NYMFO Q&A Session

Big ups Bardo, How many layers or should i say tracks do you usually have on a completed project,how long does it take to usually finish an idea? check out my tune for last months challenge #006 if you like it i will send yah a download link

Ez Juan! It really depends on the track, but in general with D&B we can make it ourself very complicated with way too many tracks lol! Sometimes ‘less is more’ can be the key.

If u go for a minimal roller / stepper you can do a lot already with let’s say 30 tracks. But if u wanna go full on Neuro, I am sure u gonna hit 50 / 60 tracks.

But I shouldn’t focus on that too much. If u think the track doesn’t need anything else then it’s good. Even when it’s 10 tracks or when you have 150 tracks.

Hope this helps! And fire over your track to [email protected] please!

Hi Adam, I never master my own tracks. But a strong own pre mix is very important. Some producers to their own mastering, but I personally always like it when an extra pair of (professional) ears double checks your tune. And tweaks it where necessary. Because sometimes you work really long on a track and you loose focus on some parts maybe.

Nice one Evan, really happy to hear this!

Morning Harry,

See some answers below 🙂

1. In the Part 2 video, I was wondering if this was a common way you approach creating basslines.

It’s a bit 50/50 for me. When I like a good bass sample, I really enjoy playing around with it. But it needs to sound different and more personal at the end. In my tutorial I did a good job with that (I think :)), but sometimes I fail as well. If it’s not working, I usually play around with Serum for example to create Basslines.

2. In the Part 3 video you started an arrangement. I was wondering what kind of details you would typically add? Do you have a few standard arrangements you tend to use, and how would you describe them?

I think every producer has a few ‘signature’ tricks they do in their tracks when it comes to arrangement. I especially like to play with the ‘less is more’ idea. Taking away sounds and bring them back 32 bars later for example. Then it feels like a lot is happening in the track, but you basically u don’t do that much. And I do a lot of automation on most of the parts in the track. Then it really feels like a journey when you listen to the track.

3. More of a general question, but what was your experience learning to produce? What were some of the “ah hah!” moments? And what do you currently find most exciting about your production and creativity?

When I started there weren’t websites like Sample Genie or online tutorials. So at that time it was really important for me to sit in the studio with other people and look over their shoulder. When I just started Icicle and Proxima gave me a lot of ‘ah hah’ moments.
The most exciting for me at the moment is to think outside the box and try to be a diverse producer. A lot of people know and like me ‘rollers’, but recently I also released music on Barong Family for example. This is a super commercial label runned by Yellow Claw. I am sure a few fans don’t like the music I put out on the label. But for me it was a new challenge to do. And even the music is a bit more ‘commercial’ I think you still can hear Nymfo and the realness in those tracks. Off course I can do the same kind of rollers for the next 10 years, but something like that Barong EP was a huge eye opener for me.

Thanks for the answers Bardo! I have some follow ups, if that’s okay. I appreciate you taking the time to pop in to the forum and doing this for people!

It’s a bit 50/50 for me. When I like a good bass sample, I really enjoy playing around with it. But it needs to sound different and more personal at the end. In my tutorial I did a good job with that (I think :)), but sometimes I fail as well. If it’s not working, I usually play around with Serum for example to create Basslines.

Cool, I was curious as one of my creative issues lately is I will get one good bassline and tone to it, and then I don’t push it in additional directions to get variations, to keep a song interesting. I get impatient, aside from drum programming, which I feel like I put more effort in to making interesting. Is your main go-to for variations different types of Trash2 passes? Anything else you like to do for variations?

And I do a lot of automation on most of the parts in the track. Then it really feels like a journey when you listen to the track.

What kind of automations do you like? I’m assuming basic stuff is volume and filter cutoffs, but do you have anything you think gets overlooked or should be explored more?

The most exciting for me at the moment is to think outside the box and try to be a diverse producer.

What kind of music do you like to listen to? I’ve seen you on IG with a Misfits shirt on. I have ideas for other types of music I like, I just haven’t jumped in, in a while. Actually one more question, related to this. How much music do you write that you listen back and go “this isn’t for release, this is just personal”?

When it comes to kick and sub I always side chain. I never use automation with utility for example. And I always check the kick and sub channel solo on different speakers, headphone, etc. So I don’t use a lot of next level techniques or skills for this, I just trust my ears 🙂

thanks man! Also when it gets technical, say you have an off beat right before or after the down beat, would those kicks be included in the side chain also? Do you SC the snare as well?

Thanks.

yo!

1. I like Trash by Izotope a lot, because that’s usually a life saver when I am stuck in a tune. Especially when it comes to making midd bass sounds fresher and fatter, but not OVER THE TOP. With Trash I always can find a good balance for that.

2. I work mostly inside the box, so I would say my coffee machine is my favorite hardware in the studio 🙂

Nice one, Good old coffee machine! Who can live without one of them! Which version of Trash do you have? Where can I send you a track for feedback?

Trash 2 and feel free to send any music to [email protected]

Nice one!