Tag Archive for: creative process

Where to Get Fresh New Ideas for Tracks

Jazz drummer in a nightclubOne of the questions I used to get the most from my students was how to come up with new ideas when making music. Unlike with jazz or rock, the options for creating electronic sounds are limitless, and so the range of electronic music genres and sub-genres is vast. Because of this, it becomes particularly easy to get lost in the innumerable possibilities and directions your music could take.


For many, just the pressure of trying to come up with new ideas can generate a writer’s block. And asking someone like me for tips on where to start could also lead to more questions, since I’ve developed my own ways of approaching the process over the years. With that said, I’ve personally found it essential to bear these 3 things in mind:

  1. Music is a shared experience. The more you live your music, the clearer your ideas get.
  2. Your experience of the music may not be the same as the listener’s. Let go of your desire for people to “get it,” and accept that they might see or feel something you don’t.
  3. Creativity starts with embracing the endless recycling of sounds and ideas. Don’t think you’ll reinvent the wheel, if you know what I mean. Expectations kill creativity.

While you might have an intellectual understanding of the whole process of making music, there’s another dimension, that of intuition and feelings. So this involves two things:

  1. Jamming. Play with gear, softwares.
  2. Recycling. Inspiration from other songs, samples, presets, artists.

Everyone’s different, but if you think of bands for example, they jam together for a while until they uncover an idea they like. Then they will nail it down or record it to make it into a song. But before they can get there, they need to just let loose, go wild, and explore. In jazz, it’s well known that the masters would play for hours on end in little clubs, pushing themselves beyond the point of exhaustion until they reached a level of pure creativity, discovering new paths that they never would have found in a short session.

Basically, your brain needs a little push. You can’t just sit there and think you’ll have something fresh and innovative by opening your DAW and tweaking for 30 minutes. It demands patience, and giving yourself the permission to get a bit wild and break your own rules.


Many people find that jamming isn’t really their thing, and they’ll get great ideas if they already have material to work from. This is why sampling has become so popular in the last 30 years. Musicians take something they love, and then change the context to give it a whole new life. Using other people’s music can a bit of a legal nightmare though, so thankfully, as you know, there are tons of options out there — but maybe the best way is to learn to make your own sounds.


Fact: Doing arrangements in your DAW isn’t really “playing your music.”  Have you developed the skill of playing it?

This is why learning to jam can be really useful. But how do you do it?

Try this simple exercise:

  1. Open any soft synth in your DAW, and pick a preset or make yourself one.
  2. Write a few few notes, but keep it simple. Play it in a loop.
  3. Play with the parameters and record everything. Also, record the midi in case you’ll be changing that.
  4. Listen to what you recorded, isolate the best parts, and then jam over it some more.
  5. Repeat.

That’s it. You’re jamming. You have no idea how many people don’t realize how easy it is until they try it. And how fun. Just do it and PLAY your music.

On a final note, remember that inspiration also comes from listening to music, and lots of it — whether it’s music in the genre you want to make or something completely different, since you can translate ideas into your own world. One thing people sometimes forget is how listening to music with friends or in another context (walking, driving, commuting) can be especially useful, since it provides perspective on how the sound feels when doing daily activities. Ideas will then sprout.

SEE MORE:  Recycling Your Tracks Into Fresh New Ideas

The Rule Of 10: Production in Rotation for Big Results

I was speaking with a friend about my approach to making music, and I explained my rule of 10. Most people, especially new producers, will work a song until it’s done. But this is actually a huge mistake. The reason is simple:

after working hours on the same track, these guys have a hard time knowing if it’s still good or making any sense at all.

Plus they fall into the trap of tweaking things endlessly for that one track.

You might already see how this can be quite limiting from a learning perspective. Or maybe you don’t agree. So let me throw a few ideas out there that could help you jumpstart your inspiration.

tomato-676532_1920Let’s compare making music to planting vegetables. You’re not going to plant one tomato plant and then wait for it to produce a tomato before planting something else, are you? To get big crops, you’ll need to plant a whole bunch at once, and nurture them all at the same time. Then you harvest.

