Mazala Recordings Presents
Dance Music Rudiments Introduction This book / manual is an overview for beginner producers who have dabbled in music creation as a hobby, but want to take the next step and create a professional quality songs that can be commercially released and a DJ would be happy to play during his / her set. A more experienced producer will benefit from the extensive collection of chord charts, drum sequences and rhythmic patterns listed in the Annex sections. They may also take advantage from the categorisation of Timbre for Bass, Leads Synths and Strings / Pads and inspire the creation of new sounds. Long ago, to enhance my ability to create more effective Electronic Dance Music grooves, I decided to learn the basics of analogue drumming and purchased a drum kit. I discovered Traditional Drum Rudiments, which are recognised standards and sequences for practicing drumming. Fascinated by the concept of rudiments, I searched on line for articles on Electronic Dance Music Rudiments, but they didn’t exist. Throughout the last decade of producing Breakbeat and Drum and Bass, my production notes grew to a substantial size and it occurred to me that my notes were the basis for expanding towards creating Rudiments for Electronic Dance Music. Aim of the Book -Inspiration for beginner producers or more advanced searching for new ideas. -Extensive reference material containing both Musical and Rhythmic elements of dance music (Dance music/ club music/ music for DJ’s to play at clubs, not line dancing) -Follow the book from start to finish to cover the main areas of music production in a logical order, or dip into particular areas of interest. Overview of the Book The main purpose of this book is to crate a library and reference to many essential ingredients to creating dance music. The appendix contain a multitude of useful charts, matrix, scales, drum patterns etc. Chapter 1 Creating A Home Studio: This chapter contains an overview of the options available to set up a home studio, depending upon your budget. Chapter 2 Music Theory: A brief introduction to a few key elements of musicology which are required to understand basic Chord Progression and Rhythm Chapter 3 Genre: Usually producers create music that they are more familiar with. This chapter provides an overview of the main genres of Dance music and the key components. Chapter 4 Song Arrangement: Arrangement categories are the distinctive sections to a song, e.g. Intro and Breakdown, which each provide a particular function. Block Types are the components within each section, e.g. Instrument, Percussion, Vocals. This chapter focuses on ensuring that interest is sustain throughout the song with particular theories of arrangement. Chapter 5 Drum and Percussion Elements: Different drum styles are introduced plus a list of percussive instruments available to compliment the main beat. Chapter 6 Drum Pattern: If your have used sample CD drum loops to create your songs but want to create drum beats yourself, this chapter provides assistance by listing a range of common drum patterns available. Chapter 7 Introduction to Synthesis: This chapter contains an explanation of the basic principles in Digital Sound Design or Synthesis. Although not essential for a beginner, a dedicated producer must nderstand the science of Synthesis to generate unique sounds for use in his / her productions.
Chapter 8 Electronic and Analogue Instrument for the Dance Producer: The range of sound sources available in the modern pallet are explored, including Samples, Synthesis, Analogue Instruments and Keyboards. A matrix of Synth Timbres categories the range of textures available. Chapter 9 Creating Electronic Instruments: This chapter contains step by step instructions on how to create a wide variety of Timbres using any hardware Synthesiser or virtual Synthesiser. Chapter 10 Rhythm: The core component of all modern Electronic Dance music is demonstrated using simple mathematical theories. Chapter 11 Sound Effects: To compliment the Drums and Instruments, Sound Effects are an essential ingredient to add a professional finish to a song. The full range of categories, both Analogue and igital are listed. Chapter 12 Dance Music Production Rudiments Tips and ticks for getting inspiration, production ideas and techniques. Chapter 13 Use Of Filters: Digital Signal Processing. Filters can transform a simple instrument into a more complex and interesting one. By mastering filters, a song can fore fill its maximum potential. Chapter 14 EQ and Mastering The final stage of production is to ensure that the instruments are clear and distinct, frequencies are balanced across the range, and that the song achieves maximum loudness and compression without distortion.Chapter 15 Organising Samples Being organised is a key quality of a successful producer. Meticulously categorising and organising your samples into logical groups saves time and wasted energy. Chapter 16 Live Performance for the Dance Musician Once your masterpieces have been created, live performance in front of a screaming crowd is the ultimate Chapter 17 Selling You Music After years of practice, your songs will eventually become indistinguishable from commercially released tracks. The final chapter provides advice on how to set up a record label and sell your music to an international audience. Chapter 18 Dance Music Rudiments Version 2 Version 2 of this Dance Music guide aims to contain input from producers around the world. Help Wanted! 1 Creating a Home Studio Introduction to Electronic Music Production A decade ago, electronic musicians needed masses of hardware in order to make music, including hardware synthesisers, samplers, rack mounted effects units, drum machines, MIDI controllers, sequencers, mixers, tape machines for recording and more. Today is now possible to get virtual equivalents of all of the above, and more, either inexpensive or completely free. (I am referring to Shareware, Freeware and Open Source software to download, and not illegal bit torrent!) If you a complete beginner to the world of music productions, there are several major decisions you will need to make. Most importantly, how much money are you willing to spend on a PC, mixer, hardware Synth, VST, samples? Minimum Hardware Requirements The absolute minimum hardware requirements for a home studio include a PC, Audio Interface, Software Sequencer, Midi Keyboard and decent Studio Speakers. If you are starting out, a large mixing desk, array of hardware effects processors and a multitude of Synthesisers are expensive an not particularly essential. Once your home studio has been set up and you If you decide that music production is worth pursuing, then you can consider expanding. The digital/ analogue converters in most PC laptops, for example, are generally low end and will result in lots of hiss from your monitors/headphones. Good quality soundcards/audio interfaces vary widely with regard to
the number of inputs and outputs, the quality of the converters, their means of hooking up to your computer (PCI, USB, FireWire, PCMCIA etc.) An audio interface converts analogue signals from an instrument or microphone to a digital format to connect to the computer. Budget The cost of even the most basic Home Studio is not cheap so plan in advance and do plenty of research before spending a penny. Minimum
Medium
Expensive
PC
500 £
1,000 £
2,000 £
Audio Interface
20 £
100 £
200 £
Software Sequencer
50 £
150 £
300 £
Midi Keyboard
30 £
100 £
350 £
Studio Speakers
80 £
200 £
2,000 £
Samples
n/a £0
50 £
100 £
Mixing Desk
n/a £0
100 £
1,500 £
Effects Rack
n/a £0
100 £
1,000 £
Total
680 £
1,800 £
7,450 £
Basic Tools for a Software Producer Sequencer The core element to your software studio is the sequencer, for example Rebirth, Fruity Loops, Logic, Ableton Live, and Cakewalk (more details later). Modern sequencers contain virtual representations of traditional hardware studios, such as… -A range of Audio tracks for recording or playing Audio data. -A range of stereo MIDI tracks. -Controls for each track to adjust amplitude, pan, sends etc. -MIDI editing facilities. -Send or Bus tracks for adding common effects such as reverb, delay etc. Fig 1: Logic Audio; Modern Sequencer with the full functionailty of a hardware studio.
Audio V’s MIDI Sequences record and playback either Audio or MIDI data. Audio data is very large and contains the sound, e.g. 1 Minute of an Guitar Audio recording at standard CD quality 44 KHz is 10 Meg. MIDI data is small and 1 minute recording is 10 kb.
MIDI Musical Instrument Digital Interface A MIDI Keyboard can be used to record a players performance notes over time. As the musician plays the keys, MIDI information is generated and can be recorded in a sequencer. The MIDI data can be manipulated and edited using the sequencer tools to add, remove or change a notes position and velocity. A software sequencer will enable you to record and edit both MIDI and Audio data. The MIDI editing facility will provide you with the basic tools required to touch up a performance, e.g. add, delete, move or edit notes. Audio Editing To complete more detailed Audio editing, a dedicated Audio software programme is required. Soundforge, Cool Edit Pro, Weavelab and Rebirth and the most common. They will allow you to cut, copy and paste sections of audio in preparation for use in your music. Functions such as pitch shift, time shift can alter the time and pitch of a sample independently of each other. If you have a classical sample loop at 140 BPM in C minor, you can use time shift to increase the tempo to 170 BPM and maintain the key of C minor. ReCycle Propeller Heads Rebirth is designed to chop large audio files, for example drum loops, into smaller individual audio files. It can automatically detect where each drum hit starts or the data can be edited manually. Fig 2: A drum beat loaded into ReCycle.
Budget Software Sequencer For a restricted budget, start with purchasing lower end programs, e.g. Fruity Loops, Sonic Foundry Acid, or Cakewalk Music Creator 4. They help to get a basic understanding of creating drum pattern sequences and Synth lines using a simple interface. Fig 3: Two examples of software MIDI sequencers, Fruity Loops and Logic.
Budget Software Sequences are very easy to use, but are not particularly flexible and versatile. They may come with only modest selection of Drum Kits that cannot be expanded and Virtual Instruments that are limited and cannot be expanded. There are even Freeware / Open source sequencers available: • Ardour • Frinika (cross platform) • LMMS (cross platform)
• • • • • •
MusE MuseScore (cross platform) Musette Rosegarden Seq24 Hydrogen (cross platform, drum machine)
Advanced Software Sequencer If you want to expand your Software Sequencer with an almost limitless amount of Virtual Instruments, select a Sequencer that can use VSTs. Virtual Studio Technology, developed by Steinberg, are plug ins for both Virtual Synthesisers and Virtual effects. Fig 4: A selection of VST Synthesisers. The sound quality of VSTs is catching up with hardware Synths. The average clubber can’t tell the difference and probably doesn’t even know what a VST is anyway.
Fig 5: A selection of VST Effects. Any hardware effect, e.g. EQ, Compression, Panner, Phaser etc has a software equivalent. (I don't know what they are claled but they look pretty, so they must be good)
VST Software Sequencer hosts include… • Ableton Live, • Ardour, • Cubase, • FL Studio, • Logic Pro, • REAPER • Sonar. Some VSTs are quite inexpensive to purchase and other cost many hundred pounds. Ensure that you read many reviews or download trial period VSTs before purchasing. There are many free VST Synthesisers and VST effects to search for on the internet… http://www.vst4free.com/ http://www.audiomastermind.com/browse-free_vst_plugins-5886988-1.html http://www.vstplanet.com/ http://freevst.blogspot.com/ http://free-plugin-list.com/ http://www.kvraudio.com/ Samples
Another vital element to any studio, big or small, is a sample collection. Drum Kits, vocal stabs, sound effects, trumpet stabs etc. A vast number of professional quality sample CDs are available on the market from about £20 to £50 pound each. They differ substantially in quality and style so listen to them before parting with your cash. There are many free resources on the internet which provide samples of all types and sources. Build up your own sample collection over the years or purchase a mike and some instruments and make your own. Free samples may not match the quality and consistency of purchasing professional CDs, but they are an excellent and diverse alternative. http://www.stonewashed.net/samples.html http://www.free-samples-n-loops.com/free-music-downloads.html http://www.sounddogs.com/ http://www.samplecraze.com/ http://www.bangingtunes.com/misc/royalty-free-samples/ Sound Fonts SoundsFonts (trademark of E-Mu Systems) are actual samples that are mapped to notes on a keyboard to provide a limitless range of instruments. Instruments such as the Piano and Flute which, traditionally, are very difficult to emulate by using subtractive Synthesis or physical modelling Synthesis. Instead, they are sampled at different tones and mapped to specific notes on a midi keyboard. This is known as Wavetable Synthesis. Fig: Each block below the keyboard represents a sound recording of a piano at different intervals and different amplitudes. The intricacies and variation of a note on the piano played at different volumes can be mapped to the midi keyboard. Playing the midi keyboard softly on a touch sensitive keyboard triggers the soft sounds, and playing the keyboard loudly triggers the loud sounds. Fig 6: Audio files are mapped to a range of notes on a MIDI keyboard and at different velocities. Many SoundFonts are free and contain real samples of vintage and modern Synthesisers, including Novation Bass Station, Access Virus, Korg Triton and E-Mu. It is possible to build up a vast collection of electronic and analogue drum kits, Synthesisers, orchestral instruments, and many other sounds without any additional cost. The following websites offer free SoundFonts. http://www.digitalsoundfactory.com/ http://www.sf2-files.com/freesf2.php http://www.sonivoxmi.com/freesoundfonts.asp http://www.hammersound.net/ http://soundfonts.homemusician.net/ http://zandro.freeunixhost.com/ http://freepats.opensrc.org/sf2/ http://vincentbernay.free.fr/Guitar%20Vince.sf2 http://thepatchlab.com/ http://prosites-allmanmusic.homestead.com/jOrgan.html http://brucemiles1.mysite.wanadoo-members.co.uk/soundfonts.html http://www.zophar.net/utilities/soundfont.html
http://sounds.resonance.org/ http://www.composition-contest.com/index.html free soundfonts Next Steps Now that you have all of the tools, the next step is to gain knowledge. The basics of Synthesis, drum sequencing, percussion, effects, chord progression are covered various chapters within this book. 2. Music Theory Musicology Understanding the basic principles of Music Theory is enough to get you started, but it will take a lifetime to master. There are many books and web sites devoted to Music Theory which provide a more detailed description of Musicology. The following pages provide a brief overview and enough information to give a beginner an introduction. Notes on a Keyboard The notes on a keyboard, listed below, are from A to G and repeat over a 12 note sequence. The black notes have 2 names, either Sharp # taken from the white note on the left, or Flat b taken from the white note on the right. The numerical unit of notes is called a tone. The move of 1 note to the next is called a semi-tone, i.e. C to Db is a semi tone. E to F is a semi tone. The move from 1 note to the second is a tone, i.e. C to D is a tone, G to A is a tone, E to Gb is a tone. Tones are used to identify scales. Fig 1: The notes on a keyboard repeat after 12 semi tones or 8 whole tones. Chap 2 a keyboard.jpg
Fig 2: The notes used in a sequencer correspond to notes in a Stave. Each grid in the sequence below represents 1/16th of a bar or 16 semi quavers. Each note is a quaver, or 1/8th bar. (Details on musical notation below) Chap 2 b stave.jpg
Scales Scales are a recognised sequence of notes that ascend up the keyboard starting of a specific note. There are an extensive variety of scales available, from the more common Major and Minor scale, to the more exotic Japanese, Kumoi and 8 Tone Spanish. An extensive list of scales are listed in Appendix 1. The are the starting point for constructing melodies that harmonise with chord progression (covered later in this chapter). C Major Scale C Major = C, D, E, F, G, A, B, and C The Major scale can be counted in semi-tones and is universal for all scales 2 2 1 2 2 2 1. For example, the scale of C Major: starting in C, 2 semi-tones to D, 2 semi-tones to E, 1 semi-tone to F etc. C Major Scale in Semi Tones
C start
D 2
E 2
F 1
G 2
A 2
B 2
C 1
G 1
A 2
B 2
C# 2
D 1
D Major in Scale in Semi Tones
D start
E 2
F# 2
C Minor Scale The second most common scale is Minor and consists of semi-tone steps 2 1 2 2 1 3 1 C Minor = C, D, Eb, F, G, Ab, B, and C C Minor Scale in Semi Tones
C start
D 2
Eb 1
F 2
G 2
Ab 1
B 3
C 1
F# 2
G# 2
A 1
C 3
C# 1
C# Minor Scale in Semi Tones
C# start
D# 2
E 1
Musical Notation Musical symbols represent all elements of Musical Notation, including the note length. The most common symbols for an Electronic Dance producer are shown below. The use of note length is essential for creating particular Rhythmic components of a song, which is explored in more detail in Chapter 11. Chap 2 c notation.jpg
Semibreve is 1 bar Minim is ½ of a bar. Crotchet is ¼ of a bar. Quaver is 1/8 of a bar. Semiquaver: Is 1/16 of a bar Chords Chords are simply constructed from notes in the scale. For example… C Major consists of the 1st, 3rd and 5th Note of the C Major Scale C E and G. C Minor consists of the 1st, 3rd and 5th Note of the C Minor Scale C Eb and G. Chap 2 d chords.jpg
C Major C E G
C Minor C Eb G
A “Major” chord has a positive, pleasant sound and a “Minor” chord has a more dissonant and uneasy sound. A list of common chords is listed in Appendix 2. Understanding Chord Progression Chord progression is moving from one chord to another to create pleasing and satisfying change. Extensive chord progression used in pop and classical music is outside the scope of most electronic dance tunes, and also this book. Modern dance music can be effective with only 2 or 3 chords. The choice of chords available is based on the predominant scale of the song, e.g. a song based on C Major has 7 chords to choose from, each starting with a note from the C Major scale C, D, E, F, G, A, B. Each note or Scale Degree can be referenced using a Roman Numeral as described in the chord chart below. C Major Chord Progression Chart
Appendix 2b features a Chord Progression Chart from A to G, Major and Minor. Chord Progression Example in C Minor An example of a simple 4 chord progression VI, I, II, I or A Minor, C Major, D Minor and C Major is listed below. 1) 2) 3) 4)
VI I II I
A Minor C Major D Minor C Major
ACE CEG DFA CEG
Chap 2 e Chord prog1.jpg
To devise your own chord progression in C Major, use any of the above chords in any order, either starting or ending in the root chord, i.e. I or C Major. Experiment to see which progressions sound familiar and useable, or too unfamiliar and strange. If you use too many unfamiliar chord progressions, the audience may be put off because they are unfamiliar with your choice of chords. If you use too many familiar chord progressions, the audience will be put off due to high predictability. The key is to find a balance between the two extremes. Transposing Chords Progression Any chord progression can be transposed to another Scale Degree by using the matrix in Appendix 2b. Cheat, by learning chord progression only in C, and use the transpose button when you jam with better musicians!
