Tag Archives: composers

Echonest’s Infinite Jukebox Provides Endless Remix Ideas

One of the best tricks for coming up with new melodies or remixing a song is to shuffle its main notes around. Infinite Jukebox from EchoNest does just that, and all inside a handy browser interface.

The system analyzes your track and finds points where the audio “connects” by having the same exact properties, meaning you can splice the two moments together without hearing much a lot of audio clipping or going off beat.
Continue reading Echonest’s Infinite Jukebox Provides Endless Remix Ideas

Life as a Freelance Musician Part 12: Backup Plans and Perseverance

Making it as a freelancer means you’re going to need to strike a balance between doing what you’re passionate about and still having food to eat and a place to live. It can be hard to keep this balance, but since few of us have the option of throwing caution to the wind, here’s a few tips on staying afloat.

Still In School? Still at Home?

Screen Shot 2014-01-07 at 5.11.21 PMIf you’re young and still living at home, now is the time to hone your musical skills. I mean, how much time does high school or college really require from you? The fact that you don’t have to pay rent and don’t have multiple things competing for your attention means that a summer locked in your room with your instruments can put you far ahead of your peers or those who are getting a late start. You just have to have the discipline to treat it like it’s the first steps of your future career and not just a hobby.

Backup Plans and Non Artistic Work

Screen Shot 2014-01-07 at 5.09.22 PMIt’s definitely worth having something to fall back on if things don’t go so great as a musician or freelance artist. I’m a firm believer that having several plans will help lower your stress and help you enjoy your creative outlets more than hoping every day that things will go perfectly.

Here’s a few sites you can find additional work on:

eLance – You can find part time/full time work that requires nothing but an internet connection and a decent computer in almost any field on eLance. Don’t limit yourself to just audio work, you can find easy article writing, data entry, QA jobs with little or no experience, you can also make good money translating (if you know more than one language) and even doing boring stuff like sending emails.

Textbroker – As I mentioned in the “first year as a freelancer” article, my original backup plan was writing for Textbroker and other sites like Content Authority and iWriter. There’s a huge need for writers and although the topics aren’t always super exciting, you might find that its another sort of creative outlet you can get paid for. You can work as much or as little as you want with no penalties, so it’s a perfect “fill in the blanks” style of work.

SoloGig.com – Another great place to find stuff to fill your pockets while still leaving you time to pursue your passions.

Those with a background in programming, web design, graphic design and other computer-related fields will have few problems finding freelancing work.

Sticking To It

Not every freelance job is going to be your dream project working for your dream company’s greatest game of all time. You can find tons of work doing boring stuff like editing podcasts, cleaning up audio files and recordings. Don’t be afraid of this work, since many of those skills come in handy later on. For example, learning how to do noise cancellation and removing hiss from recordings its not very exciting, but you might need that skill one day when you are using a dirty sample or trying to clean up a certain irritating frequency from a synthesizer.

A famous American writer William James said, “If you care enough for a result, you will most certainly attain it.” Take that attitude toward your music, don’t be afraid to put in the annoying legwork and you will be able to get your sounds out there.

Next Up:
-Some FAQs Answered
-Boring Accounting and Stuff

Life As A Freelance Musician Part 11: The Secret Art Of Composing Melodies

Melodies are what drive a song, especially in the case of classic video game songs. When you only have 3-4 channels, each note has to count. However, coming up with melodies that are unique and interesting is probably one of the hardest parts of composing. This article talks about some tricks for finding melody that don’t involve classical training or worrying too much about scales and things like that. These methods work great (especially for orchestral music) but since not everyone has that training and we’re focusing on video game music here, these are a few methods I’ve found handy for squeezing the best melody out of an idea.


Repeating Theme With Changing Bass Line

This is pretty much what most pop songs are and it works great for getting started in a video game song too. Come up with a simple melody that’s only a measure or two long. Set your DAWs to just loop it over and over. Then with a keyboard, try different bass notes along with the sample. You’ll quickly notice how the combination of bass note and melody change the feeling of the same notes playing repeatedly. Once you settle on a pattern you like, record (or put down MIDI notes) the bass part and then start modifying your lead to highlight the differences in the bass.


The highlighted section just repeats over and over again while the changing bass line modifies the feeling.
The highlighted section just repeats over and over again while the changing bass line modifies the feeling.

Here’s an example that started with just 13 little notes played over the course of 2 bars. The last two bars feature changes to break up the repetition and highlight the difference in the bass but at the beginning the highlighted notes played over and over with the entire bass line.




What Comes Next In Your Brain?