The same goes for your songs. Start multiple at a time, and while one is progressing, don’t hesitate to stop yourself and let it sleep for a week or two, especially when you’re entering a very productive phase. This is to make sure you’re always fresh when you open a project and know exactly what needs to be done next. You’ll observe that your perspective on your work will be more accurate. If you open your project and it’s a mess, leave it to rest some more, or maybe recycle it into another, ongoing project.

There are two approaches to the rule of 10:

10 different projects.

Create 10 folders, and drop an Ableton project that you want to develop into each. Also, take the time to insert reference tracks that you love. This is music that you’d like your project to sound like but not necessarily mimic. Don’t hesitate to drop anything in there — get some classical or jazz, record some field recordings, anything. No rules should limit you.

You should also do some careful sample hunting on a site like Splice, for instance. Drop various sounds in there you like, along with presets you want to use. Save some in there in a specific folder.

1 project, 10 songs.

This one might surprise you, but I love this trick.

Open one project and build your 10 songs inside it, one after the next. They will all share the same number of channels, effects, and so on.

This is also an excellent way to keep a particular mood from one song to another.

You will run into interesting results by having some sounds go through the effect chain from the previous song. You can also be creative and not use all the same hi-hats in the same channel. For example, one song could use channel 3 for claps, then the same channel for toms. Don’t alter the EQ and compression on the other tracks. Try instead to take advantage of the settings from the previous track to see how to tweak the following one.

party-629240_1280It’s rare that you’ll think you can create multiple songs in one project, but the idea came to me while I was turning parts of a live set into various songs. I thought it was really interesting to try a different way of working.

For me, two things have always enabled new ideas: limitations, and being forced to work or think in a new way. Both go hand in hand. I know that most people feel like the more gear and gizmos they have, the more productive they’ll be. Yet getting more usually leads to procrastination, since you feel confident that you can do it in the end. I call that the runner’s syndrome: you bought your running shoes and shorts, so you feel you can run. But are you, really?

SEE MORE:  Spending Long Hours in the Studio

Music Production And Studio Tips

When I talk to music producers, both newcomers and more experienced ones, I realize that many of them could use some tips on improving their production workflow. I’m talking about the little things in life that aren’t necessarily computer related, but that can make a big difference in how effective you are with your studio time.

Most of these tips are based on the trials and many errors of my own experience, and on what I’ve learned by applying them every day.

Studio tip 1: Naps can provide your brain with a needed reset to feel productive againWhen it doesn’t feel right, stop. Do you ever get to that moment when you finally have the time and space to make music (sometimes life is a hustle!), but after a few minutes, you realize that it sounds terrible? The weird thing is how in your last session, that same loop or track felt amazing, right? Well, there are a few things you can do here, but before you delete anything, try this:

  • Stop working on the project and start something new. If it doesn’t feel right anymore, it could need to sleep for a bit to be heard again later in a whole new moment of your life.
  • Take a 10 minute pause and listen to something else.
  • Consider: can you say what’s wrong with it? If it’s just a physical sensation more than something logical, then the problem is you. Yeah, you read that right. It’s important to do something else instead of trying to force it out. Smoke a ciggie, make yourself comfortable in any way you want, or just move on to another project. If the blockage persists, then try working on simple sound design with a new synth you haven’t explored yet.

Calibrate your ears. People really underestimate the importance of this one. It usually implies a fair degree of time spent setting your monitor’s volume at roughly 80 dB (there are smartphone apps that can measure this for you), then listening to music that you love and that you know sounds right. If you can listen for a minimum of 15 minutes, your ears will develop reference points of optimal sound levels.

Studio tips: Take pauses often, and space out your studio sessions by 2-3 days.Take pauses, often. I’ll never say it enough, but working a long, extended session is one of the least productive ways to work. You’ll lose your references, as well as your ability to evaluate your own work. Taking a pause is not only important to give your ears a break. When you start up again, you’ll have a fresher perspective on what’s working and what’s not.

Space out your sessions. I usually avoid making music (i.e., working on my own material) two days in a row. I space out my sessions by a few days and I try not to work on the same song more than once a week. This is why I’m always working on multiple projects in parallel. I’ll jump from one to the other, so that I’ll forget what I was doing with the first. Then when I open it up again, I might have a whole new perspective on where it needs to go.

