My favourite arpeggios are by Dave Greenfield, Keyboard and Organ player in The Stranglers.. British Punk Rock band. He was an arp playing monster! Check out "No More Heroes" or "Hangin' Around' He also wrote Golden Brown.. a hit song that reached #2 in the UK charts, despite being in Waltz time.. a rare and obscure success! I got to see them twice before many of them died or moved on. RIP Greenfield, you were amazing. No more heroes, indeed... :(
Good stuff! I come from a classical cello perspective, so the idea of layering is my natural approach: the symphonic orchestra is so unbelievably versatile because it has so many options for layering instruments that are relatively limited in their own scopes. And to think in instrument sections - where different but similar timbres might play together but they each have their own role within that section - like how strings spread out melody, inner harmonies (and counter melodies) and bass notes across the instruments. This also begins to place elements of a single chord in different areas of the stereo field (violins are typically left and cellos/basses to the right with inner voice a bit more centered). A lot of classical instruments have fairly limited harmonic content in any one single note - some even coming quite close to simple sine waves. This really enables layers of sounds to create complex harmonic structures that give symphonic music its breadth of colors. As you say, you can create amazingly intricate textures using very simple voices. And that is something I love to do. A recent piece I recorded was primarily 12 simple synth voices, like sine waves, or simple FM plucks, layered and pulsing in different ways. One technique that I find helpful is if you have specific voices that you want to be central - either as an important foundation or the sound of primary interest is to do your siund design/synth selection for other voices while you have that key sound playing on loop or what-have you. It'll keep your focus on how those sounds relate, and I think it'll be surprising how often you don't need a really complex sound when you are using it in conjunction with others.
Artists like Tycho are interesting for this reason, he seems to be able to bake sounds in space and saturation but still generate cohesive songs and mixes. He does use very simple sound sources though.
These are the broad concepts that beginners like me really need to hear. The technical stuff will come, but I feel like this kind of info is super helpful.
All of the best advice seems to be things i already understand, but have a hard time implementing. God, it really just feels like nothing is getting me closer to reliably finishing polished tracks
My favourite arpeggios are in songs by The Stranglers. British punk rock band with an incredible organ player/keyboardist.. his arps are legendary! He wrote Golden Brown as well, a classic song that became a hit (peaked at #2 on the charts in the UK) despite being written in Waltz time?! That's a rare obscure success.
I'm working through your videos and downloads, haven't finished them all. I wanted to pause and say how much I am learning from you, and that I hope you get props for your most excellent sense of humor. Some of your expressions are fabulous. They really underline your narrative. Okay, back to work.
Love the point about rests and that's why classical music is such a great foundation for composition. It's similar to the advice, "if you want to get someone's attention, whisper".
I understand you very well, man. When I started approaching electronic music coming from Jazz, I had a hard time putting aside technique, harmony and everything that had been music for me up to that point. It took me a long time to realize that sound design, when it comes to electronics, is predominant over the rest. But when I realized that, it was a liberation, a new birth. I really appreciate your videos, your content always resonates with what I think, thank you!
I’ve enjoyed your channel for sometime now, but this really features your musical sensibilities and I am blown away by your sounds and music. Definitely taking some time to go through your work this weekend. Cheers
HI Jameson, having your on signature is something I have pick up on with other composers I have listen too including you but that is something that I am trying to do but at the moment my brain hurts trying to come up with a unique signature or sound that is not the same as others.
Interesting points which are definitely worth exploring. For me it works best to use just a piano, or vst piano to record ideas. Sounddesign and effects come later.
- Having too many elements and getting overly focused on sound design can lead to a cluttered and unfocused track. Keep things simpler, especially if you want to play more complex parts. - Dedicate separate sessions to sound design vs. composition. Building a library of your own inspiring sounds to draw from later helps you focus on each task. - Use unique signature sounds to make your track stand out. Having one or two elements break the rules and come to the forefront helps catch the listener's ear. - Layer multiple simple elements rather than just a couple very complex evolving patches. This allows for better separation, width and depth in the mix. - Include at least one linear, horizontal element like a longer melodic phrase to provide contrast to the vertical, looping nature of a lot of electronic music. Even simple counterpoint between a couple parts makes a big difference. - Thinking in a more timeless, compositional mindset using these principles can help set your music apart, especially with the prevalence of AI-assisted music creation on the horizon.
