Tag Archive for: creative process

Studio Session Ice Breaker Activities

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My workflow shifted dramatically in 2024 when I started scheduling my studio sessions like I would any other professional commitment. I now treat each session as a meeting with myself—complete with a start and end time, and a clear intention.

Why does this matter? Because when I honour my time in the studio, my creativity responds with the same level of seriousness. One of the most common patterns I see among artists is a reluctance to plan, combined with a desire for professional-grade results. That dissonance often stems from treating music-making as a hobby, which is perfectly valid, but if you’re looking for consistency, it helps to approach your practice with intention.

As composer Terry Riley once said:

“It’s okay to feel like you don’t know what you’re doing. It makes you open to new ideas and possibilities.”

In other words, you can remain playful in your approach, but still be rigorous in how you support that process. That’s where rituals come in.

Terry Riley

Let’s Talk Rituals (Without the Woo)

 

I want to be clear about my use of the word ritual. I’m not referring to anything religious, spiritual, or rooted in new-age psychology. My interest lies purely in creating a consistent transition—a healthy shift from the outside world into the focused state needed for music-making.

For many artists, this is a vulnerable moment. It’s also where habits like smoking or drinking often sneak in. By designing a simple, sensory-based ritual, you can anchor your body and mind while keeping the session fun and functional.

Think of it as tuning your internal instrument.

5 Playful Studio Icebreakers to Induce Flow

 

 1. The 5-Minute One-Sound Jam

A minimal constraint, maximum reward activity.

Challenge: Use only one sound (a sample, field recording, or synth patch). Modulate it in real-time with effects or automation to build a quick mini-composition.

Why it works: By limiting options, you reduce overwhelm and unlock depth in a single source. You’re not “finishing a track”—you’re discovering textures.

Tip: Use a defined root key if the sound has pitch, and include it in the file name for future use. You’ll thank yourself when browsing later.

 2. Draw Then Compose / Daydream Mapping

This abstract, right-brain exercise combines visual and narrative thinking.

Challenge: Take 3–5 minutes to doodle—lines, shapes, textures. Then interpret your drawing musically. Sharp lines could become percussive transients, curves might inspire long pads or legato melodies.

Why it works: It activates your imagination and creates an emotional blueprint before you even touch your DAW.

Twist: Write a short story or “scene” for the song you want to create. What does it evoke? Where is it happening? Who’s in the room?

 3. Find the Groove

A classic for finger drummers, but it works just as well with samples.

Challenge: Load a basic drum kit. Program a groove. Then find a single melodic or textural loop that “locks in” with the rhythm emotionally or rhythmically—no EQ or effects, just raw synergy.

Why it works: It sharpens your ear and intuitive feel for groove. Instead of overprocessing, you’re tuning into energy alignment.

Tip: Create a custom hybrid kit: mix a few 909 elements with quirky one-shots or foley sounds. Save it as your go-to warm-up kit.

 4. Song Roulette

This one injects randomness—and humility—into your session.

Challenge: Use a random song generator (or ask a friend to send something unexpected). Analyze it: tempo, mood, structure, key. Use it as a loose reference, or try to reimagine it in your voice.

Why it works: It disrupts your default tastes and forces new perspectives. Sometimes discomfort is a portal to innovation.

Tip: If the song annoys you, ask why. Then steal its structure and make it your own.

 5. Field Recording Flip

Turn your space into source material.

Challenge: Record a slice of life from your studio using your phone—ambient noise, gear hum, your footsteps, even your voice. Drop the raw audio into your DAW and play with it. Mangle it. Stretch it. Turn it into a pad, texture, or rhythm.

Why it works: It trains your ear to hear music in everything and adds a unique character to your sound palette.

Tip: Water-related sounds (boiling kettle, sink, etc.) make surprisingly rich textures once processed.

How to Design a Grounding Ritual That Works

A ritual doesn’t have to be grand. It just needs to signal: now we begin.

Here are a few grounded tips:

 1. Anchor in the Senses

Set the mood with one or two sensory cues:

  • Switch on a special lamp or light mode.

  • Burn a specific scent (coffee, essential oils, incense).

  • Play the same short track before every session.

 2. Move Your Body

Stretch. Shake out your limbs. Walk around the room. Movement helps reset your nervous system and clear lingering distractions.

 3. Drop the Pressure

This isn’t about creating your magnum opus. It’s about showing up and being curious. The less pressure, the more likely you are to enter flow.

4. Replace the Crutch

If you tend to lean on smoking, snacking, or substances:

  • Sip tea instead.

  • Tinker with a piece of gear or patch cables.

  • Doodle ideas in a notebook.
    It’s all about channelling the impulse into something tactile and healthy.

 5. Keep It Consistent, Not Rigid

Let your ritual evolve. Rotate through your five favourite icebreakers. Keep it fresh. The goal is to stay present, not to follow a script.

Final Thoughts

 

Creativity loves structure—not the rigid kind, but the type that supports play. Developing a personal ritual and keeping a few go-to studio warm-ups in your pocket can significantly improve the quality of your sessions.

Next time you walk into the studio and feel that weird tension between “life mode” and “music mode,” try one of these icebreakers. Over time, you’ll train your brain to shift into flow faster, without the need for unhealthy habits or magical thinking.

Your studio is a sacred space. Treat it like one. But more importantly—treat yourself like someone worth showing up for.

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.

Stripped Down Tracks Guide

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Last year I got back into the art of DJing and was digging for music to play in a gig. As I blended a selection of music from clients (who allowed me to use their music) mixed with findings on Bandcamp, I focused more or less on minimal techno/house, genres often associated with my artist identity. As I asked for suggestions on my Facebook artist page, people were sharing and observing that my tastes weren’t just into minimalism but also fit under the umbrella term of stripped-down music. I knew that term and have clients who make that kind of music, but for some reason, I wasn’t aware how much I enjoyed it. Stripped-down tracks are an acquired taste, which is not for all, but through this post, I want to reflect on what it is and give tips on how to create it.

 

Definition: What is Stripped Down Music?

 

Stripped-down music is a bit difficult to explain to someone who is not versed in DJing. I think anyone who would come across that music and not be familiar with electronic music in the first place would automatically describe it as simplistic or alienating. If you’re familiar with the music I make, which, weirdly enough, is often labeled as minimal, it would be considered maximal compared to stripped-down tracks. What characterises that genre is the linear aspect of its structure, the focus elements used, and the low occurrence of changes. More than often, they would feel like it’s a simple loop repeating ad nauseam, but if you pay close attention, you’ll notice that some patterns change subtly or swap predictably. But never too much.

Honestly, it is one genre I find hard to make because if you spend too much time on those tracks, you’ll quickly ruin it by adding unnecessary elements. Someone once asked me if it was underproduced music, to which I replied:

 

There’s a thin line between underproduced music and the art of knowing what’s the minimum to make it viable. It requires much more experience than one would think.

 

Strangely enough, within that genre, there are a lot of producers who have a lot of experience and will relate that this genre of music induces whoever makes it into a state of perpetual doubt and let go. I like to believe there is some poetry in its making. You could easily compare it to modern art where the focus is simple, but the artist also had balls to go for a statement or simplicity over complexity. I worked a few times with artists making that music, and each time, it would boggle my brain with how simple the arrangements were. More than often, the number of channels was under the count of ten. Sometimes, it would be a live improvisation from a few machines, where the raw recording often made me feel it was perhaps just two machines and a long loop.

 

What is the point?

 

Some pop artists are anxious if they don’t have vocals and effects (swooshes and crashes) at every bar of their project, where the arrangements constantly go up and down, making it, in my opinion, annoying more than exciting. They’re the opposite, and I once tried to explain to one of those artists what stripped-down music is and its purpose. That didn’t go down too well. The artist could not get it, and listening to 30 seconds of it made them feel profoundly uncomfortable. To get what it is and why such music is made that way, you’ll need to understand for which context it is meant to be played and how it is intended to be used.

 

Context

 

I’m not an expert enough to relate where it came to be and when it started, but I wouldn’t be surprised if Detroit were where it first gained traction. Looking back at artists like Robert Hood, his early works were stripped-down techno. Linear, no bullshit and made to hypnotize the audience. To appreciate that genre of music, you need to be exposed to a form of listening that requires patience. But Hood’s music is fast-paced and hard, a form of minimal techno/house that is different from minimal techno/house. If you ask DJs about that genre and why it is what it is, they’ll agree that those tracks are DJ-friendly and meant to be used in a performance context. Being linear songs, one can play them on multiple decks, craft them into a new song using EQs and adjust them to tastes for the crowd’s needs.

In other words, if you listen to them as is, not much will happen, but when you start layering them, they give the DJ much creative output. If you’re not a DJ listening to a set played with those tracks, you might never guess that the sources are pretty simple in the first place. By keeping your tracks to only a few elements leaves room to layer other ones on top.

 

 

Living the music

 

I find it interesting that some people really developed an appreciation for stripped-down music on its own, without being mixed in a track. Those people are rare, but I’m one of them. How I live that kind of music in a club/party context is far different as an experience compared to how I would listen to it in my studio or at home. While some people would quickly call it boring or energyless, to me, stripped-down music brings me a lot of energy for the space it opens to move into. As I love to dance to it, I find it liberating and giving me a sense of freedom. I find it’s one of the rare kinds of music where time seems to stretch beyond what I expect, creating a moment suspended in time.

I remember explaining that to someone, and that person rolled their eyes as if I was too spiritual. Before getting upset, I showed that person a video about David Lynch explaining his music view. He’s the only person who has said how I feel about it. He sees it as an element, such as fire or water and relates how much power it has, making it almost magic. Just like our ancestors, we are mastering the art of controlling it, and if we let ourselves be open about how much it can change us, beyond wanting to control it, we can see how much emotional bounding we can create with it.

Years ago, I did a score for a dance troop that was performing in a show. The choreographer rejected the first presentation of the score I proposed. She explained that there was not enough negative space for the dancers to explore. That view impacted me as it was the first time I dealt with someone who was just as interested in the silences as the music itself. Miles Davis emphasises that silence usage is what makes music.

 

Considering that stripped-down music is based on repetition and the use of negative space, it makes me think that it’s a genre that commands more respect than we can initially give it. There’s a maturity to it that is overlooked by many.

While there is a genre named Spiritual Jazz, stripped-down music is a bit on that side of things. I think it is more aligned with that mentality than some other genres pretend to be, but this is purely from a personal view.

On the other end of the spectrum of stripped-down music, there are people like Petre Inspirescu (who I often mentioned as a model of creativity). The few sets recorded for the Japanese Youtube channel Dommune are pure masterpieces worth watching because they are calmer than Hood’s music yet have some hypnotic energy that makes his fans dance.

 

 

How to Make It

 

Perhaps you have jumped to this part because you want to have bullet points on creating that music. While I can provide some ideas, tips and techniques, it is evident that if you’re going down that rabbit hole of music making, you’ll need to first listen to a lot of it. If you’re unfamiliar with the genre, I would say it might be easier to start by asking some DJ friend of yours to the rescue because finding quality stripped-down music can be challenging mainly because you’ll need to train your ears on what is quality and what is amateur or under-produced music. The line between the two is blurry, and in some cases, people who are new to music will do this kind of music because their skills aren’t too sharp to venture into complicated techniques. But this is also good news because it means that some beginners might come up with a very simplistic idea that works, making a simple track but nothing else is required.

Many people also struggle with this. They compare themselves to the wrong references and spend too much time on the song, ruining the fresh initial idea.

 

Here are a few points if you want to explore the genre:

 

1—Listen to a lot of similar music: While this is a tricky point, I list it first because having models will help you make critical decisions and understand that you need simplicity.

2—Limit your number of channels/sounds: Keep it low. I would encourage you to try to limit yourself to a maximum of 10 to start with. You can do a lot with that number! One channel can have variations, which makes it feel like it’s progressing and captivating. This is where many people fail; they’ll add layers instead of variations to what they have.

3- Work fast: I often encourage people to do speed sessions where they’ll blitz through working on multiple tracks within a 1 hour of studio work. Taking the time to do just 3 to 5 changes to a song on what’s apparent stops you from altering what doesn’t need to change.

4- Limit the voices: I mean the melodic elements. You won’t need much, perhaps even one loop, with variation, might be enough. If it feels incomplete, remember that it’s meant to be layered with something else; therefore, negative space is needed.

5- Be OK with repetition: As it says, you can grab your starting loop, stretch it to the last moment of the song, then slice it into sections of 8 bars and add some variations here and there. You don’t need to articulate it or make it “interesting” by adding bells and whistles.

6—Test in context: Mix it as a DJ or ask a friend to (pick wisely). If you don’t DJ, you can do it within your DAW, beatmatch, and then layer two songs. Is the combination of the 2 songs complementary? If not, create space or adjust it based on another song’s arrangements.

7—Work with loops: I’ve said it multiple times, but using loops is a key asset in getting the job done quickly. You can also recycle all your unused sounds, ideas, and loops from other songs you’ve done. It’s also a way of seeing some of your ideas from a new angle without any pressure.

8- No rules: This genre can be as experimental as having a repetitive loop playing with some effects. There are virtually no rules, and that can be unsettling. But if you understand that what you’re creating is a tool for another artist to pick and layer in their set, you’d be surprised that some artists are looking for simple ideas. I did some songs in the past that were ridiculously simple but ended up being some of my most popular material, being played in podcasts and radio shows. It’s weird but quite exciting.

 

The Key Point

 

What makes a track successful is based on multiple points worth sharing. However, the key point comes down to a listening technique I love practicing and sharing: Deep listening. It consists of listening to your song with your eyes closed and paying tight attention to all the elements, going from one to another. If you have fewer elements, your mind will automatically go from one to another circularly. I’m unsure where I read that, but we can’t listen to more than three sounds simultaneously. Yes, you hear many elements, but you can’t deeply connect with more than 3 at once.

Finding the perfect dosage of the right amount of sounds to use is where the art starts. This requires a certain level of experience, maturity, and understanding of how music is perceived in various contexts. I can’t explain it easily. Perhaps listening to music will reveal things you like, which you can explore. But I’ll share that polyrhythms and polyrhythmic modulations unlock that hypnotic effect. A good way to explore this is to remove the host synchronisation on your modulators, such as LFOs, and to go off the clock, which will give an analog feel.

 

Why Making it

 

You might wonder why I encourage you to explore this. There are multiple reasons behind that encouragement. The first one is that it forces you to review how you deal with simplicity and patience, which are skills music producers often struggle with. It also teaches you to work fast, make critical decisions, and let go of expectations.

It’s also quite fun.

 

 

Music Mockups

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As I was recently revising a client’s workflow, I explained to them that mine had changed much in over twenty years. It has changed just a few times in the last few years, and if I were putting a number into my workflow, I think I would easily be at its 20th iteration. I recently realized the need for a phase in how I work on music. When working with clients, there is a part where we conceptualize an idea, and it becomes a bit tricky for them to imagine the end product. Perhaps my background as an engineer and label owner taught me to imagine how things should be in the end, so it’s never a problem to know where I’m heading when working on a song.

For a while, the phases of making a song would look like this:

With this new phase, I’m adding a part called Mockup. It’s similar to a mood board, but a song is closer to what it will be like. This is important in electronic music as we can access so many sounds and effects that a song could be anything. The concept itself is simple and pretty self-explanatory. The faster you know your destination, the easier it is to decide what to do to get there.

The advantages I’m experiencing when using mockups:

  • Understand quickly the potential of an idea.
  • See the flaws and lack of an arrangement.
  • Easier to self-validate your process.
  • Giving you an outlook of what the song is, you can sleep on it and test it in contexts.

 

By watching how people, clients, and friends work with music, I notice a lot of time invested in searching for sounds or trying to recreate something they heard in a song or their mind. This often leads to long sessions of unproductive noodling around, trying to figure out what is happening and how to make sense of it. There’s no direction or destination in mind, which I greatly encourage people to keep as a mindset. But this also has some downfalls, mainly for those new to music making. The lack of results makes it difficult to make decisions, and decision fatigue can impact energy and motivation.

I came up with a new phase because I needed to fix an issue with my production, which is about getting some results faster than just being explorative.

 

Research & Development of Ideas

 

There are two main modes for the early R&D (Research and Development) phase.

Explorative mode: Find some ideas, work and play around them to see how they develop. In this mode, the musician is invited to remain open and not try to control the outcome so much as it would limit the potential happy accident that can bring an unexpected twist. I usually encourage people to spend more time in this phase mode than in song-making. When you work on songs, you bring to term an idea that you thought made sense, and when that song is finished, it will be time to work on the next one. Since the ratio of gem ideas is very low, it is worth giving a lot of time to create new ones. Clients who consult me spend 90% of their time making songs and the rest on research, an unbalanced ratio that makes it tiring to keep going. Having exciting ideas makes it fulfilling to finish a song and work on the next one.

