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arrangement
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| LoveHate |
so i have come to the fruition in recent months,that the arrangement of a song, is just as importing as writing the chorus, the verses, the melody etc.
and you may wonder, wait lovehate isn't everything you just mentioned part of a arrangement ?
yeah of course it is, but there's another expect that takes just as much time to master, something that i have overlooked and i am sure many others have as well..
in electronic dance music its so much more about.. (in my opinion) taking that 8/16/32 or whatever bar loop you created and turning that into a entire song, through the use of automation/modulation/ and production tricks. and there's really no easy way to do it, because its just a integral part of the creative process..each song and each section should be unique in itself to tell a story and to keep the listener on thin ice..
you can just as easily use the same pitch shifter/ snare rolls/ white noise / in every single track to create tension and energy if it works , but i think having your own distinctiveness is what separates a great song from one that gets lost in the haystack.
so how do you rebuttal this if you are facing a similar roadblock like myself? i am ready to hear any advice you fellow Ta'ers have although ultimately i am aware you just have to twist every knob , and just do it yourself.:eyespop: |
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| stewart.m |
| i dont fallow a formula if it feels right its right |
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| PaULiN0 |
| quote: | Originally posted by Robotrance
part1: verse
part2: build up to chorus
part3: chorus |
Spot on.
But only sometimes it depends on the context of harmonic flavor that adds presence of tension or anticipation which helps with build ups of course.
If that makes sense. |
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| AlphaStarred |
| quote: | Originally posted by LoveHate
ultimately i am aware you just have to...do it yourself.:eyespop: |
Indeed. You don't have to twist every knob. What you need to do is sit down (or stand) and get to work. Because making tracks is an art like others, which requires work. You work at the track you're working on for as long as necessary until it sounds right. You do your best, and consider it done only when it's done.
It's like Joey Jupiter said to me when I was buying his TR-606 years ago: you make a bunch of tracks, and eventually you put some on vinyl (i.e. release/be content with). That's all there is to it.
And for 's sake, don't try to make a "great song" that will please everyone. This will likely never happen anyway. You should feel at least somewhat satisfied with the end product, that's all that matters. Or at least know that you've done what you could with it, and move on. Don't focus so much on terms, focus more on flow and how all instruments sound together. |
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