bass, it is vital. Percussion (Clap, Open Hat / Ride) A crisp, loud clap and the open hi-hat are two key percussion elements in tech house. Let’s focus on the clap first. The volume of the claps should be balanced against your kick drum. The clap shouldn’t overpower the other elements, but it has to be prominent. You want both to really punch through in your track. Again, the samples here are very important. These can be layered together with other clap samples to good effect. Ensuring your claps have a nice reverb and are placed in the correct place in the stereo image in your track is essential. Next, we’ll talk about an open hi-hat sound. There’s no tech house track complete without it. The iconic off-beat open hi-hat sound is an essential feature. Getting that real open hi-hat sound really helps here. Sometimes getting actual authentic hi-hat sounds can really transform the track. These can be readily found in sample packs like ours. Play about with the release on the sample to change the length of it. A little reverb on it will make it wider, then ensure it’s in the correct place within the mix. Even using a little bit of saturation will brighten up your hats and make them sound crisper in the mix. It will sometimes even sound like a ride cymbal and open hi-hat layer that is going on in the track. A ride loop will speed up and/or bring more energy to your Tech House song. The Groove So much music nowadays is produced on laptops and computers. It can sound fairly robotic unless you use swing. The swing and shuffle rhythms are used throughout tech house tunes. This gives the track a more realistic and human feel to it as if it were the artist actually playing the drums. This swing is useful when using MIDI to write in your elements. Setting the swing to 16-15 or 16-45 usually feels about right for the tech house style, but there are other ways to do it, like delay or anticipate a few milliseconds all the instrument channel. The other instrument where this can be done effectively is with your kick drum. Yes, you need it to be pounding that four to the floor feel throughout the track but have you ever tried creating a swing feel with your kick drum? This could be used as a drum fill and is a really effective way to change up things in your track. Even using a drum tom to create a rolling groove under your kick drum is another idea. It creates a similar effect just to keep the feel of the swing and groove there throughout the tune. Anything to keep that groove and take away the robotic programming feel will fit into the track. Drum Fills This is another important feature to take your tracks away from that robotic and repetitive feel. Once the bassline hook and melody has been established in the track, it’s key to just keep the track alive by using drum fills. Other ways this can be done could simply be like changing the rhythm of the clap, using delay on the drums or even using crash cymbals at the end of an 8 bar phrase. Listening to other tech house tracks will certainly give you inspiration for the kind of fills typical to the genre. So, remembering, if you need a high quality Drums Samples to make a Tech House song, check our Sample Pack Tech House Drums by RM Vibes. If you need a Modern Presets for Serum, we have the Tech House for Serum. If you produce on Ableton Live and need a inspiration or a reference track to start, we have tons of Tech House Templates and Remakes, just check our Home Page to guide you to find what you need.
- RM Vibes | Templates, Presets & Samples for Music Producers
Tech House For SERUM Vol.2 He's Back ! Inspired by 2021 and 2022 Best Songs from James Hype, John Summit, Joel Corry, Cloonee, Fisher, Chris Lake, Biscits and many more! Check This Out ! Details + Ableton Live Templates > + Packs > + Ableton Effect Racks > New (RMK) Riva Starr x Todd Terry - This Is The Sound Regular Price $30.00 Sale Price $25.00 New (RMK) Beltran - Smack Yo' Regular Price $30.00 Sale Price $25.00 New (RMK) Mau P - Drugs From Amsterdam Regular Price $35.00 Sale Price $25.00 New (RMK) FISHER - Yeah The Girls Regular Price $30.00 Sale Price $25.00 New (RMK) Riva Starr x Todd Terry - This Is The Sound Regular Price $30.00 Sale Price $25.00 New (RMK) Beltran - Smack Yo' Regular Price $30.00 Sale Price $25.00 New (RMK) Mau P - Drugs From Amsterdam Regular Price $35.00 Sale Price $25.00 New (RMK) FISHER - Yeah The Girls Regular Price $30.00 Sale Price $25.00 Melodic For Serum Regular Price $35.00 Sale Price $25.00 Tech House Drums Regular Price $35.00 Sale Price $25.00 New Tech House Basslines Regular Price $30.00 Sale Price $25.00 New Tech House For Serum VOL.2 Regular Price $30.00 Sale Price $25.00 Melodic For Serum Regular Price $35.00 Sale Price $25.00 Tech House Drums Regular Price $35.00 Sale Price $25.00 New Tech House Basslines Regular Price $30.00 Sale Price $25.00 New Tech House For Serum VOL.2 Regular Price $30.00 Sale Price $25.00 Melodic For Serum Regular Price $35.00 Sale Price $25.00 Tech House Drums Regular Price $35.00 Sale Price $25.00 New DJM Mixer Price $10.00 New Clipper Price $5.00 About Us RM Vibes is a Brazilian company founded in 2019 by 'Rafael Manga' who has clients worldwide and makes Ableton Remakes, Templates, Samples Packs, Free Downloads and Preset Packs for Serum, that helps you learn music production, improves your workflow and quality of your songs. We also have Co-Producer, Ghost Producer and Mixing & Mastering services. Our collection of Templates & Presets is always growing to suit the latest electronic music trends. With a large experience as producer, sound designer and audio engineer, always bringing products with least possible external plugins, to facilitate the compatibility for our clients.
- Sale Off | RM Vibes
SALE OFF Here you'll find great products as Sample/Preset Packs and Ableton Live Templates & Remakes with lower price. These selections may vary week to week. Enjoy while the product you want are here. Sort by Sale Off (Remake) Chris Lake & Lee Foss - Lies, Deception and Fantasy Regular Price $25.00 Sale Price $17.50 Sale Off (Remake) Claptone & Milo - Drop The Pressure Regular Price $25.00 Sale Price $15.00 Sale Off Ableton Techno Template 01 Regular Price $20.00 Sale Price $10.00 Sale Off Tech House Heroes Vol.1 Regular Price $35.00 Sale Price $17.50 Sale Off Ableton House Template 01 Regular Price $20.00 Sale Price $10.00 Sale Off Ableton Deep House Template 01 Regular Price $20.00 Sale Price $10.00 Sale Off (Remake) Sonny Fodera & Lilly Ahlberg - The Moment Regular Price $25.00 Sale Price $15.00 Sale Off (Remake) Fisher - You Little Beauty Regular Price $25.00 Sale Price $15.00
- Ableton Bass House | RM Vibes
Bass House, Slap House, Brazilian Bass, Desande... Ableton Live Remakes & Templates Sample & Preset Packs Bass House (Remake) Chris Lake, Josement - All Night Alone Regular Price $25.00 Sale Price $20.00 (RMK) Roland Clark, Vintage Culture, Fancy Inc. - Free Regular Price $30.00 Sale Price $25.00 (RMK) Biscits - Talk To Me Regular Price $25.00 Sale Price $20.00 Sale Off (Remake) Chris Lake & Lee Foss - Lies, Deception and Fantasy Regular Price $25.00 Sale Price $17.50 (Remake) Wax Motif - Wet Price $20.00 (Remake) Chris Lake - I Remember Regular Price $25.00 Sale Price $20.00 (Remake) Diplo, SIDEPIECE - On My Mind Price $20.00 (Remake) Chris Lake & Solardo - Free Your Body Price $20.00