Tape Notes Podcast
Layering kicks for adding weight and punch
Four Tet enhances kick drums by layering a sine wave sub-bass and a click sound to add weight and punch. The sub-bass layer, subtly mixed in, provides a deep weight that becomes very apparent in a club playback situation, while the click layer ensures the kick cuts through the mix with clarity. This method of layering sounds addresses common issues with kick presence and weight, allowing for a more impactful and balanced mix without being required to make the kick too loud.
DJ Mag
Creating vocal pads from chopped harmonies
Jordan Rakei demonstrates how to transform chopped vocal harmonies into lush vocal pads using a combination of sound design and signal processing techniques. He begins by singing and chopping different harmonies, then layers and loops them to create a textured pad. To enhance the pad's texture, Rakei applies delay and reverb, rolling off the low frequencies to prevent muddiness and ensure clarity alongside the main instruments like the Rhodes. He uses a digital delay for an old-school vibe and adds reverb to create a lush, expansive sound. Finally, Rakei employs sidechain compression, subtly ducking the pad with the kick drum to carve out space in the mix. This technique ensures the vocal pad integrates smoothly, adding depth and texture without overwhelming the track.
Tape Notes Podcast
Create a focal point with strategic panning
Four Tet demonstrates how simple it is to use strategic panning techniques to make an element stand out and give the mix a focal point. By keeping all other elements panned centrally in mono, the wide, stereo bass becomes the prominent and exciting feature of the track, effectively building tension and adding width. This distinct panning position draws the listener's attention when the bass comes in, making it a standout moment in the mix. This approach highlights the bass as a key element, creating a dynamic contrast that enhances the overall impact of the mix.
Tape Notes Podcast
Layer bass sounds for bigger low end
Four Tet demonstrates how to create a distinctive dubstep-influenced bassline using two layers in Spectrasonics Omnisphere. By combining a wobbly bass preset, "Swaggering Around," with a low sine wave for added sub-bass, he enhances the bass's depth and weight, showcasing the power of layering different sounds.
Tape Notes Podcast
Small variations, big impact: Four Tet's drum sequencing
Four Tet demonstrates how to create dynamic drum loops by introducing subtle dropouts and manual variations in sequencing. By deleting a few kick drums here and there, he ensures the loop feels fresh and less static, keeping the listener engaged without dramatic changes. He emphasizes the importance of non-repetitive sequencing and automation to make tracks more interesting. Subtle variations, such as these dropouts, refresh the loop, making it feel like it's constantly resetting and starting anew. Additionally, by manually adjusting parameters like the decay on a hi-hat during recording, Four Tet introduces further nuances that enhance the overall texture and interest of the drum loop. This approach highlights the power of small, intentional changes in arrangement and signal processing to maintain interest and prevent monotony in drum-driven tracks.
Tape Notes Podcast
Focus on arrangement before plugins and gear
Four Tet emphasizes the importance of focusing on arrangement and song structure to become a better producer. He suggests prioritizing the overall narrative and emotional moments of a piece before getting caught up in technical details like plugin chains and gear choices. He advises that producers should aim to do as little processing as possible, choosing sounds that work well from the start. He suggest to rather use plugins and compression to address specific problems that could not be fixed otherwise, not as a default approach. This mindset encourages a more organic and intentional production process, where the music's core elements take precedence over technical tweaks.
Tape Notes Podcast
Humanize MIDI patterns with random velocity and octave jumps
Four Tet shares his technique for humanizing MIDI patterns by introducing randomization in velocity and pitch. By varying the velocity of MIDI notes by 15%, he creates a more dynamic and less static synth sound, making each note feel more human and expressive. Additionally, he adds a 15% chance for notes to jump an octave up or down, introducing unexpected "sparkles and twinkles" that keep the pattern fresh and engaging. This approach causes every playback of the track to be unique, offering subtle variations that make live performances and recordings distinct each time.
Tape Notes Podcast
Layering synths for clearer bass
Four Tet enhances bass clarity by layering additional sounds on top of the primary synth line using Spectrasonics Omnisphere. He subtly layers a bell sound over the bass line, which, while not overtly audible, prevents the bass from being buried in the mix. This layering technique adds depth and ensures the bass remains prominent and defined, contributing to a clearer overall sound.
