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do you have any special order in which you make songs i normally like to make a beat 1) snares first 2) kicks 3) other stuff/sounds then from there its really just whatever comes first, i dunno. is there a particular order that's good for making songs? |
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also does anyone ever get restless and tired while making songs and you just kind of have to lay down, and you sort of feel insane? like, if i have to hear that shit repeat one more time i will kill myself, etc. |
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and howcome that phenomenon doesn't happen when you listen to other peoples tracks? you can listen to someone elses music for hours on-end but when its your own for a long time it's just kind of like, fuck, this is awful, where are the potassium pills, etc. |
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I normally start everything by laying down the kicks, they are the pulse and beat of the song. Then I add the bassline. Then I add the pads and finally I add leads and random stuff + drum fills here and there. |
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Then I mix it down/master it depending on the style of music it is and how much dynamic range I want in the track. |
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here's how i have made every song i've ever made: 1. i enjoy a nice red wine, leisurely aerating the aroma and being sure to savour the bouquet as i watch the sunset in the distance. 2. i lay out all the tools i will need in advance on a large, embroidered cheesecloth. 3. flattening out my parchment, i say a little prayer asking the spirit ancestors for a bit of inspiration. 4. then, i take my quill and create ledgers and rules with a ruler. 5. incense and candles are lit on the altar. 6. taking my trusty hunting knife, i then cut the throat of a fatted lamb as a sacrifice to the unholy Overlord. 7. more prayers for inspiration and the death of my enemies. 8. i then roll two d-10 and use the appropriate chart, taking into account the appropriate modifiers. 9. i feed the results into my trusty hexidecimal calculator, type, "LOAD MUSIC" and wait. 10. fifteen minutes later, i have a nice computer printout in ASCII, which makes an abstract shape in computer characters. 11. using a sort of "paint-by-numbers" technique, i take my homemade paints (made using oil and various stains, grass, blood, etc) and fill in the printout. 12. once the paint has dried, i use ultra-violet light to see the hidden messages, which translate into a word jumble, which then phonetically spells out a single letter of the musical scale. 13. i record that single note into my sheet music, taking into account the path of the light through the skull crystal i have mounted at one point of the ashen pentagram on the floor to find the duration and things like that. 14. repeat steps 8-13 until i have enough notes, or the candles have burned out, whichever comes first. 15. i take the completed score over to the studio. 16. i hand-select from the finest session players available, sometimes also grabbing random passers-by off the street. 17. production time: reels are spun, levels faded, equalizers tweaked, panoramics twisted, mics checked... 18. three weeks later, i have a b |
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bangin' new track done. i've heard aphex works pretty much the same way. |
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when you try this process for yourself, make sure and do step seven really well. it really thins out the competition, making your own music seem better by comparison. |
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and i use and recommend 5" floppy disks when you RUN and BOOT and tell logo how many steps and things of that sort. don't worry if it's too confusing right now - this is all going to be in my book, "How To Write Music Good For Dummies". coming out first quarter '06 look for it!! |
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wow, i kinda work in the same way but in my bedroom in my underpants, so there a few changes, for example, to step 15. |
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i don't have any specific procedure at all. it's mostly just getting the idea out in sequence, with the most intense part first. |
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normally i just sit down and after getting some melodies or something tracks make themself. i also sometimes start a track by getting ideas on the piano or guitar. |
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depends what my first idea involves. it usually happens when i hear /think of a decent component id like to use in a song, and i then slowly write the rest of the song around it. sometimes its the beat, sometimes its a melody, sometimes just a cool/funny voice sample i want to use. |
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lately two orders for me: order 1: 1. Open CoolEdit Pro 2 2. Reach for its noise generator or tone generator 3. make a short sound which determines the tempo for further "work" 4. improvise further with it, copying and applying simple things like (all or some of them): .making some rhythmic shit from the original drawing the envelope graph .FFT .noise reduction/hiss reduction - often creates something new :) .distortion sharp fuzz preset .stretch (more often the pitch one) 5. session is being made at the same time, improvising 6. the results are usually 30-50 seconds long, they are saved for further bright idea enlightment order 2: 1. Open SymSynth 2. Start a new preset and twiddle these knob imitations 3. Make some riff 4. Open more copies of this program and let them play something at the same time. 5. Possibly open rebirth and make a rhythmic pattern 6. Possibly open CoolEdit and make some loop play, possibly noise or a loop from the tone generator 7. If something interesting forms from this, save files into one folder, export all the shit to WAVs and switch to CoolEdit 8. Try to make some structure, with creating new sounds in cooledit or other two mentioned if it appears to be needed results are saved for further enlightment, which, doesn't come to me, fucking unfortunately. sometimes i have a ready structure which I composed much earlier, and the only thing remaining to do is the realization of it. Making sounds and putting them into their places in cooledit session or even acid pro, but in the ends all tracks are exported to cooledit for mastering attempts. |
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my procedure: 1. down a bottle of beer 2. make the track from start to finish, one pattern at a time |
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ha ha |
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maybe i can't make tracks because i don't drink this fucking stinky piss liquid? i have to think about it... I'm tired of not making tracks |
