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Let’s fix that by:
  • Improving workflow and mindset
  • Managing time and expectations
  • Embracing arrangement and composition
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1373343153_d35d1ed13f_mWhat makes a radio hit?

What makes a powerful chord progression?

Why can one vocal be catchy and another not?

What makes a melody a good melody?

In a recent newsletter I told my subscribers that I’d be exploring Pop music creation and sharing my journey publicly.

I am looking to learn answers to the questions above as well as things like:

  • How to record and process vocals
  • How to not suck at singing
  • How to EQ like a fucking karate master
  • How to create ultra-accessible arrangements
  • How to write incredibly compelling vocal melodies
  • How to write lyrics with engineered subject matter
  • How to create an image and market the final product

And whatever else comes up!

To start this journey, here’s a song I begun to test some things I’ve learned. This is not final.

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8580984906_0e18f9f3ca_kDo you ever feel like your synths sound boring?

Do you want to make your sounds more lifelike?

What if I told you adding life to your synths is pretty easy?

During my stream recently, one of the viewers asked a really good question:

“How do you make a synth less static?”

Awesome question. No one wants to make soulless music.

No one wants their synths to sound bland and average.

So how does one go about making a synth sound great?

How can you make your synths sound less repetitive?

What can you do?

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attheendofdaysSundownFinalWhew. It’s been a really insane ride but we’re finally releasing this album to the world.

I was thinking about how I could enrich this experience for you guys and it dawned on me that I could make a short “documentary” explaining the entire process. What went down. The pains, the gains, and the… eh, don’t force rhymes.

So I did just that. I spent the entirety of yesterday creating a Behind the Scenes video for this album. In it you’ll learn:

  • How the album got started
  • The first remix we did to make sure this project would work
  • How At the End of Days was almost 5 tracks and how long it took to finally complete it.
  • Three demo songs that didn’t make it on the album and why.
  • Why marketing the Kickstarter was so difficult and the primary way I went about it (and where I got rejected).
  • A look at my Kickstarter dashboard including growth chart, referrers and revenue sources.
  • How I ended up messaging someone on Etsy and including one of their homemade items in all the Kickstarter packages.
  • The special secret sauce that came with all the Kickstarter packages
  • The reddit thread that inspired At the End of Days to grow from 5 songs to 15.
  • The legendary Headphone Catastrophe that I spent my entire two week winter break fixing.
  • How I completely screwed up the shipping and why all of the CD’s were returned to my front door.
  • Why we changed the album cover in the middle of the Kickstarter campaign.
  • A showcase of all the older album art that we didn’t use and why. There’s a LOT we didn’t use.

And more.

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We all know the feeling.

You’ve written a great 8 or 16 bar loop.

The drums are killer. You pulled off a sweet synth patch and the melody is air tight. You’re proud of it.

For some reason, you find yourself stuck. That 17th bar feels miles away.

So you end up on Reddit. Or you end up playing some video games. Or whatever it is your mind slips away to.

Perhaps you end up starting another track only to find yourself packing away another unfinished project file. Maybe you’ll come back to it.


We all know what happens though. That song lays dormant on your hard drive, occasionally opened while you scan all your unfinished songs looking for something to work on.

What if I told you that taking a song from 8 to 9 or 16 to 17 bars and beyond is super simple.

And there’s three extremely easy ways to do this that I want to discuss here.

With these three strategies you can extend any core musical nugget into an entire song.

In fact, if you’re not focusing on these three things your tracks will be lifeless and boring.

What are these three strategies?

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987745014_ddf7148b4e_zNeil Gaiman is an incredibly well respected author who has a lot to say about creativity and, well, life in general.

I recently caught wind of a short list of advice he’s compiled for writers. Because creative advice generally crosses medium boundaries, I’m going to go ahead and translate his writing advice to music production advice using state of the art “Analogy Technology.”

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