How To Create A Melody Fast Using AI & Studio One Video

Hi, I’m Michael B from trackandsolo.com. In this exploration, I’m sharing my journey on how I craft melodies using Dope Loop AI, a tool that revolutionized my music creation process. Let’s dive into how this AI tool helps streamline melody creation and potentially amplify your music production workflow.

Video Takeaway

Discovering Dope Loop AI

Six months ago, my discovery of Dope Loop AI changed how I approach melody creation. Historically, I’d start with chord progressions and layer melodies on top. This traditional method, while effective, was time-consuming. The introduction of random MIDI note generators like Dope Loop AI allowed me to flip my process: starting with melodies to inspire chord progressions. This approach significantly sped up my workflow, aligning with my goal of releasing music more frequently.

The Magic of Random Note Generators

The core of my newfound process lies in utilizing random MIDI note generators for melody creation. These tools, particularly Dope Loop AI, offer a quick way to generate melodies, which can then easily inspire accompanying chords. The efficiency of generating melodies first has been a game-changer, aiding in my goal to release music weekly.

Exploring Dope Loop AI’s Features

Dope Loop AI isn’t just a melody generator; it offers capabilities for creating basslines, counter melodies, and more. Its intuitive interface and AI-enhanced note generation provide musically coherent sequences rather than random notes, adding a layer of creativity to the process. The platform’s simplicity and the option to use it for free, without email registration, add to its accessibility and user-friendliness.

Personalization and Quality

Despite the automation Dope Loop AI provides, I emphasize personalizing the AI-generated melodies. This personal touch ensures the music remains uniquely mine, avoiding over-reliance on AI. By editing, adding, or removing parts of the AI-generated melodies, I ensure the final piece reflects my artistic vision while maintaining high quality.

Practical Walkthrough

My typical process involves generating several melodies with Dope Loop AI, downloading the MIDI files, and experimenting with them in my digital audio workstation (DAW). This experimentation might include editing melodies, trying them with different sounds, or combining them with existing templates of drums and basslines. This workflow not only speeds up the creation process but also allows for exploring various musical ideas quickly.

Final Thought: A Tool, Not a Crutch

Dope Loop AI has become an invaluable part of my music production toolkit, offering a fast and innovative way to create melodies. However, it’s essential to remember that tools like this should enhance creativity, not replace it. By using Dope Loop AI to handle the initial heavy lifting, I can focus on refining and personalizing the music, ensuring the final product is truly mine. If you’re looking to streamline your music production process or find new inspiration, consider giving Dope Loop AI a try.

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Full Video Transcripts

Hi, this is Michael B. from track and solo.com. In this video, I’m going to show you how I come up with my melodies using Dope Loop AI. Let’s get started.

We’re in Dope Loop AI, there’s a domain right here, dope loop AI. I ran across this about 6 months ago, and for the last year, I’ve been using many random note generators to come up with my melodies. Back in the day, I used to come up with my chord progressions first, and then I would come up with an improvised melody on top of it. It was kind of time-consuming. When I found out about random MIDI note generators, I gave them a shot to come up with the melody first and then the chords later because it was a lot easier to come up with some chords very quickly based off of a melody. Having a random note generator coming up with your melody very quickly makes me able to get out my music a lot quicker.

My goal right now, and I think that I’m pretty close to it, is to be able to release one song a week. So, that’s sort of the goal. It’s got to be 2 weeks at the tops, but my goal is one week. So, I’m trying to find faster ways to come up with melodies, chord progressions, and basslines. Starting off with the random note generator has helped tremendously. Not only can you come up with melodies with this, but you can also come up with counter melodies. There’s been a number of times where I came up with a number of different melodies on here, and when I was auditioning some of them together, they actually sort of work together. Both of the melodies, so I would have one main melody as the melody, and then the counter melody, I would use like plucks. Just the difference in sound, the different release times from a pluck as opposed to just sort of a normal sort of trance saw type sound actually went really well together.

