Which DAW Should I Use?

When it comes to music software, there are a ton of different options out there. While it seems like there's a mountain of software to learn, most applications actually follow the same type methodology. Most DAW's operate basically the same with variations in functions and features. Then there are other types of software that don't fit our definition of a DAW but 'specialize' in specific approaches and functions. We've talked about the basics before here. Today we're going to discuss the similarities, differences, strengths and weaknesses of the various applications.



Most of the time we refer to music applications as DAW's but this can misleading, and in some cases just wrong. Some of the software is geared more toward either working with loops, with soft-synths, and/or just creating 'beats' ('beats' implies not only the beat but the instrumentation (and basic harmony). Some work specifically with score, while others are meant to provide backing and play-along tracks.

What's A DAW?

The official title is 'Digital Audio Workstation'. There are a few things that make the difference between a software program and a DAW. First of all, it has to be able to record audio and MIDI. It has a built mixer and various forms of connectivity through the program. Most (if not all) DAW's now come with built in VST instruments and plug-ins to varying degrees. They all now include automation, group channels, MIDI channels, FX sends and returns, audio and MIDI editors,  and various built audio processing. Some software programs (like Reason, FL Studio, Band-In-A-Box and others) don't follow these criteria; even though they have other features not found in 'regular' DAW's. Other programs (like Ableton Live, Sony Acid) started out just working with loops but have developed into much more. Some producers now use these as their primary DAW.

Workflow

It's really just a question of work-flow. The thing that differentiates all music software is the features and how the interface is laid out. Reason can't record audio; which you would think would be a big drawback but it has a very intuitive interface which is great at creating beats, and trying out ideas.. Ableton had the same thing going for it when it started. It now has a ton more features but it's still very easy to get going on a track; just drag and drop. DAW's on the other hand are usually quite complicated. People complain about this but it's pretty much the point; you want your DAW to do a ton of things for you, and to make all of these features work the program needs to have some depth. That said, they're usually all laid out in exactly the same manner. You have a track window that has all of your tracks laid out vertically showing all of the activity and basic track info. There's also another mixer window that has the traditional mixer laid out showing all of your tracks in horizontal rows. 'Loop' programs (like Ableton and Acid) forgo the mixer layout and focus more on different track views. Reason and FL Studio have the mixer and track view but not exactly the same 'two window format' as the traditional DAW.

Which One For Me?

So which do I want to use? You know that there's learning curve with any software so you're hoping to pick the right package right from the get-go. While there are differences, each one has it's own strengths and weaknesses. Some are better suited for certain applications than others. Here are a couple of standards that you should know and then you can pick from there.

The Standards

The standards are of the 'regular' DAW's that we all familiar with. The most well known ones would be Logic, Cubase (or Nuendo), Sonar, Reaper, Digital Performer, Audition, Propellerhead Record,  and Samplitude. Logic is the standard on the Mac. That along with Digital Performer are only available on that OS. It's also extremely popular throughout Europe. Pro Tools is the defacto standard for post-audio, and professional studios. Programs like Cubase and Sonar are popular with different groups of producers in all types of styles. The difference between Logic, Cubase et al. is really in the various features and extras included into the work-flow. For most, it's really just a matter of personal preference. For example Logic has more plug-ins right out of the box than any other program. Digital Performer is great manipulating different tempo maps into your work-flow. Nuendo has great post production features. Sonar has recently come out with a new upgrade that includes many new features. Reaper has almost all of the features of the major players yet at a fraction of the cost (incredible value for your money). It also takes very little CPU compared to the others. Pro Tools has arguably the best plug-ins and connect-ability but comes at a high price. However, Pro Tools now works with virtually any soundcard; proprietary hardware is no longer needed (a big plus).There are also now a ton of other programs available (like Traktion, Studio One) that are on the market. Some of these come packaged when you purchase the manufacturer's hardware so there's no need to spend extra on a DAW.

The Rebels

The rebels would be the ones that don't neatly fit into our definition of a DAW. These would include programs like Ableton Live, Sony Acid, FL Studio (aka Fruity Loops), Propellerheads Reason, and Garageband.  These programs are really popular with DJ's, dance and hiphop producers because they meld into their work-flow quite nicely. Most have all that is needed (tons of sounds, synths, drum machines, loops, presets) to create a finished track from scratch, without the need for any other plug-ins or instruments. Garageband has become standard for a lot of users because it's built right into the Mac OS. Ableton Live is popular with sound designers and composers because it's very effective at manipulating audio. It has so many levels of automation that you can pretty much automate anything. These programs usually have functions and features which aren't found in your typical DAW.

Notation Programs

Another type of DAW is the notation programs. These are used by composers who are used to the score layout more than the typical piano roll. The two best known are Sibelius and Finale. While most DAW's have built in score capability, they don't compare in depth and features as much as these. Notation programs make it easy to see your whole arrangement like you would on a printed score. Some of them have extra features like 'auto arrange' which will take a basic piano arrangement and turn it into a string quartet or a full blown symphony if you like. Although very useful once you get to know the program, most of these suffer from having a huge learning curve. They also suffer from some limitations as far as plug-ins, recording and mixing features.

We're Jamming

Another type of software program is 'jamming' or play-along software. The most notable of these is Band-In-A-Box but there are others. These have built in styles and templates that mimic different genres of music. For example; want to jam some blues? There are a number of built in styles and songs to jam to. It's very easy to change the key, tempo or arrangement. You can even create your own styles and use them over different chord progressions. Since these have to change so many parameters, the tracks are all MIDI generated. There now includes various loops to make your track more realistic but most of the tracks use your built MIDI sounds.