Shorten your sessions. I often hear people say, “I worked on this track for 5 hours last night, and I don’t know why, but I feel like it’s just not working at all.”  Indeed it’s not. Try not to spend more than one hour a day on a song. When you know your time is limited, every minute will feel extremely important, and your mind will pump more quality into the effort. By speeding up and working in short bursts, you’ll eventually get faster at what you do and your flow will be more effective.

Grasp the big picture before digging into the details. I highly recommend that you don’t start working on a song from the beginning. Find the main idea first, which is more or less the middle of your song, and then from there, unfold it to the beginning and extend it to the end. Making sure you have a broader view of your work before delving into the details is a good way to scope out the storytelling and back bone. This will help you identify the critical moments of your track, so that you can then work in the transitions, changes and so.

Listening at different volumes will help you notice what needs fixing in your mix.Listen at different volume levels. I encourage you to listen to your song at a very low volume, then high, and then vary it to a sweet spot somewhere in the middle. People don’t always listen to music at high volumes, so it’s good to know what the experience is at lower volumes too. This will also help you notice some things that need fixing in your mix.

Listen from different points in the studio. Get up and listen from far back, or move around the studio while listening. If you can, try listening from another room. I also use a wireless headset and will pace around the room while listening to a loop. I’m so used to just sitting there glued to my computer that this has a very strange effect on me. You’d be surprised how simply walking can open up a different perspective on a song.

Drink water. This one seems off, but trust me, keeping your hydration level optimal really helps with your focus.

SEE ALSO: Spending Long Hours in the Studio

Create Your Own Concept Album

I was recently discussing a concept album I did in 2015 entitled Tones Of Voidand I was asked about my views on what makes an album unified. It’s an important question if you want to create a concept album: how does one come up with a theme, or create their own style?

Let’s start with a basic understanding of a genre and its origins, say techno for example (since it’s the one I know the most). If you watch documentaries about some of techno’s pioneers, like Juan Atkins, Richie Hawtin or others, they’ll often talk about how when they began as music producers, they just made music with whatever they had or could get their hands on. In our current era, with its overwhelming abundance of plugins, sound banks, presets, hardware and the like, many people follow sites like Synthtopia to keep up with all of the latest toys. But in 1987, they weren’t as common or affordable.

Some notable mentions:

The famous TR-909

The famous TR-909

  • The acid sound was defined by the notorious tb-303, which wasn’t even invented for that purpose.
  • House and techno relied heavily on tr-909 and tr-808.
  • Early electro at the start of the 80s used tr-606 and tr-707.

These weren’t really deliberate choices or statements. They simply came from what was available.




Step 1: Build your sound bank

First, select a bank of sounds for your concept albumKnowing that sounds define a direction, a good way to start is to select a bank of sounds that will be used for your concept album. Try to be hard on yourself here, and remember that less is more. It will sound cruel as hell, but the fact is that a more restrained selection will prevent you from getting stressed searching for new sounds, and it will help you focus on production.

A good example of sounds that fit within a concept or genre would be dub techno. You will hear the first 5 seconds and immediately know the exact genre, sounds, and pretty much what the rest of the track might be like. Labels like Basic Channel or Chain Reaction (personal favourites) have built an entire catalogue from their sounds, and left a precious legacy that strongly influenced hundreds of later artists and labels who followed their ideology.

TRY THIS: Pick about 10 sounds, and create yourself a drum rack in Ableton that will be used over and over.


Step 2: Pick your effects

On my Tones Of Void album, what made each track similar was the use of a macro template on several sounds. This stimulated so much creativity and productivity for me that the whole album was recorded in a 3-day span while on vacation in Florida. It was such bliss that I even had to stop myself from making twice as many tracks! You have no idea how exciting it is to open a new project, drag and drop your favourite macro, and then just play sounds through it to see what will happen.

Romanian techno is a great example of a specific sound style

Image courtesy from Nightclubber.ro

For another great example of a specific music style, we can point to the emergence of the popular Romanian techno, lead by the dudes of Arpiar. One of the characteristics of this genre is the intense use of reverb effects. It sounds very puzzling at first, because some tracks feel completely hollow, like you’re standing inside a huge reverberation room. But it creates a very pleasurable feeling.