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I like to just jam for a while, recording my outputs. Then I go through the recordings, keep the good, cut the bad. After that I sequence the parts. Then refine & rework until it is acceptable. |
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1: Turn on sound 2: Press keys on synth until melody emerges or record something somewhere else 3: Press/record more for more melody 4: some cutting, pasting and pitching 5: Percussion 6: more percussion or recordings 7: more pitching and cutting 8: bass 9: more cutting and pitching 10: recording more 11: cutting 12: pitching 13: recording 14: percussion 15: cutting 16: effects 17: pitching 18: cutting 19: recording 20: attempt mix 21: cut 22: pitch 23: effects |
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Before starting a track I listen to a wide range of music, it really could be anything, anything, from Autechre, to Boards of Canada to Plaid. I mean ABSOLUTELY anything, it all goes in, all these wildly different influences help me decide what I think I should be doing. Then, to work. 1. Remember the three M's, Melody Melody Melody. Ideally Lush Melody. Make a really lush melody. Add another one on top. This is the cherry on your lush cake. 2. Fucked up beats. Lay down seriously fucked up beats. 3. Combine Lush Melodies with Fucked Up Beats. 4. Add 8 metric tonnes of Reverb. 5. Record to cassette. 6. Record back to laptop. 7. Repeat steps 5 and 6 a number of times. 8. Release to an salivating public on EKT. |
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gosh darn it, that's the most awesomely wide spectre of musical influences in the history of forever and beyond and then some! |
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i have to hear one noise that makes me want to go further with the idea - if nothing grabs me then i dont bother normally its a midrange noise or bassline . just something to play a melody out of and yes i have that feeling that if i hear my songs once more im going to freak the shit out... a lot of artists express those feelings in interviews - saying they've heard their songs so many times theres nothing left in them anymore and they get arduous...so you aint alone! |
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your recipe lacks CRUNCH. |
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Your recipe is the nutritional equivalent of eating cardboard. FIESTY COMEBACK!!!! |
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my recipe is a grower, i'm convinced of it! |
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surely you mean krunk! yeayh! aow-kaay! yeayh! aow-kaay! |
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who cares what the order when the jams are sweet? |
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euphonicfiller may also be a grower. |
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I order you to stop making music!!!! |
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i ask you for evidence that i have ever made music. my recipe is for masa corn crepes with artichoke flan. |
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doggie, where's your blog? you're a good writer. |
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hahahhahahha |
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You're too kind. No really. XLT's my blog I guess. I did try to do my own but it's 0.00000006 % as funny as I wanted it to be. I need a comedy foil like pladizebra to bring out the very best in me. But I did get "signed" by the Web's premier music blog to contribute. Which one's that you ask? Only the very best, |
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I think Juan Atkins said thwe most important thing is the bassline, and he always starts with that. I think he just meant house music though. |
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Simon Reynold's "Blissblog" is the only one worth reading. |
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i think what i've brought out of you lately is the textual equivalent of a dusty fart, and for this only you are to blame. you have gotten boring and predictable, and your obsession with euphonicfiller has become unseemly. but it's nice of you to refer to me as your comedy foil, it's the nicest thing you've said to me since you said you'd like to beat me to death with your sweaty hippy sandals. |
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He seems obsessed with saying everything is prog+another genre. And, like most people writing on the Internet without an Editor, he writes far too fucking much for far too long. But yes, sound guy, one from the good old days. |
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I am not obsessed with Euphonicfilter. However I have become posessessed by the spirit of |
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Well, he is one of the editors of the cheesy American music mag Spin. So I think that pays the bills, and he tends to waffle about what he likes on his blog. Reading his stuff, I tend to agree with what he says, it was cool how he dismissed all the new NME bands as "ANOTHER fucking garage rock revival." And he has a PHD in the history of jungle. |
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exiting things are happening in the progressive breakcore genre |
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right back at you cog_wrench ;-) |
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it was cool how he dismissed all the new NME bands as "ANOTHER fucking garage rock revival." what's so brilliant about that? everyone knows that. i've been saying it since the strokes. |
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I think it's cool that he's heard of Simon Reynolds! |
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that the awesomest image! |
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very exciting things indeed! |
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Yeah, me too. |
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Breakcore is just another fucking jungle revival. Breakbeats are well past their sell by date now. All the breakcore people will probably be making "Grimecore" in ten years time. |
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breakcore got old REAL fast for me, like within one year fast i still listen to soul and old country with great enjoyment daily...and supposedly its not as techinical or dense... i disagree...i wont be listening to vsnares when im 50...ill be listening to otis redding ! |
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All that grimecore shit is like all the stupidest ravers and the stupidest geeks got together to enjoy the most obvious, boring music ever. |
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who would you constitute as being a part of that genre? quite a while ago i equated breakcore to the goth scene and a lot of people on here seemed to agree.! |
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