Tag Archive for: composing

The Inner Ear

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There are multiple definitions of what the inner ear can be, but for this article, I will use it based on my own experience.

In music production, the Inner Ear is the metaphorical space where intuition, emotion, and personal taste converge — it’s the internal compass that guides an artist to create without relying on external references or trends. It’s not about hearing with your ears, but listening with your instinct.

Where the outer ear takes in the world — what others are doing, what’s charting, what plugins are trending — the inner ear listens inward. It pays attention to the subtle spark of an idea, the unexpected resonance of a sound, or a feeling that demands to be expressed.

Cultivating the inner ear means trusting your musical decisions before others validate them. It’s about making art from within — raw, unfiltered, and often surprising, even to yourself.

The inner ear appears when one has worked with references for so long that they can now navigate on their own.

When I teach newcomers to music production, there are two main points I recommend starting with:

  1. Working with loops and samples. This allows the artist to understand sound curation and break the overwhelming feeling of wondering how to pick the right sounds.
  2. Working with references. That technique makes it easier to make arrangements and sound more organized while learning how songs are made.

 

These two approaches will remain useful at various points in a musician’s development, as they will address and resolve specific issues. Quite often, musicians need and want validation or sound like a particular artist, to be part of a label or community. Working with reference is the most effective solution to these challenges. One can argue that a mentor can also do the job, which is true, but that mentor is still an external validation instead of amplifying the inner one.

Some musicians build most of their careers on making music that fits in with others’ projects. What’s interesting is that for many musicians, this is, without a doubt, one of the best ways to survive, as you can follow trends, see what works, and get a piece of the action.

Questioning one’s ambitions is none of their business. Making music, especially if you’re venturing into the professional realm, is a harsh world where it gets easy to become cynical. But at one point, as someone who works in music, I encourage people to drop out of their survival mode or their routine and find their inner voice.

 

The Inner Voice

 

I’m bringing a second concept to this post by reflecting on the voice. In any music genre, the voice is not just about singing, but also about how they express their ideas through their music.

 

To clarify:

  • Inner Voice is what you say creatively — it’s your artistic expression, your identity, the message or emotional truth that comes out when you make music authentically. It’s what you want to express.

  • Inner Ear is how you listen to yourself — it’s your intuition, your ability to detect when something resonates or feels honest before external validation. It’s how you decide what’s worth expressing.

Think of the inner voice as the output and the inner ear as the input.
They’re two parts of the same internal dialogue: one speaks, the other listens.

For a producer:

  • The inner ear helps you recognize when a sound or groove “feels right” without needing a reference track.

  • The inner voice is what shapes that feeling into a musical idea that’s uniquely yours.

 

As you understand, the concept of these two goes hand in hand. When one artist starts and works with references, loops, and samples, they are mostly working with external factors, but still practicing being in touch with their inner voice. If I give the same sample pack to multiple people in a room, it will sound completely different in the end, because the participants will all have different inner world that alters the results. After doing that exercise with people, I saw how everyone has their vision of what sounds ok or not, which comes from their preferences in music, but where they have issues is mainly to be able to understand if their music can compare to others: sounding similar or relevant.

 

The Authenticity Paradox

 

Now and then, I come across artists who are deeply absorbed in their music-making art form, utterly detached from what is being created. Some of those people are so self-absorbed that they are technically off. This raises some potential issues, but also raises questions.

A good example is a heated email exchange I had with someone I gave feedback on their music. The person basically wanted to be told how good his music was but it had a lot of issues, technically. I provided a list of the issues, with details and how to fix it but that didn’t go down well as the guy took it the wrong way and felt insulted by my details.

 

If one is supposed to follow their inner voice and ear, does this mean they ignore technical conventions?

The answer is not straightforward. One doesn’t need to follow any conventions or rules, but this might result in issues when played in specific contexts. It might also not fit the music the artist likes. Now and then, I have a client who wants to do their own thing and ignores my recommendations. However, once their music is played in a car or club, compared to other songs, it falls short in terms of power and precision. That is the price to not follow a technical basis but this only happens when people compare themselves to something else. Some people don’t and will remain in their bubble, which is not an issue.

 

 

Voice vs. Echo: Creating Without a Reference

 

Creating without a reference is something many people do, and, as explained, can lead to issues. But when it comes to creativity, it can also be a good thing. The majority of artists I work with are people in the electronic music business. Many are DJS, but not all. For those clients, not working with a reference might be tricky; either you know perfectly how things should sound or have a clear idea in mind of how to set your sessions. What’s interesting for me with clients that I’ve worked for a long time is how they progress through a cycle of different phases. When it comes to the moment where they want to explore on their own, I feel we then enter a fragile but magical step into the unknown.

