Posts Tagged ‘recording studios

16
Jul
13

Mixing the 808 Bass: A Few Tips

One of the few signature sounds in hip hop music is the Roland TR-808 Bass drum.  Roland released the TR-808 drum machine in the early 80s and its synthetically created sounds won just as many detractors for their lack of realism as it did fans for its ability to put together drum patterns without the expense of a kit, microphones and a recording studio.  Drum machines such as the MPC-60 and SP-1200 would soon eclipse the TR-808 due to their ability to use samples of ACTUAL drums, but the one sound from the 808 that permanently stuck in the hip hop production culture, was the sub bass kick and its many variations.

Roland TR-808

The 808 bass drum has survived and flourished mostly because it isn’t a drum at all.  It is a pulse of synthetic low end existing primarily between 20 and 80 hz.  The attack, sustain and decay of this pulse can be tweaked, allowing it to be used to pad existing kick drums, or exist on its own.  As hip hop began pushing into funk based drum tracks in the late 80s and early 90s, the 808 found its way into the background; filling the low sub frequencies where very little else is found.  In the mid 90s, the 808 began to return to the front of the mix as southern rap music emerged with a more stripped down production style. Producers began to manipulate digital samples of the 808 kick, often layering in punchier kicks and combining them into single samples.  The result was an even rounder and fuller boom than was even available on the original drum machine.  (Unfortunately, the southern rap genre also brought back the OTHER 808 drum sounds such as the hi hat, ride, clap and crash which in my opinion, belong in the dustbin of history.)

Today, the 808 kick is as popular as it has ever been and remains one of the more challenging aspects of mixing a rap record.  How much is too much? How loud is too loud? Here are a few tricks of the trade I am willing to share.  If you want more, you’ll have to pay me to mix your record like everyone else.

Dynamics:

As mentioned above, the 808 kick has different applications.  There will be times where it should be treated like a drum, and others like a synth bass.  This will affect how you compress and control the dynamics. If the 808 is short and being used as the primary kick drum, compress it like you would an acoustic kick, just don’t flood the channel.  Over compressing an 808 will bring up ‘crunchy’ frequencies that exist due to its synthetic origins.  Give it a gentle 3 to 10 db of compression with fast attack times to hold it in place.  If the 808 is a long sustaining tone, treat it like you would if it were a string pluck on an electric bass.  Often times, 808 kick samples have big front end attack, very little sustain and long but steep decay.  Compression can extend the sustain of the pulse and keep the decay audible for a longer period.  To do this, set your compressor with a high threshold and a high compression ratio.   I find myself compressing these kind of 808 sounds between 8 to 1 and 12 to 1 but again, I keep the threshold very high.  The trick is to get the compression to hold down the attack but then release in time with the sustain and decay.  Solo the 808 and then toggle the release time of the compression. Your release time is set too fast if it is quicker than the decay of the sample (this sounds like the sustain and decay actually bump up in volume.) The trick is to find a release time that matches the decay time. The result is a more even sound, allowing it to cut through the mix and do its job without causing picture frames to come off the wall in the next room.  I also use tape emulation and saturation with 808s to achieve the natural analog warmth they gained by being flooded onto two inch tape in the 80s and 90s.  You will have to experiment with that on your own.

Tuning:

As mentioned, 808 kicks aren’t actual kicks and you will find that particular attention needs to be paid to how they are tuned.  Unlike an acoustic kick, which may sound good so long as it is tuned to any of the seven notes in the particular key of the record, the 808 is a bass pulse and will clash when it plays with non-unison and non-pleasing harmonic notes in the music.  Because it is very low end, it can be a bit difficult to tune by ear alone.  Use a tuner plug in (preferably while you are still making the beat) and tune the 808 to the root note of the passage in which it is contained.  It has also become popular to use the 808 as a bass and tune several samples to different notes and place them with the corresponding chord changes.  Personally, I’m a funky guy so I would rather just play a bassline, but if you’re part robot and like that electronic feel, knock yourself out. Just make sure you tune each sample to its correct note.  If need be, 808 kicks can usually be fine tuned in the mixing stage with little to no artifacts using a standard pitch correction application.

EQ:

Surprisingly, this is usually the least of your concerns.  There just isn’t much in the spectrum and standard boosting of the limited frequency of an 808 are nearly the same as just turning up its overall volume.  That being said, I have found myself placing hi pass filters on 808 kicks just to roll off some of the REALLY low frequencies below 30 hz. Even though most monitors usually roll off at 50 hz or so, they still TRY to produce those frequencies which takes energy away from reproducing the remaining spectrum.  Rolling off the very very bottom of what the human ear can hear can often add a bit of clarity in the overall mix. You may also have to do some work in your EQ section if there is another competing source of low end within the mix.  A bass that plays through the record can create problems if it has notes that hit right on top of the 808 pulse.  A wise beat maker will avoid these bass battles, but there have been times where I have needed to notch down the specific frequencies of a bass that corresponded with the note of the 808 to keep them from compounding. (Another solution for this is side chain compressing the bass to the 808, but that’s for another article.)