Which Ones Do I Prefer?

Over the years I've pretty much tried every one of these products (except Digital Performer) at one time or another. I like using dedicated DAWs like Logic, Cubase and Sonar because they're easy to work with (once you get over the initial learning curve) and pretty much have all I need. Each of these have their little niggles (and features) that I've hated (or missed) when trying out another.While Pro Tools has great connectability and is pretty much the industry standard, I find the other DAWs more intuitive when putting tracks together. At the same time, I find the other programs irreplaceable in their own ways. I use Ableton for quickly putting together ideas, manipulating audio and creating beats. I find I come up with completely different ideas than I would have using my regular DAW. I use Reason in the same way. I also love using jamming software. Taking a standard blues progression/jazz tune/whatever and putting my own changes in makes a great starting track in no time. I always end up importing these files into my dedicated DAW, ripping it apart until I come up with something that I like. I always end up importing the files from these programs into my dedicated DAW. I try to keep all of the different files together but having it all imported into my DAW, it can be archived properly. The same goes for notation software. For creating symphonies, there's nothing like seeing the printed score right in front of you. If you're working this way, then go to a DAW and try the same thing,  you may be disappointed in the results. Because of the limitations of the program (plug-ins, instruments etc.) I always have to export it into my DAW to polish off the arrangement. While this may seem like too many steps for most, I find that it's the best of both (...many worlds).

The More The Merrier?

The truth is that most producers I know have gone through a couple of different programs in their professional life. Sometimes, you'll start with one program and migrate to another. Some people I know started out with one program and have pretty much stick with it. I've found that it's best to use one DAW a majority of the time. This way you get used to the program and use it without thinking too much. This lets you get down to the business of making music and not spending your days trying to tweak software. I also find that when trying out other software programs, new ideas and sounds just pop up. It's always good to have a couple of different tools at your disposal. Also when working in different genres (eg a dance track as opposed to a guitar/vocal track, versus a full blown symphony) I use different programs.

In The End

In the end it really becomes a personal choice. It comes down to what style of music you create, what your work habits are and what you want to accomplish. One good way to see the problems with any program is to go on the various forums (just do a search 'your DAW' forums) and see what people are talking about. You'll see some issues that people are having on a regular basis as well as some features that you may not know about. Many users will go into detail about how one DAW is better than the other; just do your research and make your own decisions. Also, if you work with a group of musicians, it's usually best to get the same DAW so projects can be exchanged with little effort. There is an exchange format but it's still unreliable; some setting will get lost. One major drawback with most DAW's (that they never seem to address) is the fact that they're not backwards compatible. That is, if your friend started a project in the newest version of your DAW of choice, odds are you won't be able to open up the file (in your older version) until you've updated your software too. Another caveat, is updates. Most users will tell you to always update your software. While this is a good idea for small updates, I find it's not always best when dealing with major updates. New versions usually have great new features but they will often take features away (that you found irreplaceable), and the new version (with all of it's bells and whistles) will usually tax your system more. If you have an older computer, you might want to keep working with the DAW you have until you can upgrade your entire system. It's always a let down when you see your old projects (which worked fine on the old version), now max out your machine. Also, there are always some bugs with every new version.  Above all, find something you like, then get to work!


*Disclaimer: These are all just personal views. I have no affiliation and receive no compensation from any software provider.

How to Listen

One of the most important traits a musician can have is how to listen effectively. Yet it's something that doesn't seem to happen often enough. It's mentioned but it's rarely taught or discussed. Listening is important for playing well in a group. It's important in figuring out (and enjoying) music. It's important in creativity.

Listen Up!

Arguably, one thing that makes great players great isn't so much their playing as it is their hearing. When listening to great players, they always seem to have a great sense of rhythm. They seem to be able to play what's 'appropriate' or 'interesting'. This comes from listening. Having great chops is one thing, knowing when to play what is another. All of this comes from listening. When playing with other players, no matter what kind of music you play, it's vitally important that you listen. You can always tell the tightest bands because the members make sure that they listen to each other. When playing with others, you should be listening to only about 40% of yourself, the rest should be everybody else. Of course the number is arbitrary, but you get the idea.


Easy Listening

There are many ways to listen. All of them are important to musicians. The first is the way you first started to listen and that's simply for enjoyment. There isn't much right brain activity, it's mostly about feeling the rhythm and melody. Beyond feeling the music, there may be some right brain activity involved in sorting out the various parts of the song and listening to the lyrics. But, you're mostly just enjoying the music without too much brain activity. This is important because this is how music is consumed a lot of the time. It's also useful when writing or listening back to your own creations. Sometimes when we write and record we get lost in the details too much and forget to just listen. This is what happens when you're right in the middle of recording. You listen back to the track but you're no longer completely separated. You're hearing the part you just recorded, your ears may be fatigued, or you may be listening to the mix. Whenever you do a lot of work on a specific track, I always suggest time to leave it. Once you've left it for a while, you come back with fresh ears. With fresh ears, you begin once again to listen like this. You hear the song, the rhythm and feel all in one instead of the separate parts. This is like the critical listening, without the actual 'technical' part.


Critical Listening Part I

This is sort of listening you do when working on tracks and recording yourself. This involves taking your performance apart and making sure it all works. This is critical in a musician's development. You must be able to sit down and critically assess your own performance. This involves pitch, timing, feel and dynamics. If you can hear the problems in your own performance, you're more likely able to fix them. It also works when writing and improvising. It means listening to your track and being able to assess if you've created the right message; to assess if it's 'working' or not. This means the lyric, the chords/harmony, phrasing, rhythm, etc. It's listening creatively to see if you're getting your message across. This is also critical in developing your own voice and style. It means listening to your dialogue and tweaking it until you're saying what you want to say.

