Workshop 11 - Songwriting and Composition in Ableton with Isaac Cotec

 

Decibel Conference

 

Lesson Info

Workshop 11 - Songwriting and Composition in Ableton with Isaac Cotec

Our first speaker for the day is able to uncertified trainer isaac co tech and he is going to be talking about song writing and composition techniques in a built in life warm welcome for isaac welcome real quick my name is isaac co tech I've been able to in certified trainer and I also go by the names sub acquits for my music I play at festivals all over the united states and internationally and this is me performing here in washington for photosynthesis few years ago and then I started teaching at different festivals, different events as well as doing workshops as a certified trainer and I've been teaching for uh well I've been teaching for around seven years I learned able tio when it first came when I first used able to him it was live five there's hardly any information on and I started learning the program and developing all these tools and now years later I'm able to share this really quickly with people so let's get into this particular class and what we're going to go over so t...

here's a few things that again we only have forty five minutes we're going to rush into all these concepts hoping to really inspire you and come up with new ideas and I'm not going to go super deep into music theory and the endless things that you could look on around there but we're going to overview a lot of the creation process so we're gonna look at the steps of music creation organizing your samples for quick deployment quickly creating sketches, building out ideas and developing compositions and some tips and tricks have learned along the way. All right, so I created this image a long time ago when I was really trying to distill what my creative processes and I actually have this printed in my studio to help me understand where I am in my process and I had these different stages and on stage zero this is what I call the concept this is where your building what your message is, what you're trying to create, what you're trying to share and it's really important I feel that we as musicians recognize that when we sit down if we have no concept at all of what we're doing and we just sit down you have an endless world anything can happen well the mohr you home that in on imes trying to say something specific I'm trying to share feeling I'm trying to create something in a certain mood then you start limiting those choices and actually becomes a lot easier when you have everything it's just overwhelming but when you narrow it down through your concept through what you're trying to share that's going to be your guiding light for the rest of this process I also have on here that no intention of your statement as well as life is in order because it's really stressful when you're trying to create a song really quickly because you have to go make rent later that day or whatever it might be so the more that you can get your life kind of under control I find it really helps the creative process um and then you can kind of build from there so then we have stage one which is pre production that's where you're getting tools, concepts and ideas musically together then we move into sketches which is when we start building out ideas coming up with him a lot of cooks and ideas stage three is composition this is when we take those ideas whatever that rhythmic seat is that melodic seat is and we start building on it and I like to think of this as like a zip file you have the zip file is that original song that original sketch and you're just unpacking it you're unpacking that information and making it bigger and bigger to a full composition and then we have mixing which is after composition this is very important that you do not sit down and start trying to build your composition and spend two hours on that kick sound because that kick is not the story you know that is not what you need to worry about at that point of your process we're later on you can easily swap out these sounds or at q and things like that and it'll all glued together, but if you spent, this is classic I've spent when I first started forever on my kicking base forever, and I got a kick in base that liked, and then I wrote a new millet new melody melody was in a different key, so then I changed my base, and then my kick didn't quite work, and then I changed my kick, and they now have a new song like I spent a few hours, and what I started with is nothing like what I have now, so the clear our path is of where we're going with their track, the quicker we can get these things done and then last is mastering and that's a whole subject around, making that sound good on different speakers in different systems. Well, we're only going to really talk about these first four, and we're going to overview what they are things I've learned wrong along that process when I can get into mixing in composition. This actual class that we're doing is a kind of condensed version. Of course, I have up a creative life on fast song writing, gonna have other courses on mixing on creative life that if you're stuck in that process, you can check that out, but we're going to look at these. Particular things here concepts preproduction sketches in composition. First of all, I want to start with the concept because I really do believe the longer you spend on that like I've spent months thinking of what I'm going to create even with a single song like what mood? What message? What feeling what's going on in my life and then once I really understand what e p I want to create what album I want to create I can make it a lot faster I noticed a huge difference in my speed once I understood what I was trying to create before I created it just save you a lot of time so here's a few concepts and ideas that I've learned along that way uh, one thing I like to call is creating a mythos and what I mean by that is if it's just you in a computer and you're sitting there and you're gonna make a song that's kind of stagnant, it doesn't really feel all that created it there's nothing that might really incite your creativity when you're looking at let's say, able to him but if you created a whole story around what you're trying to do images that help you feel into the concept of this song immerse yourself in art around this this subject whatever it might be, envision a space that it might be in a great example this is it's all tech I