00:30: the drums feel like they could do a bit more. I like the sort of stop-&-go lopsided feel that you started here & think you should embrace that further. the reverse snare adds a lot, but the timing of the drums is still a bit too standard & looping to hold my interest for more than a few bars. some variation & some bareness could go a long way here (that sounds interesting, how would you go about that?).


This is a small thing that goes a long way, but since every section contains a 2 or 4 bar loop of drums, that repetition becomes obvious & stale. A real drummer rarely sounds like a session view clip on endless repeat, so you should consider making changes. These can either be dramatic or subtle, but either way splitting off a bar or two or four from the the loop will let you make unique adjustments that won't appear elsewhere in that section.

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In this case, the big change I made was taking out the downbeat on the third bar of the second repeat of the loop. Something like this ought to catch the listener's attention & let the instruments shine through in a new way.

I know you know about this, but make a point to go back through your projects & split your clips - the drum clips especially - & try making adjustments. It can be as simple as changing velocity or nudging a kick or hat a little off the grid. Whatever you do, think of your full-section loops as a starting point for those instruments, not the final performance (unless absolutely deliberate).


or take the opposite approach & find some inspiration in the drums I gave you - think theres some stuff to work off of in those short sections. don't be afraid to mic up your sounds in a beat as well (not exactly sure what is meant here, can you clarify?).


Sorry, that wasn't well said. Basically what I meant was - grab a mic, throw in some drums or drum-like sounds, & layer them in with your electronic loops. This is just another way to liven up a "stale" loop that grows boring after hearing the same thing over & over & also makes the sounds more interesting by layering new sounds with them. Even if you're not confident in your drumming skill (or table hitting or kitchen pan whacking), quantization is always an option!

In this case, I tried an existing drum loop I had to demonstrate some of these principles. Once you put in the new audio drum loop, you're not going to want to just leave it there - doing so will put you in the same reputation-syndrome situation you started in & transform the overall sound of your drums too dramatically. So again, think of this as a starting point & then liberally chop the audio up & "tuck" it into your midi drums except to make small subtle fills.


The brushed drum sound is probably not what you're going for, but you can see the approach you can apply to any sound. Especially if you record & process it yourself, you'll be able to add some interesting & varied textures using this technique.


once you've chosen a great kick (as you have) don't feel like it's the only kick you can use in the whole song. definitely look into making the sounds more varied & dynamic, esp in terms of velocity



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01:30: another thought on the drums, the kick is so big all the time it ironically falls a bit flat after awhile. "bigness" is a function of dynamics & there isn't enough not-kick for me to appreciate what that kick is doing. I'd find more ways to pull it out, change the sound, & add modulation so it doesn't feel so static (care to show some of that?).

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02:05: great addition, perfect blend of sound & melody, but another case of too-much-of-a-good thing! the best ice cream isn't your 500th bite of the day, it's your first after a year without. give me time to miss it before giving it back to me & find some variation you can make in this area (would love to hear what you would actually do here as well).


The synth riff is so cool & adds something good but it happens too often to be an effective fill. It calls too much attention to itself & stops propelling the track forward; I need to miss it. Honestly removing every other instance is enough to keep it interesting, but maybe you can add a new variation on the riff at the far end of the section.

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02:20: the guitar is a great part but it's too buried under everything to really hear it! I found muting 'synth 1' here offered a lovely new section & feel & it's something you could look into since we've been listening to that loop through the whole track (Okay, but not much time remains in the song, so would you bring it back at all, and if so, when?).


I still think this is most effective as an outro, the energy changes in a really pleasing way by adding the ebow. If you want to have a rousing finale, you can add back in all the elements in the last 4 bars or add additional time if you want this to ride out longer.

Whatever the case, I think it's important to take some of the layers away to give yourself more headroom. Just adding a new sound only marginally increases the energy - some type of breakdown will be useful to "reset" the listener's equilibrium.

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you can download the project file with these example changes here: https://www.dropbox.com/s/axl28q58d5k0ft4/Lost%20Touch%20pATCHES.....%20Project.zip?dl=0