Critical Listening Part II

This is another level of listening. This is the listening that goes on when actually playing and performing. It's the sort of listening I encourage all of my students to do. I start with playing to a metronome. Playing with a metronome isn't just about playing rhythms, it's about listening. I usually start with just practicing rhythms in 8th notes. I don't make the metronome very loud at all. This way the student has to really listen to make sure they're in time. Too often we get lost in listening to ourselves and lose track with the rest of the band. Playing with a metronome forces you to use a huge portion of your focus away from yourself. This has two outcomes. First of all, you get into the habit of not just listening to yourself but trying to 'meld in' with a group. You have to play with the metronome, not against it. So often you hear performers who seem to be in their own little world. They're in time (sort of) but they seem removed from the band and the song. This is because they're only listening to themselves and not the rest of the band, It's important that your listen to everybody else and become part of that sound, instead of simply sitting on top. Secondly, you get really sympathetic with other sounds besides your own instrument. It means you can hear any sound that you choose to focus on. It helps you isolate the kick or hi-hat when the rest of the band is playing at full boar. It makes you aware of all of the sounds going on a one time. It's great when playing with a band, you can pretty much hear what everybody else is doing (even to the point of picking out bad notes from other band members). It's almost like listening in 3D.

Combining the Difference

As you can see, there are many ways of listening. There are others but they are mostly variations of the ones listed above. Each one is valuable in it's own way. You should be able to go between each of these at will. When practicing, you want to have your 'critical listening II' going on. Making sure you're listening to everything that's going on. Making sure your rhythm and phrasing is in time. After practice, turn on your 'critical listening I' and see how your performance went. Where you in the pocket or playing ahead? Are there some interesting ideas there, or are just rambling on? After finishing up some initial takes and/or tracks, you may want to kick back and do some basic listening, seeing if it all works together. Is the message and vibe getting across, or did you make it too complicated? Make it too jazzy and not bluesy enough (or whatever you set out to do in the first place)?

Working On Your Ears

Whenever you sit down to practice, some ear training exercises should be part of your regular practice session. That means listening to and evaluating rhythms, pitches, scales, chords etc. Once you get your ear in motion and work at it everyday, a whole new world will open up for you.

Musician's Top 10 Getting It Done List

Being a working musician is tough. You're pretty much on your own. You have to take care of all of the business, networking and finances. On top of that you have to find time after a busy day to try and be creative and make some great art. Here are a list of things to help you keep focused and on track.

1. Move away from abstract ideas to actionable goals - There was a study done with two groups of people. Both groups where given a set of tasks to complete. Group A's tasks where clear and concise (like go pickup this, go here etc.); whereas Group B's tasks where a little more abstract (like having to pick out 'interesting items'). Group A completed all of the tasks whereas Group B had trouble completing the list. It's much easier for us to complete concrete, measurable goals. This especially applies to musicians because so much of what we do is abstract. For example your goal maybe to write a song. That's not well enough defined and also may not be something you can complete in one go. A better goal would be to finish a first draft of a pop song or ballad. This applies to everything; your writing, business and practice sessions.


2. Work backwards with the end in mind - This is another well known technique that is hard for musicians to convert to their art. If you're creating art, you can't start with the end in mind because you usually don't know what the end is. This works better for career goals and band/marketing/business tasks but like noted above can be helpful in your writing and practicing. For example you have a band and don't know where you want to go. You decide that you want to release a 6 song professionally done CD in 6 months. That's starting with the end in mind. Now when you get together you can start planning for that end.

3. Create and/or get involved in a community/network - One of the worst mistakes I see artists doing is working in a vacuum. Not only does networking and being in a large community help with your creativity, it helps get gigs, make money and keeps you in touch with what's going on. It also helps in the learning curve since so much can be gained from others' experience and mistakes.

4. Take note of your successes - It's easy to get carried away with trying to get stuff done that you don't take notice of what you've accomplished. This is also very important in another aspect; if you take note of your successes, you'll slowly start to learn what works and what doesn't. Most of the time musicians have to fly by the seat of their pants. If you come across something that works, take note and use it again. It doesn't matter if it goes against the grain or not, if it works for you, it works.

5. Review plans and goals often - This goes along with the previous. It's too easy to get carried away in creating music and playing without taking note of why you're doing it or if it's line with your goals. One of the great things about music is that it is literally never ending. It's too easy to go in a hundred different directions at once and in the end not get anything done at all. Make sure what you're doing stays in line with your goals. Review your goals often; edit and change when you feel the need.

6. Create time-lines and deadlines - I've known musicians how have worked on the same song for years. It's important that for every goal you write down, you create a time-line and more importantly a deadline. Try as hard as you can to adhere to these if you can. If you've put something on your list, it has to have importance to it and it has to be done. This is one of the best ways of getting things done.

7. Simplify - There are a million things that you have to do. More now than ever, a musician has to be effective in tons of areas. The best way to make sure things are getting done is to simplify. Simplify your entire life if you can. That means sometimes saying no to new projects because you must finish the ones you're on. That means using the gear you have and not needing every new piece that comes along. It means saying no to other activities to open up time for your music. Or, leaving off some new musical ventures and techniques because you have to prepare for your next gig. You must be ruthless in this area. If you are effective in this, you may actually find time opening up for all of those other things that you want to do.