love his music and when I listen to his music I instantly think of being at a festival stars are out it's a late at night it's like four a m it just feels like that moment and there's other music like that there's music that feels random rab feels like the morning just like I couldn't start hearing birds come out in the morning stuff like that so he's created a really sense of space and if you have that in your concept it's going to help also you can think of what in who what's happening who is in this story are their characters moving throughout this story what might it be and this really helps nourish your imagination and it really brings a whole new way of looking at your art in your music then just straightforward me just making that kick because the kick and like the percussion techniques don't they're not that important really what's really important is what you're conveying there's this great thing where if you have someone you create it's crazy track the most craziest jazz weird elektronik thing ever and you play it for someone and you're like man I spent ten hours on this one sound they hear it but they don't know anything about your process to them it's all magic and they don't know that took longer than any other pop song that they hear all they care about is their experience with your music and having that understanding of how people feel and interact with your music is actually what's important instead of the technical aspect that created it. So I'm going to have a little example here of what this might look like I learned a really cool trick a while ago that was incredibly helpful and what it was is I'd be working on music and while I'm working on that music, I would sometimes switch over to a video just go on video or something like that and watch this cool video and used my music as the backing track so I'm just watching the video listening to what I have created and be like, wow, does this fit what needs to change to make it fit this mood? And I'm going to show you that where you can actually load videos into able to um you just drag him in but here's an example of what I feel is a good mood all the music we're going to hear is my own music a survey quiz but thiss video with the move that I'm trying to create with this song very soul tree dark I really liked that feeling that this has so again if I had a totally different be this wouldn't work this video and he would tell me oh maybe I should change my beat maybe I should change my melody help me really zero in here is a bad example I don't even know this really like really bad muzak music for this but definitely not what I'm creating if I play this in this setting everyone would look at me very weirdly so it's a bad example and here's a totally different example so like a house track that I was experimenting with I want to just feel like hanging out the beach there is on the beach and it's created it really feels right for me in this track that's something you all can do you can do this with images you could do this video I prefer video a very visual person but it's a great technique that seriously increased my ability to hone in to the feeling of off my music all right now we're gonna look into preproduction I have a lot more around each of these subjects but we're really zeroing in on kind of this is the best greatest hits sort of thing so with pre production preproduction we get pretty esoteric and we get pretty geeky a lot of times this is dealing with things like creating tools and able to live building effect racks and instruments experimenting with new ideas new beat rhythms polyrhythms whatever and creating a library of samples and beats and stuff that you can use in your production later it just will make the later stages a lot quicker a great example of this is had this album it's called emerge came out three years ago with that album, I decided that I wanted to use a lot of new instrumentation that was very world based world rhythms, stuff like that I spent think for five months developing new concepts, new samples and templates for me to play with that all had a similar sound once I had that I wrote the album in a month because I already had everything really prepared for me to get creative if I didn't if I did it the other way around, it would have been well, at least in the past, I saw that it took me like six months, eight months to really hone in and create an album we're now that I can build these tools beforehand like you're on a flight or you're waiting for some reason you just get really geeky, but that mind set is not the same mindset of creating a story. It was a very polar opposites, so separating it into pre production is really helpful. So here's some tasks that you do for preparing in preproduction you're creating a library of sound, organizing your files and making premade templates and tools it gets a little geeky. We're going to talk about the ever sexy, interesting conversation around file management known riveted in your seats, but this has really helped me and what this is is this little image of my file structure on my computer and what I have here is I have these these different files, my drum loops, percussion, instrument loops and so on. And in each one of those that separates two another file another folder with a bunch of other folders. So for instance, my drum loops, like the only thing I care about when I'm using a drum loop is what genre is it? Or maybe what speed is it so that's, how you can organize it? So I have this huge collection of rhythms from all different genres. Well, another example would be drums and percussion. Now I have a huge library of one, shots, gigantic, and in this library, I used to have it all is one thing, one gigantic pile of stuff, and I get lost. I would spend five minutes finding the right sample. Well, granted, I spent two days alone in a room moving files around and that's feels nothing like music at all, and I didn't know being a musician would make me so obsessive compulsive, but now it takes me two seconds to grab a sample in, and that really adds up over time. So, yeah, this might take some time, but once you do it your way faster, so drums and percussion in here, you'll notice have trump kits glitch sound sample objects tuned and un tuned percussion and so on then if you're going to drum kits have complete kit like it might be a single type of drum kit or I haven't separated by brass brush hits kicks so on I think a good general rule for this is about ten