„Break the rules!“
Paul Marx‘s YouTube videos are, without question, among the best and most entertaining German-language tutorials on music production, recording and songwriting. In an interview with Beat, the likeable producer, YouTuber and author gives inspiring tips on how to develop rousing songs from ideas and how to increase productivity when composing.
Beat / Do you have any specific tips on how to start writing a song?
Paul / Whether you start with the lyrics or the music, both starting points can lead to great songs in the same way. In my experience, the component you start with gives you the most creative freedom. For example, you can create a memorable, unique lyric rhythm or vocal melody from a supporting line of lyrics that will later make the song distinctive. The composition can then be based on these guidelines. Each subsequent decision arises as a consequence of this first component. Conversely, lyrics written on existing music can also be guided by many things: Time signature, tempo, mood, arrangement, key, and so on. This often puts the component that comes first in the foreground. For me, the most exciting songs come about when the first idea has a unique selling point that doesn‘t make the song sound like „heard it before.“Whether that‘s a crazy drum break, a listening sample, an unexpected rhythm in the bassline, or a strong, emotive lyric line. My most important tip: Break the rules! And preferably, right at the beginning.
Beat / How can songs be created specifically from ideas?
Paul / I divide musical ideas into the three basic components of rhythm, harmony and melody. The first track in a new project provides orientation for at least one of these components. And it also sets the tempo, time signature, and often the key. Which of these components I start with is not so important. But that the first tracks are oriented to each other and share common rhythmic emphases is essential. When instrumental tracks have been created for all three basic components, then the idea is perhaps 80% complete. The rest of the work on the song is more technical from my point of view.
In my YouTube series „A Beat from...“the beats were created very quickly. After recording some everyday objects, I sort the samples. The first track is then often created with the sample that stands out the most. I look for ideas that give the sample a supporting role in the beat. It should stand out, but not interfere. If it‘s a percussive sample, I usually start with the drums. Otherwise, I often find the harmonies first. The sound plays an important role here. What mood do I associate with the sample? Does it give me information about the size of the room it sounds in? Is there a tempo component that I can tie into? This influences the idea generation process very strongly.
Beat / When you collect song ideas, they usually turn into short loops. How can you develop complete songs from these fragments?
Paul / Loops of two, four or eight bars can be used to develop entire songs without becoming musically boring. For me, the basic idea in arranging is to find a middle ground between components that I take with me unchanged into the next parts and components that I change. There are numerous possibilities for the changes: I can take away instruments and add others. I can vary the notes within the loop - move them by a certain interval, thin them out, or fill them up further. I can have additional instruments play along with existing notes, layering sounds. I can take the melody, but re-harmonize it or change drum sounds and add interesting breaks. There are no limits to creativity. From my point of view, it‘s important not to vary too much. Many pop songs use few musical elements, but put a lot of focus on sound design and mix. Then, small variations in the arrangement also have a much greater effect.
Beat / In general, how can you increase productivity when composing music and writing lyrics?
Paul / Through routines. Make it your daily habit to write music and/or lyrics. Depending on your capacity, this can be 15 minutes a day or two hours. Besides productivity, these routines have many other good effects: In my experience, writer‘s block occurs when the expectation of what will be created is particularly high. This pressure is poison for creative work. Of course, the paper then often remains empty. It‘s different with daily writing then it‘s not so important that something special is created exactly today, since you‘ll be writing again tomorrow. And the day after tomorrow. On some days, the results will be worse; on others, better. At the same time, routines give you more time for creative work and allow you to work on your skills much more regularly - and practice makes perfect!
Beat / Can you give our readers some workflow tips for fast and focused work?
Paul / In the production itself, I like to set myself time limits. If a countdown of 30 minutes is running down and I want to finish my beat sketch within that time, it makes a lot of things easier. That might sound like pressure or stress at first - but in practice it feels like the opposite to me: I don‘t spend a lot of time trying to find the perfect snare sound or get the piano‘s grace note to the exact right length - I‘ll have plenty of time for that later when I‘m producing. This keeps the focus on the important decisions for the song.