The way I think of synth mixing IS using the traditional drum/bass/guitar(lead) concept. So I put my drum track down, bass synth patch, lead synth. Then if I feel the track needs a bit more light and shade, I'll look for a twinkly FX type sound or something else bright to periodically bring in and out of the mix. In a traditional band context, they might've got the drummer to use crash cymbals or other cymbal effects to achieve a similar effect.
bonus rule: You just need a talent, you can do great stuff with a groovebox and monosynth. Melodies and harmonies can be done by instinct. If you don't have these abilities it is allway hard.
Jameson I’m so pleased that I’ve been able to find on UA-cam a man with such a depth of musical training and experience who offers teaching me how to struggle more effectively with the exact same issues he’s struggling with.
You are always putting into words the things that i ponder but struggle to find the answers for. You are excellent at pulling out and clarifying the struggles we experience to help us confidently step into a new space.
Okay, so I am learning more and more that your thumbnails are really more... antitheses, haha. Funnily enough, all of these were things I was already working on (sound design days vs composition days, for instance - when I get an idea I just whistle it, play it on a real instrument, or record it as MIDI with a basic EP sound). Except the last one, since I'd picked-up long contrapuntal melodies from my time playing classical wind (ie playing music others wrote and never writing your own). So I've actually been struggling to get compelling loops! My "linear elements" go on so long, with such little repetition, that there's almost nothing to anchor them down; they seem to float away just like some synth pads can do. However, that last tip is still a nice reminder that perhaps that's not such a problem when it's in its right place. Such as in an aforementioned ambient pad piece, since I definitely do want to do tracks with big pads as well. It's just not so compatible with methodology like A part, chorus, B part, bridge, C part, chorus, A part. But maybe I should lean into that "authorial voice" more, rather than constantly trying to do something different. Or at least maybe "leaning into it" will also help me find something different faster. Since composition is so tied-up in the physicality of playing instruments for me, so I can't really just plan it ahead of time. ...if I want to start thinking of composition outside of that physicality, I'm going to be looking-up 4 part composition exercises aren't I!
Something that I find helps tie the first guideline with the third is, think about the role the patch is going to play in a song and how to balance the harmonics accordingly. That way you avoid the “lead patch syndrome” where it sounds rich and complex on its own but turns a mix into a muddled mess
All of this is super solid advice for being productive, without being overly disciplined. I appreciate your presentation as kind, generous and knowledgeable without being arrogant at all. A rare trait. All good rules/suggestions, and I'd like to expand on the importance of #6. It is literally what will define your music, both on the micro and macro levels. Some would define it differently, but I tend to define music as "Changes in sound over time, with intent." The entire point of music, even experimental drones and ambient, or the harshest industrial noize is to convey a feeling by the intentionally created changes. Without some sense of cohesion or linearity, there is no movement. Of course, too much movement can create disorientation without some sort of reference to an origin. My friend, Emma Catnip said it best: "Beginnings, middles, endings." They all matter and they all need to work together in some way to create linearity.
I'm new to the synth/electronic community on YT (coming from Guitar on YT). Thinking about getting a synth and as I've researched, I've found this community of channels, and I'm really enjoying yours! Just wanted to share that I'm enjoying what you do. Not sure if I'll actually buy a synth, but I'm enjoying the content, especially content like this.
Good luck. I don't know anyone who owns a synth. You either own some synths, or no synths. You can get away with using 1 synth as a passing phase, but it always quickly leads to more or fewer synths. SIA.
If you already have an iPhone or an iOS device, there’s so many synthesizer apps to choose from to get ‘your feet wet’. You can even connect a midi controller to the iOS device to give you tactile control. Most of the apps sound great and learning how to use em will get you ready for hardware synthesizers (my favorite is Minimoog iOS).
great reminders! i lost all my focus passing from rock to electro, loosing myself. the music in the video (soundtrack is insane) much love from montreal. thanks for your videos.
It is nice to create a signature sound . The attempt to develop something unique to yourself . Do you think that the orchestral composers have a signature in their music ? Vaughan Williams ?
