MUSICAL ARCHITECTS
A STEP-BY-STEP TUTORIAL/BLUEPRINT TO WRITE AND PRODUCE A
PROFESSIONAL SOUNDING SONG FROM BEGINNING TO END.
à Careful: Side effects might include, vast improvement of production skills,
enhanced listening, better writing chops, an exstatic feeling of creativity and a
sense of accomplishment.
Course Author: Marc Dold
v Course purpose:
Musical Architects’ Music Production Workshop will guide you step by step
through the writing and production process of creating a professional recording.
v Course layout:
Laid out in 12 sections we will cover each area we need to master in order to
create a complete song and an interesting and unique production that reflects
your unique voice and style. Each section covers an aspect of the process in
detail: writing chord progressions, making a beat, melody writing, sound design
and side-chaining all the way to mixing and basic mastering of your composition.
v Why this course?
It’s holistic and complete! The job of a writer is to express an idea or experience
in a unique and authentic way. The job of the producer is to translate and dress
this idea in the most effective way for the genre he or she is working in. Today’s
independent artist has to understand both tasks to be successful and self-
empowered.
You will not only improve your technical skills. You will grow musically and
creatively in a holistic approach to songwriting and music production.
v The Plan: How we’ll do it:
Together we’ll go on a journey to create Alchemy from a basic musical idea and
demo to an emotive and professional sounding recording that moves you and the
listener. I am writing and producing a brand new song alongside you.
v The Benefit: What you will gain:
Students who complete this course will have a blueprint and a whole new toolset
to produce and arrange their songs ideas and find a more unique and
professional sound. They will be guided from building a section that works to a
structure that flows, from a basic arrangement to a refined and 3-dimensional
production that makes you discover more every time you listen to it. They will be
taken beyond a you-can-hear-all-parts-mix to a dynamic and sonic world with
depth.
We will question every step:
• Do the chords evoke the emotions we want?
• Does the rhythm move us the right way?
• Does the melody stick and yet surprise us?
• Are the sounds and timbres unique and compliment each other maxing
out the sonic space?
• Do the dynamics take the listener on an auditory ride?
• Can we hear the essentials, can we hear the details
• Is our mix and master comparable next to other mixes in the genre
v Who is it for? This course is for the song-writer, beat-maker, and aspiring
producer/composer with at least a basic understanding of music and maybe
using a DAW (Digital Audio Workstation like Garageband, Logic, Pro Tools,
Fruity Loops, etc.) to record a demo but is struggling to make their productions
unique and sound like a pro. But you might get lots out of it even if you are quite
experienced.
v Why would you listen to me? Good question! (:
Real-world: I channeled 30 years of experience into this class, including
production including 2 #1 Billboard Hits, contributing to 20+ million records sold,
for artist like Celine Dion, Enya, Luis Fonsi, Nelly Furtado, Peter Gabriel, Paul
Van Dyk, Juanes, Alice Cooper, and many more; songwriting hundreds of
songs and cues for independent releases and film and TV placements (over
4000 last time I checked like Blood Diamond, Little Miss Sunshine, Cable Girls,
Sex and the City, etc.). As educator I taught over 2000 students for 10 years at
Musicians Institute in Hollywood, California, and helped them in learning Logic
(Apple Teacher Certified) and advised them in writing, recording, and producing
their music.
My education: I have a degree in classical guitar from the University of Zurich,
Switzerland, and additional studies at Berklee College of Music. I also have 5
years of professional experience in electronics.
v What knowledge would be required as prerequisites?
Knowing the basics of a DAW (Digital Audio Workstation) like Logic Pro
(preferred and used in the class), Pro Tools, Ableton, etc.
It’s helpful to have good, basic computer knowledge, basic song-writing skills,
and the ability to play simple chords on a keyboard and/or guitar. But, good ears
can make up for a lot.
v What do I need? (Software/Hardware)
A computer with Apple Logic Pro (preferred) but principles can be applied to any
DAW like Pro Tools, Cubase, Ableton Live, etc. This course is not as much about
teaching the DAW as it is about the core principles behind writing and producing
a complete piece of music.
Using Apple Logic Pro will make it easier to follow and enhance your Logic skills
tremendously. You will need Headphones or speakers and enough space on
your hard drive or even better an external hard drive to save your music. Please
refer to the manufacturer of the software for minimum requirements.
Syllabus
SECTION 1: COURSE INTRODUCTION AND OBJECTIVE
GOAL: UNDERSTANDING WHAT THIS WORKSHOP IS ALL ABOUT
(Video 1a) Intro: Who Is This For, Who I Am And What The Goal Of This
Course Is.
