close deal

Our Price: $9.99

Sale: $4.98 (50% off)

See this Deal


Deltalab DMT1 Digi Metronome

product image

Remaining Quantity: 951

see this deal

*Additional discounts do not apply

Price valid on in stock items only.

(800) 348-5003
Call Our Product Specialists: (800) 348-5003
CartView Cart
  • Accessories
    • Woodwind Accessories
      Ligatures and Mouthpiece Caps
      Straps and Supports
      Instrument Stands
      Cases and Gig Bags
    • Brass Accessories
      Instrument Stands
      Replacement Parts
      Valve, Rotor and Slide Oil
      Cases and Gig Bags
    • Music Stands
    • Orchestral String Accessories
      Instrument Stands
      Bows & Rosin
      Instrument Pickups
    • Care and Cleaning
      General Care
      Woodwind Care
      Brass Care
      Orchestral String Care
      Drum Care
      Guitar Care
    • Marching Band
      Batons and Maces
      Color Guard
      Field Accessories
      Lyres and Flip Folders
      Podiums and Transport
    • Practice and Performance Aids
      Tuners and Metronomes
      Phrase Samplers
      Vocal Accessories
      Hand and Finger Exercisers
      Tone Enhancers and Practice Aids
      Carts and Stage Accessories
    • Lifestyle
      Caps and Headwear
      Home Furnishings
      Shoes and Footwear
      Jewelry and Watches
      Lifestyle Accessories
  • Woodwinds
    • Saxophones
      Alto Saxophones
      Tenor Saxophones
      Soprano Saxophones
      Baritone and Bass Saxophones
      Saxophone Necks
      Saxophone Reeds
      Saxophone Mouthpieces
    • Flutes and Piccolos
      Alto Flutes
      Bass Flutes
      Flute Head Joints
    • Clarinets
      Bb Clarinets
      A Clarinets
      Eb Clarinets
      Bass Clarinets
      Harmony Clarinets
      Clarinet Barrels
      Clarinet Reeds
      Clarinet Mouthpieces
    • Double Reed Instruments
      English Horns
      Bassoon Bocals
      Oboe and Bassoon Reeds
    • Woodwind Accessories
      Ligatures and Mouthpiece Caps
      Instrument Stands
      Cases and Gig Bags
      Care and Cleaning
    • Recorders
  • Brass
    • Trumpets
      Bb Trumpets
      C Trumpets
      Eb / D Trumpets
      F / G Trumpets
      Piccolo Trumpets
      Bass Trumpets
      Pocket Trumpets
      Herald Trumpets
    • Cornets
      Bb Cornets
      C Cornets
      Eb Cornets
    • Flugelhorns
      Professional Flugelhorns
      Intermediate Flugelhorns
      Student Flugelhorns
    • French Horns
      Double Horns
      Single French Horns
      Triple Horns
      Descant French Horns
    • Trombones
      Tenor Trombones
      Bass Trombones
      Alto Trombones
      Valve Trombones
      Soprano Trombones
    • Baritone Horns
      Alto and Tenor Horns
      Concert Baritones
    • Euphoniums
      Professional Euphonium
      Intermediate Euphonium
      Student Euphonium
    • Tubas
      Bb Tubas
      C Tubas
      Eb Tubas
      F Tubas
    • Marching Brass
      Marching Bb Trumpets
      Marching French Horns
      Marching Baritones
      Marching Euphoniums
      Marching Tubas
    • Bugles
    • Brass Accessories
      Mouthpiece Accessories
      Instrument Stands
      Replacement Parts
      Cases and Gig Bags
      Care and Cleaning
  • Orchestral
    • Violins
    • Violas
    • Cellos
    • Double Bass
    • Harps
    • Orchestral String Accessories
      Bows and Rosin
      Instrument Stands
      Bowed Instrument Pickups
      Shoulder Rests, Pads & Parts
  • Sheet Music,
    Books & More
    • Browse by Instrument
      Flute & Piccolo
      Oboe & Bassoon
      French Horn
      Euphonium & Tuba
    • String Instrument Books
      Double Bass
    • Concert Band Music
    • Jazz Band Music
    • Piano/Keyboard Books
    • Vocal Books
    • Real & Fake Books
    • Tablature
  • Classroom &
    • Recorders
    • Orff Instruments
      Instrument Bars
      Orff Mallets
    • Classroom Rhythm Instruments
      Kids Hand Drums
      Classroom Percussion Sets
      Shakers and Rattles