I also have a template that I start my music always off with because the drums are already there, they’re already mixed, they’re already EQed, everything is set, so that’s really sped up my process a lot. And that’s why, like I said, that’s sort of what I’m working on now, speeding up the process, but the quality’s got to be great.

So, I came across Dope Loop AI, it’s supposed to just a random generator, MIDI note generator. I get the feeling, and I don’t really have any proof for this, but I suspect that using AI, it’s probably going to be a little more musically inclined as opposed to just random notes, even though these are pretty much random notes and random durations. But let’s go ahead and get started.

It looks like Dope AI, they have a couple of different apps for your phone, but if you scroll down, you can use this right on your desktop because that’s what I’m using right now. It says right here, “Try it online.” So, if you click this button when you go to Dope Loop AI, you click this, and it brings you to your MIDI note generator, and you can generate your notes on here. Let’s take a quick look because there is a free version and there’s a paid version.

This has all your free features in it as well. All that I’m looking for, I’m just looking for MIDI notes. This does have sounds that come with it if you go with the plus. There are some other features on here that I really don’t need, I don’t really use. It’s not that much, it’s only like $7 a month if you’re interested in that. I haven’t found any AI music where the quality of each sound is as good as the VSTs that I use, so I don’t even bother with it.

It’s one more step of making something that is AI-generated more personalized by being able to change the notes if I want to, to use the sounds that I want to. I’m trying to use AI as a tool to do the heavy lifting for me, and then I can personalize it myself as opposed to using AI as a crutch where you just have AI pump out a bunch of music, and then you release it and call your own. What’s the point of that?

So, this is it. As I said before, there’s a free version, a plus version. The free version, what’s even kind of nice about the free version is you don’t even need to put your email address in there. They don’t ask for any information. You can just come to the site and just start using this, which is actually sort of a breath of fresh air because you sign up for some of these free things, and then they start blowing up your email with a bunch of “buy this, buy this,” or they keep sort of trying to get you to pay for this, which, you know, I understand nobody wants to build something and just put it out for free unless it’s something that’s open source. But it’s just again, it’s refreshing to be able to use something for free and not have them wanting your address or your email address and things of that nature.

So let’s go ahead and get started. The order that they have this laid out in, it’s not really a hindrance, but it just seems a little out of order. But that really doesn’t matter. So let’s just start from the top, work our way to the bottom. We got the generate button, obviously, when you hit generate, it generates sound. And then if you go down to the play button down here, then you can listen to the sound.

Okay, so if you like that sound, you can go over to the MIDI download button, click the download button, and then you can go ahead and download the sound. As you can see in here, I have already downloaded a couple that I did when I was working on this yesterday. It has some information on here, but whenever I actually download the files that I’m interested in, I’ll go over what some of this information is here. But if you’re interested in that sound, then you’re all good to go. It always defaults back to this page, so all you have to do is hit the X, and then it just brings you back because again, they’re hoping that you pay for this. So let’s go ahead and go down this line by line.

Now, this melody and then this number that’s next to it is the serial number. So what my assumption is, this is the serial number for this melody, and this melody will not be generated again, at least from this. I wouldn’t think that it would probably be generated at all anywhere. But that’s basically what this number is for the notes. These are the notes that it randomly picked, so their whole melody, these are the only notes that are playing. Some of the notes are repetitious, some of them are not, but that’s basically what the notes are. So if you’re playing in a specific key, then while you’re listening to the melody, as long as you know what notes are in that key, then you’ll be able to tell whether or not you can use it or not. At this point, what I’m gonna do is I’m gonna go ahead and open this up because the next three sections are sections that you can change. So you hit the pencil here, and then it opens up the bottom three parts that we just had a quick glance at.

