74 Tips for Electronic Musicians (complete Chinese version)

From the official Ableton: https://makingmusic.ableton.com/这是本什么样的书? For many artists, nothing inspires existential dread more than actually making art. The fear that we're not good enough or that we don't know enough leads to untold creative crises and potential masterpieces that never materialize. Electronic musicians could once hide behind clunky emerging technologies as an excuse for inaction. But today's musicians live in a golden age of tools and technology. A 90-cent smartphone app can give you the capabilities of a million-dollar recording studio. A new song can be shared with the world as soon as it's finished. Every sound design or music production technique oftutorialsAll can be found through a Google search. All of these developments have leveled the playing field for musicians, making it possible for bedroom producers to create at a level that used to only be possible for artists on major labels. But despite this, making music is still difficult. Why? The book Making Music is designed both to answer that question and to offer ways to make it easier. It presents a set of systematic, specific patterns that you can use in making music in order to move forward. Each pattern is presented in the following way.

Describe a problem. Problems are roadblocks that prevent you from making progress in a particular piece of music. The problems in this book are real-world situations-you may recognize many of them as things that have held you back in the past. A problem may appear at the beginning (e.g., you don't know how to start), in the middle (e.g., you've created a lot of material but don't know how to organize it), or near the end (e.g., you've been making revisions and can't decide how to finish). The problem is explained in more detail through examples and (sometimes) references to other models. Provide a solution. A solution is a specific instruction or small set of instructions that will solve the stated problem. Like problems, solutions are real; if you apply the solution, the problem will be solved. Note that this requires you to actually work with the solution; in most cases, reading it will not be enough to move you forward. Making music can show you the way, but you still need to do the work. Explain the solution in more detail through examples and (sometimes) references to other models.

Who is this book written for? If you make original music on a computer and you've ever found yourself struggling to complete a musical project, Making Music was written for you. While many of the patterns discussed here could probably be modified or directly applied to other types of music making (such as composing for a rock band or string quartet), the goal of this book is to address specific problems that people encounter when working with machines, not instruments or other people. Although no prior skills are required to use this book, I've written it assuming that you have at least a basic understanding of a digital audio workstation (DAW) or similar music production environment. No specific tools are required, and the problems and solutions discussed are not specific to the workflow of any particular technology. A basic understanding of the basics of music-chords, scales, and rhythmic concepts-is useful but not a prerequisite. While not always obvious, these modes are common enough that musicians can use any type of electronic music, from commercial dance music to avant-garde. While some of the explanations refer to actual genres or even specific musical examples, I encourage you to read "around" the descriptions to get the essence of the patterns so you can apply it to your own work. Who is the author? I am a musician with a diverse world background. I've studied classical composition, music theory, and percussion, although these days I mostly write electronic music in a house and techno direction. I grew up just outside of Detroit, and all the amazing music from and through that city was a big influence on my early musical development. While this book aims to be as genre-neutral as possible, it's very much written from my own personal perspective - the things I talk about here are a reflection of what I actually think about and use in my own music. HOW TO USE THE BOOK Think of Making Music as a travel guide. The patterns are in no clear order, although things tend to be loosely grouped by concept. You can read and experiment with the patterns as you need them to solve particular problems that arise in your own work. Sometimes the patterns are explicitly related to other patterns, and I often refer to other patterns to help clarify the current one. So, while it is not necessary to read the entire book from cover to cover, doing so may help you to find relationships between the various patterns and to see them as a system rather than as isolated examples. HOW THE BOOK IS ORGANIZED The patterns themselves are grouped according to specific musical issues that may arise during the writing process. The sections are

Problems with beginnings. These are the problems that keep you from getting started at all. They include problems of inspiration, problems of realizing the sounds you hear in your head, and so on. Solutions include practicing to develop better active listening and exploring various ways of playing with sounds, harmony-Xie, melody, rhythm, and musical form. Problems with progression. These are the most common obstacles to working once you've done something but are a long way from finishing. They include problems with fatigue, problems with developing and changing material, and so on. Solutions include practicing generating new material, shaping song structure, and staying in the creative flow. Problems with completion. These problems occur when you feel that almost (but not quite) everything is in place, but you can't reach a satisfactory conclusion. Solutions include ideas for creating compelling arrangements and creating strong endings.

There are already many ways-books, courses, video tutorials, software documentation, private tutors-to learn music technology and music production. I'm a strong supporter of all of these, and I encourage anyone interested in this book to utilize these resources as well. However, almost all of these resources focus on the second half of the equation-technology or production-rather than the first half: music. Making Music attempts to help those who are comfortable with the basics of music production on a technical level, but still think that music production is a difficult process (I suspect that's true for all of us!) . Finally...this book will not teach you how to use a compressor, program a synthesizer, or make a great sounding kick drum. Those aspects of music production have already been adequately covered. What it will teach you is how to use these tools to make music, with special emphasis on solving musical problems, making progress, and (most importantly) finishing what you start. I hope you find inspiration in Making Music, but what I hope to inspire you even more is the music you create using these modes. Creating Music is not a collection of vague aphorisms. Instead, it combines philosophical and psychological motivational ideas about music making with a variety of practical tools and techniques that musicians can use to actually get the job done.