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Two birds one stone. Separating ideas.

April 15, 2017/in Production, Song Finalizing and Arrangements, Tips/by pheek

I’m really excited to share a killer new exercise with you that I know will help you become really creative and productive. I’m using this exercise in my own productions and it’s a little like the Bonsai Method I wrote about in my last post. The key focus of this exercise is to duplicate your output in different ways with big benefits. Let’s call it Two birds one stone, and trust me, the takeaway from this exercise is huge.

This technique will improve your productivity in the studio, aid you in finishing more music, train your ears to produce better music, and creating tracks DJ’s will find easier to play and mix.

When people ask me to listen to their tracks and provide feedback, most of the time I feel there is enough material in one track to make two entirely different songs.Why do I feel this way? DJ’s often prefer to mix tracks that are often stripped back, and have less sounds going on. They do so in order to blend one track with a complimentary one to make something new, and create an original mix. For your tracks to please the DJ consider producing songs that are less busy, and have less sounds going on. Doing this will give the sounds you do have more room to breathe, flex, and develop dynamically. These tracks that follow this production style allow the DJ to creatively mix and eq their tracks in very creative ways.

The objective in this exercise is to take whatever song you have and find a way to separate the elements in order to make 2 different songs out of the original idea.

When producing music, think of your track as a tool, and less of a song to be played on it’s own from start to finish. To some degree, let it be incomplete, and be created as part of an equation that will sum up to something out of your control. As a creator of music, it might be difficult to conceive but I believe that letting tracks be something someone else can mould and play with will attract the right person who can do the most with that track.
Related: How to create tracky music blog post.

Another interesting element in spreading your ideas across two tracks is that in doing so you’ll create a sister, or b-side for the initial track (hence the two birds one stone reference). When you are playing these tracks live you’ll know and hear they’re meant to work together well, hand in hand.

Now let’s get to business and see how to do so.

Select a track that you want to use for this exercise. It could be a track that you feel a little lost on, or some long forgotten project that was never finished.
Session view in Ableton

Bring all your sounds to the session view. (This will make it easier to see what’s going on).
Mute all percussions that are not related to the main idea of the song. Although, sometimes a conga or snare could be part of the hook, if so try to mute it and see how much of the main idea is affected.
Organize your sounds in 2 groups. There’s no good or bad way to select the sounds, but by splitting the group you’ll see some sounds are complementary to the other. Sometimes, certain sounds are calling, and some are answering to the other, and for those, you want to separate in two different groups.
Activate the crossfader option so you can see/hear the A/B.
Make sure the “x” is in yellow to activate the crossfader
Assign your sounds to either A or B on the crossfader. Don’t assign any of the percussions on the crossfader.
Do a “Save as…” to create a sibling to this project.

After you’ve gone through the previous steps you should be able to play with the crossfader and hear how well the sounds blend together. Hearing things in the middle of the crossfader will give you an idea of what a DJ will hear if he/she merges both ideas.

Let’s go back to your new project. Since you already have the percussion from the original track, you can use the sprouting technique to create complementary beats. Once you have main idea, you may then mute or delete the original percussions and you’ll have your second track’s main idea.
In both cases you’ll need to play with compression and perhaps add a bit more material to get your track moving along. But now, the great thing is, you have created two totally new tracks from one that might have been sleeping in your HD. It’s a killer two track combo ready to go. Win-win.

I hope this post will get you into the habit of creating tracks that avoid the busyness that often robs a track from reaching it’s fullest potential. It’s natural to come to a point where your track has too many ideas going on and will begin to lack direction, which is the perfect time to use this technique.

The two birds one stone technique will improve your productivity in the studio, aid you in finishing more music, train your ears to produce better music, and creating tracks DJ’s will find easier to play and mix.

As always let me know if you have any suggestions or questions about this post and leave a comment below and tell me what projects you’ve been working on.

SEE ALSO : Pheek Talk 3: Productivity Tips

Bonsai Method

April 10, 2017/in Blog slider, Production/by pheek

Are you having a hard time writing music? Are you confused what DAW to begin using, what plugins to download, what samples to get started with? Never before have producers had so many questions to answer, and to be honest, if you are struggling to make music with such a wealth of options and tools at your fingertips you might be simply overwhelmed by all the options.
This frustration also carries over into production itself. So many possibilities can be done from what you have that even making music can be frustrating. Given that, it’s no surprise that many producers fall into making music that sounds very similar to others because the process of making music is easier to do what other producers have already done. What gear others use, what techniques people use, (we can thank Youtube for exposing all the secrets) and all too often we try to replicate one’s success instead of focusing on the act of our own personal creation.

With so many tools anything is possible.

It’s predictable that faced with so many options you’ll struggle to pick one, and later worry that your choice may not have been the right one, you waste time endlessly worrying about other directions your song could have taken. Not productive right?
I once read an article that explained how negotiators work in difficult situations, where multiple options are available to them.

They will try to sum all all it up to 2 final choices.

That advice really stayed with me whenever I work on a project and will clear out my options until I can chose simply between A and B.

Throughout my posts I have been providing ideas and answering questions to help make your time more productive, and now I’d like to do propose an exercise I know has helped me greatly, I call it the Bonsai Method.

In a past post, I talked about the Rule of 10, where working on multiple projects at once might be one of the most productive way to approach creation. While feeling slow, it later fuels down to a huge batch finished almost all at once. The Bonsai Method was used for latest album where I ended up making 25 songs over 6 months, and in a matter of a few days, that all the tracks took their final form.

<a href=”http://pheek.bandcamp.com/album/intra”>Intra by Pheek</a>

What is the Bonsai Method?

It’s inspired by how the Japanese make bonsais trees. Growing something with great attention under strict limitations. This evolves through 3 phases:

• Sprouting. Generating a new idea for a song is one of the most difficult parts of making music. Once you have your idea, you set off in one direction. Finding that idea can be the hardest part mostly because at the moment of making it, you may become so absorbed in it that you become biased if it’s cheezy or genius material. You’ll know with distance or you’ll grow the idea in something that would be more suitable.
• Taming/pruning. This part is when you have material on hand and that you want to give it a direction.
• Growth to final product. This would include the final arrangements before mixing. This method of creation is based on finding ideas uniquely.

In the past, I suggested ideas for new ways to create content. What makes a song memorable on my opinion is the power of one strong idea that is showcased and developed over time. Your song will suffer if you use a lot of individual sounds because nothing may stand out on it’s own, and your track will sound too busy, and lack a clear focus. The minimalist way of making music (or cooking) is to take one idea and really put it forward by using an effect with the mix down in mind, to make it shine.

Sprouting is about finding that gem. My biggest take on finding new ideas is complicated to explain, and there are so many ways to come up with ideas on your own. One quick way to sprout new ideas is quite simple.
1. Take a track you like.
2. Loop it’s last 1/3 (outro).
3. Throw ideas on top of what could be the best complementary track to mix over it. This could mean you can add a chord hit, some percussion, a simple bassline, etc.

Basically, you’re building the intro of your track that would be mixed by a DJ, over the track you selected. Once you listen to both of them and notice that have something there, mute the reference track and listen to what you have put together.
It’s possible that this process may seem underwhelmingly simple or plain weird, by itself. We’ll work on that on the second phase but remember that this is the beginning of something which will grow into a future track. Patience my friend.

Taming and pruning. This one, just like described in the post Rule of 10, is about coming back to what you have created over several days, and work on it little by little. You’ll need to focus on the content, the idea, not necessarily over the percussions, mixing, kick, etc. All those will come by themselves once you nail down what this track is about.

