01
Starting points
Voice memo, loop, chord sketch, sample. Four ways in, and how to tell within ten minutes which one is worth the day.
Lesson 01
Music production
Most people can start a track. Far fewer can decide what it wants to be and then get out of its way. This is where that judgement gets built.
We work on real material across the three days — yours where you have it, ours where you do not — and finish something instead of talking about finishing.
- Format
- Studio sessions
- Runs
- Days 01–03
- Works on
- Your own material
- Room
- Control room
Watch
Sessions from the room
Starting points
What we cover
02
Arrangement
Tension, release, and the decisions that keep a room with you past the first chorus.
03
Sound
Choosing tones that sit under a room full of voices instead of fighting them.
04
Knowing when to stop
Editing as a skill. What to cut, what to keep, and how to recognise a finished record.
What you leave with
- A track carried to the end
- A way of starting that survives a busy week
- An arrangement you can hand to your band
Led by
Vasya Chekhovskyy
Host · production & song writing
Writing, production, finishing
Before you ask
This lesson,in detail.
Do I need to produce already?
No. You do need to play or lead something. We assume you can make sound and have opinions about it, not that you have opened a DAW before.
Which software do we work in?
Whichever one you already work in. The decisions are the same in every DAW, and we would rather you left faster in yours than slower in ours.
Should I bring my own material?
Bring it. Half-finished ideas are far more useful here than polished ones.
Is this only for original songs?
No. Arranging someone else's song for your team is production too, and it is what most of you do most weeks.
How much theory is there?
Almost none in the abstract. Harmony and arrangement come up when a song needs them, which turns out to be most of the time.
The rest of the programme
In their own words