The Mix:

If your 808 is the only kick in the record, you will have to place it up front just as you would an acoustic kick.  In rap, the kick and snare are usually the loudest single musical instruments.  Given that an 808 is mostly sub frequencies, boosting the companion frequencies between 80 and 120 hz will add punch and insure your kick will still be heard on laptops, cellphones and other low end transducers that lack the ability to reproduce the very low end of the spectrum.   If you are using the 808 as a pad, start by setting it at half the volume of the dominant kick and work from there.  We all want that very bottom end to rumble, but make sure the rest of the content is not being compromised.  Mixes should always be done using the flattest monitors and environments possible.  Remember that consumer headphones and car radio systems boost low end considerably.  Even when the bass is set at unison zero, it is often not really so in consumer systems.  If it is heavy in the studio, it will almost always be heavier in the car. Play your mix at speaking volume in the studio.  If the 808 has disappeared, turn it up slowly until it is audible.  Then play at full volume.  Your sub bass should be clearly present, but not overwhelming.  If you used proper compression techniques, the 808 should still cut through effectively without being too loud.

After 30 plus years, it is safe to say that the 808 kick is here to stay in rap production.  But like any good thing, there is always the danger of it becoming cliche from overuse.  Use your 808, but bottom up those acoustic kicks and put them to use as well.  Now if you excuse me, I’m on the way to the repair shop to pick up my sub-woofer, which needed a new voice coil due to a client’s careless love of, “that B-A-S-S bass.”

05
Feb
12

The First 14 Years of My Career on a Shelf

Digital & analog Tracking tapes, DAT Masters, 3.5 inch Floppy discs & video footage representing 1989 - 2003

I try to keep everything I have ever worked on.  In the days before music could be easily stored as hard drive data, a busy music professional could build quite a collection of media.  This is my new Ikea bookshelf in the lounge at Depth Charge Studios.  I purchased it to store & present my collection of works from the first fourteen years of my career.  The bottom three rows contain double stacks of ADAT track tapes.  There are more than 100 completely filled sets each containing an average of 10 songs each.  That’s quite a few records.  It is also important to note that most of my clients had their own tapes, so this stack only contains all of my company’s productions and recordings along with recordings by studio clients who rented tape from us.

The middle row contains VHS and Digital 8 video tapes of our shows, music videos, making of music videos, various studio sessions etc.  This is one of the few libraries I consider incomplete.  I am missing a lot of video footage from over the years which I would love to have.  If any one has any old Team Demolition or Lower Life Forms concert footage from back in the day, please let me know.

The next row up contains floppy and zip discs storing mostly beats I made on the ASR-10 from 1993 – 2003. The top row contains more than 75 DAT master tapes (digital tapes used to store the final mixed and mastered stereo mixes of records) and more than 60 four-track analog tracking tapes which contain my crew’s early work from 1989 – 1994.  It is pretty amazing to stand back and look at this knowing it represents such an enormous portion of my life.  Thanks to hard drives, my work from 2004 to the present is stored on a couple of machines no bigger than a typical paperback novel.  While the convenience of that is fantastic, it doesn’t look quite this cool.

02
Feb
12

Recording Studio Etiquette – Lesson 1

This will be the first of a probably never-ending series within my blog that will outline proper recording studio etiquette.  As the owner of a commercial recording facility for sixteen years, I believe I am as qualified as one can be to speak on this subject.  Hopefully, you will at least be entertained and perhaps learn from my observations and analysis.

Since this is lesson 1, let’s start at the beginning.  Real recording studios operate like doctor’s offices and law firms, not fast food restaurants.  Recording studios see clients by appointment and will most likely be unable to accommodate you walking in off the street.  It is totally unprofessional to show up at a recording studio, presumably while staff and clients are in sessions, and ask for a tour or worse, try to buy studio time on site for immediate use.  This happens at my facility at minimum once  a week.  Someone calls asking for our hours and informs us that they will be coming by in a little bit to do some recording.   It’s even worse when they show up at our door wanting to use the studio.  These are people who have never used our facility before and have no history with us.   I then have to  explain that we are booked for the day and that they have to call and set up an account before booking sessions.  Busy studios like ours usually book a week to ten days in advance.  Even if no one were using the studio I can’t just work with someone I’ve never met who walks in off the street.  I have seen a couple of ragtag studios attempt a fast food business model and almost all of them fail because inevitably, people either go to real studios and see that is not the way the business is practiced, or worse, the studio gets robbed and eventually closes because they can no longer obtain affordable insurance.

I once had a new client call the studio to inquire about using the facility.  After a nice conversation he told me he wanted to schedule some time so I began to take down his information so I could set up a new account for him in our system.  When I asked him for his name, he gave me a nickname.  I told him I was cool calling him that but I needed his legal name for liability purposes.  He told me he didn’t give out his legal name to anyone.  I told him that we would be unable to do business together. He got angry.  I explained to him that we can’t have people using our $100,000 + facility without a responsible party attached in the event something is stolen, broken etc.  We need to know with whom we are doing business.  I told him I’m sure his physician and lawyer knew his real name and if he wanted me to be his engineer, so would I.  He gave in under the pressure of the logic of my argument, but I was almost upset with myself for even making the argument in the first place.  How likely would it be that this person would make a good client if he’s that unprofessional?  I should have just told him to have a nice day and hung up the phone.

So in summary… Studios aren’t restaurants.  You need an appointment and you need at least a semi-formal business arrangement.  If you don’t want a copy of your invoice, that’s fine.  But it will be in our system and accounted for.  If this is unacceptable to you, I believe there is a so-called studio in Northeast being run by undercover cops that would gladly accept you walking up to the door and knocking.




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