Now, it's not as easy to practice how to finish tracks as it is to start tracks. So, sometimes it helps to remember that what you do consistently is what makes a difference. You have to however make tracks, not loops, if you want to be known as a music producer. So, when your habit is to make 8 or 16-bar loops you can call yourself a loop-maker. Habits, on the other hand, can make a real difference in the results you get with your music production in the long run. Tips, tricks and tactics only go so far and often don't have a lasting impact. Now, it may not be possible to completely avoid hearing your track a lot as you produce but this way you can at least keep the amount of listens to a minimum and thereby keep the whole thing a lot fresher to your ears. You want to rather zoom in to a small section you need to work on, work fast to make the moves you need to make to get the job done and then move on to the next section the moment you've done the task you set out to do. The way to negate this inevitable boredom with your loop or track is to restrict the amount of times you listen to it as you're working on it. So, while you may think it's kind of boring even just after the 50th time you've heard it, other people won't have that problem because they'll probably never even come close to hearing the track that many times. Nobody will ever listen to your track as many times as you do when you produce your track. The reason this is so important is because the more you listen to your loop or track the higher the chances you'll get tired of the track and start to believe it's really not that good. One of the suggestions I give to students in my Studio Flow producer workflow course is to make many moves but restrict the amount of times you listen to your loop or track. This second method can be visualized like this:
Loop production music full#
Create your full track structure and develop your breakdowns/verses, mid-eight section and intro and outro.Create a loop by adding parts until you have a loop, usually your final drop or chorus works best.A melody, a riff, a chord progression, a drum loop, a bass line. You do this first with variations of your loop and then move on to a full track structure as soon as possible to not get stuck. You create a loop but move on to your horizontal track structure as soon as possible. In the second case you start to work vertically. You then start to work vertically section by section until you've written your full track. So, instead of stacking your instruments and sounds one on top of the other to create a loop you first create the horizontal or left-to-right framework. In the first case you simply have to start to work horizontally instead of vertically. Create variations of your loop and then move on to your track structure.There are 2 ways to achieve this easily without getting stuck in a loop: So, just how do you make tracks not loops? This means you must escape the loop, break the cycle and move beyond the limits that hold you back in an infinite regress of 8 bars. Now, while your loop can form the basis of your full track, it's necessary to go beyond the loop and create a full track structure if you want to produce music people want to listen to. You have to start a track somewhere and a loop is more than just a seed idea. In fact, loops are the basic building blocks of beats and electronic music. Look, we here at don't discriminate against loops. Revealed: How to Make Tracks and Not Just Loops
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