Don’t discard anything, keep everything.
Resample and record the little takes you do. Instead of putting blocks in the arranger, play a melody in a loop and record yourself tweaking it.
All these new takes are the pruning of the original idea.

Things you can do to alter and modify your sound:

Change the pitch.
Stretch it, warp it.
Change the groove. Change the sequence, rhythmic feel of it.
Add effects: compression, EQ, saturation, filter, are the main ones to look for.

Growth to the final arrangement.
In a past article I’ve explained how to turn a loop into a song but for this method I’d like to take a special approach that might surprise you. It’s based on one simple rule – once your have your idea down: you may only make 1 correction per time you open the project.
This is important, you’ll come back on multiple occasions and adjust little details in your last touches. Just like the Bonsai Method, you have to come back, adjust one little detail, save, and close the project.
You’ll spend only a few minutes on your song at one time to keep your impression of the track as if you listened to it for the first time.
You’ll be more efficient if you come to your project with the idea that you can only make one single change and then save it until next time.
As you probably know, the main goal here is to make the first 1/3 of your track and then, the rest will be pretty much-duplicated ideas and add-ons.

As always I want to hear your feedback on anything mentioned in this post. Feel free to share this post or leave a comment below and tell me how the Bonsai Method is working for you.

JP –

Making and breaking genres in your music

March 16, 2017/in Blog slider, Production/by pheek

Friends and clients of mine who listen to a wide variety of music (often very different genres) have mentioned feeling a real struggle to come up with ideas once starting a new project in their DAW. After putting together a decent beat and melody or two – many of my colleagues found no clear direction in their song, and struggled to make any progress with that project from there.

This reminded me of a something I saw online recently that very well summed this up.

If you don’t understand french, what the illustration is saying is, “this is what the music industry, as well as music genres are doing to music.” I truly believe this statement, and I’ll explain why now.

Let’s rewind and look at jazz music. If you don’t listen to jazz you might simply think jazz is jazz, but actually there are many different forms of jazz- big band, ragtime, be-bop, free jazz, hard bop, fusion, etc.. Such labels were created by media to label and categorize music, making it easier for people to find and buy music within a certain genre. Think about the evolution of rock – hard rock, light rock, punk rock, alternative rock, the list goes on.

For electronic music, I guess we can say that some of the very first, most popular genres to emerge were originally Hip Hop (some of the early 80’s hip hop was very electronic focused), House and Techno. The reason why it keeps going under various umbrellas comes from the needs of the industry’s standards.

Our ears get excited when we hear something we know doesn’t fit the mould.

A musical term you’ve likely heard before is mashup, which refers to a song made up of other songs from completely different genres, (which is is a little like a remix). You may hear a melody being played by a distorted AC/DC guitar riff mixed with vocals from a country-western song, and a bumping disco drum beat keeping the groove. Great mashups are known to use music that would never otherwise work together, which is the reason why mashups often lead to really exciting and interesting music.

Take a minute and check out mashup artist Girl Talk creating a mashup in 2 minutes here ) and Girl Talk again, performing live mashups at Coachella here :

It’s common to think “if it worked well for x, who does x genre, I might as well do like him to imitate his/her success” syndrome has also been one of the main reasons why so much music is produced and formatted in a specific way.

This is how certain genres follow a very specific sound, using strict arrangements with very predictable techniques. There is good and bad to this, but if you listen to the top 10 of any genre, you’ll quickly understand what musical elements represent that genre.

• Genres help you reach a market, certain labels, clubs and be part of a community.
• If you are innovative, you can always input refreshing new ideas to a genre. Done right, you can get a lot of attention. People are always searching for new ideas, but you need to understand the rules of a genre, first.

So how does this apply to you, once in music mode and struggling with genres?

You can make multiple genres out of one melody. What is stopping you from making different versions? There’s no rules here. If you have a melody you love, you can make 10 different takes out of it and decide later which one you prefer. Slower, fast, trance version, dub version, beatless, really, there’s no reason for you not to explore.
• You can define yourself challenges of embracing fully one genre on specific projects. A good way to approach the genre problem is to start by a genre you are 100% comfortable with and then keep your production in that genre fully. Then, as I suggested earlier why not take your melodies and write it for in a second genre? Personally, I have some ways I do it. For instance, I never make beats-oriented songs in the evening and rarely I do ambient in the morning. It’s sort of a personal rule and you can invent your own that work for you.
Incorporating hybrid styles can be the road to new growth. New genres are often born by someone coming from a specific scene and trying to apply ideas from another. I’ve heard really different variants for dubstep for instance or house (tech house, dub house, minimal house, break house, chill house). If you’re torn between genres, combine the elements from several genres and listen to what happens.
Use sample loops to get ideas. One major asset of using pre-made loops is to have a quick glance of the different directions your track could go and explore quickly from there. A tool like Splice lets you access royalty free loops from breaks to jungle, minimal, ambient, techno with a killer integration for Ableton. It’s then really easy to combine some minimal techno grooves with reggae sounds and get a feel for what’s working fast.
Focus on one artist or label. If you have a goal to be signed to a specific label or get attention from an artist you like, it’s good to have productions and reference tracks that will get his/her attention. Sometimes that means your music must follow a very specific sound, think pure techno – there isn’t much room for trombones there. That said, sometimes your roots will guide you to where you should be going. That’s wh y when I’m a bit lost, I go spend some time listening to influential music to bring me back to my flow.

You will create more original sounds by combining wider musical influences, and in doing so your music will not only sound unique within a specific genre, but it will also more closely represent your authentic voice as an artist. Win-win.

What sounds are you really excited about right now? Be sure to leave a comment below with your own ideas about mixing influences and styles, and as always I want to hear what you’ve been producing lately and music you’re sharing with the world.

JP.

Lego Blocks as Song Structures

March 7, 2017/in Blog slider, Production, Song Finalizing and Arrangements/by pheek

Have your productions become a bit predictable lately? To stand out as an artist/producer you have to create music that is unique. So much of electronic is structured around a repeating 4/4 pattern, which means it’s really important to create surprising sounds and unique arrangements that keep your track interesting. How do we do that?

I’m going to share a simple way to create a real and true sense of spontaneity into your music making that you might not have considered before. *this is a pro-tip you can use right away to bring a little magic into your tunes.

Before I get into that I want to share the backstory. Recently my son and I were building structures with legos and I noticed the colours and patterns we made together looked exactly like a track in Ableton’s arranger view. When I worked on my album Intra, I had created a few rules and challenges during the recording process and one of them was to work visually with the blocks (or clips). Initially each song would be recorded live but afterwards I would chop the blocks into smaller blocks and start sculpting the others around each one depending on the rule I had set out for that song.

The result of this meant that my Ableton arrangement soon needed to also be visually appealing and organized. This brought some results:

Unexpected results. If you work with a visual based reference for assembling your blocks, you might discover new ways of making your sounds evolve in a visual chaos that is also a form of organization.
Cleaner transition. Putting your blocks together can help making your transitions smoother as you can really put attention to a sequence of sounds, and the grid. I know you’re probably already using the grid, but perhaps you have never paid attention to how your transitions happen. If you pay more attention to your block order, you might observe patterns that are more efficient.
Logical progression. Using coloured blocks is really helpful to organzine big projects. People use it to identify where the verse, chorus, buildups are, and you can use that same approach.

At this point, you may be wondering if this technique will really make a big difference in your productions. I can say with confidence that creating rules to apply to your arrangements can have huge benefits. Try it on your next production.

Song structures like Lego blocks. A simple technique like this can open the door to something great and surprising when you’re tired of the mechanical feeling in your tracks.