TRY THIS: Get a collection of random effects and group them into a macro. This will allow you to unify your sound design with an overall aesthetic. If you own Max for Live, I’d say to drop some LFOs in there or get new ones, and assign them to some parameters. This will be your swiss army knife for sound design.

TRY THIS TOO: Matthew Herbert had a really interesting approach regarding the use of effects. He would start a new session using a board, but wouldn’t initialize the board for the next song. That would sort of pre-determine the sound levels and effect assignments for certain sounds, which would automatically create new ideas. You can do this by using the most recently used session to start a new one, while leaving the effects on certain channels to see what it does. Happy accidents will happen!


Step 3: Design your song structure

Having a similar structure from song to song is another thing that can help unify your concept album. Think of how important song structure is in pop music, or in EDM today, with its famous drop that you just know has to happen at one point or another. In most dance music tracks, the breakdown and relief sections play an important role for crowd response on the dancefloor. If you want to create your own concept, explore the use of a similar song structure throughout the album.

TRY THIS: Just like in the previous step, opening the last project and just swapping samples in the arranger section can be a good way to explore this. You can even leave automations on and see what happens.


With these 3 steps, you can easily create a series of new tracks that could be the beginning of a concept album. But the first thing is always to finish the tracks you’re already working on, and if you are lacking inspiration, you can apply these steps to help give your current projects a new direction.

SEE ALSO Creating Beauty Out of Ugly Sounds

Mindfulness for Creatives

The mindfulness movement has been getting a lot of buzz in the US health industry recently, but we hear less about how valuable this form of meditation can be for creatives. If you’ve never heard of it, you’re probably missing out on the next wave in healthy living, much like jogging or yoga. All of these practices complement each other, but mindfulness is the one I want to delve into here.

What is mindfulness?

It’s basically a technique to be more focused, aware and present in every moment. While it’s been used in hospitals for treating anxiety and depression, there’s also been a huge amount of enthusiasm for it in the creative domains. I’ ve long heard of DJs practicing yoga to stay healthy and sane during their long and demanding tour schedules. But recently, Ableton’s LOOP weekend even featured a very interesting workshop about mindfulness. I attended and loved it.

When I talk about it, people who attend music events often don’t really see the correlation between taking care of one’s health and partying, and they often see them as contradictory. But for many DJs, producers and fans, electronic music is about more than just partying. It’s also a movement that’s driven by an openness to new ideas and a celebration of life.

How do you practice mindfulness?

There are many ways to practice mindfulness. It’s not just an exercise, but a state of mind you aim to develop. The main way to achieve it is to practice a form of meditation that’s non-religious, purely technical, and very simple to do.

So, how does this come into play with creatives?

Mindfulness meditation can help creatives be more productiveThis is the tricky part,  since you won’t easily find literature on the topic,yet. What I’ve found through practice, though, was that a certain amount of meditation really helped me to complete projects faster. It’s already hard to finish a project, so doing it on a tight deadline is even more of a challenge.

Mindfulness could easily become the subject of a long-term blog project in and of itself. For now though, I’ll just start us off with a few simple points that creatives in particular should find really useful.

First are the attitudes that are promoted by a mindfulness practice, and that are helpful to the creative process:


Mindfulness meditation can refresh your perspective

Beginner’s mind. In this state of mind, you can let yourself be amazed by simple things. See it as the antidote to getting jaded about something you love due to excessive exposure or overuse. With this practice, you learn to rekindle the fun in things, because everything suddenly seems new again. Dive back into production as if it were the first time you tried it.

Non-striving. You’ll always miss the chance to find the fun in things if you’re too fixated on achieving a certain goal. This is how so many musicians end up with countless unfinished songs. I know some people that have a list of labels they want to reach, once they’re done with all of their tracks. The problem is that they put so much pressure on themselves that they’re still stuck at finishing their first track, which has been in the works for over 6 months.

