Arrangement Techniques

[banana brains]

Anybody care to share their experience with arrangement? I have a little project going on here at the house. Just me. I tracked acoustic guitar and vocals to 11 songs. Tascam 424Mkiii. I used one sm58 to track acoustic and vocals simultaneously.

My goal was to have each song stand up on its own even if I added nothing else. It took me about two months to get the songs where I wanted them from a song structure perspective, tempos, lyrics, and performance. Also getting a decent recording--levels, balance between the guitar and vocals, mic choice, etc. That's in the bag for the most part. Relief!

Now I want to add a few extra parts. This is where I struggle because I have never played in a band, I don't write and practice with a band. So the songs are wide open.

I have a few rules I'm sticking to for this project. I'm only using dynamic mics (I have a 58, 57, sm7b, and an m201 to work with. I'm also not going to do any bouncing. So I've got three tracks left for each song. Last rule, I'm going to use as few overdubs as possible. I just want to add a touch of ear candy here and there. The core of the project is done.

Does anybody have any arrangement methods that you go by? Just pick some instruments you like and get creative?

Thanks!

[syrupcore]

Not to put you off but I'm not sure anyone can answer your question (or answer it well anyway) without hearing the songs.

Maybe try listening through your songs and consider what would help to get your point across, what needs to be accented or beefed up. Or post some of your recordings here.

[Nick Sevilla]

It all depends on the song.

But it is good to read you worked out the initial hardest part,
which is to get the song written out properly before adding
anything to it. THAT is worth a lot.

If you care to send a song over I can tinker a bit, and tell you about what I chose and why for your song. Maybe that will clue you in as to how to flesh out an arrangement.

Cheers

[Snarl 12/8]

When I used to be capable of recording my own songs by myself, I would try to make them sound like they did in my head. I got so that I could play drums "along with" the guitar, bass, vox, etc., that I was imagining. And then add the next part to the drums and whatever else that I'd imagine. I got pretty good at getting on "tape" what I was imagining. That ability is gone now, but that's how I'd do it. Only you can decide what's "missing." Please consider that maybe nothing is missing. The real "artistic" answer (not that I really believe most music is or should be art) probably, most people would say, should be decided by the song and genre/style. If it's rock, gotta add drums, electric guitar, bass. Folk - flute, tambo, etc. Jazz-upright bass, sax. Not to be too stereotypical. (mostly kidding with that last sentence or two.)

Last thing I'll say. I've come to believe that music is more of a social construct than an artistic one. (See first sentence.) That is to say, it should be more about people grooving beautifully together than about creating beautiful (or otherwise) "art." In that light, maybe it's time to open up your process to people you respect or just like. Find the best people you can who's work you admire and ask them to add a track here and there. It might be really rewarding.

[vvv]

The secret, as always, is to use a green shaker egg.

But do send a track to Nick!

[standup]

The best arrangements have one focal point at a time. You may know this already. But the vocal is probably the most important thing most of the time. Where there are breaks between verses or something, that's a good spot for another instrumental part or fill.

Do these songs need percussion? Bass? That's 2 tracks. Leaving one track for fills and focal points where needed. Be inventive. A bass type part could come from any instrument lower than the vocal. Percussion can come from many objects.

Maybe think about not playing any part all the way through the song, but only play where it's really needed.

You may already know all if this. I'm not always good at keeping these points in mind.

[drumsound]

I can only say when I hear the song. Usually I can have an idea in my head based on what is presented to me. Sometimes the idea is "leave it alone."

[banana brains]

Hey thanks all, truly appreciate the wisdom and experience. The responses are kind of what I thought. I just didn't know if there were some tried and true methods or philosophies for arranging like keep the beginning sparse, and then cumulatively add a little something extra through each section of the song....type stuff.

I'm thinking of adding some hand percussion--tambo or shaker/maracas, harmony or double vocals, and acoustic or electric lead.

I'm embarrassed to say I don't really know many musicians, at least ones that don't charge for their services, which I would perhaps love to use, and may for some ideas (slide electric / pedal steel, keyboard noises, piano, standup bass), but I'm pretty low budget and that stuff adds up so fast.

I'll have to transfer them over to digital so I can post a few tunes and get your opinions and suggestions.

Nick, I appreciate your willingness to give a song or two a listen and offer some advice. If the offer still stands I'll hit you up as soon as I transfer them out of the 1980s and into the present

Cheers Folks!

[Nick Sevilla]

Nick, I appreciate your willingness to give a song or two a listen and offer some advice. If the offer still stands I'll hit you up as soon as I transfer them out of the 1980s and into the present

Cheers Folks!

Cheers, anytime I can, I help.

[aquaman5k]

First off, you've got a great start if you're happy with the vocal/guitar performances/recordings. Not that I know much, but I learned so much from the process of trying to sing and play into once mic and have it sound good.

Without knowing more about, or uhh, actually hearing the music it is difficult to offer suggestions.

