Процесс написания трека (1 онлайн
- Автор темы ItaLIanO
- Дата начала
Моя ИМХА
Сразу замечу, что я не большой писатель музыки и треков. Но в проектах валяется уже кусков 30 так точно...И чужого подобранного, и просто набросков, и это не считая того, что диктофон за 3 года забит напевками основных мотивоф (чтоб не забыть)...
Но что я хочу заметить, самый полный мой кусок - это мидюха 2005 года, которую накатал за 3 часа и до сих пор прусь от мелодии (хотя уже и прошла тонна времени) и ее идеи. Дело оказалось в том, что как только отключился от головняка - поиска очередного сэмпла, то только в тот момент и поперло творчество.
А с другой стороны? Как не искать ту же бочку, если именно БИТ и тащит тебя в танец? Если все твои фавориты юзают ТАКОЙ ШОКОЛАДНЫЙ KICK, а у тебя на их фоне kick звучит как удары палкой в индийском кино (может кто помнит?). Потом и руки опускаются от мысли: ну вот придумаю я мелодию, а что потом? звучит в итоге как каша, сапог-сапогом! (с) Ни звука нормального, ничего... и снова в поиски ответов, в поиски звуков, в поиски секретов по сведению, а за всем этим умирает главное - творчество...вот такой замкнутый круг получаетцо...
Сразу замечу, что я не большой писатель музыки и треков. Но в проектах валяется уже кусков 30 так точно...И чужого подобранного, и просто набросков, и это не считая того, что диктофон за 3 года забит напевками основных мотивоф (чтоб не забыть)...
Но что я хочу заметить, самый полный мой кусок - это мидюха 2005 года, которую накатал за 3 часа и до сих пор прусь от мелодии (хотя уже и прошла тонна времени) и ее идеи. Дело оказалось в том, что как только отключился от головняка - поиска очередного сэмпла, то только в тот момент и поперло творчество.
А с другой стороны? Как не искать ту же бочку, если именно БИТ и тащит тебя в танец? Если все твои фавориты юзают ТАКОЙ ШОКОЛАДНЫЙ KICK, а у тебя на их фоне kick звучит как удары палкой в индийском кино (может кто помнит?). Потом и руки опускаются от мысли: ну вот придумаю я мелодию, а что потом? звучит в итоге как каша, сапог-сапогом! (с) Ни звука нормального, ничего... и снова в поиски ответов, в поиски звуков, в поиски секретов по сведению, а за всем этим умирает главное - творчество...вот такой замкнутый круг получаетцо...
я, лично, никогда себе не позволю сделать такого, т.к. хочу научиться делать ТАКОЙ звук именно сам.. Согласен вот, что момент попадания в mixdown city обрубает нафик всю креативность и сидишь.. бочки крутишь..simps0n,
А что мешает вять кик у своих фаворитов?
p.s.: есть ещё такое выражение Loop Land (сказал известный drum and bass продюсер, Gridlok). Вот это саааамая страшная штука.. Я очень часто попадаю в эту яму..
Epiphany @ KVR:
Good tips above from everyone.
First point: the full arrange timeline looks daunting when you first start a track! How will you fill all that time? Well, you will probably end up making tracks that are far too long, actually.
You should know that at typical house tempos, 32 bars is around a minute. Keeping tracks under 6.5 minutes allows 2 tracks on one side of a pressing. Therefore, you only have 6 or 7 "32s" to play with... and 2 are usually used for DJ-friendly, beat-orientated intro and outro. So, to get the job done, think in terms of "32s".
Your approach will likely depend first on whether the style is more commercial/song orientated or more undergound/hypnotic/minimal. If its the former, then work out what your key element(s) are - usually a vocal or synth lead - and write out a structure on paper that showcases them. Roughly, thinking in 32 bar terms: 32 bar beat intro, 64 bass comes in, 96 new element, 128 breakdown introducing that main lead or vocal, and then build up to the 160 bar drop back in, and so forth. Do this on paper before you start, as since this kind of house benefits from a more predictable song-like arrangement, you should be able to stick fairly close to it.