      Claves and Blocks
      Kids Tambourines and Cymbals
    • World Percussion
      Hand Percussion
      Steel Drums
    • Boomwhackers
    • Tuned Bells
    • Classroom Furniture
      Music Storage
      Rolling Carts and Instrument Storage
      Music Stands
    • Elementary Music Books
      Music and Movement
      World and Folk Music
      General Music
      Shows and Musicals
      Music Theory
      Teaching Aids
    • Kazoos
  • Percussion
    • Concert Drums
      Concert Snare Drums
      Concert Toms
      Concert Bass Drums
      Drop Covers & Cases
      Concert Sticks / Mallets
    • Mallet Percussion
      Bells & Glockenspiels
      Drop Covers & Cases
      Keyboard Mallets
    • Marching Percussion
      Marching Snare Drums
      Marching Tenors
      Marching Bass Drums
      Marching Sticks
      Cases & Covers
      Parts & Hardware
    • World Percussion
      Congas & Hand Drums
      Hand-Held Percussion
      Effect Percussion
      Brazillian & Samba
      Steel Drums
    • Auxiliary Percussion
      Concert Blocks
    • Concert Cymbals & Gongs
      Crash Cymbal Pairs
      Suspended Cymbals
      Marching Cymbals
      Gongs & Crotales
    • Sticks & Mallets
      Marching Snare Sticks
      Tenor Mallets
      Bass Drum Mallets
      Concert Sticks
      Concert Keyboard Mallets
      Timpani Mallets
      Sticks & Mallet Bags
    • Drum Heads
      Timpani Heads
      Snare Drum Heads
      Concert Bass Drum Heads
      Marching Drum Heads
      All Drum Heads
    • Practice Pads
    • Student Snare / Bell Kits
  • Drums
    • Acoustic Drums
      Complete Sets
      Shell Packs
      Snare Drums
      Drum Cases & Bags
    • Electronic Drums
      Complete Sets
      Electronic Drum Pads
      Acoustic Drum Triggers
      Sound Modules
      Drum Marchines
    • Cymbals
      Cymbal Packs
      China & Effect
      Cymbal Cases & Bags
    • Drum Heads
    • Hardware
      Cymbal Stands
      Snare Stands
      Hardware Cases & Bags
    • Accessories & Parts
      Drum Shields
      Drum Cases
      Racks & Clamps
      Impact Badges & Dampening
      Drum Keys & Tuning Tools
      Care & Cleaning
    • Sticks & Brushes
  • Pro Audio
    • Microphones & Wireless
      Wireless Systems
      Live Microphones
      Recording Microphones
      Microphone Stands
      Microphone Cables
      Microphone Accessories
    • Live Sound
      Live Sound Packages
      PA Cabinets
      Power Amplifiers
      Signal Processors
      Stage Supplies
      Mixer Cases and Bags
      Power Essentials
    • Recording
      Recording Packages
      Studio Monitors
      Audio Recorders
      Studio Furniture
      Acoustical Treatment
    • Software
      Notation Software
      DAW Software
      Sound Libraries and Loops
      Marching and Drill Design
    • Computers
    • iOS Devices
    • Headphones
    • DJ Gear
      DJ Cases
      DJ Controllers
      DJ Packages
    • Lighting and Stage Effects
    • Karaoke
  • Guitars
    • Guitars
      Electric Guitars
      Acoustic Guitars
      Classical & Nylon Guitars
      Guitar Value Packages
    • Bass
      Electric Bass Guitars
      Electric-Acoustic Bass Guitars
      Electric Upright Basses
      Double Basses
    • Amplifiers & Effects
      Guitar Amplifiers
      Bass Amplifiers
      Multi Effects
      Guitar Effects
      Bass Effects
      Loop Effects
    • Guitar Accessories
      Cases & Gig Bags
      Pickups & Parts
      Guitar Stands & Hangers
    • Folk Instruments
      Pedal & Lap Steels
      Latin Strings
  • Keyboards
    • Digital Pianos
    • Synthesizers
    • Workstations
    • Organs
    • Portables & Arrangers
    • MIDI Controllers
    • Keyboard Packages
    • Sound Modules
    • Production & Groove
    • Keyboard Accessories
    • Music Software
  • More
    • Amplifiers & Effects
    • Folk & Traditional Instruments
    • Bass
    • Marching Band
    • iOS Devices
    • Lifestyle
Help! I Want to Record My Original Composition!