Non-judgement. For many artists, the hardest part about making music is learning to appreciate your own work. Creatives are often their own harshest critics, and they can set unreasonably high expectations for themselves. It’s actually pretty common for people to dislike their own music, for whatever reason. There’s something very personal and intimate about the process of making music, since a song is always a statement of where and who you were in a particular moment of time. This can be another reason people sometimes find it easier to reject their own work rather than embrace it. Practicing mindfulness will teach you to catch yourself engaging in these unhealthy mental habits, and it’ll make you think twice before pressing that delete key.

Keeping your ideas is a good way to track your evolution as an artistAnd perhaps this is the main message of this post: that whatever music you’re working on should be kept, just like an entry in your personal journal. Keeping ideas is a good way to keep track of your evolution. There are people I coach who send me one loop a day, and I love seeing how they evolve; how they can hit a wall for a few days, and then completely change. It’s quite fascinating.

You will appreciate your music if you let it be, without being too hard on yourself. This is the invaluable lesson that a mindfulness practice can teach creatives.

Choosing Track Finalization over Ghost Producing

A lot of you might already know what ghost producing is, and you might even have some pretty strong feelings about it. For those who aren’t familiar with the term:

Ghost producing is having your track made from scratch, with your instructions, by another producer.

What you might be more surprised to find out, though, is that many producers — even the most pro or successful ones — sometimes get others to finalize their tracks for them. I can tell you, for example, that even some big-name artists on the Minus label get Richie Hawtin to finalize their songs. But despite how common it is, there’s unfortunately still a sort of stigma around outsourcing your track finalization, and it’s easy to understand.

So first, let’s get this out of the way: song finalization is not the same as ghost production. Track finalization is nothing to be ashamed about, as the song is still the creative work of the producer. Let’s begin with a definition:

Track finalization is having another producer suggest ideas on how to get to a finished product based on your initial ideas.


Track finalization: The sources of a stigma

Back at the beginnings of electronic music in the early 1990s, DJs and producers had to be technicians too. You simply couldn’t get very far as an artist without being a jack-of-all-trades and an expert in the hardware of sound engineering and music production. It came with the territory, and DJs and producers prided themselves on their resourcefulness.

The stigma around track finalization (getting others to finalize your songs) can be partly traced to the DIY culture of electronic music production

This DIY nature of electronic music culture became so deeply rooted that when laptops and software began taking off in the early 2000s, many seasoned producers and DJs bristled at the intrusion of laptops into live performances. I remember the very first MUTEK festival in 2000, when the novel machines began appearing on stage with one performer after the next — it was such an alien sight that no one knew how to react! Many of us viewed their use as a form of cheating at first, but it soon became clear that the game had changed.

Music technology continued to develop at an exponential pace, making electronic music-making accessible for more and more people. One impact of this, however, has been to make it seem like electronic music production is so easy… that anyone can do it! Well obviously, it’s much more complicated than that.

If anything, the proliferation of producers has actually made it harder to stand out from the pack. Meanwhile, the infinite musical possibilities opened up by the digital revolution have made it that much easier to get overwhelmed. Where once your kick drum would be a 909, for example, now there are thousands of options to choose from. Sometimes the best creative surges come when you’re faced with constraints, but pure freedom, while it seems tempting, can make it easier to get lost and lose your focus.

Reaching out to others to help you finalize your songs is a form of creative collaborationTrack finalization as creative collaboration

The truth is that even the most experienced artists get writer’s block, and every producer is likely to have a hard drive full of tracks that they never got around to finishing for a variety of reasons. Chances are that there is at least one great album or a few EPs in there waiting to be unearthed and brought to fruition. So what’s holding you back?

Chilean producer Dandy Jack once told me that the day he understood that a shared victory was way more meaningful than doing it alone, his entire perspective on collaboration changed.

dandy jack told me that his perspective on creative collaboration changed when he realized the value of a shared victoryHaving a trusted hand finalize your tracks can be an antidote to writer’s block and a gateway to beautiful and fulfilling creative collaborations. Unlike ghost producing, track finalization isn’t about substituting for your own creativity, but about gaining a fresh and friendly perspective to help you out of a rut. In writing, even the most masterful authors need a good editor. Why should music be any different?

