In the world of music production, the pursuit of a captivating and memorable sound is a core objective. Across many of my compositions, one guiding principle has consistently proven its worth: the rule of three.
Championed by renowned producers like Max Martin and Jack Joseph Puig, this concept suggests that the human brain can only effectively focus on three elements at once. Having more than three things happening simultaneously can sound messy, and the listener may not grasp what you had intended for the music. Taking this into account during musical arrangement can work wonders, transforming cluttered compositions into clear and powerful sonic experiences.
The Power of Simplicity
The rule of three encourages producers to embrace simplicity without sacrificing creativity. By strategically selecting and highlighting the most critical elements at any given moment, we create space for these components to shine, allowing the listener to fully grasp and appreciate their impact.
What is Meant by an “Element”?
When using the word elements in relation to the rule of three, I'm not necessarily referring to three tracks in the DAW (digital audio workstation), as an element could consist of multiple tracks. For each element, I mean something that is heard as a distinct part of the music, which could equally be a kick drum or multiple drum tracks perceived together as the drums; a single guitar or several guitars playing the same rhythm and heard together; a single synth or multiple synth sounds performing the same part; a sole vocal or the lead vocal track, along with doubles and smoothly blended harmonies understood as the vocals. In each of these cases, if arranged and mixed properly, we can say they are generally perceived as one musical element. However, if the individual sounds or tracks meant to be heard together are not blended effectively due to poor performance or insufficient editing, they may unintentionally be perceived as multiple elements (not good).
Techniques for Achieving Clarity and Impact
Numerous techniques can be used to simplify how your music comes across using the rule of three:
- Use the Delete Button: Are there too many things going on at once? Is that extra track in the background actually adding anything useful? Sometimes, the most effective solution is to simply eliminate unnecessary sounds that clutter the arrangement. Try muting a track for a while to see how your music holds up without it, and if it’s fine, use that delete button.
- Rhythmic Timing: Having the bass play notes that line up with the kick drum, or rhythm guitars strumming in a sympathetic way to the rest of the track, will help it all feel more cohesive as a single rhythmic experience. If you have multiple instruments playing different rhythms, the listener will recognise them as separate things. Sometimes this might be the goal, but it's important to be very intentional about what you're doing so you don't clutter things up unnecessarily.
- Transient Alignment: Similar to the above, but at a more microscopic level. Aligning the transients of drums, bass, and vocals can create a sense of tightness and cohesion, preventing distractions from slightly misaligned attacks. This is best achieved by capturing a great performance, but some tidy up work by editing the tracks in your DAW can go a long way. With transients aligned, elements will be perceived together as one coordinated sound, rather than multiple scattered sound sources. This is particularly important when double-tracking instruments such as guitars, as the purpose of double-tracking is to create a fuller sound, not give the impression of two performances.
- Vocal Processing: Techniques like de-essing and corrective tuning, as well as the transient alignment mentioned above, can help to ensure that backing vocals and harmonies support the lead vocal without unintentionally stealing the spotlight. You will of course hear the different notes of the harmonies, but when they fit together well, they'll be perceived more as one cohesive part of the music. For example, everything may be going smoothly with the lead vocal supported by nice, in-tune harmonies, but if one harmony suddenly hits some notes that are significantly flat or slightly out of time, they'll stick out like a sore thumb and pull the listener's attention away from the great lead vocal they should be focusing on. Now, the out of tune vocal is perceived as an unwanted additional element - rule of three fail!
Benefits of the Rule of Three
By adhering to the rule of three, we unlock several benefits:
- Enhanced Clarity: Simplifying the arrangement creates sonic space, allowing each element to be heard with greater definition and precision.
- Increased Impact: When fewer elements compete for attention, the main elements command greater emotional weight, leaving a lasting impression on the listener.
- Improved Memorability: A clear and concise arrangement is easier for the brain to process and remember, making the song more likely to stick in the listener's mind.
Example: n1ghtmar3cat - Rat Race (feat. MISSY)
Below, I’ve identified the three main elements in each section of my track “Rat Race”. While there may occasionally be more than three elements in a section, additional elements generally don’t overlap, or are more atmospheric in nature. Listen along to note the changes as the song progresses.
- Intro: Drums, descending synth plucks, vocal sample
- Verse 1: Vocals, drums, plucks
- Pre-chorus 1: Vocals, synth chords, drums
- Drop / Chorus 1: Drums, descending synth plucks, monotone plucks or intermittent effects (these don't overlap)
- Verse 2: Vocals, drums, cranking sound effect, plucks (a fourth thing, but the plucks interweave with the drum beats and don't overlap)
- Pre-chorus 2: Same as first pre-chorus with additional harmonies
- Drop / Chorus 2: As with the first, with additional atmosphere
- Bridge: Vocals, synth chords, drums
- Drop / Chorus 2: As with chorus 1, with additional decorative effects
- Outro: Vocal sample, drums, plucks
Note that if there were vocals sung over those drop / chorus sections, there'd be far too much going on and it'd sound like a mess. It only makes sense to have such complex instrumentation because there are no vocals.
Next Up: What Should Be the Main Focus?
In my next article, I’ll discuss an idea closely tied to the rule of three which I call the “focus element”; the primary component that should demand the listener's attention at each point in the song. Whether it's a soaring vocal melody, a guitar solo, or a catchy synth hook, the focus element should be treated with care so that it stands out amidst the surrounding instrumentation. Considering the focus element alongside the rule of three can help to ensure the listener hears exactly what you want them to hear.
💡 Music makers: Do you think using the rule of three could give your tracks some added clarity? How do your current tracks hold up to the rule of three test? Let me know in the comments 💬