You can always tell when a person has educated themselves and then applies that to, in this case, producing music. As said, a country mile away from the bedroom boys. Such individuals continue with a philosophy of mind and then travel a road in their desired discipline.
You said something about focus, then you said “leave space,” and then I began wondering if anyone makes electronic music that has been to the international space station… In summary, I think I’m screwed. Side note: great video. Thanks for making it. Your videos are always an instant watch for me.
I think #2 is very important. With everyone having an opinion on what synth is the best, I feel that basic subtractive synthesis gets downplayed. You can really do a lot with just that and effects, and it is much easier to get those types of sounds to fit a track.
I do not understand this term 'electronic music'. Its all electronic the finished work. The most satiating presets or samples that create some sort of vox pad and sound somewhat convincing, that just my personal preference. If I can hear rising and falling harmonies, many of the tricks via vox pads I can hear a lot of content. Perhaps Its simpler and more easily understood a half decent orchestral sample library is a good guide to instruments you might change out or exploit without a lot of hardware, and heck you can layer them with your own sound design efforts.
"electronic music" - It's a word rooted in history. From 1950 to the 80s, there were no orchestral libraries, only circuits making interesting sounds. Computer-based music and samplers were burgeoning in the 80s but didn't really didn't reach full potential until the 2000s. There have only been about five major manufacturers of music synthesis equipment until fairly recently. Now all that stuff is ubiquitous. There are dozens upon dozens of hardware and software makers, often making the exact same thing. The software market is amazing, hardware just as much. Eurorack stuff is plentiful. How many ARP 2600 clones can you get today? Korg (first software then hardware), Behringer, Antonus, Arturia, Cherry Audio, Synthchaser TTSH, and probably a couple more software ones. So, while it seems like its "all electronic" music now, that term still has a historic connotation.
Just for clarification. JNJ's face is not punchable. Do not try. You could lose the ability to enjoy his cool compositions. Also you would lose your hand for sure. Stay safe.
Here are some of the composition concepts that have helped me the most over the years in eBook form. It's free :) bit.ly/FREEcompositionguide
Rule 7: a synth that goes "bzzsshhhouuuuuoooooo" like a giant spaceship passing overhead will always sound super cool.
This is truly one of the fundamental laws of my mental paradigm.
If it’s all bshwooow we call that neurofunk drum and bass
@defnlife1683
Which is why it's the best genre!
"Inspiration is one part of the key"
-GFD 360
My favourite arpeggios are by Dave Greenfield, Keyboard and Organ player in The Stranglers.. British Punk Rock band. He was an arp playing monster!
Check out "No More Heroes" or "Hangin' Around'
He also wrote Golden Brown.. a hit song that reached #2 in the UK charts, despite being in Waltz time.. a rare and obscure success!
I got to see them twice before many of them died or moved on.
RIP Greenfield, you were amazing.
No more heroes, indeed... :(
Good stuff! I come from a classical cello perspective, so the idea of layering is my natural approach: the symphonic orchestra is so unbelievably versatile because it has so many options for layering instruments that are relatively limited in their own scopes. And to think in instrument sections - where different but similar timbres might play together but they each have their own role within that section - like how strings spread out melody, inner harmonies (and counter melodies) and bass notes across the instruments. This also begins to place elements of a single chord in different areas of the stereo field (violins are typically left and cellos/basses to the right with inner voice a bit more centered). A lot of classical instruments have fairly limited harmonic content in any one single note - some even coming quite close to simple sine waves. This really enables layers of sounds to create complex harmonic structures that give symphonic music its breadth of colors.
As you say, you can create amazingly intricate textures using very simple voices. And that is something I love to do. A recent piece I recorded was primarily 12 simple synth voices, like sine waves, or simple FM plucks, layered and pulsing in different ways.
One technique that I find helpful is if you have specific voices that you want to be central - either as an important foundation or the sound of primary interest is to do your siund design/synth selection for other voices while you have that key sound playing on loop or what-have you. It'll keep your focus on how those sounds relate, and I think it'll be surprising how often you don't need a really complex sound when you are using it in conjunction with others.
Artists like Tycho are interesting for this reason, he seems to be able to bake sounds in space and saturation but still generate cohesive songs and mixes. He does use very simple sound sources though.
These are the broad concepts that beginners like me really need to hear. The technical stuff will come, but I feel like this kind of info is super helpful.