samples her group so if you have fifty samples for instance well how can you break that down? Well maybe you could let's say you have fifty guitar samples maybe some of those samples are hard hits some of them are light hits or maybe some of them are just like a quick percussive pluck well then put all the plucks and put put all the sustained and separate folders and the more that you can do that the easier it is to find what these are also on lee keep samples that you will actually use and that's important with things like bit rate if you have a bunch of mp three stuff well you really shouldn't use that in your production because it's just it's not very good sounding kind of dead ends the sound you lose a lot of the character especially if it's were some worse bit rates so anything that I find it's not a good bit rate I just get rid of uh second thing is copyright it's just a good idea not to have copyright stuff great example of this is I put out tons of sample packs tons of stands of my music and I'm very clear that hey, you can use this for whatever just just say that used it for me well, one day I was looking at life my friends news feed and I love to share my friends music I look forward to that I was checking out one of his tracks and I'm let's listening to him like I know this melody how do I know this melody? What is oh, this is totally my melody he totally took it and built the whole track off off of something I've released so I contacted him and had a little moral quandary about it but I contacted me like came in what's up here he's like all dude, I'm sorry I just download everything off the internet and then I make tracks and he doesn't even know where these samples come from. She didn't know it was from me he didn't know it was from someone else and you can easily get yourself in trouble so just be clear just try not to use copyright material also add key words to it at the end of the files make it easy and able tend to find great this is kind of the last thing I'm going to end with a superfund file management who will move on to feeling musical again but this is really helpful, incredibly helpful especially if you collaborate with other people and remember that image of the different stages of music production I actually create a file structure within my computer and I put the tracks in those different folders comparatively to where they are so instead of having twenty to thirty files of all these different tracks and working on now aiken specifically know where they are like oh I want to work on something that some composition today opening my working composition I want to open up my some sketch come up with some sketches bandits in the sketch is the reason this is very helpful and will speed you up immensely is think of it as a ladder where you're putting everything down in like grooves or sketches and then as you sketch gets more complete you put it up the ladder toe working compositions then you have a few they're up and so on and it really helps you visualize where your music is going and it will speed you up and when you're working with someone else it's very easy for you to know where you guys are in your process like oh yeah this was in a mixing open it up and go mix it I'm going to go work on this other sketch so I know these are little tweaks but they save a lot of time and they'll make you a lot more efficient all right now let's look at starting a track now we have the company the concept the field overall ideas that we're trying to create and we have pre production which is pretty nerdy pretty specific building these resource is well next we move into sketches and sketches I noticed a big thing in my own work flow when I had sketches versus just tracks I'm working on now the reason why is if I sit down and I make a really bad melody but I'm today I'm making a track I'm gonna finish this track I'm going to sit here no matter what and I have this crap melody and I'm building off from it and I'm building this crap song and I've spent all day and at the end of the day I'm like uh I really like this but at least it's a song and then the next morning I listen to it and it's just rubbish just throw it out this happened all the time drove me crazy well what happens if we can make a bunch of crap bunch of bad sketches and one jim and we instantly start working on the gym instead of all those bad ideas there's a really good video by his name's john cleese he's from money pipe on and he talks about this and he says that uh what they found is the most successful people in a creative field and actually even mean like doctors and inventors and people like that but anyone who's creating something that the longer that they could feel into that uncomfortable sense of not finishing something, the better their final outcome. In other words, the first idea you have is not always the best one, it's just the first one you're warming up so you might want to grab onto that. I have an idea, I'm creative, I'll work on that, but the longer you can hold on to this sense of not being done yet, not deciding tio, this is it, and you can hold off and make mohr and mohr concepts the final one that you make or maybe even the second one, and they make a third and fourth hole in the third and fourth was terrible. The second one was great, right? So learning to not just grab onto something at the answer, really feeling into the whole process and just come up with ideas. That's that's what the essence of sketches so sketches are laying down quick ideas you're building basic melodies and rhythmic seeds as well is creating a lot of unfinished ideas to go in later and along with this, uh, like this little thing that I wrote up, that every musician will make one hundred bad songs make them as quickly as possible and move on my first album, no one's heard except for me because I deleted it because it was horrible. I spend forever on it and I'm so glad he deleted it I just wish I could have deleted it quicker and that's what I suggest for your like don't feel bad about making bad songs just do it quickly and move on and that's where sketches come in uh let's see okay, usually I show an example of this I'm just going over view it because the sake of time but I really like to think of sketches as there's two ways of going about it one of them is very agenda oriented this is very like if the whole light left right brain thing we'll use it as a metaphor I know it doesn't actually work like that but one side of you really wants