C Minor Chord Progression Chart Chord progression can also be based on Minor Scale Degree. A common chord progression is V, VI, I.
Chap 2 f Chord prog2.jpg
Chord Progression Chart Based on Any Scale Any chord progression chart can be devised based on a particular scale, and Scale Degree. -The chords in Scale degree I uses noted from the scale in position I, II and V. -The chords in Scale degree II uses noted from the scale in position II, IV and VI. -The chords in Scale degree III uses noted from the scale in position III, V and VII. -The chords in Scale degree IV uses noted from the scale in position IV, V and I. -The chords in Scale degree V uses noted from the scale in position V, VII and II. -The chords in Scale degree VI uses noted from the scale in position VI, I and III. -The chords in Scale degree VII uses noted from the scale in position VII, II and IV. Substitution To increase the range of chords available for more advance progression, change any Chord Name apart from the root to a possible substitution. Substitutions include inverse, i.e. Major to Minor, Minor to Major, bVII e.g. B Dim becomes Bb Major. Substitution: 1 “bVII” In a standard C Major Chord Progression Chart, Scale Degree VII or B Dim creates a very dissonant chord progression when used with the other chords. By substituting the B Dim with Db Major (i.e. lowering B by a semi-tone to Bb) a more pleasing progression option becomes available. Chap 2 g Chord prog3.jpg
Substitution 2: All Major An established method for using all Major chords is to reverse the polarity III and VI, i.e. turn Minor to Major and use bVII to turn B Dim to Bb Major. Remove II from the progression chart because it doesn’t produce a pleasing progression. Chap 2 g Chord prog4.jpg
Further Reading This chapter merely introduces the key elements of musicology. choose to explore include.. • • • • • • • •
Other areas of interest which you may
Staffs, Clefs and Ledger Lines Steps and Accidentals Phrases and Cadences Music and mathematics Symmetry Musical temperament Tonality Classical terminology
Emotional Chord Progression The choice of Scale Degree, Scale and progression will determine the emotional response. Many factors contribute to the mood of the song, including tempo, timbre, rhythm and chord progression. Dark Chord Progression The vibe and atmosphere is more important that the emotional content of Chord Progression in dance music. Classical music uses dissonant harmony and minor chords to convey unsettling and moody songs. In electronic music, dark vibes are crated by using minimal chord progression as chord progression generally has a specific emotional attachment. By detaching any emotion, and selecting specific instruments with distorted textures, dissonant harmony and disturbing timbres, a dark vibe is created. Chap 2 i Chord prog5.jpg
Euphoric Chord Progression Euphoric chord progression consists of alternating between major and minor chords, i.e. V, VI and I. Chap 2 j Chord prog6.jpg
Appendix 3 lists several examples of chord progression used in a variety of genres, including Dark D&B, Funky House and Breakbeat. 3. Genre Decide what Genre to compose. The first decision to make is what type of Electronic Dance Music you want to make. A Genre that you are most familiar with will make a good starting point. If you choose to produce music in unfamiliar territory, you may create a genre breakthrough and produce completely original and unique tunes.
At the simplest level, Electronic Dance Music can be divided into 2 main genres types, either regular 4 to the floor Kick or Broken / Irregular Beat. Genres with a Regular 4 to the Floor Beat have more emphasis on the musical element, however Genres with Broken Beat have a greater importance rhythmic variation. Broken Beat Breakbeat Electro Drum and Bass Garage Dub step / Grime
Regular 4 to the Floor Beat Hard Dance House TechnoTrance Sub Genres Each Genre contains a wide range of Sub Genres with emphasis on either chord progression, e.g. Intelligent Drum and Bass / Trance, or atmosphere and vibe e.g. Dark Drum and Bass or Hard House. If you can master both elements, your choice of Genres will increase considerably.
The full definitive list of main and sub genres will probably never be complete as genres overlap and new categories are invented regularly. Wikipedia contains a reasonably comprehensive list however true pioneers are out creating music and don’t have time to update Wikipedia (or create books on Dance Music Rudiments!) To save you seconds of your precious studio time, I’ve Googled the subject for you… http://en.wikipedia.org/wiki/Electronic_Music_Genres
It is outside the scope of this book to define the combination of elements that determine a particular sub genre but to categorise the elements themselves. I have been producing Breakbeat (Mazala Recordings) and Drum and Bass (Bass Fix Productions) for over a decade and have released numerous singles, EP and Albums globally. Although this book is created from an author with a background in the above genres, there is no reason why a Trance producer, for example, can benefit from the ideas contained within.
4. Song Arrangement Considerations Before Arranging a Song Before spending time on arrangement, ensure that the song has a good vibe to start with and is worth pursuing. Create the core elements of the song first, Drums, Bass, Synth. A vibe is combination of rhythm and music that give the listener an overwhelming desire to move. The creation of a good vibe can often be hard to explain in words, but when the magic is there it cannot be ignored. The order you produce the elements dictate what direction the song will take. Starting with Bass for example limits the chord progression options available. However, for certain genres, chord progression may not be of particular importance for the track. Composition Tip Any creative artist has good and bad days for their work, however at the time of production, a low standard may be hard to spot. After a few days, fesh ears and mind will be better to judge if the vibe is good. When creating a new tune, start by creating the main part of the song, (the drop) using an 8 or 16 bar loop, using the core components of the song, Drums, Bass, Lead. Compose a second part, different but not too removed from the main part of the song. Don’t worry about the intro, breakdown or outro at this stage. The intro is just a light version of the drop with the hook or main synth removed. The breakdown is usually the introduction of the hook or synth without the drums. Your initial perception of a tune is altered as soon as it is created so take a break from that particular song for a few days. After a break re load the tune and if the vibe is good, continue working on the song to completion; add more detail, e.g. pads and Synths (Chapter 8), sound effects (Chapter 11) and production techniques (Chapter 13). If not, consign it to the bin, and make a fresh song. Adding details and intelligent arrangement will never fix the fundamental issue of “lack of vibe” Arrangement Categories and Arrangement Block Types. When arranging a song, it is necessary to understand the different Arrangement Categories and their particular function, see the chart below. Each Arrangement Category is distinctive, does not overlap and fore fills a particular function for both the DJ and dancer. A lot of songs go straight from the Intro to a Drop with a minimal build up. The only rule to arranging is so ensure that the song can be mixed by a DJ.
Arrangement Categories
Function
Intro
Breakdown 1
Pre Beat 1 Or Build up Main 1 / Drop 1 Variation 1 / Chorus Breakdown 2 Pre Beat 2 Build up 2 Main 2 / Drop 2
Variation 2 / Chorus Outro
Start of song, e.g. just drums, or Strings. A DJ friendly intro will enable the song to be mixed from the beginning. A simple intro will be easy for the DJ to mix. An epic intro with a variety of instruments, atmosphere etc will provide a substantial start to a DJ's set. Change of pace, create space prior to main part of the song “drop”. (This part of the tune is generally where the new song is given 100% of the cross fader and the old song is replaced with the next tune to be mixed.) Anticipation prior to the main part to song / Drop. The rhythm and intensity increases. Start of main part of the song. Change of pace or themes to sustain interest. Traditionally the Chorus contains the most memorable and catchy riffs of the tune. Similar function to Breakdown 1. Anticipation prior to the second Drop. Start of main part of the song. (This part of the tune should contain an easily recognisable cue point for the DJ to start mixing in the next song) Change of pace or themes to sustain interest. Finish, winding down of elements. An epic outro with a variety of instruments, atmosphere etc will provide a substantial end to a DJ's set.
Arrangement Block Types (single) An Arrangement Block Types describes the musical or percussive content. There are 10 categories, and each Arrangement Category will contain a combination of multiple Arrangement Block Types, see the chart below.
Arrangement Description Block Types (Single) PERCUSSION Used for intros or breakdowns and helps the DJ keep time without overpowering drums. DRUMS - Light Full Drum kit with little power, commonly used before the Main Drums. DRUMS - Main Main hard drums, full volume and intensity. INSTRUMENTS Bass INSTRUMENTS Strings / Pads INSTRUMENTS Lead / Synthesiser INSTRUMENTS Analogue Instruments Guitar, Piano etc. Real recordings or Sound Fonts. VOCALS Rap, spoken word, singing.
SFX SFX
Digital or Analogue FX Scratching
Example of Arrangement Block Types in a Breakbeat Tune The following example provides overview of a typical arrangement of an 8 minute Breakbeat tune… -A single “Arrangement Block Type” unit lasts 16 bars (or 30 seconds at 134 BPM). -By introducing a new “Arrangement Block Type” every 8 bars, the tune does not become repetitive and maintain interest. In the example below, the intro provides the DJ about 1 minute to mix both tunes before cutting the fader 100% for the breakdown. The DJ can mix out of the tune at the end of Variation or Pre Beat 2.
Arrangemen Intro Breakdo Pre Beat Main Variation Breakdo Pre Beat Main Variation Outro wn 1 1 1 1 wn 2 2 2 2 t Category Name: Number of Bars:
32
16
16
32
32
16
16
32
32
32
Number of Units:
2
1
1
2
2
1
1
2
2
2
Block Type Variation To sustain interest for the listener, it is necessary for a producer to exhibit subtle variations in the Arrangement Block types, and dramatic variation from one Arrangement Category to the next. As an example, the following 32 bar Intro contains a new variation of “Arrangement Block Type” every 8 bars. 8 bars of drums and Bass, then 8 bars of drums, Bass and Synth, then 8 bars of drums, Bass and vocals, then 8 bars of drums and vocals. INTRO
BREAKDOWN…
0:00
0:30
1:00
1:30
2:00
8 Bars
8 Bars
8 Bars
8 Bars
etc
Drums - Main
Drums - Main
Drums - Main
Drums - Main
Instruments - Bass
Instruments - Bass
Instruments - Bass
Instruments - Synth Instruments - Synth Vocals
Vocals
Snare roll crescendo Pads
Decide the Sequence of Arrangement Block Types Once you have an understanding of the function of each individual Arrangement Block Types, the next stage is to produce an arrangement which contains the main framework, and simple sequencing patterns, e.g. Intro Build up Main 1 Variation 1 Breakdown Main 2 Variation 2
= 1/8th closed hat = Snare roll = Main drums and Bass = Main drums and Bass and Synth = 1/8th closed hat = Main drums and Bass and vocals = Main drums and Bass, vocals and Synth
Outro
= 1/8th closed hat
Fig 1: Each unit below represent 4 bars in the song (or 15 seconds).