Tape Notes Podcast
Turn time-stretch artifacts into groove with vocal loops
Four Tet demonstrates a creative approach to handling artifacts from time-stretched vocals by employing looping techniques. By creating a small loop of the vocal, he introduces a rhythmic pulse that adds coherence and movement to the sound. This loop is tucked underneath the main vocal track, effectively masking the uncomfortable artifacts and integrating them into the overall groove. This technique not only covers up the technical imperfections but also enhances the vocal's presence and relevance in the mix.
Tape Notes Podcast
Synth layering for memorable melodies
Four Tet showcases the art of layering by using the same melody across three synth instruments, enhancing both the arrangement and the track's tension. Starting with a subtle sound, he introduces the melody, allowing it to become familiar to the listener. As additional layers are added with more prominent instruments, the arrangement builds tension and anticipation, creating a dynamic progression throughout the track. This layering technique not only enriches the overall texture but also adds complexity to the sound itself. By combining different timbres, the melody gains depth and intricacy, making it more engaging and memorable.
Mix with the Masters
De-ess backing vocals to place them behind the lead vocal
Tony Maserati uses the Waves DeEsser to manage sibilance in backing vocals for better separation and to ensure they sit well behind the lead vocal. By reducing the sibilance in the doubles, Maserati ensures that the lead vocal remains clear and prominent in the center of the mix, even when the backing vocals are panned to the sides. This technique helps maintain a clean and focused lead vocal, preventing it from being overshadowed by the backing vocals, which can otherwise create a cluttered sound. Maserati emphasizes that the ear doesn't need multiple sibilant sounds, and by controlling these, the mix achieves a more polished and defined sound.
Mix with the Masters
Lift the energy of the lead vocal with a breathy double
Tony Maserati demonstrates how to lift the energy of a lead vocal by adding and bringing out a breathy double using a combination of EQ, compression, and harmonization. He starts by using the Waves Renaissance Equalizer to remove unwanted low-end frequencies, creating a breathy quality in the backing vocal. This helps to add clarity and presence without muddiness. Next, Maserati employs the Avid BF-76 compressor to push the breathy double upfront, ensuring it sits prominently in the mix. This enhances the vocal's energy and makes it more engaging. Finally, he uses the Waves Doubler to widen the vocal, adding a subtle harmonizer effect that enriches the overall sound.
Mix with the Masters
Create separation between snare and hi-hat with EQ
Jaycen Joshua recommends attenuating the 6-8 kHz range with an EQ on the snare to reduce masking with the hi-hat. This approach distinctly separates the snare from the hi-hat, a crucial element in modern pop and electronic music, ensuring its prominent presence in the mix.
Aulart
Create space in the low end with sidechain multi-band compression
Felguk uses two stages of multi-band sidechain compression to create space in the low end and make the kick and the bass work together in a well defined way.
Streaky
Get the bass to cut through with parallel saturation
Streaky demonstrates how to make a bass cut through on smaller speakers using parallel compression and saturation with FabFilter Saturn. He sends the bass to a parallel bus, applying an SSL compressor with a 4:1 ratio, slow attack, and fast release to maintain transient clarity while achieving a fat, compressed sound. Next, he uses FabFilter Saturn to add saturation, focusing on the higher frequencies above 140 Hz. This technique enhances the bass's presence by introducing harmonics without altering the low-end character. By blending this processed signal back into the mix, the bass maintains its power on club systems while ensuring clarity and presence on smaller speakers. This approach effectively balances the bass's impact across different playback systems.
Streaky
Widen the vocal to lift up the chorus
Streaky demonstrates how to use the UA UAD Studio D Chorus to widen a vocal, enhancing its perceived size and impact, particularly during the transition from verse to chorus. What is special here is how he ensures the effect is applied only to the stereo sides, leaving the center vocal clean. This technique helps the track's chorus lift and expand without overwhelming the listener with an obvious chorus effect on the vocal. To achieve this, Streaky employs the FabFilter Pro-Q 3 to apply a brick wall EQ, isolating the mid frequencies and allowing only the side signal of the chorus effect to be heard. This approach maintains the vocal's clarity while adding a subtle yet effective stereo expansion.