Working without a reference comes with no playbook. One has to find their way, and when I talk to those who work this way, it’s common to see they all operate through it in different ways. Some prefer starting with the rhythmic part of their song and then creating a melody. Others do the opposite. Depending on the genre, things may tend to go in a specific direction more than others. If you want to venture into that workflow for the first time, here are some points to consider:

  • Working in a non-linear is still relevant but if you can try to work fast, gather your ideas and wrap a first concept within a first session, that will feel more coherent.
  • Prepare your sessions in advance: gather sounds, presets, synths, and patches, and make sure you have everything ready so you don’t have to create and find all your sounds at once.
  • Keep in mind that when you’re in brainstorming mode, things may not sound right at first, but that doesn’t mean your ideas are bad.

 

I like to keep in mind this workflow:

  1. Ideas: Find melodies and sounds that you like and gather all rhythmic elements. You want to find everything your song is about.
  2. Sound: Fine-tune your sounds, swap samples and presets, and add layers.
  3. Effects: Colour your sounds with effects, distortion, EQing.
  4. Movement: Apply modulation here and there to add life.

 

When you have this in mind, you know that in phase 1, you might have some questionable ideas, but trusting the process will allow you to be patient and accept that your final idea might be something different. The issue people generally have is trying to complete those 4 steps within a session, which results in the four phases being done incorrectly, leading to discouragement. Quite often, music I love has straightforward ideas, but the work around them makes them sound much more elegant, complex and is just a smoke screen.

Regarding effects and movement, I encourage you to keep a notepad (either on your smartphone or in a paper version) to take notes on songs that inspire you. I sometimes hear a song and pay attention to the main melody, noticing a detail like a tremolo. I’ll note that down and apply it to some ongoing projects.

 

Let’s try some exercises.

 

Daily Sound Sketches (No Plan, No Pressure)

Set a timer for 15–20 minutes and create a sound or loop without any expectations of finishing or sharing it. The goal is to create something that pleases you, not to impress others. Skip templates and avoid genres. Trust your instincts and explore.

Why it works: It builds confidence in your gut choices and disconnects you from perfectionism or external judgment.

 

Record First, Analyze Later

Open a mic or MIDI controller, hit record, and improvise — melodies, textures, rhythms. Don’t stop to fix or judge. Afterward, listen back and highlight anything that feels “you.”

Why it works: This bypasses the inner critic, letting your subconscious ideas surface unfiltered.

 

Use Randomization as a Mirror

Load a random sample or synth patch. Randomize settings. Now sculpt it into something that feels like you. Let chaos be the starting point, and your taste be the sculptor.

Why it works: You’re not starting from taste — you’re arriving there. It sharpens your awareness of what feels aligned with your voice.

 

No References Rule (For a While)

Challenge yourself: go one month without listening to new releases, genre playlists, or YouTube producer walkthroughs. Instead, dig into silence, field recordings, or non-musical sources for ideas (poetry, dreams, textures).

Why it works: It detoxes your creative input and gives space for your impulses to grow louder.

 

Assign Emotion > Then Create

Before starting a session, write down a feeling, memory, or concept you want to express. Create sound to express that, rather than chasing a style. Use reverb, distortion, rhythm, or harmony as emotional tools.

Why it works: It reverses the usual flow — instead of emulating a genre, you’re using your emotional language as the foundation.

 

Tuning In: The Art of Making Music from Within

 

This is something I covered in a previous blog post, but I’ll share it again because it’s relevant to this one. There’s a weird thing that happens when you make music, where what you do doesn’t always match what you’d like to do. This dissonance can be frustrating for many people, as they feel they lack control over what they want to do. In a way, we shouldn’t have control over our output unless we are truly fluent in musical expression, both in theory and in performance. I like to remind people that whatever comes out of you at a moment when you’re trying to do something else is, in a way, your inner voice. As I explained previously, you can give the assignment to 5 people to work on one song using the same synth, and you’ll end up with different results, despite using the same tool. But if you ask them to do 5 songs, there will be a similar thread throughout the five experiments.

On the other hand, I see some clients who have the opposite problem, where each of their songs is entirely different and lacks coherence between them. I could say that the artist hasn’t yet discovered their inner voice, but that could be debatable. In a way, perhaps their inner voice is just diversified and has a lot to say or explore. Exploring all kinds of aesthetics is not an issue until you feel you want to be part of a community or a specific direction, then it becomes a bit complicated. The remedy for that is to focus on less variable playlist, spend time to understand what you want to emulate, expose yourself to multiple songs and then go back to the drawing board.

Whenever I make music, there’s a moment when I listen to music before creating, which always prepares my creative self to work within a particular aesthetic.

Should you want to explore being more in tune with yourself, here are a few exercises to try.

 

The One-Sound Challenge

Choose a single sound — a synth patch, a field recording, or even a drum hit — and spend 15 minutes exploring what emotional or musical message you can express using just that. Modify it, stretch it, loop it, layer it — but stay centered around the original sound.