Key Elements to an Arrangement. 1) The song can be mixed in easily by a DJ. 2) There are not too many breakdowns, either 1 or 2 per song is enough. 3) The song can be mixed out easily by a DJ. Simple Arrangement Keep the arrangement simple enough for a DJ to mix in and out of the tune. If you want to demonstrate cutting edge rhythms and irregular Synth effects, utilise the breakdown when dancers stop dancing and take a break (unless their particular state of mind prevents them from noticing that the beat has stopped). As long as the main part of the song contains a familiar and regular rhythmic sequence, the dancers won’t mind a complete contrast in musical elements for the breakdown. An important consideration is that only a few song Arrangement templates provide a DJ friendly track. If the DJ can’t mix your song because of a contemporary and irregular arrangement, it might fore fill the function of a film score, but fail for the purpose of a dance track. For more examples of Song Arrangement, see Appendix 5. DJ Friendly Cue Points Any percussive element at the beginning of a song will help a (Vinyl) DJ mix in a tune straight from the start. It is important to add DJ Friendly Cue Points in a variety of places within the track. An obvious example to demonstrate is by adding the vocals, “3, 2, 1, go” just before bar 13. An example or non DJ Friendly arrangement is 4 bars of Strings and no percussion which jump suddenly into the main part of the song. An experienced DJ will be able to cue off from the Snare but this only gives them a fraction of a second to react. Motifs can be used symbolically to communicate arrangement, e.g. the clichéd 16ths Snare build up before the main part of the song. e.g. FX - swoosh up or down to signify a new 16 bars. 5. Drum and Percussion Elements Determine the Drum Kit to use The Drum Kit is also an instrument, with an infinite pallet of sounds. To provide a greater understanding, Drum Kits can be categorised into 6 types. Other qualities which can be suitable to help categorise include power, i.e. light, medium and heavy, which makes a total of 6 colours with 3 different shades each, or 18 categories. Drum Timbre The timbre of a Drum Kit can be classified mainly by the source and use of filters. Certain timbres are more effective for specific genres, although you can mix it up a bit for originality. 1) Analogue: Raw, unprocessed live kit, either recorded directly from a live drum kit or sequenced. Drum Timbre Rock.mp3 2) Electronic Crisp Hard: Analogue kit, processed electronically to create a tight and crisp kit. Drum Timbre 2 Elec hard.mp3 3) Electronic Vintage: Electronically generated drums, e.g. 808, 909. Drum Timbre 3 Vintage.mp3 4) Filtered Analogue: Filtered analogue drums with either subtle, e.g. modulation, vocoder, band pass or drastic effects, e.g. distortion. Drum Timbre 4 Rock FX.mp3 5) Filtered Crisp Hard: Filtered Crisp Hard drums with either subtle, e.g. modulation, vocoder, band pass or drastic effects, e.g. distortion.
Drum Timbre 5 Elec Hard FX.mp3 6) Filtered Vintage: Electronically generated drums, with additional DSP. Drum Timbre 6 Vintage FX.mp3
Percussion Style World percussion can add a distinctive and energetic flavour to static beats. The following examples sound effective when added to a House Beat or Broken Beat. Jazz: light percussion, i.e. no big Snare or Kick. Perc Style 1 Jazz Drums.mp3 [See Appendix 6a] Latin: bongos, castanets and bells and life and an upbeat vibe. Perc Style 2 Latin Drums.mp3 [See Appendix 6b] World: bongos and tabla complement a steady beat Perc Style 3 World Drums.mp3 [See Appendix 6c] Industrial / Orchestral Drums: - e.g. movie drums Perc Style 4 Industrial.mp3 Drum Extras Additional sequences can enhance a standard drum beat and provide subtle variation. Boom drums / bongos: Rumble boom drums with long reverb Drum Extra 1 Boom Drums.mp3 Beat Box: Beat Box: Human vocals imitating drums Drum Extra 2 Beat Box.mp3 Beat Band Pass / Ghost: Tiny filtered beat – treat like shaker percussion. Drum Extra 3 BP Ghost.mp3 Beat FX / filter. Beat that is filtered drastically so it no longer sounds like a drum beat, but a sound effect. Drum Extra 4 Filter.mp3 No Kick:Hat and Snare beat for breakbowns Drum Extra 5 No Kick.mp3 Percussion loop: Hats / bongos - usually in house Extra 6 Bongo Loop.mp3 Poly filler: Polyrythmic sequence to enhance a basic beat, i.e. provide a fuller drum sound Drum Extra 7 Poly drums.mp3 Pre Beat: Pre Beat rudiments. Intricately programmed rhythmic effects. (More details in chapter 8) Drum Extra 8 Pre Beat.mp3 Beat Swish: Usually in house before the second Snare. Drum Extra 9 Beat Swish.mp3 Beat Zaps: Zaps or bleeps, usually off beat to provide a fuller rhythm. Drum Extra 10 Zaps.mp3 Percussion Simple percussion can provide effective additional rhythmic components to a simple beat. The combined effect is a more danceable rhythm.
Bongos – steady: With the rhythm for a steady compliment Percussion 1 Bongos Regular.mp3 Bongos – sparse: Against the rhythm and off beat to add intensity Percussion 2 Bongos Sparse.mp3 Clap: Electronic or Real (Analogue) Percussion 3 Clap.mp3 Crash Cymbal: Electronic or Real (Analogue) Percussion 4 Crash.mp3 Cymbal Ride: Electronic or Real (Analogue) Percussion 5 Ride.mp3 Hats real drummer: Different subtle/extreme timbres to emulate real drummer; a dynamic timbre greatly enhances the overall vibe. [insert imagination here] Hats regular: Quantised 1/16th drums that provide a precise, unnatural and clinical sequence. Percussion 6 Hat Reg.mp3 Hats swing: Swing hats for a jazzy vibe. Percussion 6b Hat Swing.mp3 Hats electronic: Micro sequencing 1/32nd or less. Percussion 6c Hats MS.mp3 Bell Percussion: Metallic percussion. Percussion 7 Bell.mp3 2 Tone: e.g. 1/8th note bell, electric bong, pop etc. Percussion 8 2tone.mp3 Percussion FX: Any standard percussion with a filtered sound. Percussion 9 Beat Filter.mp3 Misc: Anything that doesn’t fit in any other category. [ditto] Shakers Regular: With the rhythm for a steady compliment Percussion 10 Shakers Reg.mp3 Shakers Sparse: Start on 3/8 to 7/8 of the bar. Percussion 10b Shakers Spr.mp3 Shakers Analogue: Analogue recording of shakers Percussion 10c Shakers Real.mp3 There are other percussive instruments available including Whistle, Guiro, Wood Block etc but they add an element of amateur General Midi composer. 6. Drum Pattern Drum and Percussion sequencing. My preference for producing Drum and Bass and Breakbeat over House probably originates from my love of solid Drums and contemporary rhythmic variety. Although subtle variety within the drum sequencing is necessary, it is essential to maintain a steady grove. A simple techniquie to create a 32 bar sequence of drums from1 pattern: Create 1 bar of drums. Copy and change the rhythm of the last bar (the second). Copy both to make 4 and change the rhythm of the last (the fourth). Repeat 3 more times until you have a total of 32. The following drum patterns have been seperated into 3 categories, Breakbeat, Hip Hop and Drum and Bass.
A) Breakbeat – 100 to 150 BMP Breakbeat drum sequencing can be categories into the following sub categories. The categories are defined by the position of the Kick and Snare only. Hat sequencing can help accentuate certain rhythmic qualities and offer variety to an identical Kick and Snare pattern, but does not define a category. Each block represents 1/16th of a bar or Semi Quaver. 1) STANDARD ELECTRO Regular Snare, simple and effective. Drum Pattern 1 Stand Elec.mp3
2) STANDARD BREAKS Regular Snare, simple and conventional 1/8 sequencing for Kick and accented Snare (Only light Snare / Ghost Snare is sequenced at 1/16 only) Drum Pattern 2 Stand Break.mp3
3) HYBRID Combination of Regular Kick with break ending Drum Pattern 3 Hybrid.mp3
4) IRREGULAR Snare delayed or increased by 1/16th Drum Pattern 4 Irregular.mp3
5) ROLLING Regular Snare, simple and effective. Very similar to “Standard Breakbeat” with the addition of a Kick on 1/16th hits to give more momentum. Drum Pattern 5 Rollling.mp3
6) CONTEMPORY SNARE Intelligent and modern, Snare delayed or increased 1/8th Drum Pattern 6 Contemp Snare.mp3
7) CONTEMPORY KICK Intelligent and modern, Kick delayed or increased 1/8th Drum Pattern 7 Contemp Kick.mp3
8) UNCONVENTIONAL Snare that is not constant and delayed or increased by over 1/8th Drum Pattern 8 Unconven.mp3
9) POLYRYTHMIC “Off Beat” and complementary to a regular “On Beat” sequence. Drum Pattern 9 Poly R.mp3
Important Considerations • The use of too many unconventional drum sequences with irregular Snares and Kicks will dissuade clubbers to dance. • To sustain interest, try a variety of Drum Sequence styles in a song, either alternating every 16 bars or example, or changing style for the second half of the song. See Appendix 8a for the full list of Breakbeat sequence patterns in the different styles.
B) Hip Hop– Below 100 BMP To create a groove for Hip Hop, reducing the speed of a Breakbeat tune will not necessarily sound good. A standard Breakbeat sequence that is reduced to 100 BMP sounds too empty. Drum Pattern 10a Hip Empty.mp3
HIP HOP with Swing Beat sequence that sounds better below 100 BPM. The sequence benefits from additional Kicks either 1/16th before or after the sequence of standard Kicks. Drum Pattern 10b Hip Full.mp3
HIP HOP without Swing Swing becomes more important with slower tempos. Swing and notice how rigid it sounds. Drum Pattern 10c Hip Noswng.mp3
Compare the Drum Sequence below without any
Swing It is essential to add a lot of Swing or else the straight 16 beats sound ridged. All good Software equencers will provide a function to add degrees of Swing to a sequence. Fig 1: Top top bottom, Heavy Swing, Medium Swing, No Swing
[see Appendix 8b for the full list of Hip Hop sequence patterns]
C) Drum and Bass – Above 150 BMP The majority of regular Breakbeat patterns can be increased in tempo for Drum and Bass which has a standard tempo of just above 170 BPM. An important consideration to make are that sequences that contain too much swing start to loose their edge. Also, too many 1/16th Kicks sound cluttered. DRUM AND BASS A standard Hip Hop sequence that is increased to 170 BMP sounds too messy. The quick Kicks and swing are not pleasing to the ear.
Drum Pattern 11a DnB 2full.mp3
The sequence benefits from removal of all swing and too many Kicks Drum Pattern 11b DnB fine.mp3
[see Appendix 8c for the full list of Drum and Bass sequences patterns]
D) Percussion Sequencing When sequencing the hi hats, their relative position to the Kick and Snare is important. A simple rule to create the Kick and Snare pattern first before adding hi hats which complement the rhythm. [see Appendix 9 for the full list of percussion sequence patterns]
E) Electronic Drum Rolls One of the drum’s rolls most simple functions is to indicate the end of a drum sequence by introducing drastic rhythmic variations. The drum roll enables the song to progress to the next section of the song comfortably. [see Appendix 10 for the full list of Electronic Drum Roll patterns] 7. Introduction to Synthesis Basic Tutorial In Sound Design To create your own Synth Sounds, you will need a basic understanding of Sound Design or Synthesis. There are a variety of types of Synthesis, including… • Additive • Subtractive • Granular • Spectral • Ring Modulation • Amplitude Modulation • Frequency Modulation • Re-Synthesis • Wavetable • Physical Modelling A detailed description of each form of Synthesis is outside the scope of the book – For further reading, Google it. The fundamental areas of Synthesis are explained below.
Introduction to Additive Synthesis In it’s simplest form, Additive Synthesis is the addition of sine waves at various frequencies to create more complex sounds. In theory, any sound can be reproduced using up to an infinite number of sine waves. Square Saves, Saw Waves and other more complex waves are generated by adding Sine waves of different harmonic frequencies together. A harmonic of a wave is a component frequency of the signal that is an integer multiple of the fundamental frequency. For example, if the fundamental frequency is f, the harmonics have frequencies f, 2f, 3f, 4f, etc. Fig 1: One sine wave at 440 Hz.
Fig 2: Three addition sine waves are added at double 880 Hz, treble 1,320 Hz and Quadruple 1,760 Hz the original frequency.
Fig 3: More harmonic frequencies of the Sine Wave are added to create a Square Wave.
Introduction to Subtractive Synthesis The most common form of Synthesis in most VSTs is Subtractive Syntheses. Filters are used to subtract frequencies from different types of waves, e.g. Sine, Saw Tooth, Square to create a variety of sounds. It is a 4 stage process to create an infinite array of any sound imaginable Subtractive Synthesis = 1) VCO + 2) ADSR + 3) Filter + 4) DSP 1) VCO = Voltage Controlled Oscillator e.g. Sine, Saw or Square wave.
Sine
Saw
Square
2) ADSR = Attack Sustain Delay and Release. Attack is the time for the instrument to reach maximum amplitude, e.g. a percussive sound has a short Attack and a Pad has a longer attack.
3) Cut off Filter = A filter removes unwanted frequencies, for example a Low Cut filter removes low frequencies at a specific frequency, e.g. 410 Hz in the below diagram.
4) DSP = Digital Signal Processing. The final stage includes adding filters that manipulate the sound, e.g. distortion, modulation, etc. Chapter 13 covers DSP in more detail.
LFO Low Frequency Operator A Sine Wave VCO (Voltage Controlled Oscillator) that generates a tone of A4, or “Concert A” oscillates 440 times per second or 440 Hz. The human range of hearing is 20 Hz to 20,000 Hz (20 KHz). A signal that oscillates below 20 Hz is called an LFO. LFOs are used in Synthesis to apply subtle variation to sounds via modulation. An LFO with the value of 2 oscillates 2 times per second. An LFO with the value of 0.5 oscillates once every 2 seconds. Fig 4: An LFO with 1 Oscillation.
Modulation All variables in Synthesis such as pitch, cut off frequency, LFO etc are represented by numerical values. Modulation is changing the value of one element by the value of another element. Example -Sine Wave at 440 Hz: Tone = x -Low Frequency Oscillator of 0.5, or 1 oscillation every 2 seconds. Value = y If the value of the Tone x is modulated by the value of the oscillator y, then the pitch will rise and fall like a police siren as per the diagram below.
Fig 4: The LFO pictures has a value of 0.5, 1 oscillation every 2 seconds.
