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Rational aspects of a good track
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| ponsshin |
We all started liking a track because it had a special element or a melody that's catchy but I figure that most of us know that a good track is not made out of a single element.
So I asked myself what are those rational aspects that make a track so good. Is it the progression the track shows? Is it the layering of the different samples? Their order? The list goes on...
I'm not saying there is a recipe for making a good track but I think there are certain flexible guidelines, certain inspirational techniques and thoughts that can show us the way when stuck making a track.
What are your thoughts on this? And people, try to be serious:) . |
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| EddieZilker |
| quote: | Originally posted by ponsshin
What are your thoughts on this? And people, try to be serious:) . |
Is it made with computer plug-ins or real instruments? I only listen to tracks made by real instruments. [/troll]
Seriously:
1. Does the mix suck my (and others) attention away from anything else I'm paying attention to/might get distracted by?
There is, to my mind, no other criteria more important than this.
2. Does it make me wonder what's going to happen next?
This is a close second and not a whole lot of producers manage this. Give me something mysterious.
3. Is it pretty without being cheesy?
It can be dark and somber or fluffy and uplifting but the moment it crosses that cheese threshold, lyrically or otherwise, I'm done with it.
4. How much attention was paid to crafting the elements to fit into the mix?
Are the elements functioning as place-holders for something better? In my tracks, there aren't very many presets that remain unaltered. When I'm putting together a drum-kit, I pretty much assemble sounds from different kits and layer them. If the track sounds like it was crafted with as-is presets, chances are, it was.
5. Is the producer over-reliant on "trickery"?
Is it a single loop and muting and un-muting tracks? Are they using an arpeggiator? Is there some element that sounds like it was phoned in? I use some techniques I consider "cheating", too, but is the entire track defined by that?
6. Musicianship and soul. Is the producer showing off their technical ability or are they trying to communicate something more than that? Is the producer haphazardly putting a lead in because that's what belongs there or are they actually trying to play something that's interesting.
I don't want to listen to someone play the "Mario" theme on the piano. It's impressive, but it's just not interesting. It's not worth my time. It might be a technical achievement but I could care less about hearing it. Conversely, are they hoping that the rest of the track will compensate for a lagging skill-set when it comes to playing a particular part? I would hope not.
7. How are the transitions through their progression fitting together?
Just a few ideas, for now... |
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| ponsshin |
| quote: | Originally posted by EddieZilker
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This is exactly the kind of suggestions I'm looking after, thank you.
@Subtle: yes but you're overlooking the discussion:p |
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| Subtle |
| quote: | Originally posted by ponsshin
@Subtle: yes but you're overlooking the discussion:p |
Yeah, was a lazy reply so i had to rethink it.
It has everything to do with how each element relates to one another, some tracks just has every element working and talking to each other.
You have the awesome bass and kickdrum, then you have those small ear candy bits that goes so well with the drums, then the effects just fits awesomely with the lead sound, and then you have those pads, than just completes everything, and on top of that, the melodic elements just hits you on the right places.
The greatest tracks are the tracks where you just LOVE each single element, because they just fit so damn ing good together.
And not only that, but you may listen to the track 50 times, and then discover a new sound or effect you didnt notice before.
And lastly, i think this is something that just happens, it cannot be done solely on purpose.
I work in a way that, if im stuck with a track for over 5 minutes i close and open a new one, or do something else.
There is not any point in forcing stuff to happen, it just has to happen. |
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| DJ RANN |
| quote: | Originally posted by Subtle
Yeah, was a lazy reply so i had to rethink it.
It has everything to do with how each element relates to one another, some tracks just has every element working and talking to each other.
You have the awesome bass and kickdrum, then you have those small ear candy bits that goes so well with the drums, then the effects just fits awesomely with the lead sound, and then you have those pads, than just completes everything, and on top of that, the melodic elements just hits you on the right places.
The greatest tracks are the tracks where you just LOVE each single element, because they just fit so damn ing good together.
And not only that, but you may listen to the track 50 times, and then discover a new sound or effect you didnt notice before.
And lastly, i think this is something that just happens, it cannot be done solely on purpose. |
Damn, I seem to be agreeing with you a lot recently!
The great tracks that keep me coming back are the ones that are just simple elements that fit so well togther, that when you listen to them it's like you know what's coming next but there is still an element of surprise.
Rui Da Silva - touch me - is a classic example of simple layered elements (with a great vocal mind you) and great mix. The compostion is simple but they way the elements com in and out, cimpliment the overall song structure and the mix just makes it pleasing to listen to.
Another example in the same vein is Cosmos - take me with you. The layering, the structure, the mix all compliment each other.
Also, some tracks that get me are the older epic house tracks, which have such diversity and a really complex structure but still maintain classic song writing composition such as binary repetition and phrasing. Not to mention so many of them are very lush sounding and build in complex melodies all supported by the mix itself.