This is probably my favorite little technique. We listen to so much music that sometimes we sort of subconsciously know what “should” come next. It’s not always the most original thing, but if you are stuck, this trick can help you get back on track. If you have a song done up to a point but can’t seem to decide what should come next, set your DAWs to play it and then go into some empty space. At that moment, think what you expect to hear next. Don’t try to play it on a keyboard or a guitar, just let your brain tell you what comes next.


Arpeggios Lead To Ideas

Remember those 80s keyboards Radio Shack always had(has?) on display that has all those cheesy bosa nova presets where you press one key and it starts making a whole song? Well, this isn’t a bad way to stumble onto interesting chord progressions. I like to use arpeggio setups for this technique. Set up a arpeggio with lots of notes and just move around your keyboard and see where it takes you. Here’s a scratch track from an upcoming game where I built an arpeggio and started moving around the keyboard before settling on this progression that had chord changes I’d never have come up with just playing my keyboard.


Instant Inspiration


The most elusive of them all; sometimes you just get hit with a whole song all at once. This happens to me only about once every 3 projects, but its usually the best song in the whole project. Be ready to record ideas at any time. Most modern smart phones have voice memos. My wife gets a kick out of going through mine and hearing me going ‘duh duh da –daaaaaah’ when you can hear cars or a restaurant in the background, but you have to record when inspiration strikes. Often times, its when you aren’t doing anything that ideas appear. I was going to post one of my ‘da da daa’ tracks and a final version of it to show the difference but its just too embarrassing. I have heard more than one professional, respected songwriter/musician say that they have lost great song ideas because they didn’t have a pen or thought they could remember it later.


Subconscious Composition


I am not one of these people, but I know at least three who say they’re subconscious writes better songs than they do. They literally DREAM songs or have ideas in the moments before they drift off to sleep. Again, being ready to record and forcing yourself awake in these moments is the key. I can’t say this has ever happened to me and it seems like it’d require the most self control not to just fall back to sleep, but whatever works!


Work With Others


Nothing helps you get inspired more than working with other musicians. Have a friend write the melody or a rhythm track. Know someone who plays a rare instrument? Have them record a part. When I used to play in a band when I was younger, a combination of my friend’s ideas plus the “What Comes Next In Your Brain?” method applied by someone else to the same song lead to our group’s most dynamic and interesting songs. Two heads are better than one.


Got any techniques of your own? Any questions? Please share them.


Screen Shot 2013-05-03 at 2.36.44 PMBeatscribe is a full time indie composer, musician and writer. By day he creates soundtracks and sfx for various mobile gaming companies, by night creates megaman-inspired chiptunes, in the afternoons he drinks tea. Check out his latest releases, tutorials and retro ruminations at www.beatscribe.com.

Life As a Freelance Musician: Part 8: When Is A Song Done?

I’ve heard more than one musician say, “a song is never really done, it’s just good enough to stop working on.” I can relate to this. When I first started trying to get a professional sound, I could never quite know when a song was “done” and ready for the client. On my first few jobs, the deadline ususally dictated when it was done. I just kept thinking, “I could make this better somehow!”

Today, we’ll talk about some of basic things to make sure are in place before delivering a song.

Mixing and Mastering

Drop a professionally mastered song from an album you like into your DAWs and look at the wave form. You'll see that it probably stays at 0db or around -0.2 at all times.
Drop a professionally mastered song from an album you like into your DAWs and look at the wave form. You’ll see that it probably stays at 0db or around -0.2 at all times.

I could (and probably will) do entire articles on how to master and mix songs, but here’s the bare essentials.

Mixing is usually taking things away from a song to make it more cohesive. Helping each instrument to shine through the mix using various tools. Sometimes people refer to doing things like adding echo’s, effects and reverb as mixing, and I guess it sort of is, but to me that’s more of the actual composition phase, and mixing is just getting it to sound nice. Some quick pointers:

-Make sure it sounds like all the instruments are in the same “space”. If you have a bunch of dry chiptunes and then one reverb soaked echoing track, it’s going to sound like its sort of in another place. If you have a bunch of orchestra samples recorded in a large space, putting a vocal you recorder in a tiny closet is going to sound wierd.

-Be careful not to over-mix until everything sounds separated and wimpy. There should be some bleed over between instruments, just not too much.

Mastering is sort of the opposite of mixing, it’s adding things back into the finished song to make it louder, clearer as well as some technical flavorings that will make it sound professional and great even when converted to MP3.

