Another Easy Way of Composing Music

1. Improvise a riff, an ostinato. Or loop a short sequence of notes.
2. Write a bassline. Maybe make an alternative pattern.
3. Add drums.
4. Extract kick, snare, hihats etc. to individual channels.
5. Put in a chord progression on strings or pads to follow the bass.
6. Add a second voice on an octave from the first riff, harmonize.

Some people get more inspired by starting with the drums (so you can change order of point 1-3). Anyway, by now you have a few bars repeating over a few seconds. Copy and paste this sequence with all channels active. It’s then time to arrange a song structure by removing channels.

Perhaps begin with an intro of the riff, build up with drums, add bass, mute the riff, let bass and drum play together for a few bars, add a new lead, bring in the original riff, mute bass and kick, put in a breakdown with only chords, make a drop with everything you got, mute some of the instruments, add others, change instrument for an already played sequence, change octave for bass for a brief moment etc. Remember to split the full drum pattern and mute different drums on different parts of the track.

Depending of what kind of orchestration your after, but maybe keep it simple – like a real five man band, where the drummer only have two hands and two feet, so don’t hit all cymbals and toms at once even if you can electronically. And each other band member plays only one instrument at a time.

In other words write a few bars of music with five different instruments that sound good together, then just mute and unmute over time.

And If you’re into pop music, you might what to construct your song around verse, chorus, bridge and so on, and write a strong lead melody over all parts.

A Way to Write Electronic Music

Okay so the last article was about why I don’t use DAW templates – how I prefer starting from scratch without any predefined workspace to save time – this time I’m going to tell you what I actually usually do when writing music.

Firstly, everything starts out of passion – a will to create. I don’t need to make music to be able to put food on the table, or I don’t need to release stuff because anyone says so. I do this simply because I enjoy it.

Right, I usually begin by setting up a few rules and limitations for myself to help define the track, and to drive creativity; it could be deciding on what expression I’m pursuing – tone and atmosphere, or what style of music I’m after.  It could also be about limiting the amount of sound sources/synths. Which equipment to use, e.g. compressors, limiters, saturation units etc.

Sometimes I write music with only a basic piano sound (those tracks tend to have a more traditional musical structure and rhythm).

But more often, I start by making a sound, a patch on a synth, and write music around it. I’m finding use for it, improvising a riff or musical motif and then building a context. This rough draft is done rather quickly, but may be reconstructed later on during the process of music making.

Here’s a set of guiding principles outlining a course of action:

1. Make a patch, design a sound.
2. Sequence a loop using this patch.
3. Find a context, decide on what kind of track you want to do.
4. Program a 8-16 bar drum pattern, at this point, not too advanced.
5. Compose a rough structure.
6. Fill out the song, e.g. bassline, chords, harmonies.
7. Change and layer sounds, make new patches to fit the song as you go.
8. Repeat step 5-7 until you’re happy with the result.
9. Make a final mix (this won’t be final but mix the song as it was the last).
10. Do your mastering process.
11. Reference your track on several sound systems, both on hi-fi and on cheaper speakers (don’t forget headphones and on different volume levels).
12. Repeat step 9-11, but make sure that you do finish. If it looks like you never going to be satisfied with the song, then leave it, and move on and start anew.

About MPC Swing

Quantization is the process of correcting, or shifting, imprecise musical notes and beats to underlying musical representation or grid. To preserve more of natural human timing nuances, percentage of quantization can be applied to in many sequencers or DAWs.

While swing, in short, means a method of transforming straight grooves, by timing of notes, to shuffled patterns. And when it comes to swing, the MPC sampler series has an iconic status for its groovy musical timing. Its influence on electronic and hip hop music cannot be denied.

The MPC’s creator, Roger Linn, has claimed that he stumbled upon note quantizing and swing by accident when developing the Linn LM-1 drum computer: by only permitting 16th notes using 1 byte per 16th note, the sequencer program was correcting played timing errors, hence quantization. And by delaying the playback of alternate 16th notes, and by varying the amount of delay, the swing/shuffle feature was invented.

Linn’s implementation of swing applied to quantized 16th-note beats is merely delaying the second 16th note within each 8th note, or all the even-numbered 16th notes within the beat (2, 4, 6, 8, etc.)

Swing amount is the ratio of time duration between the first and second 16th notes within each 8th note. 50% is means both 16th notes within each 8th note are given equal timing, in other words no swing. 66% sets perfect triplet swing. Most useful swing increments are between 50% and around 75%. 62% will feel looser than at a perfect swing setting of 66%, while 54% will loosen up the feel without it sounding like swing, according to Linn.