to work on fax like oh this song is about x it's created in gabber because I know we all listen to gabber music still no one knows what that jonah is anymore um and it's going to be the prettiest gabber dub step song ever and I'm going to make it that's a very objective oriented you can say all right, well that's probably going to be in like c minor it's going to be at one hundred eighty and it's going to have a lot of wobble dub step base cool and then you make that so that's one way and that's a totally valid way of making music everyone has a different way that they process that they go through so I threw this I just want explain that that's one way you can go about it another way which is personally my preferred method is what I call the flow it's it's where you don't really I have an idea of what you're creating you're just going with whatever the mood moves you towards so that's where your concepts come in of like oh I want it to be dark I wanted to feel like it's in like four o'clock at night the stars are out maybe there's like thunder rolling in and it's it's kind of scooby scooby scooby spooky yet beautiful track what does that feel like and I'll sit on my keyboard and start playing ideas until something comes this way you're not restricted by scales you're not restricted by b p m you're just following your feeling uh this does take a little bit more mastery over music theory over performance stuff like that but I do feel that even if you work very much like an agenda based music you should try experimenting with flow and seeing where this to interact and developing skills on both sides so that you can always switch to whatever one kind of will work better for you and this is a there is no right way to write music don't let anyone tell you that this a place people see in music because they are lying that has never happened there is no rules at all but there are things that can work faster or things that might work well for other people what I have found is the quickest way to write a track is based off of a lot of recording techniques and in recording you record one way of doing it is recording the rhythm and drums first great you got a drum track now everyone could be on time then you record your base or or some rhythmic melody like a chords in dub that kind of what I call the bubble cord and then you move over the harmony leads vocal and effects now if you're building your sketch like this I just find it a lot quicker to come up with a rhythmic idea and build from that place now I should have done another image of this reversed sort of because sometimes if I'm or in the flow so to speak I will actually just work with sound recordings and just make a weird texture ambience something to create a feeling and then kind of build the beat from there sometimes it's nice to just get the feeling to start but this is a really nice hierarchal way of building a track now a very important thing here is notice how the effects are on the top the reason why is definitely my own music but lots of musicians do this when they start is they have that terrible track that one they're going to finish today, and they put a bunch of effects on it, and they go on youtube, and they learn all these cool clicks and whistles and cool ideas, and then when it comes down to it, it's just it was it was crap to start. And now it's polished and you threw glitter on it in your life. Here you go, guys he's like a lot of effects on top, so try to do that last the better your song writing, the better, the actual, like kordell progression or concepts or rhythms that air in it like that's, the that's, the rial essence of the track get that nailed and then do all the cool techniques awesome! So here's, some real quick tips on creating sketches, so one thing I really like to do is I like the time myself and come up with a plan. So let me explain I'm about to work on a new album with a musician friend of mine, milo hating he's, a violinist. We're coming together to create this new project called silk drop, and I've learned a lot about my own creative process by working with someone else, but one of the things that we do is we kind of we work it things in circuit in a way we create a bunch of sketches a whole bunch and then a few of them move over into compositions and we start building the compositions but we want to constantly have new sketches, new ideas and throw him over and build these up simultaneously right? You never want tio well, I won't say never but picture this you spend forever you finish an album great you finished an album what's your next album like and then your mind starts freaking out how am I going to do the next thing? How can I be better than that thing I created well once if you never stopped once if you're always creating new sketches and new compositions and your next album is just further down the line, it will save you a lot of insanity especially if you're your track that you're working on gets on deport top forty and it's the only track you ever finished and now you're like uh where do we go from here so know that if you're working at both things it's going to be helpful but what I like to do is take like a week or two and just work on sketches and just make a whole bunch of home and then the next week work on compositions and then the next week work on sketches and so on and kind of separate my time that way it's really helpful but one of things you can do is try to make a sketch every hour like fast guys this is just like some beat and some ideas little melody try making a few in a week this is something you can do when you have a job or you have other things that you're doing just make concepts and then a good note taking uh unable to just like flagging things in coloring them and really help you and sketches done when you are just getting into it right just when you're like sitting there and you're like yeah I was feeling good I should finish this track stop that's a dangerous moment where it could be good or bad you don't know so save it make the next sketch um and then keep every sketch to about one or two ideas so let me show you what a sketch might look like it's close that beach party all right finished sketch so I just have two sketches I'll play for young so you can kind of get an idea of what they might look like and where they're at area loading loading loading which oh, we'll see how this works. This isn't actually my computer. My other computer doesn't work well for the broadcast but