By Clint
Tue Feb 17, 2009 4:59 am
Recently there has been a steady flow of threads asking how to reproduce a certain producers' style.
It's a question many beatmakers have wondered, at least privately, at some point in their development. In fact, it is a question which has probably inspired many of us to start producing our own music.
I stumbled across an interesting article which provides plenty of good advice/food for thought for any aspiring producer on how to distinguish your music and develop your own signature sound...
Signature Sound: Make a Name for Yourself
*Initially published by BeatTips on 11/6/08*
By Sa'id
These days, with so many beatmakers/producers transitioning to the ubiquitous “pop sound,” there’s one overlooked option that can offer just as much success and/or critical acclaim: A signature sound.
Contrary to what some in the beatmaking/production community might wanna purport, a signature sound is not a limited sound. It’s the independent and unique sonic force that is consciously created by an individual beatmaker/producer or production team. Also, more often than not, the signature sounds of beatmakers/producers reflect their commitment to the principle of originality and uniqueness. Whether the signature sound is simple or complex doesn’t really matter.
Signature sounds are good because it allows beatmakers/producers to distinguish their music from others within the beatmaking/production community.
Furthermore, signature sounds are a proven tradition in hip hop/rap music production. From the earliest b-boy inspired DJs of the late ‘70s/early ‘80s to the sample wizards of the early/mid ‘90s, and on to the synth crafters of the late ‘90s/early 2000s, signature sounds have been more prevalent than some beatmakers/producers may like to acknowledge. Unfortunately, however, with the increasing boom of interest in beat-making/production, there also came a new level of seemingly acceptable biting—intentional, shameful duplication. In the past five years or so, biting (sucker style) and blatant style rip-offs have become so widespread that it’s becoming more difficult to tell one beatmaker/producer apart from another. And with the apparent tightening up of placement opportunities within the recording industry, many beatmakers/producers who once would have never considered biting, have gone over to the darkside.
Fortunately, however, creating signature sounds is not only a way for beatmakers/producers to distinguish their music, it’s also an effective means for protecting against wide-scale biting. Hence, if you’ve been toying with the idea of creating your own signature sound, here’s a practical breakdown for doing just that.
The Six Areas Ideal for Creating a Signature Sound
There are roughly six areas of concentration that tend to yield the best chances for creating signature sounds:
• Sound Frequencies
• Drum Sounds
• Drum Programming
• Composing
• Arrangement
• Mixing
Sound Frequencies
Sound frequencies refers to the type of sounds a beatmaker/producer may choose. Samples, keyboards, synths, and sound effects. This can be further broken down, for example, what kind of samples? Chops, long breaks (2-bar, 4-bar, 8-bar). What kind of keyboard sounds? Strings, horns, bass sounds? What kind of synth sounds and patches? Mid, high, low frequencies? Each one of these sub-factors can offer a different path to a great signature sound.
Drum Sounds
Drum sounds refers to the drum sounds that a beatmaker/producer utilizes. Crafting custom drum sounds are a surefire way for beatmakers/producers to create a signature sound. Remember, it has often been said that a beatmaker/producer is only as good or as bad as his arsenal of drum sounds.
Drum Programming
Drum programming refers to the approach a beatmaker/producer may take when programming their drums. I like to divide drum programming into three different categories: simple, steady or complex drum programming. Simple drum programming describes the bare minimum--drum patterns that essentially stay the same throughout all sequences. Steady drum programming describes drum programs that contain slight changes on alternating bars, perhaps an extra kick here or there, maybe an open hi-hat. Complex drum programming is a bit more involved. Complex drum programming can be characterized by more deliberate pattern changes on alternating bars. Complex drum programming may include two or more kicks, snares, and hats--“double” and/or “triple” drums. Break downs, custom drum rolls, and “stutters” are also characteristics of complex drum programming. Likewise, a more involved percussion scheme, like the inclusion of a timpani, chimes, bongos and such is also great example of complex drum programming.
Composition
Composition refers to the approach that a beatmaker/producer may take when composing the individual and collective components of their beats. Composition describes the general and unique methods that beatmakers/producers employ. By general methods I mean things like compositional structures, for example, starting with the drums, starting with bass lines, or starting with breaks (samples). This also includes techniques like layering, stacking, and blending sounds. Finally, it also includes things like processing—effects, (wet or dry), like using a DJ mixer or throwing some compression (and the like) on certain sounds.
Arrangement
Arrangement refers to the approach that a beatmaker/producer may take when arranging the elements of their beats. Different techniques in structure, for example, 2-bar, 4-bar, and 8-bar schemes. Different techniques in section arrangement, for example, simple, steady, complex transitional developments, i.e. choruses, bridges, intros, and outros. Arrangement, also refers to the approach that a beatmaker/producer may take when arranging both the fundamental and optional components of a beat.
Mixing
Mixing refers to the approach that beatmakers/producers may take to mixing their beats. This describes the sound dynamics that are achieved before, during, and after the beat is made. It involves things like manipulating the dynamics of each sound, through both non-processor techniques like tucking and panning, and processor techniques like EQ, compression, reverb, and limiting.