What are you trying to accomplish with this recording? Since you are doing it on a 4-track (nothing wrong with that), I imagine you don't have great commercial expectations (also nothing wrong with that). Do you hear what you want to hear? Is there an intended audience beyond yourself? Are you trying to sound nice within the norms of an existing genre, or do you want to ear-fuck (for better or worse) anyone who stumbles upon your music?

If you are feeling stuck after fiddling with a song for too long, take a break. Listen to your favorite record that sounds remotely like it. With your ears in arranger/recordist mode, you will probably hear things you missed before in the mix. Take whatever odd ideas strike you from your genre chestnut, and emulate it, take that aspect to the extreme. It may end up being wrong for the song or otherwise sucking, but it will hopefully at the same time tell you what the song DOES need. Worst case scenario, you still have a solid singer/songwriter recording to fall back on.

[banana brains]

What are you trying to accomplish with this recording

This is the million dollar question. Sometimes I do ask myself "wtf am i doing this for" I think I get a rise out of the process of creating it and then having me and at least one other person think its valuable, good, cool, etc. Other than that, I have no idea.

Since you are doing it on a 4-track (nothing wrong with that), I imagine you don't have great commercial expectations (also nothing wrong with that).

No serious commercial expectations. I might put it up on the internet, bandcamp or something. I'm pretty sure my mom will buy a copy.

Do you hear what you want to hear? Is there an intended audience beyond yourself? Are you trying to sound nice within the norms of an existing genre, or do you want to ear-fuck (for better or worse) anyone who stumbles upon your music?

No genre that I can think of, maybe indie folk, junk pop, or something, which you know is really no genre at all as far as I can tell. I envy the folks who clearly fit in a particular genre. It seems like it would be a little easier. Maybe not though.

These are all really good questions and I've asked myself the same before. Its good to ask myself again. Best thing I do is remind myself that it doesn't really matter a whole hell of a lot. My future is not riding on it at all. Its just a recording, right? Right.

[Etienne P]

First of all, with these rules you have to obey, it's sounds really interesting!

What I would do with this kind of project?

I would go with a big vocal/guitar main tracks surrounded by subtle countermelodies and harmonies. The one that never distract you from the main performance, but is acting in the background. First, I would think more in terms of "colors" (instead of instruments) and also depth-of-field. You can add an element that bring some sparkles and another one, more damped, darker. Just an example. Didn't heard your songs (but I'm curious!), but my intuition (in this kind of production context) tells me that you should not add drums at all. But it's just me.

I'll be glad to have a listen to your project too!

[GooberNumber9]

For me it's an extension of the writing process, because when I have the chords down for a song, I experiment with different ways to play them (inversions, arpeggios, voicings, etc.). When it comes time to add to an arrangement, I will often take some of the other ideas that I didn't use for the main parts and put them back in.

Another thing to think about is any parts of the song you want to emphasize, even if it's just a single note, you can add additional parts to that part. A lot of songs build up (sometimes this is cheesy but many times it works) and a good way to build up the impact of the song is for extra instruments or tracks to come in as the song progresses.

I will admit, I have shamelessly stolen arrangement ideas from all of my favorite artists. For instance, there is an Alanis Morrisette song ("So Unsexy") where the entire bass line is pretty much just one note, played with rhythm and a few embellishments. Then you have Cake where they throw the main guitar part back and forth among several different guitar sounds and players, along with lots of other instruments and auxilliary percussion.

[banana brains]

First of all, with these rules you have to obey, it's sounds really interesting!

What I would do with this kind of project?

I would go with a big vocal/guitar main tracks surrounded by subtle countermelodies and harmonies. The one that never distract you from the main performance, but is acting in the background. First, I would think more in terms of "colors" (instead of instruments) and also depth-of-field. You can add an element that bring some sparkles and another one, more damped, darker. Just an example. Didn't heard your songs (but I'm curious!), but my intuition (in this kind of production context) tells me that you should not add drums at all. But it's just me.

I'll be glad to have a listen to your project too!

Thanks! this is great advice. I really like the idea of thinking in terms of colors. By depth of field do you mean wet sounds and dry sounds? I've heard the term, but never really sure what it means or how to manipulate it.

I'm going to post the original takes (vocals and acoustic guitar) in a couple of weeks. I'm taking them to a friends studio to transfer over to digital. I want to preserve the current tracks before overdubbing bleed all over what is already recorded. With the narrow format I'm afraid what ever I overdub is going to bleed onto my original tracks and then I won't be able to go back. No sure if this is a realistic fear or not?

[Etienne P]

My pleasure, if it helps.

By depth-of-field, you're almost correct. It is the contrast between what's in front and what's in the back. This contrast will create depth in your arrangement. So, yes, we can speak of wet and dry, but also bright vs dark. (one thing you might consider in your arrangement) and micing close vs further (for a more roomy sound).

As for your fear, I can't tell with your machine. But even if there is some bleed, most of the times, regarding the sound, it may help. But it depends on what you want.

when you're ready, it will be a plaesure to hear your tracks here.