8. Create working hours - It's too easy to just try and fit your musical activities into your 'free' time and hope to get it all done. The most effective way to make sure that you're getting something done everyday is to assign certain times of the day for work and practice. I separate the two; music business, and music practice. Music business can be done at almost anytime of the day although I find it's best to do it first; that way I know that it's getting done. The first thing you should do during your 'office hours' is go through your goals and planner and see what needs to be done. That way you're always on course and not likely to waste time on things that aren't on your list. Secondly, always schedule practice and writing time into your day. You may find that certain times work better for this than others. Maybe you're more creative at night therefore you would schedule your time for that. Schedule in a certain amount of time (I like to work in half hour increments) and always make sure you do at least that.

9. Be diligent - Getting stuff done on your own takes a lot of discipline. It's important that you stay focused, practice discipline (it's a muscle, not a talent), and always finish important projects. It's easy to get discouraged and let things go. It takes diligence to make it.

10. Always make time for your art - Being a musician is a 24 hour a day lifestyle. Although it may not seem like it, this list is to free your mind so you can get that all important work done. When you have a community that you are a part of, if you're taking care of the business side, if you're staying disciplined and on course, it becomes a lot easier to get more done. You'll be amazed at how much more you enjoy the process, even though there's a ton of stuff going on. Most of all, it leaves time in everyday to be creative and just enjoy being a musician.

Try and Try Again

The idea of getting things done isn't new. Most of these are tried and true techniques. Musicians and artists seem to have issues all of their own. It's important that you address these and find work-arounds. It's tough enough trying to create great art in the first place, never mind having to deal with the million other things in your life. Simplify, work hard and stay focused and you'll soon find yourself enjoying the process all that much more.

Musician's Top 10 Guide to Learning Music Theory

You've decided that you want to learn some theory or some new concepts on your instrument. You may start out reading a book or checking out something online but then lose interest quickly. It's kind of dry and nothing you read seems to have anything to do with what you're doing on your instrument. Here are some things to help you out and make your time learning theory a lot more effective.



1. Apply it to your instrument - Most of the time when we learn theory it's an abstact idea. It may be written down or explained to you. The most important thing you can do is apply any new ideas right to your instrument. That means if it's a new scale, chord then apply it to your instrument. Even if it's something like an abstract idea, there are ways that you can apply it so it makes sense on your instrument.

2. Commit it to memory - Learning music is accumulative. It's important that you internalize one concept because other concepts will likely stem from that. For example when learning scales, commit these to memory because that knowledge is useful in so many other areas.

3. Make learning theory a regular part of your practice sessions - There are many areas and facets to theory. Most of it isn't tough to learn but does take time. If you make learning theory part of your regular practice regimen, the cumulative effects start to add up rather quickly.

4. Always do exercises from textbooks and learning materials - Learning about music theory without doing the exercises is like learning to cook without entering the kitchen. If you've taken the time to get and read through a book on theory, go through all of the exercises. Not doing so is a waste of your time.

5. Learn piano - One of the best ways to make sense of music theory is to learn to play the piano. We're not talking about being a virtuoso here, just a working knowledge of the instrument will do. The piano is laid out in such a way that it makes perfect sense when learning things like scales, intervals, chord construction etc. It's also one of the best instruments to compose and arrange on since it's relatively easy to write a melody and accompaniment at the same time.

6. Apply it to the real world - I really started to get to know theory inside out when I had to show students how what we were learning applied to the music that they were listening to. I had to apply conventional theory to dance/club music, pop, metal and everything in between. All theory applies in one way or another. Once you get your head around what's going on in any song, it makes it a lot easier to compose, improvise and memorize.

7. Learn the fundamentals first - When I studied music at university, I wanted to start writing symphonies right away. But there were quite a few pre-requisite courses that you had to go through first. All of these pre-requisites helped in putting my compositions together later because there were so many principles involved. Make sure if you're just starting out to learn the fundamentals. It might be boring and it may nor be obvious how it applies at first, but have patience, it will.

8. Sing and play all exercises - This is another way of putting the idea of making sure everything you learn is applied. If you're reading about a new scale or chord progression or whatever, it's important that you turn it into sound; play it and turn it into sound. The best way of making sure that the sound gets into your head is to sing it. Every musician should sing. Singing puts the sound in your head like nothing else. If you've written some counterpoint, a new melody, a new chord progression, sing it and play it. You'll soon start to recognize chords and intervals without any need for an instrument.

9. Apply the theory you learn to your style of music - Again with the application. If you're a metal guitarist and are just starting to learn modes, try and apply them to metal and the specific style of music you're into. Also, go back into the songs you know and see if you can find some examples of what you're learning. This helps in getting to know a style really well and will help in your writing and your ears.

10. Don't use theory for theory's sake - Some musicians get into the trap of writing with their textbooks open. They revel in the fact that they've been very clever in using all of the latest hip voicings and scales. This is why I stress making sure you listen and turn everything into sound. It's great to push the envelope as far as sounds are concerned, but make sure you're doing it to express yourself and convey some emotion, not to impress other theorists and fellow musicians.

Practicing Your Rhythms Effectively

Most of the time when we talk about practicing we talk about scales, chords, technique and songs. But there's little talk of rhythm. In most of the music we listen today, rhythm is perhaps the most important aspect of the music. Yet most musicians spend very little time focused on just rhythm. There are a couple of things that should be included into your practice regimen that makes sure you're getting your rhythms and timing rock solid.

The Metronome

Always practice with a metronome. It's great at working one your scales, rhythms and phrasing. Some say that practicing with a metronome is bad because it will become a crutch. You'll get so used to it being there, that you won't be able to keep a straight rhythm on your own. I disagree. Metronomes are very useful for getting your timing better, especially in the initial stages of learning. That said, it's important that you practice with a metronome but also incorporate other exercises to help with your timing. Also, always make an effort to play with other musicians. This will help your rhythm (and ears) immensely.