I love it that you are demonstrating the point you are describing with the music you have in the background during that point. Very clever!
All of the best advice seems to be things i already understand, but have a hard time implementing. God, it really just feels like nothing is getting me closer to reliably finishing polished tracks
Great stuff.
I see any sound as an individual instrument in a virtual band, resulting to only use 4 - 5 lanes in my DAW.
My favourite arpeggios are in songs by The Stranglers. British punk rock band with an incredible organ player/keyboardist.. his arps are legendary! He wrote Golden Brown as well, a classic song that became a hit (peaked at #2 on the charts in the UK) despite being written in Waltz time?! That's a rare obscure success.
I'm working through your videos and downloads, haven't finished them all. I wanted to pause and say how much I am learning from you, and that I hope you get props for your most excellent sense of humor. Some of your expressions are fabulous. They really underline your narrative. Okay, back to work.
Love the point about rests and that's why classical music is such a great foundation for composition. It's similar to the advice, "if you want to get someone's attention, whisper".
Such gorgeous sounds all the way through this video, I'm kinda stunned!
Thank you!
I understand you very well, man. When I started approaching electronic music coming from Jazz, I had a hard time putting aside technique, harmony and everything that had been music for me up to that point. It took me a long time to realize that sound design, when it comes to electronics, is predominant over the rest. But when I realized that, it was a liberation, a new birth. I really appreciate your videos, your content always resonates with what I think, thank you!
Thank you. Excellent piece.
I’ve enjoyed your channel for sometime now, but this really features your musical sensibilities and I am blown away by your sounds and music. Definitely taking some time to go through your work this weekend. Cheers
Thanks so much!
HI Jameson, having your on signature is something I have pick up on with other composers I have listen too including you but that is something that I am trying to do but at the moment my brain hurts trying to come up with a unique signature or sound that is not the same as others.
Interesting points which are definitely worth exploring.
For me it works best to use just a piano, or vst piano to record ideas. Sounddesign and effects come later.
- Having too many elements and getting overly focused on sound design can lead to a cluttered and unfocused track. Keep things simpler, especially if you want to play more complex parts.
- Dedicate separate sessions to sound design vs. composition. Building a library of your own inspiring sounds to draw from later helps you focus on each task.
- Use unique signature sounds to make your track stand out. Having one or two elements break the rules and come to the forefront helps catch the listener's ear.
- Layer multiple simple elements rather than just a couple very complex evolving patches. This allows for better separation, width and depth in the mix.
- Include at least one linear, horizontal element like a longer melodic phrase to provide contrast to the vertical, looping nature of a lot of electronic music. Even simple counterpoint between a couple parts makes a big difference.
- Thinking in a more timeless, compositional mindset using these principles can help set your music apart, especially with the prevalence of AI-assisted music creation on the horizon.
The way I think of synth mixing IS using the traditional drum/bass/guitar(lead) concept.
So I put my drum track down, bass synth patch, lead synth. Then if I feel the track needs a bit more light and shade, I'll look for a twinkly FX type sound or something else bright to periodically bring in and out of the mix.
In a traditional band context, they might've got the drummer to use crash cymbals or other cymbal effects to achieve a similar effect.
bonus rule: You just need a talent, you can do great stuff with a groovebox and monosynth. Melodies and harmonies can be done by instinct. If you don't have these abilities it is allway hard.
Great advice in here - thank you 🙏
Jameson I’m so pleased that I’ve been able to find on UA-cam a man with such a depth of musical training and experience who offers teaching me how to struggle more effectively with the exact same issues he’s struggling with.
2:28 deadmau5 actually says neat. how topical!
You are always putting into words the things that i ponder but struggle to find the answers for. You are excellent at pulling out and clarifying the struggles we experience to help us confidently step into a new space.
1:50 was like if Allesandro Cortini covered Steely Dan's Josie as an instrumental. I really like the musical segments you jumbled into this video.
Okay, so I am learning more and more that your thumbnails are really more... antitheses, haha.
Funnily enough, all of these were things I was already working on (sound design days vs composition days, for instance - when I get an idea I just whistle it, play it on a real instrument, or record it as MIDI with a basic EP sound).