Here’s a few tips on how you can approach your arrangements with this new perspective.

Define yourself some rules. This is really for inducing fun and making your own music interesting. Think about using rules such as, “every 4 blocks, make a change” or “never leave a hole with a smaller block in the upper channel.” There’s no good or wrong way to do this but the more you give yourself a solid set of rules, the better and faster the workflow.
Avoid clean blocks organization. When I work with students, I often see their final arrangements to be looking very simple, very clean and to me, this automatically make their music highly predictable, mechanical, soul-less and out-of-the-box feeling.

I find that electronic music is already heavily subject to a machine feel and I value doing anything that can go against that. I find breaking your blocks and messing up the arrangements is an absolute must.

TIP: Try to chop off your blocks where all the others start or end, create little offsets, and create holes in the blocks from time to time. This mutes and removes sounds so that when they are back the sound will feel welcomed and unexpected. Sometimes to appreciate a sound better you need to remove it for a while.

3. Work from bottom to top

Arrange your lower sounds from the bottom up and higher one’s up in the order. Visually it will often create a pyramid-like structure that is interesting to move around and modify.

4. Use patterns as a mosaic.

One thing I like a lot is to create a sequence of blocks and then repeat it. I will revise variations later on based on mathematical formula or ratio aspect. I try to see where this block will fall if I repeat it 4 times, in parallel to this sequence repeated 5 times. Sometimes this helps create a moment I would have never thought of, at around 2/3 of the track.

5. Give your clips room to breathe. When consolidating your clips (Use cmd+j) leave empty space before or after in the clip. The lack of sound in your clips allow space for other sounds to be heard, which you likely already do, however launching clips with silence built in will help make your arrangement more unpredictable and interesting.

Use cmd+j to consolidate them and make sure to leave space too as this can be useful.

The takeaway – Once you begin to apply structural shifts and apply rules to your productions your music will definitely begin to sound more interesting. Arranging your tracks by rules will force you to make adjustments you likely wouldn’t have made yourself. Another huge benefit you’ll find in working this way is speed – using pre-defined rules will take away much of the time consuming guess work in creating key differences in your productions, which makes it faster to finish your tracks, and have more people hear your music. Win-win.

As always feel free to leave a comment with me below if you like the ideas in this post. I want to hear what music you’ve been working on using any of the techniques I’ve shared with you here, and look forward to hearing those soon!

JP.

SEE ALSO : Finishing Your Projects

Beats and Melodies

February 27, 2017/in Production, Sound Design, Tips/by pheek

One aspect of using the Non-Linear Music Production technique that I want to share with you involves two simple, and easy to follow tips with big benefits – we’re going to focus on just beats or melodies – this going to upgrade your productivity in the studio and it’s extremely effective in reducing writer’s block.

Statistics show that in February the number of people known to be stuck facing writer’s block is often on the rise. We can blame long cold winters for being partly to blame, yet there’s also a few things that can lead to this, such as:

Fatigue. A lack of warm sunlight and an increase of time spent indoors.
Overworking. If you’ve fallen into a routine of day job, followed by study, then music production at the end of a long day, or as the last part of a long day, you might fall in the trap of overdoing it, and becoming unproductive.
Lack of distance. Writer’s block is often a sign of creative burn out and is a clear sign you need distance from what you’re working on. If you’ve over exposed yourself to the same kind of creative work, you might need to dip into something new to get refreshed, which is what this blog post is all about.

To make your best beats and melodies, give yourself the freedom to produce in a deconstructed way. Break the mould.

Part of the problem of falling into a slump comes in believing that to make music, you need to begin writing your song in a linear way, which is starting from the very beginning, working up to the middle, and following through until the end of the track. Perhaps, before approaching your next track with that mindset, consider embracing a different way to think about your time in the studio.

Setting yourself little goals are simple and bring back the fun in making music.

One of the ways to get your track really grooving early is to work on one element of your track only. Get started making just the beat, or melody. The task of concentrating on just one element of your production will take off a big part of the pressure in trying to finish something bigger. Another benefit to working and focusing on one element at a time is that doing so lends itself to experimentation, play, and an appreciation to those sounds on their own. You can even roll back one step before approaching this and practice on sound design alone if you feel like making beats or melodies isn’t working for you right now.

Do you often sit in front of your computer and imagine yourself putting that loop into it’s final song-form, and think abo ut everything you need to do to get there? This can often be discouraging, and prevent you from making great music.There’s some debate on what should be done first when starting a production. Some artists admit they can’t do a beat if they don’t have a melody or vice versa. My personal view on that is quite simple, if you can only make music in a certain method, it’s time for you to break that to avoid falling into dependencies, which can hurt your music making progress.

To make your next session super productive let’s do a bit of preparation – there’s so much you can outsource from these next few steps.

Make a folder with today’s date.
You’ll be saving your project in there as well as anything related.
Get yourself a timer. I highly suggest that you limit your time on only ONE task. Focusing on only ONE element of your track will speed up your productivity, and make sure your aren’t spending time on less important details.

Making beats. With the premise that we’re using Ableton here, there’s no good or bad way to make beats. But I invite you to explore a mixture of midi use vs simple audio assembling in the arranger.

Let’s see a few important points you can apply to make these beats:

Sample selection. At this moment having the perfect sample is not important. I’ve seen students of mine loosing tremendous time looking for a kick while it’s actually the last thing you should be deciding. Tip: Use a simple 808 kick to start with, and swap it later.Step sequencing: Change the grid going from 1/4 for the main beats to fiddle to details with a 1/32. Tip:
Lenght: Duplicate and double up your 1 bar loop to 4, then start removing, adding so that each bar is unique. This takes away the boredom of repetition.
Groove: Explore grooves as you go. Try something new as importing the groove from a track you like and apply it to one sample of your beat.

Making melodies. This one might be tricky especially if, like me, you have no musical background whatsoever. It could help that you read the basics about music and know at least what are chords, harmonies and scales for instance. This is useful because Ableton will give you tools that can take away your lack of knowledge to turn it into something that makes, avoiding possible awkwardness. My take on melodies is, there’s no rules here and if you can get a midi keyboard, just start tapping randomly to hear notes of the synth you picked, then see if there’s a possible, semi-logical order you can organize that randomness into.

Synth selection: This exercise will make sense the more you do it. If you’ve never done this before, I strongly encourage you to try every single synth presets you can have on the ones you have. A preset is a starting point, it’s not the end result so play a few notes that start noodling around the knobs to shape whatever bothers you into something else. Don’t aim at something, improvise with what you have.
Melody: One simple tip that has been proven extremely useful is to record every single moment of my session. So, in one channel, make sure to have a resampling to record all the madness, ugliness, mistakes and glory but also, try to record your moves with midi recording. The recording of the sounds is more important than trying to make a solid hook out of a few notes.
Ableton’s melody extraction: Very useful on beatless music. Try it with some ambient and see what you get. From classical music as well, it can be surprisingly inspiring.
Pitch down a melody to make a bass. Always surprisingly full of new sounds.

How to use all your new sounds?

Later on, after a few weeks, you’ll end up with folders, filled with ideas. Some will be beats, some melodies. Make sure that whenever you finish a session, you export what you had in one or multiple files. You can bounce an idea you love or you can export the entire session.

Where it gets really fun is to open a blank Ableton project and import all the renders, making a channel for beats, the other for melodies. Then you can find unusual match between one and another. Make sure everything is rightfully labeled so you can reopen certain projects to go tweak a sound if needed.

How to write melodies and beats in Ableton Live tutorial.

Creating beats and melodies tutorial with Ableton Live.