Different Times

Play everything you practice at different tempos using the metronome. Most things are harder to play at slower tempos, not faster. If you're working on speed, this makes it easy to measure exactly where you are and how well you're doing. Don't get carried away with this though. Speed is nothing without phrasing, dynamics and feel. These are things we want to incorporate when practicing our rhythms. For example, don't just play through a scale over and over. Try dynamics on different notes and phrases. First, start of with accenting just one note (or chord) every bar. Start with 8ths and accent the first 8th note in each bar. Then accent the second 8th note etc. This really brings scales and phrases alive. It's something that we usually do automatically we strumming chords or copying solos but it helps when we break it down and do it on purpose. Next, try playing using different rhythmic patterns. Aim for controlled dynamics and smooth legato notes.

On The 2 and 4

When practicing with the metronome you'll want to try using it at different settings. For example, try setting the metronome at a slow tempo and pretend that that is the 1 and 3. Now practice your rhythms. This gets harder the slower you go. Of course most of our music uses the back beat so it's really useful to practice with the metronome on the 2 and 4. Also, try different rhythmic values like 3 on 4. Quarter note triplets and 5 notes to the beat are also interesting things to try.

On Your Own

Now try your rhythms without a metronome (or drum beat). This is something I usually don't have to tell people since it's something that most musicians do all the time. The difference here is you really want you to focus on your rhythm, That means just playing a basic rhythm or phrase over and over. No variation, no jamming. What you're trying to do is get your timing as solid as possible by just focusing on that and not on what chord or note to play next. For this exercise it's best to actually start with a metronome because we'll use that to keep track of our tempos. Start of with a very basic rhythm at a slow tempo. Start your metronome at the slow tempo to gauge the speed. Now, turn off the metronome and start playing the rhythm. Focus on keeping the tempo. Feel it in your head. Don't force it because that will make you want to speed up. Play the rhythm for a while, then go back and check your tempo on the metronome. How did you do? Yours won't be exact but you can gauge how fast or slow  you were compared to the original. Try this at different speeds. It usually helps if you actually hear and play the rhythm in your head first, before you touch the instrument. Always take half a second to internalize the speed and rhythm. Record your practice and see how it feels on playback.

Sequence This

One of the great things I love about sequencers is how many ways you can come up with (and twist) loops and grooves. If you've used any sequencers you'll know about quantization. This effectively lets you control the amount of feel on any drum beat you have. :Let's look at a couple of ways you can use this to tighten up your timing.

Swingin'

As we talked about in the effective practicing post, it's a good idea to practice your scales (and chords, songs, etc) to a drum beat. By setting up a basic drum beat, you can play along and practice getting a good feel. What you want to start out with is a basic swing beat. I usually start with the bare minimum: the kick is on the 1 and 3, the snare is on the 2 and 4, and the ride is doing (strict*) swing 8ths. Using this basic beat makes me focus on the swing 8th note. I then start at a slow tempo and go through the various exercises. Start with scales, using different rhythm variations. Then try various licks and phrases. Got through some chord progressions, keeping the rhythm relatively easy, focusing on placing the chords at the exact place you want. Some sequencers allow you to vary the amount of swing. Again, set up a basic beat like the one listed above. This time though, sequence in (strict) straight 8th notes. Again go through the exercises we talked about: scales, chords, licks. Now, go back and try varying the amount of swing. Try 25% and see how it feels. Before playing a note, stop and really listed to the beat. Notice the difference between that and the straight one. Don't skip this step, it's really important. Once you stop and start really taking notice of the variations in rhythms, your ear will become sensitive to hearing these things.

*That means I go in and manually enter the groove.Yes it's mechanical and boring but for our purposes here, it's what we want. 

Playing It Straight

Another thing that's great to do with sequencers is practice your rhythms with a straight beat. Set up a basic beat with no humanizing or variations. It helps our exercise if the beat is straight and boring. Again it's just a basic beat with the hi-hats doing 8ths. Now we're going to play a strict 8th rhythm and record it. Listen and lock in with the hi-hats. Once you've recorded your take, go back in and listen to your performance. First, listen to your track with the beat. How did you do? Is it in the pocket or does it go in and out? The best way to tell is to edit your take. Zoom in until you can see your rhythm track against the time-line. Do the transients of your rhythm track line up with the beats on the time-line? You'll find that most of the time you're either constantly early or constantly late. Most people are early, especially with slower tempos. Now go back to your track and move it back and forward a 64th. Does it sound better or worst. Were you early, late or right on. Fix the timing of your track until it's almost perfectly straight. Now listen to the track. If you can, compare that track to your initial take. Always listen back and take note. This is how you'll get better.

With the Band

Like I mentioned earlier, it really important that all musicians practice with other musicians. I can't stress this enough. I can't tell you how many times I've met musicians who can play the snot out of any scale and not have any feel at all. I've always found that musicians who had the best time, were the ones with the most experience playing with other musicians. When you do get a chance to get together with other musicians, take the time to practice just getting the groove. You'll find that grooves need a bit of settling. You'll start playing a groove and after a little time, it will just seem to lock (hopefully). This comes from settling into the groove, relaxing, and not worrying about what chord (or note) comes next. It's important that the rhythm section just works on the basic groove. No extras, no solos, no vocals. Just play the groove over and over. Work on listening to each other. Listen to each other and each part of the drummer's kit: listen to the hi-hats, then the kick, then the snare. Try to match what the drummer is doing. Great grooves come from knowing your instrument, your parts and listening to each other.