Another example is to set the Mod Wheel on your keyboard to control the pitch. The value of the pitch can be adjusted at a specific parameter to create a drastic (+12 semi tones) or subtle (+ 2 semi tones) modulation. MOD wheel > +2 semi tones > Pitch MOD wheel > +12 semi tones > Pitch Modulating Expression With analogue instruments, the timbre of the sound varies according to how soft or hard you play. These subtle nuances can be programmed into synths using velocity modulation. If velocity was the source and filter Cut Off was the destination, you could set it so that the harder you hit a key, the more a filter would open. 8. Electronic and Analogue Instruments for the Dance Producer Timbre Elements The pallet of sounds available at the disposable to the modern Dance Music composer is vast and can be daunting to a beginner. By categorising various instruments into descriptive categories, the production of new and unique sounds can be achieved. The term instrument in the book refers to a source of sound that can be used in a composition. An example include a computer generated Bass Synth, a sampled phrase of music or a vocal stab. Individual Sound To find your own sound and individuality as a producer, you must create your own Synth sounds, drum kits and sound effects for use in your songs. There is nothing wrong with using Synth presets or using SFX from sample CDs, as long as they are used to compliment your own sounds. VST V’s Hardware Synth There has been much debate on the quality of sounds created by VST Synths (Steinberg’s Virtual Studio Technology) or if they can match the authenticity of hardware Synths. If the tune gets the crowd dancing, they don’t care how the song was made. They don’t care if an authentic 808 was used to record the Kick or a Sound Font sample bank of an 808 Kick. They don’t care if the latest 192 KHz surround sound 64 stereo channel mixer was use for the final mastering or if was mixed on a home PC. It is important that the quality of the recording is clear, well balanced and the song has a great vibe. Pallet of Available Sound Sources / Instruments Instruments fall into the following main categories:
Bass
Lead
Synth
Strings / Pads
Wavetable Synth
Music Samples (Unprocessed) Music Samples (Processed) Vocal Samples (Unprocessed) Vocal Samples (Processed) SFX Analogue SFX Digital Signal Pre Beat
The lower notes on a keyboard. If Bass sounds are played higher up the keyboard, they can be used as Lead. The mid to higher note on a keyboard. If Lead sounds are played lower, they can be used as Bass sounds. This book defines a Lead as an instrument played with a single note only. This book defines a Synth, as any Lead sound played with more than a single note, i.e. harmony. The difference between Synth and Strings; with Synths, the rhythmic qualities are more important that harmony. String are sounds with the harmonic component serving a more important function than rhythm. Pads are Strings with only 1 chord, i.e. their purpose is atmosphere instead of chord progression. Any other instrument that doesn’t fall into the above categories, e.g. Piano, Organ, Brass, Rhoads, Harp, Sitar or any other sampled orchestral or analogue instrument in a Wavetable Synth or SoundFont. Real samples of analogue instruments. Real samples of analogue instruments, with additional filters and DSP. Real samples of human voice. Real samples of human voice, with additional filters and DSP. Analogue noise, e.g. dog barking. Computer Generated noise, e.g. swoosh, laser, etc. A combination of rhythmic inputs and effects (more details below).
Timbre Matrix The following classifications have been devised to describe timbres for; Bass, Lead, Synth and Strings /
Pads. Not all timbres are relevant to each instrument category. Chapter 9 describes how to generate each timbre using basic tools such as VCO (Voltage Controlled Oscillator e.g. sine wave, square wave etc), ADSR (Attack Sustain Delay and Release) cut off filters, and DSP (Digital Signal Processing, e.g. distortion). • •
Most categories can overlap, e.g. Distorted Bass and Growling Bass. Sounds in the matrix below that have n/a are technically possible but don’t particularly benefit from the specific timbre.
The sound examples below are examples are instruments with the minimal filters required for classification, and therefore are not necessarily ready for use in a song. Chapter 13 lists a few simple filter techniques to turn any basic sound into a pro quality sample, ready for your tune. Master Timbre
Description
Bass
Lead
Synth
Strings / Pad
Acid Stab
High resonance with zappy, laser qualities
Yes
Yes
n/a
n/a
Cut Off
Band Pass Cut Off filter modulated rhythmically.
Yes
Yes
Yes
n/a
Detune
Pitch varies subtly, creating an uneasy feeling
n/a
Yes
Yes
Yes
Didgeridoo
Dynamic electronic Bass with Yes organic Didgeridoo qualities
n/a
n/a
n/a
Distorted
Distorted, gritty and dirty texture.
Yes
Yes
n/a
n/a
Dynamic velocity
Velocity of note modulated inversely to cut off.
Yes
Yes
Yes
n/a
Electricity
Sonic qualities of electricity.
n/a
Yes
n/a
n/a
Fall
Pitch fall, subtle or dramatic, short or long.
Yes
Yes
n/a
n/a
Garage Warble Bass
Warble, wobbly garage Bass Yes
n/a
n/a
n/a
Gate
Gate, i.e. volume controlled by rhythmic input.
Yes
Yes
Yes
Yes
Growling Bass
Lots of harmonics for rhythmic Bass - Note held long
Yes
n/a
n/a
n/a
Harmonix
Phatt Bass with lots of hi frequency, with micro gating
Yes
n/a
n/a
n/a
High pass
High pass filter
Yes
Yes
n/a
n/a
High Pitch
Using higher notes on the keyboard
n/a
Yes
Yes
Yes
Low Frequency
Using the lower notes on the n/a keyboard
n/a
Yes
Yes
Motion
Complex cut off motions, non Yes repetitive
Yes
Yes
Yes
Motion Regular
Step or Sine wave LFO motion
Yes
Yes
Yes
Yes
Motion Increase
LFO increases frequency
Yes
Yes
n/a
Yes
Phatt
Strong, clean but heavy sound
Yes
n/a
n/a
n/a
Portmento
Portmento, or glide from one Yes note to the next.
Yes
n/a
Yes
Pump / (Duck Gate)
Instrument with duck gate
n/a
n/a
n/a
Yes
Resonance
Tone with high resonance and low cut off for, warbly drum and Bass sound
Yes
Yes
n/a
n/a
Retro Rave
Retro old school timbre
Yes
Yes
n/a
n/a
Rise
Pitch rise, subtle or dramatic, Yes short or long.
Yes
n/a
n/a
Scratch
Scratching timbre (cut off or VST variation) in time to the beat
Yes
n/a
n/a
n/a
Siren
Siren Stab (Pitch rise and fall)
Yes
Yes
n/a
n/a
Slow Attack (soft)
Slow Attack (soft)
Yes
Yes
n/a
Yes
Square Bass
Few harmonics for melodic tuneful Bass
Yes
Yes
n/a
n/a
Squeltchy
Additional hi resonance cut off to produce squeltchy sounds
Yes
n/a
n/a
n/a
Stab
Quick stab with energy and lots of harmonics, without a gradual release.
Yes
Yes
Yes
n/a
Sub
Low frequency Bass
Yes
n/a
n/a
n/a
Sweep
Smooth Modulated motion
n/a
Yes
n/a
Yes
Theramin
Retro sound with non static pitch that glides from 1 note to the next.
n/a
Yes
n/a
n/a
Tremolo
Subtle pitch variation at a regular modulation.
n/a
Yes
Yes
Yes
Vocal Timbre
Sound that has human vocal Yes qualities
Yes
Yes
Yes
Wowo
Cut off modulated to sine wave
Yes
Yes
Yes
Yes
Wowp
Cut off rise and fall, i.e. linked Yes to ADSR.
Yes
Yes
n/a
Wavetable Most Synthesisers and Samplers come with Orchestra in a box sounds, e.g. Harp, Violin, Trumpet etc, where actual audio recordings of each note are mapped to a MIDI keyboard, e.g. Sound Fonts. This is called, Wavetable synthesis, and it is generally more convincing than Physical Modelling synthesis. They will never be able to compete with recordings or real instruments, but the obvious main advantage is that any musician who can play the keyboard, can play any orchestral instrument as long as they have the correct Wavetable Sample Bank. Although a Violin or Trumpet sound mapped to a keyboard sounds quite fake due the subtle intricacies of the real instrument, a sampled Wavetable Piano can be hard to distinguish from the real thing, especially when layered under drums. Fig: The list of Wavetable synthesisers is vast. A few examples are listed below.
Brass Chromatics Moog Organ Piano Rhoads String World
Trumpet, Trombone Glockenspiel, xylophone etc samples Moog Rock Organ, Church Organ, Jazz Organ. Rhythmic chords Rhoads Harp, Violin, Viola Sitar
Pre Beat Pre Beat samples are a combination of rhythmic inputs and effects. Due to the nature of quick rhythms, multiple effects and a range of ideas, they build anticipation. They are most effectively used during a breakdown before the drop, hence the name. Pre Beat Example.mp3 There are 7 categories of Pre Beat, most of which are used in the example above... Fig 1: Glitch samples micro sequence. Sequence of tiny glitch sounds using grid size less than 1/16, e.g. 1/24, 1/32, 1/64, 1/96 etc. Glitch sounds are short drum samples with extreme fitters to completely warp the sound. Audio file Pre Beat 1 MS.mp3
Fig 2: Glitch samples rhythm. Glitch sounds are used in a standard drum pattern sequence. Pre Beat 2 Glitch Rhythm.mp3
Fig 3: Extreme DSP A drum beat is filtered through an extreme filter, e.g. Phaser, Distortion, Flanger etc. Pre Beat 3 Extreme.mp3
Fig 4: Polyrhythmic Stabs Any stab e.g. Trumpet, Bass, Vocals etc. A Polyrhythm is sequencing 2 different rhythms together, e.g. 5 vocal stabs (5/4) on top of a 4/4 beat Pre Beat 4 Poly Stabs.mp3
Fig 5: Machine Gun Drum Rapid and repetitive sequences of percussion in different time signatures. Pre Beat 5 MG.mp3
Fig 6: Irregular Drums and Glitch. Combination of irregular Drum pattern and glitched Drums. Pre Beat 6 Drum Mad Glitch.mp3
Fig 6: Left and Right Glitch Use extreme pan to add an extra dimention. Pre Beat 7 Pan Trix.mp3
Music Samples (Unprocessed) Sampling other peoples songs and adding them to your own is a common practice in modern production. The sample can be used as the main hook of the song or be used to fill out an original production. If you are concerned about being sued for infringement of mechanical recording rights, copy the sample using your own instruments. The following represent the main classification of unprocessed samples. Classical Sample loop Modern loop Individual instrument World
Loop of classical music Funk, Pop, Rock etc Flute, Harp, Sax, trumpet etc. Anything else that doesn’t fall into the above category.
Music Samples (Processed) To give samples a more distinctive electronic music edge, apply the following techniques. Sample with filter Sample time loop Sample time loop.mp3 Grains Grains.mp3
Take a section of any unprocessed sample, and add a DSP filter (see chapter 13). A sample, with certain fractions of a second looped at different lengths. Tiny bits of music, usually cut up into notes or fractions of a note.
Glitches Glitches.mp3
A sample that is processed by a variety of filters rhythmically, i.e. each occupying a fraction of a bar.
Guitar The Electric guitar, is one of the most versatile instruments available for the modern producer. Almost any genre of music can include a guitar riff without it sounding out of place. Distorted Delay Retro Gated Wah Wah
Distorted and overdrive. Delay, effective when remaining on 1 key. Tremolo Gated fast or slow Funk based riffs
Vocal Elements (Unprocessed) Vocals can add distinction and professionalism to a song. faceless, digital composition.
They can give personality to an otherwise
Choir Human Rap Female Rap Male Singing Female Singing Male Shout Female Shout Male Vocal Elements (Processed) An unprocessed vocal element may be sufficient for your tune, but if the addition of a vocal line adds an unwanted Pop or Cheesy vibe, you may wish to take back the electronic edge with some nifty processing. Ambience Auto Tune Extreme Cut up Choir Vocoder Crackle Delay Distortion EQ Gate Glitch Jungle Modulation Muffled Robot / Vocoder Pitch FX Reverse Delay Squidgy Spread and EQ narrow Speed Up Vocoder Instrument
e.g. Reverb for stadium / church The Extreme Auto Tune, which forces natural pitch changes into accurate tones has been overused. Phrase cut up into syllables and re-arranged into a rhythm Harmonise several individual Vocoder voices to create a robotic barber shop. Emulate the static nose interference of an old Record 1) Short e.g. 60’s Vocal 2) Multiple delay, forming Polyrhythms. 3) Feedback Loop, i.e. more than 50% feedback. Bit crusher, to remove quality and emulate Police Radio. Emulator the voice heard on Telephone Useful for screams, or long whoooo’s A sample that is processed by a variety of filters rhythmically, i.e. each occupying a fraction of a bar. Jungle voice, speech slowed down. Flanger / Phaser Indistinguishable vocals See Vocoder Use Pitch warp for comic chipmunk vocals. Reverse sample, add delay / reverb, and reverse again. Use Cut off modulated to LFO with high resonance to add a high frequency. Use a stereoscopic EQ to spread certain frequencies to the left and right channel. Make Rap lines even faster. Use a Vocoder to play melody using speech.
9. Electronic Instrument Creation Understand Your Studio Tools Understand the diversity of each VST or Hardware Synth in full. Be aware of all the available parameters and how each can shape the sound. Read the manual and load tweak the factory presets to fully comprehend the sonic variation. Optimise the sonic quality and interest of each instrument. Adding 10 average sounds is not as good as adding 1 amazing sound. Timbre Creation Each of the timbres listed below in the timbre matrix can be created using subtractive synthesis, either hardware or software. The timbre element are classified based on single unique qualities. They can be combined to create more complex sounds, e.g. combining a sub Bass with a duck gate compressor produces a sub bounce. Experiment with all of the values contained within to create your own variations. Timbre
VCO 1
Cut Off Cut Off Type
Resonan LFO 1 LFO 2 Modulation / Notes ce
Acid Stab
Saw
10%
Low
90%
n/a
n/a
Cut Off Modulation to ADSR Attack = 0ms Decay = 1000 ms
Cut Off
Any
50%
Band Pass
10%
n/a
n/a
Use track automation or record the movement of the cut off filter to produce a filter rhythm.
Detune
Any
Any
Any
Any
1/2
n/a
Set the LFO to oscillate randomly, I.e. not sine or step. Pitch modulated to LFO.
Didgeridoo Square Bass
50%
Peak
90%
1/1
1/4
Cut Off Modulation to LFO1 and LFO2
Distorted
Square
10%
Peak
75%
n/a
n/a
n/a Add Distortion
Dynamic velocity
Any
not Low constant
50%
n/a
n/a
Velocity modulated to Cut off, i.e. note played softly = low cut-off note played loudly = high cut-off
Electricity
Any
not High constant
50%
1/4
1/2
LFO 1 = sine LFO 2 = random Cut off modulated to LFO 1 and 2
Fall
Square
10%
Peak
75%
n/a
n/a
Pitch Modulation to ADSR Attack = 0ms Decay = 1000 ms
Garage Warble Bass
Saw
50%
Low
25%
1/8
n/a
Cut Off Modulation to LFO 1
Gate
Any
Any
Any
Any
Any
Any
-Depending upon your sequencer, the set up may vary. 1) Choose an instrument (destination) with a side chain input. 2) Select the instrument to be gated in the side chain (source). 3) The destination instrument will play the source.
Growling Bass
Square
10%
Peak
75%
n/a
n/a
Add Distortion
Harmonix
Saw
100%
Peak
90%
n/a
n/a
n/a
Hi pass
Square
75%
Hi
10%
n/a
n/a
n/a
High Pitch
Any
Any
Any
Any
Any
Any
Play above C 5
Low Frequency
Any
Any
Any
Any
Any
Any
Play below C 3
Motion
Square
50%
Peak
25%
3/1
1/1
Cut Off Modulation to LFO1 and LFO2
Motion LFO Any Regular
not Low constant
25%
1/4
n/a
Cut Off Modulation to LFO1
Motion speed up
Any
not Low constant
25%
dyna mic
n/a
Cut Off Modulation to LFO1. LFO 1 value increases from 1/4 to 1/32
Noise
Any
50%
Peak
10%
n/a
n/a
Phatt
Square
10%
Low
23%
n/a
n/a
Portmento Bass
Any
Any
Any
Any
Any
Any
Increase portmento / glide setting so one frequency bends gracefully to the next.