(Video 1b) How To Get The Most Out Of This Course.
What do we need to master to become efficient songwriters and producers?
Course overview. What you need to know and have to use this class
successfully.
(Video 1c) Logic Crash Course.
The essential need-to-know Logic stuff to successfully go through this course.
First-time user or just freshening up? No worries: here are the essential
need-to-know Logic basics to successfully go through this course and not be
side-tracked by learning the software. An easy and practical tutorial to learn
the basic operational skills needed to record a project with MIDI, Audio, and
Apple Loops including basic edits, copy, zooming, saving, etc.
SECTION 2: BUILDING THE FIRST SECTION OF YOUR SONG
GOAL: DEVELOPING A HARMONIC STRUCTURE (CHORDS) FOR THE
FIRST SECTION OF OUR SONG (Focus: Element #1 Harmony)
In this section, we will start the writing and arranging process with our focus on chords,
i.e. building a HARMONIC STRUCTURE as a foundation for our song. We will begin as
simple as recording 4 basic chords in a key and then make them more interesting by
breaking them into different voices and instruments. We will start in MIDI but then explore
the same technique with real instruments (AUDIO).
(Video 2a) Intro: Building The First Section Of Your Song.
How do you start a song? There are many ways but for this course, we will
start the writing and arranging process by building a basic chord structure
and then explore ways to make them more interesting.
(Video 2b) Building A Simple Chord Progression based on 4 chords.
Understand the basics of major and minor keys and how to record 4 basic
chords as a starting point.
(Video 2c) Making The Chords Interesting
How can we make even basic chords more interesting? We will make them
more emotive by a) widening the voicing, b) adding passing notes to the
topline, and c) making the other voices more melodic - especially the bass.
(Video 2d) “Splitting The Cell”
Once we have a melodic chord progression we can split the voices into new
instruments & sounds like an orchestra would.
(Video 2e) Adding Live Instruments (Audio) with the same approach.
We can arrange not only MIDI instruments like this. In this lecture, we will
do the same with acoustic instruments.
SECTION 3: BUILDING A GROOVE
GOAL: BUILDING A SOLID GROOVE AS A RHYTHMIC FOUNDATION FOR
OUR SONG (Focus: Element #2 Rhythm)
(Video 3a) Intro: Building A Groove.
Like a good band, a good rhythm track is tight. We will cover how to build a solid groove with the key
drum elements (Kick, snare, hihat) and then make it sonically more interesting by breaking it apart into
smaller components.
(Video 3b) Part 1: Understanding The Grid
The key to aligning our drums and making them rhythmically tight is
understanding the GRID and the sub-divisions of beats.
(Video 3c) Part 2: Step Programming A Beat
Step programming a basic beat with all the fundamentals utilizing the grid.
(Video 3d) Part 3: Separating The Drum Elements
Like we did with our chords, we will split the drum pattern into multiple
tracks so we can change or layer the single drum sounds and create a more
enticing and unique drum sound that fits our style.
(Video 3e) Part 4: Borrowing Ideas
To make our groove stand out we need to add some details, some
unexpected sounds, and patterns that go against the basic walls we built.
We can borrow ideas by listening to other music and styles as well as
existing loops.
(Video 3f) Part 5: Spicing it Up
We will cut out small elements of existing loops to add that other dimension,
finesse, and depth that makes our beat unique.
SECTION 4: CREATING YOUR UNIQUE SOUND PALETTE
GOAL: CREATING YOUR OWN, DISTINCTIVE TIMBRES THAT MAKE YOUR
STYLE UNIQUE (Focus: Element #3 Timbre)
(Video 4a) Intro: Creating A Unique Sound Palette
The sounds you use are the colors you paint with. Let’s look at techniques
and tools to create our own unique sound palette that sets your music apart.
(Video 4b) The 3 “Rs” Of Reinventing Your Sounds.
• We cover 3 methods to create your custom sounds:
• Part 1: Resize your sounds by cutting, splicing them into segments
• Part 2: Recycle and transform segments by adding FX
• Part 3: Reverse sounds
(Video 4c) Resampling Impact Sounds. (Part 4)
How to use percussive sounds to create your custom impact sounds.
(Video 4d) Creating Unique Texture Sounds.
How to resample non-drum elements to create your custom atmospheric
sounds.
(Video 4e) Clean Up The First Section.
Cleaning up our first section and choosing the best parts.
SECTION 5: BUILDING A CONTRASTING B-SECTION
GOAL: DEVELOPING ALTERNATIVE SECTIONS TO CREATE DIVERSITY
AND CONTRAST (Focus: Structure, Element #1,2,3 Harmony, Rhythm & Timbre)
(Video 5a) Intro: Writing A Contrasting B-Section.
