Костя Матафонов о том, как устроена современная музыка, о синдроме демки, и как научиться сводить

In this episode, Kostya Matafonov discusses how modern hits are made, the behind‑the‑scenes studio work, and why good songs endure. At 00:29 he introduces himself and his background. At 00:46 he reflects on his influence on Russian sound. At 01:06 he admits that Russian music often copies the West, and at 01:22 he talks about young sound engineers and market dumping. At 02:01 he explains what "intelligent music" means, and at 02:59 he says that creators prefer to experiment. At 04:06 he describes the challenge of Russian songs after the underground era. At 05:31 he explains where real ideas are born. At 06:08 he discusses analog filters, sound design, and creative joy. At 07:06 he outlines what makes a song long‑lasting. At 08:16 he comments on why old songs are hard to listen to. At 09:06 he says Russian listeners are not demanding. At 10:01 he compares what was better in the USSR. At 11:07 he critiques the "like Dua Lipa" formula. At 12:16 he explains the "demo syndrome" and why everyone fears it. At 13:40 he talks about the artistic value of demos. At 14:49 he compares Western demos to Russian finals. At 15:34 he gives advice on working with a "demo‑like" request. At 16:11 he discusses mentors and artists who teach sound engineers. At 17:39 he explains the process logic. At 18:45 he shows how randomness can improve sound. At 19:41 he shares unexpected solutions for mixing jazz. At 20:18 he addresses how to save a singer who is dancing while singing. At 21:28 he lists cool tricks that never make it to the final. At 22:35 he talks about effects all artists love. At 23:07 he discusses creative sound design usage. At 23:21 he explains why he stopped taking too many mixes. At 24:14 he describes teamwork in the Cost Sound Team. At 24:51 he reveals a personal surprise. At 25:27 he explains why top engineers don't pretend to be busy. At 26:07 he talks about self‑creating schedules. At 26:57 he talks about Music Heads school. At 27:26 he explains organic learning and experience exchange. At 28:07 he reflects on his 90s upbringing. At 29:05 he shows how childhood experience helps modern work. At 30:12 he explains why many things are still done by hand. At 31:03 he compares Western courses to Russian ones. At 31:56 he explains why Music Heads offers long courses instead of intensives. At 32:27 he answers whether anyone can be taught. At 33:09 he discusses the innate sense of groove. At 34:22 he asks if an artist can work without a sound engineer. At 35:17 he tells who should learn mixing. At 36:09 he outlines the free block. At 36:51 he explains what a big recording course offers. At 37:11 he warns that training can harm genius. At 38:03 he shares how experienced engineers view masterclasses. At 39:02 he discusses course duration. At 39:08 he answers whether a diploma is needed. At 39:26 he gives price of personal training. At 39:56 he explains mentorship work. At 40:30 he discusses mixing in a bad room. At 41:29 he explains why headphones don't work. At 41:55 he gives price of a mix by Cos Sound Team. At 42:58 he analyzes market prices. At 43:55 he says mixing alone won't pay without extra lessons. At 44:46 he compares royalties vs fixed payment. At 45:51 he gives advice if a mix doesn't land. At 46:11 he discusses difficult artists and odd requests. At 47:00 he explains why advisors often hinder. At 47:25 he compares working with stars vs newcomers. At 48:04 he gives price of a "song under key". At 48:35 he shares how to avoid burnout. At 48:59 he asks if you are disciplined. At 49:44 he does a quick poll. At 50:15 he lists best plugins, saturators, and limiters. At 50:40 he gives final words for beginners.