Every producer has their own unique way of making music, so I'm not going to pretend that my way is the only way (or the best way for that matter), but for me it works very well. A lot of producers out there will already have their own process, but hopefully something in here might be of interest in some way. Likewise, any advice back to me is very much appreciated :-)
There are two ways I tend to kick off a new track. The first is where I have a clear idea of a riff or end product in my head. In this bracket I also include remixes and bootlegs. Creative ideas often strike when you least expect it, so I use my phone to write down or speak / sing / beatbox them wherever I am - car usually (when it's safe to do so!). This is priceless to ensure I don't forget any of the ideas when they pop into my head.
The second way I start a new track is to simply hook up my sequencer and play with sounds. Jamming is the fun route as the direction of the track can go all over the place, but it doesn't matter. It's hit and miss, but sometimes you strike gold and take it from there.
Getting going, I overload the session with many instruments and riffs, then fine tune the best bits which work well in combination. Critical layers of the track are:
- Kicks / Hats / Snares
- Crash Cymbals & FX
- Bassline
- Main Riff / Vocal
- Synth Pad / Strings
- Supporting Synths / Stabs / Piano elements
The clever bit from a producer is not always what you hear, but what you remove to maximise the impact of the track. Simplicity and complexity both work well in different parts of a track, or different genres. Sometimes I'll actually sequence a simple riff that drives the whole story of a new track, then completely remove it leaving the clever elements and chord changes behind.
Sidechaining key sounds is also critical - as a minimum the kicks and rhythm section, but also vocals to ensure they stand out. Around all of this are the fiddly filter sweeps, delays, reverbs and other distortion in just the right amount, at just the right time.
Although everybody's taste is different, it's always good to ask advice of DJs, producers or friends for their input into the structure of the track. Maybe the build up takes a little too long to keep the interest going, the breakdown kills the track mid-flow, or you can't quite hear your favourite instrument or vocal loud enough. Feedback is a very good thing.
I'll also take the opportunity to listen to it in as many different environments as possible - studio speakers, earphones, car, or club if I'm lucky - to ensure that the mastered track sounds just right. This is a really important part which a lot of producers often overlook.
When all that's out of the way, the track is essentially done. From here, there's the opportunity to mess with the elements to create an instrumental, a dub version, or remove the kicks and stuff to throw together an ambient chillout version. This is often good to emphasise parts of the track which the sidechained parts would normally drown out.
