Learn to produce music from scratch to professional-quality tracks ready for streaming platforms

We (here by “we” we mean our entire team that worked on the creation of the course) are no better or worse, all courses are good in their own way, but let's break down what we see as our strengths:

1. We teach not only to write music, but also to make money on it, because what is the use of knowing how to do it all, if you don't have earnings and fans. We teach you how to promote your tracks, how to go to labels, how to earn money on mixing and gostwriting. One whole module is dedicated to music marketing. Therefore, we responsibly declare that no one has such a comprehensive course.

2. The teaching methodology was not written at random, but has been tested in live classes since 2016. Many authors skip this stage when creating a course and immediately start writing lessons, hoping that this knowledge will be mastered (and if not?).

3. we are convinced that the best way to learn the material is to apply it in combat, not having time to get bored and get stuck in a long lecture. That's why our study is built on the method of “Learning by doing” - the most productive principle, better than which nothing has been invented yet. We write music at every lesson, where 80% is practice and 20% is theoretical lectures. In this case, all practice is put into a single reference book, which will allow you not to lose a skill and restore knowledge at any time after training.

4. Our advantage is the amount of knowledge, arranged one after another in a sequential logic. The information contained in the course is designed for a minimum of 6 months of completion when taken intensively. The course teaches you almost everything you need to know about working with sound. We even cover how to find the optimal distance and angle from the microphone so that it can better pick up your voice timbre. We are very skeptical about promises to teach someone to write more or less acceptable music in 1 month, or even in 3 months. If you aim at the level of “just for fun, I don't expect anything from myself, I don't get nervous when comparing my track with the tracks that play on the radio, I'll go show it to my grandmother” - maybe such a short format of training will work, but if your tasks include demonstrating your work at least to the audience of your favorite genre, then definitely not.

5. Our credo when explaining this or that complex effect is associations, feelings and emotions with the demonstration was/is. And only secondarily do we explain the technical side of a sonic phenomenon. It is of no use knowing that “a saturator adds new harmonics to the spectrum” if you have not heard how it can add delicious crunch, warmth, weightiness, fatness, gluing or vintage to your sound.

6. In addition to a wealth of knowledge, we give techniques for solving systemic, and even psychological problems that even experienced producers begin to have in one way or another: “How to return the muse of inspiration”, ‘how not to be ashamed of your creativity’, ‘how to find your style and signature’, ‘how to bring the track to the end’, ‘stupor from the inability to make the right sound’, ‘stupor from not understanding where to start’, ‘stupor from not understanding how to rewrite the idea from your head’, ”stupor from not understanding when to touch the EQ / compressor / saturator, etc., etc., etc. д., and when not to.”

7. We love to joke and many of our lessons are littered with humor.

8. We teach not only to write our own tracks, but also to professionally analyze other people's tracks, accumulating an unlimited supply of artistic techniques.

9. Many people hire in curators people who are not experienced experts because it is cheaper, usually former sales managers, respectively, such homework is checked by checklist, which is not acceptable in music. We have a check of homework is the author of the course.

10. We are interested in making you real professionals, because our main goal is to create a large community of competent and in love with music people who will do collaborations, share experiences, meet live, and the best of them we will take in our team.

11. Video lectures are reinforced with useful materials, services and tools: we selected diamonds among millions of links and chose the most important ones. This will be enough for years of practice.

Support problem

No one on YouTube will come to your aid in a difficult moment and tell you what to do if your synthesizer won't load sounds/midi keyboard stopped working/you can't find samples for a certain genre and +100500 technical and creative nuances that you can get stuck on for a month or longer. On the course, you'll have a mentor by your side, shoulder to shoulder. He will help, guide, support and reassure you.

Problems with “not knowing how to approach”

YouTube is not bad when you're almost a professional and you know what you need to watch to tighten up the area you're lagging in. But when you are lame in everything, and for a full-fledged track creation you have to be oriented in four specialties, which in the West are divided into different professions (arranger, recording engineer, vocal production, mastering engineer), imagine how much time it will take you. We're not saying it's impossible, we just think time is more valuable.

Problems with methodology

Instead of learning what you need to learn, a newbie on youtube often goes to watch what they are interested in. Like how to write a track in his favorite genre. As a result, while the video is on, everything seems easy and clear. As soon as the video closes and you have to write something of your own - there comes a stupor, followed by wrong questions in your head like “maybe music is not my thing?”, “I guess it takes 20 years to do this?”, etc.

