J
JONES
Guest
HOW DO YOU GET YOU SONG TO CHANGE UP I CAN'T SEEM TO GET OVER THE LOOP CAN SOMEONE HELP
A
alter
Guest
Depends on what you are using.
You might check out http://www.chordware.com/download.htm where you can read about the 'at time only' feature.
You might check out http://www.chordware.com/download.htm where you can read about the 'at time only' feature.
Timothy Allan
New member
make new loops, dont cut and paste anything! Then you're guaranteed to get over the loop. Or bump every note up an octave or semitone, that will 'change it up'
C
Cruel Hoax
Guest
You could always, uh, teach yourself to compose a song rather than a loop.
But I realize that's a pretty radical approach. It'll require research and learning and stuff.
-Hoax
But I realize that's a pretty radical approach. It'll require research and learning and stuff.
-Hoax
AlurOne!
FP Psychoanalyst
WELCOME TO FP JONES - DO I LOOK SILLY TYPING LIKE THIS?
ok ok - jones, what kind of music are you making? one thing that i always try to keep in mind, is that i am making a song that starts in one place, and ends in another.
try to build your song from start to finish. what do you want the first 16 bars to sound like? make that first. what kind of change do you want to hear at the end of those 16 bars? break it down before you start out.
by the way, using a pad and pencil is a good way to keep your composition in order.
ok ok - jones, what kind of music are you making? one thing that i always try to keep in mind, is that i am making a song that starts in one place, and ends in another.
try to build your song from start to finish. what do you want the first 16 bars to sound like? make that first. what kind of change do you want to hear at the end of those 16 bars? break it down before you start out.
by the way, using a pad and pencil is a good way to keep your composition in order.
Z
ZANY
Guest
yo what up i just thought up a track like that I know what you mean lik e thrre in one so to speak lol ... well i can see why what part of JERSEY you from?
Y
Yacko
Guest
first think of the place where you and ya homies always kick it, then don't talk to them or go there for two years, guaranteed to get you out the loop.
???
ONE80
New member
I use Fruityloops and I produce hip hop for the most part. When I find myself creating a bridge or some type of change-up, usually, I change the bass first. The bass seems to tie in all the other elements of the song, so once I get a smooth transition between the basses, I just arrange the other sounds according to the bass. Thats what usually works for me, but just expirement with it.
Whatever you do, you want the transition to sound smooth and cohesive. Everything has to flow. Even if its a transition into a more hype and energetic feel, it has to sound natural.
To aid in the transition, you might want to build up to it by adding sounds that hint at what is to come.
Whatever you do, you want the transition to sound smooth and cohesive. Everything has to flow. Even if its a transition into a more hype and energetic feel, it has to sound natural.
To aid in the transition, you might want to build up to it by adding sounds that hint at what is to come.
C
CASTLE HILL
Guest
ONE80 said:
Yeah but make sure the rappers are feeling the changes and sometimes be willing to edit the bridge or chorus to accomodate the artist. That's why some producers give artists skeleton tracks first.The artist may feel the loop but dislike the change because it may not work with his lyrics or delivery.
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D
djcentury
Guest
Cruel Hoax said:
In a nutshell
Though my head hurts, I'll try this, too...
As, others have no doubt pointed out, it obvoiusly depends on what kind of tool you're using to create your DM (I'm thinking the "I" is in play, here).
At any rate, on those occasions when I'm building a track around loops or other repeating samples I've come up with a few (probably quite obvious) approaches.
The most direct, as someone in the first few posts said (I haven't read but the first few... I didn't want to contaminate my thinking with others' creativity
), is to drop another loop in the spot where you feel the change up should occur.
If you change all your loops at the same point, it sounds really lame, so experiment with, let's call them, transition effects, ie, musical bits or even sound fx, swooshes, etc.
In the examples below, we'll assume that you want your transition to center at the end of bar 16 and beginning of bar 17. (If you're hazy on why I chose those, it's important to remember that much pop music is built in 4 bar 'building blocks.' In rock and pop, a line of lyric is often strung across 4 bars of music. In DM, it's probably already keyed unconsciously into your musical DNA... So, it's typical to see sections of music begin on the 1st, 5th, 9th, 13th, and 17th (etc) bars.)
Sometimes it's effective (and harkens back to an earlier day when music was made by humans with physical objects in hand) to stagger your loop transitions. Say, cut loop 1 at the end of bar 15, and then start up loop 2 at bar 17. That leaves the familiar four count (1 bar in typical DM) drop down. You can fill that space with some ind of fx (maybe a reverse cymbal or swoosh or must plain silence). Meanwhile you may find other loops/tracks, say a synth or string pad, instead of ending 'on the money' at the end of bar 16, may sound better if they 'trail over' over into bar 17 (the start of the new section in our example.)