Next time you turn on your DAW try working on only a beat or a melody, experiment with your patterns and notes, and take the time to closely listen to the sounds you’re creating. Save. Render. Import. Jam.

If you’re looking for ways to produce a ton of fresh sounds and grooves in a way that is fun and efficient, try working on just one element of your track (beats or melodies). And, if you find starting your tracks from writing in the same formula, try using a non-linear technique to get your tracks moving along faster.

The takeaway is this – these two techniques will upgrade your productivity in the studio, help you make more music, and are really effective in reducing writer’s block.

I want to hear what exciting sounds you’ve come up with focusing on just beats or melodies. Keep up to date and share your progress with me online.

JP.

How to Create a Deep Kick

January 29, 2017/in Blog, Production, Tips/by pheek

One of the most important parts of electronic music today is the quality of kicks. Back when I started making techno in the 90s, kicks had greater or lesser importance. You could use a drum machine like a 909, select a kick, and that was pretty much it.

Things have drastically changed.

The rise of the Funktion One and the emergence of better sound systems in clubs led producers to create kicks that were better defined. Club-goers began to show more interest in the well-crafted kicks, and producers have responded by putting a whole lot more work into the design of their low end.

Music fans know a great kick by the nice body sensation that gets you up and moving on the dance floor. But to better understand what goes into making a beautiful kick, you’ll need a bit of a sense of how sound is used in clubs.

Voices. By voices, we’re referring to how the sound is defined. The typical club will have a sub and a top. Since some tops have 2 voices, the average sound system would feature 3 voices at most. But while most of the kick is heard in the low end (ie, the sub), it actually comes through all voices. One thing new producers sometimes won’t realize is that hearing the kick is more about increasing the presence of the mids than about boosting the low ends.

Crossovers. This technical term refers to the frequency setting used to divide two voices. For example, the sub usually covers a frequency range going from 20hZ to roughly 80-100hZ. The mids will fall between that first crossover and the next one, which will define the frequency range covered by the highs.

Why it matters. Because knowing how sound is used in clubs will allow you to produce music that sounds the best it possibly can. And the more your music stands out for its technical quality, the closer you’ll be to standing alongside the top producers who have mastered their sound.

DJ mixers. If you look at DJ mixers like the Xone series by Allen & Heath, you’ll note they support 4 voices, with separate knobs for the lows, low-mids, high-mids, and highs. These mixers are a good way to get a better sense of how DJs will control your sound when playing it live.

What is a deep kick?

In more underground and non-commercial strains of techno music, deeper kicks are central to crafting that deeper, warm sound. Physically, you feel deep kicks heavier in the lower part of the body, hitting you below the hips for extra warmth.

There are different kinds of kicks:

The full kick: This one covers the frequencies ranging from super-low all the way up into the high-mids. It is very punchy, well-defined, and direct.

The mid-kick: Popular in lo-fi music, the mid-kick, as the name suggests, occupies more of the mids. The lower end of the song might be covered by a bass, or might not be as present in the genre. This one punches you right in the chest. It’s punchy, but lacks thump.

The low-kick: This one places the accent on the sub part of the kick. This means the bass won’t be struggling there, since it will move up to the lowest end of the mids. This one has less punch, and creates a warmer effect by landing below the hips.

One thing about kicks that often gets overlooked: you’ll benefit a lot by finalizing your kick as the last part of your mixdown. Why? Because until the track is completely finished, you can’t exactly know your track’s needs. This is a detail, but an important one. Try it, and you’ll see that adding the kick last can produce incredible results.

Once you determine your track’s needs, you can use these tricks to make your own kicks. I’ve also created a macro that should make things a lot easier, but first, here are some important tips:

Synthesize the sub. Use Operator or your favourite VST synth to create the low end. Using a sine wave can be a really effective way to create that warmth.

Layer another kick for the mids. Use a sample of a kick you like for the mids. This means you need to cut its lowest end to avoid conflict with the sub. The simpler the lows, the better the results.

Saturation. This is not really a trick, so much as something to use freely and without hesitation. Saturation will add warmth and oumph.

EQ. A good method here is to slightly cut down the 160-to-200hZ range. This little hole you’ll create will allow the crossovers to breathe, and will open more room for the lows. You can lightly boost it around 1khZ to help define the transient and attack.

Compression. Use at the end of your chain to glue everything together.

Here is the macro I created to help get you started. Having playing with it. Download it here: [download id=”30199″]

Let me know what you think of it!

How to Turn a Loop into a Full Song

January 20, 2017/in Production, Song Finalizing and Arrangements, Tips/by pheek

By far one of the biggest topics I’ve covered in my coaching in the last year has been how to turn loops into full songs. A lot of producers get a thrill out of making a loop. But they often get stuck there, as if a psychological block of some kind were stopping them from going further. That’s why I wanted to write about a method I’ve been using that can help you get past this hurdle and move from loop to finished track.

Let’s say you have a loop you really like. I believe a good loop alone, if well arranged, can be enough to carry you through a 5-6 minute track. In theory that loop will contain an idea, either in its sounds or in its melody. There are no rules about whether the idea should come before or after the loop, so you could want to make a loopy track just for the fun of it.

Once you have your loop, drag it into the arranger part.

Now there are 2 options. I always recommend that you first import a reference track into your session. This is not about copycatting, but about giving a direction to your track. It’s useful for both the mixing and the arrangements.

Now you need to develop a rough idea of how long your track will be.

You can use your reference track to decide the length of your track.
You can choose an end point but change it later.

Drop a marker at the end of your track. Zoom out, and you’ll see the whole project.

Now, let’s turn that loop into a block. It’s up to you whether you want the loop to start your track or not, but for the purposes of this tutorial, we’ll say it comes in later. A block is a version of your loop, but on a 4 x 4 structure. If your loop were short, like a 1-bar loop mostly, then we’d make this 4 bars.

Note that melodies loop over longer periods due to their complexity. That is normal.

So, one block equals 4 bars.

If the block repeats 4 times, you have a section.

The most important thing to keep in mind is to be consistent in how you organize your sounds. For instance, if a clap happens at the same precise moment every 2 bars, then keep it that way throughout the entire track.

What makes a track hypnotic is the steady time reference in the listener’s mind, mixed in with fun and unexpected sounds.

When building your block, always start by what is constant, and then build around it. For example, the the lows (kick, bass, toms) are the foundation of your track. That is what remains the most constant the whole way through.

Use variations, and replicate that loop over four bars.

Bring that main idea into the middle of your track. This is the heart of your song, and you could duplicate it to double its length.

Now that you have the heart of your track, it’s time to deconstruct the song from the beginning to there.

You might get ideas from the reference track about where to put key elements. This also a nice way to know if your track is DJ-friendly.

I could delve into more detail about how to build your track, but this simple tutorial is all you need to unblock you and get you using all those loops sitting idle in your hard drive.

Just keep in mind that until you finish the structure of your track, you shouldn’t bother with the mixdown. That will come later once everything else is mostly settled.

Reverb Tips to Boost Your Creativity

December 13, 2016/in Mixing, Production, Sound Design, Tips/by pheek

This isn’t just another article explaining what reverb is and what it does. If you dig a bit, you’ll find all the technical facts and information you need out there already. So instead, I’ll focus here on the little tips and tricks I use daily that you can try right away. And I’ll invite you to reflect on what reverb can do for you and your music.

Why?

Because reverb’s primary role is to add depth to a song.

I’m talking in the technical sense, but also in the way its 3D-like effect can give your song a soul. No kiddin’. Have you ever watched a movie where one of the characters is lost in thought or reliving a moment? Very often, the voice will be drowned in reverb to evoke an internal feeling, something deep and subconscious.