Even if the finalized track isn’t always exactly what you had in mind at first, it then becomes much easier for the producer to take it from there and carry it across the finish line. Track finalization is about finding what’s blocking you and unblocking it. It’s about unleashing your creative potential.

And I’m here to help.



Turn Your Writer’s Block Into an Opportunity

You’ve heard about writer’s block many times, and maybe you’ve experienced one. I also get one routinely. Many others have addressed the topic, but I’ll share some of my own views on it here.

Before anything, let’s just check a definition first so we’re on the same page:

Writer’s block is a condition, primarily associated with writing, in which an author loses the ability to produce new work or experiences a creative slowdown.


SEE ALSO :   Where to Get Fresh New Ideas for Tracks

What I’ve learned through time is that a writer’s block is also your body and mind telling you to slow down. There’s no better way to see it. While you can learn to change your way of working, which might be leading to feelings of insecurity, frustration, or confusion, you also need to first make sure that you’re really in a writer’s block. These are some symptoms:

  • Nothing you work on makes sense. You feel the music is just copying a trend and that it’s not bringing you joy anymore.
  • Everything music-related sounds crappy. Your brain is tilting and all the beautiful sounds aren’t pretty anymore.
  • You have the omnipresent temptation to give up.


relax-smWhere many people get confused is between a writer’s block and being exhausted. I know many prolific producers who work really hard for 3-6 months and then will not do any more productions for the rest of the year. They will focus on DJing, collecting new toys for the studio, or just spending more time playing music.




There’s no better way to approach the situation than taking a step back. For my friends, for example, this usually involves:

  • Collecting music that makes you feel good or listening to early tracks that inspire you. Just make playlists on Soundcloud, listen to old liked tracks, and take a moment to buy some.
  • Listening to music you never listened to before or music you actually don’t normally enjoy.
  • Playing video games.
  • Exercising.

It’s easy to fall into simple psychology tips, but I’ll refrain from doing so, mainly because each person has their own way about it. But one thing that I absolutely encourage you to do is to not panic.

Music producers: Never delete songs or projects you don't like. You may recycle them later!Resist the urge to delete or sell anything you don’t like. I can’t tell you how many times I’ve had people tell me they deleted a project they were working on. I believe that this is one of the last things you want to do. Not only does every project have at least one great thing about it, but they can probably be recycled later on, maybe even many years later.

Take time to learn sound design or sound engineering. One of the things that happens when you are creatively productive is that you lack the time to perfect your design skills. You’ll be absorbed in mixing and making tracks and arrangements, but sound design is one of the most important parts of your work. Also, when do you ever have time to read technical stuff? Mostly never or just a few minutes here and there. Take the time to read up on the technicalities you usually avoid for fear of boredom.

Reach out to fellow producers to collaborate or remix. When working with others, things usually flow easily. That is, it’s not really your work, and teaming up brings motivation. Try it!

Recycling Your Tracks Into Fresh New Ideas

Like with any creative work, writer’s block can be a very frustrating and demoralizing thing for producers of electronic music. Many artists spend hours and hours wrestling with their ideas just trying to come up with something new – but what if what you were looking for was already under your nose? What if old tracks that you thought weren’t good enough to release were actually the seeds of something brilliant?

I’ve found there are many practical ways for electronic music producers to beat the writer’s block and jumpstart their creative process. Recycling old tracks is a great place to start. 


Generally, producers might make between 5 and 10 tracks before stumbling on the one that they love. But then, we’re also our own harshest critics! I’m not going to address the tracks that don’t even get done as we all have a huge collection of those.

The truth is that each song has something cool in it, even if it’s not good enough for release.


Elements (or “stems”) of old songs, whether it’s a kick, a bass line, a loop, or a vocal sample, can be remixed and made into something completely fresh.

It’s important to remember that remixing is the most accessible part of music production. Reusing stems, loops and parts of old tracks instead of starting fresh can kickstart your creativity and help you jumpstart a new song. This isn’t just about saving time. More importantly, it will make the creative process less intimidating and more exciting by allowing the creative juices to flow more freely. When you start with small ideas, bigger ones follow.

Pulling your inspiration from old material can also be a fantastic way to re-appreciate your own work. This will in turn boost your confidence and momentum as a producer.


