What Audio Software Should I Get?

Visual Feedback

This may be the most important video in the course. Whenever possible, choose the synth/effect/plug-in with visual feedback, over one that doesn't. This is especially important for newer producers who are learning, and establishing concepts, but I also explain why visual feedback is significantly more efficient for experienced producers too.

Aliasing & Quality

Learn about aliasing and how some synths/plug-ins/effects are higher "quality" than others. I share some examples and how to test plug-ins for yourself. I also explore whether or not this difference in audio quality/fidelity actually matters.

Plug-In Latency

Before purchasing a plug-in, make sure to check its latency (the time it takes for the sound to exit the plug-in, after entering). It's important to check as there are some use cases (e.g. live performance) where medium to high latency is unusable.

Gain & Loudness Compensation

When testing plug-ins, make sure to gain and/or loudness compensate. In other words, you want to make sure you like the change the plug-in is making, not just the fact it may be louder. Remember, louder sounds better. I also explain the difference between gain and loudness, where gain compensation is more important, and where loudness compensation is more important.

How to Choose a DAW

What DAW should you choose? You can make the best tracks in the world with any of them, so how do you choose? I give lots of reasons as to why I think you should choose the most popular DAW, which right now is Ableton Live.

Using Multiple DAWs

Whether starting out, or an experienced producer, should you consider using multiple DAWs? Let me explain why the answer is no. Spoiler: it's to do with speed, and having keyboard shortcuts locked into muscle memory. And also, if you really need to use a feature in a different DAW, how do you go about it?

Choice Paralysis

It can often be useful to choose a plug-in/tool that gives you a fixed, limited number of options. In this example I compare a parametric EQ with nearly infinitely options for cutoff position, to an analog EQ with only 10 options. This can help you make decisions and move forward with the track, and you very rarely even need 10,000 options for cutoff. 10 or 11 positions is fine. This is a cure for what we call "choice paralysis."

When to Choose a Different Plug-In

If you find yourself getting into a creative rut, creating the same things over and over again, create a "pattern interrupt" by downloading a new plug-in. This can even be a worse plug-in than your usual one!

Each Sawtooth Wave is Different

You'd think a sawtooth wave in one synth is the same as a sawtooth wave in another, as it's a simple mathematically shape, but that's not the case. "Standard" waveforms are different in different synths. Also, "standard" filters (e.g. low pass filters) are different in different synths.

One Plug-In Instead of Five

If you can do something using just one plug-in, instead of five, use that one plug-in. As I explain in this video, one plug-in is more stable, easier to learn, quicker to use, and easier to understand.

Monophonic vs Polyphonic Synths

When new to production and choosing a synth, here's a technical detail that's easy to overlook. Get this wrong and you won't be able to play chords with your newly acquired instrument. This is especially important if you can only afford to buy one synth.

Storage for Sample Based Instruments

Learn to categorize instruments into two types, oscillator based instruments (e.g. Serum), and sample based instruments (e.g. Kontakt libraries). Sample based instruments can take up hundreds of gigabytes worth of space, and so you need to consider storage before committing to an instrument like this. Do you need to buy additional hard drives? Will you need a hub therefore to use them? Will this make your live performance setup annoyingly more complex?

Wavetable Synths

When choosing a wavetable synth, if it's your only one, make sure to choose one that allows you to import wavetables. Otherwise, you'll have a fixed number of "starting blocks", which means eventually you'll run out of starting sounds/tones/timbres to build from. Bonus: choose a synth that allows you to create your own wavetables too! (e.g. Serum, Phase Plant, or Icarus).

Plug-In Limiters

When do you need a plug-in limiter? I explain why: for simple tasks the built-in limiter's fine, but for complex tasks (e.g. mastering a messy mix) a plug-in limiter is needed and will make your life much easier.

Plug-In EQ

Do you need a plug-in EQ? Short answer is: probably not (but some have features that advanced users sometimes need). I also share an argument in favor of plug-in EQs, if the pretty interface makes you feel good.

Plug-In Distortion Devices

Let me share with you why a distortion plug-in should be maybe the 3rd, 4th, or 5th plug-in you should consider getting. Spoiler: it multiplies the number of waveforms you have available to work with.

Plug-In Drum Machines

If considering a drum machine plug-in, note that drum machines work for some genres, and not others, so make sure to check it works for your genres before buying. If the drums aren't right for your genre, the track will sound "wrong" in a way that's hard to put your finger on.

Plan Time to Learn a New Plug-In

This is one of those things that sounds obvious, but almost no-one thinks about when considering a new plug-in/tool/DAW. It's a very common mistake. Have you mentally budgeted time to learn it? Each plug-in has its own idiosyncrasies, and it takes time to familiarize the interface into muscle memory.

Learn One Thing at a Time

It's better to spend 4 to 6 months becoming a master at one synth/delay/compressor/etc.. than buy a new one every other week and never quite figure any out. It sounds obvious but this is one of the most common mistakes I see when consulting with producers.