There could be a correlation between the reverb effect and the womb, perhaps, where it emulates the way a fetus hears the world, as if under water. Whatever the reason, the sound of reverb in our culture pretty much always conveys something hidden or profound, and using it in your music can change things dramatically.

Pros. Adds mysticism, warmth, and smoothness to percussion and melodies. Reverb can round out transients and stretch the release of sounds, which can also add dimension and that wet feeling you hear sometimes in songs.

Cons. Some people prefer a dry aesthetic in their music, which can also work very well. If the music is played in a warehouse or other large venue, adding reverb could make it sound more imprecise or confusing, perhaps removing a certain punch. This is why reverb should be used with care if you’re interested in producing dance-friendly music.

There are different types of reverbs, and each one has different uses. Here are some explorative avenues for you to try. They’re suggestions to get you started, but you could end up taking them in a completely different direction. I always encourage people to test out a few things, and most especially, to try whatever is contraindicated or not advised. This is the best way to figure out for yourself why it’s not recommended, but you might also find that you can pull something out of it.

My favourite tips are:

Convolution exploration. Convolution plugins extract the reverb from a song so you can apply the resulting image to other sounds. In theory, a good image is a white noise spread in a room, so that its impulse can be analyzed. You don’t have to respect this though. You can basically drop any short or long sample to see how the plugin will analyze its impulse. You can extract a sound from an old pop song, movies, your iPhone, or anything else you can think of. You can even drop a pad with no reverb and see what it does. Sometimes it gives you weird results. Same if you use a percussive loop, since it has a rhythmic impulse.
Panning reverb. Using multiple send channels or busses, you can combine multiple reverbs to create your own personal desired space. Pan one to the right and another to the left. Adjust the pre-delay and decay, and maybe change one to a hall and the other to a plate. See what happens.
Reverb EQing. Abbey Road made this popular with their trademark sound, which added an EQ before a reverb. Generations later, reverb plugins now often come with their own integrated EQ. One tip to increase precision is to cut off anything coming in the reverb for percussion and pads as it tames any edgy or problematic frequencies.
Adding subtle automation. A reverb that constantly moves will feel alive. You can use automation on the decay and pre-delay. These two usually add a lot of space. They will give the weird impression of being in a room that’s shrinking or expanding, as if you’re moving around it with the walls getting closer and further away. Used well, it can be very psychedelic.
Multiband reverb. If you know how to split your signal’s in-frequency ranges, you could use a deeper reverb for your mids and a longer one for the highs. That can also be done with send channels, again where one filters out highs and the other filters out mids. This one is particularly effective with percussions, and it can add a really nice shimmering effect to them.
Resampling reverbs for convolution. Send a clap in your reverb experiment and resample it. That sample can then be dropped in the convolution. This will usually reshape the sound, giving you more freedom than managing multiple reverb plugins at once (unless you have a good controller).
Gates and envelopes. These are a lot of fun on a reverb, as they can create weird reactions. Imagine a strong impulse that drops abruptly, or one that shapes in a off-rhythmic. They can add a nice texture to pads.
Infinite reverbs. There are a few reverbs that have this feature. If so, you can send any sound you like through them and it can become a pad or smooth synth. If you resample it yourself, it can be dropped into a sampler where you can play notes from it.
Reverb + Chorus = killer combo. Just try it, no questions.

As a gift, I made these two convolution images for you to use in your music. Should work very well in dub techno as well.

I hope this helps. Please share any ideas or tips you come up with!

Experimental music

November 17, 2016/in Production/by pheek

It was suggested to me to write about experimental music. The topic is extremely broad, and even when limited to electronic music production it could make for the subject of an entire blog all by itself. After a long while spent thinking about how best to approach it, I realized that for many producers, it is something that is largely misunderstood. Let’s try to clarify what we mean by experimental music, so you can see how useful it could be for your creative development.

First off, defining experimental music can be difficult, and it’s often a matter of perspective. What’s experimental for one person might seem fairly conventional for others. No surprises here. One way to understand it is “music made with the intention of centering its content around an experience (instead of trying to replicate an existing model or genre).” An experimental approach is one that chases a bunch of “what ifs…”, and that takes you out of your comfort zones to break free of your usual routine of sound making.

I saw a nice video with Deadmau5, who I’m not a fan of personally, though I respect him very much for what he has done. In it, he was explaining how his life is all about trying things just to see what will happen. A lot of producers seem to want results quickly, and will try to emulate recipes, use presets, or buy samples to get to where they want. The problem is that this lack of experimentation will only slow their artistic development and pursuit of a personal sound signature.

So is experimental music nothing but pure noise and nonsensical buzzes and beeps? Not necessarily. There doesn’t have to be a lack of structure unless you decide that the structure is what you’re experimenting with. Other areas you can experiment with include:

Sound design.
Mixing technique exploration.
Arrangement reorganization.
Unusual routing.
Unusual effect uses.

The most rewarding part about experimental music is how you’ll end up somewhere you never thought you would go. Along the way, you’ll learn something new and provide the listener with a fresh experience. Trying to sound like nothing else can become one of the key motivations, but the intention itself is what matters most.

One of the main reasons experimental music has received a lot of recognition in the last decade is that it’s become an ever-growing nest for new ideas. Some of the now normal tricks found in commercial music initially sprouted from experimental grounds. At some point we completely forgot where it came from. Even electronic music itself grew out of a long journey of trials and errors that lasted nearly 50 years. I mean, back in the 80s, the hypnotic techno we’re so used to today was considered very weird…

So with all that being said, let’s talk about some pointers for how to start your very own experiments.

Create a new project with the sole intention of it being an experiment. I might have just heard you say “duh!”, but having a firm intention before setting to work really focuses your mind on a specific task. Why bother stressing this? Because one of the most crucial parts of making experimental music is learning to let go of any expectations you had beforehand. It’s one of those activities where the journey is more important than the destination. This is a tough one for music producers, because the usual goal is to arrive at the most polished song possible. Let’s try to change our mentality for this exercise.
Decide your area of experimentation. Consult the list above or come up with your own personal focus. I find that listening to music that you don’t really understand is a good source of inspiration. You can test the concept by replicating one sound in that song.
Record the tweaks as you work. This is something guys like Ricardo Villalobos do. He’ll record 2 hours of himself tweaking the sounds. It will become pure chaos at some point, but he’ll edit out the parts he likes the most. The great thing about Ableton Live is that it will also record your knob and fader movements, which can then be edited.
Give yourself a deadline. A good way to leave material in its raw form is to impose a deadline on yourself, and then just bounce the track and declare it done, with all its strengths and flaws. Accepting a track with its imperfections is a great way to move beyond what you initially thought of as a good result. If mistakes can inspire you for the following track, it can actually influence your listeners too!

Once you have a bunch of these experiences, they’re also really cool to recycle into other tracks if you haven’t released them or use the experiment to develop new sounds in new projects.

And please share your tracks with me. I always love seeing what readers come up with!

SEE ALSO : Creating Beauty Out of Ugly Sounds

The Science Behind Tracky Music

October 21, 2016/in Blog, Production, Tips/by pheek

I will always remember that day in 1989 when I went to the local record shop after school to see if they had received some rare techno records that had just been released. There were about 5 of us in town who were eager to get our hands on them, and it was a race to who would grab them first. This might sound surreal to you if you’re younger, but those were the days when each record you bought was precious. You’d often even buy the ones you were unsure of in case you liked it later… or because you didn’t want other DJs to have it. Funny, eh? We were at the opposite edge from our current times with music accessibility.