About MPC Swing

Quantization is the process of correcting, or shifting, imprecise musical notes and beats to underlying musical representation or grid. To preserve more of natural human timing nuances, percentage of quantization can be applied to in many sequencers or DAWs.

While swing, in short, means a method of transforming straight grooves, by timing of notes, to shuffled patterns. And when it comes to swing, the MPC sampler series has an iconic status for its groovy musical timing. Its influence on electronic and hip hop music cannot be denied.

The MPC’s creator, Roger Linn, has claimed that he stumbled upon note quantizing and swing by accident when developing the Linn LM-1 drum computer: by only permitting 16th notes using 1 byte per 16th note, the sequencer program was correcting played timing errors, hence quantization. And by delaying the playback of alternate 16th notes, and by varying the amount of delay, the swing/shuffle feature was invented.

Linn’s implementation of swing applied to quantized 16th-note beats is merely delaying the second 16th note within each 8th note, or all the even-numbered 16th notes within the beat (2, 4, 6, 8, etc.)

Swing amount is the ratio of time duration between the first and second 16th notes within each 8th note. 50% is means both 16th notes within each 8th note are given equal timing, in other words no swing. 66% sets perfect triplet swing. Most useful swing increments are between 50% and around 75%. 62% will feel looser than at a perfect swing setting of 66%, while 54% will loosen up the feel without it sounding like swing, according to Linn.

Probability in Music

Some riffs and motifs I’ve written are results of controlled randomization. Sometimes I’ve stumbled upon unpredictable yet musical outcomes, that I’ve set up for, but not composed in a more traditional sense. My work then has been more like being an active listener who identify and pick parts to use in a musically structured context.

Set probability conditions when programming sequencers. And combine with randomness, in this way probability introduces increasing amounts of unpredictability to the sequence. The probability parameter determines the chance of being true. For example, how often the randomness will occur.

Some sequencers allow for different aspects of the sequenced notes to be affected, such as playback order, steps on/off, velocity, gate time. Others set probability of the event, pitch, octave, length, rate, note direction and so on.

Anyways, you should really try this, it could also be a way of overcoming writer’s block.

Probability in Music

Some riffs and motifs I’ve written are results of controlled randomization. Sometimes I’ve stumbled upon unpredictable yet musical outcomes, that I’ve set up for, but not composed in a more traditional sense. My work then has been more like being an active listener who identify and pick parts to use in a musically structured context.

Set probability conditions when programming sequencers. And combine with randomness, in this way probability introduces increasing amounts of unpredictability to the sequence. The probability parameter determines the chance of being true. For example, how often the randomness will occur.

Some sequencers allow for different aspects of the sequenced notes to be affected, such as playback order, steps on/off, velocity, gate time. Others set probability of the event, pitch, octave, length, rate, note direction and so on.

Anyways, you should really try this, it could also be a way of overcoming writer’s block.

Sound Monitoring on Different Systems

While I think it’s important to be monitoring music productions on several systems, this time it has become more of a biproduct of premisses in the making of my new recording.

Now my main monitors are the Genelec 8030A which sounds clear but lacks a little bass. And because the home studio is located in the bedroom (not acoustically treated) I also listen on headphones a lot. I use Sennheiser HD 25-1 II which sounds pretty balanced and good, although not too comfortable.

Sometimes I must to shift place (to the dinner table) and work solely in the box (meaning Ableton Live), and sometimes I mix, mala fide, on the classic Koss Porta Pro on ear headphones.

I’m playing the music on a smaller hi-fi home system (NAD C 320BEE amplifier and DALI Concept 2 speakers with 6.5” woofer/midrange) to get more bass, and to add a larger room ambience and noise to the experience.

I also listen to bounces of the mix on Apple’s muffled EarPods, extensively, because I want the music to sound okay there too. And when outdoors I listen on the wireless Bose SportSound (that aren’t noise cancelling).

I’ve also listen on the shitty laptop speakers of my MacBook Pro and on speakers of the iPhone, just do hear which frequencies are coming through hard and how the sub translate on tiny speakers.

And lastly, I try to listen not only focused, but also in the background with people talking, while cooking and such. This is not very scientific, but I sometimes hear annoying frequencies or other things in the music that I normally wouldn’t recognize.