Now, regularity in music is good, people like the familiar 16 beat cycle of a typical verse/quatrain -- but sometimes you can shake things up while still sounding natural if you break the rules, even going so far as to chop what might typically be a 4 bar section down into 2 bars or even 3. When you do that, though, keep in mind a good technique/rule of thumb used by conventional musicians and composers for centuries -- the 'borrowed' measure or measures. If you push a transition up a measure or two, you may find it musically satisfying to 'pay back' the change later in the song. There are no strict rules, but it's been typical in the past to adjust things until sections fall into overall regular patterns. The thinking is that the brain interpreting the music is stressed or teased by the unexpected transition and then relaxed when it (probably subconsiously) hears the 'rhythmic resolution' of the adjustment that brings the overall piece into a (you should pardon the expression) 'harmonious' structure.
(I'm sure others have pondered the notion of the sort of 'rhythmic harmony' I'm talking about above -- since so many compositions clearly concern themselves with orderly structure -- but I've never actually seen a discussion of it or an article on it. Maybe I should read the drummer mags.
)
As, others have no doubt pointed out, it obvoiusly depends on what kind of tool you're using to create your DM (I'm thinking the "I" is in play, here).
At any rate, on those occasions when I'm building a track around loops or other repeating samples I've come up with a few (probably quite obvious) approaches.
The most direct, as someone in the first few posts said (I haven't read but the first few... I didn't want to contaminate my thinking with others' creativity
), is to drop another loop in the spot where you feel the change up should occur. If you change all your loops at the same point, it sounds really lame, so experiment with, let's call them, transition effects, ie, musical bits or even sound fx, swooshes, etc.
In the examples below, we'll assume that you want your transition to center at the end of bar 16 and beginning of bar 17. (If you're hazy on why I chose those, it's important to remember that much pop music is built in 4 bar 'building blocks.' In rock and pop, a line of lyric is often strung across 4 bars of music. In DM, it's probably already keyed unconsciously into your musical DNA... So, it's typical to see sections of music begin on the 1st, 5th, 9th, 13th, and 17th (etc) bars.)
Sometimes it's effective (and harkens back to an earlier day when music was made by humans with physical objects in hand) to stagger your loop transitions. Say, cut loop 1 at the end of bar 15, and then start up loop 2 at bar 17. That leaves the familiar four count (1 bar in typical DM) drop down. You can fill that space with some ind of fx (maybe a reverse cymbal or swoosh or must plain silence). Meanwhile you may find other loops/tracks, say a synth or string pad, instead of ending 'on the money' at the end of bar 16, may sound better if they 'trail over' over into bar 17 (the start of the new section in our example.)
Now, regularity in music is good, people like the familiar 16 beat cycle of a typical verse/quatrain -- but sometimes you can shake things up while still sounding natural if you break the rules, even going so far as to chop what might typically be a 4 bar section down into 2 bars or even 3. When you do that, though, keep in mind a good technique/rule of thumb used by conventional musicians and composers for centuries -- the 'borrowed' measure or measures. If you push a transition up a measure or two, you may find it musically satisfying to 'pay back' the change later in the song. There are no strict rules, but it's been typical in the past to adjust things until sections fall into overall regular patterns. The thinking is that the brain interpreting the music is stressed or teased by the unexpected transition and then relaxed when it (probably subconsiously) hears the 'rhythmic resolution' of the adjustment that brings the overall piece into a (you should pardon the expression) 'harmonious' structure.
(I'm sure others have pondered the notion of the sort of 'rhythmic harmony' I'm talking about above -- since so many compositions clearly concern themselves with orderly structure -- but I've never actually seen a discussion of it or an article on it. Maybe I should read the drummer mags.
)
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P
Paul Rez
Guest
PART I
I get bored very quickly with loop based music because i think the idea of using loops is cool, but i think a lot of producers are lazy as hell and just copy paste whole sections of tracks. THIS IS STUPID. One thing that works really well is subtle automation on your beats. So the main elements of your song are looping (ie bass, drums) and here in there you through in tiny eq changes on the snare or the hats, play with the volumes etc. Make it fluid so it feels real because i promise you anyone who loves their music can pick out a copy and paste job a mile away.
PART II
The following is really BAD advice and you shouldn't take notice. This works for my music so i thought i'd share it anyway.
Like i said i get bored with loops so what i do when i'm producing a track is i start at the begining, let the first elements run until i feel i've heard them too much, then drop in something completely different for a while until i get bored and that needs to change so i drop in something else out of the blue. rinse and repeat until i have a song that has more in common with a roller coaster than anything else. Tempo changes, key changes, rhythm changes, all knitted together like a sweater made out of a tie, two pairs of socks and a pair of jeans.
as i said this is bad advice but i think its good to have as much variety in your options as possible.