Why do we need tension and release in music? Understanding the purpose of
contrast in music and how we can create it through dynamics and harmonic
changes.
(Video 5b) Creating A Contrasting Chord Progression
How to write a pre-chorus that takes us away from the tonic (the chord that
defines our key) so it creates contrast and a longing to resolve it.
(Video 5c) Creating A Chorus In The Relative Key
Writing a chorus in the relative key (major to minor or vice versa) is a
technique that has been used for hundreds of years because it creates a big
change in mood, i.e. contrast. Using some arranging techniques like doubling
acoustic instruments to create a fuller sound.
(Video 5d) What If You Are Not Convinced?
What if it's too dark or too bright? Creating an alternative version with
different chords and different timbre to change the mood.
Also: Cleaning up the parts and checking the groove.
SECTION 6: BUILDING A SONG STRUCTURE
GOAL: DEVELOPING A DYNAMIC STRUCTURE AND LAYOUT OF THE SONG
THAT FLOWS WELL AND IS RIGHT FOR THE STYLE OF SONG (Focus:
Structure)
(Video 6a) Intro: Finding The Right Song Structure
What is the most effective structure for our song? Different styles require
different structures and amounts of variety. Let's turn our sections into a full
song.
(Video 6b) Efficient Global Editing Tools
Let's look at some global editing tools to swiftly edit whole sections of
songs.
(Video 6c) Laying Out A Song Structure.
Understanding the power of mutation. Know how to derive new ideas from
existing ones. Finding new surprising combinations by using solo and mute.
(Video 6d) Pre-Chorus or Bridge?
Laying out an alternative structure using a bridge instead of a chorus.
(Video 6e) Creating A Dynamic Structure.
Let's choose a structure and layout for the full song. Modifying each section
to create variety and contrast. Keep it interesting with breaks and
“connectors”.
SECTION 7: CONNECTING SOUNDS & INSTRUMENTS
GOAL: CONNECT AND INFLUENCE SOUNDS IN UNIQUE WAYS THROUGH
SIDE-CHAINING. (Focus: Element #2 Rhythm & #3 Timbre)
(Video 7a) INTRO: Connecting Sounds & Instruments Through Side-
Chaining
Learn how to use side-chaining to make sounds react to each other like
members of a good band who listen and “vibe” with each other.
(Video 7b) How Side-Chaining Works
Before we get practical let's look at a brief overview of how side-chaining
works and what it sounds like.
(Video 7c) Gluing Sounds Together With Side-Chain Compressors.
A practical guide to using side-chaining with compressors. Add "glue" and
clarity, especially in low frequencies, or make it pump.
(Video 7d) Cool Rhythms With Side-Chain Gates.
Side-chain with gates is not as common as with compressors, but you can
create very cool and unique rhythmical effects. Let's break it down.
(Video 7e) Getting Ready To Write Melodies
Let's bounce (mix-down) a rough version of our song so we can listen outside
and also write our melodies over it without being distracted by too many
tracks and parts.
SECTION 8: WRITING A STRONG MELODY
GOAL:KNOW HOW TO WRITE A STRONG AND HOOKY MELODY
(Focus: Element #4 Melody)
Admin 11/3/21 5:03 PM
Comment [1]: 4/22/20
(Video 8a) INTRO: Writing A Strong Melody
What is the function of a Melody and how do we create one? Even if you
have written many songs before, knowing which notes sound resolved and
which create tension can give you new ideas in coming up with hooks and
themes.
(Video 8b) Simplify: Writing Over A Rough Mix
Setting up a new project to work on the melodies and vocals without
distraction.
(Video 8c) Melody: Where To Start? Admin 5/12/20 4:27 PM
Comment [2]: Edit 8b,c,d,e
Yes, you can write from your gut but there is power in understanding how
melodies are built. Let's break it down: Step#1: Building the Cornerstones of
a Melody. Understanding which notes are resolved.
(Video 8d) Adding Tension Notes
Correct but boring. Let’s add some color: Step#2: Fill in the gaps with passing
notes and suspensions.
(Video 8e) Creating Hooks With Rhythm
More colorful but still not hooky. To make it memorable we need: Step#3:
Adding rhythm to the melody.
(Video 8f) Extracting Rhythm From Lyrics Admin 5/13/20 11:10 AM
Comment [3]: Edit L8F
Here is an even better way to come up with natural-sounding melodies and
great hooks: Extract the rhythm of some lyrics to come up with the
rhythmical patterns for the melody or to fix melodies that don't flow well.