Goal-oriented: This state gives importance to finishing something. You’ll have a vision, and you will work in that direction. Sometimes, you might have compiled many sources or found something you love. I might want the desired outcome when working on an album or a specific project. Working with clients forces me to find precise ideas to fulfill their vision, so if I spend too much time in the explorative mode, I might not get anywhere, and if I only work towards a goal, I might lack originality. This is when the combination of both can bring some solid results.  You need to control this phase to feel like your ideas are being appropriately honoured.

 

While the R&D phase allows musicians to gather ideas freely without the pressure to finish or release them, you can come up with a hook, but this raises specific questions that one can’t quickly answer early on.

Is this idea catchy?

What does it need to be supported?

How many variations does it need to remain riveting through the song’s duration?

In my previous workflow, I’d go from R&D to Hook and then jump to Structure. Now, I bring in the Mockup phase between the Hook phase and the Structure. Working on the mockup can also replace the structure phase if that works.

 

Before diving into the how-to-mockup of your next song, I think it’s necessary to cover the search for hooks in more detail because we will rely on references and samples when working on mockups. We need to reflect on how we want to build a song with a prominent sound. Some songs have no hooks, and others have something similar to songs of the same genre.

I invite you to think about this because of the decision one might take regarding using a reference. Copying it would make your song a cover. There’s nothing wrong with that, as there are countless covers of popular songs. There are even covers of covers. In techno and house, some songs have the same structure and more or less the same sounds, which is quite the same for pop music. You can take all the hits of a year and find similar critical points.

If something works, someone will try to repeat the formula to get to the same place. It rarely achieves the same results. To see the viability of an idea, I’d encourage you to first make a miniature out of it. I covered the concept of miniature songs in this article, and to refresh your memory, the idea of a miniature comes from the principle of making a tiny song (30 seconds to 2 min) with one or two sounds alone. If your idea can work on its own as is, you know you have something you can develop into an elaborate idea.

 

Now, let’s see how we can streamline your next session.

 

1. Start with the Hook: Capture the Core Idea First

 

Prepare your mood board and load in a reference song to narrow down your direction and outcome.

 

Goal: Identify and record the central theme or hook quickly—this will anchor the rest of the Mockup.

How-to:

    • Determine the Key and Scale of your song. You can also check the details of your reference using a key detecting plugin.
    • Use a synth preset or a sampled sound that’s inspiring without worrying if it’s final. I usually start with sine oscillators for their natural tone and calming mood. They are close to the human voice and a solid foundation for your final sound.
    • Record a simple 4-bar loop that captures the mood or vibe you want. Analyze the hook of your reference in terms of the number of notes or the phrasing. You could start by mimicking that idea and tweaking it to taste.
    • Keep it raw—don’t worry about effects or mix balance yet.

 

Example:

  • Choose a preset in a stock synth, or try Pigments from Arturia for the number of presets available. Pick one that feels emotionally right.
  • Play and record a lead melody that has a catchy or memorable phrase. You can also start by placing one note (the fundamental) at all the places you want it to play, then add a different note. I also like just to place where I want notes to be in the phrase and then change their pitch while keeping the rhythmical position.
  • Loop it and move on—don’t waste time tweaking the sound yet.

 

2. Lay Down a Simple Rhythm: Establish the Groove

 

Your song’s groove relies on its accents, which determine its energy. Dilla would always say that the second note determines everything. This video here explores 5 different rhythms that you can also explore.

 

Goal: Create a basic drum pattern that gives the hook context and movement.

 

  • How-to:
    • Start by deciding the BPM of your song and the accents. There are usually 2 to 4 accents in a pattern, and I recommend starting with 2. You can validate the accents from your reference, if any, and do the same for the BPM if you can’t pick one. The accents are usually where kicks or snare/claps fall to.
    • Use pre-made drum loops or machines like XO or Playbeat to test patterns quickly. Why them? Because they come with a wide selection of patterns, you can swap samples quickly to get various flavours.
    • Focus on kick and snare for now—hats and percussion can come later.
    • Keep the pattern straightforward (4×4, half-time, breakbeat, etc.) to get a feel for the energy.

Example:

  • Drag a loop from Splice or sequence a basic kick-snare pattern in Ableton’s Drum Rack. I have a folder with a few snare patterns as well as kicks. I usually grab some from that folder as a placeholder.
  • Keep the BPM flexible—adjust based on how the hook feels.

 

3. Build Harmonic Support: Bassline and Pads

 

You might want to adjust your melodic content to the primary key and scale if your song has a key. One thing that music has is a background or atmosphere that will be tuned to the root key. Sometimes, it will have a chord progression, but sometimes, it won’t.

 

Goal: Add depth and context to the hook with a bassline and simple pads.

 

  • How-to:
    • Choose a bass preset with a solid fundamental (sine or triangle wave works). If your main idea can be played with a sine oscillator, I recommend a different one for the low end, as it will feel more stable.
    • Create a 2-bar bassline that complements the hook’s rhythm.
    • Use a single-chord or a two-chord progression for pads—keep it minimal. Going from the Minor scale to the significant scale might do the trick.

 

Example:

  • Use Arturia Mini V or Massive for warm analog bass. These two offer warm, fuzzy, and fat tones that usually fit any genre.
  • Sequence a bassline that follows the root notes of the hook. Think already if you want the bass to respond to the hook or support it. If it responds, the notes would play in a different position than the hook, just like a conversation, but if it’s helping, it can be a mixture of playing simultaneously mixed with some silence fillers.

 

4. Mockup the Structure: A Rough Blueprint

 

Goal: Sketch a quick arrangement (Intro → Verse → Chorus → Bridge) without worrying about transitions. This might not apply to some electronic music genres, such as techno, where sections are more fluid. In that case, think of variations or scenes you move through.

 

  • How-to:
    • Duplicate your loop to fill 2-3 minutes. Place it in the middle of the structure, starting from the heart.
    • Mute or solo different elements to create contrast (ex. drop out drums for a verse, bring them back for a chorus). Deconstruct to the end and the beginning from the middle.
    • Keep things simple to have a macro vision.
    • Avoid complex automation and focus on the bigger picture. At this point, only fades in and out are helpful.

Example:

  • Create a simple A-B-A-B structure:
    • A: Hook + Drums + Bass
    • B: Hook + Pads + No Drums (breakdown)
    • I sometimes import a structure using Instacomposer as a placeholder.

 

5. Placeholder Sounds: Fill the Gaps Quickly

 

Goal: Use temporary sounds to fill out the arrangement without getting stuck.

 

  • How-to:
    • Drag in samples or presets, even if they’re from well-known tracks, to test ideas.
    • Replace them later during the deconstruction phase.
    • Focus on vibe and energy, not originality at this point.

Example:

  • Use Splice to grab vocal one-shots or FX sweeps to test energy transitions.
  • Apply a simple sidechain or reverb if needed, but keep it light.

 

6. Live Play and Jamming: Test the Energy

 

Goal: See how the Mockup feels as a performance.

  • How-to:
    • Use your MIDI controller to mute, solo, and tweak real-time filters.
    • Record a live jam of manipulating the Mockup—listen back to identify high-energy parts.
    • Treat this as a “dress rehearsal” for the track.

Example:

  • Map knobs to a filter cutoff, reverb send, and volume for different elements.
  • Perform and record 5-10 minutes of tweaking live.

 

7. Export and Listen Away from the DAW

 

Goal: Get perspective by listening outside your studio setup.

 

  • How-to:
    • Bounce the Mockup as a WAV and listen on different devices (phone, car, headphones). Listen while walking. Music takes on a different persona when we listen to it actively.
    • Make notes on what feels repetitive, empty, or too busy.
    • Make a playlist with your reference to other similar songs and add your mockup. Listen while walking and in different contexts. Observe how your music fits in there.

Example:

  • Create a note in your phone with timestamps for what works and what doesn’t.

 

8. The Lynch Twist: Capture the Mood, Not the Details

 

I’ve always been inspired by how David Lynch taps into ideas to create movies. One approach is to write scenes on paper; when he has several, he knows he has a movie. I think of the same with music.

 

Goal: Focus on making the Mockup feel emotionally complete, even if it’s rough technically.

  • How-to:
    • Ask: Does this Mockup evoke a specific mood or story?
    • Does it evolve through the song, or is it stagnant?
    • Is there a tension related to it, and is there a release?
    • What is the opposite emotion of your hook? Can the sound be altered toward that emotion?
    • See if you can divide your hook into two segments and make it in conversation with itself.
    • Follow Lynch’s advice: If an idea feels wrong, cut it immediately and put it in a folder for future inspection. I usually like to close the project and return when I’m in a different state of mind to see if the wrongness remains.

Example:

  • Record a voice note describing the mood or story you want the track to tell.
  • Compare this vision with how the Mockup feels emotionally.

 

9. Deconstruct the Mockup: Rebuild from the Core

 

Once the mockup is ready for its next phase, you can rebuild it to taste.

 

Goal: Replace placeholders with original sounds and refine the arrangement.

  • How-to:
    • Consider whether the imported sounds can be altered to a new aesthetic. Sometimes, using a filter, distortion, or Shaperbox can completely redefine a simple sample or loop.
    • Swap out samples for your own recorded/imported sounds or synth patches.
    • Simplify busy sections—focus on the hook and main rhythm first.

Example:

  • Replace a Splice vocal with a custom recording.
  • Use a different reverb or effect to make it feel more original.

 

10. Final Check: Does It Still Resonate?

 

This is where things get delicate. You might still not feel the song, but it might still be good. Leaving it alone for a while can help make the best decisions. Asking for validation from a friend is also helpful. You can make different versions for a song too.

 

Goal: Make sure the track still feels fresh after listening multiple times.

  • How-to:
    • Take a 2-3 day break, then listen again.
    • If it feels stale, identify if the problem is the sound design, the melody, or the rhythm.

 

Example:

  • Replace one element (like drums or bass) to see if it refreshes the vibe.
  • Usually, I choose the kick at this stage, when everything has been set. The kick will give the song its final intention. A dirty kick can make it old school, while a punchy one can make it more dancefloor. Testing in context can be a surprising experience. Perhaps check your reference as a guide to what you can do.

 

 

Digital Hoarding and The Electronic Music Producers

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If there’s one thing I miss from making music in the ’90s, it is how my choices for making music were limited compared to now. What we saw as a limitation was an opportunity to be creative and get the most out of what you have. In the 80s, as kids, it was also the same thing: we would get some toys, but it was limited. Being forced to be creative with what you’d have was the perfect training to jump-start my electronic music exploration. I remember going to the music store, where there was a section in the back where they would sell synths, samplers, and effect units. The selection was pretty small, and if you wanted something special, such as a 909 or 808, you’d have to search because stores couldn’t get them at all.

Softwares were also limited in terms of selection and what they’d do. I remember getting some software, and we’d discuss our wishes and options. It was both frustrating and, in hindsight, liberating because the lack of options meant you’d be done quickly when you ran out of possibilities. In my latest album, I tried to get back to that state because after following numerous classes online, I realized that I was doing some digital hoarding and had to focus on the essentials to decide of a direction on how I would do things for my project.

Credit Gearspace.com

So, what would be digital hoarding?

 

Digital hoarding for electronic musicians tends to accumulate a vast collection of digital resources—such as plugins, samples, presets, and templates—without fully integrating or mastering them in one’s creative workflow. This behaviour often stems from the constant influx of new tools and content in the electronic music scene, leading to a cluttered digital library that can hinder efficiency and focus. Instead of exploring a few tools in depth, the musician has an overwhelming array of options, which may result in creative paralysis or a diluted artistic identity.

Some symptoms or actions that could indicate you’re tending to do hoarding would be:

  • Over-Accumulation Without Use: Continuously downloading or purchasing new plugins, sample packs, and presets, yet rarely revisiting or using many of them in actual projects.
  • Disorganized Digital Libraries: A cluttered folder system where files, presets, and samples are stored haphazardly, making it difficult to find what’s needed quickly.
  • Procrastination on Mastery: Spending more time exploring and acquiring new tools than mastering the ones already in your arsenal.
  • Analysis Paralysis: Overwhelmed by choices when working on a project, resulting in indecision about which tool to use or a tendency to switch between tools without fully committing.
  • Redundant Purchases: Repeatedly buying similar plugins or samples, often influenced by trends or free offers, without a clear plan for integration into your workflow.
  • Neglecting Cleanup: Rarely revisiting your collection to organize, delete unused items, or update your setup, leading to an ever-growing pile of digital clutter.

For hardware, the GAS (Gear Acquisition Syndrome) syndrome is often pointed out as a problem musicians have because it is apparent that hardware physically brings new material to the studio. It is less evident for software and digital tools because they are within your computer and so easy to lose/forget.

This doesn’t only refer to digital tools but also to skill hoarding. Some people spend hours watching tutorials or buying classes to learn how things are done but without putting what they just learned into practice.

Hoarding impact on one’s workflow

 

This leads to some pitfalls. Let’s discuss some. I will also propose ways to address the issue with practical tips.

Shallow Mastery vs. Deep Expertise

 

Mastery of a skill or a tool comes from hours of practice. Having too many options divides your time of practice between multiple tools. One thing in electronic music that can pose a problem is when a musician decides to do everything by themselves. This means they’ll be set to become a jack-of-all-trades. The DIY culture within electronic music has gone a long way since the early ’90s, but in today’s competitive market, aiming to do it all means you’re not maximizing your output’s quality. The positive side of having multiple tools means you’ll have the proper material to go through the various phases of song development. But you’ll still need to sit with the tools and learn them, before adding new ones to your toolkit.

Some essentials for each phase can be a game changer. If I had to start all over, I’d focus on the minimum tools per phase. This lets you organize yourself better.

The phases I teach to newcomers are:

  • Research, analysis, ideation and development: In this phase, you basically need a Splice account to fill up your moodboard with ideas to start with. Once you have some ideas, you can create a song mockup, reworking your imported samples with tools like Shaperbox alongside a few synths of your own. If you want a versatile synth that can answer pretty much all your needs, I’d go with Pigment. Honestly, that’s pretty much all you need.
  • Hook: This is where you trim the chaos and ideas from the previous phase and find your song’s hook. You don’t need anything here, but a powerful drum machine like XO can help structure an idea.
  • Structure: To see if your hook has potential, sketch a structure. This will reveal your idea’s strengths and flaws. A tool exists that will build up some basic structures for you. Song Sketch is a lovely tool to speed up the process.
  • Arrangements: This is all about how you use your DAW. The best DAW is the one that you know and have fun with. Some prefer Ableton Live, some Bitwig or FLStudio. They all have a different way of working.
  • Mixing: While there are countless tools needed for mixing, I would say that sticking to your DAW’s compression, EQ, and dynamics can do the trick. If you feel like you’re reaching the limits of one of them, perhaps expand to upgrade that specific tool with a third-party plugin.

I like to make buying decisions based on two things:

  • Can my stock plugins fix it? If not, what else can?
  • Am I using a tool that works but compromises on the quality?

 

If my tool is creative, I usually will ensure I finish a few projects before buying a new one.

 

Overwhelm and Decision Fatigue

 

This is a topic I have covered before, but decision fatigue is something tangible that can impact a person more than they imagined. I have been teaching newcomers lately, and one of their first comments about making music was about how tiring it was to work on music. Each time you have to make a decision regarding your song, a chunk of your mental energy dissolves. If you also need to think about how to solve a problem and have multiple options, this is another chunk that is taken away. If you have various tools for numerous issues, you’ll be draining yourself down faster, and what was supposed to serve as leverage will tank you down.

There are ways to solve this, though. One is to keep a notepad with :

  • Nature of the problem: Does this problem have a name, or can I formulate it in my own words?
  • Potential solution: Ex, for phasing issues, you might want to control the width of a sound.
  • Tools available: If it’s the width, perhaps learn the limits of how much you can widen a sound or rebalance your mono signal.
  • Link to use. Youtube or another tutorial.

Fine-tuning your workflow comes from decluttering tools and habits that slow you down. Keeping simple notes is a fast way to get your answers. The more you have tools, this can not only drain you but also make you lazy. Tools with tons of options are the combination of multiple existing tools but with an interface that makes it easier for you to use. For example, a compressor could be replaced by an Envelope follower and a utility unit, but the compression has a few more options. Having less forces you to understand the nature of the problem and the tools you have to work around it.

 

Clutter and Inefficiency in Workflow

 

As mentioned previously, a workflow works best with a minimum of tools. The more you add to it, the slower you get because you have more parameters to handle. This is an issue someone with much experience, like myself, faces when starting to work on a new song because I already see the long list of all the things to take care of. One thing about being a helpful beginner is that by knowing less, you work with what you know alone. It might be less perfect, but at least it progresses quickly. Collecting tons of samples and libraries is also something that slows you down, mainly because there are not so many tools that will help you organize everything properly. Even some DAWs will let you face chaos if you’re not organized. Ableton has recently added tags in version 12, which can help you categorize your samples and tools. However, if you do it halfway, you’ll quickly lose control over your digital environment.

