How to Use Reference Tracks When Writing a Song (Without Copying)
Some songwriters won't start a session without a reference track. Others feel that playing someone else's record pulls them away from their own instincts. I've sat in both camps, and after years of writing with artists in London, I don't think either side is quite right.
Used at the wrong moment, a reference can quietly write your song for you. Used at the right moment, it's one of the most useful tools you have. This post is about that difference: how to use reference tracks when you're writing, without losing the character of what you're making.
(If you're after the mixing side, checking low end, vocal level and stereo width, I've covered that separately on the Blue Room Studios blog.)
What is a reference track in songwriting?
A reference track is a commercially released song you use as a point of comparison. There are two types, and they get muddled all the time.
When you're writing, you're using a creative reference. That's about the inception of the track and how it's built:
Mood: is it upbeat or sad?
Arrangement and energy: how does the song build and where does it lift?
Sound palette: organic sounds like guitars and piano, or leaning towards electronic?
Drums and percussion: what kinds are used, and is there anything else percussive going on?
The other kind, a technical reference, is for tonal balance, vocal level and punch, and belongs to the mixing stage. Treat the two as one thing and you'll either chase your tail without finding the answers, or, worse, end up copying somebody else's work.
Why bother referencing while you write?
1. Your ears drift
After a few hours in a room, your ears adjust to whatever you've been listening to. You can be writing with another artist, or on your own in the studio, and think it's going brilliantly. Without a reality check from another song, you can slowly drift in a direction you never meant to go.
2. It gets you aligned with the artist, fast
I used to work with new artists all the time, and at some point I realised that without a clear reference for where we were headed, it was the blind leading the blind. No matter how wide your musical taste is, if you don't know what to tune your ear into, the artist may hear something completely different from you. A reference point means you can rest assured you're both in the same boat.
The danger: referencing too soon
The obvious risk is that a reference interferes with your own judgment, especially early on. Reference too soon and you end up writing towards someone else's song rather than following the idea you actually have.
Most writers have been in that room. Someone says, "why don't we write something like that?" and suddenly everyone is tunnel-visioning towards one sound.
Music history has a famous example. Robin Thicke and Pharrell Williams wrote "Blurred Lines", which sounded a lot like a Marvin Gaye song, and after a long legal battle they lost the lawsuit. I've nothing but respect for the people who made that record, but I'd say they were probably referencing too hard and too soon.
My process: core first, reference second
Step 1: Get the core of your own idea down
Try not to generate the idea from a reference, because it can end up sounding borrowed. Get the core of your track down first: a chord change, a rhythmic pattern, a vocal hook. Something that could be the emotional centre of the song.
Step 2: Reference with one intention at a time
Once you have that core, bring in a reference for a single, specific purpose. For example: "in the chorus, I'd like the song to lift the way a Linkin Park chorus does." That's one question, and the reference answers only that.
Step 3: Borrow the palette, not the song
What I normally do is try to marry a couple of contradicting genres. Say a singer has just written a lovely melodic folk song. Add more uplifting drums and it could become a lot more poppy and interesting. Keep the organic feel underneath and add a slight analog flavour with some analog synths, and you're building a palette from several songs that you and the artist both love.
Then talk about the vocals. Do you want them natural and dry, or more processed and wet? Should certain elements lead the track, or sit in the background?
At that stage, the reference is more like a compass than a blueprint. You're not bringing in the contents of the house. You're just painting the walls.
How many references should you bring to a writing session?
Sometimes artists come to me with ten references. I can't work with that. For the writing stage, I'd say two or three is plenty, so you can mix and match different genres when you think about the inception of the music. More than that and you're just describing everything, which is the same as describing nothing.
Choose references that are actually comparable
A reference can push you towards the wrong decisions if it isn't really comparable to what you're making:
Arrangement: a sparse song and a busy song make each element pop out very differently.
Vocal type: a raspy singer set against a really clear singer is hard to compare, because different voices sit differently in different productions.
Era: records from the 80s and 90s often have drenched drums and less definition. Our ears are tuned differently now, and expect a different level of accuracy.
Don't let referencing stop you finishing
There's one more trap. You can hover around your goals forever, because there's always another reference to seek out instead of locking in, realising your vision is already there, and committing to it. Committing is a real problem in modern production, and endless referencing adds another layer to it.
So, should you reference when writing?
Yes, with caveats. Reference only after the idea exists, and only to answer one question at a time. Used that way, a reference doesn't remove your identity. It enhances it and brings it to life.
Frequently asked questions
Should I use reference tracks when writing a song?
Yes, but not at the very start. Get the core of your own idea down first (a chord change, rhythm or vocal hook), then reference with one specific intention at a time.
How many reference tracks should I use when songwriting?
Two or three is enough for the writing stage. It lets you blend different genres without confusing the direction of the song.
How do I use a reference track without copying it?
Borrow the palette (mood, energy, instrumentation, drum style), not the melody or chord progression, and combine references from different genres so the result is your own.
What's the difference between a creative and a technical reference?
A creative reference guides writing and production: arrangement, energy, sound palette, mood. A technical reference guides mixing and mastering: tonal balance, vocal level, low end and width.
Watch the full video
I go through all of this, creative and technical references, in the video below.
Over to you: what genre are you writing in, and what do you struggle with most? Leave a comment on the video and I'll suggest what to listen to.
I'm Itay Kashti, a music composer and producer based in London. I write songs, make music for media and produce artists. If you'd like to write or produce together, work with me here, or get in touch. And when your song is written and it's time to mix, see the guide to using reference tracks when mixing at Blue Room Studios.
Comments