In praise of "Organic Arrangement"...

[Tidwells@aol.com]

Lately I'm finding I really like building up what I call "organic arrangements" in DP. It usually goes like this:

While playing the song with a piano sound over and over as part of the writing and re-writing process, I try to develop a refined piano part complete with intro hooks and other hooks that repeat throughout the song. So when I've finished writing the song, I go ahead and record that refined piano part in DP and edit and clean it up to get it "tight and right". Then I go ahead and record my lead vocal with as many takes as needed and create a composite "Hero" lead vocal, which I then go through note-by-note and use DP's pitch correction tastefully to tune up my singing without making it sound artificial. Then I go ahead and add background harmony vocals where desired and do some pitch correcting and even syllable editing to make them match the lead vocal. I try to make the basic piano/vocal/harmony mix as polished as possible, to the point I sometimes wonder if I should stop there....

But that is when the fun starts! I'm finding that when I've worked really hard on those basics, adding whatever other parts the song calls for becomes really enjoyable! I usually turn OFF the click track, but still use 80-90% quantization. Basslines, electric guitar parts, strings, organ, whatever else fits the "vibe" of the song....And surprisingly I'm finding that waiting almost to the end to add drums works well! I let the drum part be "inspired and informed" by the rhythmic feel of the other parts I've recorded.

This is almost the complete opposite of the way I worked 35 years ago, when I would start by programming a robotic beat on the drum machine and then waiting almost until the end of the production to record vocals. Some of the old process was dictated by equipment limitations: I started out with a Yamaha QX-1 MIDI sequencer before I had MOTU Performer and it was easier to record the instrumental tracks first before going through the headache of syncing it to a tape machine to record vocals. Once DP came out with the ability to record audio tracks in the same program with MIDI tracks, it opened up a whole new world, which I suppose we take for granted today! I also learned a lot from watching a fellow DP user record some tracks and learning how he played the drums from the keyboard instead of programming the drum machine...

Doug

[HCMarkus]

I would add... re-recording the basic piano part after other parts have been added is often a great idea. A simpler, more appropriate piano performance often springs forth, with a less clouded overall production the result.

[Tidwells@aol.com]

Interesting, HC! I'll have to try that! I'll admit that often I add instrumental "hooks" on other parts, then go back and add those same "hook" notes into the piano part so it sounds like the pianist is "supporting" the hook of the other instrument. Often, having 2, 3, or even 4 instruments playing the same hook makes it sound really strong!

Doug

[stubbsonic]

Yea, the strategies for reference vs keeper tracks can get interesting. Sometimes early tracks form scaffolding that is later removed or replaced.

You're onto something calling it "organic", but it can also be quite premeditated.

I sometimes make groovy percussion track to play to-- and keep things in the pocket. But I know the perc track will go away-- in fact, I mute it to check if the track I recording reads right without it.

As I listen and my mind drops hints for what to add, another part of my mind craves clarity & simplicity.