Creating Your Own Signature Sound
Generating your own unique approach in the six areas that I’ve outlined will inevitably lead to your own signature sound. However, the process of creating a signature sound involves the deliberate repetition of many of the unique approaches and methods that you employ. That being said, here are some guidelines you might want to follow:
Be True To Your Frequencies.
More than any other elements of your beats, the sound frequencies that you chose play the biggest role in determining the overall mood and feel of your music. As such, it’s imperative that you identity and develop a range of sound frequencies that you truly favor; a range of sound frequencies that best allows you to make the musical expressions that you seek. After you identify the range of sound frequencies that you like to work with, be true to them. That is, try to be consistent to the sound themes, strategies, and ideas that you value, and try to avoid falling headfirst into trends and/or directions that do not suit (nor fit) your sound objectives and goals.
Learn Your Drum Sounds.
Learn what each one of your drum sounds can do individually and in tandem. Develop drum combinations and patterns that fit your overall approach to beatmaking/production. Also, identify what sounds and frequencies interest you. Finally, try limiting the number and types of kicks that you utilize. Using the same three to five kicks can be ideal.
Maintain Efficient Drum Programming.
Drum programming is the most important hallmark of hip hop/rap production. However, that being said, it does NOT always have to be the most noticeable (outstanding element of a beat). Drum programming at its best gets the job done. But drum programming at it’s worst distracts and overcompensates. Thus, designing drum programs that defer to efficiency rather than some obscene level of showmanship is often not only the best way to go for creating a signature sound, it’s also an excellent concept to observe with your beatmaking/production in general.
Compose Using Unique Methods.
I can not stress enough how important it is to development unique methods that take advantage of your particular setup and production environment. Even the most minute step in your compositional process can produce diverse and distinguished results.
Steady Your Arrangements.
What arrangement scheme you approach, always strive to create arrangements that are “steady,” not too busy. Hip hop/rap is mostly predicated upon a strong rhythm, not melody. Therefore, when arranging your elements, make sure that each component makes the overall rhythm tighter, and sonically stronger. Also, when considering changes, think in turns of function before you think of form. That is, consider the function of the change—if it’s needed and why. After you decide that a change is needed, be careful to create changes to compliment the main rhythm of the beat.
Customize a Sonic Wall in the Mix
Mixing offers a great way for you to create your own unique sonic impression. There are many “standard” mixing principles that can be observed. However, the manipulation of these standards can often be the best way to establish your own signature mixing approach. The idea here is to establish and regularly work from your own mix settings. This will go a long way in helping you define your overall sound.
Posted by Amir Said on November 30, 2008
It's a question many beatmakers have wondered, at least privately, at some point in their development. In fact, it is a question which has probably inspired many of us to start producing our own music.
I stumbled across an interesting article which provides plenty of good advice/food for thought for any aspiring producer on how to distinguish your music and develop your own signature sound...
Signature Sound: Make a Name for Yourself
*Initially published by BeatTips on 11/6/08*
By Sa'id
These days, with so many beatmakers/producers transitioning to the ubiquitous “pop sound,” there’s one overlooked option that can offer just as much success and/or critical acclaim: A signature sound.
Contrary to what some in the beatmaking/production community might wanna purport, a signature sound is not a limited sound. It’s the independent and unique sonic force that is consciously created by an individual beatmaker/producer or production team. Also, more often than not, the signature sounds of beatmakers/producers reflect their commitment to the principle of originality and uniqueness. Whether the signature sound is simple or complex doesn’t really matter.
Signature sounds are good because it allows beatmakers/producers to distinguish their music from others within the beatmaking/production community.
Furthermore, signature sounds are a proven tradition in hip hop/rap music production. From the earliest b-boy inspired DJs of the late ‘70s/early ‘80s to the sample wizards of the early/mid ‘90s, and on to the synth crafters of the late ‘90s/early 2000s, signature sounds have been more prevalent than some beatmakers/producers may like to acknowledge. Unfortunately, however, with the increasing boom of interest in beat-making/production, there also came a new level of seemingly acceptable biting—intentional, shameful duplication. In the past five years or so, biting (sucker style) and blatant style rip-offs have become so widespread that it’s becoming more difficult to tell one beatmaker/producer apart from another. And with the apparent tightening up of placement opportunities within the recording industry, many beatmakers/producers who once would have never considered biting, have gone over to the darkside.
Fortunately, however, creating signature sounds is not only a way for beatmakers/producers to distinguish their music, it’s also an effective means for protecting against wide-scale biting. Hence, if you’ve been toying with the idea of creating your own signature sound, here’s a practical breakdown for doing just that.
The Six Areas Ideal for Creating a Signature Sound
There are roughly six areas of concentration that tend to yield the best chances for creating signature sounds:
• Sound Frequencies
• Drum Sounds
• Drum Programming
• Composing
• Arrangement
• Mixing
Sound Frequencies
Sound frequencies refers to the type of sounds a beatmaker/producer may choose. Samples, keyboards, synths, and sound effects. This can be further broken down, for example, what kind of samples? Chops, long breaks (2-bar, 4-bar, 8-bar). What kind of keyboard sounds? Strings, horns, bass sounds? What kind of synth sounds and patches? Mid, high, low frequencies? Each one of these sub-factors can offer a different path to a great signature sound.
