legacy hire (lsdj)
By offbrand on February 25, 2024 11:52 pm
yknow, some of have to work for our jobs
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CC Attribution Share Alike (BY-SA)
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WeeklyBeats.com / Music / offbrand's music / legacy hire (lsdj)
yknow, some of have to work for our jobs
Audio works licensed by author under:
CC Attribution Share Alike (BY-SA)
Man. How'd you learn to write those engaging tracker style melodies? Every time I've tried to take up a tracker I flop around like a fish outta water.
Mad good sounds.
Man. How'd you learn to write those engaging tracker style melodies? Every time I've tried to take up a tracker I flop around like a fish outta water.
Mad good sounds.
thanks man! part of it is just practice. i picked up LSDJ in 2011, but even the stuff i wrote in 2018, right before i switched to ableton, wasn't super melody-driven. with ableton (and especially weeklybeats '22) i got more comfortable with writing melodies instead of just "cool chords bro", and learned a lot more about utilizing the entire frequency space. so the best axiom that i tend to follow to get that busy, tracker-type feel is:
if you've got two channels operating in different frequency ranges, you can write two completely separate countermelodies as long as they're pretty consonant with the current chord. if they're closer than an octave apart, you tend to want to have them be direct harmonies of one another. and it's this back and forth call and response between countermelody and harmony that really elevates a piece of tracker-based music imo
thanks man! part of it is just practice. i picked up LSDJ in 2011, but even the stuff i wrote in 2018, right before i switched to ableton, wasn't super melody-driven. with ableton (and especially weeklybeats '22) i got more comfortable with writing melodies instead of just "cool chords bro", and learned a lot more about utilizing the entire frequency space. so the best axiom that i tend to follow to get that busy, tracker-type feel is:
if you've got two channels operating in different frequency ranges, you can write two completely separate countermelodies as long as they're pretty consonant with the current chord. if they're closer than an octave apart, you tend to want to have them be direct harmonies of one another. and it's this back and forth call and response between countermelody and harmony that really elevates a piece of tracker-based music imo
Oho! An interesting production tip indeed. I might need to try writing some chiptune one of these weeks. 👀
Thanks!