So that day, I was listening to records in the “Techno – Fresh Arrivals” section of the shop. There were these 3 odd-looking ones (I still have them) with no information on them but colours. The green one had the same loop playing all the way through, from beginning to end. There were basically no variations, from what I could tell. “This is really weird!” I thought. I didn’t get the purpose of it. Then I listened to the second record — same concept, different colour. Last record, same thing. Puzzled, something inside of me pushed me to buy them. There was something about those records I just couldn’t pass up.

That was the first time I bought tracky records. 1989

I got to a friend’s place and we started to mix them, and suddenly it all started to make sense. The music was always changing, but very subtly. The records were mind-boggling, and I fell in love with them. We discovered we didn’t need songs — we had the tools to build our own stories. It was exhilarating.

Tracky music was a revelation. It taught us that no music is boring if correctly used, and that techno is not necessarily made to be listened to as is, but used as raw material.

See, the thing about tracky records is that they’re used with others in order to create something completely new. Have you ever heard of 1 + 1 = 3? One record, mixed with another, makes 3 different layers (the 3rd layer is created by combining the other 2).

Making tracky music poses some challenges and the number one is, how to not be boring with simplistic elements.

There are some basic rules for making tracky music, but the great news is that breaking them is where the fun really starts.

Organized for DJs. The more organized your track is, the easier it will be to mix. This is why it’s important to place redundant elements in multiples of 4. Very useful.
Micro vs macro repetition. Start by the smallest loop possible, and then expand it. You can start by the smallest, simplest kick-hats-snare combo, for example, and then start adding a sound looped on a longer scale to make the small loop feel scaleable. The careful addition, spread over time, will allow the listener to process it and make the repetition feel more palatable. But it’s not about making music for listening, it’s about making music as raw material for someone else.
Subtle variations. Try making automations that last over 1 minute or longer. This will create the subtle impression that something is going on, but since the changes are happening so slowly, it will be super hard to pinpoint exactly what. Some things you can automate: EQ gain, filtering, panning, volume gain, effect wet/dry.
Arrangement surprises. Mix a number of predictable arrangements with more destabilizing ones. For instance, you can throw a clap in every 3 bars so the listener will come to expect it, and then later remove one clap to throw them off, before finally bringing it back in.
Develop your vocabulary. This is a huge topic in itself. For now though, you need to know that 1 bar of tracky music may have its own vocabulary, and that it’s important to be consistent about it. So every 32 bars, for example, you could insert a little silence to accentuate the transition. If you mute something, you are muting a part of a sentence. This will be explored in greater detail in a future post…

Here are some great artists whose tracks you can use as references: Mountain People, Gez Varley, Barac, Mike Ink.

https://www.youtube.com/watch?v=ZQjrOHMygZ0

Enjoy!

Spending Long Hours in the Studio

October 13, 2016/in Blog, Mixing, Production, Tips/by pheek

Every now and then I’ll see people boasting in some online producers’ forum about how they spent 5 to 8 hours in the studio working on a song. The same thing sometimes goes for when I’m with fellow Ableton users, who will claim they have spent 3 days on a song. It’s a common perception that the longer you work on a song, the better it must be. Yet from my own experience and reflections, I believe it’s actually the opposite.

If you’re unconvinced, consider this: how does the producer’s experience level impact on studio time? Might it differ depending on the music genre? Does it change if gear is involved? You see, the amount of time you spend in studio can depend on many factors, and these are just a few of them.

Just think of the long list of artists who wrote their hits in very little time, from “Hotel California” to tunes from Jamie Jones, Seth Troxler or Samim. The minimal movement in contemporary music is another important example of this. By “minimal” music, I’m not referring to minimal techno but to music by the likes of Philip Glass or Steve Reich. The common denominator among these many artists and genres is the understanding that songs are built around one core idea, which is then fully supported throughout. That central concept or component is what people will hum or sing to their friends. It’s what people remember.

So that’s the ideal. But here are where the problems start:

You’re not focused on the idea itself. It should speak for itself, you don’t need 4 different layers to do it.
You’re distracted by non-essential supportive elements. Because unless you’re a producer, no one really cares if your kick is analog or not.
Your ears are tired. Ears get tired after a while and it will become impossible to mix properly. Give them a rest.
Your brain is tired. If you’ve played your tune over and over again, you’ve almost certainly lost the plot. To regain a firm grip on your initial idea, you need to take a break and refresh your perspective.
You’re forgetting the track’s lifespan. If your track is short, the idea is played for only a moment, and that will be enough. It’s not worth weeks of your time.

The crucial thing to remember is that the longer you expose yourself to the track you’re working on, the more you’ll lose your sense of what you’re making. You see, humans have evolved with an amazing skill called adaptability, which has helped our species to survive over hundreds of thousands of years, often in the face of impossible odds. This innate trait has an impact on us in the studio. For example, if you listen to something that you mildly like for a long time, you will eventually learn to either love or hate it — and then either want to alter it (to expand its longevity) or delete it completely (because you get fed up). Either way, even if your initial idea is awesome, being overexposed to it might completely ruin it.

So how to solve this?

There are many things you can do, but the main thing I recommend is to simply limit your time in studio. (Though of course, if you’re in the studio jamming away and having fun, it can still be cool to go for long hours.) Here are some other things I suggest:

Try my Non Linear Production Technique. To sum it up, don’t work on one project for a long time. Try to work on multiple at once — say 10 at a time — and then rotate between them, spending up to an hour max on each.
Swap computer for gear and vice versa. Move from one to another to get a flow.
Give yourself some moments of silence to relax your ears.
Learn to spot the distractions vs. the essential parts. Do you need to buy a new synth to finish a track? Probably not. Learn to ask yourself these questions: is there something I have already that would do the trick? Is this new idea that popped into my head worthwhile, or is it a distraction? Is there a utility to it, is am I getting carried away?

One of the most important things is to reserve a moment in your calendar for music production. Prioritize it, and learn to respect that moment and not move it. Some professional musicians dedicate one day a week to production and use a routine that is super important to the creative process.

Riding the Grooves in Ableton

September 28, 2016/in Blog, Production, Tips/by pheek

Have you ever felt that your music’s rhythmic structure lacked a certain human touch? This seems to be the general consensus among producers, yet there is a simple solution to this hitch in the road. It’s caused by what I believe is the biggest drawback to producing music within a DAW: the musician tends to pigeonhole himself or herself by needing everything to sound perfectly aligned to the grid.

From experience, however, I think I can affirm – with a reasonable degree of certainty – that this method does not reflect how humans operate. We are not precise, monotonous machines, and we are most definitely prone to error when jamming live with acoustic instruments. There is even a certain beauty in this rawness, as music perfused with slight imperfections tends to appeal to the ear as more natural and groovy.

In order to achieve this particular “effect,” Ableton Live allows the producer to import a collection of rhythms, called grooves, into any MIDI or audio track, so as to either alter the current rhythm already written or to add an element of surprise or randomness to the audio.

The Ableton Core Library has a myriad of classic grooves that you can choose from, from MPCs to Latin percussion to hip-hop. However, in this tutorial, we’ll get really advanced and show you how to get creative by making your very own grooves.

Step 1: Record any percussive sound

I’ve recorded myself rattling my keys using nothing but a Macbook (you don’t need to get fancy).

Your recording will most likely sound like crap, so feel free to cut out excess noise with gates or tame peak transients with compressors.

Step 2: Modulation (Optional)

Add a creative effect that will automate the gain (volume) of your signal. You can draw automation curves or pump (sidechain) it with Ableton’s Autopan. The point is to create as many dynamics as possible by playing with the volume so that it translates into the clip’s velocity once we extract the groove. You shouldn’t have to do this if your signal is already very dynamic.

