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My Songs EDIT: NEW SONGS!

Started by cfalkosky, October 16, 2015, 04:21:48 AM

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NeutronSynergy

Quote from: j.fco.morales on February 19, 2016, 02:58:46 PM
I read an interview with a great producer -can't remember the name right now-

Could that be Denniz Pop?
alis grave nil

NeutronSynergy

Quote from: j.fco.morales on January 26, 2016, 04:56:38 PM
Sounds really good, great production and toplines.

The thing is: sounds way too pop and that reduces the array of artists to get a placement.

Yeah , if so then - in mixing sense it would translate like there is something in the monitoring setup to be approached differently or the acoustics are delivering un-controlled results.
sometimes it's the mastering setup that kill's most of the dynamics + the originality of the mix (and songwriting essence delivered into it) ,
that leaves an artificial trace in an favour of sounding 'boomy' in car-stereos etc - and the breathing of the mix possible (specially) stringed (including space separation) - instruments are gone because those are force fit to be in , on an certain 'overloaded'  frequency 'banned' stereo image.

An example where such effect works however:
http://m.youtube.com/watch?v=RkEXGgdqMz8"
Or
https://www.youtube.com/watch?v=VcDy8HEg1QY

In Metallica - 'Death magnetic' or Mastodon's 'Blood  mountain' - You find opposite result's

'Cfalkosky's' output doesn't suffer from this..

That is of course when Sgt.Peppers Lonely Hearts Club Band or YES - close to the edge are considered to be POP-albums.
Everyone agrees..
alis grave nil

cfalkosky

NeutronSynery,

Wow thanks for all the comments I really appreciate it.  As far the "capacity of equipment" I'm just using my personal gear in a small home studio.  Also, thanks for all the tips and links! I'm slowly trying to absorb all you said. 

Thanks,

Cody

NeutronSynergy

Quote from: cfalkosky on March 09, 2016, 07:56:56 PM
NeutronSynery,

Wow thanks for all the comments I really appreciate it.


Sorry about the delay - haven't find a proper time to 'determine' this as promised but :

I think the 'Capacity of production'  translates in a way that it's you who has to understand / re-estimate
the value of your product.

With the goals 1.2.3 in mind  - it sound's like you should think where to investigate next -
ie. to a more expensive production - better sounds/songs or just hookup with an agent Down there at L.A - as the point is to get your work
in to the paying audience. (goal 2)

When the material is there ,  you know "up with the bar" then investing into promotion and distribution is one of the key questions..which translates to the possible savings you've done regarding the studio tech / "the capacity of production".

The main reason why Cheiron-studios rised with Denniz pop vision- was the new relatively cheap production tools.
i.e 90's shift of the entire industry thru digital revolution.

It really is pointless to do 10 - 20k or just 'even' 5k " fully finished productions"  without a price tag .
or even more lame would be  some record companies to start posting into demo forums with their  50k- 300 000 $ setup..you dig?

Now "killing it" as Martin Sandberg says , with a just a cellphone - might be more of an reality or more of an myth than what new songwriting opportunities in reality are...most people still (the majority of) want's to get into the core of it: Universal,Sony, not around a cell phone..but around
full capacity production facilities..things might change but before that check out the annual report: www.ifpi.org

So with your small production establishment - the math is clear.

Here's good information of people who have worked on the actual Cheiron studios talking
about how to get that Cheiron-sound (goal 1)

http://www.swedishsongs.de/smf/index.php?topic=134.0

another good topic:

http://www.swedishsongs.de/smf/index.php?topic=65.0

Be sure to Check out the link's on those topics as well---because there are some instances who actually break thru those channels back then while still in production at Cheiron(Goal 3).

Another great place to start really pushing your material (instead playing with indie channels) is
https://www.kobaltmusic.com/

which headline goes " It really is that simple " .

That of course depend's which way you intend to go - to be private studio owner/producer or more of an songwriter to license stuff which translates back to the same question - capacity of production , and the capacity of production translates to real need of real professionals.

A short documentary off how multi-million success phenomena's can be produced is

https://www.youtube.com/watch?v=Y7Ck2L46494

http://www.dailymotion.com/video/x2dlte9_the-jackson-5-documentary_people

If the question about "getting picked up" to make cuts..is rather controversial ,(or not)
The good news is that - there is always need for talent and knowledge..

When songwriting used to be fun?  - check out those ITB-links provided above.
--

all this for free - haha!? It's like a day in the parade  8) Well  NeutronSynergy is naturally interested about the same goals you pointed out.

-NS
alis grave nil

cfalkosky

NS,

THANKS! I'm checking all these links out!

Cody

portthames

Quote from: j.fco.morales on February 19, 2016, 02:58:46 PM
I read an interview with a great producer -can't remember the name right now- that every piece of sound can be sampled and used.
If you manipulate it in the right way and create "other" sound, it's not exactly a sample.

The law is very blurry about it. And no one has to know unless you want to  :-X

I would highly recommend he doesn't sample illegally.

It might not be the best start to his career, and with so many legal sample sites out there (and his obvious natural talent) he's
better off avoiding the potential drama and he'll have the benefit of knowing he's simply doing the right thing.

My $0.02

cfalkosky

NEW SONGS! THANKS FOR LISTENING!