Mastering is things like bringing up the overall volume in a mix without it clipping (getting so loud it distorts), adding harmonics and mastering reverb to sort of “glue” all the sounds together, adding dithering to preserve as much sound as possible when compressing to MP3 or other format.

– My single biggest tip: Take the time to really understand compression. I might do a “compression/multipressor for dummies” article in the future. It was one of the hardest things for me to grasp since those who know what they’re talking about will say things like “decrease dynamic range” and “add loudness” that will leave you scratching your head.

-Most music today is mixed “loud” meaning it’s staying near -.03db at all time. If you want it to sound like something on the radio, it will need to be like this. Of course, you can’t just crank up the volume without horrible distortion, so we’ll talk about this in a future lesson. To get an idea of what this is about, take and song you’ve heard on the radio (even in mp3 form) and drop it in your DAWs and look at how loud it is. There’s not a lot of times when the sound drops low. The picture shown here is actually a very soft and mild song by The Daysleepers, yet even a soft quiet song is pumping the a full palette of sound at you. We’ll learn more about it later.

The “Annoying” Test

I got this from the guys over at IQ Soup, as they told me they do this with every track I send them. Put the song on repeat and just let it play while you work or clean or something. Does the song become unbearable after two or three loops? Is the start-over point for a looping track super obvious? If so, you probably need to add some more variety to the track or fix some mixing problem that is making it annoying.Remember that changes go a long way in making a song interesting…don’t be afraid to pull everything out and let the drums play for a bit, or drop the drums and add some atmospherics. Listen to your favorite songs, most likely the same 4 bars do not play the entire song and if they do, the singer is switching things up to keep it interesting.


The Comparison Test

I have heard more than one musician say they like to compare their finished product with a similar track to see if it sort of “feels” the same. I don’t always want my tracks to sound EXACTLY like another song, but it can help you to listen to a professional orchestral song and then listen to your own and ask yourself, “does mine have too much bass? Does something in mine leap out too much?” I find this is really good with orchestral stuff, sometimes not even for entire songs, just instruments. Sometimes when I’m not sure I like the high violin/violas in a mix, I listen to something from a recent movie to hear how they sound there. It gives me mixing ideas to make mine sound more “pro”, as long as I can figure out how they did it. Another trick is to skip around in your track and a track you feel is of similar style and good quality. Does it seem like you switched from a real soundtrack to a cartoon one? Does something sound off when jumping from their track to yours? It can sort of help your ears get a fresh perspective on your mix.

The Bad Speaker Test

This cracked iPod 3G and little wimpy speaker I bought while on vacation from a Walgreens have super powers of exposing mixing problems.
This cracked iPod 3G and little wimpy speaker I bought while on vacation from a Walgreen’s have super powers of exposing mixing problems.

I was recently reading an article and saw that Vampire Weekend listened to their latest album on all kinds of devices with speakers from the best to the cheapest to make sure it sounded good. I was kind of surprised because this seems like something a band of their caliber would have already been doing two albums ago! I have a collection of cheap little devices that I play my songs through. These things expose clipping, distortion and mixing problems way better than my expensive monitors. This is a practice as old as recording from what I hear. It is common for producers to take a tentative final mix out to the car to hear how it sounded through a half-broken old car stereo or from a old boom box.

My favorite tool for really exposing the faults in my mix is my third generation iPod touch (the one with only one speaker on it). That tiny speaker tells me more than all the monitoring tools in my DAWS. If something is too loud in the mix, it’s all you hear. If something is too soft, it vanishes. Of course, you can’t judge bass by these kind of speakers, good monitors and subwoofers are best, but for judging what is too loud or too quiet in the mix, these little guys are my best friends.

Delivering to the Client

Every client will have different formats they want to get their files in. If not specified, I usually give them a few different mp3 compressed at multiple levels, as well as a raw WAV or AIF. It’s a good idea to keep backups since things vanish. Using dropbox is a great way to share huge sets of files when you deliver finished products.

Now, what happens when the client listens to the files? We’ll get into this next. What to do if your client doesn’t like what you delivered, how to proceed in dealing with the client from first sample until finished product.

Next up:
-Clients! Making Music for Someone Else
-The Secret Arts of Coming Up With Melodies
-My Biggest Mistakes as a Freelancer


Screen Shot 2013-05-03 at 2.36.44 PMBeatscribe is a full time indie composer, musician and writer. By day he creates soundtracks and sfx for various mobile gaming companies, by night creates megaman-inspired chiptunes, in the afternoons he drinks tea. Check out his latest releases, tutorials and retro ruminations at www.beatscribe.com.