Just like plugins, whenever I buy new samples, I ensure I use them on a specific project before adding new ones. Some people stick to presets, which can get messy if you collect many of them. In Ableton, I haven’t found the best way to organize all my macros properly, which sometimes forces me to redo a patch that I did previously.

 

Financial Drain and Resource Misallocation

 

Constantly chasing the latest plugins or sample packs can quickly add up financially, diverting funds from investing in quality tools or learning resources. The temptation to acquire “free” tools often leads to a glut of subpar options that may not integrate well with a streamlined setup. There was a time when the number of plugins coming in was limited, but nowadays, multiple ones have been added. A site like KVRaudio is quite handy for following up on what is coming in, and they recently added a plugin manager to keep track of your installed plugins. Plugin Boutique has also been quite helpful if you have to reinstall all your tools because it is a portal to all the plugins you bought. Both have user reviews that come as applicable when you want to know how to invest correctly.

But if you are obsessed with the latest options and buy anything fancy that gets released, knowing which plugins are helpful for your workflow will be challenging. Considering how much money one gets from their investment, it is worth buying carefully. Using trials is undoubtedly something to consider.

 

Stunted Creativity Through Overexposure

 

The barrage of new sounds and tools might lead to analysis paralysis, where too much inspiration prevents a focused creative direction. I see this with people who have difficulty finding their own sound signature or identity as a musician. Instead of nurturing a unique style, producers might mimic trends or switch approaches too frequently. This means that if you don’t know how one tool works, you’ll be using the first few presets instead without going deeper into the options your tool is providing you. With an overabundance of content, listeners might find it hard to develop a personal taste or to follow an artist’s evolution, as the constant turnover of music can blur the lines of musical identity and innovation.

Each time you add a layer of tools to your kit, you are also potentially distancing yourself from your natural self-expression. One might have a challenge of not sounding like others or professional, but there are always simple ways to get there. If you always rely on audio cosmetics, you will be limited to the outcome of the tool’s options.

When I teach newcomers, I insist they work with the minimum possible. This limitation might be frustrating at first, but if you’re curious, it pays off quickly.

 

Reduced Value of Curated Experiences

The art of crafting a coherent track or album can be compromised when the production process is scattered across too many tools and ideas. Well-developed sounds tend to create a more cohesive and impactful musical narrative than a collection of half-explored ideas. If you go back to the 90s when the acid house or early techno had similar aesthetics, you may understand this was not a choice but because of the limitation of tools. Not having all the necessary tools might be a good thing for you. Perhaps organizing your ideas in batches of material where you can plan your next round of song exploration based on what you just acquired can direct how you want to use them.

 

 

Digital Hoarding can happen even if you don’t realize it. You are officially hoarding if you find yourself overwhelmed and disorganized and gathering more tools than songs being produced. The more you are conscious of this, the more organization you’ll have for your next studio session.

 

Electronic Music Is More Than Making Tracks

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People have become increasingly interested in making electronic music in the last decade. I find it more exciting than people getting into DJing. It’s clear to me that one or the other is a hobby that everyone who enjoys electronic music should explore. As you explore the art of DJ, you learn how to dig, get familiar with the roots of artists you love, discover music you didn’t know you loved, and build some obsession over tracks. It’s a fun hobby that fuels the scene, supporting artists and labels and feeding more energy into what you believe in.

Making music is a pretty deep activity. I mean it. Some people get curious about making beats, and before they know it, they’re engaged in an inner journey where they rediscover parts of themselves and create sounds they never thought possible. Making music mirrors its creator’s psyche, reflecting subconscious emotions and triggering memories.

Photo by James Kovin on Unsplash

Maybe you’ll think I’m crazy, but most people who have been exploring the art for a while will confirm that it’s not so silly. This is why I get it when someone wants to make songs first, but I am also excited to tell the newcomer that there is more to explore than making tracks. What’s a bit tricky to explain is that to make tracks, you need to do multiple activities first. Making a song is like writing a story or a novel. You need to live some adventures first to share a story. Or perhaps you have a lot of imagination, but real stories always bring substance.

I like to see songs as stories from the studio. They are a collection of moments built into a more cohesive narrative. Sometimes, a few related stories can also be paired into a conversation.

Regarding categories of songs, in my case, I have two main buckets:

  • Reference-inspired music: This refers to songs that are built with a precise purpose, such as making music for DJs, and is built to fit sets.
  • Personal agenda: collecting moments and miniatures and finding sounds that I would love to put into a live performance where I record the outcome.

 

The issue I see for people who start making electronic music is that they focus on creating a song but lack the experience, tools, and general workflow to get things done. They will then compare themselves, and the gap between what they made and other people’s music will be significant. Many want to make a personal song combining the two categories I mentioned. This is even more difficult because the person will lack one of the primary essential music skills: vocabulary. That skill comes with playing, rehearsing and repeating the techniques.

I found many tutorials on making songs and known artists showing how they made music or how to make one from scratch, but this is a steep activity for a newcomer. We could relate to that kind of video, such as sharing how to build a house. It is helpful, but you’ll practice someone else’s way of working, and it won’t show all the learning they’ve been going through, which includes failing, dealing with various issues and how they resolved them. Electronic music is supposed to be a playground where you play with all those toys and software to see what comes out of it, and then, down the road, you record something you want to share.

 

To record something without exploration is the equivalent of sharing a made-up story that you haven’t lived: it lacks the essence. Memorable stories are partly inspired by personal experience.

 

Making sounds without a purpose might not be romantic or exciting, but it is an activity that develops deep listening. That skill is essential for understanding sound, reverse engineering what you imagine, and mixing. Sitting there and listening to sounds you make or have found is valuable.

 

Besides making music, sound activities that have to be added to your rotation of studio sessions should include:

  • Listening to music.
  • Listening to samples, videos, non-related sounds.
  • Update plugins and gear.
  • Learn a specific effect by testing all the knobs/options.
  • Backup projects.
  • Rename and organize past projects and ongoing ones.
  • Use MIDI controllers paired with plugins and play with them.
  • Design one sound at a time: ex. Bass hit or percussion.
  • Turn loops into structures
  • Create Mood boards and fill them with samples, designs, and sounds.
  • Analyze Reference tracks and create templates for them.
  • Modular patching.
  • Create grooves alone
  • Create Hooks alone
  • Create beats alone
  • Design an arpeggio.
  • Try chord progressions.
  • Deconstruct the song structure of a project of yours and see what are the different alternatives.
  • Practice playing an instrument or a keyboard.
  • etc.

 

 

I will share some activities and exercises I do daily that you can also do. These provide me with some ideas and remind me that electronic music is more than just making songs; it’s just spending time tweaking, listening, and adjusting.

 

Studio Activities to Try

 

Here are eight studio activities that mix challenge, logic, and analysis. Each is designed to be a focused exercise in sound exploration that lets you practice a new skill and gives you material to play with at the end. These exercises allow you to treat individual sound elements as mini-compositions (miniature) while keeping things structured enough to evolve into a conclusive five-minute segment.

 

Focus: Parameter Modulation Mapping

 

Challenge: Explore manual modulation with the 2-hands Technique

 

Activity: This requires a MIDI controller and mapping some parameters to a plugin instrument or effect. One of the most straightforward yet most potent explorations you can do is to map two knobs to 2 parameters. Then, using your hands, you’ll explore the different results when one hand does something while the other does something else. As a starter, if you need an idea, you’d control the frequency cutoff of a filter, and the other parameter would be the resonance.

 

What happens when you move slowly one parameter while the other squiggles quickly?

What does it sound like when the two move in opposite directions, quickly vs slowly?

You could ask yourself many questions, but being curious is the best guide.

 

Outcome: This transformative manipulation can drastically shape sound. You might want to add a limiter immediately to avoid hurting your ears. Recording the movement can test various sound sources through your effect. Resample everything.

 

 

Focus: Layered Texture Sculpting

 

Challenge: Create layers for a sound to make it more complex or richer.

 

Activity: You can layer textures to a simple-sounding sample using an envelope follower and a few filters. If the sound is mostly a mi-oriented synth, you can layer higher-pitched texture by putting a filter in highpass mode. Since many sounds have content in various areas of the frequency spectrum, you can explore parts of it with an EQ that isolates a section. You can also practice FM modulation to make the sound richer and then have fun with multi-band processing (eg. compression or saturation) to blend it.

 

Outcome: Practice adding layers to sounds, which gives you options when exploring new hooks. You can use previous experiments,, or if you build macros while exploring, you can create them on the fly.

 

 

Focus: Micro-Rhythm Manipulation

 

Challenge: Explore a sound when repitched, stretched or sequenced.

 

Activity: There’s this interesting fact that a sound in a library can have multiple lives, just like a cat. You can use the same sample multiple times, and to avoid repeating yourself, you’ll change it so it feels anew. Changing pitch is one way of exploring a sound’s potentially new outcome. Pitch it down for darker moods and high for exciting overtones. Explore the sound in a different scale, as a chord or reversed. Changing its length and sequencing can also turn it into an unpredictable turnout.

 

Outcome: After resampling the new ideas, you can save them as new hooks or post them on mood boards that need fresh air.

 

 

Focus: Algorithmic Sequencing Experiment (Or any sequencing that isn’t usual to you)

 

Challenge: Use an algorithmic sequencer or generative tool to create evolving note sequences or parameter changes.

 

Activity: You can record the MIDI output to new clips using a complex sequencer or MIDI clips with probabilities on some triggers. Recording multiple new clips allows you to save practical and fun sequences to reuse. In Ableton v12, you can make a drum kit and then shuffle the sounds with similar ones. Shuffling sequences and drum selections allow you to preview sounds with a specific sequence. Sometimes, we have a melody we love, but the sound doesn’t fit, and vice versa. Exploring one or the other lets you see a broad palette for a selection. Algorithmic sequencing is a powerful tool to spit out ideas from your habits since you’re not in control of the sequence.g

 

Outcome: If you save them, the result is in 3 spheres with new drum kits, midi clips, and audio clips.

 

Focus: Resampling and Transformation

 

Challenge: Reshape a sound entirely

 

Activity: Using the option to record modulation to clip in session view, add multiple effects of your choice on the channel of the sample and then record yourself moving parameters. Tieing your modulation recording to a loop-based time creates a lot of change to the initial sample. When we play with effects, we rarely automate multiple parameters at once, so this activity is about exploring exaggeration and going to places you might not explore. Once you have some action going, resample the entire playful session.

 

Outcome: Recording a long exploration as this will always offer alternatives to the original idea. Those recordings can be new hooks or extra material to support the initial sound.

 

Focus: One-Plugin Challenge

 

Challenge: Choose a single instrument plugin and use it exclusively to sculpt your sound for 5 minutes.

 

Activity: Similar to making a miniature, this activity is about taking enough time not to achieve anything other than using your curiosity and seeing what comes out of it. Very often, we are task-driven with something in mind, which narrows the outcome of what your tools can do. Set your root key to C to resample the exploration in those moments. Being in C will let you import the recording to a sampler for easy manipulation.

 

Outcome: Limiting your tools forces you to explore every nook and cranny of a plugin, and not having a goal keeps you open to finding sounds you aren’t usually going far.

 

 

Focus: Dynamic Arrangement via Automation

 

Challenge: Turn a simple loop into multiple versions of itself using generative techniques.

 

Activity: Use the follow-action option in the session view to select multiple clips with a hook and create variations. The idea is to start with a simple loop, but the outcome will be different each time you play it. The record button allows you to save the order of the clips played, creating new hooks and unexpected arrangements.

 

Outcome: Either you resample the session or record the clip launching activity, but the outcome will provide a way of exploding the initial loop trap one can fall into. You can also revisit old projects and apply the same activity to recycle solid ideas in alternate versions of themselves.

 

 

Focus: Spatial Field Exploration

 

Challenge: Explore using space through panning, reverb and filters

 

Activity: Using a few samples from a new project or idea, spend time meticulously positioning them in space using panning. Quite often, that production phase is overlooked and left to be done at the end, either in the mixing phase or at some other point. Taking the time to explore what a sound can be like in the panning distribution can reveal potential flaws or strengths of a sound.

 

Outcome: The recorded performance might inspire spatial arrangements in larger tracks and help you consider sound positioning as a compositional element. Sometimes, moving around a sound will help make sense when paired with another. It’s a nice activity to listen to how sounds relate to each other, but from a spatial perspective. Also, exploring reverb use can give a new mood to the most straightforward sound.

 

Focus: Preset Owning

 

Challenge: Explore all the presets of your plugins and tweak them.

 

Activity: It is an enjoyable experience to go through all the presets of a plugin or synth and modify them to taste. You can, after that, either save them over the original preset or as a new one. Electronic musicians often disdain using presets, but you can see them as a starting point. You can also make them yours by changing them to your needs. Going through multiple presets helps you understand how a specific plugin works and how to configure it to achieve a particular result.

Alternative: My friend Jason likes to try to “break” plugins by pushing them to extreme settings to see what happens. By pushing them far, you can then roll back to less intense results.

 

Outcome: An expansion of your presets and a better understanding of your tools.

 

If you have suggestions, please share!

 

 

 

Learning, Growing, Pruning

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Yes, I know, this blog has been silent for too long. I was half burnt out of ideas, to the point of not wanting to do it anymore. In a way, that was a helpful feeling because I focused on learning instead.

Sarah Belle Reid

From having Sarah Bell Reid as a mentor, Omri Cohen‘s community and wisdom for inspiration and research. Plus, there are a bunch of random courses here and there. I think I learned more that year than in the previous ones combined, where I did some studying. I feel fortunate to have access to this. When I started making music in the 90s, there was no YouTube, so watching your friend’s work was the best way to learn. Montreal had a solid community then to help one another.

Reflecting on the past year (2024), I realized I love teaching and talking with people. But I also love learning (my 15-year-old self would never believe it). When you learn, you see what triggers passion and curiosity. These emotions drive me to learn, probably because I’m passionate.

I realized that so many people invest large amounts of money into gear or software without allowing any time or investment into being taught how to use all of that correctly. I have to say I’m partly guilty of that, but now I have caught up with my investment with enough classes for multiple years ahead.

One of the most effective ways (for myself) to truly learn music is not through isolated tutorials or hours of theory but by observing someone experienced in action. Watching an experienced musician navigate creative choices in real time, asking questions at pivotal moments, and understanding why a choice was made—that’s where the most profound lessons are. It helps understand each context where one technique might be used to achieve a specific result.

 

Many online courses fail because they’re out of context: with who you are, what you want to have, and what you want to achieve. Most electronic music producers don’t read manuals as they prefer to explore to learn. So courses often fail in the same fashion: linear learning isn’t for everyone.

 

Music education thrives on interaction, dialogue, and having the space to experiment without fear of making mistakes. Learning with a community is a way of getting accountability and will help acknowledge the progress of an artist. In 2016, I started offering free coaching and created a group on Facebook. It worked for several years, but eventually, it got tired. The objective of the group was to provide technical feedback on songs. I saw many people who initially joined grow into creative artists.

 

This is also why the artist retreats have been so precious. Online feedback is one thing, but things make more sense in person. We meet as friends, listen to one another’s music, share feedback, eat together, and discuss.  The weekend becomes an exploration of learning, validation and belonging. One of my favourite ways to see this is by inviting everyone to perform a song live (5 minutes more or less). Everyone says the same thing each time we do it:

 

“Why aren’t we doing this in our living room already?”

 

My most significant learning of 2024 was how the sum of all the teaching came down to the essentials of how I work. There’s not much I can learn if I don’t experiment and revise what I just acquired. Sarah started her course by explaining how circular learning is the key to progression. While I’ve been doing it all my life, it became clear that I have structured it by pruning what I learn, practice and eventually integrate.

Circular Learning: Cycles of “How Do I..?”

 

Learning (electronic) music isn’t a linear journey. It doesn’t follow a straight path from A to B. Instead, it moves in cycles—rounds or sprints of creativity. Sometimes, your learnings spring you forward, or your lack of time drags you down, but your music will never let you down. However, having people for whom you can play in person is essential. During retreats, we all agreed that we prefer five to ten people listening deeply rather than five likes/listens on a streaming site.

It’s different than learning how to play an instrument. It is multi-dimensional because it covers synthesis, arrangements, sampling, computer understanding, logic, mixing, etc.

This is where many musicians fail to learn online: a generalized lack of how-to structure themselves to get to where they want to be.

 

The typical scenario I see is someone with the time and budget to invest in music making and starts with strong motivation. As they explore, they’ll constantly hit walls and obstacles, making them realize they lack knowledge on various topics. If their workflow isn’t well defined and there’s a lack of self-organization, it can quickly bring them to the edge of giving up. As a musician, I keep getting exposed to many ads on so-called “solutions” or shortcuts, but I know they won’t solve my issues because I have experience. This is why I want to share some of my circular learning.

 

What is Circular Learning?