The next step is the length, so you can choose the length that you want. Now, what’s weird about this is instead of just putting bars in here, each one of these numbers represents 8th notes. So, in other words, like this has 8, this is one bar of a melody. If you go with 16, it’ll give you two bars of a melody. If you go with 32, it’ll give you four bars of a melody. And if you go with 64, you’ll go with 8 bars of melody. I always use 64 because I want the longest melody as possible because I can always edit it down, the parts that I don’t want if I want a smaller melody. Usually, I like to go with the 8 bars. That always seems to work for me. And again, it just gives you more of a melody, more of a variation. You could even take 1 or 2 bars out of the 8 bars and repeat them over and over, chop them up, move them around. Again, the AI is basically to give you ideas and to do the heavy lifting for you, and then you personalize it so it’s your song, your music.

The next is your root note, so this is all the notes on your keyboard from a C2 all the way up to C5. So it’ll start out in whatever range that you’re looking for to start out in. Since this is a melody, I’m gonna go up with C4 because C4 is on the upper right-hand part of your keyboard, which is typically where melodies are played. So I’m gonna go with a C4. You can start out with any of these other notes that you wanna use, but typically, when I start a song out, I always go with either in a key of C major or A minor because it’s all the white keys on a keyboard. And when I’m creating music, I don’t wanna have to think about music theory. I don’t wanna have to think about scales. I don’t wanna have to figure this out, figure that out. I just know it’s all the white keys on the keyboard, and if I need to change it to a different key later, I can just transpose everything afterward. But I always start out in either C Major or A minor because it’s all the white keys on the keyboard.

The next drop-down shows you all your different scales, all your different keys, and there’s a lot of them here, so you can get really super creative by just picking any one of these things, even one of these that you haven’t seen before, you don’t even know basically what it is. Come up with some melodies, and then, as I had mentioned before, you can actually build your chords off your melody. So even if you pick up one of these unusual keys, you could just build your chords off of the actual notes of the melody that this thing generated, so then it’ll be in that key. Your baseline would be the same thing; you could build it off your chord, or you can build it off your melody. Again, it’ll automatically be in that key if you’re using the exact same notes that this thing generated. Again, C major or A minor, so I’ve got a C up here, I’m gonna go with major pentatonic.

Next are the sounds. These sounds are just for auditioning in the free version. The other sounds are pretty weak, but again, all I’m using this for is just to audition the melody. All I’m gonna be doing is downloading just the MIDI notes; it’s not gonna have any sound. The next down here is the metronome. I like to keep the metronome on all the time because you can listen to a melody and sort of figure out whether you kind of like it or not, but when you have the metronome behind that, you sort of get the groove of the melody, and it’s just a lot easier to be able to decide whether or not you like what you hear or you don’t like what you hear.

Now, if you just go back up here for a second, after I change this to C4 and the major pentatonic, it’s already set up for that. So let’s just go ahead and hit oh, one more thing I wanna point out, here’s your tempo. Even though you can change your tempo in your DAW, this still gives you the tempo so you can hear the melody in the tempo that you intend on using it. The plus and minus sides, this goes up 10 or down 10. So if, like in my case, I’m using 128, I go up to 130, and then the up and down arrows will appear when you hover, and then now I’m at 128. So let’s go ahead, I’ve got eight bars because remember, they’re eighth notes. C4 is gonna be my root note, and my major pentatonic because I want the major scale, and then I’m gonna go ahead and hit the generate button.

And then it came up with 4 notes right here. Now, as far as the notes go, sometimes you’ll have it’ll generate two notes. Now, the melody will be more than two notes, but it’ll just have two specific notes like, let’s say, just the G and the D showed up here, it would have only G and D, but G and D would play more than once because you have actually a melody playing. If you had G, D, C, only the G, D, C notes would be played, but again, they would be repeated into a pattern or a melody. So in this case, we have four. I’ve seen anywhere where there’s two all the way up to five. I generally like to go with four or like to go with five because the 4 and the 5, it’s a little more, it’s a little more busier. It gives me more notes, it gives me more variations, it’s a little more busier. If it’s too busy, then I can always pare some of the notes back, but if you go with too few of notes unless that’s what you’re going for, or unless you hear something whatever it, it just plays those two notes, I generally only go with the four notes and the five notes. So in this case, we got four, so let’s go and let’s do it.

