Lesson 8 of 26Music ProductionIntermediate

Guitar part - concepts

1:37

Paul Whalley breaks down the guitar part of the track - how it was played, written and treated to sit polished and prominent in the final mix.

Part of the courseProduce a killer pop track26 lessons (1h 43m)

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Paul WhalleyYour guruPaul Whalley

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26 lessons (1h 43m) · 1 free
    • 01. Guitar part - concepts

      You are here

      1:37

    • 02. Guitar part

      4:58

    • 03. Vocals - concepts

      1:22

    • 04. ASSIGNMENT: Recreate the guitar production

      0:37

    • 05. Vocals

      9:42

    • 06. CHALLENGE #1: BUILD THE VOCAL ARRANGEMENT AND HOOK

      0:45

    • 07. Backing vocals

      4:07

    • 08. Keys and synths - concepts

      0:54

    • 09. Keys & synthesizers

      9:38

    • 10. Bass - concepts

      1:01

    • 11. Bass

      5:24

    • 12. Drums - concepts

      0:58

    • 13. Drums

      9:49

    • 14. ASSIGNMENT: Recreate the drum production

      0:32

    • 15. Effects and Atmospheric parts - concepts

      1:09

    • 16. Effects and Atmospheric parts

      5:53

Lesson transcript

Breaking Down the Key Components of the Record

Hey, guys! We're going to start breaking down the various key components of this record now.

Guitar Part Overview

We're going to start with the guitar part, and I'll show you:

  • How it was played
  • How it was written
  • How it was treated to sound nice and polished in the final record

Demonstration

I'm going to demonstrate the part for you right now, really quick, on my tried and trusted acoustic guitar.

"It's been around the world with me. It's been played on various number one records. Shout out to my ex. It's been featured on a Mumford and Sons record. It's a lovely, lovely guitar."

As you'll hear, it's played on an electric guitar in the record. But, I'm going to demonstrate it right now for you on this very simple part, completely played with one finger and just a couple of strings picked.

Simplicity in Writing

As you can see, it was written very simply, designed to be a part that anyone could play.

"I always find it's very important not to overcomplicate these things when you're writing commercial records, no matter what your ability level is on the instrument."

Next Steps

So now we'll have a look at the guitar that I recorded for the record, and I'll show you how I treated it and what role it plays in the final version.

Good. I can see.

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Meet your guru

Paul Whalley

Paul Whalley

Paul Whalley is a multi-instrumentalist, producer and songwriter with a deliberately broad sound. He spent years on the road as a touring session musician with artists including Mumford & Sons and Ellie Goulding. Classically trained, he holds an undergraduate degree in instrumental performance and a Master's in composition from the Guildhall School of Music. Since moving from touring into production and songwriting he has worked with artists such as NAO, Wretch 32 and Nina Nesbitt, and played on top-40 records around the world, including Little Mix's 'Shout Out to My Ex'. He is based at Tileyard Studios in north London, where he writes and produces for major UK labels and develops new artists. On MusicGurus he and Emmi Green deconstruct a pop record from scratch - every arrangement and production decision laid bare - for songwriters and producers who want to hear how hit records are really built.

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