let's just hear it's an idea it's got some stuff going on very trap e oriented but the important thing here is it's got some concept it's got stability and that's it e think of it as making a loop that's all I'm making is just some simple idea and for this you can see that I have like some stairs sounds I've got my feet I got some base and that's about it just a concept let's look at this second one haven't even opened these in a while that's what it's like it's just his new for me so it's definitely money sounding a little quiet we get turn up would be great but that's cause I haven't gone into my mixing mode yet I'm not really worried about what it sounds like honestly I'm just trying to create this vibe like r a I can feel where this is going I could feel a drop coming in here I could feel it getting like aarp educating and crazy whatever it might be that's all I'm trying to create a sketch now I know that some people come into a problem of like making a bunch of ideas but can't finish it right so you made how all these sketches where you go from there well that's when you start getting into composition and that's what we're gonna look at next but that's just a little example of what sketches might be and then I have somewhere like I try to have around ten sketches at all times and then I was just kind of move them into composition says I go awesome let's look into developing the composition how do we take this idea that's this concept and start unpacking it and building it out to something that's done well in the composition stage remember I move this from the sketches folder at this point into my composition skates stage folder and then start building now that's an important step to help me know where it's at so here I start expanding the idea I start modulating the parts start building on the beat and the melody and build on the arrangement itself it's very important to know that this is not fine tuning every single sound and e q in the mix let's say I have my drums and I e q the crap out of it until it's something I really like awesome well the second I add a percussive elements like a new drum to it well now I have to completely undo my queuing and e q all over again so you just spent twenty minutes queuing and now you're changing it because you're still writing your song so knowing that just writing the elements the concept the idea is putting in the instruments and then later you really tweak it altogether and your final mix is important now who here just raise of hands really feels like they understand the parts of a composition like verse chorus all a different stuff who here feels like they just made there really new at it and they love like they want to know more they're hungry for more information all right, so we're about half, so I'm just going I'm going to review this and go over this then we'll look at this with in life well, first thing we have in the intro intro adds new parts, the composition and sets up the arrangement it may or may not be in the same key and introduction is unique section at the beginning of a piece classically this is like a little ambient thing or a little lead that comes in and drops um really good examples that it's like healtheon on and on if you know that track very famous and uh that song has this whole insurer that's in a different key and then the rest the track comes in it's really cool you could do really interesting things with your intro, but it's just building up the idea. The verse contains the details of the song, the story, the events, images, the emotion and so on. Each verse will have different lyrics than the other universe exists primarily to support the course or refrain of both musically and lyrically. Now a lot of this isn't pop music great, but I'm going to bring this over into electronic for us as well chorus this element of a song it repeats at least once both musically and lyrically it is almost always a greater musical and emotional intensity that divers this is like having kind of your beat and you're set up of your track your drop comes in and then you have this really powerful section that would be kind of like your course but your course is really the thing that people remember usually when you're writing a sketch you're writing the chorus not even knowing it and we'll get into like how we can kind of open that up the bridge is something that I think is totally understated in a lot of music especially elektronik and a highly suggestion playing around with this a bridge may be a transition but more often in popular music and is a section that contains a completely contrasting the universe usually ends in the dominant are often culminating in a strong fifth that gets in this a music theory stuff but basically, uh if you listen to music a good example of this is the beatles are a lot of pop music where they'll be going and going and you you got it it's like you know uh the course is in your hand you're bobbling this's cool and I also think it's weird or it gets totally different and you're like, what is this? This feels like a different song and that goes for a little while and then it comes back to the regular track the funny thing about this is you probably don't even remember the bridge you can listen to the beatles quite a few times before you realize oh, that song had this totally weird part like it got really psychedelic and strange how did they even do that? And then it comes back so the bridge is what makes it feel fresh and it's really important and electronic music because personally I find it gets a little stale if it's just all the way through then you have a pre chorus this functions as something that builds or transitions into the chorus will look at that on a solo is a section designed to showcase an instrument we can kind of picture what that is and lastly we have a break that breakdown is common in electronic music that breaks down or falls away and elements usually being around eight or sixteen measures and adds new elements awesome. Well, let's get right to the music let's open this up in life and I'm gonna play this song and just fast forward to different parts were start run low on time here's a track that I created here is an intro something very simple created this is mohr elektronik pop but it's the level pop aesthetic so some concepts coming in and you'll notice a change in the verse is where the main kind abilities air coming in fast forward to a solo just a piano solo same the same concepts they're still