Pump / (Duck Gate)
Any
Any
Any
Any
n/a
Any
1) Add a compressor to the instrument 2) Change the input or side chain to receive input from a source, e.g. Kick drum. 3) Reduce the threshold and the compression reduces each time the source sample is played. 4) Mute the source to make the instrument duck without the sound of the source.
Resonance Any
10%
Low
90%
n/a
n/a
Retro
These sounds are distinctive and complex - get sample CD
Rise
Any
Any
Any
Any
1/1
n/a
LFO 1 = saw up Pitch Modulated to LFO 1
Siren
Any
Any
Any
Any
2/1
n/a
LFO 1 = sine Pitch Modulated to LFO 1
Slow Attack Any
Any
Any
Any
Any
Any
Cut Off Modulation to ADSR Attack = 1000ms
Square Bass
Square
25%
Low
10%
n/a
n/a
Squeltchy
Any
25%
Low
75%
n/a
n/a
Resonance Modulation to ADSR Attack = 100ms Decay = 100ms
Stab
Any
25%
Low
25%
n/a
n/a
Cut Off Modulation to ADSR Attack = 0ms Delay = 500ms
Sub
Square
10%
Low
10%
n/a
n/a
Play below C 2
Sweep
Any
not Band constant Pass
25%
4/1
n/a
LFO 1 = sine Cut Off Modulated to LFO 1
Theramin
Sine
50%
Low
25%
1/2
1/4
LFO 1 = random, Modulated to Pitch, value 1/4 semitone LFO 2 = sine, Modulated to cut off Add Portmento.
Tremolo
Any
Any
Any
Any
1/4
n/a
LFO 1 = sine, Modulated to Pitch, value 1/4 semitone
Vocal Timbre
Voice
Re Synthesis. Sample the vocal note and map to the entire keyboard.
Wicka Wa
Any
not Band constant Pass
Any
n/a
n/a
Use track automation or record the movement of the cut off filter to produce a filter rhythm.
Wowo
Any
not Low constant
Any
1/8
n/a
LFO 1 = sine Cut Off Modulated to LFO 1
Wowp
Any
not Low constant
Any
n/a
n/a
Cut Off Modulated to ADSR Attack = 0ms Delay = 500ms
Musical Sequence Categories: Single Note Once you have created your ideal sound, the next step is to determine the Sequence Category. The most common Sequence Category is a Melody, i.e. any note in a scale that meet the emotional requirements of the song. The other Musical Sequence Categories listed below offer a variety of techniques to explore, mix and match. They are all specified for playing 1 note at a time, i.e. Bass and Lead. Fig 1: Arpeggio The notes of a chord played individually, rising or falling. Sequence Arpeggio.mp3
Fig 2: Arpeggio Moving Arpeggio played with a variety of chords moving either up or down. Sequence Arpedggio Moving.jpg
Fig 3: Hypnotic / Psychedelic Repetitive melody. Sequence Hypnotic.mp3
Fig 4: Jazz Melody using Jazz scales. [See Appendix 1 for a list of scales] Sequence Jazz.mp3
Fig 5: Machine Gun Melody played using 1/16th notes with modulating timbres. Sequence MG.mp3
Fig 6: Melody Sequence of notes that form a tune. Sequence Melody.mp3
Fig 7: Micro Sequence Sequence of notes using a grid of less than 1/16th bar. Sequence MS.mp3
Fig 8: Polyrhythmic Lead Note that is sequenced with a rhythm outside of the main rhythm. Sequence Polyrhythmic.mp3
Fig 9: Rhythmic Repetitive Note repeating at a regular interval, e.g. every 4 bars or every 1/2 bar. Sequence Rhythmic Repeat.mp3
Fig 10: Rhythmic 16th 1 note played every 8th or 16th note, with many filters, e.g. cut off, resonance etc, modulating every 16th note. Sequence Rhythmic 16.mp3
Musical Sequence Categories: Multiple Notes For Synth, Strings and Pads, i.e. where more than 1 note is played simultaneously, the following musical terminologies can be used.
2 Notes 3 Notes 4 Notes
2 notes played together a set tone apart, e.g. 5ths, 7th or 9ths etc. Triad: Major, Minor Quad: Major 7, Minor 7
A list of the most common Chords is in Appendix 2. 9.1 Advanced Synthesis: Time Once you have generated your original sound, there are many ways to sculpt your instruments. The following pages are devoted to Advanced Synthesis techniques for Bass, Leads, Synths, Strings or Pads, and is not directed at a specific software tool or hardware synth. Any modern synth, either VST or Hardware can be used to create professional quality sounds, if they are used correctly. Ensure that you understand the full functionality of each VST or hardware synth. They are all based on the same principles of synthesis but utilise them in a variety of ways. Modulation With Multiple LFOs to Achieve Infinite Tonal Variation When modulating filters e.g. Phasers, Flanger and Chorus or modulating synthesis attributes e.g. Pulsewidth or Modulation Depth etc, ensure that modulation speed or LFO value is slow. This will create motions that interact with each other to create a more organic and less static sound. If you set each LFO to slightly different rates, you can achieve a tone that never repeats. Fig 1: Using multiple LFOs assigned to various parameters, the tonal variation is almost infinite.
Envelopes Every acoustic sound has an 'envelope', which is a representation of amplitude over time. Many acoustic instruments, e.g. guitar and piano start instantly and reduce slowly over time. A violin starts sounding slowly but sustains at a relatively constant level as the instrument is bowed. When the bowing stops, the sound dies away very quickly. The Attack Sustain Delay and Release (ADSR) introduced in Chapter 7 is an example of an envelope with 4 elements. All synths and samplers offer envelopes of the simple ADSR which can be adjusted to create the a variety of tones.
A more complex Envelope can be used to create sweeping pads that morph over time between a multiple number of envelope points. In more advanced VSTs and synths, the envelope can be assigned to any parameter using the Modulation Matrix. Fig 2: The horizontal axes refers to time and the vertical access determines the value of the destination filter, e.g. cut off frequency.
Track Automation Track Automation is another example of envelopes which can be used to apply effects to an entire track, e.g. adjust pan, volume or filter intensity at specific points of the track. For example, when applied to cut off, they can create regular, controllable rises and falls in cut off, either recorded in real time using MIDI controllers or the mouse, or programmed into the sequencer using a graphic interface (i.e. drawing lines). Fig 3: An example of a cut of filter frequency recorded over time using Track Automation.
Bounce to Audio There are so many tricks and techniques to apply to a basic sound that it is tempting to tweak and change a sound many times. To avoid the trap of constraint adjustment to a synth, optimise the sonic quality as much as possible in one session and then bounce the sound down to audio. Bypass the instruments and effects to save processing power, and leave the option of returning to your instrument open. Working with audio will add a sense of completion to a particular layer, and allow you to move to the next. 9.2 Advanced Synthesis: Bass The use of filters in synthesis enable you to manipulating an original sound into an infinate number of variations. Chapter 13 contains more details of the filters that will be used for the following turorials, which are aimed at more advanced producers. Phattening up a Bass The essence of a Phatt Bass is the creation of many powerful harmonic frequencies. The following techniques can be applied to Phatten up a Bass synth. Bass before.mp3 Bass after.mp3 *Use 2 waves, one detuned slightly flat, the other slightly sharp. The greater the variation, the more harmonic frequencies are created. Too much variation and the core frequency is lost. *Use different types of waves, saw and square etc, to create the Bass. *Isolate the mid to high frequencies. Add stereo chorus to add motion and widen the sound. *Add distortion or overdrive to add power and grit.
*Add reverb to create space. *Add compression.
Rapid Rhythmic Motion Bass A very simple but effective use of Track Automation is to create diverse rhythmic patterns using a Cut Off Filter. The trick is to reduce the speed of the track during the recording of filter movement to add more precise automation. Rapid Rhythmic Motion Bass.mp3 1) Create a Phatt Bass. 2) Add a simple Drum sequence with 16th hats. 3 ) Reduce the speed of the track by 1/2 and set up the sequencer to record any movement of filters. 4 ) Add a Low Cut Filter. 5) Play the track and record the up and down movement of the Cut Off filter in a rhythmic motion, similar to scratching, i.e. using a variety of fast and slow motions. 6) Repeat step 5 again using a Band Pass Filter. 7) Return the track to normal speed and play back.
Warble Resonance Bass Experimenting with a very high Resonance and Low Cut Off filter can produce extraordinary and very gritty Bass sounds. Depending upon the VST or Synth you use the results will vary considerably. Warble Resonance Bass.mp3 1) Create a Phatt Bass. 2) Maximise the Resonance and reduce the Low Cut Off filter to 10%. 3) Add a distortion filter at medium intensity. 4) Add a Low Cut filter set to 40 - 50 Hz to remove unwanted rumble. 5) Adjust the Low Cut Off and Resonance filter until the Bass sound produces a warble fluctuation, similar to an tremolo.
9.3 Advanced Synthesis: Synth
Although Synth is actually an abbreviation for Synthesis, in the context of Dance Music Instruments, Synth is one of 5 main digital instruments: Bass, Lead, Synth, Strings and Pads (descriptions in Chapter 8).
Elastic Synth To create an interesting elastic synth, two main filters are required. Elastic Synth.mp3 1) Create a stab synth (quick attack and release). 2) Add a Delay with ¼ or 1/8 bar delay. 3) Add a Wah Wah filter, with a full range, medium depth, 330 ms attack and 200 ms release. 4) Record a rhythmic pattern with between 2 or 4 chords per bar.
Multi Mod Synth Using a combination of slow (1/2 bar) and quick (1/16 bar) LFO modulated Cut Off filters crates an interesting dynamic over time. Multi Mod Synth.mp3 1) Create a stab synth (quick attack and release). 2) Assign LFO 1 (frequency of at 1/2 bar) in the modulation matrix to a Band Width Cut Off filter, with a positive value (see diagram below) 3) Assign LFO 2 (frequency of at 1/16 bar) in the modulation matrix to a Low Cut Off filter, with a positive value (see diagram below) 4) Add saturation and a touch of delay and reverb. Record a rhythmic sequence. Fig 1: An LSO assigned with a positive value in a modulation matrix will oscillate from the current value up first, and then down. For example, if Cut Off 1 was set to 50%, the LFO would rise up to 100% and then down to 50% again. An LSO assigned with a negative value in a modulation matrix will oscillate from the current value down first, and then up. For example, if Cut Off 2 was set to 50%, the LFO would fall down to 0% and then up to 50% again.
10. Rhythm Musical Rhythmic Juxtaposition The main component in Classical music is melody and harmony. In Electronic Dance Music, the main component is rhythm. The key to an effective groove is the correct juxtaposition of rhythmic patterns for different instruments and percussion, i.e. how the different rhythms combine. Essentially, each instrument has its own rhythm which is repeated after a specific length of time. Combining 1 or more instruments with different rhythmic patterns can produce effective or cluttered results. Musical Rhythmic Juxtaposition or Micro Arrangement, describes the result when different rhythms are played simultaneously. The most natural way to record rhythms is using the keyboard and playing instrument live. However, you can record more complex and accurate rhythms by editing notes in the sequencer using the mouse. This is particularly effective for programming rhythmic SFX, percussion instruments, stab instruments, or gates.
Categories of Rhythm Musical Rhythmic Juxtaposition helps to choose complimentary patterns of Rhythm. By categorising rhythms based on specific characteristics, choosing rhythms from different groups results in a more pleasing combination. There are several categories of Rhythm and 3 Categories of start position for each Rhythm: Category 1a Smallest Note Rhythm
Semiquaver or 1/16th Bar Regular
Category 1b Smallest Note Rhythm
Semiquaver or 1/16th Bar Irregular
Category 2a Smallest Note Rhythm
Quaver or 1/8th Bar Regular
Category 2b Smallest Note Rhythm
Quaver or 1/8th Bar Irregular
Category 3 Smallest Note Rhythm
Crotchet or 1/4 Bar Regular / Irregular
Category 4 Smallest Note Rhythm
Minim or 1/2 Bar Regular / Irregular
Category 5 Smallest Note Rhythm
Semibreve or 1 Bar Regular / Irregular
Category 6 Smallest Note Rhythm
3/16 Bar or Polyrhythmic 5/4 Regular
Rhythm Start Position The start position of the rhythm also plays an important role. Start Position 1: Rhythm starts on the beat e.g. 1/16, 5/16, 9/16, 13/16 like a house Kick drum.
Start Position 2: Rhythm starts off the beat e.g. 3/16, 7/16, 11/16, 15/16 like a hard house Bass.
Start Position 3: Rhythm starts on even sequence, e.g. 2/16, 4/16, 6/16 etc.
Combining Rhythms for an Effective Groove Any instrument, Bass, Lead, Synth, Strings, Pads, Vocals, FX and drums etc can be assigned a particular category of Rhythm. Any instrument can have more than 1 category variation in a riff, phrase or melody. When producing an ensemble of multiple instruments, the most effective rhythmic compositions are created by choosing rhythms that contain different categories and start positions. The rhythmic properties of one of the most energetic and contemporary Breakbeat tunes is represented visually in the diagram below. The diversity of rhythmic categories used results in an interesting and complex polyrhythmic structure. The rhythm for an ensemble of SFX, Acid Stab, Lead, Bass, Vocal Stab (top to bottom) have been extracted and combined into 1 sequence below. Each instrument occupies 1 line of the sequence. No two lines share a Rhythm Category or Start Position. SFX Acid Stab Lead Bass Vocal Stab
Category 2b Category 2b Category 1b Category 3, 1b Category 4
Start Position 2: Off Beat Start Position 3: Even Sequence Start Position 3: Even Sequence Start Position 1: On Beat Start Position 1: On Beat
Fig 1: From Top to Bottom, SFX, Acid Stab, Lead, Bass, Vocal Stab
Note Length The length of a note, especially one with a short release (ADSR) will also contribute to the rhythmic properties of the song. It is important to ensure that the length of the note ends precisely on a 1/16th grid, or the balance to the Rhythm will be offset (diagram below). Fig 2: Untity note length will interupt the rhythmic properties.
