Drum'n'Bass
Workshop
with
DJ P
8th
May 2004
BASIC
GUIDE TO PRODUCING DRUM 'n BASS TRACKS
(as
supplied by DJ P)
This article doesn't
deal with the specifics of how to make bass sounds, program breaks,
or purchasing/using gear. There are already a million other sources
for that stuff on the web. This is for those cats who can program
a phat break, know how to work their synth, but when it comes time
to lay down 6 minutes of funk, they get stuck.
THE THREE FUNCTIONS
OF PRODUCTION
Producing a track
involves three basic functions. Put your heart and soul into every
part, focusing your energies on each, so that when put together, the
final product is absolutely mindblowing. Well actually you don't have
to work THAT hard- as long as you know the rule of Where The Work
Goes..
The Rule Of Where
The Work Goes
In DnB production,
originality and innovation is a prime concern. However, the law of
"Where The Work Goes" lets you chill out a bit and enjoy
using those things that we already know and love. The law is as follows:
Its OK to occasionally use a "standard " element ( a sine
wave for a bass, a basic two step or amen break, etc), as long as
you do something really dope elsewhere to pick up the slack. For example,
there are still people making smooth "intelligent" style
tracks using the "think" break. They can get away with it
too. Why? Well, if you just spent 10+ hours crafting a georgeous symphony
of pads and fx, you can use "funky drummer" for all I care.
That said, lets
check out the different functions that go into producing a track.
A good way to work is to handle each task one by one, in order. This
is just a guideline, of course- even then you'll still find yourself
jumping back and forth a bit from job to job as your work progresses
and you go back and change things.
FUNCTION ONE:
SOUND DESIGN/SAMPLING
Here's where you
make or find some kick-ass sounds. Check out other sources for how
to make your soft synth go baaaarooom or how to compress your drums
for punchyness. Some things to remember though:
Drums: Make sure
your kit "works" together, that the different sounds complement
each other.
Bass: Best to create a new one in your synth or softsynth than to
sample one off your favorite record. DnB heads dig those oh-so-fresh-and-new
bass sounds...
FX: Get alot of these, you'll need them. Bleeps, noises, wierd swooshes,
whatever. Don't sweat them too much- if it sounds cool, grab it. These
arent meant to be the focus of your track (keep reading).
Sound design is
the cornerstone of great DnB. The more you can learn about how to
manipulate sound- how to make interesting bass noises, how to get
that kick to "punch" just right, how to create twisted sound
FX, the better. The best producers (DnB or otherwise) are obsessive
creators, manipulators, and collectors of sound- they spend hours
twisting the shit out of their synths to create new patches, they
hunt used record bins for that old Prince album just to sample the
dope snare on it. Do the same.
FUNCTION TWO:
WRITING/PROGRAMMING
Again, check out
other sources (like Spinwarp) for how to do this well. Here's where
you build your basic hooks and phrases, using the pieces you found
or made during sound design/sampling.
Some thoughts:
1. The search
for new and creative programming (like new break patterns) may take
you into wierd territory. Dont make that shit too tweaky unless you
want your stuff to be listened to primarily in the dorms of nerdy
college students (yes, Plug rocks).
2. As always, the best way to learn is to LISTEN. Jock that break
pattern off your favorite track, using different drums. Copy that
bassline off the anthem of the moment, using a different bass sound
and moving the notes around a bit to make it new and unrecognizable.
From the old comes the new.
Now as you start
programming, keep in mind not all the elements of your track are created
equal. Each of your ideas will fall into a different category based
on what role it's meant to play:
HOOKS: These are
your main ideas- the heart of your track. Breaks, basslines, synth
lines, percussion patterns, all that dope shit. Again, originality
is generally the key, but keeping in mind "Where The Work Goes",
feel free to lets say, have your bassline be really simple if you
found or synthesized a hot new bass sound that noones ever used before.
PHRASES: These
are minor hooks that "play off" of your main hooks, providing
countermelody and all that other musical mumbo-jumbo. Examples would
be a little 2 note-bassline that plays at the end of every 8 bars
of your main bassline , a little synth or piano tinkle that appears
here and there, whatever. Things like drum fills (like maybe a 1 bar
amen that comes in and out) might fit the bill too.
FX: These are
"ambient" (meaning background) sounds- they add atmosphere,
flavor, and mood, but they are not the focus of your track. They are
there to break the monotony, giving the dancers some stimulation for
the brain while the bassline and beat shakes their asses. You dont
have to write patterns or lines for all of these. As a matter of fact,
during arrangement you'll make special effort not to make their pattern
too repetitious or noticable, otherwise it falls into the category
of a hook.
CHANGE-UPS: These
are your secret weapons to keep your track rolling- these aren't sounds,
just ideas for cool stuff you can do to the samples and loops you're
already using. Dropping a kick drum out for a beat, drum shuffling,
filtering your bassline in and out (or your break), doing a sudden
flange or other effect on a sample or break, whatever. Generally it's
it's a good idea to wait until after youv'e already arranged your
track to worry about these (do what ya like though).
