When An Arrangement Isn’t Working (and What to Do About It)
Some of the culprits that can derail a production— including wrong tempo, key, or instrumentation—and how to address them in real time
You can hear the finished work in your head, and yet weeks go by and your song-in-progress just isn’t happening—one day it seems too fast, the next day it’s too slow, or the bass part is too busy, the guitars are too shrill, and so on. Rather than waiting for the arrangement to miraculously fix itself, there are times when it makes more sense to try an alternate approach. Here we consider some of the culprits that can prolong the production process—including problems with tempo, key, instrumentation, as well as the mix itself—and how to effect changes in order to get the ball rolling again.
Time for a key change. Having trouble hitting all them high notes? It’s not a good sign when you can’t comfortably sing your own song—therefore, ensuring you’re in the correct key should be priority one. This can sometimes be a little tricky, particularly if the melody has a lot of range—for instance, you might be in a lower register during the verses, then have to jump an octave for the chorus. If you’re at a digital keyboard, you can easily manipulate the pitch up or down to accommodate (rather than changing the actual chords); on a guitar you could simply use a capo to adjust the key upward or, conversely, de-tune a half or full step, which not only lowers the key but also gives the instrument a different texture (since there’s less tension on the strings).
Dynamics matter. All the parts have been recorded to perfection, and yet the whole thing still feels flaccid. What gives? Bear in mind that some of the most compelling records out there have a certain “vibe” that is often so subtle it can take innumerable listens before you put your finger on it. It could be the sound of a tambourine as the chorus begins; perhaps it’s that extra layer of guitar, organ or synth that slowly emerges midway through the second verse. Or maybe the engineer just raised the master volume on the coda for that extra push over the cliff. The point is that altering the sound by switching up the instrumentation or building the volume at specific intervals makes for a much richer, dynamic listening experience—that classic “tension and release” feeling that has powered innumerable hit songs, whether you realize it or not.
Move around. One common problem is that it takes too long for the song’s “punchline” to arrive. Let’s say you’ve got a good chorus waiting, but first the listener needs to wade through a lengthy intro followed by two full verses. By the time the hook rolls around, your audience could be long gone. Accordingly, there are times when a little re-structuring can go a long way. Using your sound editor, try removing an extra verse, tighten the intro, or even copy a piece of the chorus to tease right at the top of the song. The point being, don’t leave the tastiest bits for later—announce your presence with authority!
Give it space. A splash of reverb can add some extra dimension to an otherwise arid recording, but it can also turn the whole thing into a big wet mess if you’re not careful. Never apply a single layer of effect to the entire work; instead, use the channel effect-send controls to tailor the amount of reverb going to each track—say, less effect or none at all on bass or bass drum, more for voices, horns or strings. Also be sure to add some “pre-delay” (i.e. a millisecond gap between the dry and wet signals) at the top of the chain, which keeps the echo slightly “behind” the track, thereby ensuring sufficient clarity.
Other thoughts. It may seem inane, but have you ever tried just flipping the stereo channels when a particular mix isn’t working? The problem with spending excess time on a stalled arrangement is that you’re continually listening to the same parts in the same place, over and over again. Though it may not be the game-changer, sometimes swapping L for R (or simply reversing your headphones) is enough to trick your brain into hearing a way out of the current quagmire. And on a related note, don’t forget to experiment with your pan positions, as even a few minor adjustments one or way or the other can sometimes dramatically improve the overall sound.
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