Ride The Dragon: The Process
by April 27, 2023I started my mapping out the ‘macro’ structures. This included the main themes and motifs, the sections of the tracks, drum parts, big picture ideas with the arrangements/orchestrartions and then transitions. I feel that mapping out the drum part is particularly integral to creating a foundational vibe. I build a lot of my ideas on this. It doesn’t necessarily have to be a complete or full picture; just something I can vibe to. I entrust the final parts to whatever Doron Lev will play when we do it live in the studio. (In fact, whenever I demo my drums, I imagine something that Doron would play. Of course, it goes levels up once he gets behind the kit).
How it started
Once the macro features are setup, I go in and flesh out intricate details on the micro levels. This usually means exploring instrumental textures, orchestration details, dynamics, production and FX. I love to explore combining different instruments, whether those be acoustic based or a combination of synth and acoustic.
I experiment, iterate, and refine ideas. This process can take hours, sometimes days or weeks. This is because I need space away from the track to listen to where it wants to go, to ascertain what it needs. Sometimes the first idea I create just gets the motor started. I use placeholders ALL THE TIME! I’ll know that I want the woodwinds to be active in one section, but its not clear yet how many parts or what the strings will also be doing at that time. Or, I’ll randomly improvise a bunch of ideas, some of which stay with me, I keep hearing in my head over and over away from the studio. Those usually become part of the fabric in some way.
In figuring out where to go next, I always leave some space and let the music ‘tell me’ what needs to happen. Even if those ideas eventually get substituted, replaced, evolve or cut (as per the above). I’m never afraid to abandon a part, idea or section. Everything has to be in service of the track. If the track is stronger without it, its cut. Doesn’t matter how much time I’ve spent on it.
Space is crucial. So is balance. I always write with players in mind, but I also leave room for them to express themselves. This speaks to the live element that is central to this music. I want these individual voices to feel like they’re driving the ship with freedom to be spontaneous. This brings an element of surprise which, for me, opens a realm of possibilities that can elevate the track in ways I had not heard before. Creativity compounds, we become a collective life force of bouncing ideas of each other.
My writing process is certainly not linear. I do most of my writing away from the studio. While sleeping, slowly waking up in a half-daze; or taking a walk or cooking. Activities that are far removed from the actual place where I record. I like to setup moments that have pay-offs (i.e. questions and answers) later in the track. I love to plant little ear-candy, feel-good hooks. I love to create melodic interplay between 2 or more voices (i.e. ‘call and response’, with secondary melodies that serve as an undercurrent to drive the narrative.
My process organically bends genres, often melding rich jazz harmonies and lines with orchestral textures, electronica elements and lo-fi inspired beats. Ride The Dragon was the first foray into this world. Harmonizing futuristic synthesizers with a 4 piece horn section, flute, rhythm section and 21 piece string orchestra.
This track is about unleashing the inner dragon in all of us. Daring to take risks in pursuit of your dreams, especially when the path is unchartered and there are no guarantees of success. My overall intention is for this music to resonate across the full spectrum of emotions, a reflection of my view that life is multifaceted with layers of beauty and complexity.
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