These categories
are FAR from rigid. For example, an FX played reguarly enough becomes
a hook of sorts. If you put a droning bass note after every 16 bars
of your main bassline, is that a phrase or an FX? Isnt it really just
part of a long, 16-bar hook? Who knows and who cares. The point of
all this isn't to obsessively label all your ideas. Its just about
understanding that not every element in your track is meant to play
a starring role. Try to give every element top billing and youll end
up making something that sounds like a '92 rave anthem (yes, Acen
rules).
FUNCTION THREE:
ARRANGEMENT.
Now it's time
to fire up your sequencer. Here's where you put everything together,
giving each element in it's proper place loopwise. Your hooks are
just that -HOOKS- mean to be noticed and remembered, so they are heard
(looped) the most. Your phrases play off the main hooks and accentuate
them, but generally take a back seat and so repeat much less. Your
FX are there to add atmosphere- you don't need to make a recognizable
pattern or put much logic or reasoning into their arrangement- just
put-em in prime spots where they sound cool. (you dont even need to
repeat all of them).
A good way to
work is to build a "skeleton" arrangement with your hooks
and phrases, getting down the basic structure. After that you can
go in and flesh out the track with your FX and add variation to your
loops with some change-ups.
BASIC DANCEFLOOR
DNB STRUCTURE
I'll start by
clearing up a big misconception about producing dance music and dnb
in particular. Im sure you all know about the "breakdown"
(where your beat drops out and the bass kicks in)-- how it comes in
the middle part of a track. WRONG. Well, kind of wrong.
THE BREAKDOWN
IS THE NOT THE MIDDLE OF YOUR TRACK, ITS THE BEGINNING.
You see, there's
a reason why dance music tracks are 5-7 minutes long while most other
(less repetitous) music clocks in like 3 or 4 minutes. Dance music
is meant to be played by DJs for people to DANCE to (see the connection?).
The first minute or so of your track is designed for a DJ to be able
to match it up with another record.- it's just mixing space. Your
core audience won't really hear it except chopped up between another
track or fading in under it. This doesn't mean you have permission
to make it weak, especially since DJs and other producers and of course
record labels WILL be giving a listen. Just know that as far as the
dancefloor is concerned, it's not really the beginning- the beginning
comes when the DJ slides the fader over during the breakdown.
That said, here's
a good "template" for your basic dancefloor DnB track. Obviously
you'll find records that break this mold- as we speak people are already
starting to experiment with shorter tracks and other ways to "build"
DnB (trainspotters- reread the disclaimer, up top). Still, the basic
structure below will probably be around for a while due to it's proven
effectiveness. The format is simple: INTRO, GROOVE, ROLLOUT, RELOAD,
OUTRO.
INTRO: Mixing
space. Noone hears this stuff except for record collectors like us;
most DnB heads out for a night of dancing simply wont. You can "tease"
your listener with filtered or otherwise altered versions of your
hooks/phrases, or wow 'em with some clever FX, but don't give away
your favorite ideas in your intro, because it wont to be heard(much).
A good idea is to save this part until sometime after you've built
your groove(below)- you can then decide which ideas to go back and
"introduce" or just go back and orchestrate some wicked
FX madness.
GROOVE: This usually
starts with the infamous breakdown, so the crowd can get all hyped
up and brock out when the beats kick back in. This is the "main
part" of your track, and, as mentioned, is the TRUE BEGINNING
of it. You dont have to hold back here- Give 'em a good 64 bars or
so of your main hooks before you take em to the next level...
ROLLOUT. Heres
where your track gets amped up. This is your climax, where you essentially
"raise the stakes". This often takes the form of harder
or more frantic percussion, whether it be adding a hard snare or adding
congas or doubling up on hihats/shakers or adding an amen. You can
also add new hooks/phrases/FX or do some freaky change-ups with ones
you already got. Again, great ideas are as near as your record collection.
RELOAD: Now that
you have your dancers screaming for more, do them a favor and give
it to them. This is a kind of shorter repeat of your groove/rollout-a
hybrid combination if you will- oftentimes starting with another breakdown
. It needs to be slightly different this time around though . You
can do this by introducing new elements, or you can use change-ups
to keep it rolling.
OUTRO: Here the
track "deconstructs"- things dropping out and what have
you. You know how it goes. This stuff aint meant to be sweated over-
like with the intro, your'e just giving the DJ some beats and noises
so he has time to mix the next record in. Using your intro again or
a little variation of it can work.
Again, a good
way to work is from general to specific. Loop your hooks/phrases and
get the framework done, then spread out your FX and make change-ups
where your loops seem too repetitous. As you arrange you'll probably
go back and forth to your other functions as producer- making/finding
new sounds you might need, reprogramming breaks and lines, etc.
IN A NUTSHELL
(CONCLUSION)
Producing is a
three part job- you make and/or choose sounds, you program the different
elements, then you sequence the pieces together (not neccesarily in
that order). The heart of your DnB track is in the middle (which is
actually the beginning)- the groove- full of memorable hooks and supporting
phrases that climaxes to a fullon rollout assault. Then you reload-
taking them for the same ride, but freaking it just a little different..
Sprinkle some FX all around and add change-ups to your loops to keep
it interesting. Sandwich the whole thing between a sweet little intro/outro
so the DJ can put it in his set. Shake-don't stir, look both ways
before crossing the street, be nice to your mama (or mum).