Why it helps: It forces you to lean on your creativity and intuition instead of relying on variety or complexity.

Sonic Journaling

Start your session by writing for 5 minutes: “How do I feel right now?” Then make music as a translation of that mood. Don’t aim for something “good” — aim for something true to how you feel. Save the project and name it after the emotion or moment.

Why it helps: Builds the habit of associating inner states with sound — this is the root of an authentic inner voice.

 

Listen Without Labels

Pick a random track from a genre or country you have never listened to. Before reading the artist or title, play it and ask yourself:

  • What do I feel?

  • What stands out?

  • What would I change?

Don’t analyze — listen emotionally. Then do the same to your track-in-progress.

Why it helps: Refines your internal filter by separating style from feeling.

 

The Role Reversal

Ask: “If this track was made by someone else, would I still like it?”
Or: “If I played this to a friend, what part would I defend proudly?”
This shift helps identify what’s truly you, vs. what you added to fit in.

Why it helps: Clears out second-guessing and tunes you into what you believe in.

 

Unfinished Ideas Playlist

Make a folder of 10 unfinished projects that still spark something. Once a week, revisit them, but instead of finishing, ask yourself: what do these ideas say about me? Look for patterns — moods, grooves, textures — that keep reappearing.

Why it helps: Your inner voice is often hidden in the stuff you leave behind. Reframing these scraps as messages instead of failures can reveal your artistic fingerprint.

 

Have fun exploring.

Upgrading Melodies with Articulation

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In the diverse and ever-evolving world of electronic music, countless aspiring artists and producers are diving headfirst into the sea of music creation. With technology at their fingertips, creating music has never been more accessible. However, this ease of access can sometimes lead to a contentment with simplicity, especially for those who may not have a traditional background in music theory or composition. Yet, the realm of music, with its deep roots and intricate branches, offers a vast landscape of possibilities waiting to be explored.

It’s no wonder that trained musicians are often overlooking electronic music and will say it’s not “real music.”

I find that what makes an artist sound pro in their melodies compared to someone who start is often related to articulation, which we will cover in this post.

For many, the journey into music production begins with loops – those repeating sections of sound that form the backbone of many electronic tracks. Loops are the building blocks, the starting points from which entire tracks can emerge. But what happens when the novelty of looping fades, and the desire to craft something more complex and personal arises? This is where the concept of articulation comes into play, offering a gateway to elevate a simple loop into a rich tapestry of sound.

(Inside note: At the moment of writing this, Ableton just announced version 12 of Live. Some of the elements mentioned below will be covered in solid ways for that version but since I haven’t tested it yet, I can’t really expand on it yet.)

Articulation in Music to Elevate your ideas

 

Articulation in music refers to how notes are played or sung, influencing their transition, duration, and overall character. In electronic music, articulation can transform a basic loop into a nuanced and dynamic piece. If we were to compare two extremes, we could put on one side, loopy techno as not very articulate and on the other extreme, an experienced, jazz vocalist.

It is much more than just accent and velocity as many think. Those are just a fraction of what’s possible.

Let’s delve into the different types of articulation and how they can add depth and complexity to your music.

 

  • Staccato: This indicates that notes are played sharply and detached from each other. Staccato notes are typically short, light, and separate.
    • I find that in the low end range, kicks and bass notes have a much better clarity when short. You might not want short basses or kicks all the time, so you could alternate the gate length to have variation.
    • Melodies that are staccato work well with arpeggios  and bring a fast mood to a song, excitement and movement.
    • In melodies, staccato also gives the impression of bringing a delicate touch.
  • Legato: Opposite to staccato, legato articulation means that notes are played smoothly and connected, with no noticeable break in between. This often creates a flowing, lyrical quality in the music.
  • Accent: An accent mark indicates that a note should be played with more emphasis or force compared to the surrounding notes. It stands out due to a stronger attack. We often use it in percussion as we mark where the groove has emphasis.
    • Accents in a pattern accentuate the groove. If you are using some grooves, they also enhance accents at given points so consider that.
    • It can also be described as adding an assertive tone to a note.
  • Tenuto: This suggests that a note should be sustained for its full value, or slightly longer, often with a slight emphasis. It can add a sense of weight and importance to a note.
    • When programming a pattern, I like to keep my high point velocity around 100 (of 127) which gives headroom for notes with emphasis.
  • Marcato: This is a stronger form of an accent, where the note is played much louder and with a sharper attack. Marcato often creates a more pronounced and emphatic sound.
    • That one would be at 127 in velocity.
    • In music, there can be a part in marcato, meaning that a section is played with stronger impact.
  • Fermata: This indicates that a note or a rest should be held longer than its usual duration. The exact length is typically left to the discretion of the performer or conductor.
    • What makes a groove, an articulation are pauses. It’s good for dynamic range but just like when someone talks, pauses are crucial to understand the sense of a phrase.
  • Portato: Also known as mezzo staccato, it’s a combination of legato and staccato. Notes are played somewhat detached, but not as sharply as staccato, and with a connection similar to legato.
  • Glissando: This is when a performer glides from one note to another, playing all the intermediate pitches. This is common in string instruments and the voice.
    • Often used for acid basslines.
  • Slur: Notes are being played, blended all together. I think it’s similar to a legato but it’s of a way of creating “syllables” sound where they’re a bit mashed up.
  • Trill: A rapid alternation between a note and the one above it, creating a fluttering sound.
    • I like to do this with a 2 notes arp.

