'human centipede of music education' makes my bloody week. Thank you so much!

 

Save yourself some money. Accept that there are probably 5-year olds from Korea out there who know more about producing and music than you will ever learn form some self-proclaimed guru marketing themselves online. Sorry to break it to you. But if it isn't in you already, it isn't going to be in you after watching a video. Sounds brutal. Just being honest. So in essence, you are trying to do some 5 year old Korean kid out of a job ..... because you have a delusional self-image of you ...... don't kill my dream and all that good shit ... always just a video or another program (or plugin) away from where you want to be

 

Last edited: Mar 20, 2022

each brand have their own experience and management to teach... so u can found that somes are too open or too closed( this last u never note it til u learn so much techniques and get so much experience on this ambience, IMO ). i try almost every subscription type of learning and some works,,, some add knowledge i didnt know.. but IMO a masterclass, can work ONLY if the artist u want to "sound like" gives it... and remember maybe he can reserves some "pro tips" for himself.. but that normal... why they sell so much time of experience and experiments to you for $9.99 usd per month? xddd its ridiculous. but for example, my problem nowadays its the arrangement thing... so i found on sonic academy my next knowledge to learn... for example ! but i high recommend get on groove3 ... what a giant library they get there !!!!

 

You should stop learning and listening to new stuff from producers. This is the key point.

Producers couldn't be good teachers. They just spread useless information with every tutorial.

 

I reckon if the person running the masterclass is a hero in the style you are most keen on and offers something you cannot get anywhere else, go for it.

If you are asking for a one-size-fits-all masterclass that covers every possible scenario and style/genre of music, that will only come from someone who has done all of that over a long period of time. They would have encountered most of the issues in every area you might come across and shares their experiences and how-to's in music, film, and every scenario audio mixing and engineering exists in. That won't be found in a masterclass by a kid who has not one wrinkle on their face, no matter how good they are because they have not lived long enough to have that level of experience in every arena to speak with true authority.

 

Yes, I had a particular Masterclass in mind by an artist I admire. But the cost is approximately $500 and that's probably in USD as well... oof. It's out of my budget, for the time being. I would contemplate grabbing it on flash sale, however. Maybe. Jesus,it would have to be a pretty significant discount.

In the meantime, I have looked at some video courses from our sister site and while they are definitely informative, most of them are in a genre that makes my eyes water and ears bleed. I would love a Masterclass from Trent Reznor someday (pipe dream, yep, I know).

I just think I could learn a lot from watching someone's work flow right and seeing how they overcome obstacles in the genre I am attempting.That would be super useful.

 

No argument. However, the mistake made by many people and it's not their fault is that they think knowing how to mix one or two styles magically grants them the usage of the word "anything". Principles of audiophile and spectrum perhaps, but definitely not stylistically. The "you can mix and master anything, I am an expert" youtube channels have a lot to answer for.

As an example, I heard a three-audio track recording of an upright bass. There was a U47 5" away, an overhead and a D.I. The person engineering who was an EDM, Trap and electronics expert, followed their spectral knowledge and as it turned out, used more of the D.I. The end result was the beautiful acoustic nuances and natural growl were completely lost and sounded like shit. They may as well have used an electric bass. Knowing environments and a bit about acoustics is useful too and how different instruments respond. Sure, you can get charts for frequencies' of every instrument known to man, but none of them are completely accurate. It depends on factors not accounted for..
The type of strings, the action, the quality of the instrument, transients that are removed on most instruments but for some instruments will kill the sound/tonality if removed and more in certain rooms, and they make a huge difference.

An engineer having done a lot of this takes none of that for granted, nor do they use a chart or spectral analysis other than to give them a ballpark. If you find an engineer who does both electronic and acoustic every day, all day, that is someone who will have a thorough knowledge of the difference you won't see on any chart. All a chart does is tell you the consistencies/mainstays.
In a real acoustic setting as an example, it is not unusual to see an engineer move a mic many times to get the 'sweet spot'. They'll start with a known area and work from there.

Most of the really good sample libraries of acoustic instruments are due to the skill and diligence of the engineer, knowing and doing some of what is listed above.

 

Last edited: Mar 26, 2022