Doing It By Feel

After you've been working on your rhythms for a while, you'll just try to settle in and get the feel without thinking too much. This is great when you're playing with other musicians, recording, or just having fun. But you also want to dissect rhythms, practice variations, and incorporate new things into your playing. Try and incorporate some rhythm exercises into every practice session. While sometimes it may feel like you're not getting anywhere, these rhythm exercises will start creeping into your playing. You may notice that your playing gets better, and feels better. Always remember; the rhythm is paramount.

Forms in Music for Songwriters

We talked about working on arranging as part of developing your writing skills in a past post. This time we're going to go into more detail about the different forms in music. Going through all of the different forms is too much for one article, so we're going to focus on forms used in popular music. If you're an aspiring songwriter, you should be familiar with all of these forms. It's a good idea to know about the different forms, be able to hear the form in music, and be able to apply them to your own work.

The Ubiquitous Verse-Chorus

Pretty much the de-facto standard for today is the verse-chorus form. Most of the hits  you hear on the radio follow this form. It's basically an intro, followed by a verse-chorus.
There is generally a bridge just before the last chorus out but may be omitted. There are a number of ways that the bridge is handled. It's usually lyrically and harmonically different than the rest of the song. It can bring a new point of view or another side to the story. In most rock/pop songs there used to be the ubiquitous guitar solo but. since the 90's the solo has been replaced by a rap in pop music. The intro is usually pretty short, the second verse may be shorter than the first, and the final chorus will be repeated on the outro. There are many variations of this including a pre-chorus, a little section that sets you up for the chorus. If you're new to songwriting, this would be the form to start with.

a) intro - verse - chorus - verse - chorus - bridge - chorus

b) intro - verse - pre-chorus - chorus - verse - pre-chorus - chorus - bridge - chorus

AABA

Every decade of pop music has had a specific form that was used more than others. One style stays popular for a while and then slowly loses favor to another form. For example, in the 30's when jazz was the most popular music going, the AABA form (also known as the 32 bar form) was the one that was used the most. To this day, jazz standards use this form more than any other. So, if you were setting out to write the newest jazz standard, this would be a good place to start. The 'A' section would have the basic storyline and 'hook' of the song where the 'B' section would be contrasting to the first section. The last 'A' section may end slightly different than the first, using a turnaround to bring you back to the beginning of the form.

A1 - A1 - B - A2

The Refrain

A song form made popular by folk singers is the verse-refrain. This consists of a verse followed by a short one or two sentence refrain. While not used as frequently it's still a viable form that can be used to great effect. Dylan would use this form a lot. Artists like Bruce Springsteen still use this in a number of their songs.While not nearly as popular as the verse-chorus, this form can be effective in bringing a short memorable idea.

verse - refrain - verse - refrain - etc.

The Blues

Not only is the blues a style of music, it's also a very popular form that has been used in all styles of music. The basic blues consists of a 12 bar chord progression that is repeated over and over. At the end of the 12 bars there is a turn-around that brings you back to the beginning. There are other forms as far as the length; from 8 bars to 32. There are also tons of variations on the chords but the basic I-IV-V remains.The entire song repeats this form over and over. There is also an underlying form in the phrasing. It's closer to the refrain style mentioned earlier in that each verse has a single idea (usually repeated in 4 bar phrases) with a refrain at the end. The blues is used in tons of jazz standards as well as rock and pop songs. It pretty much dominated rock in the 70's. There have been many variations on this including using the verse-chorus form over a basic blues progression. Masters this style of rock would be Led Zeppelin and ZZ Top.

||: I   |        |        |       |  IV     |         | I      |         | V      | IV     | I     | V    :||

 
Dance Music

Dance and club songs have a form of their own. It stems from the importance of the build and breakdown. Whereas pop music likes to get to the song right away, dance remixes take their time getting to the lyric; mostly because establishing the groove is extremely important There is an opening groove that sets the song up. Then there is a small breakdown before the song and main lyric actually start. It may follow the verse chorus form or sometimes it's just a repeated phrase (usually with effects or spliced up). Then there is a big build up, followed by another breakdown and then finally the last section of the song. The groove is usually kept up until the end of the song where the producer will usually take out most of the elements, just leaving the groove. This makes it easy for DJ's to beat match and mix songs seamlessly.DJ's like David Guetta have started to dominate the charts with variations of this form.

intro (beat) - melody (riff) - breakdown - build - lyric - build - breakdown - build - lyric - out (beat)

Metal

Metal also has a form all its own. Some may argue that there is no from but it usually follows some rules. The form follows a basic verse-chorus form but makes changes along the way. A classic example would be Black Sabbath's 'Iron Man'. It starts with an opening lick that is usually (but not always) the general theme of the song. That would be repeated a number of times and then another section, with a different riff would be introduced. That would be repeated a number of times and then the 'chorus' of the song would be repeated. Then, another section would be introduced which may have something to do with the earlier sections, but may be a completely new idea. The 'chorus' would then be repeated again. There would usually be at least one guitar solo and there sometimes be a section that was in half time or double time. The general form would look something like this:

intro - A1 - B (Chorus) - A2 - B - A3 -B - C (half or double time) - B

This form is pretty much the way metal songs are written even to this day. Of course there are many variations but these are the essential elements.