 

Circular learning means that instead of gathering all the information you need to progress, you’ll explore until you wonder how to achieve something and then get the information you need to move forward. As you see, you’ll be exploring, and then you’ll run into a “how do I..?” question, which will then bring you to the next step of Research. The results are usually either a solution or technique you can then test. This will open up new possibilities for you to explore.

 

I find that what’s critical is to complete your full circle, as this is a cycle that will bring you learning.

A cycle starts when you ask yourself, “How do I…?”

 

Examples: How do I make my vocal pop in the mix? How do I recreate this sound from scratch? How does this song hypnotize a crowd when played?

Maybe I’m hearing you think aloud: That’s what I’m doing already.

But how much is it working for you? If it does, then great. Now, you perhaps have the words to explain it better.

If it’s not working, maybe a phase of that circle isn’t handled correctly. Signs of success mean that you constantly add new skills and have fewer and fewer hurdles when creating. Something is incorrect if you learn new things but keep having issues before a challenge.

Cycles and their uses

 

Each cycle begins with finding a concept—an idea that sparks curiosity.

Then comes the proof of workability, where the idea is tested, put into a template or macro, and explored by jamming. If you constantly rely on tools and macros others build, you’re skipping essential steps in developing yourself.

Understanding how your concept works forces you to learn music production techniques, perhaps new tools you ignored and possibly learn more about sound itself. But sometimes, putting an idea in a technical environment doesn’t mean it works immediately.

There’s a phase of fixing and refining—adjusting elements until they feel similar to your reference. Once the template feels solid, it’s time to record ideas. This could mean capturing an improvisation, layering sounds, or finalizing an arrangement. You then have the heart and soul of a song to finalize the arrangements.

 

I often tell people that each of my songs results from a new technique I used and learned, providing a fun result. Sometimes, an album is a collection of multiple songs using the same method, making all the songs feel coherent.

 

 

But the process doesn’t stop there. The magic happens when the cycle begins again, not from scratch, but from the momentum of the previous session. Ideas mutate, evolve, and branch out into unexpected territories. Your last project is the seed of the following one. This also helps you keep presets, tools and materials you know work well. Consolidating knowledge and technique is done by repeating over and over something until it becomes very easy.

When you learn something, you need to practice it until it’s fully integrated.

 

This cyclical process mirrors how art develops in the real world—it’s iterative, messy, and deeply human. Artists look at other artist’s works, try to understand it, then come up with theories and tests. It might be a copy at first, but you’ll be elsewhere as you start practicing to perfect it.

Having references you can study will bring many questions and start new cycles. The more unique and inspiring your references are, the deeper you’ll be in your learning process.

 

Why Education Matters Now More Than Ever

 

I could go on about how learning electronic music is essential, but I’ll share some thoughts that may support my claim.

 

Market Saturation.

A few people have told me how lost they are when finding music they like. DJs feel overwhelmed by how many new tracks come up. Since music is becoming easier to make and can also be distributed without hassle, this causes a mass of music that becomes more difficult for the listener to find what they like. They might discover multiple pale copies of the music they want instead. Still, the lack of originality comes from artists who rely on shortcuts, templates, pre-made macros or any solution to speed up their workflow without an integration where they can innovate the sound itself.

The success of a song often relies on understanding what works but adding a new twist to it. The more you know what you want to do, the more control you have over your output, which means your musical vocabulary expands.

Higher quality and control will allow you to distinguish yourself and your art.

 

AI Music.

This type of music-making is entirely different from the music we make. An algorithm processes a prompt and turns it into a song. While it gives the impression that it makes music for you, your output is still limited as you don’t fully control the render. There’s room for that type of music, especially for making generic music or coming up with ideas you can revisit later on. Still, AI music skips one of the most essential parts of music-making: the long process of composition.

Making music is often more interesting than the outcome, but many people only focus on that part because it is the end of the journey. I like to compare it to travelling. Your travels aren’t the pictures you took of them, but the entire story from when you leave your home to when you’re back. All the good moments and the parts where you had to change plans are part of the journey. It’s pretty much the same thing with music-making.

If AI music expands your vocabulary or eventually replaces a lot of musicians, it will never take away the pleasure of making a song or jamming in your studio. But with education, you can make those experiences even richer.

 

Personal Understanding.

Understanding something you love doing opens the door to a community and feeds a need for belonging. As musicians often seek validation and appreciation, relying on their music to achieve this, they frequently don’t realize that they’re trying to respond to a need to be part of a community. Making a song can be a lovely business card to get into a community, but being able to share ideas, explain how to achieve them or help others achieve their goals is a need they don’t know they have. This is what education can achieve for artists because it teaches them new skills and one way to learn is to explain it to someone else.

 

Reverse Engineering Into a Concept.

The final point I want to share is how understanding allows you to hear other people’s music and be able to pull a concept out of it. Conceptual music implies that you’re not necessarily chasing or digging for a hook; instead, you’ll make music based on certain conditions. Imposing yourself limitations is a way to create focus on what matters.

 

I hope this has inspired you to dig for information and insights.

 

 

 

 

The Success Trap

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I went to a local club to hear a visiting friend from Romania for an all-night of music that was more aligned with my tastes, and while the DJ before him was a bit linear and predictable, my friend opened up with fresh-sounding music. He didn’t drop the Beatport top 10 music or anything directly linked to the previous DJ, not even an introduction to please the crowd. He dropped some obscure techno, which was a bit audacious, and he quickly followed it with a song from the 90s. The main idea of that track was a vocal saying, “Get House,” which was this song by Caliesto. Beautiful contrast.

 

 

Just hearing the sample, I had flashbacks of raves, lasers, glow sticks, and people dancing and sweating, just from a single sample that I heard, which brought me back to a specific era. In contrast to the previous DJ, where all songs blended well together in a seamless flow, there was unfortunately nothing memorable or tangible to grasp from it. I don’t remember a single moment, just a week after. This is not a criticism of someone’s music, but more to say that solid ideas age well because they create intense moments. If you listen to the Caliesto song, you’ll realize it’s relatively simple. Still, the hook is catchy enough for anyone to tell their friends later on about the primary sample, which others can probably remember easily.

It occurred to me that the definition of success has changed since the 1990s. Of course.

 

Back to DJs

 

As I got back into DJing, I’m exploring the options available, as numerous tools are now available. For instance, I got a professional account on Rekordbox and paired it with an experienced account on Beatport. This allows me to sync my playlist from the store directly to my Rekordbox, add any songs I want and then have this endless catalogue on hand. It’s basically like having Spotify, where your limitation is your music knowledge or culture. But even if you are new to it or limited, there are discovery tools to help you search what others like and play.

After synchronizing Beatport to Rekordbox and opening the music section related to it, I got overwhelmed. If you know me, you’d know that technology rarely overwhelms me. It took me a lot to get there, but I was staring at the selection and feeling lost. I wasn’t overwhelmed with possibilities; I was confused by how much junk was out there.

I’m not here to criticize the music again, but more from a meta-level, stepping back as a global view.

The number of songs that sound exactly like the previous one was blatant. Some of my favourite artists suddenly make songs with questionable sounds or presets, and many new artists create music with strange, unusable arrangements.

Am I too old for this?

Nah, don’t worry. Once I start digging, I still find a lot of fantastic music. So what happened exactly?

 

Music Democratization and Open Business Opportunities

 

In the 90s, electronic music software aimed to allow more and more people to make music by making it more accessible and affordable. This opened the path to countless music lovers interested in making music. I’d be a hypocrite to complain because I was one of those people with no music background; technology was my saviour. Jump 30 years later, add YouTube for knowledge sharing (fueled with the motivation of popularity of likes), and add aggregators who allow anyone with a finished song to access all online stores and streaming platforms. You’ll get albums of barking dogs, techno EPs made by eight years old, fart-fueled drone music and whatever you can think of, you can probably find it.

Is that bad?

It’s not me to judge, but the advantage of people being solid selectors is probably what can make a DJ stand out from their colleagues. But as a producer, I think the question is, can one escape the appeal of the mass wave of music similarity and perhaps be irrelevant?

Absolutely, but this is a tad complicated to cover because it is defined by multiple aspects, such as your Definition of done (DoD), your culture, your community, and what you consider success.

 

Success Trap

 

Whatever you see or identify as a “problem” is directly related to a micro-culture of habits that created that situation. For instance, if your bedroom is messy, you have a terrible habit of not keeping it tidy. If you want to clean it, once you have cleaned it, it will remain that way for a day or two until it gets dirty again. The real goal behind this is not to organize your room; it’s to develop cleanliness habits so it remains clean.

We can translate this to the music business as well. A considerable amount of people who consult me in private wish to finish more music because their goal is to be successful, which they translate by having:

  • Music being finished
  • Signed to a label

Labels see success by releasing music that eventually gets attention and sales. DJs see success with gigs, and Instagram reels with loads of likes.

While there’s nothing wrong with these, the focus is set on something that defines the success of an external party. You might never feel like it’s enough because there will always be options for better, and while it can become addictive, it can also feel depressing. But the appeal of seeing people having many likes, playing on the big stage, and having many streams is an image we might all crave; I can get it.

Seeing success in others as an end goal is a trap because it doesn’t focus on the habits that successful artists built.

 

Behind the successful DJ is daily research of old and new music, rehearsals, and research, but also many failures. Behind the successful release is the habit of the producer making music every day and making 23 different versions of each song. Behind the successful label is a team that spends time daily networking with media, DJs, and festivals. Behind each role model, there is a lot hidden, and that is where success lies.

While everyone is debating AI music (or images) generating tools, I rarely see anyone talk about how this is aimed at results and bypassing the creation processes and habit forming.

If you focus on having solid habits, results will follow. This starts with keeping your bedroom tidy, making your bed every day, and washing the sheets once a week. In the end, your room will be clean and remain clean.

This is not my pure invention. It comes from a book called Atomic Habits. I discovered that book years ago, and it made such an impact.

Breaking The Standards

 

In my last post, where I gave points on speeding up your work process, someone asked how this can flood the market with more unnecessary copycat music when I posted on social media. I asked him if my music was, and he said no (I know the person, so it was a good chat). It came down to how you use your speed and the aim of your intentions. But yes, if you work fast and aimlessly, you may get in the queue to make another version of the best seller on Beatport, which has probably already existed 200 times.

But how can one break standards, routines, clichés?

 

Forming Habits Based Around Originality

 

This is where it should all start. That implies recognizing what makes a song original, unique, and memorable.

 

 

Being more personal in your expression

 

There are two popular types of producers: those who want to sound like everyone and those who don’t want to sound like the rest. Each faces some issues:

  • Sounding like everyone else will not elevate you to the status of a leader. However, it can pay off if you find other people who quickly like the same sounds as you.
  • Sounding like no one will marginalize you, making it hard to find your community. When done right, originality can be acclaimed and turn you into an innovator.

But being more personal in your music doesn’t mean turning yourself into an alien. It means you can take known ideas but shape them into who you are. For instance, I love it when there is a melodic harmony in my music (using root keys and scales), but I have a hard time following typical chord progression that is popular in songs (progressive, lo-fi hip hop, etc.). When I make melodies, I just hit keys randomly using my ear and eventually organize my notes to make sense (to me). It’s weird for anyone into music theory because it doesn’t follow convention, but it makes sense because it is not harmonically wrong.

My friend Bryan, a jazz musician, said he preferred my weird melodies to some too-organized songs because ” they sounded more like you.”

A client used his voice to sing notes that he’d convert to midi. He felt like his voice would put to melody, something very personal.

It’s the same for percussion. You can follow conventions or play it weird with whatever you like… while remaining on the grid, so it’s playable by a DJ.

 

Master one or more music production techniques.

 

The more you master one technique, the more you can push its boundaries. Using a method on its low level is missing that zone where you can extract ideas entirely different from what everyone is doing. Thinking of J Dilla, he mastered sampling and swing groove, which brought his recognizable signature.

If you think of that Caliesto song I mentioned, it’s also about understanding execution more than just relying on the content.

 

 

Cross-pollinate genre inspiration.

 

If you read my blog, this often comes up. Songs that get attention are usually innovative, and recently, there’s been a news saying that David Guetta has done some country music, which is a good example. You might not like him, but in terms of business decisions, this guy always takes decisions that show the way. This also applies to handling sampling as a way of constantly innovating yourself. If you think you’re mastering that technique, think again.

Splice is also an excellent place to dive for inspiration. Their AI that suggests ideas to start with is pretty innovative and helpful. It allows you to break the routine and pick samples from other genres.

 

Avoid popular sample packs and presets

 

I can’t say this enough, but some genres rely on the same packs. Unlike drum and bass with the amen break, it’s a sample. We’re talking about a pack of multiple samples just used and reused to the point where it’s breaking any chances of growing as a musician. Considering the number of samples we can access, I have difficulty understanding why this is happening.

Using the same sample packs falls under wanting to sound like the others. One of the excellent features of Ableton Live 12 is the “Find similar samples” feature, which, with a click, proposes a wide array of options. So, perhaps you can start with a base of a few samples but then dive into your library to get similar-sounding ones.

 

While advocating for presets, primarily for self-education, I also encourage you to tweak them a bit so you can find various colours you didn’t know you had under your nose. While mastering and listening to a client’s music, it often happens that I’ll go, “Ah, he used this synth with that preset,” which is not a problem, but I find it a bit lazy. But that’s me, which means others might also think that. If you aspire to release it, you might not want a label to believe that of your music.

While there’s no “find similar presets” in Live, you can sort of work around it by creating a macro of your plugin by mapping parameters to knobs (as a group), then creating snapshots of your knobs. If you record yourself playing with your snapshots, you’ll see the knob’s position being recorded as well. Then, you can make a slew between the positions. There’s also a max patch that can do it here.

 

I hope this helps!

 

Photo by Matthew Moloney on Unsplash

Turning Efficiency Into Art With Ableton Templates

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DOWNLOAD MY ABLETON TEMPLATES:

Production template here

Mixing template here.

Every musician, regardless of their experience level, has felt the excitement of sudden inspiration. It’s an ethereal sensation, demanding immediate translation into audible reality. Yet, how often do we find ourselves navigating from scratch through our Digital Audio Workstation (DAW), struggling to set up the basics when all we want to do is create?

Here, the power of templates in DAWs like Ableton Live becomes apparent.

If you haven’t started using templates, I would like to encourage you to do adopt them into your routine. At first, this might be difficult to master, but with some practice, this routine will pay off.

 

So, what’s a template (if you aren’t familiar)?

It is a project with or without material, that can be used as a starting point. Instead of starting with a new project, which would be 0% in a scale of work out of 100%, a template would be more like 10% or even 40% towards the completed piece of music. This may be confusing because 40% done usually means having a lot of material in a project. However, when everything is organized properly, you are way farther ahead than you imagine.

Creating an Ableton template

To create a template, all you have to do is open a project, go to the File Menu, and select “Save As Template.”

This will allow you to have your finished project as a starting point to start new projects, vastly speeding up the process and giving you a consistent sound.

Two ways to organize an Ableton template:

Two ways I usually organize a template is to either create a project where I organize in advance everything I need like channels with plugins and settings already set to what I usually do, macros, return channels, and master bus ready. Once this is all prepared, I save it as a template.

The other way is to take a successful project, remove all clips, audio, and automation, and then save it as a template.

However, this isn’t an exact science. It’s also fun to save projects with automations and or other weird settings and save it as a template, as inspired by Matthew Herbert Manifesto.

Starting Fresh vs. Jump-Starting with Ableton Templates

 

There are pros and cons when staring fresh vs jump starting a project with template.

Many musicians will start fresh every time, perhaps because they don’t know about the idea of using templates or perhaps because they just know that way. Starting fresh offers valuable practice, fostering familiarity with their DAW tools, and enabling a tailored approach to every project. However, there’s a flip side: it’s time-consuming.

Imagine being a painter and having to craft your brush every time you felt the urge to paint. While understanding your tools is essential, it’s equally crucial to be ready when inspiration strikes.

The solution? Find a balance.

By all means, start fresh when the situation permits. But also arm yourself with templates to expedite the process when needed.

Template Idea: Create a project where you add multiple midi channels with each armed with your favourite synths. For each synth, hit cmd+G to turn it into a macro (Group) and map your favourite synth parameters to each knobs. This will ease hands-on control or hit randomize for some new inspiration.

TIP: I would encourage you to grab this selection of free modulators named Mod Squad 2. This has so many useful, essential tools to add to your template.

 

Ableton Templates: More Than Just a Shortcut

 

At first glance, a template might seem like just a preset, a way to save time. But there’s no problem with presets and trust me, it is not cheating!

While templates are certainly is a time-saver, it’s actually much more. Think of a template as a supporting musician friend, always ready to jam when you are. With templates, you can:

  • Create Macros: Setting up macros that you frequently use ensures you have immediate access to your preferred settings and controls.
  • Organize Routing: Advanced routing configurations, once set, can be easily replicated across projects.
  • Form Groups: Grouping tracks or instruments that often go together saves time and offers a clearer view of your project.
  • Pre-set Effects and Plugins: Having your go-to effects and plugins already loaded lets you dive straight into tweaking sounds.

