Most people see the act of music making as something complex and far beyond their capabilities. After all, professional musicians can draw on the skills of sound engineers, who will record, mix and master their material. Seems too deep for amateurs.


Actually, it’s not. I myself have been dabbling in the field for a few years now and have to admit the devil is not so black as he’s painted. There is a lot of things attainable by average person. It only requires a bit of doggedness and willingness to stay the course. That one can only make music in a professional studio while being surrounded by a group of specialist is a myth I’d like to deal with once and for all.

Therefore, let’s get down to the brass tacks.

Host

The indispensable gadget in music-making is a so called "host", software that enables manipulation of sound through a set of options. The program allows to put the previously recorded tracks together and see to the quality of the final product. Insofar as one is a multi-instrumentalist (or a minimalist confined to a single instrument) he can easily get down to music making at this stage. It boils down to buying a wire set and connecting the instruments to your computer.

However, most people can’t play several instruments, if any, which brings us to the next and crucial function the host carries out – the ability to emulate real instruments. Admittedly, unaided host is not capable of this, if it attempts, the quality is a far cry from the real equivalents. That’s why "additional software" has to be hooked up in order to exploit the unlimited opportunities the sound affords.

VST plugs

That is the aforementioned "additional software". VST is short for "Virtual Studio Technology". These plugs carry out a number of functions that the host itself is not capable of. These include high quality effects which can be superimposed and adjusted to the recorded tracks. This software also allows to generate effects imitating a real instrument's sound. Of course, there is no substitute for a real musician but these plugs help to make it as close as one can get. Indeed, it requires a considerable amount of work to approximate a genuine artist. Persistence and a bent for experimenting come in handy here. VST plugs can also act as samplers, which means software that enables a real-time play of the sounds previously recorded in the studio.



Sound libraries

It’s a collection of sounds recorded in a studio to be later used with samplers in order to emulate a real instrument. Aided by such technique, the music is virtually indiscernible from that recorded by real musicians. Libraries available on the market afford a full range of instruments (from guitars through violins and percussion), each note of which has been recorded separately and often in different ways. This type of technology, combined with adequate mastering and selection of effects, helps to create a high standard music without the necessity of engaging a team of musicians and engineers.

Sequencer

Every host has an in-built sequencer. This part of software allows to arrange the sounds in randomly chosen order, specifying the duration and pitch. In short terms – it’s a sort of contraption via which we can tell the computer what and how to play. And you don’t even have to do this in real time. You can equally well fiddle with sounds for hours and then just press the "play" button, and after listening to your work, correct the eventual errors.

Tracks

They’re simply the recordings (in notes or sound files) of each instrument's play. Every instrument is being recorded as a separate track. And not without purpose since it allows to adjust the desired effect to each instrument separately, what not only helps to improve the quality of the final record but also make them sound more realistic.

Mixing

It’s about putting together and synchronizing the tracks. At this stage we are particularly concerned about timing (when the right instrument should come in). We also adjust sound levels to keep tracks from deafening each other. The next step should be stereo distribution, unless we want every instrument to blast straight at our face. The shifting of each track allows us again to increase the quality of the final record and to approximate the real sound. All this actions are carried out via host, which, by introducing a wide range of mixing options, makes our work significantly easier. Good ears are the only thing you need.

Mastering

It can be described as applying the final touch. Mastering is done on already composed and mixed recording. It’s main purpose is to avoid clipping, a characteristic distortion, which even in the case of heavier music is artificially laid on guitars in the composing stage. It’s also about tuning every instrument’s tone, verifying the process of mixing and double checking the consonance, whether by any chance one instrument isn’t deafening another and if stereo distribution sounds properly.

Composing

You already know the basic concepts and I hope I’ve put them lucidly enough. Let’s move on to composing. The first question that keeps bothering many people is "Is talent the indispensable factor in composing?" As far as I am concerned, yes it is. The only obstacle to overcome is mastering the software. Modern technology does not demand the would-be composer to have any kind of inner hearing, you can take your time typing out one note at a time and then listen to the effect you get, making adjustments where necessary. In my belief, it’s a matter of obstinacy and willingness. I admit that to master everything I’ve put in here is no small challenge. I myself have been delving the subject for a few years now and still have a feeling that all the skills I’ve acquired so far are only the tip of the iceberg. Nevertheless, I am sure if one just buckles down to it, and keeps at it regardless of any failures that might happen, sooner or later the success is bound to come.

However, I would lie if I said that talent has nothing to do with it. It really helps, and how! It substantially reduces the time put in the process of composing. Let me put it frankly – either you, brother/or sister, have the talent, or be patient, otherwise it just won’t work.

Promotion

Ok. So we already know that one can make music without the aid of professional musicians and engineers. But does one need a manager? We live in a world of technology with a very high level of computerization, where internet has become virtually omnipresent. Can one promote by himself/herself? My answer is – yes. However, it can be rough at the beginning. If you dream about making music keep in mind that it might not be until your third or fourth attempt before your work gets attention. Then again, perseverance is the key. Spread the news through social networking sites and look for web portals where amateur musicians are welcome to present their works. Over time your oeuvre will grow and your portfolio expand. Then one day you will put your works on Amazon or iTunes, where you can sell it via PayPal. In the meantime, it’s not a bad idea to send your material out to labels.

Labels

Can one manage without them? Well, it depends. If you plan to make popular music then my answer would be no. The way to attain success in this particular field leads through gigs and extensive distribution. One cannot achieve those things by himself, even if money isn’t the issue. Only labels can arrange a concert for you and make your albums end up on the store shelves countrywide. At some point there is no other way for an artist than to become a cog in the corporate machine.

On the other hand classic or film score composers don’t need to get signed by a label. Most of them earn on the basis of a task-specific contract or through copyright management societies, which collect royalties on behalf of the artist.

Costs

I discussed the software already but didn’t mention the prices yet. Someone would ask – how can I afford all this? No worries. In my belief, the host is the best investment at the beginning. The free ones are usually not of the best quality. However, that is a one time expense. Software, since it’s a virtual good, won’t get lost or damaged. A lot of VST plugs come with price attached to them but there are plenty of free ones as well, and I confess, I’ve only been using the latter ones. Of course their options are not comparable to the commercial ones but for the beginners they will do well. Does one need a state of the art computer? Again, no, he doesn’t. You can work easily on most of the standard machines, though having an older machine you might consider a purchase of a sound card with an audio processor (approx. cost 250PLN)

On the other hand sound libraries are quite costly, but worth their price. If you’re seriously planning to make music then deem having them necessary. Still at the beginning of your music career the free VSTs will suffice. After all, nobody starts off a full-fledged professional. Faculties first, ambitions can wait.

Summary

As a final word I would say that everyone is free to create. Let’s keep that in mind. We live in a world where computers prevail. Regardless of how one may curse these metal-plastic boxes, they deserve credit for one thing – they make the world of music accessible to everyone. With a little bit of patience, almost anyone might become a creator. I encourage all – give yourself a chance, experiment, fiddle with music, and then if you like it, don’t cease trying and persist doggedly at enhancing your skills and developing your talent. The latter, even if inherent, may be hidden so deep as to become completely intangible at the beginning. Besides, our little Polish music scene is full of rubbish so fresh blood is in demand.
These aren’t just idle platitudes…I’ve been personally making music as an amateur. I bought an old version of one of the hosts on an auction, but the VST plugs I use are there for free. I’ve never attended any music school and I can’t play any instrument. I took to composing more than two years ago and despite lack of time, I’ve kept at it obstinately ever since. What are the effects?


See for yourself:). Have a nice listening!