When I was 15, I received a free copy of Acid Music Studio while skipping out on Third Eye Blind at an alternative music festival in Chicago. I spent weekends in the basement with my friends, arranging pre-made loops with delusions of being the next Chemical Brothers. For my 16th birthday, I convinced my grandmother to buy me a Roland MC-505, leading to hours spent with the Groovebox sequencing bass lines and tweaking filters. I continued writing music and djing through college, eventually teaming up with Morgan Hendry on a DJ show for USC’s college radio and sporadic live electronic performances. I had spotty motivation and no great talent at finishing. Generously, I would say that I spent a lot of time sketching.
Day 5 began with my second trip to Guitar Center of the week. I picked up a Focusrite Scarlett 8i6 usb audio interface and rushed home to record vocals. Setup was quick and easy, multiplying my regret at wasting most of the previous day trying to set up my outdated Mbox 2.
I closed the door on my bedroom and slightly embarrassedly began to record the vocal takes for “One of Us”. Listening to the recording, it is clear that I am out of practice, in my bedroom, singing quietly and completely lacking confidence. The results are not great, and will not be shared. But, I accomplished my goal of writing a song with lyrics, which is the important result. Even though I won’t share the output with you, I was still able to hit my sprint goal.
I attacked day 4 with a renewed energy that quickly evaporated in the angry heat of hardware issues. My momentum point from the previous train wreck of a day was writing the vocals, so began day 4 attempting to burn down the 3 hours estimated against recording a scratch vocal track.
My first attempt was to get a microphone working with the mic-in jack on my laptop, since this take was solely for arrangement purposes. I could get audio to record, but could not eliminate heavy bleeding from the output track into the recording. No matter how low I turned my headphone volume down, I could still hear the click track on the vocal take.
Day 3 was a disaster; completely unproductive, creatively bankrupt and frustrating. It is an inevitability of creative work. Despite the setbacks, the day underscored why using the scrum process to write music was a powerful idea.
On day 3, I watched tutorials and then left for a doctor appointment and visit to Guitar Center to pick up some audio gear. I had been making progress with only Ableton and my laptop so far, but I needed a midi keyboard and audio interface to fulfill the definition of done on my user stories. In a round trip that took 2.5 hours I did my errands, went to the store, settled on the Akai MPK25 but balked at the audio interface. The guy at the counter warned me my old Mbox 2 was not going to play nice with Ableton, but I was queasy about spending another $250 on an audio interface when I had an old, but expensive audio interface at home. I would soon regret not following his guidance.
I began the second day of my scrum experiment by watching more tutorials to learn the basics of Ableton. After watching enough videos that I felt comfortable feeling my way around the production environment, I began writing drums. I had not purchased a midi keyboard or audio interface yet, and drums were the best place to start with only a mouse and laptop keyboard for input.
Historically, drums had been my biggest weaknesses when writing music. During college, I relied entirely on my DJing partner, Morgan Hendry of Beware of Safety if I wanted a respectable drum part for anything I was working on.
I began the first day of my Scrum experiment by writing a one page work brief. The brief’s purpose is to set a clear intention and give a tool to measure quality of the end product. Writing a brief is a standard part of my game production process, but is an exercise I had never applied to music. The brief laid out a concept for the song I wanted to write, as well as an X Statement and a list of requirements. In retrospect, the act of setting a clear, measurable intention was critical. I never would have finished a song if I had not set out with a goal in mind.
I had recently listened to the Terry Gross interview of Trent Reznor, and was deeply inspired when he said “I’ve always tried to flirt with accessibility… I kind of like the idea of subversively working your way into people’s heads, and then you can say whatever you want.” As a result, the X Statement for the song, titled One of Us, was “NIN meets Avalanche (Photek) style dubstep”. I intended to “use pop-song writing formula to filter the ideas of alienation from mainstream society through heavy bass music.” You can read the full Work Brief here.