If its a more minimal or progressive track the best way to work is possibly the doubling method. Get your elements together as normal in the dreaded "loop mode", and sounding good over say, 2 bars. Double what you have to 4 bars, then change the second half. That can be melodically or rythmically: adding or dropping extra notes on the bassline, writing a drum fill such as the classic "8th-kick-at-end-of-bar", or an extra snare before the 2nd 4, adding an extra roll of 16th hats midway through the 3rd bar, or adding a one-off FX sound, or even adding the automation of an effect. Try to vary a different element each time, and not just the second halfs (i.e. when doubling to 4 bars, create a variation in bar 3 as well as 4.)
Then, naturally, repeat to 8, 16, 32 bars. At that point, you could double again - or use 32 bars as a marker for a bigger change, such as a breakdown, introdcing a lead line, removing the bass, starting a filter sweep down, etc etc. Again, 32 bars is around a minute. You only need 6 of those, and 2 are usually used for DJ-friendly intro and outro! The key is that, if you change even one or two pieces of programming each time, over the length of that whole section, the amount of variation will seem large. Even - that the track is somehow "alive" and "organic", which is what youre aiming for, usually. The track will also develop and move in unpredictable ways, hopefully.
Two further things. I personally make pretty dense, busy dance music, but I find that making interesting arrangements happens naturally when I have too many musical parts that I like, and that dont all go or fit together. This comes from spending a long time in dreaded loop mode, but it gives me contrasting elements and moods to work with. Change-ups are to me changes of atmosphere where enough elements are changed/replaced/modified to create a feeling of freshness, but the core timbre remains the same (same bass sounds, same drum sounds, usually same drum patterns.) I often go from melodic synth lines to something more atonal or darker, introduce a moody drone sound in the background, go crazy witht he filter on the bass, or just flatten the melodic elements and add more percussion to shift attention back to the core groove. Good change ups sound like an "alternate version" of the track that you could have done, if you were in another mood, again often using the "tension-release" dynamic.
Finally I cannot overstate the importance of FX. A good selection of hits, explode sounds, "drop" and "riser" sounds, laser sounds, reverse cymbals and crashes is essential. A shaky transition can be made to sound perfect with the right combination and timing of FX sounds.
Automation also, a whole extra topic, but again, you can totally control the progression of a track with automation such as filter sweeps, spot effects (adding reverb and delay to individual notes and hits at the end of bars, to smooth and merge into the next etc) and even humble fader rises.
A combination of subtle changes (programming changes, dropped notes, added notes, fills), bigger changes (introduction and removing elements, building to leads or main parts), changeups (using a set of contrasting elements that don't necessarily mix with the original ones) as well as automation and plenty of FX to smooth the joins, and you should be fine for 6.5 minutes!
Its only 7 x 32s, after all!
Good tips above from everyone.
First point: the full arrange timeline looks daunting when you first start a track! How will you fill all that time? Well, you will probably end up making tracks that are far too long, actually.
You should know that at typical house tempos, 32 bars is around a minute. Keeping tracks under 6.5 minutes allows 2 tracks on one side of a pressing. Therefore, you only have 6 or 7 "32s" to play with... and 2 are usually used for DJ-friendly, beat-orientated intro and outro. So, to get the job done, think in terms of "32s".
Your approach will likely depend first on whether the style is more commercial/song orientated or more undergound/hypnotic/minimal. If its the former, then work out what your key element(s) are - usually a vocal or synth lead - and write out a structure on paper that showcases them. Roughly, thinking in 32 bar terms: 32 bar beat intro, 64 bass comes in, 96 new element, 128 breakdown introducing that main lead or vocal, and then build up to the 160 bar drop back in, and so forth. Do this on paper before you start, as since this kind of house benefits from a more predictable song-like arrangement, you should be able to stick fairly close to it.
If its a more minimal or progressive track the best way to work is possibly the doubling method. Get your elements together as normal in the dreaded "loop mode", and sounding good over say, 2 bars. Double what you have to 4 bars, then change the second half. That can be melodically or rythmically: adding or dropping extra notes on the bassline, writing a drum fill such as the classic "8th-kick-at-end-of-bar", or an extra snare before the 2nd 4, adding an extra roll of 16th hats midway through the 3rd bar, or adding a one-off FX sound, or even adding the automation of an effect. Try to vary a different element each time, and not just the second halfs (i.e. when doubling to 4 bars, create a variation in bar 3 as well as 4.)