Ableton Template Idea: Create your own mixing template by creating 5 groups that will host your project’s channels. You can then drag and drop them in each groups. Those can have multiple plugins of your choice. You can even create a mixing template with multiple channel presets and then you can drag and drop them from your browser.

The Art of Crafting Abelton Templates

It’s not just about having templates but about having effective templates. An ideal template should inspire creativity, not box it. Here’s how:

  • Diverse Templates for Diverse Needs: Instead of a one-size-fits-all approach, consider multiple templates for various purposes: mixing, sound design, production, and perhaps a comprehensive one, like my “mothership” concept.
  • Incorporate Modulation Elements: Add pre-configured modulation tools that respond and interact with what you introduce. Tools like envelope followers or audio scrubbers, such as the ones Manifest Audio offers, can automatically detect and modulate sounds, adding depth and dynamics to your music.
  • Think Support, Not Supplant: A template should never feel like it’s directing your music. Instead, it should feel like a base on which you can build. The best templates enhance creativity, not limit it.

When Ableton Templates Truly Shine

The true test of a template’s efficacy is in its ability to enhance creativity. If using a template feels like you’ve brought an extra pair of hands into your studio, aiding and elevating your music, then you’ve hit the sweet spot. It’s not about replacing the organic process of music creation but about having tools that streamline it.

In the world of digital music production, where the landscape is vast and the tools are many, templates emerge as a beacon of efficiency. They are not just about speeding up the process but about enhancing the very essence of creativity. They ensure that when inspiration strikes, you’re not just ready but equipped to let your ideas soar. Embrace the power of templates, and watch as your music production process transforms from mere creation to pure artistry.

 

DOWNLOAD MY ABLETON TEMPLATES:

Production template here

Mixing template here.

Rituals, Routines, and Habits in Music Production

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For us musicians, where creativity meets discipline, the secret symphony lies in the art of rituals, routines, and habits. Like the intricate notes of a melody, these elements intertwine to create a harmonious process that elevates musicians from novices to virtuosos. From finding the perfect hook to crafting intricate arrangements, these rituals serve as the conductor’s baton, guiding musicians through the labyrinth of creation. In this melodic exploration, we delve into the common threads that tie these practices together and uncover their transformative impact on the journey of music production.

 

One thing I observe with people I know and work with, is their lack of organization or time for making the music they want to do. Taking the time to make space for self care is an important thing for enabling more satisfying sessions. That’s what we’re all interested in, no? So why not allowing ourselves healthier skills?

Most of the time, it seems like many artists have the impression, or superstition, that their unhealthy way does it better. Call it self medication or stubbornness, one can stick to it until it works no more or because they’ve entered a self destruction phase.

So let’s talk about upgrading your sessions.

Let’s define what each mean.

1. Ritual: A ritual is a set of actions, behaviours, or practices that are carried out with a sense of purpose, intention, and often a deeper meaning. Rituals are typically associated with symbolism, significance, and a heightened sense of awareness. They are performed to mark a specific event, transition, or moment and often carry cultural, spiritual, or personal significance. In the context of music production, a ritual might involve a specific pre-recording meditation, setting up a particular workspace arrangement, or even a symbolic gesture before starting the creative process. Rituals can help create a focused and intentional mindset, bringing a sense of reverence and mindfulness to the creative endeavour.

Rituals are intentional practices with symbolic meaning, often used to bring mindfulness, focus, and deeper significance to a specific activity or event.

2. Routine: A routine is a sequence of tasks or activities that are regularly followed in a specific order. Routines provide structure and predictability to daily life. Unlike rituals, routines might not carry the same level of symbolic or spiritual significance. Instead, routines serve practical purposes and can encompass a range of activities, from the mundane tasks of daily hygiene to more complex processes like a musician’s routine for setting up equipment before a recording session. Routines provide a sense of organization, help manage time efficiently, and establish a consistent pattern for accomplishing tasks.

Routines are sequences of tasks that provide structure and organization to daily life, helping manage time and accomplish various activities in a systematic manner.

3. Habit: Habits are automatic behaviours that have been repeated consistently over time until they become ingrained in our daily lives. They require minimal conscious thought and effort to perform. Habits can be positive or negative, and they often develop as a result of repetition. In the context of music production, a habit could be a regular schedule of practicing an instrument, a daily ritual of listening to music for inspiration, or even the tendency to start each recording session with a cup of coffee. Habits are powerful because they shape our behaviour over the long term, whether for creative endeavours or daily routines.

Habits are automatic behaviours that develop through repetition and become ingrained in our routines, shaping our long-term actions and behaviours.

Rituals, Routines, and Habits: A Collective Symphony

 

1. The Prelude: Setting the Stage

Rituals, routines, and habits all share a common purpose: setting the stage for productive creativity. Just as a well-rehearsed orchestra tunes their instruments before a performance, musicians tune their minds and environment through consistent practices. These practices create a mental framework, signalling to the brain that it’s time to enter the creative zone.

There are multiple little things that you can do to enhance your studio and make it cozier and providing inspiration.

 

1. Thoughtful Lighting: Using LED lights that you can change the colors is a great way to change the mood on the fly. using candles is also lovely.

2. Comfortable Furniture: Invest in comfortable furniture, such as a cozy chair or a comfortable couch where you can take breaks and listen to your work. Also useful for visitors.

3. Personal Touches: Decorate the studio with items that inspire you, such as artwork, posters, or memorabilia related to your favorite musicians or bands. Personal touches can make the space feel uniquely yours and spark your creativity. Seeing people who inspire me to create helps but it has been shown that having picture of people you care for that look at you can raise your efficiency.

4. Acoustic Treatment: Incorporate acoustic panels, diffusers, and bass traps to improve the sound quality of your studio. Not only do these treatments enhance the acoustics, but they also contribute to a more professional and inviting atmosphere. In general, this is a must.

5. Natural Elements: Integrate natural elements like indoor plants, flowers, or even a small tabletop fountain. Greenery adds a refreshing touch to the studio and can create a calming ambiance.

6. Inspiring Colors: Choose colours that evoke the right emotions for your creative process. Soft, muted tones can promote a relaxed atmosphere, while vibrant colours might energize your space. Experiment with colour combinations that resonate with you.

7. Inspirational Quotes: Hang up motivational or inspirational quotes on the walls to keep you inspired and focused during challenging moments. These can serve as reminders of your creative journey.

8. Proper Organization: Keep your studio tidy and organized. Use shelves, storage containers, and cable management solutions to reduce clutter and create a clean workspace. An organized environment can lead to a clearer mind and more efficient work.

9. Personal Soundscapes: Play ambient sounds, like gentle rain or a crackling fireplace, to create a cozy atmosphere while you work. These sounds can help reduce stress and enhance focus.

10. Multi-Sensory Experience: Engage multiple senses by including scented candles, incense, or essential oil diffusers. A pleasant aroma can contribute to a relaxing and inspiring environment.

11. Comfortable Flooring: Choose a comfortable flooring option, such as a soft rug or carpet, to provide insulation and cushioning for long hours spent standing or sitting. Carpet can also help with acoustics.

12. Creative Break Spaces: Designate a cozy corner for relaxation and brainstorming. A bean bag chair, floor cushions, or even a hammock can provide a comfortable space to step away from your workstation and let your ideas flow.

13. Inspiring Instruments: Keep your instruments within arm’s reach to encourage spontaneous creativity. Display your guitars, keyboards, or other instruments prominently, so they serve as constant reminders of your musical pursuits.

 

2. Finding the Motif: Inspiring Creativity

 

Whether it’s a pre-recording meditation or a daily walk in nature, rituals stimulate inspiration by encouraging mindfulness and presence. Studies suggest that these practices activate the brain’s creative center, enhancing the ability to make connections and generate novel ideas—a valuable asset in the search for musical hooks.

1. Mindfulness Meditation: Mindfulness meditation involves focusing your attention on the present moment without judgment. You can start by focusing on your breath, gradually expanding your awareness to sensations, thoughts, and emotions. Regular practice can improve your ability to stay present and focused in various situations.

2. Guided Meditation: Guided meditation involves following the instructions of a recorded voice or a meditation app. It can lead you through visualizations, body scans, or relaxation techniques, helping you stay engaged and centered.

3. Breath Awareness: Concentrating on your breath is a simple yet effective technique. Observe each inhale and exhale, noticing the sensations as you breathe in and out. This practice can help anchor your attention and calm your mind.

4. Body Scan Meditation: In this practice, you systematically focus on different parts of your body, bringing awareness to physical sensations and releasing tension. It’s a way to cultivate bodily awareness and maintain focus.

5. Mantra Meditation: Using a repetitive word, phrase, or sound (mantra) can help direct your attention and quiet the mind. The repetition can be soothing and help prevent distractions.

6. Visualization: Visualization involves imagining a peaceful scene or a goal you want to achieve. Focusing on this mental image can help you concentrate and foster a sense of positivity.

7. Walking Meditation: Instead of sitting, you can practice meditation while walking slowly and mindfully. Pay attention to each step, the movement of your body, and your surroundings.

8. Progressive Muscle Relaxation: This technique involves tensing and then relaxing different muscle groups in your body. It can reduce physical tension and improve your ability to focus.

9. Yoga: Yoga combines physical movement, breath control, and mindfulness. The combination of these elements can help you improve focus, flexibility, and overall well-being.

10. Tai Chi: Tai Chi is a slow, flowing movement practice that promotes relaxation and mindfulness. It can enhance balance, coordination, and mental clarity.

11. Binaural Beats: Binaural beats are auditory illusions created by playing two slightly different frequencies in each ear. They’re believed to affect brainwave patterns and can aid in achieving different states of focus and relaxation.

12. Colouring or Drawing: Engaging in creative activities like colouring or drawing intricate patterns can have meditative effects, as they require sustained focus on the task at hand.

3. The Crescendo: Engaging in Routine

 

Routine, often synonymous with discipline, plays a crucial role in music production. Just as a musician practices scales daily to refine their technique, establishing routine can aid in refining skills such as recording, editing, and arrangement. Research indicates that regular routines enhance focus, memory, and overall cognitive abilities, all of which are integral in the intricate process of producing music.

If you’ve been following my blog, you know that I strongly encourage certain things as a routine such as:

  • Dividing your studio session in different phases (brainstorming, Concept testing, editing, loop patterns, arrangements, mixing) and approaching them one at a time.
  • Working on a song for 30 minutes and then work on another. Working on multiple tracks at once is helpful for self validation.
  • Taking breaks every 10 minutes for a few minutes.

All these will be helpful to develop as a routine as they’ll provide you the necessary to feel more satisfied with what you do.

 

4. Harmonizing the Elements: Rituals for Arrangement

Arranging a musical composition can be akin to composing a complex symphony. Here, rituals provide the structure necessary to weave different musical elements into a coherent whole. Studies highlight that rituals promote a sense of control and reduce anxiety—essential ingredients for tackling the intricate task of arranging various elements into a seamless composition.

Arrangements are to music, what the scenario is to a movie. Stories are made in so many different ways that to dive into how to do it, it’s important to get inspiration from storytellers you love. Personally, I love David Lynch and here are some of the points that he uses for his stories.

His style is characterized by surrealism, dreamlike sequences, and a blend of the mundane and the mysterious. Here are some key aspects of David Lynch’s approach to storytelling:

1. Embrace of the Subconscious: Lynch often delves into the subconscious and explores the depths of human psychology. His stories frequently incorporate dreamlike elements, blurring the lines between reality and the inner workings of the mind. This approach allows him to tap into universal emotions and fears that resonate on a deeply emotional level.

2. Dark and Mystical Atmosphere: Lynch’s storytelling often features dark and mysterious atmospheres that create a sense of unease and suspense. He blends the ordinary with the uncanny, infusing the mundane with an air of mystery that keeps viewers engaged and intrigued.

3. Visual Symbolism: Symbolism plays a significant role in Lynch’s work. He often uses visual symbols and metaphors to convey complex themes and emotions. These symbols may be recurring motifs or objects that hold deeper meanings within the context of his stories.

4. Unconventional Narrative Structures: Lynch is known for subverting traditional narrative structures. His stories may not follow a linear path, and he’s willing to leave certain aspects open to interpretation. This unconventional approach invites viewers to engage with the material on a more contemplative level, often sparking discussions and theories about the meanings behind his work.

5. Exploration of Dark Themes: Lynch’s stories frequently explore dark and taboo themes, such as violence, identity crisis, and the duality of human nature. He is unafraid to confront uncomfortable subjects and present them in a way that challenges the audience’s perceptions.

6. Use of Sound and Music: Lynch pays meticulous attention to sound and music in his storytelling. The auditory elements in his films contribute to the overall atmosphere and mood, enhancing the viewer’s experience and adding an additional layer of depth.

7. Character Depth and Ambiguity: Lynch’s characters often have hidden depths, and their motivations might remain ambiguous. This approach invites viewers to actively engage with the characters and their journeys, encouraging introspection and analysis.

8. Collaborative Approach: Lynch often collaborates closely with artists, musicians, and other creatives to bring his stories to life. This collaborative approach results in multi-dimensional works that integrate various artistic forms.

Perhaps these will raise some ideas.

Creating Your Own Musical Overture: Crafting Personal Rituals and Routines

 

1. Identify Your Goals:

Before crafting your rituals and routines, define what aspects of music production you’d like to enhance. Are you seeking greater inspiration, improved focus, or a more organized approach to arrangement?

 

2. Harness the Power of Consistency:

Choose rituals and routines that resonate with you and align with your creative process. Consistency is key—repetition helps solidify the connection between the practice and the desired outcome.

1. Set Clear Goals: Define specific and achievable goals for your music practice and performance. Having clear objectives gives you a sense of direction and purpose, making it easier to stay motivated and consistent.

2. Create a Schedule: Establish a regular practice schedule and stick to it. Consistency thrives on routine. Whether it’s daily, weekly, or monthly, having dedicated time for practice helps build momentum.

3. Start Small: Avoid overwhelming yourself with overly ambitious goals. Start with manageable practice sessions, gradually increasing the duration and complexity as your consistency improves.

4. Break It Down: Divide your practice sessions into smaller, focused segments. This approach helps prevent burnout and allows you to work on specific areas of improvement.

5. Practice Mindfully: Quality matters more than quantity. Focus fully on your practice without distractions. Engage in deliberate practice by identifying areas that need improvement and working on them purposefully.

6. Use a Practice Journal: Keep a practice journal to track your progress, challenges, and areas of improvement. This reflection helps you identify patterns, celebrate milestones, and stay accountable.

7. Embrace Repetition: Consistency is built through repetition. Repeatedly practicing scales, exercises, and songs helps you develop muscle memory and master techniques over time.

8. Prioritize Consistency Over Intensity: Regular, shorter practice sessions are often more effective than sporadic intense sessions. Consistency builds steady progress, while intensity can lead to burnout.

9. Find Accountability: Share your goals and practice routine with a friend, teacher, or fellow musician. Accountability can motivate you to stay consistent and track your progress.

10. Reward Yourself: Celebrate your achievements, no matter how small. Treat yourself after reaching milestones to reinforce positive behavior.

11. Embrace Imperfection: Perfectionism can hinder consistency. Accept that progress involves making mistakes and learning from them. Focus on improvement rather than flawless execution.

12. Stay Inspired: Seek inspiration from other musicians, genres, and styles. Exploring new musical territories can reignite your passion and keep your practice engaging.

13. Be Patient: Consistency takes time to yield noticeable results. Don’t get discouraged by slow progress. Keep the long-term perspective in mind.

14. Mix It Up: Vary your practice routine to prevent monotony. Experiment with different practice techniques, styles, and genres to keep your sessions fresh.

15. Rest and Recovery: Incorporate rest days into your routine. Rest is essential for preventing burnout and maintaining physical and mental well-being.

16. Adapt and Adjust: Life can be unpredictable. If you miss a practice session, don’t be too hard on yourself. Instead, adapt your schedule and get back on track as soon as possible.

3. Mindfulness and Presence:

Integrate mindfulness into your rituals. Whether it’s a pre-recording breathing exercise or a quiet moment before arrangement, cultivating mindfulness can amplify your creative presence.

My favorite book about this practice is “Wherever you go, there you are” by Jon Kabat-Zinn.

4. Document Your Journey:

Keep a journal to track the impact of your rituals and routines on your music production process. Reflect on moments of breakthrough, increased focus, or enhanced inspiration.

I personally love the Voice Memos on my iPhone to record some notes.

 

5. The Science Behind the Symphony: Insights from Studies

  • A study published in the “Creativity Research Journal” found that engaging in consistent creative rituals enhances creativity and provides a sense of control over the creative process.
  • Research in the “Journal of Neuroscience” reveals that mindfulness practices, often integrated into creative rituals, stimulate the brain’s default mode network, fostering divergent thinking and innovative ideas.
  • The “Journal of Experimental Psychology” suggests that routines can boost cognitive performance and improve memory, thus facilitating efficient editing and arrangement tasks.