Many of you who read my articles are budding songwriters, composers and producers. You've got the software, a great microphone and a song worth recording, but something is holding you back... the process! It can take a while to find a method for organizing your arranging process in a way that keeps you feeling organic and creative. I've been in this position myself so I'd like to offer you a look into how I maneuver through the process of recording a new composition.

For the sake of this article I'll guide you through simple steps to recording and arranging your song. There are a million different ways you could go about this. You'll want to find the creative process that inspires you.

One more thing before we dive in. It is very important that you get to know your DAW (Digital Audio Workstation) and your Virtual Instruments like the back of your hand. When you know your shortcuts and are familiar with the sounds you have at your disposal you'll stay more creative and work faster and more efficiently. When creating music, the creative flow is paramount!

STEP 1 - Choose a tempo. This may seem unbelievably elementary to you, but begin your song by spending a bit of time really zoning in on the right tempo for your song. Some DAWs like Ableton Live allow you to quickly alter the tempo of your song with the click of a button. Other DAWs do not. If there is a lyric, be sure to sing the song down using the lyrics to be sure the words can be easily sung at the chosen tempo. Ableton Live

STEP 2 - Add a simple shaker or loop to the track. - Step 3 will eventually involve laying down a guide track for your song (sorry be spoil the surprise.) I find it helpful to establish some sort of groove to play to, even if in the end you delete it completely. A shaker or a loop can really help settle the track from the very beginning.

STEP 3 - Record a guide track. - Just as promised, step 3 involves laying down a guide instrument track and a "scratch" vocal or melody track. Don't obsess too much about these tracks for they will likely not make it to the final mix. These guides will allow you to arrange the song around the melody and a basic rhythm instrument. Without these tracks you may find yourself working inefficiently as you arrange the track. After all, how would you compose an effective counter-melody without hearing the melody clearly as you work?

STEP 4 - Create arrangement markers. - I've witnessed some people skip this step and their process suffers as a result. Use your guide track to label the arrangement with markers. Simple names like "Intro", "Verse 1", "Chorus 1", "Turnaround", "Bridge", "Instrumental", etc. will really help you navigate your session as you work.

STEP 5 - Record your basic rhythm bed. - It is at this point that we start to dig in a little bit. Take some time to build a solid rhythm track of your song. First program (or record) your drum kit or electronic kick, snare and hats. Next, add your bass instrument, then your primary rhythm instrument like an acoustic guitar, piano or rhodes. This may be the replacement to your guide instrument track. If so, you may mute or delete the instrumental guide track. Spend a fair amount of time getting these parts right, but if you're using virtual software instruments you don't have to go all the way. You'll finalize your parts, add special effects and any other bells and whistles later in the process (I don't mean literal bells and whistles... it's a figure of speech!)