To get you started on recycling old tracks, here are a few tips to think about:


To help with recycling tracks, organize all your music projects in the same folder.

  • Organize all your music projects in the same folder. This will make going back and reviewing old tracks easier. Avoid the temptation to sort tracks into different folders depending on how good or finished you think they are right after creating them — and never, never trash them! You might be surprised later at what gems you’ll find that you had written off or forgotten about!


  • To help with recycling tracks into fresh new music, save all your synths and effects as presets for later use. Save your effects and synths as presets. The key to being an efficient producer is to never let your creative time and energies go to waste. Nothing is a more valuable resource for an artist – don’t deprive yourself of these resources, harness them! Building up your bank of presets will save you from always having to return to square one, and it will encourage you to develop your own distinctive sound and aesthetic over time. I also encourage you to create groups/macros in Ableton as a way to have personal tools.



  • Another tip for recycling tracks is to open an old song and keep all arrangements as they are, but swap the sounds.Open an old song and keep all arrangements as they are, but swap the sounds. For example, you can import the stem of a kick you did from a certain song, which has its variations and moments of silence or its own structure. Then you combine it with the snare-clap of another track. Removed from their original context, united in a new canvas, they might interact in a way you’d never have thought to do on your own.

Recycling old tracks can be an extremely practical, effective, and (most importantly) fun way to beat writer’s block and take your production to a dimension you rarely visit. It will make you feel less stale and more fulfilled in ways that will surprise you, and it will encourage you to develop new styles or rhythmics.

Give it a try!

SEE ALSO : Is My Song Good ?

Need Help To Finalize Your Unfinished Songs?

In this post, I will discuss the advantages of having someone else take a look at your unfinished tracks.

Time to finish those sleeping projects

Have you ever watched those renovation shows where an expert takes over a messy apartment and gives it a complete makeover? I know that for myself and most people I know, these shows make us dream. We love the transformation, the before and after, the journey to an incredible final product.

Now what if I told you there might be a future for all those unfinished songs of yours?

Are you one of those producers that have dozens of projects that were never finished?

Perhaps you are here because this rings a bell:


  • You get bored of the song you’re making.
  • You get a new idea that seems better than the one that you’re working on.
  • What you work on doesn’t sound like what you have in mind.

I hear these comments all the time from fellow producers or aspiring ones. Not being able to finish a song is a very common problem for all of us. The world goes by so quickly today, and being exposed to so much music on Soundcloud triggers our A.D.D. and stimulates the excitement to always want to do more. As an artist, you set expectations for your own work too high, which then leads to you getting overwhelmed and succumbing to procrastination.

Many people have ideas, but once they get on the computer they get lost in the details of sound design and start to feel very sluggish. Eventually, the hype disappears and the person gets bored.

The problem is, your song might actually be great, and you’re not realizing it!

Just like with mixing, sometimes asking someone else to take a look can be critical to pinpointing what was wrong.

I once said to a friend, “That chord here is just too loud and makes the rest of the sounds pale!” That was all he needed to hear to finish what became one of his favourite songs. I’m not taking any credit here: the important part was his curiosity and openness to asking for help.

That’s often the main obstacle here: asking for help.

Mainly because you think:

  • It won’t be my track if someone does it for me.
  • I won’t feel proud of it.
  • It’s not going to work, period.

I can tell you one thing, and that’s that when it comes to remixes, people usually work fast. Well guess what? Asking someone to take over a song that’s blocking you is just like asking for a remix. The only difference is that you’re the maestro who provides the creative direction.

You’ll also need to have enough trust to be able let go of things. This is for your own good.

In the meantime, here are a few tips of mine:

  • Set a deadline on when a song should be done.
  • Set reminders and alarms.
  • Don’t spend more than 30 minutes at a time on the song.
  • Impose limits on yourself.


I can help you produce your song and finish it. Fast.

One of my specialties is listening to an artist’s vision, and then using their creative direction to help bring their projects to fruition. With almost 20 completed albums in my portfolio, I’m ready and eager to put my experience to work for you. Book me today!


SEE ALSO: Getting Lost in the Sea of Tracks