SECTION 9: THE VOCAL SCRATCH TRACK
GOAL: RECORDING A VOCAL SCRATCH TRACK TO TEST IF THE SONG
WORKS AND THE WRITING IS COMPLETE. LEARNING EFFICIENT VOCAL
EDITING TECHNIQUES. (Focus: Element #4 Melody)
(Video 9a) INTRO: The Purpose Of The Vocal Scratch Track?
The best way to find out if our song works is to create a scratch vocal track.
It's often a waste to spend too much time trying to get a stellar vocal
performance before we know if the basic shell of our house is holding up
(key, tempo, structure, overall vibe, etc.). It allows us to sit back and listen
to the song in context and see if anything in the music has to change before
we proceed.
(Video 9b) Recording A Lead Vocal Scratch Track
Let’s not overthink it and simply record some basic vocals starting with the
verse and Chorus.
(Video 9c) Coming Up With A Contrasting Bridge
For the bridge I wanted to show you a different, more intuitive approach…
(Video 9d) Efficiently Editing Vocals Admin 5/18/20 2:31 PM
Comment [4]: QT clean-up
Vocals can be complicated and messy but there are efficient editing
techniques that save you hours in the editing process. Here is how to clean
up vocals step by step and save different Song Alternatives.
(Video 9e) Editing Stacked Vocals
Editing and aligning layered vocals so they feel like one unit.
SECTION 10: VOCAL PRODUCTION
GOAL: DEFINING THE RIGHT VOCAL SOUND FOR OUR SONG & STYLE.
(Focus: Element #3 Timbre)
(Video 10a) Intro: The Art Of Vocal Production
What is the most effective vocal sound to connect to the listener? What tone
does your vocal need to create that personal, human connection?
(Video 10b) The Advantage Of Busses For Easy Mixing
One of the most effective techniques used in mixing is to use busses and
Track Stacks to save CPU power and make it sound more cohesive. This is a
good time to see how busses work.
(Video 10c) Basic Vocal Effects 1: EQ & DeEsser
A good (vocal) sound starts with the right frequencies. Every voice and
microphone is unique. Learn and apply EQ and DeEssers to treat your vocals.
.
(Video 10d) Basic Vocal Effects 2: Compressors
Compressors are a bit challenging to understand and hear at first. Here is
what they do, what they sound like, and a simple approach on how to use
them on single tracks and busses. Using Multipressors instead of
compressors and EQs.
(Video 10e) Vocal Tuning: How Much Is Right?
Vocal Tuning: some hate it, some love it. In the end, it's just a tool and you
can use it correctively or creatively. You decide. Here is how I use it in this
song.
(Video 10f) Let’s Make Some Space (Reverbs)
This is fun for me because adding effects is like adding those special spices
to your dish. This is where our song becomes 3-dimensional. Let's look at
how we can blend multiple reverbs to create real depth to our vocal sound.
(Video 10g) Fun With Delays
Did you ever shout across a canyon? So you know what an echo sounds like
but how can we use it creatively in combination or instead of reverbs? Let's
explore...
(Video 10h) 3 Styles Of Vocal Production
Let's compare 3 different vocal production styles from acoustic and personal
to more powerful and bright to electronic and out there. Same vocals,
different effect chains. What is yours like?
(Video 10i) Breakdown #1: Acoustic Version
A more intimate and closed sound.
(Video 10j) Breakdown #2: Alternative Version
A more polished and big sound.
(Video 10k) Breakdown #3: Electronic Version
Treating vocals as instruments: A combination of untreated and hyper-tuned
and vocoded sound to create new textures.
SECTION 11: MIXING
GOAL: CREATING A DYNAMIC AND EXCITING MIX
(Focus: Element #3 Timbre & #5 Dynamics)
(Video 11a) Intro: The Power Of The Mix
What is an effective mix in your style? Understanding the 4 areas we will
work on to create an exciting and professional sounding mix.
These areas are:
- #1 Balance of volume
- #2 Clarity of frequencies and dynamics
- #3 Depth (using all 3 dimensions)
- #4 And creating a dynamic ride with automation
(Video 11b) Mix Preparation #1: Creating Sub-mixes/Stems (Vocals)
Consolidating the vocals into sub-mixes allow us to easily transfer them to
other projects and also create alternate version or remixes.
(Video 11c) Mix Preparation #2: Importing And Aligning The Stems
Learn how to use the file browser to import files, sounds, and even plug-in
settings from any other projects.