Then, naturally, repeat to 8, 16, 32 bars. At that point, you could double again - or use 32 bars as a marker for a bigger change, such as a breakdown, introdcing a lead line, removing the bass, starting a filter sweep down, etc etc. Again, 32 bars is around a minute. You only need 6 of those, and 2 are usually used for DJ-friendly intro and outro! The key is that, if you change even one or two pieces of programming each time, over the length of that whole section, the amount of variation will seem large. Even - that the track is somehow "alive" and "organic", which is what youre aiming for, usually. The track will also develop and move in unpredictable ways, hopefully.
Two further things. I personally make pretty dense, busy dance music, but I find that making interesting arrangements happens naturally when I have too many musical parts that I like, and that dont all go or fit together. This comes from spending a long time in dreaded loop mode, but it gives me contrasting elements and moods to work with. Change-ups are to me changes of atmosphere where enough elements are changed/replaced/modified to create a feeling of freshness, but the core timbre remains the same (same bass sounds, same drum sounds, usually same drum patterns.) I often go from melodic synth lines to something more atonal or darker, introduce a moody drone sound in the background, go crazy witht he filter on the bass, or just flatten the melodic elements and add more percussion to shift attention back to the core groove. Good change ups sound like an "alternate version" of the track that you could have done, if you were in another mood, again often using the "tension-release" dynamic.
Finally I cannot overstate the importance of FX. A good selection of hits, explode sounds, "drop" and "riser" sounds, laser sounds, reverse cymbals and crashes is essential. A shaky transition can be made to sound perfect with the right combination and timing of FX sounds.
Automation also, a whole extra topic, but again, you can totally control the progression of a track with automation such as filter sweeps, spot effects (adding reverb and delay to individual notes and hits at the end of bars, to smooth and merge into the next etc) and even humble fader rises.
A combination of subtle changes (programming changes, dropped notes, added notes, fills), bigger changes (introduction and removing elements, building to leads or main parts), changeups (using a set of contrasting elements that don't necessarily mix with the original ones) as well as automation and plenty of FX to smooth the joins, and you should be fine for 6.5 minutes!
Its only 7 x 32s, after all!
2Aldanor
Как по мне, подзапутано слегка, а если музыкальный сленг в английском хромает (как у меня) то половина не совсем понятна...
Вот я задавал людям вопрос как они делают музу, последовательность. Вразумительно и просто:
1)Melody
2)Bassline
3)Chords/Strings/Pads
4)Drums
5)Fx
6)Automations
7)Guitar & Piano
Как по мне, подзапутано слегка, а если музыкальный сленг в английском хромает (как у меня) то половина не совсем понятна...
Вот я задавал людям вопрос как они делают музу, последовательность. Вразумительно и просто:
1)Melody
2)Bassline
3)Chords/Strings/Pads
4)Drums
5)Fx
6)Automations
7)Guitar & Piano
Зато уже есть FREE DEMO.=]FleXoiD[=;543958 написал(а):
Arturia Jupiter-8V Demo Available
Limitations:
Only 20 presets are available.
The saving of presets has been disabled.
А я начинаю с прослушки готовых/новых пресетов к синтезаторам. Играюсь, пока какой-нить звук не зацепит. А как услышу что-то удобоваримое, то и мелодия наигрываться начинает. Постепенно все обрастает соседними звуками и тут, главное ни на что не отвлекаться, а то потом, как правило, к доделыванию уже не возвращаюсь...
Совет такой: начал делать что-то в секвенсоре - секвенсор НЕ ЗАКРЫВАЙ то тех пор пока весь трек не "размечен" от начала и до конца. Не обязательно закончен полностью - но важно разметить его, чтобы везде где надо у него были какие-то реальные музыкальные части-органы. Инвалидов любой ценой не допускать! Такая вот нехитрая хитрость. Иногда приходится засыпать рядом с ненавистным включенным монитором, но зато не так сильно зашиваешся из-за отсутствия целостности, этих бесконечных сделанных кусочков которые обычно непонятно куда вставлять, или из-за ухода в поиск каких-то тембров...