 

Now, let’s explore how to apply these articulations in digital audio workstations like Ableton and modular environments like VCV Rack.

 

Examples

Staccato: In Ableton, you can achieve staccato by shortening the length of MIDI notes. You might also use a fast attack and release in an envelope on a synthesizer. There’s a MIDI tool named Note Length that can you can use to modify the duration. Any synths has an ADSR envelope and by playing with the decay/release, you can control the length, making any sound shorter, into staccato.

In VCV Rack, consider using a gate modifier or an envelope generator with a short decay to create sharp, short sounds.

When and why to use: Useful when you want to to introduce movement and a sense a density, in a rhythmical way. Short notes fill a space as well as leaving room for other elements. A good example would be tribal music.

 

Legato: For legato, ensure that MIDI notes overlap slightly in Ableton, and use a synth with a glide or portamento setting to smoothly transition between notes. When you use a midi clip, there’s an option for Legato that will stretch all notes to their longest option until it meets another note.

In VCV Rack, you can use a longer envelope decay and sustain, with a portamento module for smooth pitch transitions.

When and why to use: This can be good for thick melodies, pads, longer synth notes which create a nice background or the front part of a song.

 

Accent: In Ableton, you can increase the velocity of specific MIDI notes to create accents. You might also automate volume or use a transient shaper plugin. In VCV Rack, use a velocity sequencer module to modulate the amplitude or filter cutoff for accented notes. I like to pictur

When and why to use: As said, it’s useful in a groove but it can also be a sporadic moment in a song as well to create a sense of dramatic impact with a feel of heavy impact.

 

Tenuto: Emulate tenuto in Ableton by extending the length of MIDI notes slightly and using a slight increase in velocity. In VCV Rack, a combination of longer gate times and subtle amplitude modulation can help achieve this sustained emphasis.

When and why to use: Little arps do well to bring secondary melodies, enhancing, supporting the main one or simply to add decoration.

 

Marcato: For marcato, increase the velocity significantly in Ableton, and consider using a sharper attack on your envelope. In VCV Rack, use a combination of high-velocity settings and an envelope generator with a quick attack and a moderate decay.

When and why to use: Snappier attack on a sound makes it a bit more aggressive but is again, another way to induce drama and intensity in a melody.

 

Fermata: This is more about performance expression. In Ableton, you can extend the length of a note where a fermata occurs and perhaps automate a slight increase in volume or reverb. In VCV Rack, you might manually control the length of a note using a gate or hold module.

When and why to use: That’s an alternative way to bring

 

Portato: Combine the techniques of staccato and legato. In Ableton, this might mean programming MIDI notes with moderate length and slight overlap, and using a synth with a bit of glide. In VCV Rack, set up an envelope with a moderately fast decay and a bit of sustain, with a slight glide between notes.

Glissando: In Ableton, you can use pitch bend automation or a glide/portamento setting on a synthesizer. In VCV Rack, use a portamento or glide module, and create a sequence where the pitch CV smoothly transitions from one note to another.

Trill: In Ableton, program rapid alternation between two MIDI notes. You might also use an arpeggiator set to a high rate. In VCV Rack, use a fast LFO or a sequencer to alternate between two pitches rapidly.

 

Exercises and Applications

  1. Experiment with Velocity: In both Ableton and VCV Rack, play around with the velocity of each note. Notice how changing the force behind a note alters the emotion and energy of your loop.
  2. Change Note Lengths: Experiment with shortening and lengthening notes within your loop. Observe how these changes affect the rhythm and flow.
  3. Use Automation for Dynamics: Automate volume, filters, or effects to add movement and life to your loops.
  4. Layer Different Articulations: Layer loops with different articulations. For instance, combine a staccato bassline with a legato lead melody.
  5. Play with Effects: Use reverb, delay, and modulation effects to enhance your articulations. A staccato note with a tail of reverb can create an entirely different feel.
  6. Morph Your Loops: Take a simple loop and create several variations, each with a different articulation style. This practice not only enhances your skills but also provides a plethora of material to work with. I do this as comping for effects but you can do this with midi notes as well.

By incorporating these articulations into your music production, even the simplest loops can blossom into complex, emotive