New Trends

As with all arts, songwriting is constantly evolving*. There are always current trends in the way songs are written and especially the way they are arranged and produced. There is the aforementioned guitar solo being replaced by a rap in pop songs. But there have been other developments that have been showing themselves more often. One thing that has gained more popularity is songs starting off immediately with the chorus. While this has been around for some time (think of 'She Loves You' by the Beatles) it's being used more and more. It's mostly used in hiphop but has been gaining ground in other styles. Dance and club music has also had an affect on pop music.There are songs on the charts now that use the basic (verse-chorus) build-breakdown that is standard in dance. Likewise, there are 'heavier' pop songs that have used ideas from metal. There are 'metal' bands that have a poppier sound that use the forms found in metal. In this way, much like the rock from the 70's, the riff becomes a huge part of the success of the song.

*Art evolves but doesn't necessarily get better. It's mostly a reflection of society at the time.

Getting Creative

In some songwriting circles. getting creative with song structures is considered a bad idea. There's a general consensus that if you're an aspiring songwriter, it's best to stick with the tried and true verse-chorus format. While there are arguments made that it's better to get right to the chorus, it's not always that black and white. If you're writing songs and submitting them to publishers, it's better to keep it simple. That doesn't mean that you have to write one way only, but you do have to keep it simple. If they ask for something specific, give them what they want. They don't have time to listen to extended mixes and want to hear your best stuff immediately. If you're an artist, or if you're just trying to improve your craft, trying the different forms can be beneficial to your writing skills. Artists are always looking for something that will stand them out from others. Having a great song with a memorable hook and interesting form, may set you apart from all of the standard stuff.

Songwriting and Beyond

As you can see, we've barely touched the surface here. A couple of these forms have been around forever and are pretty much 'need to know' if you want to become a songwriter. Then there are variations and new forms based on different styles of music. It's a good idea to take note of the form in any music if you plan on doing any writing in that style. In some styles, like dance and metal, it's hard to separate the production (and instruments) from the songwriting. But, even with these styles it's still important to write a good line and lyric (appropriate for the style of course) so you have something of value to build upon. Happy writing.

The Art of Arrangement: Bass

When it comes down to arranging music (any type of music), one of your prime considerations is the bass. In most styles of music, the bass plays a major role. In other styles it plays a simple supporting role; supporting, but just as important never the less. The bass makes up 1/2 of the major support in modern music, the drums being the other. It defines the groove, the feel and the underlying harmony.

The History of the Bassline

The bass line has always had a huge impact on Western Music. At one time, all a composer had to do was write the melody and bass line. They wouldn't even fill in the accompaniment.
They would use a numbering system (called 'figured bass') to let the accompanists know what to play. Around the time of Bach, when counterpoint was the way that composers wrote, writing a good bass line was an education in it's own right. In fact, Bach wrote down the 'rules' to writing a good bass line that are just as valid to this day. 

Just the Root

Most of the time in popular music, the bass player is relegated to simply playing the roots of the chords.While effective most of the time, there are tons of ways to make the bassline more interesting. First of all there is the falling or climbing bass line. This is where the bass will play a scalar or chromatic line against a number of changes. These are usually pretty effective in bringing out a harmony or part without taking too much away from the melody or other parts. These go a long way in making an interesting bass line, using more linear lines instead of the usual jumping form root to root. The use of these type of bass lines usually result in slash chords written for the rest of the band. Slash chords are usually other notes in the chord (e.g. the 3rd, 5th, or 7th) moved to the bass, but don't it doesn't have to be. Any note can go with any chord, as long it's right for the song.

Harmony used with descending bass line:

regular harmony:                            C G Am F G C Dm

bass line:                                       C B A G F E D

harmony with bass line:                  C G/B Am F G C/E Dm*

*This line is a bit long in the tooth but you get the idea.

Jazz Cats

One style of music where the bass is paramount is jazz. If it's straight forward traditional jazz, the bass player will typically be carrying the beat with a steady bass. They will usually play quarters with some embellishment added for variety. There are many things involved in playing bass in a jazz band, one of them being improvisation and having a 'dialogue' with the other players. If you're writing out a jazz arrangement for bass, most of the time you'll just indicate the chords and let the player be. If there are special notes in your arrangement as far as bass notes, you'll want to include them in the chord names to let all of the musicians (especially the bass) know what's happening at that particular time. Let the bass player choose the notes, you just indicate the harmony. If there is a specific line that is part of the head, then you'll want to indicate that. One other thing to note is that if there are any special shots, you just have to indicate them in the score. Jazz bass players will use the fifth and octave (see below), but also use other chord tones and chromatic notes to create interesting, moving bass lines. Unless you're a bass player, leave these to the pros.

I Go Out Walking

One thing that a bass player will do is walk. Walking is simply taking steps (either chromatic or scalar) between roots. This is done in almost every style of music. Jazz players walk consistently between the changes. Certain styles of rock and country will do it between certain chord changes. To make your bass line more interesting, you'll want to incorporate some walking. How much depends on the style of music and the effectiveness of the line. Sometimes a couple of notes connecting two chords at the right time is just enough for it to be effective. Just try it a couple of times throughout the arrangement. Listen back and then add or take away accordingly. (I usually find myself taking away). Try chromatic just as much as scalar patterns. Be careful in that if you sit on one of these notes long enough, or put enough of an accent on it, that passing note will then become part of your harmony. That is, since you've put so much 'emphasis' on it, the rest of the players will probably want to make a change at that spot. That means putting these walking notes on weak beats (stay away from the 1st and 3rd beat) and not letting them ring out too long (short note values).