 

In Conclusion: The Symphony of Productivity and Creativity

As musicians compose their sonic tapestries, the interplay of rituals, routines, and habits creates a symphony that resonates with discipline and inspiration. Just as a symphony conductor meticulously directs each note, crafting your own set of practices can transform your music production journey into a harmonious masterpiece. By understanding the common threads that unite these practices and embracing their transformative impact, you’ll not only find the hooks and arrangements that resonate but also unlock the full potential of your creative symphony.

References From Clients And Exercises

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When it comes to making music or mixing, you sort of need to start somewhere and to get inspired by others if often a good way to get started. There’s a lot of misconception on how to use references. While I covered that in a past article, I thought I’d go deeper on the topic. 

 

While there’s no right or wrong way to use references, I often use references for one thing in it. It can be a sound that intrigues me, a type of sequence, rhythm or concept that tickles my brain into trying to reverse engineer it. While I can most of the time understand what is going on, it doesn’t mean I can reproduce it as is. Some clients that I coach became really good at reproducing what they hear, sometimes with my help or not.

 

But the idea is to try something out and be open to where that will bring you next.

 

While I do a lot of production from clients, sometimes people wonder what others are into, who are the artists to follow but also, who are the artists that I personally follow for my own inspiration.

 

Many times, I have clients who start an idea based on a reference but they struggle to get it “right” as they want. I give here a few things to check first in order to get things started properly (in other words, this is where clients fail).

 

Load your reference song in Ableton (or other DAW) and you may solo it at first to be able to compare it to your project. I would advise to lower the volume of your reference as it may be mastered while yours isn’t.

 

There are a few initial points to consider:

 

  1. The tone: Use either an FFT analyzer (SPAN from Voxengo is free or Fabfilter ProQ3) on the master to see if the tone is similar. Is the curve similar or different from you

 

  1. Root Key/Scale: You can use a Key detector on your reference to see what is the root key and scale, then check if yours is set properly. While you don’t need to have the same as your reference, some clients don’t realize that their different elements are not in the same key. This will often translate with the feeling that the song doesn’t feel one or perhaps, that is sounds off. Note that it might sound off if you were overexposed and then you got used to it but for a fresh pair of ears, it might be awkward sounding.

 

  1. Speed and rhythm: Find the BPM of your reference and try to match it to yours. What is the time signature.

 

Lately I’ve been enjoying Decoda as a full analysis software. You can do so much with it as well as extract melodies in midi. I find it essential to work with demanding clients.

 

When it comes to artists my clients love the most, I compiled a few and will drop a few words why they are loved.

 

Ricardo Villalobos

Not a surprise here since he’s one of my favorite artists and a lot of people come to me know that I spent decades understanding his unorthodox style and can explain how certain of his songs are made. Love or hate him, that guy has certainly develop his own persona when it comes to production and his music composition is always opening new grounds to what you can do in music.

 

 

Things he has inspired us: 

 

  • Making super long tracks with more or less structure can be fun.
  • Leaving your songs sloppy has a more human side.
  • Combining really weird sounds all together can work if you keep some elements one can refer to.
  • Not afraid to sample obscure records as the main idea of his songs.

 

Ricardo is known to have a huge collection of modular synths but compared to many people who have a lot, he records new tests weekly so you can see the wide array of his tools. 

 

Exercises related to studying to his music:

 

– Use VCV to try the modular thinking he use and randomize some elements for madness.

– Polyrhythms are the key here with uneven time signature. Also look into Euclidean rhythms.

– Ric uses a lot of granular synthesis on percussion instruments or synths.

 

Vid

 

 

This is another that is often referred to as a reference. People love the simplicity and yet complex songs he makes. As opposed to Villalobos, his songs are quite polished and organized.

 

Things he has inspired us: 

 

  • Atmospheric techno is quite fun to make and is both exciting, while meditative.
  • Lush pads over field recordings are hypnotizing.
  • Dark tone gives a more mysterious vibe.

 

Exercises related to studying to his music:

 

  • Collect field recordings and ambient space sounds such as a restaurant or a church inside.
  • Grooves and beats that are groovy are worth being studied and I often recommend looking into pre-made loops and then copycat them. Removing a lot of the sustain of percussion to keep them short really helps having a minimal house feel.
  • He often doesn’t have bright elements and keeping sounds low will give a mysterious vibe.

 

Pablo Bolivar (Or Dub Techno)

 

Since I have a long background in dub techno, I get a lot of questions on how those pads are made. While it is not necessarily complicated, it still needs a bit of tweaking because what makes the dub techno pads captivating is the always moving side of them. That is coming from modulation or automation. Pablo does a great job of picking some nice sounds, pads and beautiful, lush melodies which makes him a reference for a lot of clients.

 

Things he has inspired us: 

  • A lot of classic dub techno has a 1 or 2 notes melodies, going full on minimal. Pablo brings in simple melodies but more complex than 2 notes which gives it memorable moments. 
  • Super clean production and mixes. Nothing unnecessary is ever added.
  • Just like Vid, his approach to have dynamic ambient makes it enjoyable for relaxation or dancing.

 

Exercises related to studying to his music:

 

  • Use a key root with a minor scale. Minor chords as well to complement the melody. Most of his melodies are 4-5 notes maximum. Consider doing chord progressions.
  • Use field recordings to complement the melodies.
  • Percussion are fairly straightforward here and repetitive. It does a fine job.

 

J Dilla

I wouldn’t say that anyone contacted me to make music exactly like him but I do have some clients into lofi hip hop, which in my opinion, is a derivative from J Dilla. He’s from the MPC generation where people would sample records and then play with it. His album “Donuts” is considered an innovative album for hip hop and is worth listening to it.

 

Things he has inspired us: 

 

  • Sampling blatantly and being bold about it. Sample some music from any source and use short notes of it, either to make your hook or to put an accent on whatever is happening. 
  • Go short. Learn to make songs that are under 3 minutes long. A challenge for techno but for electronic music, it’s an exercise that forces you to be straight to the point.
  • Exaggerate on swing for your percussion. Try to push it to the max to see what happens. 

 

Exercises related to studying to his music:

 

  • As stated above, those learning are also things to try. But I would recommend digging some records at a second hand shop and sample obscure parts.
  • Use a midi controller like the PUSH or with pads and try to manually punch in your beats.
  • Within a clip, play with the warp points to create weird stretches and elastic beats.
  • Slice up beats and reprogram them into a new patterns.

 

Fred Again

I’ve lost interest in pop music years ago and commercial electronic music has always been something I stay away from. But Fred Again has been impressing me for how he makes music and of course, for the end results. The thing about his music is that it’s basically the typical approach from any commercial, standard structure music that is made and good tastes is what matters here.

 

This means understanding chord progressions and working with key/scale is going to be the main focus. Using plugins like Captain Plugins suite will make a huge difference unless you have a lot of patience to learn music theory.

 

There are no shortcuts to this kind of music. But the tools you can use will make it easier.

 

His recent album with Brian Eno is what made me appreciate him. 

 

Daft Punk

 

I’ve been following the pair from 1995 until their separation. I don’t think there’s been many music acts that had the impact over their career like these guys did. It’s mostly due to their desire to innovate but also to take ideas that work really well and pull out some solid ideas to give it a new twist. 

 

In a past article, I was stating that there are 2 main modes when it comes to working on a project: you might want to repeat an idea you love from a song or artists vs you might want to innovate something from what you do.

 

The things I’ve learned from working with clients who want to get inspiration from them are mostly about, once more, digging for samples and then play with them. It’s sort of like what we covered from Dilla, but with a faster pace and 4/4 time signature. There was a point where the French Touch house/disco was all rage. That music was about using a sample with heavy filtering and the classic pumping/ducking effect. This technique is still used nowadays but with a bit more control where you perceive it less.

 

Besides filtering, some notable effects they use that you can explore today: Bit crushing, tape saturation, vocoder, heavy chorus/phaser. They also love a good 909 kit.

 

And to finish up, who are my personal references?

 

Ada Kaleh, Gigi Masin, Jan Jelinek, Rhythm and Sound, Vladislav Delay, Ricardo Villalobos, Matt Dear, Lawrence… but way too many to name.

 

Applying Da Vinci Principles to Music Coaching

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As you already know (well I hope, at this point), one of my speciality is to work with young or veteran music producers and remove struggles so they can create freely. Recently I’ve been studying how Leonardo Da Vinci was learning and creating, so I saw a crossover to what I do. After all, each song we make is basically a creation in itself, an innovation and a prototype for future project of ours. If it’s not already, I invite you right away to think of each song you make as a step taken in a direction that will lead you to greater things.

Leonardo da Vinci, mastered the art of innovation and interdisciplinary thinking, modern musicians and producers can draw inspiration from his principles to unlock their potential in the realm of music production. In this blog post, we will delve into each of the seven principles from the book “How to Think Like Leonardo da Vinci” and explore how they can be skillfully applied to music production, enabling you to become a true maestro in your craft. If you’re seeking to enhance your music coaching journey, embrace these principles as guiding stars to navigate the musical cosmos.

 

Curiosità – Embrace Musical Diversity

 

Leonardo da Vinci’s insatiable curiosity fueled his passion for knowledge and exploration. As a musician and producer, nurturing curiosità involves delving into various musical genres, styles, and cultures. Too often, as a producer, we get obsessed by a genre, a song, an artist and we focus on it for a while, forgetting anything else. Sometimes, the answers to our questions and inspiration pitfalls come from another unexpected source.

Break free from creative boundaries and venture into new territories to experiment with new sounds and musical elements. Diving in genres you dislike, switching to past eras of time, exploring the roots of another country are good places to look into. Drum and Bass took loops from funk. Hip hop samples jazz, while dub techno is inspired by reggae, which has roots in old African music. All genres taps into another culture and this means you can softly break rules by doing the same, whatever genre you’re doing.

TIP for inspiration: Find a genre to explore, pick any song and isolate an instrumental moment where you can hear the main melody then convert it to midi in Ableton.

 

Attend music festivals, workshops, pay attention to street artists and listen to a wide array of musicians from different backgrounds. Learn who inspired your heroes such as Villalobos’ love for Keith Jarrett. This diverse exposure will not only enrich your musical palette but also infuse your productions with unique flavours.

Dimostrazione – Hands-on Learning and Experimentation

 

Da Vinci’s approach to learning through practical experience resonates with music production. Aspiring producers should engage in hands-on experimentation with different instruments, digital audio workstations (DAWs), and audio effects. There is different projects one can do such as DIY reverb units, foley ideas or simply recording percussion out of anything at home.

A fact that I share to clients all the time: practice, practice, practice and make mistakes.

Practice creating diverse arrangements, experiment with modulation and synthesis, and explore various mixing techniques. By consistently practicing dimostrazione, you’ll build a deeper understanding of music production that theory alone can never provide.

TIP: I am curating a Youtube list of experiments you can try. That list is growing everyday and is filled with ideas to try.

Sensazione – Developing a Keen Ear and sharp vision

 

Sensazione refers to the sharpening of one’s senses, and for a musician, this means cultivating a keen ear for music. Train yourself to listen actively to various musical compositions, both old and new. Pay attention to the nuances of melodies, harmonies, rhythm patterns, and the subtle production details that make each piece unique. Regularly practicing ear training exercises will help you identify and appreciate intricate musical elements, allowing you to apply them creatively in your own productions.

 

TIP: Write some few notes and test all music scales to see how it sounds for you. Try all different chords as well. Spending time to know them will help later to understand melodies.

 

While we know music is about the hearing and that ear training is important, I also encourage to train your eyes as well. One thing I disliked when I used to work in a music school was that all teachers were telling students to only rely on their ears and from what I was seeing, that tip was frustrating for them. This is why I tell people to first learn to trust your eyes when you use sound analyzers and then train your ears to make the link with what you see.

As we work with visual tools such as a DAW, training yourself to know what happens when you click here and there or where to find your tools comes with practice but the visual organization is essential for speed. The faster you are with your tools, the more you’ll be in the flow when you think of an idea and want to execute it. This speed and understanding can only happen with practice… yes, once more and now you know it. I notice that even for myself, if I skip a few days of not practicing, I forget some ideas I have.

One thing I invite you to do is to learn and practice critical listening. That skill is extremely important for whatever you want to achieve and you’ll thank me later.

 

Sfumato – Embracing Musical Ambiguity

 

In the realm of music production, Sfumato encourages you to embrace ambiguity and uncertainty. This is where many producers struggle but also, the average listener. In the psychology of music listening, people can be on various modes. One is about listening to a song to reconnect with the mood, emotion, idea because of the emotional craving of having the song inducing that. An other is about discovering something new. Even when someone is open to listening to something new, they’ll have a bunch of personal filters that will make them decide if they like it or not: sounds used, tones, density, speed, scale, etc. If you come with expectations, you’ll most likely be not enjoying it.

Understanding that your listener has it’s own personal story once they listen to your creation will help you understand how you want them to hear it. Finding the right balance of ambiguity is the key to educate your listeners to be able to deal with more.

 

Music is an art form where unexpected twists and creative risks often lead to remarkable breakthroughs. Allow yourself to explore unconventional chord progressions, atypical song structures, and unorthodox sound combinations. Question what others tell you that you can’t do. Of course, some technicalities are essentials but if it’s purely arbitrary and personal tastes, it might be worth exploring the why behind anyone’s discomfort. Embracing the uncertainty will open doors to uncharted musical territories and give your productions a distinct, avant-garde charm.

But uncertainty is also the path of the musician. We don’t know if people will like our music, we don’t know if what we do will be understood, what kind of reaction it will bring us and ultimately, open or slow down our ascension as an artist. To develop ambiguity endurance is a good investment.

 

TIP: Consider that there are so many songs that have technical imperfections that eventually became seen as a risk, that they set the path to new standards. Accepting ambiguity means to accept imperfection, which is hard for perfectionists.

 

Arte/Scienza – Balancing Artistic Vision with Technical Expertise

Leonardo da Vinci famously harmonized art and science, a practice that resonates with music production, especially in electronic music. I firmly believe if he was around, he’d certainly be interested in how electronics can mimic sounds. Balancing your artistic vision with technical expertise is essential for achieving a polished and professional sound. While artistic expression fuels creativity, understanding the technical aspects of audio engineering, mastering, and sound design empowers you to bring your musical ideas to life with precision and finesse.

Some classes, courses and technical knowledge you could look into that would be beneficial could:

  • Studying computer science. I often say that if you’re computer challenged, it will be a hurdle to make electronic music for all the technology needs behind it. Studying how your computer works, hard drive, files management, hardware optimisation and also, coding, will definitely help in one way or another, especially if you have to troubleshoot.
  • Signal flow. Understanding the basics of sound with phase, polarity but also basics as what is loudness, how speakers/monitors work will help. You don’t need to study engineering in itself. But if there’s one concept I find essential, it’s gain staging. Especially for DJs, since so many are completely clueless on how to use a DJ mixer properly, which leads them to misunderstand how music is made. This would also cover bits and sample rate, two concepts essential for basic quality upgrade of your music.
  • Music theory. Maybe not that much needed as one can go a long way with little knowledge but to know the basics will certainly help.
  • Computer logic. If you’re not familiar with Boolean maths, logic (If, Then, etc), I would encourage you to look into it.
  • Sound synthesis. Looking into envelopes, LFOs, MIDI, signal rate, etc. There’s a lot to learn but getting the base will help you across many tools you’ll use because those ideas are general and used across many plugins, synths.

If you want to break rules, you need to understand them first. It will be also useful to be able to criticize all the misleading feedback you’ll read online.

 

Corporalità – Nurturing Physical and Mental Well-being

In the fast-paced world of music production, it’s vital to prioritize your physical and mental well-being. Long hours in the studio can take a toll on your health and creativity. Make time for regular physical exercise, meditation, and activities that rejuvenate your mind. A clear and focused mind leads to enhanced creativity, allowing you to channel your emotions effectively into your musical compositions.

Over the past 30 years, the rave scene and electronic music world has built a lot of glorification upon drugs consumption and many artists received royal treatment for how poorly they’ve treated their body. While I value the importance to celebrate and do experiment, I also think that all the self care possible will do justice on the long run. If your art needs years to be recognized but your health won’t let you see it, then you’re failing your success.

In my case, I see how running, doing workouts and lots of yoga has paid off. The days where I run 10km are extremely productive and more creative than any evenings I spend partying and trying to accomplish something. Finding the balance helps much. I’m happy that in the last few years, there are more importance for healthy lifestyles and I totally see the point of that.

TIP: Learn to spot inner tensions when making music which should be a cue that you need to stop, go for a walk to think about whatever is happening and then come back.