Unsuccessful Rhythmic Combinations Using rhythms from identical Categories and Start Positions creates a repetitive an boring rhythmic ensemble. Lead Bass Synth
Category 3 Category 2a Category 3
Start Position 1: On Beat Start Position 1: On Beat Start Position 1: On Beat
Fig 3: Top to bottom, Lead, Bass, Synth
Rhythmic Patterns Another way to generate a variety of rhythm components for an instrument, e.g. Bass, Lead, Synth, Vocal Stab, Musical Stab etc is by generating Rhythmic Patterns. To create a pleasing groove, create an instrumental ensembles by combing different types of patterns. Rhythmic Pattern 1: Small Grid of 4 Regular rhythmic patterns of 16 notes can be generated by looping a smaller grid of rhythms, e.g. grids of 3, 4, or 5. The rhythm of a Kick in a 4 to the floor pattern is used as the first example below. The smaller grid is composed of 4 semi quavers, or 4 x 1/16th of a bar. The smaller 4 grid patter is repeated 4 times to complete the 16 notes or 1 bar. 1A: On beat 4x4
1 x4=
1
2
3
4
1B: Off Beat 4x4
1 x4=
1
2
3
4
1C: 3 unit delay
1 x4=
1
2
3
4
1D: 1 unit delay
1 x4=
1
2
1E: Double Alternator
1 x4=
1
3
4
1
2
3
4
5
6
7
8
Alternating Rhythmic Patterns There are about 16 useable variations of small 4 note rhythms. To prevent repetition becoming monotonous, try alternating 2 smaller grid rhythms e.g. 1E, 1D, 1E, 1D…
1
1
1
1
1
1
Be wary of too much variation, because if too many Rhythmic Patterns are used, the rhythm sounds random and looses momentum.
Rhythmic Pattern 2: Small Grid of 3 Instead of using small block sizes of 4, blocks of 3 and 5 will create pleasing a polyrhythm. Alternating blocks of 3 is another simple technique unavailable to create variation. Polyrhythmic 5/4 A
1 X5
1
2
3
4
5
Polyrhythmic 5/4 B
1
1
X5
1
2
3
4
5
6
7
8
9
10
Rhythmic Pattern 3: Small Grid of 5 Using small block sizes of 5 will limit looping to 3, with 1 empty unit before the block of 16 can repeat. 1 and 2 Alternator
1
1
1
X3
1
2
3
4
5
6
7
6
7
8
9
2 and 1 Alternator
1
1
1
X3
1
2
3
4
5
8
9
Other Grid Sizes Using a Small Grid size of 6 is simple using a small grid size of 3, twice, and is therefore unnecessary. The same principle of redundancy applies to a Small Grid size of 8, which is merely a Small Grid of 4, twice.
Drum Rhythm combined with Bass, Lead or Synth Rhythm A standard drum beat bar contains 16 notes, or 16 semi quavers, and generally every single note will contain a sequenced instrument e.g. Hat, Kick, Snare etc. To determine the Rhythmic Category for the purpose of Musical Rhythmic Juxtaposition, it is only necessary to count the rhythmic components of the accents, e.g. the Kick or Snare. Fig 4: Disregarding the 1/16th hats, the drum beat below is Category 2b, i.e. Quavers using an irregularpattern. A suitable Rhythmic Category for the Bass would be one that uses Semi Quavers, i.e. Rhythmic Category 1a or 1b, or Category 6 for a Polyrhythm. Top to bottom, OpenHat, Cloased Hat, Snare, Kick
Rhythmic Intensity: Song Generally, the smallest element of a standard bar consists of 16 notes, or 16 semi quavers (see Chapter 2 Musicology). The key is to find the correct intensity for each specific section of the song because if you start too intense, there’s not much room to increase. If you start too relaxed, the song sounds too dull. Appendix 11 contains a library of effective groves for combining Drums, Bass, Leads and Synths. 11. Sound Effects Sound Effects Categories Sounds Effects can be defined as any element of a track that falls outside the classification of drums, percussion or musical instrument. Sound Effects can be used in 2 main was, either as atmospheric, i.e. set the mood / convey an emotion or as a rhythmic component. A few examples of DSP sound effects include atmospheric noise, swoosh wind sounds, and zaps. addition of sound effects give a song character and can be used either subtly or dramatically.
The
Creating Digital Sound Effects Most sample libraries come with a range of sound effects. However, if you’ve created your own Synth sounds from scratch, you have the additional satisfaction of guaranteeing originality. Electronic sound effects can be generated by manipulating white noise or tones with filters. Most Synthesisers and VST have the ability to generate noise, and add their own particular character with onboard effects. As with Synthesiser instruments, the best way to understand how to generate sounds is to play around with the presets. Adding Filters • By adding distortion, thin noise presents can be thickened. • Filter the noise through a vocoder to add harmonic components. • Add noise through modulation, e.g. Phaser, Flanger etc to create an element of motion. Swoosh = noise VCO = BP cut off modulated to LFO Sine Creating Sound Effects from Analogue Sources Sound Effects from an Analogue Source are infinite. A few examples are listed below. Analogue Source
Analogue SFX from analogue sources Animal Samples animal sounds to create atmosphere Atonal Analogue Instrument with atonal melody BBC Library Door, creaking, gunshot etc Chime Bells Bells and Chimes
Industrial Multi tone machinery Multiple Industrial Machine noises, metal grinding, clanks Singular Metal Metal clanging Noise static Record fluff Reverse Reversed music Scratching Original scratches of a voice/ instrument/ ambient etc. Spin Back Record spin back Vocal backwards Reversed vocal, with echo, reversed again. echo Vocal Syllable Samples shouting and cut up rhythmically and played loop repetitively through various filters for SFX. Sound Effects from a Digital Source are infinite, limited only by your imagination (or ablility to copy other people). DSP Source Ambience Micro Sequence Feedback Ambience Noise Feedback Ambience Rumble Ambience - Atmos Calm Ambience - Atmos Neutral Ambience - Atmos Evil Ambience Stab Aphex Dissonant Chords Dissonant Strings Drum Synth Electronic water Epic Explosion Fall Feedback Loop Glitches Grains Hi Freq Laser LFO Motion Machine Gun FX Morph Music ambience Nasty timbre noise blast Pre beat R2D2
1/64 sequence hits increasing in volume, cut off modulated by velocity Feedback Atmospheres noise with multiple layers to define specific emotion Lion roar, thunder, or anything Repetitive rumble Atmosphere which creates a specific emotion Calm Atmosphere which creates a specific emotion Neutral Atmosphere which creates a specific emotion Menacing Single atmosphere that gradually fades Quick, grainy, DSP, hi squeak -Cut up millisecond samples of anything Amalgamate with milliseconds of silence Dissonant Chords Evil Ambience atmos usually dissonance harmony Strings Electronically created drums Electronic simulated water Movie quality sound effects. Many different types of fx. Computer generated explosion Descending noise prior to beat drop +50% feedback on a loop Pops n clicks, Squeaks, and glitches, messed up sounds Long computer filter fucked to shit mountain Tiny elements of analogue sounds from all sources Short, high frequency sounds HI res zap - used in garage which covers the entire range of the human hearing LFO wowp with changing speed from 1 per sec to 0.01 per sec and back 32, 64, 96 LFO per bar Sound changes from 1 timbre to another Musical chord atmosphere Cause physical pain using the brown note / high pitched pain Noise stationary blast Anticipation of beat Bleeps in various random pitches, Small blipps and tapps
Rhythmic Rise Robot Voice Shut down Siren - LFO Siren - Alarm Slow Down Sparkle Speed Up Squidge Tipper Stab Stab Harmonic Stab Music Swoosh Wind Wowp
Dynamic organic sound with rhythmic qualities repeated ever bar Ascending noise prior to beat drop Synthesised voice Simulated shut down of machinery Slow LFO Slow morphing LFO siren Static pitch, repetitive frequency Sparkling stars Squeltchy, Squidge, rhythmic bits, characterised by Tipper Noise stabs Harmonic Stab Chord stabs Short wind swoosh sound Wind or swoosh noise stab to add substance Wowop
12. Dance Music Production Rudiments
The following ideas and suggestions are designed to inspire the creative process at each stage of production, Pre Production, Production and Post Production. 1) Pre Production
i) Creation ii) Inspiration iii) Experimentation
2) Production 2a Arrangement i) Arrangement ii) Build Up 2b Drums and Percussion i) Drums ii) Drum End iii) Drum FX iv) Percussion 2c Instruments i) Bass ii) Synth iii) Novelty iv) Production v) Sound Effects (Digital) vi) Sound Effects (Analogue) 3) Post Production i) Production FX
1) Pre Production Set Goal or Blind Creation? There are 2 alternative approaches to creating music. Firstly, produce music with no particular direction in mind and let the natural flow of creativity Lead you. Secondly, is to have an idea or goal to achieve. For example, “I want to create a minimalist Jump Up Drum and Bass tune with 8 different Bass sounds, sporadic funky samples and Sci Fi effects.”
i) Experimentation Discover your own sound, the limitations and seemingly limitless possibilities of harmony. Harmony Juxtaposition
Jazz Chord Scale sheet Refinement
-Experiment with contrasting and unpleasant rhythms and harmonies to explain why it exists. -Categorise all percussion instruments riffs and tunes, with a record of rhythm. When more is understood on the relationships between contrasting rhythms which work well, you can pick and mix with confidence. Experiment with jazz Bass scales and different jazz piano chords, stab + voc -When creating riffs or Bass lines, record several different variations onto the computer and choose the best. -Your should increase the number of extreme variations there are to ensure of quality. -When you select a riff, create many variations with subtle changes. (With graphical design, many rough images are needed before the perfect symbolic representation is achieved. Use this theory in producing tunes; i.e. keep altering and perfecting until the optimum emotion is achieved.)
ii) Creation Ideas to create a musical pallet Creation
Like any artist, creativity or motivation can disappear without warning or reason. On these days, take time to sample, manipulate or create sounds and Synths etc. -Don't worry about them in the context of a track, just make single sounds that you think sound good. -If you are feeling very lazy, find presets and tweak them so that they reflect your sound. -When it comes time to create you'll have a whole load of new sounds to work with. Distorted Orchestra in a Create your own orchestra in a box box If you want to add original orchestration to a production, but don't have an expensively produced range of sound fonts, add distortion and reverb, and filter through a cut off. 1) Compose simple rhythmic ensembles, e.g. moody trumpet stabs, eerie Strings. 2) Add distortion for grit. 3) Sample each phrase. 4) Cut up and add to different notes on a sampler. Grain Samples Convert song samples into unrecognisable snippets chopped into tiny grains. 1) Sample a 4 or 5 second section from a song. 2) Select and copy a grain (between 0.1 and 0.5 seconds) 3) Paste several copies into a blank file, removing 10 % of the sample each time. 4) Repeat with several different types, e.g. Bass, vocals, ensemble. 5) Add the new sounds to a sampler and play rhythmically. Sampling Create your own percussive samples. Add distortion, EQ and compression to sculpt the raw sound. 1) Record a ball being bounced for a snare, an aerosol spray for a hat, or keys rattling for bells. 2) Record the sound of rhythmic tapping on different surfaces and add warped filters to destroy the sound. Scrambles Melodies Reuse a piece of music in a different order. 1) Sample a piece of music with multiple chord changes. 2) Cut up each chord or musical phrase into a separate file. 3) Add the new sounds to a sampler and play them in the wrong order.
iii) Inspiration To assist with the creation of new ideas
Creativity
Use a different medium to be inspired. -Interpret the mood or ambience created from a book, painting. or other medium. Use the feelings you get from it to put it into your music. Orchestral Mix and Use an unusual pallet of sounds to make a particular style of music e.g. trance with Match pure orchestral sounds. 1) For purity, don't use any filters, or 2) To sculpt the sounds add filters, e.g. delay, modulation etc. Genre mix and match Create a particular genre of music by using the sound pallet of another. For example, use trance drum kit and Synths to make drum and Bass, or visa versa. The finished sound will be both familiar and unusual at the same time.
2A) Production: Arrangement i) Arrangement Arrangement is the placement of sequences and the impact on previous and subsequent sequences (juxtaposition). Careful placement and variation can add professionalism Dramatic Shift
Create a dramatic shift in instruments, e.g. for a breakdown, then return to the original vibe.
Drum kit change
To sustain interest, replace the main drum kit with a second drum kit for a small portion of the song.
Intro Epic
Epic or high production intros can be used by DJs to begin their set. You can let your creativity go wild without any limitations in time signature, instruments or rudiments, as long as the rest of the song has a regular time signature and structure that can easily be mixed. A few examples of elements to use within epic intros include... 1) Atmosphere pads, symphonic elements 2) Science Fiction Robot talking, voice fx 3) Drum rise and falls, deep complex but subtle percussion. 4) Subtle surprise instruments.
Instrument Isolation (Bass Show Off)
If you've spent 3 days creating a complex organic Bass sound with subtle variation and timbre, all value is lost if the sound is drowned out by heavily distorted drums. Make sure that the Bass is played in isolation at some stage during the track.
Juxtaposition
Mix and Match contrasting elements to highlight out their uniquie qualities -Dirty and bit crushed instruments with crisp, sharp and high quality beat, Or visa versa -Dirty and bit crushed drums with crisp, sharp and high quality instruments. -Electronic and acoustic. -Contrasting Evil Bass with jazzy melody
ii) Build Up Ideas to build anticipation and increase excitement before the drop. Build Up Kick / Snare Instantly recognisable and definitely overused (especially by me, usually when I'm feeling lazy). The Kick 1) Kick or Snare sequenced ever 1/4 note. Repeat for 2 bars 2) Kick or Snare sequenced ever 1/8 note. Repeat for 2 bars 3) Kick or Snare sequenced ever 1/16 note. Repeat for 2 bars 4) Kick or Snare sequenced ever 1/32 note. Repeat for 2 bars 5) Main part of song. Crash
Another over used but effective technique is increasing the crash cymbal prior to the main part of the song. Crash acceleration – typically a crash X---X---X---X---X-X-XXXX
Cut Off Filter
Add a Cut Off filter over the main hook and increases from low to high, or high to low prior to the drop.
Off Beat
1) Sequence an off beat drum pattern or roll to complement the steady beat when it drops. 2) Exchange the position of the Kick and Snare so that K-S--KS- changes to to SKSKSKSKS
Overload
Start the beginning of the 16 bar build up with 1 element. Introduce 1 or more new layer every 4 bars until the sonic overload creates a dance floor frenzy.
Pre Beat Rudiments
Pre Beat rudiments are highly filtered drums and effects that build up excitement. (See chapter 6.)
Roll
Add simple drum roll prior to main beat (See chapter 5)
SFX
A very common rudiment is to add a sound effect with a rise or fall in pitch. Try experimenting with alternative modulations instead of pitch.
Silence
An effective use of space is to add 1 bar of science after the build up and just before the drop.
Tease
Build up to a point where this listener believes the next bar will drop, instead, tease the listener with another build up.