Tape Notes Podcast
Building tension using a filter on the bass
Bonobo uses a Prophet 5 synthesizer to build tension in a track by gradually opening the filter on the bass. This technique enhances the breadth and energy of the music, particularly when combined with the introduction of a drum break. In the first half of the track, the hypnotic and restrained vibe is maintained by holding back the drum break, allowing listeners to settle into a tranquil, trance-like state. The energy rises significantly when the filter opens and the drum break enters, creating a dynamic shift. Bonobo reflects on the rapid creation of the track, completed in just one or two days, and describes the emotional journey of enjoying the process so much that its completion felt bittersweet. This insight into the creative process highlights the joy and spontaneity that can accompany music production.
Tape Notes Podcast
Pitching and saturating reverbs for interesting spaces
Bonobo delves into creative reverb processing by utilizing return channels in Ableton Live, incorporating tools like Soundtoys Decapitator for distortion and Little AlterBoy for pitch shifting. He pitches the reverb return above the root note, often using settings like nine or five semitones, to create a shimmery, harmonizing effect that adds depth and interest to the mix. His technique also involves sidechain compression, allowing the reverb to duck in response to the input source, adding dynamic movement to the sound. Bonobo manipulates parameters such as drive, pitch shift, and reverb decay to craft complex audio effects, utilizing Ableton Live's instrument macros for efficient control. This approach results in a rich, musical texture that enhances the overall sonic landscape.
Tape Notes Podcast
Using tape modulation for more organic, less static synths
Bonobo employs the TB Reelbus plugin to introduce tape modulation and saturation, aiming to create a more organic and less static feel in his mixes. While the plugin adds width and subtle saturation, it is primarily used for its tape wobble effect, which Bonobo uses to infuse life and excitement into synth sounds. This modulation enhances the overall texture, making the music feel more vibrant and engaging.
Streaky
Tight and lively low-end with multi-band compression and expansion
Streaky refines the low end of a mix by using a multi-band compressor and expander, such as the FabFilter Pro-MB. The idea is to divide the low frequencies into two specific bands, one with compression, and one with expansion. The compression band is set to below 115 Hz and aims to tighten and control the sub frequencies. The expander band is side-chained from the sub band and enhances the upper bass range from 115 Hz to 350 Hz. So whenever the sub frequencies are reduced, this band adds punch back in. The combination of the bands contributes to a lively, moving low-end that is clear and controlled.
DJ Mag
Double-tracking shakers with vari-speed
Jordan Rakei enhances his track's natural feel by adding double-tracked shakers using vari-speed recording. He records the second shaker at a faster tempo, creating a distinct texture and feel. By returning the recording to its original tempo, the vari-speed technique transforms the audio, resulting in a unique pitch and rhythm. This approach adds a more interesting and wider sound stage when the shakers are panned left and right. Rakei further refines the groove by using Logic's delay function to offset the shakers slightly behind the beat.
Tape Notes Podcast
Using sequenced low-pass gates to create rhythmic chord patterns
Bonobo explains how to use the Make Noise LxD low-pass gate to create dynamic, rhythmic chord patterns with a Rhodes electric piano. By sequencing the low-pass gate, Bonobo introduces movement and interest to the sound, allowing the decaying notes to interact with the sequence in real-time. This technique maintains a structured rhythm while enabling a loose, chord-oriented focus during performance. The setup involves playing the Rhodes through the modular low-pass gate, which is triggered (or sidechained) by a programmed sequence. The nature of the low-pass gate creates unique and unforeseeable interactions with the dynamics of the playing and the envelope of the chords, enhancing the musical experience with evolving textures.
Tape Notes Podcast
Adding depth to a stereo piano with a mono plate reverb
FKJ enhances the depth of a stereo piano by using a mono plate reverb to fill the center of the mix. By running the wide, stereo piano through a vintage EMT 140 Plate Reverb and panning the effect to the center, FKJ creates a blend that adds richness and focus to the track. This technique ensures the piano remains expansive while the reverb provides a distinct presence in the middle, balancing the stereo field and adding captivating depth to the mix.
