Music Production Mentoring

We worked through the chord progression of "Morning Has Broken," identifying how each chord functions harmonically in the key of C. Covered predominant function (IV and ii), deceptive cadences, secondary dominants (V/V), modal interchange, and the particular quality of the iii chord (E minor) and how it recontextualizes what came before it. The session was largely demonstration-led, walking through the process of identifying chords by ear using bass motion, cadential feel, and process of elimination rather than instrument verification.

We covered how to analyze a reference track as a mixing and production tool — what to listen for, how to level-match before comparing, and how to use EQ sweeps and high/low-pass filtering to isolate frequency ranges. We worked through two reference tracks in detail (Brandi Carlile and Massive Attack's Mezzanine) and discussed loudness measurement via LUFS, perceived loudness, dynamics, vocal clarity, stereo placement, and how to translate a client's reference into actionable mix decisions.

Covered stick technique fundamentals including grip, point-down strokes, pull-ups, and the natural rebound — with emphasis on control over force. Worked through a progression of rudiments: single-stroke rolls, double-stroke rolls, five-stroke rolls, paradiddles, and double paradiddles, including accented variations and application to the drum kit. Discussed how to structure practice time and build a reading foundation using standard drum literature.

Worked through mixing challenges on a live tracking session recorded in Ecuador — a 16-song project with guitars, bass, and drums. Covered fader-setting fundamentals before compression and EQ, sidechain compression between kick and bass, region gain as an alternative to volume automation, and parallel distortion as an approach to recovering sub-bass content from an extended-range bass instrument. Also discussed multing as an organizational strategy for handling tonal variation across a bass performance.

Listened to 3 chord progressions blocked and arpeggiated. Students to identify which chords contained 7ths. Followed by aural breakdown of each chord—strategies for hearing 7ths in chords vertically AND horizontally through chord progressions. Interesting notes, triads and open 5ths sounds clearer than 7th chords which tend to add bits of heaviness. Explored different colors achieved through various voicings.

Listened to David's new tracks. He is experimenting with Ableton. Went over some new stuff in his studio, and talked about distribution. I recommended one of the songs as something that caught my ear to develop more. Standish came in with 15-20 minutes left. We talked about his new studio setup, and listened to David's tracks. He suggested another song idea to develop that caught his ear. We talked about distribution a little more, and goals for releasing music. We recommended Soundcloud, Bandcamp, and Distrokid as three places to look based on his goals.