Maybe it's true for some people but I generally think it isn't. The secret to being able to play an instrument is studying or practicing a little every day for 20 years. Some people get there faster but unless you have mobility issues, most people can learn enough of an instrument to have fun.
You really can work your way into being a musical genius with an instrument. It just takes a lot of work. I actually like playing instruments for that reason. It's one of the few things where hard work has actual, measurable outcomes on time scales that you can observe.
I could practice technical skill on an instrument to literally no end but ultimately anything I did outside of a several second stretch by myself was completely disoriented due to a total and complete inability to maintain a tempo even when it's provided to me.
So for me there is just a hard ceiling on my ability to ever perform. I could probably do better with digital music production if I invested the time and energy into it but I'll always have the handicap that I have and knowing that it's hard to even want to invest the time and energy into trying yet another path into music where I'll likely fall flat on my face again.
Work is great, but hard work doesn't yield the same reward to everyone on every instrument. Geniuses did hard work, but they often needed less at every step along the way. That means they advanced faster with the same effort. But that's okay! Learning an instrument for music's sake is a joy.
Anybody can learn an instrument well enough to enjoy it. They can probably learn it well enough to play in a community orchestra. They can learn it well enough to appreciate what the pros do.
My experience tells me that one can spend years at an instrument and still lack the fundamental capacity to be an artist.
I've spent years playing different instruments. I'm pretty good at it, I can get proficient at new instruments pretty quickly. However, my ability tops out at reproducing music. There's a fundamental creative spark, some subtly different neurology, that allows some people to create art, to express the intangible through music. I don't have that. I simply can't connect with music or art the way an artist does. I see the mechanics underneath and that's as far as my brain goes.
It's incredibly silly to assert anyone can study into a master musician. There is such a thing as innate talent that simply can't be acquired, and that talent is the thing that makes an artist.
Conversely, as an engineer, I do have that talent. It's been obvious my entire life, the same way an artist's talent becomes obvious early on. The way I approach problems is fundamentally different from the way someone who simply studied thinks about things. It's a fundamentally different way of thinking and experiencing the world.
Look around you at the varied shapes and sizes and varieties of humans. Some humans are natually huge and powerful, some are small and nimble. A 4'8 ballet dancer can't "just" learn to be a 6'4 bodybuilder, physiology just doesn't work like that. Small humans can't get big, and big humans can't get small. Big humans are stronger than small ones, and small humans can never get as strong as big ones.
Why is it unthinkable for humans to be different on the inside? If our outward physiology is so wildly varied, why is it impossible for internal physiology and neurology to be exactly as varied between individuals?
Innate talent exists. Everyone has different mixes of talent, and not all of them can be learned. There's nothing wrong with admitting that. It's part of the beauty of the human species. And realistically our species wouldn't have evolved to this point without a wide mix of specialized individuals.
Claiming that everyone can be Mozart if they just work harder really cheapens the whole thing. That implies talent is interchangeable with effort, and it definitely is not. If you can work past that childish crutch, you can see the awe in a human who was born to do something at the very highest level.
To me, it's about passion. I am passionate about computing so I make it a point to set aside time to learn about it. Someone who is very passionate may be obsessed and their life revolves around it. Those people usually do well as I consider that "Finding your true calling." or they may burn out and spiral.
In high school I knew a guy who was a musician, not because he carried around a guitar but because he could not put it down. He loved playing. One groggy high school morning, sitting at the cafeteria table, waiting for classes to start, he rolls in, hops on the table sitting cross legged on top, states "I just wrote this song this morning" then started playing and singing. That right there is a passionate person - in front of a high school cafeteria packed he busked with no fucks given. Years later I looked him up and he is a professional musician. True passion and found his calling early.
And then there are people who play for the joy of playing and might never play professionally or live. Its just a fun hobby for them that fills them with joy.
It's a great pedagogical experience just to show people how much of a difference deliberate practice makes.
Many areas have ensembles with a range of experience levels and commitment requirements. Now is a great time to look up local ensembles and see when they hold auditions (most of them are probably within the next few months).
May we all find the same joy in doing whatever we do
discovery this year is despite being almost 40 and obviously busy/an engineer/founder who will never make it professionally, you CAN still find outlets to indulge in the creative side and perform for others! https://x.com/swyx/status/2043217991589102027
its scary but it stretches you in new ways and yeah, it keeps you young and optimistic that you can do things you've never done!
Time adjustments: I use Logic's "flex time" for this. Having your vocals land crisply on the beats you're aiming for really improves the sound of things musically. It also helps in the next step.
Comping: Comping is where you create a good composite track out of a bunch of mediocre ones. Swipe-to-comp in Logic is pretty great, the way it does auto fades between comp sections to avoid zero-line crossing clicks and pops really helps.
Tuning: I use flex in Logic. I try not to overdo it, you can easily introduce bad-sounding tuning artifacts if you're not careful. I have to force myself to not attempt to tune every note, just the really wrong ones. It helps to map out the notes of the melody that's in your head on another instrument.
Double up: Once you have a bunch of unique tuned comps that are mostly time aligned to each other, you can thicken the sound a lot by layering them. Choruses need big vocals right? You can use your extra tuned and tightened tracks to double (or triple, quadruple) up your vocals and pan them left/right to make them sound bigger and better. Because they're unique tracks and not copies this will sound wide, and because you left in some minor timing slop, it will sound tight, but not robotic. You can also use doubles in non-chorus parts to emphasize certain words or phrases.
Harmony: Harmony tracks can really sweeten and thicken a vocal. It'll definitely help to learn some music theory to understand the right notes for your harmony parts, but you can also just do it by ear. I take a one of my comps, and push the notes around with tuning software so it becomes a harmony against the lead vocal. Sometimes these extreme tuned artificial harmonies can sound robotic, but if you blend them in subtly and/or play with the formants they can work well. If not, you can use them as a guide track to re-record organic parts, but that's more work. Use harmony parts the same way you might use doubles.
Even if you can't sing well, you can still make pretty good vocal music these days using technology.
I genuinely wonder how some people are able to sing properly while others cannot. Those who can sing, where did they learn it at?