Connessione – Uniting Musical Elements

Finally, embrace Connessione, Leonardo’s principle of recognizing interconnectedness. Music production involves various elements like melody, harmony, rhythm, and texture. Learn to see the bigger picture and identify how each component contributes to the whole. Effortlessly blend diverse musical influences and genres, making your productions a testament to the beauty of unity within diversity.

One exercise I’m doing much these days is to listen to melodies in any song and then pay attention if the notes are going up or down, what is the pattern. Then I pay attention to the rhythms of those notes and see if they come at the same time or not. That kind of attention is a way to observe how music is made across genres in order to see how I can create my own melodies. Any notes can then be applied to my music, maybe also reversed engineered in modular terms, such as a way to use an LFO to create regular melodies.

 

 

As you embark on your music production journey, channel your inner Leonardo da Vinci and embrace his timeless principles. Cultivate curiosity, experiment boldly, and listen attentively to the musical world around you. Embrace ambiguity, balance artistry with technicality, and prioritize your well-being. Recognize the interconnectedness of musical elements, blending diverse influences into your unique compositions. By applying “How to Think Like Leonardo da Vinci” to music production, you’ll unleash your creative genius and pave the way for a remarkable musical legacy.

Tools To Understand Your References

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We’ve all been there—struggling to compose that perfect melody or write those captivating lyrics, only to be hindered by the relentless pursuit of originality. But what if we told you there’s a way to break free from this creative conundrum and discover a whole new dimension of musical ideas?

 

No matter how many times I get to my computer to make music, I’m often on 2 modes: trying to make music that will be completely original or trying to emulate ideas that I love (eg. the opposite of being original). In most cases, I forget that I have fun unless things feel flowy. Luckily there are multiple techniques that can be understood from music we love and there are also many facilitating tools to help understand whatever is the magic of certain songs. I’ll suggest some of the tools I use when I do production for clients.

 

Recently I read the book by Austin Kleon’s book, “Steal Like an Artist,” where we’ll uncover five valuable ideas to set your musical exploration. I felt like I could see how this applied to music.

Embrace the Remix Revolution:

 

In a world overflowing with music, finding absolute originality can feel like searching for a needle in a haystack. But fear not! Kleon suggests embracing the concept of the remix—a creative collage of existing ideas and influences. Remember, even the most renowned musicians have been inspired by the sounds of yesteryear. So, dive into the archives, explore different genres, and let the magic of cross-pollination unleash your musical prowess!

The first exercise I give to any client who is in a writer’s block that won’t go away, I suggest them to get a bunch of loops and start remixing, without any goal. I would like to say that while this is the best remedy for most cases, some feel like this is stealing samples and such. But if the mind is stuck, it’s mostly due to overthinking. Getting the ball rolling with a simple exercise of playing with premade ideas is just an opened door to jump back and then expand to whatever feels right.

 

TIP: It’s hard not to have fun by using the vast amount of quality loops you’ll find on Splice. It also offers possibilities of rent to own synths, plugins or have presets for the genres you like. It also has a desktop app where you can preview loops, then import them in your DAW. I like also that you can sync the app with your project’s tempo by using the Splice VST.

 

Another alternative is to use Loopcloud, which is a bit like Splice but also features some tools like a really lovely drum machine where you can import any sounds from the library. 

 

TIP 2: I like to use Soundsnap for samples. It features so many found sounds, foleys, random recordings. It’s used in movies and it can be used in your songs as well.

 

Swipe Ideas, Not Identity:

As musicians, it’s natural to aspire for a unique sound that sets us apart. However, trying to force originality often leads to creative paralysis. Instead, take a leaf out of Kleon’s book (literally!) and steal ideas shamelessly. But here’s the catch: focus on the elements you admire and rework them into something entirely your own. Give credit where it’s due, but don’t be afraid to put your personal spin on things. After all, the world doesn’t need another copycat—it needs the extraordinary blend that only you can create!

Now, remixing can be more subtle. You could listen to Keith Jarrett, some old Studio One dub, modern classical and then pay attention to the sound used, how they are said (melody) and the space created. 

 

What are you noticing? Are the notes slow or fast? Is it dense or open? What is the time signature?

 

Write down the notes, then apply the concept to whatever you do. That’s cross-pollination.

TIP: You can buy MIDI packs or MIDI melodies a bit everywhere and look into ideas that aren’t in the genre(s) you’re doing. The MIDI notes don’t make a sound, they’re just melodies. You can use random harmonic sounds or use synths of your choice so you can pull out melodies that are out of your routine.

TIP 2: So many clients don’t realize that one step towards their songs feeling more professional is to use one root key with a scale. I like the numerous tools from Captain Plugins. They have studio related plugins that lets you understand the key and scale of important ideas or your own melodies (eg. some clients just improvise some melodies to later find out it is in a specific scale without knowing!). You can also look at Tonic for that type of analysis.

 

Curate Your Influences:

Ever heard the saying, “You are what you eat”? Well, in the world of music, “You are what you listen to!” Surround yourself with a diverse range of musical influences. From classical compositions to avant-garde experiments, absorb it all like a musical sponge. By curating a unique tapestry of influences, you’ll develop a rich palette of sounds to draw from. So, don’t be afraid to embark on a sonic adventure—you might just stumble upon the spark that ignites your musical genius!

 

To make quality music, you need to be exposed to quality songs.

 

This means, listen to music as much as you make some. From what you listen, try to diversify your repertoire as much as possible. When you discover an artist you like, dig his roots, early works and recent ones.

 

Befriend people who have deep love for music and ask them for recommendations. People aren’t asked enough about their favorites but it’s a loved topic if you’re into music.

 

I love this max patch that opens up the directory of all the sounds from Freesound.org. I love that site because it’s free but also because you can ask for random samples. I also like this page that gives me random Youtube videos to watch…

 

TIP: Elphnt did a nice patch that gives you ideas for starting new ideas or if you lack ideas at some point.

 

Constraints Set You Free:

 

Contrary to popular belief, constraints can be a musician’s best friend. Kleon emphasizes the importance of setting limitations to unleash your creativity. By giving yourself specific boundaries, such as time restrictions, limited instruments, or even unusual song structures, you force your mind to think outside the box. These self-imposed challenges become the catalyst for innovation, paving the way for musical breakthroughs you never thought possible.

 

TIP: Make yourself a drum kit and just a few samples for your song making. Pick a random songs and use that as a template for yours (BPM, section, mood, key, scale, etc). I love the tool of Decoda because it can really help pulling out a melody or understanding of how a song is arranged.

 

Embrace the Journey:

 

Creating remarkable music isn’t a sprint; it’s a lifelong marathon. As you embark on your musical odyssey, remember to enjoy the ride. Kleon encourages artists to embrace the process rather than obsessing over the end result. Each composition, each practice session, and each stumble along the way is a vital part of your growth as a musician. So, buckle up and savor the adventure, because it’s the journey itself that shapes you into the artist you were meant to be.

 

But what happens when you’re a dad or you have a demanding job and you can’t invest much time into your favorite hobby? The journey becomes a bit more complicated. Can you still embrace the results without having the time to do what needs to be done to get your project going?

 

There you have it, intrepid musicians! Armed with Austin Kleon’s invaluable insights from “Steal Like an Artist,” you now possess the secret weapons to break free from the shackles of creative blockages. Embrace the remix revolution, swipe ideas with pride, curate your influences, thrive within constraints, and, above all, savour the journey.

Remember, the music world is your oyster. So dive in fearlessly, create unapologetically, and let your stolen melodies reshape the very fabric of musical innovation. 

 

Max For Live Gems For Ableton

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(Updated June 23rd 2023)

I’ve been wanting to cover some of my favorite Max patches for a while. There are so many and sometimes, some are just meh and others, will be quite amazing. Since I’m basically hoarding digital tools for my studio, I thought I’d compile a list of some patches that feels like it’s hacking the production flow to the point where it’s like cheating.

 

Every now and then, I’ll be making music and whenever it feels too easy (it doesn’t happen enough though), I always the impression that it’s wrong. 

 

In coaching, I teach that it’s never a problem. My take on this is to harvest ideas when it feels too easy because you might have found a hack and if it sounds good, then it means you found a way to express yourself.

 

This is why I never have enough tools that ease my creativity but I don’t rely on them as a quick fix for something I can normally do. If there’s a shortcut to something that takes a long time, which provides the same results, I’ll always go with the shortcut. Decision fatigue is something that ruins many studio sessions, and the meter goes down whenever you need to fix something or run into a complicated workflow.

 

In terms of tools, I have a few categories and I’ll present them based on a need or problem.

 

I like to think of the different needs related to music coming from different spheres. 

 

Melodies: Sequencing, hook building, not harmonies, slicing/rearranging, generating.

 

Sounds: Design, harmonic/inharmonic, quantized, envelopes.

 

Effects: to be paired with sound sources so there can be variation and alteration.

 

Rhythms: generating, rearranging, unorthodox patterns, familiar patterns, ratcheting.

 

If you read my article about VCV and how the brain, the heart work, you’ll have one central source of sequences in one channel and then, you’ll have other channels that are the sounds who will receive the signal from. This is why I separate my sources and receivers. When you hunt for new ideas, you might have a nice melody but not the right sound or vice versa, so you want to be able to swap between them.

 

This is why I love VCV and modular because you can have built systems of melodies generating tools that send to multiple sound sources.

 

1- Sequencing : I want to create different rhythms or find patterns out of my usual flow

 

When it comes to sequencing, there are multiple ways to do it. You can use a note pattern from a midi clip if you want precise ideas. This is useful to lay the main idea of a song and to have direct control over the development of a pattern. But when it comes to generating ideas, I find that step sequencers that have random options, probabilities, phrase length adjustments to name a few, are super useful. It turns your machine into an idea maker and then you can cherry pick what suits your idea.

 

Drum sequencers that come top of the list for me are XO by XLN and Atlas. Both are quite similar but they offer in-context sample swapping, as well as sample organization, so it becomes really easy and fast to swap a sound to see what it would be like. Both offer different complementary ideas which is why I often use both but they’re not cheap.

 

Otherwise, if you want a quick fix, the Alexkid Instant Haus max patch is a free alternative. It will create some different rhythms for all your percussion instruments but you can use it to sequence notes or swap percussive for musical elements. Sadly there is no Max patch to hear percussions in context like Xo does. If you like that one, he also made other bundles that are pretty badass here, with more generating ideas for percussion.

 

I saw this patch here that is quite interesting. It is there to generate ideas so there are some nice potential. Also super powerful, comes Polyrhythm by Encoder audio, which is one of my favorite developers.

 

I also like Eucledean Pro because it uses the classic Euclidean approach to create beats.

 

Not long ago, a new max sequencer came out and it’s named Opal. It’s very influenced by Elektron machines. It’s really dope and can achieve so much for drums but also just for textures and even melodies. Powerful.

 

2 – Sequencing Melodies : Generate hooks, phrases and musical ideas

 

There are many ways to create a hook. You can use sampling (we’ll get there later), play melodies, extract melodies, combine sounds to make something catchy, record instruments or sounds… All those pretty much cover the main ways to find a hook. Depending on a specific genre, a technique might be used more frequently. 

 

For ambient and electronic music, in general, sequencing ideas/notes to a synth or sound source is quite popular. Basslines, pads, chords and melodies are often coming from the piano roll. But you could use a melodic sequencer to do so.

 

I’m obsessed with melody sequencers. They’re fun but they also feel like you have a partner which you can tap endless ideas from.

 

Here are some of my favorites:

 

Pattern Generator by Manifest audio. Solid for creating complex or simple melodies as well as can be used for drums.

 

Snake: Brilliant patch for quick sequences.

 

Ask and answer: Works for creating call and answer hooks.

 

Turing Machine: inspired by Allan Turing, this device spits out sequences randomly and then you can loop the parts you like.

 

Aisle: This complex generating tool finds original sequences and patterns based on repetition. I find that this is excellent for percussions and evolutive percussive melodies.

 

On the more experimental flavor, Dillon Bastian has been a hero. It’s hard to explain in a few words what they do but he’s basically creating patterns and sounds through a visual context. For instance, with Rhythmorphic, he uses visual maps that shape how the patterns happen and what notes are triggered. It’s a bit hard to explain but it’s something quite unique and you can shape some very unique patterns. This can be very organic sounding, sort of like a chime. Or you can also use it to trigger percussion.

 

3- Sounds: I want to have sounds that are new to me but still not too crazy (or not).

 

When it comes to making sounds, I often deal with 2 kinds of mindset. On one hand I often find myself wanting to emulate sounds from songs or artists that I really like. I will try to reverse engineer how it sounds and will noodle around a bunch of different presets, pick the one that is the closest and then try to tweak it to something close to the target. 

 

This is where “instruments” get handy. While you have a lot of options already with Ableton’s internal synths which are excellent, I compile a few ones here for you.

 

Chiral: Named holographic synth, it creates unreal sounds, based on multiple synthesis approaches. Hard to describe, these textures will sound very artificial, in a good way. Think of the ultimate synth for scifi score.

 

Iridescence: This is a delay unit that turns simple sounds into arpeggios. You can basically turn any sounds into a melody.

 

Grain Forest: The opposite of Chiral. It creates super organic sounds and environment. Bastian built an evolutive instruments with visuals of wind, seeds, trees that grow and die. It’s very relaxing and mesmerizing on its own.

 

poly-Plaits: The Plaits module is from Mutable Instruments and while this is an open source synth, it made its way to Max for live. It’s a synth with models. It sounds lovely.

 

Rings: Another take on Mutable instruments but this one is with the module of the same name. It’s a resonant synth with beautiful chime, bells sounds.

 

Copy Machine: This sampler takes a sample you pick and creates copies of it. The results are a bit mind boggling. Imagine you take a clap sample and turn it into a bunch of people who clap at the same time.

 

Fortrek: Inspired by the 4 tracker tapes of the 70’s and 80’s, this takes multiple recordings and scrubs through them. Really lovely for lofi feelings.

4 – Effects: Adding spices and colors

 

Never judge a boring sound as not useful because sometimes, adding the right effects can bring a whole amount of fun to it.

 

Granular Mirror Maze: A granulator that spits out super nice textures out of percussion or synths. Ideal for pads and backgrounds.

 

Maze: A looper, tape style with pitch. It is quite fun for creating off the grid ideas and have more of a musique concrète style.

 

Nube: a take on Clouds, an all time legendary modular effect that is a combination of delay, reverb and granulation.

 

Muse Concrète: This super advanced tool is not for everyone. It’s the ultimate tool to record and mangle sounds around. Big ups to my bro Offthesky for that one.

 

All effects from Encoder Audio are amazing.

 

I recently discovered the work of Robert K / Groov Mekanik and his vast collection of patches impressed me. Not only most of them are free and those who are for sale are at super low price, but the tools he has covers some needs that new and experienced producers want. I was appealed by the High Frequencies limiter that many artists should use as many often boost the highs too much. One patch I’d recommend getting right away is the Note Probability that is super useful for generative patches, adding flow and performances. It simply remove out some notes due to probability. Go have a look, there are some lovely tools in there.

 

But honestly, I think the most of what you have is by adding modulation to what you already have. This is why modulation options are useful. Here are some of my favorites:

 

Auto-Slider: Another brilliant essential tool from Offthesky. It records your movement and make turn it into a LFO or super long function signal.

 

Strange Mod: Dillon Bastian drops this amazing modulator that I use everywhere. Ideal for unusual random modulation.

 

Source: Inspired by the Buchla 266, it creates random signals.

 

All LFOs by Kentaro: Advanced and sophisticated, these can bring any modulation to the twilight zone…

 

I will update this page when I find new things so you might want to bookmark it. If you have suggestions, please share them!

 

How AI is Helping Musicians Break Free From Unoriginality

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When it comes to creating music, there is a never-ending tension between the desire to innovate and the pressure to make money. Many musicians find themselves trapped in a cycle of producing unoriginal music that fits neatly into pre-existing categories, all in the name of pleasing their audiences and making a profit. But what if there was a way to break free from this cycle? 

We recently talked about slowing down to learn new skills, but let’s have a view on the the most techno-technology out there.

Enter artificial intelligence (AI), a tool that is increasingly being used by musicians to push the boundaries of what is possible in music production. As AI been bringing a lot of controversy in the artist community because it is a game changer in democratizing its access, I wanted to focus on the positive aspects.

 

Using AI to Generate Ideas We Wouldn’t Think Of

 

One of the reasons why musicians tend to produce unoriginal music is because they are constantly aware of the latest trends and what is popular among their audiences. In order to make money, they feel pressured to produce music that fits neatly into these trends, rather than exploring new territory. This results in a homogenization of music, where everything starts to sound the same. If you read this blog often you’ll know that we often refer to the “success trap” where one tries to repeat a success story and that leads to nothing.

 

AI, on the other hand, is not aware of these trends. It doesn’t have a preconceived notion of what is popular or what will sell. Instead, it is able to analyze vast amounts of data to identify patterns and connections that humans might not be able to see. This makes it a powerful tool for innovation in music production.