Philosophical and volitional problems

Think about it, you can learn programming, marketing, stock markets, languages, and much more on YouTube. There is enough information there to master it all perfectly. With this knowledge, you can become a millionaire. Are there many millionaires around you? Then it's not that simple.

Time saving problems

If you have extra years of your life, you can spend them on mastering any skill through youtube. You can also go through the whole school program without going to school, it's just that in that case you'll have to study for 20 years instead of 11.

Problems with the format

YouTube for the most part tries to entertain us rather than effectively educate us. A blogger won't get many views by creating a video about “chromatic medians”, which is just useful, but a useless video about “how to throw a beat in someone else's style”, which doesn't teach anything but copying someone else's pattern, will get hundreds of thousands of views.

Why not? Yes, you can. Just not everyone is ready to dig into sound for 10 years before reaching an acceptable quality. In fact, we are faced with a classic choice analogous to languages - “learn French from a dictionary or go to Paris and learn it in the environment”. Both options are workable. And now, having touched upon the analogy with language, let's dig a little further. When studying French, for example, most people aspire to the advanced level. Music also has its own unofficial advanced level. It's when you produce:
1) in any style you want
2) you write in an original way
3) you get all your ideas out of your head and transfer them to sequencer software without interference.
4) your track is as good as the tracks on the radio.
5) if you decide to provide services in the musical field, you will be willing to pay well for it, because you do not do it tacky.
6) the level of knowledge allows you to get high, not to suffer.
That's what advanced level means in music.

Let's take a look at my journey to the advanced level. I spent the first 5 years learning on my own from books, YouTube, forums. Then I realized that my progress was too slow, and in the end I still spent the rest of the 7 years studying with the help of paid courses, master classes, and after that I went further to study working for experienced specialists in their studios. At the 12th year of my musical path I was already more or less satisfied with my skills. But in essence there is nothing heroic in my story, it is a crooked and not rational way, I should have done everything the other way around, the main training should have been with masters, and at my leisure I should have read what I want and saved 10 years. That's what I suggest you to do, not to collect all my mistakes and save a lot of years. But it's up to you to decide.

The only thing you need at the beginning is a less modern computer and headphones (any kind of headphones for now).

The most important thing in music is the processor. Type the name of your processor+rating (e.g. i7 3770k rating) into google search. The technical.city site shows that this processor is on the 1552nd place in the world ranking.

If your processor is 2000 and above - music will be very uncomfortable.
1600-2000 is uncomfortable.
1000-1600 - moderately tolerable
500-1000 - comfortable
1-500 - for the next 3 years you can not think about the power of your PC.

If you are not too rich, and therefore not really ready to pay big money for each plugin, which in our work will be a decent number, then definitely Windows. In addition to that, less music software is released on Mac. So even if you have a Mac, put Windows on it.

We work in the most convenient and powerful music creation program - FL Studio.
Martin Garrix, Afrojack, Porter Robinson, for example, also work in it.
We will also use Cubase 12 for recording and editing vocals.

Only if you have total deafness in both ears. But if you have deafness in only one ear, you can do all sound operations except panning.

There are two pieces of news, bad and good. Let me start with the bad news: software is expensive and this problem is exacerbated by the fact that in our work we need not just one software, but many different programs (synthesizers, handlers, etc.) The bill can run into thousands of dollars.

The good news is that any expensive music software our students get for free. How? We'll tell you about it on the course

There is such a wise phrase, though from whom, we don't know - “We prefer to give not fish, but a fishing rod so that then you catch whatever fish you want and never be hungry again”. That's what we're doing. That's why we don't focus on a specific genre, but teach music theory and analysis of other people's works at such a level that our graduates can painlessly dive into any genre on their own. But we still cover unique techniques. The scope of our course allows you to learn techniques from such genres as deep house, future house, ambient, dubstep, hip-hop, trap, drill, pop, rock, reggaeton, trance and many others.

The course program is designed for half a year if you take the intensive course, but nobody forbids you to take advantage of online education and reduce the intensity by stretching the course for example for a year. If you are a beast and can afford to study music all day long, you will naturally complete the course faster than half a year.

Yes, I do personal training, both online and in person at my studio in Bali, but be prepared that this format will be 5 times more expensive than taking an online course. If you are interested in this format, please leave a request with the note personal training.