Okay, that sounds more like an ARP where it’s just playing like down a scale or specific notes in a scale over and over again. That’s not what I’m looking for. I’m looking for an actual melody because sometimes you’ll get that. If you like the way that it sounds, then you can go with it, but no, I don’t like it, so I’m gonna hit generate again. This time we got three notes again, I’m not interested in three notes, I want four notes or five notes. We got five right here, so let’s listen to this one.

Okay, now that sounds a little bit more like a melody. I don’t mind it, so I’m gonna go ahead and download it. Quickly, let’s go okay, number four. Oh no, No. 3. Now the next one we wanna get is we wanna get another four, so we’ll have two fives and two fours that we can compare. So we’ll just keep hitting C2, we don’t want, there is a four. As long as it sounds okay, then I’m gonna use it, but let’s listen.

Again, that’s more of an ARP, which is super simple to set up in your DAW, at least it’s in Studio One, which is what I use. Super simple to have that set up with where you set up a chord and then you drop a VST over it that will automatically give you a variation of those notes, but it’s repeatedly, it’s not really in a form of a melody. So let’s hit it again. 3, not interested, 2, not interested, 3 again, not interested, 2 again. Here’s another five, so this is gonna be the second five. So I’ve got one 5, we’ve got a four, and then now we’ve got another five, so let’s listen to this.

Okay, sounds good, so let’s go ahead and download this. Quickly, let’s go okay, number four. Oh no, No. 3. Now the next one we wanna get is we wanna get another four, so we’ll have two fives and two fours that we can compare. So we’ll just keep hitting C2, we don’t want, there is a four. As long as it sounds okay, then I’m gonna use it, but let’s listen.

Again, that’s more of an ARP, which is super simple to set up in your DAW, at least it’s in Studio One, which is what I use. Super simple to have that set up with where you set up a chord and then you drop a VST over it that will automatically give you a variation of those notes, but it’s repeatedly, it’s not really in a form of a melody. So let’s hit it again. 3, not interested, 2, not interested, 3 again, not interested, 2 again. Here’s another five, so this is gonna be the second five. So I’ve got one 5, we’ve got a four, and then now we’ve got another five, so let’s listen to this.

Okay, sounds good, so let’s go ahead and download this. Quickly, let’s go okay, number four. Oh no, No. 3. Now the next one we wanna get is we wanna get another four, so we’ll have two fives and two fours that we can compare. So we’ll just keep hitting C2, we don’t want, there is a four. As long as it sounds okay, then I’m gonna use it, but let’s listen.

Again, that’s more of an ARP, which is super simple to set up in your DAW, at least it’s in Studio One, which is what I use. Super simple to have that set up with where you set up a chord and then you drop a VST over it that will automatically give you a variation of those notes, but it’s repeatedly, it’s not really in a form of a melody. So let’s hit it again. 3, not interested, 2, not interested, 3 again, not interested, 2 again. Here’s another five, so this is gonna be the second five. So I’ve got one 5, we’ve got a four, and then now we’ve got another five, so let’s listen to this.

Okay, sounds good, so let’s go ahead and download this. Quickly, let’s go okay, number four. Oh no, No. 3. Now the next one we wanna get is we wanna get another four, so we’ll have two fives and two fours that we can compare. So we’ll just keep hitting C2, we don’t want, there is a four. As long as it sounds okay, then I’m gonna use it, but let’s listen.

Again, that’s more of an ARP, which is super simple to set up in your DAW, at least it’s in Studio One, which is what I use. Super simple to have that set up with where you set up a chord and then you drop a VST over it that will automatically give you a variation of those notes, but it’s repeatedly, it’s not really in a form of a melody. So let’s hit it again. 3, not interested, 2, not interested, 3 again, not interested, 2 again. Here’s another five, so this is gonna be the second five. So I’ve got one 5, we’ve got a four, and then now we’ve got another five, so let’s listen to this.