Often it's the sounds used that gets my initial attention and the moment I listen more the melody become the most important aspect. The mix is important but lesser so that the other two factors because I can deal with a bad mix but not crap sounds or ty melody. |
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| EddieZilker |
| quote: | Originally posted by Subtle
I work in a way that, if im stuck with a track for over 5 minutes i close and open a new one, or do something else.
There is not any point in forcing stuff to happen, it just has to happen. |
I used to do that, a lot. I think I had a five to one ratio of unfinished to finished songs. Then, a friend of mine told me about pausing - in essence, not trying to force anything, but just letting go of the outcome.
He related it to his improv piano playing and how he'll work himself into a corner, he thinks he couldn't possibly get out of. He'd vamp, for a while, and ask himself what was needed and then rely on an intuition to come out of the corner.
I pretty much use the same approach - I'll hit a stall when I think I've written myself into a corner but then take a break, listen to other people's work for a while or do something which gets my head out of the track for a few minutes and then come back to the part and ask, "what does the song want?"
Since then, there's not a single song I've started that either hasn't been completed or hasn't been cannibalized to fit into a complete song. |
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| ponsshin |
| quote: | Originally posted by EddieZilker
Since then, there's not a single song I've started that either hasn't been completed or hasn't been cannibalized to fit into a complete song. |
Big +1 right there, throwing stuff in the bin that might have good use two days/weeks/months later is the worst thing to do. It proves you that almost nothing is useless. I keep almost ALL my presets even the really ty ones because you never know when the situation in which that ty custom preset will come in handy. |
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| owien |
i think it boils down to subdividing factors.
you either want to here tracks that holds emotion sends you on a trip makes you happy makes you sad. or just make you get down on the dance floor in the clubs ect.
in fact their is so much expected from edm these days as a producer i find it all a bit scary.
in the end to make a good track is about enjoying all areas of music and then try creating them. oh and knowing your software/hardware inside out helps. |
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| ponsshin |
| quote: | Originally posted by owien
i think it boils down to subdividing factors.
you either want to here tracks that holds emotion sends you on a trip makes you happy makes you sad. or just make you get down on the dance floor in the clubs ect.
in fact their is so much expected from edm these days as a producer i find it all a bit scary.
in the end to make a good track is about enjoying all areas of music and then try creating them. oh and knowing your software/hardware inside out helps. |
I understand the emotion deal is important in making a track but the goal of this thread is to help people that just don't know what to do when they followed their emotions and got to a point to where they can't make any progress.
That's why I put the emphasis on the rational side of things, so that these future guidelines can help us by being more straightforward when we're lost. |
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| owien |
| quote: | Originally posted by ponsshin
I understand the emotion deal is important in making a track but the goal of this thread is to help people that just don't know what to do when they followed their emotions and got to a point to where they can't make any progress.
That's why I put the emphasis on the rational side of things, so that these future guidelines can help us by being more straightforward when we're lost. |
this will apply to all areas of edm/music making production. not just the emotional areas. just because you made things simple doesn't mean the track will be good or that much better. just remember you get better with every track you make!
if you mainly make trance and enjoy writing melodies then accomdate your means. make synths and music theory you first love.
if you love tribal and tech then learn about making noises and big drum patterns.
learn to recognise how each genre is made and make your own imprint. |
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| Beatflux |
| quote: | Originally posted by ponsshin
We all started liking a track because it had a special element or a melody that's catchy but I figure that most of us know that a good track is not made out of a single element.
So I asked myself what are those rational aspects that make a track so good. Is it the progression the track shows? Is it the layering of the different samples? Their order? The list goes on...
I'm not saying there is a recipe for making a good track but I think there are certain flexible guidelines, certain inspirational techniques and thoughts that can show us the way when stuck making a track.
What are your thoughts on this? And people, try to be serious:) . |
A great track is the perfect mix of controlled predictability and unpredictability. On one side of the spectrum, everything is predictable and boring. On the other side, nothing is predictable, and everything is too disjointed to enjoy.
The medium place is somewhere in the middle where your track uses predictability, so that you can create drama in the listener's ears by using variations to enjoyably startle your listeners to create emotional reactions.
Depending on what genre you make, elements will tend to be more or less predictable. For example: trance doesn't emphasize drums so predictable patterns are more or less acceptable, especially when there is a great melody and harmony. Or maybe the intro drums are more sophisticated, but as the harmony and melodies are introduced they simplify to emphasize the melodic elements. |
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| EddieZilker |
| quote: | Originally posted by Beatflux
A great track is the perfect mix of controlled predictability and unpredictability. On one side of the spectrum, everything is predictable and boring. On the other side, nothing is predictable, and everything is too disjointed to enjoy.
The medium place is somewhere in the middle where your track uses predictability, so that you can create drama in the listener's ears by using variations to enjoyably startle your listeners to create emotional reactions. |
Well put. |
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