AKA things intrinsic to my music that I increasingly notice, the more I do them. Do you notice these too?

  1. Polyrhythms for no good reason
  2. Beginning start of 8 bars with bassy bang
  3. Copypasting stab/phrase only a few times through arrangements
  4. A-B-A structure where the B ends up being more like a C or D
  5. Chromatic patterns
  6. Notes outside the scale
  7. Korg Wavestation/90s PCM swoops
  8. Rapidly-ascending arp sequence transition
  9. Low bass piano declaration
  10. Straight ➜ swing microchanges
  11. Warm, dynamic overall mix profile
  12. Through-composed ostinatos
  13. Pan flutes (on occasion)
  14. Momentarily clashing chords (jazzy)
  15. Aside from modulations, almost everything in the key of D minor/F major (makes it easier to mix tracks together)
  16. Embracing select musical theory, eschewing a lot
  17. Binding multiple similar timbres to form an “ensemble unit”
  18. Sample that’s used once and never again
  19. Generic chord progressions going off-road into a haunted forest
  20.  Hypermelody
  21. Treating layering like gestalt Transformers (esp. Devastator)
  22. Wildly floozy pitchbend
  23. Only cymbals when I have to
  24. Live-played drum patterns + generative sequences
  25. Micro-Amarok suites
  26. Overuse of parallel universes
  27. Combining stuff others don’t dare (or are too self-conscious to)
  28. Subtle pitch drifting too
  29. 8/16-bit sounds, but wrapped in speaker/room simulation
  30. Varying each clap and some snares
  31. Resampling whole mix through modular FX (hail Byome) then chopping up the lot into mini-moments
  32. Track titles/song names that have few/no Google results
  33. Funk-inspired basslines, with bending into notes and syncopation
  34. Arps that increase in intensity
  35. Gentle grain and texture on elements to crispify them
  36. Etudes focusing on a single virtual instrument (could be a sound library)
  37. Portmanteau sounds
  38. Can’t tell what is fake/real but does it matter? (The matter is the music.)
  39. Vocal chops, but lusher
  40. Goin’ that extra mile for detail, making ONE repetition slightly different
  41. Bouncing ball and accelerando strikes
  42. John Carpenter steady analog bass before it transforms (like The Thing)
  43. Dramatically changing midway, ending on a definite (usually not a fade-out)
  44. Re-playing the melody in realtime