Okay, sounds good, so let’s go ahead and download this. Quickly, let’s go okay, number four. Oh no, No. 3. Now the next one we wanna get is we wanna get another four, so we’ll have two fives and two fours that we can compare. So we’ll just keep hitting C2, we don’t want, there is a four. As long as it sounds okay, then I’m gonna use it, but let’s listen.

Again, that’s more of an ARP, which is super simple to set up in your DAW, at least it’s in Studio One, which is what I use. Super simple to have that set up with where you set up a chord and then you drop a VST over it that will automatically give you a variation of those notes, but it’s repeatedly, it’s not really in a form of a melody. So let’s hit it again. 3, not interested, 2, not interested, 3 again, not interested, 2 again. Here’s another five, so this is gonna be the second five. So I’ve got one 5, we’ve got a four, and then now we’ve got another five, so let’s listen to this.

Okay, sounds good, so let’s go ahead and download this. Quickly, let’s go okay, number four. Oh no, No. 3. Now the next one we wanna get is we wanna get another four, so we’ll have two fives and two fours that we can compare. So we’ll just keep hitting C2, we don’t want, there is a four. As long as it sounds okay, then I’m gonna use it, but let’s listen.

Again, that’s more of an ARP, which is super simple to set up in your DAW, at least it’s in Studio One, which is what I use. Super simple to have that set up with where you set up a chord and then you drop a VST over it that will automatically give you a variation of those notes, but it’s repeatedly, it’s not really in a form of a melody. So let’s hit it again. 3, not interested, 2, not interested, 3 again, not interested, 2 again. Here’s another five, so this is gonna be the second five. So

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Again, that’s more of an ARP, which is super simple to set up in your DAW. At least it’s in Studio One, which is what I use. Super simple to have that set up with where you set up a chord and then drop a VST over it. That will automatically give you a variation of those notes, but it’s repeatedly; it’s not really in the form of a melody. So let’s hit it again.

3, not interested. 2, not interested. 3 again, not interested, 2 again. Here’s another five. So this is gonna be the second five. So I’ve got one 5, we’ve got a four, and then now we’ve got another five. So let’s listen to this.

Okay, sounds good. So let’s go ahead and download this. Quickly, let’s go, okay, number four. Oh no, No. 3. Now the next one we wanna get is we wanna get another four. So we’ll have two fives and two fours that we can compare. So we’ll just keep hitting C2. We don’t want there is a four. As long as it sounds okay then.

Okay, sounds good. So let’s go ahead and download that. Okay, and then we’ll go ahead and move this up here. We’ll give it a 4 cause this is our fourth melody. And then what I’m gonna do is I’m gonna pause the camera for right now, get everything set up in my DAW, and then we can audition each one of these sounds individually. We’ll compare them to each other, listen to them with a bassline and drums and everything, and then we’ll sort of pick which ones we wanna use at this point. So I’m gonna pause the camera right now.

Okay, I got all of the melodies right here, 1, 2, three, 4, drop them in my DAW, and I have them looped and I have a tablet that I always use for putting my melodies together. All the music is in C Major, E minor. Whenever I start out a melody, that’s usually what key I start out in, and most of my songs I just leave it in that key cause there’s really no point in changing the key unless I’m using an instrument that has a limited range to it. And if for some reason it doesn’t hit one of the notes in the melody that I want it to hit, that’s really the only time that I change the key. That’s very common for like singers, if you’re using an instrument, like I said, it has a limited range and also I know that a lot of EDM guys will use a specific key because they want to get the lowest, relatively strong audio, bass sound. So because after a certain point, like the normal speakers, maybe inexpensive headphones or whatever, they can’t really reproduce very, very low-end sound. So what they’ll do is they’ll pick a key so when they go down to the lowest note in a key, people with inexpensive speakers, headphones, whatever, it’s a lot more audible than opposed to going with a key where the lowest note is something that you can hear it, but it’s not very strong. And that’s really about the only time that you’d wanna change keys. But let’s go ahead and go through it, like I said.