Pedal on the Vamp

One thing that will get almost any dance tune going is a repeated bass line. This is where the bass will stay on one note or play a vamp while the other players continue with the chord changes. These can be used for a couple of changes or for a whole song  Pedals are used all the time in almost every genre of music. These are used for great effect in dance music since it reinforces the constant groove. In traditional theory it's referred to as a pedal, in jazz it's known as a vamp. Bach would use pedals in his music; usually the root or 5th on the 'pedal' (lowest notes) on an organ while running a moving harmony over top. In pop, dance and jazz it's a repeating bass line over and over while the rest of the band will play the different changes. This isn't just used in dance music though, rock players do this all of the time. In fact, if you have a set of chord changes in a pop or rock tune, try a single repeating bass line instead of just following the roots. Or have a vamp over the verse and then change the bass line with the harmony in the chorus.

The Fifth/Fourth/Octave

Another thing that bass players do is the use of the fifth and the octave. Sometimes if a chord is held for a long time or the bass player wants to add some notes to a given harmony, they'll add the fifth (or fourth below, i.e. same note) or the octave. Sometimes this procedure is used so much, it becomes a part of the style of music. Bass lines in bluegrass and country use this alteration so much so that it has become an essential part of the style. Some other types of music (especially various types of folk music) relies on this same device. But this isn't relagated to just country, it's used all over the place. From metal to dance and everything in between, the bass player will often go to the fifth when playing a bass line. The way it is used varies from style to style of course. A metal player will never alternate between the root and the fifth in straight quarters. But they will play the root, followed by the fifth in various rhythms and repetitions. The same goes for the use of the octave. One of the defining elements of disco was the alternating octave bass line. Funk slap bass and various styles of dance music use this figure a lot. Bass players love the fifth and the octave because it leaves the harmony wide open for the rest of the band; i.e. it doesn't define the chord (major, minor, 7th) other than the fact that it doesn't have a flat fifth.

Get Real

If you're going to take your arrangement and try to put it down on record, you may want to save yourself some hassle and get a real player to do it for you. Not only does this save you time, it will make your recording that much better and can be a great learning experience. If you're doing an RnB remix of one of your songs and know somebody who plays that style, try and get them in on the recording session. The player will add two things that you probably can't. One is feel. Every style has its own feel. Players in various styles just play a certain way that adds authenticity to the track. A jazz drummer doesn't hit like a rock drummer and vice versa. It's the same for bass. The player well versed in the style will have a certain feel that would be hard to replicate; no matter how great your sequencing chops. The other thing a player will bring is knowledge of the style. If you've written a basic bass line for them to follow, they may notice things that aren't obvious to someone not as well versed with the style. For example, if you've written just roots for the bass all the way through, they may suggest some alternate bass lines that may be more effective than your own. RnB bass players love to use inversions and alternate notes for the bass. Likewise if it was a metal tune, the player might notice if your changes sounded a little dated or clichéd. If a player makes some suggestions, take note and consider them. It makes the whole experience better for you and for them. If you leave your ego at the door, you may be surprised at how much you learn. Also, everybody likes to be part of the process and be heard. If a player's suggestions are seriously considered, they usually will feel better about the session and look forward to working with you more.

Bass Sounds

In certain styles of music, the actual bass sound is critical to the authenticity of the style. Some styles of dance music are defined by the sounds of the drums (especially the kick) and bass. There is a difference not only the notes played but the sound of the instrument. The same goes for certain styles of rock and pop. Reggae bass has a different sound than funk. Jazz uses the stand up bass but not always. Different genres of rock have different bass sounds. Sometimes it's the full bottom bass we're used to but in other styles it may be more mid-rangey with some distortion added for effect. The different genres of dance music rely heavily on the bass. A house bass line is completely different than a techno bass line. Not only is the bass line different, the actual sound of the bass will be different. Some genres of dance music rely more on synth lines. The actual variation of different synth bass sounds used in dance music is another post in itself. Suffice to say (particularly for dance music), pay as much attention to the sound used, as the lines used.

Recording The Bass

If you've ever spend any time mixing, you'll know the trials and tribulations of trying to mix the bass properly. This is another element of the style. How much room does the bass take up in that style? It's not just a matter of making the bass sound big. While you may think that there isn't much variation, there is. The bass in RnB takes much more room than it does in most rock. Even though the bass is of huge importance in jazz, it's usually mixed quite conservatively (i.e. in terms of how 'big' it is) compared to RnB or rock. Just put in a hip-hop song and then follow it immediately with a jazz ensemble and you'll see what I mean. (The jazz tune will probably be mixed much quieter also...part of the style.) Even between different artists within the same genre of music, there is a huge difference in how 'big' or how much room the bass takes up. Some rock artists want the big bass, but others want to make sure that the guitars take up just as much space. Remember, not everything is going to be huge. Something has to take precedence over the other. You can't have a big bassy kick, with a thick bass and bottom heavy guitars. There are too many things fighting for the same space and things are just going to get messy. If you're recording as well as arranging, these are things that you're going to have to consider when putting it all together. If you're doing any recording or mixing of bass, remember how important it is to the music: make room for it. If needed, try adding a boost around 1-2kHz or so (depending on the bass sound). It will help bring out the bass line, especially on smaller systems. Also check your mixes in a variety of situations, that's the only way you'll know for sure if it translates well.

Take The Time

When composing or arranging songs, always take time to consider the bass. Even if it doesn't take a leading role in the style of music you're arranging, it's always an important part. For every style of music, there are conventions and 'rules' that apply to that style. Make sure to take the time and learn the style and try to get the best possible 'bottom line' that you can. If at all possible, try different bass lines and different bass sounds. Try each in a mix and see how they fit. Back in Bach's time, composers were encouraged to make the best bass line they could. It didn't have to just carry the harmony, it also had to be as interesting and singable as the melody. This is something we should all still aspire to.