2B Production: Drums and Percussion i) Drums Ideas for sophisticated drum sequences. Beat builder
Increase the power of the Kick and Snare after 16 bars. 1) Boost EQ, or 2) Add a second Kick or Snare. Breakdown Variation Mid section breakdowns can exercise original, yet rhythmically strange placement of hits without putting off a DJ. Break in drums Adding an unexpected 1/4 or 1/2 bar break in the drums, is a commonly used technique in Drum and Bass. 1) Replace the missing section of the beat with alternative samples, e.g. vocal stab "huh", "yeah" etc, musical stab, or SFX. 2) Remove the first and second Snare at the begging of a 4 bar drum loop. Deep Drums The addition of subtle percussion variations can give a sophisticated edge to a simple beat. The quantities used are a guide and can be changed accordingly. 1) Incorporate subtle variation over 64 bars. 2) Add a 2nd colourful Snare on top the main Snare every 4th Snare. 3) Add a 3rd colourful Snare on top the main Snare every 8th Snare. 4) Sequence subtle and sparse shakers 5) Add sparse bongos, congas etc. 6) Introduce a subtle polyrhythmic second drum beat every other bar. 7) Use contemporary rolls. 8) Flams 9 Hats recorded live (or non Quantised keyboard hats) 10) Use some of the drum rudiments and instruments subtly (See Appendix 7 for traditional drum rudiments.) Drum Rudiments Drum rudiments are mainly used in marching band music but are effective in Dance music if used sparingly 1) Use a different rudiments for each 1/4 segment pattern - loop 2) A combination of several rudiments in 1 roll [List all drum rudiments] DIY Drums Stack 2 or 3 Kick and Snares together with a noise gate to sharpen the punch and reduce the decay. Be careful with layering kicks though. The bottom end can cause some phasing issues so pick your kicks carefully, e.g. combine a low end kick and a top end kick. Hardcore Add mashed up and highly distorted drums underneath a crisp drum kit to add grit. Instrument swap Use an alternative sample to replace a hi hat pattern, -x-xx—x (Pop corn Synth to replace infrequent shaker (dnb shaker)) Juggle Use 2 or more beats together, various combinations of on and off and together. Kit Change Unique rhythms can be created by using the following technique. 1) Create a random rhythmic melody with a keyboard. 2) Use the midi sequence to control a drum kit.
Jazz Drums Latin Drums Mastering Tips
Micro sequence Multi Kick Orchestral Drums
Poly filler drums Quantisation juxtaposition Rhythm Change
Sentana Drums
Stereo Drums
Use Jazz drums to spice up a beat [See Appendix 6a] Use Latin drums to spice up a beat [See Appendix 6b] -Keep your drums mono and pan percussion left and right. -Use subtle reverb on drum and percussion sounds to help gel the sounds together. Add a high pass filter to keep the bass drum sharp. -Add Phaser with a LFO of 4 seconds to produce subtle variations in the Snare timbre. A micro sequence is a sequence smaller than a standard 1/16th sequence. They are created by sequencing tiny samples at smaller intervals, e.g. 1/48th or 1/96th bar. 1) Create a rhythmic pattern using 1/48, 1/64, 1/96 hits in a rhythm. Add a variety of flammed hits to add excitement. a. Double Kick flam, b. Triple Kick flam, c. Quad Kick flam, d. Pent Kick flam Orchestral drums are non danceable, cinematic drums that are obviously effective only during sections during intros, build ups or outro. Add plenty of space to create tension. 1) Use a standard orchestral kit. 2) Use a normal Breakbeat kit with lots of reverb. 3) Use an industrial kit The addition of a Polyrythmic sequence will enhance a basic beat, and provide an overall fuller drum sound. It's possible to explore more interesting rhythmic variations with the use of polyrhythms. Precise or Quantised drums can sound too unnatural and welcome the addition of more natural and humanised rhythms. You can use either real recordings of percussions, bongos etc or programmed into the sequencer using a keyboard or touch pad, without quantisation. Rhythmic monotony can occur when the brain becomes used to a sequence. To counter this effect, add subtle or drastic rhythmic variations on a regular basis, e.g. .. 1) Add a dramatic change in the main drum rhythm every 16 bars 2) Add various subtle percussion variations in each bar. Explore the rhythmic possibilities by layers multiple rhythms to create deep polyrhythmic loops. 1) Create 4 variations of patterns for each instruments, e.g. bongos, tabla, bell, etc. 2) 4 one bar patterns with 4 variations = 16 bars of rhythmic variation. For an interesting sound, create 2 identical drum patterns with 2 different drum kits. Pan one far left and the other far right to give a stereoscopic sound.
ii) Drum End The technique applied at the end of a sequence. Variation can add professionalism DJ Friendly Drum Kit Change Glitch Isolation Micro sequence Roll / End Beat Reverse Sample Add Slow Down Snare Roll
Create quirky end sections so a DJ can temporarily cut (move the fader 100) to isolate the quirky sounds during a mix. e.g. spin back, reverse, vocal. Introduce a secondary lighter kit for 1 bar or so before returning to the more powerful main beat. A glitch is a rapid rhythmic succession of filters, using a new filter every 1/16th. Isolate all channels except one, e.g. SFX, music or vocals. Sequence minute rhythms using fractions of a beat e.g. 1/48, 1/64, 1/96 etc. Start these micro rhythms on grids of 1/16 or more or it sounds too messy. Used by all rock drummer, but also an effective choice for dance music is the addition of a Drum Roll using either standard or electronic rudiments. "!songs\!Drum Loops\rolls2 rudiments.LSO" Reverse the beat or a section of song for the last 1/2 bar. Once reversed, bring the sample forward 1/16th for a more pleasing compliment to the main rhythm. Add a simple double clap or any rhythmic addition at the end of a bar. Add a simulated record slow down and stop. 1) Burn your song to CD. 2) Play the song on CD Decks and record the output slowing down. Add a sequence of rhythmic 16th Snare pattern with increasing velocity.
iii) Drum FX DSP Effects for more dynamic drum beats Band Pass Modulation Add Band Pass modulation sweeping from high to low and back again for a subtle variation to the timbre. Cut Off - High to Low Cut Off - Modulation change from high to low EQ, using high resonance filter - saw / sine Cut Off - Low to High Cut Off - Modulation change from low to high EQ, using high resonance filter - saw / sine Distorted A few suggested uses for distortion include... 1) Add heavy distortion to the entire drums pattern 2) Add a second distorted Kick and Snare. Evaporate The last 4 bars have 4 different filters, each reducing the overall intensity and giving the impression of evaporating. This effect Leads comfortably into either a break down or back to the main beat. Glitch Kit Create a 4 bar loop of glitched drums and chop into 1/8 bar segments. Replace 1/8 segments of the main beat in various locations with the glitched version. Ping Pong Pan Create 2 channels of filtered drums, each cut in and out both left and right rhythmically. Software filters Try drums, voice, Synth and songs through different software programs or VST, e.g. crusher, grain VST, chameleon, Amplitube, etc. Speaker Sonics Record the sound of the drum beat through your speakers and add it back into the song. Snare Echo Add a single Snare with an echo filter at varying delay times. 1) Explore a variety of polyrhythmic echoes 2) Use Feed back + 50% for to morph Drums in to FX. Squidge Off Beat Different beat layered squidge effect (high resonance and cut off modulated by LFO) Squidge On Beat Identical beat layered squidge effect (high resonance and cut off modulated by LFO) Vocoder Try beats though a vocoder either… 1) In monotone, or 2) in harmony with the song.
iv) Percussion Complimentary percussion can dictate style. Crisp Percussion
Ensure that the beat contains crisp and regular percussion. Increasing the hi frequency spectrum add a crisp and audibly pleasing balance to the heavy Kick. Human Input A mix of electronic and sampled percussion complimentary each other effectively. Experiment with sampled bongos, hi hats played by a real drummer and real shakers. Percussion sample Find a suitable world rhythm sequence and change the instruments to change electronic, e.g. change bongos to zap, shakers to Micro Sequences etc. World Rhythm Use world rhythms to add spice to beats, either authentic samples or programmed sequences. [See Appendix 6C]
2C Production: Instruments i) Bass Ideas to make your Bass stand out. Clone Kick Filter hi freq Filter Play Glitch
Add a Bass note at the same time as the Kick A big bold Bass evolves from noise, using a hi freq cut off. Add a different filter to add variation to a familiar Bass pattern. A glitched Bass makes a suitable variation or end sequence.
Hi Freq Play Layer Up Tonal opposites
Isolate the hi frequencies from a Bass and go crazy with pan, and other filters. Changing the low Bass frequency will warp the EQ balance. For a wide and extremely Phatt bass sound, use 2 or 3 different instruments and leads with the same sequences. If you require 2 Bass parts, use complementary timbres, i.e. quick attack Bass note, and with slow attack (wowp). 1) You can use the same Bass instrument with a variation in ADSR, or... 2) Choose 2 instruments.
ii) Synth / Lead Ideas for musical instruments Double up Play the same sequence using 2 different instruments, typically Bass and Lead. Dreamy Bells Dreamy bells with reverse reverb and multiple echo delay. Frequency Awareness Create a main instrument for each category, e.g. Bass, Lead, Synth and Strings / pad. Ensure that too many instruments that occupy the same frequency range don’t overlap. The sound will become too crowded as the instruments complete for a finite amount of available frequency. Fuzz Wah Delay Synth Stereo Delay into an auto filter. FX Experiments Try extreme and experimental DSP Effects Chains in both series and parallel for synths to discover completely warped, unique and original sounds, i.e. guitar amp, auto tune, stereo delay to Fuzz Wah etc. Mad Lasers To add excitement to a Bass and drum beat, use Lasers or zap sounds, which contain a high frequency range high to low in the fraction of a second. 1) Dynamic, twisted, mad, in yer face Laser Synths. Humanised with lots of variety. Organic Try to emulate the natural subtleties of analogue instruments with variations in A D S R, LFO, etc settings, etc. This will create a more organic texture Resolve chords Trumpet, organ or guitar chord progression that resolves to the main chord. Reverse Reverse chords or slow attack and fast decay Stereo Widening Adding stereo widening on synths and pads can create more interesting sounds and completely brighten up a riff. Surreal harmony For an evil or surreal edge, use dissonant harmony. iii) Novelty Distinctive hook or element to make the tune stand out from the crowd Beat Box Narration Robot Rap TV Rip
Beat Box Robot voice narrating the different types of Bass, followed by an example. Vocoder Rap Sample a movie quote or other non musical media. Overused in the 90s rave scene but provides a retro quality to a song. Unexpected elements Unexpected elements make the listener stop and think, e.g. 1) Start with a rock intro, then bring in big beats. 2) Quirky orchestral moment before breakdown end. 3) Animal sounds. 4) Backwards TV theme tunes. Vocoder harmony Compose a contemporary harmony using a Vocoder as individual layers. Singing robots. World music elements Add world music themes e.g. Turkish polka, Japanese dance, etc. iv) Production Sequencing ideas Duck Off
Gate double
Create a pumping sound to Strings by using the Kick drum as the input for a compressor. 1) Duck of Synth off the main beat. 2) Duck Rhythm 2 Gates on 1 instrument mixing left and right
Morph
Morph 1 element to another e.g. (Cheat and use fade up and down to mix between layers) 1) Synth, isolate Bass, turns to Bass 2) Bass, isolate hi frequency, turns to hat Music roll Take a small section and loop 1/4 bar x 4, 1/3 x 3, 1/6 x 6 etc Pan Gun Pan bus left and right with gates to jump left and right Poly rhythm A a single note or FX sound in a regular steady Poly rhythm, i.e. 3/4, 5/4 pattern to complement the 4/4 beat. v) Sound Effects (Digital) Electronic sounds or electronic SFX Aphex Rhythm
Add an orchestra of bleeps, squelches and hi frequency sound effects rhythms. (sfx sorted/Aphex samples) AUX rhythm A sample is connected to several Aux effects with different DSP's delay, EQ, etc Change the bus output for each rhythmically e.g. 1112 1312 2221 3134 Bus / Send Check Adjust the dry / wet ratio for all of your effects to see if reducing or increasing the effects, e.g. reverb, delay, Phaser etc enhances the song. Epic SFX Create Epic Sci Fi movie SFX 1) Noise 2) Rumble 3) Swoosh 4) Detuned Strings 5) Vocal noises Feedback loop Add a +50% feedback delay loop to vocals and SFX to create a hypnotic effect. Pan Rhythm Pad variation of 1/32, 1/16, 1/8 pan Reverse Echo 1) Reverse a sound, 2) add echo / reverb 3) Reverse again SFX Party 1) Collect full frequency range of SFX from different sources. 2) Create ensemble with space. 3) Smooth over with reverbe and distortion 4) Name and categorise 5) Add to other trax vi) Sound Effects (Analogue) Non electronic sounds Atonal SFX Vocal Glitch Vocal mash
Vocoder rhythm Vocal Velocity 3) Post Production
Add atonal loop SFX in a loop, e.g. Glass tap, Noise, scratching etc. Create glitched vocals, talking or singing with subtle distortion and add to ESX24 for rhythm sequence Use Synthetic or real speech, cut up into syllables, and used in a rhythm, (Vocoder normal speech A vocal line, cut up into syllables, played rhythmically Radio speech and music, cut up (esx), cut off, scratched, squidged in rhythm) Cut up the syllables of vocals and play rhythmically through a Vocoder. Vocal stab of micro sequences with the cut off linked inversely to velocity.
i) Production FX DSP tricks to make a production more professional and interesting Echo Effects Extra Bar or 2 Cut up - Wav Tricks Cut Off fade in Cut off LFO Delay, Delay
A sample, e.g. 1 word vocal repeats at regular intervals with a different effect on each. Add an extra bar to delay the action -Take a 1 bar section of the entire song and cut up into 2+ layers, and juggled. -Play ¾ of a bar 3, 6, 9 or 12 times. The entire song is filtered using a low to hi / hi to low cut off at the end of a bar The entire song is filtered is an LFO cut off. 1) Create 2 channels 1 panned left and 1 panned right. 2) Add 2 copies of a looped samples in each. Delay the vocal in the left channel by a few milliseconds each loop. 3) The samples will gradually play further apart
Decks
Glitch Song Gate Song Gate Song Reverse Gate Pan Warping
1) Song Slow Down (Record simulation) 2) Song start slow and speed up (Record simulation) 3) Quick beat scratch 4) Spin back 5) Hip Hop staggered start - the same song played on 2 decks 1 bar behind. Glitch the entire song and add splices Gate Song Gate Song Reverse 1) sample the song 2) Cut up and alternate left and right Modulate pitch shift fine tune up and down slowly to emulate warping of old record
13. Digital Signal Processing
Categories of DSP DSP (Digital Signal Processing) is the technique of manipulating a sound and can be divided into 2 main categories depending upon the function. 1) Effects DSP: The purpose is to change the colour or timbre of a sound, e.g. Delay, Phaser, Distortion, Cut Off. Effects DSP is covered in this chapter. 2) Mastering DSP: The purpose is to enhance the audible quality, frequency balance, clarity and loudness, e.g. Compressor, Limiter, Reverb and EQ. Mastering is covered in Chapter 14 Most DSP effects can be used in both categories, e.g. an EQ can be used to ensure that the frequency range is balanced for mastering. An EQ can be used to add a sweeping motion to a synth.