Except the last one, since I'd picked-up long contrapuntal melodies from my time playing classical wind (ie playing music others wrote and never writing your own). So I've actually been struggling to get compelling loops! My "linear elements" go on so long, with such little repetition, that there's almost nothing to anchor them down; they seem to float away just like some synth pads can do.
However, that last tip is still a nice reminder that perhaps that's not such a problem when it's in its right place. Such as in an aforementioned ambient pad piece, since I definitely do want to do tracks with big pads as well. It's just not so compatible with methodology like A part, chorus, B part, bridge, C part, chorus, A part.
But maybe I should lean into that "authorial voice" more, rather than constantly trying to do something different. Or at least maybe "leaning into it" will also help me find something different faster. Since composition is so tied-up in the physicality of playing instruments for me, so I can't really just plan it ahead of time. ...if I want to start thinking of composition outside of that physicality, I'm going to be looking-up 4 part composition exercises aren't I!
Something that I find helps tie the first guideline with the third is, think about the role the patch is going to play in a song and how to balance the harmonics accordingly. That way you avoid the “lead patch syndrome” where it sounds rich and complex on its own but turns a mix into a muddled mess
Ableton is full of those!
Yup and contrast is a big thing, if everything is bright nothing is etc
This is gold! Thanks for sharing these ideas!
Miles Davis did counterpoint so amazingly. Learned so much about composition from him.
All of this is super solid advice for being productive, without being overly disciplined. I appreciate your presentation as kind, generous and knowledgeable without being arrogant at all. A rare trait.
All good rules/suggestions, and I'd like to expand on the importance of #6. It is literally what will define your music, both on the micro and macro levels. Some would define it differently, but I tend to define music as "Changes in sound over time, with intent." The entire point of music, even experimental drones and ambient, or the harshest industrial noize is to convey a feeling by the intentionally created changes. Without some sense of cohesion or linearity, there is no movement. Of course, too much movement can create disorientation without some sort of reference to an origin.
My friend, Emma Catnip said it best: "Beginnings, middles, endings." They all matter and they all need to work together in some way to create linearity.
I'm new to the synth/electronic community on YT (coming from Guitar on YT). Thinking about getting a synth and as I've researched, I've found this community of channels, and I'm really enjoying yours! Just wanted to share that I'm enjoying what you do. Not sure if I'll actually buy a synth, but I'm enjoying the content, especially content like this.
Good luck. I don't know anyone who owns a synth. You either own some synths, or no synths. You can get away with using 1 synth as a passing phase, but it always quickly leads to more or fewer synths. SIA.
If you already have an iPhone or an iOS device, there’s so many synthesizer apps to choose from to get ‘your feet wet’. You can even connect a midi controller to the iOS device to give you tactile control.
Most of the apps sound great and learning how to use em will get you ready for hardware synthesizers (my favorite is Minimoog iOS).
I like that song Oblivion. Oh, this is quantizing to oblivious. I was oblivious.
Am I the only one who wanted to hear what Jameson has to say about quantization in electronic music? (Spoiler: Rule 4 is not “Quantize into oblivion”)
I might have another video planned on that....
@@JamesonNathanJones that would be lovely ☺️
great reminders! i lost all my focus passing from rock to electro, loosing myself. the music in the video (soundtrack is insane) much love from montreal. thanks for your videos.
Very defined and well thought out rules! I will keep them in mind for future compositions!
Really helpful man. Thanks for sharing
I have to try this.
What's the track at 7:17? Is it available somewhere?
jamesonnathanjones.bandcamp.com/track/abandoned :)
Thank you@@JamesonNathanJones. It's an awesome track.
This is really great advice, thank you
Rule 1 - bend rules 🎉 Now I know what to bend, thanks!
Great video! Some gems in here. I think your perspective is extremely valuable. Wish we could jam IRL!
Such a great perspective on composing electronic music. Thanks for all your videos. Love this channel.
Thanks so much!
Grear insight and advice
The hero we deserve …. Maybe
Love the deep videos you have been putting out about writing music. Hope I get to work with you through your mentor program!
Thanks for sharing, this is very useful.
Excellent points here thx!
Glad it was helpful!
Thank you ... there´s so much I´ve still to learn ... 😓
Same here!