 

For example, AI can analyze existing music and identify common elements that could be used to create something new. It can also generate entirely new ideas that humans might not have thought of. By using AI, musicians can break free from the constraints of their own creativity and explore new territory that they might not have discovered otherwise.

 

AI Can Recycle Old Ideas In Innovative Ways

 

But AI is not just a tool for creating entirely new music. It can also be used to recycle existing ideas in innovative ways. For example, AI can take an existing melody and transpose it to a different key, or it can apply different rhythmic patterns to a familiar chord progression. By using AI in this way, musicians can create something that feels fresh and new, while still drawing on familiar elements that their audiences will recognize.

 

Of course, using AI in music production is not without its challenges. Some musicians worry that it will make their work feel less authentic, or that it will take away the human element that makes music so special. But the truth is that AI is just a tool, and like any tool, it can be used in a variety of ways. Musicians who embrace AI as a tool for innovation and exploration can use it to enhance their own creativity, rather than replacing it.

 

AI Tools For Making Electronic Music

  1. Amper Music: A platform that uses AI to generate original music tracks based on user inputs for genre, mood, and tempo.
  2. AIVA (Artificial Intelligence Virtual Artist): A composer and music generator that uses deep learning algorithms to create original pieces of music in different genres.
  3. Melodrive: A tool that uses AI to create personalized music for video games and other interactive media, adapting the music to the user’s behavior and emotions.
  4. Google Magenta: An open-source project that aims to advance the state of the art in machine learning for music and art generation, providing tools for creating and exploring new musical experiences.
  5. Amadeus Code: A tool that uses AI to help songwriters generate new musical ideas, providing suggestions for chord progressions and melodies based on user inputs.
  6. Humtap: A platform that uses AI to help users create original music by providing suggestions for chords, melodies, and lyrics based on their inputs.
  7. Emergent Drums: generate drum kits with a few clicks. Powerful!
  8. AI Kitchen: Still not public but this one looks promising. It is basically the Midjourney of audio. You enter prompts and the AI provides ideas.

How To Spot If A Tool Is Actually AI and Not Something Else:

It can be difficult to determine whether a music production tool that is described as AI-driven is really using AI, as the term “AI” is often used loosely and can mean different things in different contexts. I’ve noticed a number of plugins that say they use AI but aren’t really. However, here are some things to look for that may indicate that a tool is using AI:

  1. Machine learning algorithms: Many AI-driven music production tools use machine learning algorithms to analyze and generate music. If a tool claims to use AI, it is worth looking into what specific machine learning algorithms it is using, and how they are being applied.
  2. Training data: AI systems require large amounts of training data to learn from. If a music production tool claims to use AI, it is worth checking what training data it has been trained on, and whether it has been trained on a sufficiently diverse and representative set of data.
  3. Output variability: One hallmark of AI systems is that they can generate a wide range of outputs based on a given input. If a music production tool is able to generate a large number of unique tracks or variations based on user inputs, this may be a sign that it is using AI.
  4. Expert endorsements: If a music production tool is endorsed by experts in the field of AI or music production, this may be a sign that it is using legitimate AI techniques.
  5. Transparency: Finally, it’s important to look for transparency in how the tool is described and marketed. If a tool is vague about how it uses AI or makes unrealistic claims about what it can do, this may be a red flag.

Ultimately, the best way to determine whether a music production tool is really using AI is to do some research and ask questions. Look for reviews from reputable sources, ask the developers about their AI techniques, and talk to other users to get a sense of how the tool performs in practice.

 

Generative vs AI

Generative music is the ancestor of AI music. What we do in the modular realm is basically prehistoric cavemen stuff compared to the high tech approach of modelling systems. Modular is sort of relying on boolean logic and basic operations. I think it’s important to explore generative music to understand how machines are there to create material for you to use in your music. Generative music will provide you multiple outputs of ideas based on parameters of your choice. Generative music is something that is important to understand if you’re looking to break writer’s block.

One flaw I like from AI is its lack of understanding good or bad ideas.

It just does things it knows how to do.

You can then take clumsy takes to turn them into ideas of yours. A bit like one joke from a toddler can be used to make some funny stories in adult ways.

So, to all the musicians out there who feel trapped in a cycle of unoriginality: it’s time to reconsider your approach. By embracing AI as a tool for innovation, you can break free from the constraints of what is popular and explore new territory that you might not have discovered otherwise. Whether you are creating entirely new music or recycling existing ideas in innovative ways, AI can help you push the boundaries of what is possible in music production.

 

Slowing Production to Better Learn

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In recent years, mental health has become less of a taboo topic among musicians, and for good reason. The music industry, as well as streaming services, have put immense pressure on musicians to create music that may not be true to who they are, leading to destructive conditions that are negative for creativity. It’s sort of sad that some artists are now sharing their mental health updates but at the same time, it also the first step to getting suppor. Therefore, I thought I’d write about mental health and music. 

 

We’ll explore why it’s essential for musicians to live rich, fulfilling lives outside of music in order to create music that has more depth and meaning. I’d like to propose some ways to make meaningful music that does sacrifice your mental health. 

 

Chasing success

 

The pressure to constantly produce new music is undeniable in the music industry. We’ve been told that if we don’t release music, we haven’t received validation and if we are quiet for a while, people will forget about us. The need to keep up with the latest trends and remain relevant has led to an overwhelming emphasis on quantity over quality. Musicians are often pushed to create music that is less relevant to who they are, sacrificing their authenticity for the sake of commercial success. This can be incredibly damaging to a musician’s mental health, leading to depression, anxiety, and burnout. Let’s not forget that it leaves traces of past albums that you might feel completely disconnected from.

 

Additionally, touring can be an incredibly stressful experience for musicians. The constant travel, lack of sleep, and pressure to perform can take a toll on their mental and physical well-being. The industry has normalized the idea that musicians should work themselves to the bone, with little regard for their health and well-being. This toxic culture can create a hostile environment that is not conducive to creativity and self-expression. We’re also been told that touring is the dream but once in it, things aren’t as easy as a dream can be.

TRY: Focus on the time you spend on making music instead of the end result. That can be achieved by doing experiences that requires no goals intended, such as making a macro.

 Taking Breaks

 

It’s essential for musicians to take breaks between music releases to live rich, fulfilling lives outside of music. Experiences outside of music can help inspire and inform a musician’s creative process. When a musician has a diverse range of experiences to draw from, their music has more depth and meaning. Taking the time to live fully can help a musician reconnect with their true self, enabling them to create music that is authentic and true to who they are.

Strangely enough to me, I often hear about artists who think that taking break is taking a pause in music making. The distance you take activates your brain and you’ll be flooded with ideas and you’ll be making music, in your mind, as it is still ongoing.

TRY: Go for a 15 minutes walk and observe what train of thoughts you’ll have.

 

Coming Down The Mountain

 

For this, I heard this talk by Lauren Hill who was explaining why she produces slowly and it made a lot of sense to me. The way she explains it, there are mountains and there are valleys. Life is bipolar and even a day has a ups and downs. What’s not viable is to think we always have to remain at the top of the mountain to be successful and recognized. Being at the top of the mountain enforces the need to embrace perfectionism as a way to make music. 

 

Being at the top of the mountain is when you’re in full control of your flow and techniques. Some people learn what’s necessary and are feeling comfortable with it, releasing music, touring. But that gets tiring and if you never learn to go down the mountain, it might be a shock you when you eventually crash, tumbling all the way down to the bottom.

TRY: Spend a studio session mastering one effect or tool in your DAW. Watch a few tutorials and the practice.

Coping With Imperfection

 

I’ve always been comfortable with imperfection. I think accepting it has helped me move forward with projects, albums. I’d be ok understanding that I can wrap the idea and moving on, I would work on the next using what I learned. In hindsight, I think I spent way too much time in the valleys than on top of mountains, which explains why I don’t tour much but I’m totally at peace with it.

 

What’s hard is to cope with harsh feedback and people who feel entitled that you should serve them perfect music, each time. I accept criticism and see it as a way to improve, sometimes, if it makes sense but it can be frustrating if I think that the listener isn’t understanding that I am maybe in learning of new techniques which means that my output isn’t as quality as the last one.

 

So that means, it comes down to dive in creativity as much as possible and not do too much damage control of my music.

TRY: When you’re about to wrap a project, ask yourself which part you’re ok to accept as imperfection. Keep in mind that wherever you are will be an imperfect moment compared to your future-you.

Learning New Techniques To Stay Mentally Fresh

 

One way to inspire creativity is by learning new music and techniques. However, it’s important not to get bogged down in the technicalities of music. When a musician is at ease with their techniques, they can reach a state of flow where they can tap into their intuition and creativity. This state of flow allows a musician to be fully present and in the moment, allowing their creativity to flourish. That’s when you’re on the top of the mountain.

 

 How to find new techniques?

 

Mostly by listening to songs you love and then paying attention to one element you love to try to reproduce it. When I listen to music, I listen as a whole but then I take a second listen where I listen with a modular approach asking myself certain questions: How is the percussion? how is the melody evolving? what are the sounds I hear (synths, acoustic, long, short, muffled, detailed)? is there a background? What is in front?

I learn to love songs but I learned to love songs for specific attributes, which was a very important skill for my job. As a sound engineer, I see value in learning to love any music, especially if I have to work with it. When a client ask me to work on a song, I need to find at least one thing I love about it and then build around there.

Then if there are things I don’t like, I want to see how I can improve it. This becomes a learning experience, but through specific themes. Those become an exercise to learn.

For example, chord progressions, kick design, synths, vocal effects, etc. Then you go on youtube and you basically write in your own words what you need to know.

For example:

How to do effective chord progressions in electronic music

 

How to make a snappy kick

 

How to design complex synth in Pigments

 

How to make a vocal effect chain to sound like Tame Impala

What’s exciting is, there are so many videos about one topic and since there are multiple ways to get to a specific result, you can really expand your skill set. Personally, when people come to me for learning mixing or production, I notice that frequently they lack understanding concepts of the previous phase. For instance, the one before mixing is arrangement. You might want to learn mixing, but you need by understanding arrangements first. Sometimes people want to learn about arrangements, but I notice they lack understanding of sound design. When you learn one skill, you’re basically opening roads and easiness for the following ones.

Sometimes, people ask, “I don’t know if there are things I don’t know so it’s hard for me to know where to start!?” or, how to get that started exactly. This starts with curiosity.

Be interested in parts of songs you like. For instance, the bass of that song and the percussion of that other one. Or the chords of a specific song. Then go to Youtube and see if someone can explain you how to do it. Start with simple searches and that will bring more ideas.

Basic concepts that you should really understand early on, should you lack ideas:

  • Gain staging
  • How envelopes work.
  • Signal flow (a bit advanced).

Try referencing artists, use software you use and try to articulate your best ideas. But the more you search, you’ll be exposed to may different ways to do things and will have material to practice with.

Two softwares that I regularly  recommend for referencing are Bassroom (for the low end) and Reference for the overall understanding the difference between your references and your music.

I find more important to record a lot of ideas as a way to document your journey. That is a good lesson to let go of controlling imperfections. A way to let go is to understand that there will always be imperfection but you’ll be limited with what you know, at a specific moment. Leaving it as is, shows you’re ok with it.

 

In conclusion, the music industry and streaming services have put immense pressure on musicians to create music that may not be true to who they are. I think we need to reverse this by slowing down and spending more time learning. There are too much time trying to produce without being in control of your techniques and this leads to much time being lost.

 

Getting Started in VCV

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Modular synthesis has been around for decades, but with the rise of digital technology, it’s become more accessible than ever. Then came VCV, Cardinal, Mirack to name a few. VCV Rack is a free and open-source software that allows you to explore the world of modular synthesis in a virtual environment. In this post, we’ll discuss the three types of modules in modular synthesis, the differences between VCV Rack and VCV Rack Pro, how to use VCV Rack in Ableton Live, essential free modules, and the benefits of using master sequences and modulations.

 

Creating sounds, then modulate them

 

Modular synthesis involves building a sound-generating system out of individual modules. 

 

There are three types of modules: sound generators, sound modifiers, and signal movers. 

Sound generators create the initial sound, sound modifiers shape the sound, and signal movers control the flow of the sound through the system. By combining these modules in different ways, you can create complex and unique sounds that would be difficult to achieve with traditional synthesizers.

 

VCV Rack is a popular modular synthesizer software that emulates a modular synthesizer system. It offers a vast library of modules, including sound generators, sound modifiers, and signal movers. While VCV Rack is a free and open-source software, VCV Rack Pro offers additional modules and features for a fee. These additional modules and features can enhance your sound design capabilities and workflow, but the free version of VCV Rack is still a powerful tool that can be used to create amazing sounds.

 

If you’re an Ableton Live user, you can use VCV Rack as a plugin in Ableton Live. This allows you to control and record VCV Rack within the Ableton Live environment. You can use Ableton Live’s MIDI clips to trigger VCV Rack modules and automate parameters in real-time. This integration makes it easy to incorporate VCV Rack into your production workflow.

 

Essential modules

 

When it comes to essential free modules, there are a few that every modular synthesizer enthusiast should have. For sequencers, the SEQ-3 module is a great starting point. It offers three independent sequencers with up to 16 steps each. The reason why you want to have a sequencer with 3 built in sequences is because you can use them for not only melody making but also for other types of modulations like velocity.

The VCO-1 (VCV) module is a simple yet powerful oscillator that can produce a wide range of 4 different wave shapes: sine, triangular, saw and square.The idea is usually to pair this with the 4 input mixer from VCV where you can decide how much of each sources you want to use to create your own signal. I would encourage you to add a noise source (VCV again) and have a bigger mixer such as the 8 inputs by Bog Audio and then add some noise to it. Noise seems to gel all of it together and also add harmonic content.

 

 

 

For filters, the VCF-1 (VCV) module is a great choice. It offers low-pass, high-pass, and band-pass filter modes, as well as a resonance control for shaping the filter’s frequency response. But I would also high recommend the simple VCF from Bog audio because it has more options (filter curve slope and v/oct) which is super useful for shaping your sound.

 

The heart and the brain

 

One of the biggest benefits of using VCV Rack is the ability to use master sequences and modulations. Master sequences are sequences that control multiple modules at once. This allows you to create complex patterns that evolve over time. Modulations are similar to master sequences, but they can be used to control any parameter in any module. This allows you to create dynamic and evolving compositions that change over time.

 

I put them into 2 categories:

 

The heart: Anything related to the tempo of the song. Is it constant or broken? Everything will be in sync or not, some might be following the tempo but perhaps double speed or half.

 

The Brain: This is for modulations that will be affecting multiple parameters across the patch such as scaling, transition, melodies/hooks, velocity, accent and even mixing.

 

Starting kit for a patch:

 

I’d recommend building a template patch to start with that has the essentials to get started. Then you can start adding to it. I think it’s important to start fairly simple too because it can easily get complicated.

 

Main tempo (Brain): 

  • Simply use a LFO. I love the 4FO from Bog Audio because it features 4 of them at different phases. 
  • Then I’d add a divider to have a different multiple and speed from the heart. You could use Clocked by Impromptu both for tempo and divider but I prefer an LFO for tempo because the modulation is easier.
  • I love to have multiple dividers so my full sequence is offering 1/4th, 1/8th, 1/16th steps covered so I can decide what to populate and where.

 

Hook (heart): 

  • This is where you could SEQ-3. It has 3 lanes so you could also have 3 variations.
  • Quantizer for global scale: use the VCV one.
  • I’d use a sequential switch to go through the lanes. Count Modula has a few but I also like the switch by ML Module because of the various options it has.

 

Voices:

  • Use samples or oscillators of your choice but you’ll need an ADSR, a VCA and 2 filters so you can properly control the signal. I’d add an octave shifter so you can have one voice per octave.
  • I find Bog audio has everything you need here or you can use the default modules by VCV.
  • You’ll need a mixer for all those voices. I’d recommend the one by MindMeld. It is perfect.

 

Percussions:

  • Using the SEQ 3’s sequencing, you can use that as triggers for your percussion.
  • I’d use a Bernoulli Gate to add probabilities to your percussion or switch between sounds. The one by Audible Instruments will do the trick.

 

Modulation: 

  • One master LFO. Again, a 4FO would do.
  • One master random. Use the random module from VCV.

 

Conclusion and Using VCV Rack In Ableton

 

In conclusion, VCV Rack is a powerful tool for exploring the world of modular synthesis. It offers a vast library of modules, including sound generators, sound modifiers, and signal movers. The free version of VCV Rack is a great starting point, but the pro version offers additional modules and features that can enhance your sound design capabilities and workflow. If you’re an Ableton Live user, you can easily integrate VCV Rack into your production workflow. Essential free modules like the SEQ-3, VCO-1, and VCF-1 can help you get started with creating complex and unique sounds. Master sequences and modulations allow you to create dynamic and evolving compositions that change over time. With VCV Rack, the possibilities are endless, and the only limit is your imagination.