Effects and Mastering DSP The following classification of effects can be applied to any sound source. Name
Description
Compressor
Reduces the dynamic range or the quietest point to the loudest point
Distortion
e.g. overdrive, distortion, but crusher etc
EQ band pass
Equalization filter that passes frequencies within a certain range and rejects all other.
EQ hi pass
Equalization filter that passes on frequencies above a certain range.
EQ low pass
Equalization filter that passes on frequencies only below a certain range.
Filter - Stereo Spread
a. Stereo Spread high frequencies - automation left to right c. As above with auto filter resonance for added squelch
Fuzz Wah
Cut off and distortion, similar to a Wah Wah pedal.
Reverb
Create the illusion of space by adding the ambience of different spaces, e.g. small room, hall, and cathedral.
Gate
Rhythmic amplitude modulation
Modulation
e.g. Phase, Flanger, etc
Pan
Left and Right or spatial surround (if you have the technology)
Pitch Shifter
Pitch Shifter
Time Stretch
Tiny grains of a sound are looped to stretch the sound (old hardcore)
Vocoder
A vocal sound is processed though ring modulation.
Applying Filters to Instruments Even the most simplistic sounds can be manipulated using filters to turn them into pro studio quality. Once a few core techniques have been established, they can be used for Bass, Leads, Vocals and SFX.
Fig 1: A simple Bass sequence is programmed. uninteresting. Filters Bass 1 Raw.mp3
By itself, the Saw Wave timbre is very static and
Fig 2: A Band Pass Cut Off filter is modulated using track automation. Filters Bass 2 Modulation.mp3
Fig 3: A Stereo Delay filter is added. Filters Bass 3 Stereo Delay.mp3
14. Mastering The main purpose of mastering is to ensure that each instrument together with drums, vocals and SFX is at the maximum volume and can be heard clearly with the other sounds. The fewer layers you have, the easier the job of mastering becomes.
The main tools to assist include Compressor, EQ, Pan and Reverb. Compressor Compressing reduces the dynamic range or the quietest point to the loudest point. Heavy compression will increase the amplitude of quiet sounds. There is five important features to a compressor.
1. Attack 2. Release 3. Ratio 4. Threshold 5. Knee • • • • •
The attack is how fast the compressor begins to process the sound after the level has passed the threshold. The release is how fast the compressor stops processing the sound after the level drops below the threshold. The ratio determines how much compression is being applied, so a ratio of 2:1, for every 2db that passes the threshold, the output will be 1db. The threshold describes the minimum volume level of sound to be compressed, so that all sound above the threshold will be compressed. Now the knee describes how sharp the attack is.
EQ The frequency range of human ears is from 20 Hz to 20,000 Hz. There is no specific value to describe the perfect EQ balance at it can vary according to Genre and personal taste. However, a song must contain a relatively equal balance across the spectrum from low to high. frequencies which can be boosted or reduced by an EQ. Use your ears or a frequency spectrum to analyse the sound and use EQ to boost or reduce frequencies accordingly. EQ can enhance a mix by adding sparkle (higher frequency boost), power (lower frequency boost), and many other characteristics. Further details are listed below in the EQ and Mastering Table. One technique is to EQ for mastering during the production, i.e. ensure that the drums sound perfectly balanced before assign the Bass and Synths. After the addition of each new instrument, ensure that the EQ on all previous drums and instruments is modified if necessary to maintain balance and clarity. When the song is finished, the final EQ Mastering and compression is easier to tweak as most of the work has been completed. EQ Tips -Use the sweep control to sweep the frequencies until your boost or cut has achieved the optimum results. - To maintain a natural sound, apply a gentle boost and retain a narrow bandwidth. Prevent Frequency Overlap When too many frequencies overlapping in a mix, the result is “muddy”. To retain a crisp and full sound, ensure that instruments like Synths and Leads have a low frequency cut to remove the low end of the spectrum. If you have two Leads playing at the same time which disappear beneath each other, ensure that you boost different frequencies for each to highlight them. Panning one left and one right will also help prevent their sound getting lost. Pan If two sounds occupy a similar frequency range, pan them slightly to opposite channels left and right. Panning will make the 2 similar sounds more distinguishable and subsequently more prominent in the mix. Reverb Reverb create the illusion of space by adding the sonic ambience of different spaces, e.g. small room, hall, and cathedral. Use reverb with caution because clear and crisp sounds become too distant and muddy with overuse of reverb. Step By Step Mastering Before you start - Essential Mastering Tips Prevent Ear Fatigue - Let your ears rest for at least 24 hours before completing the final mix down. Constant exposure to music will unbalance the ears natural response to over exposed frequencies. Add a limiter to the master output to ensure that the track doesn’t clip or distort. To achieved 0db for the entire mix, add a compressor before the limiter and boost the gain. If too much boost is required because each individual instrument is too low, then unnatural warping and level bouncing will ruin the mix. Add a Cut Off filter below 40Hz on all Bass sounds, even the Sub bass to prevent muddiness.
Generally, use the EQ to reduce frequencies to obtain a balance instead of boosting. Cutting one frequency can be perceived as a boost to another frequency. Each change that you make can affect the perception of the overall tonal balance. Appendix 12 provides a chart of useful EQ information. Drums Mute all layers in your track except for the drums. Primarily, ensure that the Kick Drum or Snare Drum is prominent in the mix. In House music, the kick drum dominates the mix but in Breakbeat and Drum & Bass, the Snare Drum dominates the mix. Compare your song to a professionally mixed song, usually the intro or outro will contain only Drums. If a Snare or percussion sound hurts your ears because of too much high frequency of over compression, use a parametric EQ to boost the high frequency and identify the offending frequency range. Move the boosted frequency value up and down to the frequency which is the most harsh and painful. Change the boost to a reduction. Bass Next, un mute the bass and adjust the EQ to ensure that both the Drums and Bass are clear in the mix. Unfortunately, the Kick Drum and Bass share a similar frequency range. One technique is to add a low cut filter to the Bass and Bass Drums so that the frequencies don't overlap causing muddiness. Another technique is to apply EQ separation; use add a parametric EQ to boost the Kick. Adjust the frequency up and down until you identify the most powerful value. Reduce the same frequency in the Bass and boost a higher frequency range. For example, if you boosted 50-80 Hz in your Kick Drum, boost around 120 Hz for your bass. It's very important to avoid accumulation of the same frequencies when dealing with lows as these tracks control the overall output level of your mix. Be wary of boosting the Bass of too many tracks. Low frequency sounds are particularly vulnerable to phase cancellation between sounds of similar frequency. This can result in a net cut of the bass frequencies. Next Layer Next, un mute the most important instrument, usually a lead, hook, vocal sample. Again adjust the EQ and compression until all 3 layers are clear. Other Layers Un mute every other layer one at a time from the most important to the least. compression to ensure that each instrument can be heard clearly in the mix.
Adjust the EQ and
Don’t EQ an instrument in isolation as changes can affect the other instruments. Mastering Throughout the Song It is unlikely that the EQ and amplitude of each layer will remain static throughout the song. Instruments will sound louder when no Bass or Lead are playing as they don’t have to compete so compensate by reducing the amplitude accordingly. Mastering Throughout an Album to Maintain Consistent Bass Energy Listen to the bass end of each song to see how that differs and use the EQ to try to even things out. For example, one song might have all the bass energy bunched up at around 80 or 90Hz while another might have an extended deep bass that goes right down to 40Hz or below. Low Cut on the sub-bass and peaking up the 80Hz area slightly may bring the bass end back into focus. 15. Organising your Studio to Optimise your Workflow Good Housekeeping Being organised can optimise your work flow when writing dance music and prevent stifling creativity with administrative duties. Keeping your samples in a logical file structure will promote a focused train of thought when writing. Good housekeeping and organisation is important • • •
Work from a Template Organise samples Label all tracks with a type and description e.g. Drums - heavy, Synth - stab, Lead - acid.
• •
Backup your samples and song regularly. (not many thing will make a grown man cry, sadly loosing 10 years worth of samples and songs due to a crashed hard drive is one of them.) Create a spreadsheet of songs with a score.
Work from a Template Setting up a new song from a blank page is very time consuming and unnecessary because you repeat many common steps. To save time, create and save a template with many of these common processes already completed. Details can be tailor made to your preferences. • Create tracks for drums 1, drums 2, hats, shakers. Load each tracks with a software sequencer e.g. EXS24 or HALion. • Create tracks for VST synths or sound modules called Bass 1, Bass 2, Lead 1, Lead 2 etc. • Create tacks for every other common instrument, e.g. SFX 1, Vocals, Guitar etc. • Add common DSP e.g. reverb 1 light, reverb 2 heavy, and delay into a Bus or Send. • Add a compressor, EQ, low pass filter and limiter to every channel. • Add a Compressor and Limiter to the master output channel. Each time you produce a new song, you can get creative straight away. Organise Samples As your sample collection grows and increases in complexity, it is vital to administer logical categorisation for the quick retrieval of specific sounds. By spending too long searching for the sound in your mind, you will forget what initially inspired you. Rule 1: Keep all samples in one location. If your samples exist on different sample CDs, store them on 1 hard drive. Rule 2: Sort your samples into a logical structure. Ensure that a minimal top level structure is utilised, e.g. Drums, Analogue Samples, Electronic Samples, Sound Effects and Vocals. The second level can contain as many categories as necessary to distinguish between the different elements. Any more than 3 sub layers of categorisation may be confusing. Rule 3: Add the BPM of all samples to the beginning. Drums
Percussion Bongos 120 BPM Bongos Street 124 BPM Bongos Latin 140 BPM Bongos Electro
Electronic Break Beat Kits Drum and Bass Kits House Kits Vintage Kits Analogue Jazz Kit Rock Kits Analogue Samples Brass Riffs Funk Stabs Jazz Trumpet Classical Brass Guitar Riffs Funky Guitar Blues Guitar Classical Guitar World Guitar Electronic Samples Bass Riffs Synth Riffs Sound Effects Atmosphere Swoosh etc
Vocals
Female Rap Female Sing Male Rap Male Sing Robot Rap Robot Sing
16. Live Performance for the Dance Musician Live Performance Acts like Pendulum, London Electricity, Keiretsu and many more have taken Live Dance Music performance to the next level. They perform Live Drum and Bass with a combination of traditional and modern instruments, live Drummer, Guitar, Brass, Keyboards and Laptop The options available to the live dance act are becoming more diverse and reliable, which is reassuring especially as the fear of software crash during a live set has deterred many budding musicians.
The basic performance instruments available include..
1) Mixing Using Vinyl Decks, CD Decks or Electronic Mixing software like Ableton live will enable you to perform a diverse range of music. You can spice up your mix by mixing your own tunes and remixes to give the crowd a completely original set of tunes.
CD Decks and Ableton Live use “real time” time stretching to drastically speed up or slow down songs without altering the pitch, to give you more options, e.g. slow down a Drum and Bass tune to 140 BPM and mix in with a Hip Hop tune, sped up from 90 BPM.
Ableton take beat matching away from mixing. The DJ can set start points and Ableton will automatically beat warps music to match the other songs tempo settings, enabling mixing at the touch of a button without any manual adjustment. This takes a lot of the skill and fun away from mixing, but lets the DJ concentrate on manipulating the sound with real time DSP effects.
2) Live Set Ableton Live is a very versatile software sequencer / mixer / performance tool. You can add beats, audio riffs, and any audio samples into a sequencer matrix and trigger them in time to the song. Ableton is also a VST host so you can play live synthesiser on top of a pre recorded drum pattern. The flexibility enables you to record audio during a performance, to loop and manipulate it. A musician can build up 1 layer of a song at a time in from of a live audience. The possibilities are endless.
3) Live Band
You can integrate Decks, live Sequencing software together with traditional performance instruments such as Drums, Guitar, Brass, and Keyboards to create the ultimate musical experience. The first 2 options enable you to achieve a solo performance. Being in a band is a team effort where a lot of dedication and commitment is required.
17. Selling Your Music Online Music Distribution Portals There are thousands of web sites that sell music, not only from well established artists, but from smaller independent labels. Most sites require you to submit a few examples of your music before providing you with a contract, e.g. www.Juno.com, www.trackitdown.com . There is no sign up fee and royalties are paid after £50.00 of sales have been generated. Some sites allow you to upload and sell your music without first requiring you to send music for approval, e.g. www.beatsdigital.com . Beatsdgital.com provides you with a web interface to sell music. All you need is a label name, artist name, logo and of course some music (320 kb MP3).
My personal favourite is www.feiyr.com/ which has links to several hundred online music distribution websites. After paying a small administration fee, upload your single, EP or album once, and hundreds of online music distribution websites can choose to sell your music on their site. You receive a large percentage of any sale.
Create Your Own Record Label In the digital age, it easier than ever to create your own record label.
The minimum requirement for a record label is… • Label Name, Logo and Biography. • Artist Name, Logo and Biography. • At least 1 tune in high quality .wav. • Don’t forget to declare your additional earnings to the taxman! Additional Requirements • Web site. • Back catalogue of tunes. • Live Performance service If you have experience in graphic design, creating your own logo and web page will significantly reduce cost. There are a number of Freeware software applications available which are well supported with forums and tutorials. Freeware Raster Graphics Editors • ArtRage Starter Edition • Artweaver • Brush Strokes Image Editor • Pixia • Project Dogwaffle 1.2 Free Version • Xnview Freeware Vector Graphics Editors
• •
Inkscape OpenOffice.org Draw
18. Dance Music Rudiments Version 2 Worldwide Artists Collaboration Required Dance Music Rudiments is constantly expanding the library of ideas, drum patterns, midi files and material useful for all Dance Music production. Mazala Recordings is keen to receive input for Version 2 from producers on all aspects explored in this book, especially... -Drum Sequence examples. (Chapter 6) -Specific timbres that can be reproduced using subtractive synthesis. Creative details as specified in chapter 9 required. -Emotive chord progression (Appendix 3) -Funky bass lines (Appendix 4) -World percussion (Appendix 6c) Please contact Tom... myspace.com/mazalarecordings or
[email protected]