Hey, whats the second song in the video, starting at 7:20? Thanks :)
i second this question, very cool
Same, I missed most of what we being said because I was focusing on the music
I found it; the song is "Abandoned" by Jameson Nathan Jones. It's on his bc.
jamesonnathanjones.bandcamp.com/track/abandoned :)
Hell yes let’s bring back neat
That was definitely a neat tutorial!
Awesome, thanks man.
I came here for "Quantise into oblivion" because i actually do that
Very 'neat' video! Good advice, thank you! 👍
This was so helpful to me. Thank you!
Tipper, aphex twin, squarepusher are fucking geniuses
SOTEG, Jnr. Hacksaw, Si Begg, Uberzone
So far so good. ❤
Another very helpful video. Thank you!
Great vid bro 🖤
It is nice to create a signature sound . The attempt to develop something unique to yourself . Do you think that the orchestral composers have a signature in their music ? Vaughan Williams ?
That opening is So So true!
You can always tell when a person has educated themselves and then applies that to, in this case, producing music. As said, a country mile away from the bedroom boys.
Such individuals continue with a philosophy of mind and then travel a road in their desired discipline.
You said something about focus, then you said “leave space,” and then I began wondering if anyone makes electronic music that has been to the international space station…
In summary, I think I’m screwed.
Side note: great video. Thanks for making it. Your videos are always an instant watch for me.
chapter 5 layering - what is the song playing in the background? Anyone know if it is even a song? Sounded special.
jamesonnathanjones.bandcamp.com/track/abandoned :)
@@JamesonNathanJones Great piece. Really appreciate this song.
@@JamesonNathanJones Great track. Nice brooding melody.
I'd love to hear your take on Strong Bad's guidelines to making a techno song. (Strong Bad email #45)
Where can i access your, what I'll call, "ambient dance" music? Do you sell any music?
What about gear? How much gear does one needs to get to create the pallete of sound design colours, lots of analogue, I suspect 😅
I think #2 is very important. With everyone having an opinion on what synth is the best, I feel that basic subtractive synthesis gets downplayed. You can really do a lot with just that and effects, and it is much easier to get those types of sounds to fit a track.
Rule 7 the viper vst by Adam Szabo and serum are a deadly combo
QOTSA and NIN? Shoot, I knew I liked you 😂
I get lost in the sound design as well, so keeping those separate is a good tip I never thought about. Lol
What happened to rule 4? I feel ripped off..
The more complex the patch, the less I use it
There are no rules. Best tunes come from that.
Bedroom loopers!! 😂
Like #807.
I do not understand this term 'electronic music'. Its all electronic the finished work. The most satiating presets or samples that create some sort of vox pad and sound somewhat convincing, that just my personal preference. If I can hear rising and falling harmonies, many of the tricks via vox pads I can hear a lot of content.
Perhaps Its simpler and more easily understood a half decent orchestral sample library is a good guide to instruments you might change out or exploit without a lot of hardware, and heck you can layer them with your own sound design efforts.
"electronic music" - It's a word rooted in history. From 1950 to the 80s, there were no orchestral libraries, only circuits making interesting sounds. Computer-based music and samplers were burgeoning in the 80s but didn't really didn't reach full potential until the 2000s. There have only been about five major manufacturers of music synthesis equipment until fairly recently. Now all that stuff is ubiquitous. There are dozens upon dozens of hardware and software makers, often making the exact same thing. The software market is amazing, hardware just as much. Eurorack stuff is plentiful.
How many ARP 2600 clones can you get today? Korg (first software then hardware), Behringer, Antonus, Arturia, Cherry Audio, Synthchaser TTSH, and probably a couple more software ones.
So, while it seems like its "all electronic" music now, that term still has a historic connotation.
Fux died a long time ago....
Avoid soloing.
Don't let micro*org knobs dictate your genre?
Can AI make ambient
Just for clarification. JNJ's face is not punchable. Do not try. You could lose the ability to enjoy his cool compositions. Also you would lose your hand for sure. Stay safe.
Nice clickbait. I REALLY wanted to see the "quantize into oblivion" part.
You cannot discover yourself with rules, you just end up following the same guideline as the next guy hence, no freedom, hence no joy!
You’re projecting a hopeless philosophical viewpoint of steps to music. Foundations, are vanity
This is all good advice. So is "quantise into oblivion."