I get bored very quickly with loop based music because i think the idea of using loops is cool, but i think a lot of producers are lazy as hell and just copy paste whole sections of tracks. THIS IS STUPID. One thing that works really well is subtle automation on your beats. So the main elements of your song are looping (ie bass, drums) and here in there you through in tiny eq changes on the snare or the hats, play with the volumes etc. Make it fluid so it feels real because i promise you anyone who loves their music can pick out a copy and paste job a mile away.
PART II
The following is really BAD advice and you shouldn't take notice. This works for my music so i thought i'd share it anyway.
Like i said i get bored with loops so what i do when i'm producing a track is i start at the begining, let the first elements run until i feel i've heard them too much, then drop in something completely different for a while until i get bored and that needs to change so i drop in something else out of the blue. rinse and repeat until i have a song that has more in common with a roller coaster than anything else. Tempo changes, key changes, rhythm changes, all knitted together like a sweater made out of a tie, two pairs of socks and a pair of jeans.
as i said this is bad advice but i think its good to have as much variety in your options as possible.
U
uNDefineD
Guest
Cruel Hoax said:
I've really wanted to say that to the kids who say "HOW DO I MAKE HIPHOP BEATS YO!!1" Jeez. How can you have a tutorial for music creation, of all things?
Well, it's a very, very different thing, obviously.
And it's more like a tutorial on producing. Clearly, someone who is editing pre-recorded music is not a musician-instrumentalist in the normal sense. But he could be learning parts of how to be a producer -- which a lot of instrumentalists aren't (or aren't all that good at).
That is, he might be learning what makes music go over with listeners, playing with beats and textures, repetition and change, weaving new elements into old, laying in vocals.
It's not piano 101 nor should it be confused with it. But it can lay the foundation for valuable knowledge.
And, whether or not us old-timers like to think about it, an overwhelminginly large amount of commercial music (as well as advertising and what we used to call "industrial" music -- if there's that much distinction anymore) is now made this way. Some of this new loop-and-pushbutton music is replacing "library" music, so that's a step up, but much of it is replacing music that used to be made with studio musicians.
It may make artistic sense for many of us to disdain it -- but as a commercial reality, loop-and-pushbutton production is here and I suspect it ain't going away.
[Now, what that says about us all as a culture is a whole 'nother thing. But I think that's grist for the mill of another thread. This poor guy is just trying to figure out how to do a change-up. ]
And it's more like a tutorial on producing. Clearly, someone who is editing pre-recorded music is not a musician-instrumentalist in the normal sense. But he could be learning parts of how to be a producer -- which a lot of instrumentalists aren't (or aren't all that good at).
That is, he might be learning what makes music go over with listeners, playing with beats and textures, repetition and change, weaving new elements into old, laying in vocals.
It's not piano 101 nor should it be confused with it. But it can lay the foundation for valuable knowledge.
And, whether or not us old-timers like to think about it, an overwhelminginly large amount of commercial music (as well as advertising and what we used to call "industrial" music -- if there's that much distinction anymore) is now made this way. Some of this new loop-and-pushbutton music is replacing "library" music, so that's a step up, but much of it is replacing music that used to be made with studio musicians.
It may make artistic sense for many of us to disdain it -- but as a commercial reality, loop-and-pushbutton production is here and I suspect it ain't going away.
[Now, what that says about us all as a culture is a whole 'nother thing. But I think that's grist for the mill of another thread. This poor guy is just trying to figure out how to do a change-up.
]
M
matt maven
Guest
Good tips from these folks.
Remember that when a song is hot, it is because the lyrics and the music match to a tee.
Since I write lyrics too, for a change of pace I will often write the vocals first and design my beats and hooks around what I ALREADY DESIGNED IN MY MIND.
Fcuk gear, your ear is the instrument. Orchestrate in your brain and get in the habit of trying to recreate what you "hear" in your head when no basslines and drums and hot jazz sample cloud your vision. Organize these thoughts and proceed.
dream. plan. do.
Remember that when a song is hot, it is because the lyrics and the music match to a tee.
Since I write lyrics too, for a change of pace I will often write the vocals first and design my beats and hooks around what I ALREADY DESIGNED IN MY MIND.
Fcuk gear, your ear is the instrument. Orchestrate in your brain and get in the habit of trying to recreate what you "hear" in your head when no basslines and drums and hot jazz sample cloud your vision. Organize these thoughts and proceed.
dream. plan. do.
K
kazoh0lic
Guest
yo im new but i know some stuff, eh...when trying to get ur music to sound different..and im not goin to give u a music lesson nor can i really give one...but from verse to verse and in many transitions...use the same loop if u like..however input some "unnoticed" backing..like strings..or bass..or some other instrument...just makes the feel change..doesnt have to be loud enough to actually clearly..just let it back it up..this is a pretty easy technique..and it will help.. 
>- peace
>- peace