Step 3: Bounce

Consolidate the clip and its effects by either resampling it onto another track or simply freezing and flattening the track (by right-clicking the track).

Step 4: Extract groove

Right click on your consolidated audio sample and select “Extract groove.”

Step 5: Groove pool

Open Ableton’s groove pool by selecting the wave in the lower left side. Your groove should appear in this box.

Step 6: Add groove

You can consult the Live manual or other tutorials to better understand what things like “base” and “quantize” mean, but make sure the timing is set really high (i.e., how much the groove pattern will affect the clip). Drag the groove name onto any audio/MIDI sample or loop track, preferably something percussive like a drum loop. Notice how the rhythm of your track has changed, and how certain transients sound louder or quieter, or appear later or earlier. If you increase the velocity of your groove, your signal will respond heavily to the volume changes in your original signal (which is why I used the Autopan to create dynamics).

Press “Commit” in the clip view, to destructively write the current groove settings to your sample. This means the sample’s pseudo-markers will move in accordance with the quantization setting, and your transients will translate the rest of the settings you selected in the groove pool.

Original:

Processed:

Step 7: Layering

Hopefully, you’ve saved your original percussion loop so that you can play it with your newly made rhythm. Notice how there’s percussion a bit everywhere now, and that it’s a little bit off. Yet I’ve still opened doors to new possibilities that I couldn’t have predicted by simply drawing in MIDI notes. I even got a wonderful slap-back delay on the snare, which I can edit to my liking.

I’ll go so far as layering the two sounds with a reversed sample of my new groove, which gives me this:

I’ve then added back the original keys rattle sample, and simply applied sidechain compression to get this beat:

Although it sounds a little all over the place, I can always go back and edit it how I want, or even apply some effects! Note how it sounds more human now and not perfectly cut to grid.

Bonus: Step 8

Go back to Step 6, and drag your groove to an empty MIDI channel instead of an audio or instrument track. An empty MIDI clip will appear with notes matching the groove you created. Drag an instrument onto it to hear how it sounds. Although it will probably sound awful, you can always edit the MIDI notes to your liking!

Bonus: Step 9

You can even get away with layering organic textures such as strings, or pad with grooves. Make sure to apply different groove settings to each layer by duplicating the groove (CTRL+D/CMD+D) and dragging it onto the track that you want. You can control all the different grooves together with the Global Amount value at the bottom right of your groove pool.

Examples:

Buses vs Groups in Ableton Live

September 6, 2016/in Blog, Mixing, Production, Tips/by pheek

The word “bus” may sound foreign to many beginner- and intermediate-level music producers who were not raised during the good old days of analog mixing on consoles. But rest assured, readers: the term “bus,” in this case, does not refer to a 33,000-pound vehicle, but to an audio channel that allows a multitude of audio signals to pass through it.

Buses are used to apply general processing to the mixed signal, so as to achieve a more cohesive effect over a particular range of instruments. This may sound daunting, but allow me to provide an example to clarify. If you have several drum channels (kick, snare, hats, toms, etc.) playing in the DAW that you are using, it would be wise to send and route them to a drum bus, onto which you could then apply some warmth or glue with mix bus compression.

There are several DAWs, including Bitwig and Ableton Live, that allow you to “group” tracks together. Other DAWs prefer to emulate traditional mixing consoles by routing the desired channels through a bus. Note that neither method is better than the other: they are exactly the same. Nevertheless, Ableton aficionados may want to begin using buses more often, given that their use simply opens up more possibilities in terms of mixing the music created.

How so? There are certain techniques that just aren’t available to you when you’re “grouping tracks,” such as sending a parallel compression return track to a group, or applying effects to two groups at once by grouping them together (groupception). But by using buses, you’ll be able to route any audio signal to any channel you wish.

So with all this being said, here are some pointers for creating your first buses.

Basic I/O Routing

Open the Audio Routing section by clicking on the I/O button right below the master fader in the lower right corner (CTRL+I).
Create an audio track (CTRL+T) for your bus. In my case (see screenshot below), I called it “Drum Bus,” because I am sending all of my drum tracks through it.
Depending on how you organize your drums (I’m using a MIDI drum rack followed by several loop-based elements, like percussion, rides, etc.). Route them to the drum bus by:
1. Selecting/highlighting all of your tracks.
2. In the Audio To section, select “Drum Bus.”
Set your initial channel as Drum Bus and set Monitor to
You should now hear all of your tracks going through the drum bus.
1. Try muting some of them to hear the difference.
2. Apply a compressor to the drum bus to glue things together.
Note that you can also route return tracks through your drum bus. I’m applying New York Style Parallel Compression by sending my drum channels through a channel with heavy compression, then sending its output through my drum bus to give it more power.

If you have groups of elements that share similar sonic features and would like to EQ or compress them all together, then you can create a bus and send them through it:

When I’m mixing, I’ll even go as far as creating individual buses for every group of tracks towards the end. This helps me get the levels right and apply broader strokes for every category of sound (bass, drums, etc.)

To conclude, I’d just like to emphasize that there is absolutely nothing wrong with using groups when mixing. It’s simply that they should be used more often to organize your channels while you’re writing music, composing, doing sound design, etc. to work faster and more efficiently.

Remember, you can always group channels together by pressing CTRL+G or CMD+G on Mac! The audio channel will be automatically routed through the group fader and will function exactly the same way as a bus does.

Deconstructing A Reference Track

August 11, 2016/in Blog, Production, Tips/by pheek

Note: This article is partly related to the Non-Linear Music Production technique explained in my previous post. It offers a complementary method for finding inspiration in your workflow.

Now that you’ve been exposed to my non-linear approach to music production, you know that the early stages of production are focused on building ideas and content. Once that has been attacked, you can start looking into creating a temporary structure for a loop. If you’ve also checked out my One Loop Per Day challenge on YouTube, then you’ll see that the following step is to build a storyline around the idea.

One of the best and fastest ways is to devote your time to carefully analyzing the work of artists you admire. This entails actively analyzing and interpreting others’ work within your DAW so as to carve out a path that you can easily implement in your own production.

But before you dive into your sources of influence and follow the process outlined below, I’d like you to consider this famous quote:

“Art is theft” – Pablo Picasso

Step 1: Finding Your Track

Pick a track that you really like and whose arrangements you would like to more or less imitate.
Make sure that the track is un-warped so that it doesn’t sync with your DAW’s BPM, and so that it’s unaffected by any transient markers you might have set.
If your track is in Ableton’s Session View, drag it into the Arrangement View by hovering over the 3 vertical lines at the top-right corner of your screen, or by simply pressing the tab key.

Step 2: Correcting Grid Settings

In order to properly match the grid with your track’s tempo so that you can use the waveform to spot what happens at what time, you need to find the BPM. You can do this in many ways, by:
- Finding your track on Beatport. The track information should include its key and BPM.
- Accessing the track’s metadata by right-clicking on it in Windows and then clicking on “Properties>Details” (if it’s available).
- Finding the BPM on your own using Ableton’s Tempo Tap.
  - Make sure to tap “tempo” in the Session View or else it will fall out of sync in the Arrangement View.
- Type in the appropriate BPM.
  - Manually adjust the track with Ableton’s grid so that the sections of your track begin on beat.

You will notice this will help you to analyze your track’s arrangements by determining at which bar a section will start.e.g.: The breakdown starts at 80 bars.
- Feel free to cut out any elements such as silence,noise, or “pre-intros” before the actual intro, as in my example above.