(Video 11d) Mix Preparation #3: Setting Up Busses For Efficient Mixing
Understand the great benefit of using busses and Track Stacks to mix and
organize your song. Adjusting the bus levels to get a good volume without
clipping. Setting the best buffer size for recording vs. mixing.
(Video 11e) Mix Preparation #4: 3 Tricks To Speed Up Your Mixing
Discover some useful workflow tips that make life easier and save you time
in the long run: Color Bars and Screens Sets and reference tracks .
(Video 11f) The Bus-Mix: Creating A First Good Overall Mix
To tackle the major components of a basic mix before getting lost in the
details we’ll mix from the outside in by:
- #1 Balancing The Bus-Levels,
- #2 Creating Clarity (BUS EQ & Compression),
- #3 Adding Depth via the busses (Time-based FX)
(Video 11g) Finalizing The Arrangement
Listen like the audience and question if there is there anything that needs to
change before we get into the final mixing stages?
Objective #1 Testing the structure, (too long, too short, too repetitive?)
Objective #2 Checking the instrumentation: Do I have the right sounds? Is the
performance strong enough including the timing and pitch?
(Video 11h) The Detailed Mix 1: Creating A 3-Dimensional Mix
Listening to each group and comparing our mix to a tree with a stem and
branches, (e.g. lows and highs, left and right, front and back), we are finding
places where we can refine instruments and sounds by taking advantage of
the 3-dimensional space our music lives in. We can create more Depth with
EQ, Panning & Time-based FX.
(Video 11i) The Detailed Mix 2: Creating A Dynamic Mix With
Automation.
Being able to make music become alive by changing parameters in the mixer
over time like volume, frequencies, effects, etc.
Understanding automation via mouse or external controllers.
Examples Off-line Automation: #1: Corrective Volume Automation,
#2: Creative Volume and Pan Automation,
Examples On-line Automation: #1 EQ/Filter Automation in Latch Mode, #2
Bypass Automation, #3 Software Instruments & Controllers, #4
Output/Master Automation
(Video 11j) Finalizing The Mix
Being able to make our music come alive by changing parameters in the
mixer over time like volume, frequencies, effects, etc. is called
AUTOMATION. We will explore and apply it step-by-step:
Understanding automation via mouse or external controllers.
Examples Off-line Automation: #1: Corrective Volume Automation,
#2: Creative Volume and Pan Automation,
Examples On-line Automation: #1 EQ/Filter Automation in Latch Mode, #2
Bypass Automation, #3 Software Instruments & Controllers, #4
Output/Master Automation
SECTION 12: FINAL STEPS
GOAL: CREATING A RELEASABLE MASTER AND REFLECTION ON THE
JOURNEY
(Focus: Element #3 Timbre & #5 Dynamics)
(Video 12A) Intro: Finalizing Our Project
What’s the purpose of mastering music and the difference in the experience
for the listener? Understanding what can be adjusted and fixed in the
mastering process.
(Video 12B) Mastering 101
Understanding the tools and how we can improve our mixes/masters by:
#1 Setting up a mastering project & how to read the loudness meters
#2 Shaping The Frequencies
#3 Adding Glue (Compression)
#4 Adding Sparkle (Exciters, Saturation, etc.)
#5 Creating Power (Limiter)
(Video 12C) Rendering The Final Master
Learn how to output our master files and what formats to use. Getting the
importance of comparison to reference tracks and determining if issues need
to be fixed on the mix or master level.
(Video 12D) Comparison Study: 3rd Party Plug-Ins
What would it sound like with 3rd party instead of Logic's plug-ins? Is it
worth spending the money? For those who are ready to dive a little deeper, I
created a little comparison study. Can you hear the difference?
(Video 12E) Final Thoughts And Few Tips For The Road…
Did you make it this far? AMAZING! Maybe you just picked certain topics,
great as well.
I truly hope that I could inspire some new creative approaches and teach you
a few new skills and tools that will help you be able to express yourself
better. Maybe you didn't write the perfect song but I know you improved by
simply practicing your skills and trying new ideas. Be patient with yourself
because it's never finished and we can always improve. (:
I wanted to leave you with some thoughts that go beyond this course and
maybe writing music.
Thanks for taking the journey. I leave some links to keep learning and to stay
in touch.
I put my heart and 18 months of my time into this course. If you liked it I
would love it if you could leave a review and let me know if anything needs
clarification as well. Thanks!
All the best and no matter what:
Stay unapologetically creative!
Marc Dold
Credits/Thanks:
A very special thanks to Stephanie Yavelow (aka VAYY) for proof reading and test-
driving the project and Michelle Bartolo and Christian Neeser for the their editorial
feedback.
