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I've been producing music as Beefsdick since August 2018. In 2010, my junior year of high school, I started my first computer music class through a local community college. That sparked my interest in music production. Years later, I entered into Audio Engineering through Western Washington University in Bellingham, WA. I learned hands-on recording, mixing, and mastering techniques from professional producers in an academic setting and troubleshooting. I supplement my education by watching how-to videos and tutorials but always looking for new ways to do something different.
I primarily use Reason because it was the first DAW I learned on and it's virtual-rack allows me to get a hands-on feel of the software. I use Pro Tools to finalize mastering and during recording sessions. I prefer the workflow of reason, but Pro Tools seems more compatible with most all plug-ins especially in live recording scenarios.
I love my midi keyboard. Just about any will do, but I value being able to input the feel of live performances. I can compose, play, and perform a piece then edit several parameters to make it just how it is in my head. I love my Blue Spark microphone too. It has been with me through the years and has survived so many punks and even a flood.
iZotope 7 is just about the best I've found for mixing and mastering. Seriously versatile and unique software. Melodyne is a must for vocal processing, but I also love Reason's stock Auto-Tune because it's pitch tracking can be terrible in some really musical ways.
I like to start with a tempo, then a simple kick/snare beat, layer in some cymbals, then start composing. I often have a beat for a bass drop before I write any bass synth rhythms. Once I'm happy with the spacing, I'll write some melody layers and wrap a bass line around the beat. That being said, I often do full sound designing sessions in which I plan to produce as many different styles of sounds as possible. I like to chop between several genres in one piece.
I use Cymatics, a production company that offers loads of stellar sound packs and advice for new producers. I also like to find YouTube tutorial videos on how to produce whatever I'm curious about. The main way I learn is through trial and error.
The last tutorial I watched was by Moonboy, 'How to sound like REZZ!?'
I wish I learned that troubleshooting is like 90% of what audio engineers do in the studio. Especially when things go wrong, don't work, and you just want to give up. That is when you have to push even harder. An amazing record comes out of hours of hard work and confusion in the studio.
Sometimes, I feel like there isn't enough time in the day to do it all. I have so many collaborations in the works right now, you have to schedule time slots to specific tracks. I also have a few commissions that usually take priority, but I have to make time for making my own experimental music too. All work and no play makes Beefsdick a dull boy.
I like to reverse a kick drum sound just before the full kick hits in a drop to make this sub-heavy sweep that seems to slam the speakers. When used sparingly, it makes for a heavy-ass drop.
Again, Cymatics is amazing for online resources, but I also use music radar or other free sample packs. Sometimes the best sounds can be made from pretty low-quality sounds.
Always. I often post new tracks as limited previews on my SoundCloud months before the full release. This can help make the song even better when I incorporate constructive feedback from peers.
I'm most proud of Artemis. It's just got this vibe I wanted and I'm so pleased with the sound design.
I also love Mind Control feat. Everlost In Chaos) because the vocals and everything came out just how I heard it in my head.
I'd say it's been very useful for getting my music to more people. I enjoy collaborating with other artists on Re-Ex and that has been very important.
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This interview has been lightly edited for brevity and clarity.