I’ve been keenly interested in workflow since I started my musical journey. Something I learned from audio engineering, photography, and video work is that a good workflow can make a world of difference.
Recently I made a track using a workflow that really helped me progress out of the classic “stuck in a loop” rut. It’s quite an old approach which I’d failed to fully embraced sooner.
The Core Technique
The production technique is straightforward: lay down one track at a time, then record each subsequent track by jamming against what you’ve already recorded, for the full length of the track.
This approach to layering live performance embraces spontaneity and organic interaction between elements. Rather than programming or sequencing parts separately, each layer responds directly to what came before, creating a dynamic, evolving composition. The process prioritizes musicality and in-the-moment creativity over perfect technical execution, capturing genuine performance energy.
Balancing Perfection and Flow
Within linear overdubbing, there are different philosophies about performance perfection:
- Purist approach: Accept each performance as it happens and move forward, embracing imperfections and spontaneity
- Selective refinement: Use multiple takes for critical elements, particularly:
- Foundation tracks that need to be solid
- Complex parts requiring several passes
- Consider a “three-take maximum” rule to maintain momentum
The key is finding your personal balance. Too many retakes can drain the spontaneous energy this workflow thrives on, while too few might leave you with foundational issues that affect the entire composition.
Alternative Names
This production approach goes by several names across different musical communities:
- Performance-Based Layering – Common in electronic music circles
- Live Overdub Production – Used by hardware-focused musicians
- Cumulative Performance Recording – Found in experimental music
- Real-Time Layering – Used in jam-based electronic scenes
You can start with any element you want: a bass drum, bassline, or anything else. Considering changing things up. If you usually start with drums, maybe try start with a string pad or atmospheric element.
The core technique involves recording each element as a live performance while listening to previously recorded tracks. Similar to working with a 4-track recorder but with unlimited tracks in a DAW, each new layer is performed in real-time for the entire length of the track, with minimal editing afterward.
I found it to be a happy accident machine with a supercharger.
