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What is the process?


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I'm curious the general processes used by the pros....

 

 

Do you design whole/partial tracks on paper or mentally beforehand, or just build it on the fly?

 

Do you make a lot of sounds and save them up to pick from, or make them as you need them?

 

At the end do you go add a whole bunch of lasery sounds to make it "psychedelic"?

 

 

Other information would be nice.

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I'm curious the general processes used by the pros....

 

 

Do you design whole/partial tracks on paper or mentally beforehand, or just build it on the fly?

 

Do you make a lot of sounds and save them up to pick from, or make them as you need them?

 

At the end do you go add a whole bunch of lasery sounds to make it "psychedelic"?

 

 

Other information would be nice.

Jikkentekki said in his video that the ideas often start when you've made the beat..... But I don't think there's a right or wrong way to do it... Actually there is another topic around her somewhere, where you can read about how people are building their tracks... Search for that :)
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I'm curious the general processes used by the pros....

 

 

Do you design whole/partial tracks on paper or mentally beforehand, or just build it on the fly?

 

Do you make a lot of sounds and save them up to pick from, or make them as you need them?

 

At the end do you go add a whole bunch of lasery sounds to make it "psychedelic"?

 

 

Other information would be nice.

since alot of artists are deaf like beethoven, what they do is they write down the notes & make a composition on paper, afterwards they enter the notes in their sequencer of choice, slap on their favourite synth-presets & adjust frequencies on sight.

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I don't know anybody that write things down. It doesnt make much sense really because a melody that sounds good with a certain sound might sound awful when replaced with another sound.

 

Mostly people just make things up when you busy programming.

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I have nubs for hands, so I hire a secretary to transcribe my notes which I speak into a recorder with a monotone robot voice from the device attached to my larynx because I smoke too much. She gets confused sometimes and thinks I'm trying to do beatless electro a capella with vocoder only, but although I'm not fond of her old-lady perfume, I love the way she jiggles when she inputs automation data, so I keep her. Some things I do with my feet, like tremolo and wah-wah. Standard stuff.

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I have nubs for hands, so I hire a secretary to transcribe my notes which I speak into a recorder with a monotone robot voice from the device attached to my larynx because I smoke too much. She gets confused sometimes and thinks I'm trying to do beatless electro a capella with vocoder only, but although I'm not fond of her old-lady perfume, I love the way she jiggles when she inputs automation data, so I keep her. Some things I do with my feet, like tremolo and wah-wah. Standard stuff.

There is something very poetic about the way you wrote that...

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I'm not a "pro", but I'll answer for myself.

 

Do you design whole/partial tracks on paper or mentally beforehand, or just build it on the fly?

I start with a (usually short) idea and build from there. Maybe a couple measures of a bassline or harmony or something, loop that, stick a kick on it so I have something to work with, and let it grow as it will. Sometimes whatever idea I have turns out to be a couple minutes long but simple. As soon as I get that initial idea out, it usually inspires the next addition, and so on. But sometimes I get that initial idea out and sit in front of my computer saying "what the hell am I going to do with this now?"

 

Do you make a lot of sounds and save them up to pick from, or make them as you need them?

I make new sounds almost all the time for every new song. Every once in a while I'll go back to some sound I have previously programmed. I often end up recreating the same sounds almost exactly, but I enjoy programming synths so I just take that as part of the writing process.

 

At the end do you go add a whole bunch of lasery sounds to make it "psychedelic"?

Oh gawd no. I put "psychedelic" little sounds in if it seems right, usually in the middle the process somewhere, but not as a matter of routine. I tend to use a lot less of those "lasery" and other "psychedelic" sounds.

 

A song I'm working on at the moment I'm kind of going at slightly different. I generally build from the ground up: I will construct the bare bones of the entire track, then add layers from there, usually working on the whole track at once. On this new one I'm building part of it in its entirety before working on the rest of the track. It's a new way for me but I thought I'd see if it helped or hindered the writing process.

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i always start with a melody or loop that i usally make up on the guitar. then i add a kick, snare, hats (this is all very simple still just to see what it sounds like with different drum patterens). then i add some bass. get a nice little loop going adding sounds & things to the loop (usually a 16th loop). once i have that ill start to build the track from the start. adding all those little psy sounds & effects as i go. all building up to the main loop or loops i created.

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I have nubs for hands, so I hire a secretary to transcribe my notes which I speak into a recorder with a monotone robot voice from the device attached to my larynx because I smoke too much. She gets confused sometimes and thinks I'm trying to do beatless electro a capella with vocoder only, but although I'm not fond of her old-lady perfume, I love the way she jiggles when she inputs automation data, so I keep her. Some things I do with my feet, like tremolo and wah-wah. Standard stuff.

Shit. this is my technique too :ph34r:

Only twist is I have those super fat mediteranean hummus fingers so I can't press keys right, always hit E minor instead of E and stuff. Also Theres been a few tracks where keyboard cat came in to play me off. Went alot

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Shit. this is my technique too :ph34r:

Only twist is I have those super fat mediteranean hummus fingers so I can't press keys right, always hit E minor instead of E and stuff. Also Theres been a few tracks where keyboard cat came in to play me off. Went alot

Fascinating. My process is strictly anti-cat. Not because I dislike the species, but, rather, because I find them to be very selfish with their part of the creativity, and they find subtle ways to cause havoc in my home if I revise their contributions even a little. So I've set up an electrical perimeter around my studio to keep them out of the process altogether. Still, they find ways in, mostly psychical ones, and with background noise that confuses my secretary.
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