Step 3: Placing Markers and Locators

If your sections are starting on beat and are properly aligned with Ableton’s grid, this is where you will be able to start learning how tracks are arranged.
Listen to the track a couple of times, and mark its waveform with appropriate section locators. To do this:
- Right-click in the Scrub Area.
- Click on “Add Locator.”
Mark all relevant sections with locators throughout the whole song. It should look like this:
- Note that you can label your sections however you wish, depending on the style of music you’re writing. You don’t need to call a section a chorus, for example, if you just want to call it A or B.

Step 4: Analyzing

Now for the important part…

Pull out Ableton’s Loop Brace in the Scrub Area above the track’s waveform, and stretch it from the beginning of a musical section to its end (from verse to chorus).
Count the amount of bars there are within that section by subtracting the last bar of the section from its first.
- Example: If your section starts at 61 and ends at 93, do 93-61. That’s 32 bars.
Count the amount of bars for each section and you’ll start to notice when new elements emerge: sections and themes begin and end every 8 to 32 bars. That’s just how dance music works.
For example:
- Everything works in multiples of 4.
- You won’t hear a new section begin on bar 5 unless you’re not writing in 4/4.
Once you analyze how many bars are within a section,it becomes easy to understand how long your instrumental arrangements should be and where to place them in your own track.
- Example: “My reference track has a chorus that lasts 16 bars. It also has a pad for that entire section. I can apply this to my own productions by placing a pad in my chorus for 16 bars only and making sure that it doesn’t overlap with the bridge.”

Step 5: Taking Notes

Once you map the structure of the track with locators, it’s important to take note of all the musical elements that come into play for each section. This is how you’ll get to understand what to place and when within the sections of your own track.

You can take notes down on a piece of paper, or even simpler, directly into Ableton’s clips. Here’s how:
- Split the waveform into multiple clips by clicking on it and pressing [CTRL+E/CMD+E], or right-clicking on it and then selecting “Split.”
- Once you’ve split the waveform into multiple clips, write down the most important elements for each section.
- Then right-click on the Ableton clip and select “Edit info text.”
For the build-up section, you can write things like “white noise sweeps, risers, automated filter cut-off, percussion repeating faster and faster,” etc.

Bonus Tip: Creating Ghost MIDI Clips

The last trick I want to show you for deconstructing your reference tracks element by element is to create ghost MIDI clips for every instrument. This is the best way to learn from other people’s tracks, because it will allow you to break them down layer by layer.

Create MIDI channels for every instrument you hear in a section, and label them.
Make sure there’s nothing in them.

Using this method, you can even go as far as deleting your chosen reference track and just filling in the MIDI skeleton with your own synths, pads, drums, effects and more! You’ll have the same arrangements as the artist you chose to mimic, but it will be your sound!

Create an Ableton Live Session Template

March 15, 2016/in Blog, Production, Tips/by pheek

After months of seeing clients repeat the same mistakes in Ableton Live, I thought, “If only I could provide them with a session template to use as a default, it would help them so much.” It’s not that I wanted to free myself from fixing certain things, but I really believe that having a good starting point is the key to jumpstarting our projects.

And so, here it is! Below I describe the Ableton session template, and provide some tips to help you along:

Label each channel. As silly as this sounds, labelling your channels is a very easy way to see what’s going on in a glimpse. Especially if you have a sound engineer like me working with you, when you swap projects, you avoid having to re-explain yourself all the time. It’s also very practical to colour-code each sound family. Organization can only do you good.

Group sound families. If you have multiple percussion samples like hi-hats or toms, it will be way easier for you if you group them and then EQ them all at once. Adding some compression evenly will also help glue them together,

Cut bad frequencies out. Anything below the fundamental frequency of a sound can potentially be problematic, as it can add a certain muddiness. I suggest you use the EQ to cut it down until you start noticing the sound becoming thinner.

Put the kick in the first channel. This is a simple detail, but keeping the kick in a highly visible place can be very practical, because you’ll often come back to it to adjust something. If it’s up there in plain sight, you won’t lose time looking for it.

Keep the low end in mono. This is to avoid phase problems. It’s also a must if your track will be heading for vinyl pressing later.

Sidechain your bass for clarity. You’ll get a clearer distinction if they’re sidechained, and punchier mixes. When the frequencies are close together, both sounds won’t be fighting to be heard.

Make macros. It’s important to create macros out of your most frequently used effects. This way, you’ll have your tools ready and reusable.

Have an EQ on each channel. This is the most important tip on this list!

Put your reverb in a send channel. I often see projects with 5-10 reverb plugins. No human ear can notice all of that though, so you might as well just have one in a send channel, and then any of the sounds that need reverb can be adjusted to various degrees. If one isn’t enough, have multiple reverbs in multiple send channels.

Put a limiter on the master. This is to avoid clipping.

The final step is to go in the File Menu and select “Save as template…”

So that’s the list. To download the Ableton Live session template, join my coaching program on Patreon.

Simple Sound Design Tips

March 13, 2016/in Blog, Production, Sound Design, Tips/by pheek

I’ve been giving some classes since the beginning of the year, and I noticed certain questions around sound design that kept coming up while I’d be sharing other tips. I thought I’d share them with everyone so it can benefit more than one person out there.

Recently I was in a café, and I had a little exchange with the barista about what I do. “I’d consider myself a sound designer, though technically I’m an audio producer,” I told him while adding some sugar to my tea. “Dude, that makes no sense to me… Are you a DJ?” he asked back.

That’s the thing, right? The DJ is the one that people see in public doing all the work and making people dance. But behind the scenes, there are the people who gave the tracks he/she plays their magic aura.

“I’m the DJ’s best friend, his best kept secret,”

was my only answer, with an enigmatic grin. I sort of prefer leaving some mystery around what I do. Even if I shared a few tips, there would always be so much more to say. Plus, the more you know, the more you realize how little you know.

So here are a few tips.

Use Ableton’s Live’s session view as your mad scientist’s lab.

The most common mistake I see from clients, either when I do mixing or help them with their unfinished tracks, is that they use the arrangement view to make their sound design.

The session view, while mainly used to jam, rehearse and perform, is perfect to make a loop and then mangle it until it becomes something completely new.

TRY: Loop a 1-bar percussion sample and then add a bunch of effects on the same channel. Record yourself for a brief moment while you play with knobs. You may also record your actions to be able to see what you did later. You can then go and edit your actions as automations in the arrangement mode, which will give you cutting-edge precision.

TIP: Go into the resampled session of yourself playing, and then isolate some interesting sounds. Copy the clip with the interesting sounds below the original (master) clip. Now you’ll have variations of the first one.

Bring your designed sounds into your mix.

Looking at your session view now, you should have the original sound clips of the main elements of your track, but you should also have many variations. Swap certain clips of your mix with the clip variations. This will greatly help.

TRY: When you do your sound design, make sure you have your original song playing in the background. This will allow you to improvise on top of it, while maintaining the feeling of the main concept.

TIP: Evolving sounds in a song is a great way to keep your track feeling alive and human.

Your kick drum should be the last sound you design.

This one is super important, and I hear a lot of people messing this part up. Your kick should not be the first sound to be designed in your track. People often select their percussions and build their track on top of it. This is a mistake, as your original percussion can be swapped for other percussive elements later on as you keep adding new sounds to the song.

TIP: Once your track is pretty much done, see if you can go and change that kick for a new one. Your jaw will drop once you hear how much changing a kick can dramatically change your track’s direction. Why? Because the kick is there to unify the whole concept. But when you start a new track, you have no idea where it might end up, and so the kick selected at first won’t be appropriate anymore.

SEE ALSO : Dynamic Sound Layering and Design