Tape Notes Podcast
Creating more interesting drum sounds with automation
FKJ employs a modular synth setup to craft dynamic and evolving drum sounds through real-time automation. By continuously adjusting the settings of the percussion module, he introduces variation and intensity to the rhythm, making the drum sequences more interesting and less static. The modular system enables FKJ to alter elements like snare decay in real-time, adding a lively and creative dimension to the electronic drum sounds. This hands-on approach not only enhances the track's dynamics but also makes the process more enjoyable and engaging for the artist. These real-time manipulations are recorded as audio tracks in the DAW, allowing for further editing and comping, similar to traditional instrument takes. This method provides flexibility and creative control, resulting in a more vibrant and expressive drum sound.
James Hype
Keep it simple: Letting the main elements shine
James Hype emphasizes the power of simplicity in production, using his hit record "Ferrari" as an example. By employing basic elements like a 909 drum kit and minimal loops, he ensures that the main focus—the guitar and vocal—remains memorable and impactful. Hype highlights that while the house loop is pleasant, it serves primarily to support the track's core elements without overshadowing them. This approach contrasts with the tendency of some producers to overcomplicate their tracks, which can detract from the main idea. By keeping the supporting elements simple, Hype creates a clear focal point, allowing the primary sounds to shine and making the track more memorable.
James Hype
Synth power: Rhythmic linking for seamless impact
James Hype shares a technique to seamlessly integrate aggressive synths into a track by mimicking existing rhythms within the composition. By aligning the rhythm of the synth with other elements, such as the bass or percussion, the synth's entrance feels more natural and expected, reducing the shock factor for listeners. This approach ensures that even bold, extreme sounds blend cohesively with the rest of the track, making the overall production more coherent and engaging.
James Hype
Choose your kick drum wisely: Context is king
James Hype emphasizes the importance of selecting the right kick drum for each track, highlighting that context is crucial. He shares his experience of using the same kick for multiple tracks, which he later realized was a mistake. By demonstrating how different kicks can drastically alter the feel and energy of a track, Hype illustrates that even a great-sounding kick may not suit every musical context. He advises producers to experiment with different kicks to find the one that best complements the track's groove and style. Hype also suggests that if you're struggling with a track's feel, swapping out the kick drum can be a quick and effective way to transform the overall vibe.
James Hype
Multi-band sidechaining for club-ready kick-bass impact
James Hype shares his essential technique for achieving powerful kick and bass separation in dance music using sidechain compression with Cableguys ShaperBox. He emphasizes the importance of selecting the right kick for each track and demonstrates how to use sidechain compression to eliminate phase issues with the bass that can cause the kick to lose impact. By visually analyzing the waveform, he ensures the sidechain is perfectly timed to the kick's length, maintaining its full volume and presence. Hype further refines the process with multi-band sidechain techniques, allowing the upper bass frequencies to remain audible while ducking the lower signal parts to prevent phasing. This approach ensures both kick and bass retain their power, delivering a club-ready sound that slams every time.
Mix with the Masters
Get 808s to cut through with parallel distortion
Jaycen Joshua demonstrates how to make 808s cut through a mix using parallel distortion with the UA Ibanez® TS808 Tube Screamer plugin. In the parallel path, he begins by rolling off unwanted high frequencies using the FabFilter Pro-Q 3, focusing on reducing everything above 129 Hz to clean up the sound. This approach allows him to add his own upper harmonics with the Tube Screamer, resulting in a more musical and pleasing presence without harshness. By emphasizing these upper harmonics, Joshua ensures that the 808s remain audible even on speakers that lack sub-bass response, achieving a balanced and impactful low-end that stands out in the mix.
James Hype
Building tension with effects automation
James Hype demonstrates how to build intensity in a track using the "Festival Gap Technique," which involves subtle structural changes and effects automation. By introducing a gap before the second drop, he creates anticipation and excitement, making the audience expect the drop, only to delay it momentarily. This technique heightens the impact when the drop finally hits, enhancing the overall energy of the track. Additionally, Hype incorporates more effects, such as white noise, in the second drop to make it feel like an improved version of the first, maintaining familiarity while increasing excitement. This approach keeps the track engaging and dynamic, perfect for festival and club settings.