Popworks was built for the days nothing comes. It writes every part a band would play across fourteen MIDI tracks, so you hear whether a song works without booking a single session player. Your production takes it from there.
How the Band Plays Together
Every part hears the others. The lead fills the singer's gaps and loops a figure
underneath. Parts come in and drop out with the arrangement instead of playing wall to wall.
The pad, the arp and the swells belong to one keyboardist, whose hands hold the chord while
the arpeggiator runs on its own and a pedal swells the wash. None of them wanders in alone.
At a phrase's end the bass plays a related figure or an answer, adding a note, resting or
trimming one. A picked guitar leaves the join open into a chord change. Where it's playing three
notes or more, it stops short of the bar line. An electric bass, the guitars, the keys, the pad and the acoustic kit each drift their own few ticks off the beat, and the doubled guitar sits further out from its twin. A synth bass is sequenced. It sits on the grid with the machine kit, the arp and the tune, so the singer does the phrasing.
Songs You Can Sell
These are songs you could pitch. A verse and its chorus take their chords as a pair, so the
chorus answers the verse it came out of. The hook is a two-bar figure on those chorus chords.
Whatever you make of a song is yours outright on every plan, free included. Release it, sell it,
license it for sync, keep every penny and skip the credit. An exclusive retires your song's
number, so nobody else ever gets it.
The Rules Behind Every Note
Popworks is a music theory engine, and every note follows a rule you can hear in the songs. One How the notes of a chord are spread out. The keys and the guitar keep theirs close so a chord reads as one sound, and in a full section the keys double their top note an octave below to widen it. The arp runs over octaves and a full pad doubles itself an octave up. moves to the next by the shortest step. A bar's job depends on its place in the
Eight bars, built from two-bar units, and every section runs whole four-bar lines. Verses and choruses take eight, twelve, sixteen, twenty-four or thirty-two, more in a fast song and fewer in a slow one, so they last about as long as the genre's own.. Every part keeps to a The stretch of the keyboard a part calls home, set per instrument. Ranges overlap, so where the pad, the keys or the swells hold a note up against the singer's, they are the ones that move. it calls home, and the pad, keys and swells voice each chord
clear of whatever note the singer holds. A song starts from one number, its The number a song is written from. Download one you already have and it gets built from that number again, identical note for note. Change a setting and you get a different song from the same number, so a work is where a song comes from rather than a tune that survives every dial. What you see is its hash, DP-GX0NTDE0, printed on the arrangement PDF, and that hash is the name you quote to get the song back., and months later
that number brings it back note for note.
The Song and Band You Choose
On the write pageyou set the genre, a span for tempo and length, key, mode, drive, voice type and harmonic
colour. Then you cast the band. Pick the guitars, a pad or an arp or both under the chords,
electric or synth bass, and comping keys. The Premium plan adds the guide's phrasing and phrase length,
bass and guitar feel, and switches for swells, a harmony, a drone, a motif and the lead playing
under the singer from the second chorus.
The Vocal Guide and Dummy Lyrics
The Premium plan adds the vocal guide, the melody a singer would sing in plain MIDI on its own
track. Some songs harmonise the hook through the choruses on a second track, a third or a sixth
away. Most songs add a second voice on a third track in the later choruses, and the genre decides whether it doubles the melody, sings a wordless ooh underneath or echoes the hook back. Load them on a sampled voice or vocal
synth, or hand them to a singer. Every line takes its rhythm from a phrase somebody actually
sang, and its stresses fall where theirs did. The notes are never theirs, so no song borrows
anybody's tune. The arrangement PDF sets every sung line as a dummy lyric of nonsense
syllables, with capitals where their words were stressed. Held notes sing "lah". Quick ones
hit a hard "da" or "ka", so your words can follow the exact shape.