playing it still sounds very similar and then we have a pre course now pre courses designed it just come up with basically a few notes that lead into a different course set up the course course is basically a different court structure. So that's playing you notice it is kind of like up adoptive in the sense of the melody and stuff to kind of feel differently and let's skip ahead, tio what the bridge might be so I have the pre chorus sets it up very different feeling it's actually a different beat, different court, different melody, everything is different, but let's, skip ahead. Here's this bridge that's different now it's gonna go under pre courts and of course we'll drop right way. And then we go back into that song, is it? Wass and that's just created it if I just had this course throughout, this whole tracking is very boring. So that's an example of those different parts and how they interact now I'm going tio talk about some technique that I highly suggest you checking out which is taking a track, figuring out what those parts are in writing a mini trach at the top like that last one you saw, there was a mini trach let's actually go back to it. This is just a mini track in live that I just created a new just right click and insert a mini cliff and then I named it and it's it's a lot like adding those markers but there are advantages to it that I really enjoy just seeing the name and the color of those whole sections so you guys, this is a great way to learn composition just just come into any track that you want is another track of mine and I know it already so I'm just going to speed through this of aiken, right? Click insert emitting on let's rename this intro on then it's uncertain. I know this is also still in intro on then this will be the chorus section oh, sorry. The verse wait another section e just call this it's another verse on someone and it was just keep going that way like this's the bridge for this song I have a totally different singer in it, so it feels totally different and then, uh, female local is kelly castles kelly castle scott he's from here amazing hip hop artist is the singer so this way you can kind of sketch out on top with these compositions are and you just kind of building off these ideas? Sadly, I'm not going to really get deep into this part, but I will show this really cool concept of let's say I rode out what all these sections are on your favorite track no such thing or a tech or whatever you kind of break it down you write in many track at the top of what you feel happens in the song well let's say I dragged this could drag it over to the side I'll rename this um being there it is well what that means is if I'm working on another track and I'm kind of stuck where is this go where's the drop where is the next section coming? Well I could drag this in and have that composition as an idea so think of compositions as just having little sections in parts and moving them around till you get something you like and that begins your story well something that I created was this huge tool kit so let's just open it up to start and I went through tons of genres and I have the name like here's a tool track and you can see like what that composition was I mean to the tracks are very long lots of solarz so you can come in here this is very normal pop music it's chorus instrument verse course insuring bridge so on and you can drag this into what track you're working in it's a very easy way to start moving your track around in your composition and you see all its tom's of these so I gave you guys those cars will show it again at the end and you can download this off my sight with that with that code. But if I'm working on something like normally, I would actually take this track that we listened to before and start moving these parts around. But what I can do is I can open up the composition if you guys know. But if you ever have a live set enable teo and you navigate to it, you have that little triangle. If I press that triangle, it opens up and shows me what all those tracks are. And then I could drag in any of those tracks very easy way of moving projects together, merging them. But let's say, I wanted to put in this verse chorus I can then take what these sections are like, take this chorus section, chop it up, moving around and rearrange it to my verse chorus. Or if I wanted to grab like this, radio it head, creep song and rearrange my whole composition to kind of try that one out great way of learning and moving things around. Um, so all you have to do for that is, like let's say grab that commanding control lead to cut. I'm just going tio insert a new audio track I can put that course there and just kind of chop things up granted if you're if you're producing enable ten you would have a sketch and you would copy parts of those sketches and move them around and that's kind of how you can build a composition now sadly I don't have that much time left so I can't go deep into this but the main idea here that I'm trying to show off is let's go back to their here it's kind of a wider view of this granted there's a lot within composition how we finish that tracking that story but if you take these ideas of having ah feeling of your music of your concept you build off of that imagery that idea using video stuff like that moving into preproduction what tools and things do I need to create that moving that into sketches and then from creating a huge amount of sketches you picked the gym's then you move that in a composition you take that that verse that idea and you build it out more more more bridges more new parts this song composition it's just a lot faster going that route than if you just start sit down I'm going to write this track and finish this work flow is really going to help you a vision your track and completed much quicker sometimes I can finish these up to uh like a single day I can finish track sometimes granted it takes me like a month but this is still a lot faster

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The Decibel Conference is three days of panels, workshops and other events that runs in parallel to the Decibel Festival. Now on its 12th year, Decibel is one of the nation's longest-running and most respected electronic music festivals, and CreativeLive is proud to partner with Decibel to produce the 2015 Conference. For details on the schedule and content, please visit the official Conference page.

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