We got the four melodies that I just did here. I dropped them in here. Let’s just listen to one by one. I get my template, not only are my accompanied instruments, which are right here, all in a minor, C major, but I also have probably my favorite VST right now, and this is this bad boy right here. I discovered this thing, I don’t know, maybe 6, 7 months ago, and for a free VST with a ton of features on it, in fact, they came out with a brand new one that I haven’t reviewed yet. That’s probably gonna be one of the next things that I review, but I’m so happy with this that I’m not even sure that I really even need an upgraded one. I really don’t know what the difference is. But anyways, I have pretty much that VST and all of these right now, they’re all assigned to the same sound. So right now, let’s just go ahead and listen to the first melody by itself.

Now I like a lot of echo on my melodies, and the other thing that I also like to do with my melodies is I like to have them doubled, or if they’re not doubled, the echoes will be in the left channel and the right channel, not hard left, not hard right, but sort of in between, sort of a 50% panning. And the reason why I like to do that, this is really more of a mixing thing, but I might as well bring it up right now, is that most of my drums and the cymbals and the percussion, they’re pretty much all in the center anyway. So if I have a melody that’s panning both left and right, like I said, it’s either doubling or if it’s an echo, then the slap echoes will be on the side channels. It just makes the drum stand out just a little bit more because you don’t have everything panned in the center or near the center. So it spreads things out a little bit more, and all the instruments are a little more clear. And because I like to add a bunch of echo to my melody and my plucks, again, it just makes for a much larger sound, and it spreads quite a bit long around your the stereo spectrum. But I’m gonna go ahead and take this, the delay off, and I think I have a second delay that’s in here right now. No, I don’t. It’s just reverb. So I might take it off now. We’ll just listen to it without all that echo.

Okay, not bad. I’m not hating it. Let’s go over to the next one. Let’s listen to each one of these, you know, without echo. Let’s listen to this one. So what…

Now, when I was putting, when I was doing a quick little mix of each one of these melodies so it would go along with the music a lot better, I’ll have to say that this is my favorite one. This is probably the one that I’m gonna go with. But let’s go ahead and listen to all the other ones, all by themselves, without any echo on it, just reverb.

If that one doesn’t sound too bad, this is probably my least favorite. And then this one, the very last one, melody number four, this one I actually envision this to be more for, I’m probably gonna use this one too, but I’m gonna use it for the plucks. And I think you might find out when you hear it because…

I can hear that part playing the pluck. So again, coming up with a bunch of melodies like this that you can choose from, I have my plucks, and I have my melody. So if I want plucks in the next song that I am working on, then I already have it. So let’s go ahead and listen to some of

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“I can hear that part playing the pluck, so again, coming up with a bunch of melodies like this that you can choose from. I have my plucks and I have my melody, so if I want plucks in the next song that I am working on, then I already have it. So let’s go ahead and listen to some of these with the rest of the other instruments. I’m gonna go ahead and put the delays back on here, as I said before, like a bunch of echo. So we’re gonna start off with melody No. 1. I’m gonna play it with just the drums and the bass and the melody by itself.”

“Not bad, let’s listen to this one, the next one, same deal. I said this one’s my favorite. I throw the pads in, see what I mean? Whenever you’re coming up with melodies, it’s nice to have a bunch of a template of everything already set up, so you can get an idea of what the end result is going to sound like. Let’s go over to the next one. I’m gonna mute the pads again, and then we’ll just listen to this with the bass and the drums. Even though it’s my least favorite, it still sounds good.”