All this monitoring aims to find a mastering sweet spot for music to sound as intend. That means, perhaps not the “best” from a technical point of view, but from at sound, mood and feel perspective. In music, I’m trying to communicate and achieve something that has not necessarily to do with audiophile correctness or fine sound reproduction. Controlled and uncontrolled dirt and noise are most welcome in my music.

Sound Monitoring on Different Systems

While I think it’s important to be monitoring music productions on several systems, this time it has become more of a biproduct of premisses in the making of my new recording.

Now my main monitors are the Genelec 8030A which sounds clear but lacks a little bass. And because the home studio is located in the bedroom (not acoustically treated) I also listen on headphones a lot. I use Sennheiser HD 25-1 II which sounds pretty balanced and good, although not too comfortable.

Sometimes I must shift place (to the dinner table) and work solely in the box (meaning Ableton Live), and sometimes I mix, mala fide, on the classic Koss Porta Pro on ear headphones.

I’m playing the music on a smaller hi-fi home system (NAD C 320BEE amplifier and DALI Concept 2 speakers with 6.5” woofer/midrange) to get more bass, and to add a larger room ambience and noise to the experience.

I also listen to bounces of the mix on Apple’s muffled EarPods, extensively, because I want the music to sound okay there too. And when outdoors I listen on the wireless Bose SportSound (that aren’t noise cancelling).

Moreover, I listen on the shitty laptop speakers of my MacBook Pro and on speakers of the iPhone, just do hear which frequencies are coming through hard and how the sub translate on tiny speakers.

And lastly, I try to listen not only focused, but also in the background with people talking, while cooking and such. This is not very scientific, but I sometimes hear annoying frequencies or other things in the music that I normally wouldn’t recognize.

All this monitoring aims to find a mastering sweet spot for music to sound as intended. That means, perhaps not the “best” from a technical point of view, but from at sound, mood and feel perspective. In music, I’m trying to communicate and achieve something that has not necessarily to do with audiophile correctness or fine sound reproduction. Controlled and uncontrolled dirt and noise are most welcome in my music.

In the Thick of It

I’m in the middle of making a new recording. Right in the thick of it. It has been a journey of doubts. I’ve killed so many darlings.

First it was going to be an EP of six tracks. Now I don’t know. Two tracks were discarded, and another, new one is beginning to take form. Anyway, it has been a new experience for me to make so many tracks at the same time. To jump back and forth between them – almost working on them simultaneously.

I’ve strived for a coherent theme and sound throughout all tracks. I’ve had some kind of concept and worked by rules and variations (although these have been somewhat bent). Scale, tempo and sound design bear a relationship. 

The earliest versions of the track were quite mathematical, whereas repetition was a choice, and method. But it was a bit boring, no fun to listen to. I’ve tried to keep the core approach intact, like probability and randomization, but reworked other details. I’ve abandoned complex beats and polyrhythyms for a more minimal presentation that I think carry the musical ideas clearer.

The EP is electronic, instrumentals. I’ve used my vintage gear and modular system for sound sources. Sequenced it in Ableton Live and audio processing where mostly done using modern plugins, but I’ve also used and old tape recorder to get some saturation and lo-fi feel.

I’m not sure when the EP is done, but I think four out of five tracks are ready.

In the Thick of It

I’m in the middle of making a new recording. Right in the thick of it. It has been a journey of doubts. I’ve killed so many darlings.

First it was going to be an EP of six tracks. Now I don’t know. Two tracks were discarded, and another, new one is beginning to take form. Anyway, it has been a new experience for me to make so many tracks at the same time. To jump back and forth between them – almost working on them simultaneously.

I’ve strived for a coherent theme and sound throughout all tracks. I’ve had some kind of concept and worked by rules and variations (although these have been somewhat bent). Scale, tempo and sound design bear a relationship. 

The earliest versions of the track were quite mathematical, whereas repetition was a choice, and method. But it was a bit boring, no fun to listen to. I’ve tried to keep the core approach intact, like probability and randomization, but reworked other details. I’ve abandoned complex beats and polyrhythyms for a more minimal presentation that I think carry the musical ideas clearer.

The EP is electronic, instrumentals. I’ve used my vintage gear and modular system for sound sources. Sequenced it in Ableton Live and audio processing where mostly done using modern plugins, but I’ve also used and old tape recorder to get some saturation and lo-fi feel.

I’m not sure when the EP is done, but I think four out of five tracks are ready.