STEP 6 - Develop your themes and hooks. - After getting the general rhythm section tracks to about 75-80%, you should give attention to the themes and hooks in your song. These are the signature melodic elements that you want to really stick with listeners. These are not subtle arpeggiators or harmonies, these are the big themes you want everyone the notice. I wanted to emphasize that themes and hooks be developed at this point in the process because in modern recording there are no limits to how many tracks you can use. If you are not intentional about building strong hooks you could waste your sonic landscape on elements that are less than foundational to your track. I firmly suggest that you now develop your themes and hooks, and add other elements only when needed. This will save you from creating a cluttered and over-produced track.

STEP 7 - Evaluation time...what's missing? - Take a listen to your track and ask yourself, "what holes are left in your track the need filing?" With your basic rhythm track recorded and your hooks and themes now obnoxiously stuck in your head, you should be able to hear what space is left to be filled. Things like pads, B3, harmonies, and percussion can really fill these spots in a beautiful way. Remember, these are secondary ideas, so create ideas that play second fiddle to your hooks and themes. If someone is listening closely, they might say, "wow, that such and such back there in the track is really cool", but if they're listening on the radio they may not notice it. That's ok!

STEP 8 - Replace your scratch vocal/melody with the real thing. - Once you've got a beautiful track happening, it's time to record your lead instrument! Take a great amount of care and effort to be sure the lead instruments sound amazing. Your vocal or melody instrument is the center of your track and what listeners surely will remember. Take extra time to capture an accurate and emotional performance. You may find it necessary to record several takes and comp (compile or composite) a final tack that is a mixture of all of them. Do whatever it takes to get it right!

STEP 9 - Ear candy. Congratulations! Once you get to step 9 you are 98% done. In fact, if you decided to be finished now most people wouldn't know the difference. But you don't want to settle do you? No, we're going the extra mile. Once you finish recording your vocal, find a few spots to add some special effects to your track. This may come in the form of a special drum fill, some guitar solo lines or some delayed vocal fx. Maybe you have the bright idea to add a distorted drum sound for two bars or to process a vocal line with a filtered telephone effect. You could do anything. Use your imagination. I call these elements "ear candy" and they can make a big difference in the sound of your song.

STEP 10 - Mix. You may be mixing your track as you go along or you may be the type of person who leaves it all to the end. Whatever your process you'll want to take some time and fine tune the balance of your track. Mixing is an art form in and of itself, but just because you're not a professional mixer like Chris Lord Alge doesn't mean that your track can't sound stunning and beautiful. Use your ears, compare your track to professional mixes in a similar genre and you'll find your way! For the icing on the cake, you could send your track off to a mastering engineer or use a plugins like Waves L2 or T Racks to add a little volume to the overall track.

As you work, remember to keep your mind open and in a creative state. Leave your worries at the door and come to your workspace ready to make music. Creativity can be helped or hurt by your ability to keep your process moving along. Don't get stuck! If you find yourself struggling, move on to something else or take a break. Sometimes you just need a little clarity. Experiment and be a daring music maker! I can't wait to hear what you come up with!

So there you have it. Congratulations! You composed and recorded a song! Grab a soda, sit back and enjoy your creation!!

Woodwind & Brasswind is proud to offer high-quality recording equipment for all musicians. The Woodwind & Brasswind's top quality equipment is backed by The Woodwind & Brasswind's 110% Price Guarantee, assuring that you won't find quality products at a lower price anywhere else.

Keith Everette Smith is a musician/producer/songwriter in the popular Nashville suburb of Franklin. He's worked with some amazing artists over the past few years including Chicago, the Jonas Brothers, Jack White and the Memphis Horns. You can follow Keith on twitter @producerkeith1.

While Woodwind & Brasswind compensates writers for their editorial reviews, the views expressed by the writers in those reviews are their own.


Instant SSL Certificate Secured
BizRate Customer Certified (GOLD) Site