In this creative strategies article, Logic expert and Dutty Artz label owner Matt Shadetek shares an unorthodox composition technique that will help you finish your productions.
Finish More Songs Pt. 1: Working Backwards
Writing an 8, 16 or 32 bar loop that sounds great is easy. Turning that loop into a three or six minute song that sounds great is hard. This is mainly because creating good song structures with a beginning, middle and end, that have an arc and go somewhere is hard. In this article I’ll share a technique that will take some of the blank-page anxiety out of this process. I can’t tell you how many students I’ve encountered who bring me dance tracks that have a great intro, go right through to the first build up, get you excited about the drop and then… nothing. They ran out of steam, imagination and horsepower. It sounds silly and weird but this actually happens more than you’d think. Part of this is because they are visualizing the track creation process as linear. They are thinking: “first this will happen, then this, then this and then…” I am sure there are people who can take this method and make great work out there, but I don’t know them.
What I’ve found works is actually the opposite of this method. You start where you’re trying to take the listener, at the climax of the song, the maximum intensity, and then work backwards. This actually makes the process much, much easier. To paraphrase Steve Jobs, you can only connect the dots in reverse. Anyone who tells you that they know exactly where they’re going in a creative process is probably lying. Creative work is an exploration and there are always detours and dead ends. Imagine you’re trying to build a railroad and the way you start is by laying out the first few miles of track without knowing where the next station will be. Chances are things will not go well.
By starting with a destination, a peak moment in your arrangement, it becomes much easier to lay parts backwards towards the beginning. Even if you don’t know exactly where the beginning is, it will be much easier to figure out once you’ve determined your destination. One of the things which makes this easier is the fact that it’s easier to look at something full and experiment quickly with taking parts away. Experimenting with adding parts is much more time consuming because you have to create the parts and make a lot of decisions in the process.
One name for this process of taking parts away is subtractive arranging. The simplest implementation of subtractive arranging is to create an 8, 16 or 32 bar loop which represents the main parts of your song. Repeat that loop until you have the desired final length. Let’s imagine we’re doing a verse chorus hip hop song. In this case we’d want a 16 or 24 bar loop which contained an 8 bar chorus and an 8 or 16 bar verse. We could even apply the subtractive principle to creating this loop by saying that the verse is created by taking stuff out of the chorus. That’s not always the way it’s done but it’s one way to start. For simplicities sake let’s say we have a 16 bar loop with a verse and chorus, each 8 bars. We’d begin by repeating that 6 times, to get us to around 96 bars (depending on tempo and desired song length).
Once we’ve gotten our parts repeating for the desired length of time the process is as simple as going back and deleting repetitions of parts where we don’t need them. For example we might want an intro without drums and to add the drums in the first chorus. All we’d need to do to arrange that would be to delete the first 8 bars of drums. This will show us a basic overall structure that we can begin to evaluate.
Depending on the degree of repetition we want within our track we now need to evaluate what portions of this basic skeleton work and where we need further variation. With a raw arrangement in front of us we can begin to develop a clearer idea of where it feels like the energy and momentum drags, or where things feel rushed. Once we’ve identified these points we can attempt to solve the problem using existing parts, or decide to add new parts. The good thing about adding parts at this stage is that we’re now past the throwing spaghetti at the wall and seeing what sticks phase. We now can make decisions about what type of part is needed at this particular moment in time. Often the parts needed may end up being very simple and functional, like a unique sound effect for a particular transition, or a simple piece of automation like a filter movement to differentiate one section from another.
It’s much easier to make these changes within the larger context of a framework. With a birds eye view of the track we can now make better, more context appropriate decisions and waste less effort. A key aspect of this approach is trying to put as much of the process into a hindsight style view as quickly as possible. Looking forward and trying to evaluate options in front of the infinite choices of the proverbial blank page is difficult. Evaluating something skeletal collapses the possibility space and allows us to think more deeply about a narrower range of choices.
About Matt Shadetek
Matt Shadetek is one of New York City’s most exciting producers. His live sets encompass contemporary Dancehall, UK Funky, and Dubstep, all delivered with Shadetek’s unique production voice which bridges the underground-mainstream divide. He’s one of the rare DJs who can rock a crowd with sets composed solely of his own dancefloor bangers and remixes.
Matt’s early love for Hip Hop and Dancehall along with edgy electronic sounds led to his Warp Records debut album Burnerism as part of the duo Team Shadetek. While Matt was living in Berlin and touring Europe, the followup LP Pale Fire was released, featuring the underground hit “Brooklyn Anthem”. The hit song kick-started a dance craze in the Brooklyn reggae scene (leading to over 100 fan videos of kids dancing to it).
Returning to NYC, Matt founded the Dutty Artz label/production crew with DJ /Rupture. Shadetek produced Jahdan Blakkamoore’s debut album, Buzzrock Warrior (!K7), pioneering its signature Reggae-Dubstep-Rap sound. In 2009 he also teamed up with Rupture to release the mix album Solar Life Raft (The Agriculture). His latest release, on Dutty Artz, is Flowers, an effervescent solo instrumental effort that references dubstep, UK Funky and Garage. He has toured internationally both solo and accompanied by Jahdan as vocalist.
Logic Pro Producer Certificate Program
Master Logic Pro X with our complete program. You’ll get a comprehensive overview of the composition process in Logic and create a portfolio that includes a collection of original tracks, a remix entered in an active remix contest, a re-scored scene from a film, and sound effects and music for a video game.
Logic Pro Level 1: Shake Hands with Logic
Logic Pro Level 2: Completing Your First Track
Logic Pro Level 3: Subtractive Synthesis and Effects Processing 1
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In this program, you will develop the technical and creative skills needed to write and arrange music in Logic Pro X. You’ll create unique sounds using synthesizers and samplers, and learn how to mix and process those sounds with Logic’s vast array of effects. You’ll begin by creating a series of short sketches which are then developed into a portfolio of arranged and mixed tracks over the course of six levels. You’ll also create a remix, enter an active remix competition, score a scene from a feature film, and add music and sound effects to a video game. This program will help you develop and express your creative voice as an artist while teaching you the skills necessary to create the music you imagine.
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