Drum Sounds
Drum sounds refers to the drum sounds that a beatmaker/producer utilizes. Crafting custom drum sounds are a surefire way for beatmakers/producers to create a signature sound. Remember, it has often been said that a beatmaker/producer is only as good or as bad as his arsenal of drum sounds.
Drum Programming
Drum programming refers to the approach a beatmaker/producer may take when programming their drums. I like to divide drum programming into three different categories: simple, steady or complex drum programming. Simple drum programming describes the bare minimum--drum patterns that essentially stay the same throughout all sequences. Steady drum programming describes drum programs that contain slight changes on alternating bars, perhaps an extra kick here or there, maybe an open hi-hat. Complex drum programming is a bit more involved. Complex drum programming can be characterized by more deliberate pattern changes on alternating bars. Complex drum programming may include two or more kicks, snares, and hats--“double” and/or “triple” drums. Break downs, custom drum rolls, and “stutters” are also characteristics of complex drum programming. Likewise, a more involved percussion scheme, like the inclusion of a timpani, chimes, bongos and such is also great example of complex drum programming.
Composition
Composition refers to the approach that a beatmaker/producer may take when composing the individual and collective components of their beats. Composition describes the general and unique methods that beatmakers/producers employ. By general methods I mean things like compositional structures, for example, starting with the drums, starting with bass lines, or starting with breaks (samples). This also includes techniques like layering, stacking, and blending sounds. Finally, it also includes things like processing—effects, (wet or dry), like using a DJ mixer or throwing some compression (and the like) on certain sounds.
Arrangement
Arrangement refers to the approach that a beatmaker/producer may take when arranging the elements of their beats. Different techniques in structure, for example, 2-bar, 4-bar, and 8-bar schemes. Different techniques in section arrangement, for example, simple, steady, complex transitional developments, i.e. choruses, bridges, intros, and outros. Arrangement, also refers to the approach that a beatmaker/producer may take when arranging both the fundamental and optional components of a beat.
Mixing
Mixing refers to the approach that beatmakers/producers may take to mixing their beats. This describes the sound dynamics that are achieved before, during, and after the beat is made. It involves things like manipulating the dynamics of each sound, through both non-processor techniques like tucking and panning, and processor techniques like EQ, compression, reverb, and limiting.
Creating Your Own Signature Sound
Generating your own unique approach in the six areas that I’ve outlined will inevitably lead to your own signature sound. However, the process of creating a signature sound involves the deliberate repetition of many of the unique approaches and methods that you employ. That being said, here are some guidelines you might want to follow:
Be True To Your Frequencies.
More than any other elements of your beats, the sound frequencies that you chose play the biggest role in determining the overall mood and feel of your music. As such, it’s imperative that you identity and develop a range of sound frequencies that you truly favor; a range of sound frequencies that best allows you to make the musical expressions that you seek. After you identify the range of sound frequencies that you like to work with, be true to them. That is, try to be consistent to the sound themes, strategies, and ideas that you value, and try to avoid falling headfirst into trends and/or directions that do not suit (nor fit) your sound objectives and goals.
Learn Your Drum Sounds.
Learn what each one of your drum sounds can do individually and in tandem. Develop drum combinations and patterns that fit your overall approach to beatmaking/production. Also, identify what sounds and frequencies interest you. Finally, try limiting the number and types of kicks that you utilize. Using the same three to five kicks can be ideal.
Maintain Efficient Drum Programming.
Drum programming is the most important hallmark of hip hop/rap production. However, that being said, it does NOT always have to be the most noticeable (outstanding element of a beat). Drum programming at its best gets the job done. But drum programming at it’s worst distracts and overcompensates. Thus, designing drum programs that defer to efficiency rather than some obscene level of showmanship is often not only the best way to go for creating a signature sound, it’s also an excellent concept to observe with your beatmaking/production in general.
Compose Using Unique Methods.
I can not stress enough how important it is to development unique methods that take advantage of your particular setup and production environment. Even the most minute step in your compositional process can produce diverse and distinguished results.
Steady Your Arrangements.
What arrangement scheme you approach, always strive to create arrangements that are “steady,” not too busy. Hip hop/rap is mostly predicated upon a strong rhythm, not melody. Therefore, when arranging your elements, make sure that each component makes the overall rhythm tighter, and sonically stronger. Also, when considering changes, think in turns of function before you think of form. That is, consider the function of the change—if it’s needed and why. After you decide that a change is needed, be careful to create changes to compliment the main rhythm of the beat.
Customize a Sonic Wall in the Mix
Mixing offers a great way for you to create your own unique sonic impression. There are many “standard” mixing principles that can be observed. However, the manipulation of these standards can often be the best way to establish your own signature mixing approach. The idea here is to establish and regularly work from your own mix settings. This will go a long way in helping you define your overall sound.
Posted by Amir Said on November 30, 2008