“And here is the final one, and like I said, I think this one is I’m probably gonna use this but I’m gonna use it in the plucks. But let’s listen to this with the drums and the bass. Sounds great, right? So the next step that I think I’m gonna do like I said, I am gonna use two and I am gonna use 4 for my pluck. So let’s go ahead and I’m gonna go ahead and I’ll get rid of the plucks that I already have really quick, and I’ll move this up to here. We’re gonna use No. 2, so we’ll just go ahead and do one, three, four, and now let’s listen to our plucks now using melody No. 4. Let’s listen to it by itself first. Again, I go on there.”

“Okay, so let’s listen to the plucks with the drums and the bass. Okay, one of the things I wanted to draw your attention to, and I just remembered it right now, when you’re using the actual MIDI, if you’ll notice here, let me open this up, and you’ll take a look at your velocity. You notice the velocity is about 50%, that’s just the way that the AI spits it out at. I’m not sure why, but if you don’t know, the problem with that is your velocity is not only the volume but it’s also the tone. It’s like hitting a drum; if you hit it softly, it’s one level of sound, and then if you hit it really hard, it’s louder but it’s also more brighter and more percussive. So I’m gonna go ahead and kick this up to 80%, which is usually what this thing defaults at. So I’m gonna bring this back down, and then I’m gonna bring up the drums, and then because the plucks obviously gonna be louder and they’re gonna be brighter.”

“Hey, that was, I kicked the pads in there at the last moment. So let’s go ahead and add our melody to it. Our melody is going to be sort of the same deal as I said before, that see it’s at 50%, so let’s highlight everything and let’s bring this up to 80%. So this is gonna be a little more percussive too. I don’t eat louder but brighter, so I’m gonna bring this all the way down. I’m gonna play it with the plucks without the pad with the melody. I’ll bring up the melody to get a halfway decent mix. Again, sounds great.”

“There’s one last thing I wanna show you when it comes to melodies is one of the things that I like to do, particularly when I’m using counter melodies, but I’m gonna use it in this case too, is if you strip out the second and the fourth bar, essentially what that does is when, when the listener’s listening to the music, their attention will be, most likely for the most part, for the melody. That’s what their focus will be on. When the melody cuts out, then their focus will be on something else, whether it’s the plucks, whether it’s the bass, the drums, whatever, and then the melody will come back in. Then their focus will be shifted back to that. So the whole idea of that is not to be listening to just the melody, but it gives the listener a chance to listen to some of your other instrumentation that’s on your song. I do this quite a bit, and particularly, like I said, with counter melodies, because you’ll be focused on, let’s say, the main melody, and then when that cuts out on the second bar, then the attention will be drawn maybe to the second or the counter melody, and then it’ll go back to the first and then the second, but the counter melody is still playing in the background. So let me just give you a quick demonstration of that, so you can kind of see where I’m coming from.”

“Okay, now I’m going to go ahead, take out the second bar. We’re gonna go ahead, take out the fourth bar, and then this is what it’s gonna sound like by itself. Okay, so let’s go ahead and let’s do it with the music and then with the rest of the instrumentation, and then you’ll, I think, you’ll be able to understand what I’m talking about. You know, in my head, and I can hear this in my head is, there is a missing note that there seems like that there should be one more note at the beginning of each one of these bars that I took that out of. So let’s go ahead and I’m going into my history, and we’re gonna put everything back. Delete events, that’s what I’m looking for. We’re gonna put everything back, and this time I’m gonna delete everything except the first note, ’cause it just sounds like it’s like the part is ending too soon, and it just needs that one more note. So now let’s listen to it with the extra note in the second and the fourth bar.”

“Okay, that’s it. As far as making melody go, super simple, using other random MIDI note generator and using AI. I mean, I think it’s great. There wasn’t any, sometimes there’s parts of the melodies that I wanna change, as I just showed you, stripping out the second and the fourth bar is something I do really commonly. Sometimes I’ll hear something, and it’ll just, I like the melody, but there’s either something that just needs to be changed, whether it needs to be taken out or put back in. If you got something from this video, hit the like button and subscribe button, and check out one of my other videos that’s on the screen. We’ll see you later.”