TIMBALAND's MASTERCLASS 01Introduction TIMBALAND Introduction

TIMBALAND'S MASTERCLASS 01introduction TIMBALAND Introduction artist performances to maximize their potential. Finally, some producers are essentially composers: they create the backing tracks that a vocalist will sing over. The meaning of the word “producer” really depends on the particular artist. In this MasterClass, you learn how the word “producer” applies in Timbaland’s world. The class will teach you about collaboration, utilizing technology, working with samples and loops, fine-tuning drum sounds, directing vocalists, and overseeing the entire vision for a piece of recorded music. TERMS TO KNOW ince the early 1990s, Timbaland has been one of popular music’s Team Timbo Bounce: Tim uses the term Smost successful producers. He’s “bounce” to describe the element within a track that produced for Missy Elliott, Aaliyah, Timbaland isn’t a one-man show. His makes the listener want to Justin Timberlake, Madonna, Nelly co-producers, Fede Vindever and Angel move or dance. (Note: In Furtado, Jay-Z, Rihanna, One Republic, Lopez, and his audio engineer, Chris audio production, the term Kanye West, and Beyoncé, and he’s Godbey enable him to quickly transform “bounce” is also used to de- also stretched his boundaries to work sketches and improvisations into fully scribe a fully produced track with artists like Chris Cornell, Björk, and realized songs. Throughout his career, with all effects included.) Brad Paisley. Tim has made his name as a master collaborator, working equally well Chorus: An effect that sim- The role of a music producer doesn’t with world-famous and undiscovered ulates the sound of multiple instruments by replaying have one fixed definition. Some partners. Whether he’s working out a the track a few milliseconds producers act almost like recording beat with Jay-Z or Missy Elliott, or using behind the original. engineers: they’re focused on micro- a chord progression from a new artist, phone placement, room ambience, and Tim embraces dialogue, respect, and other minutiae of the recording studio. a shared love of music to produce the Some act more like film directors, most compelling sounds possible. by shaping song arrangements and MASTERCLASS 3 01 Introduction TIMBALAND An effect Compression: Production Technique: software. Students who don’t already that locks in volume pa- Start With Your Mouth know the basics of recording and rameters so that a certain mixing music on a personal computer instrument is never too loud or too quiet. If you want an Timbaland starts a lot of his tracks by are encouraged to take a primer on the instrument to be heard at a singing beats into a microphone. Right topic in order to get the most out of consistent level throughout off the bat, this makes him different from the course. Assignments are designed the song, use compression. a lot of producers, but the results speak for students who have access to audio In house and EDM music, for themselves. Finding the perfect production software and at least a basic drums are almost always sound on your keyboard, or the perfect understanding of how to use it. compressed. Compressing drum loop in a software library, can guitar will create a funky derail your creativity. Rather than inter- During Tim’s early career, he produced sound (think of the guitar rupt his process, Tim grabs a mic and tracks using electronic keyboard solo on Michael Jackson’s begins improvising parts, from beat- workstations, like the 1990s-era Ensoniq “Billie Jean”). Compressing boxes to vocal melodies. Chris keeps ASR-10. Today, like most producers, he vocals will make them sound the loops repeating so that Tim can add records and mixes via a personal com- more powerful, but there will on layer after layer. He asks Chris to pan puter. You’ll observe Timbaland and his be less distinction between his tracks, meaning he wants the tracks team collaborating on three networked the soft and loud parts of the performance. Compressing to be largely isolated in the left or right Apple MacBook Pro notebook comput- an overall track will keep it speaker. When he calls for a V-Shape, ers (for music creation) that have been strong from start to finish. that’s his way of telling Chris he wants routed to a single Apple Mac Pro desk- However, if you want major a hard pan, where the left and right top computer for overall audio mixing. differences between loud channels are sharply divided. They use multiple software applications, and quiet sections, use little but the core creative pieces are Ableton to no compression. This helps create the signature Live and Logic Pro, and they use Avid Timbaland style. Many of his songs Pro Tools to mix master audio tracks. Echo: An effect that literally are built by layering on top of four and echoes the audio track at a rate set by the user. eight-bar phrases. Harmonically, the Ableton, Logic, and Pro Tools are all songs often remain the same from start commonly used in the music industry, EQ: Shorthand for “equaliza- to finish, but instrumentation, texture, but they aren’t the only programs tion,” which involves isolating and vocal melodies vary with different out there. There are many competing certain frequencies within a parts of the song. brands with very similar functions. sound and selectively boost- Paid programs like Cubase, Digital ing or lowering them. A Note on the Tech Performer, Reason, and FL Studio have Reverb: An effect that Timbaland approaches music produc- similar capabilities. So do some free mimics the reverberations of tion from an emotional, heart-centric programs, like Garageband, Cakewalk, a physical space, like a small place. He doesn’t think of his songs and Audacity. (There’s also a free, room or a concert hall. in terms of musical theory or software stripped-down version of Ableton called jargon. He’s set up a system that allows Ableton Lite.) Meanwhile, some produc- him to be spontaneous and lets his ers still swear by analog equipment and emotions lead him to musical discover- continue to record to magnetic tape, ies. With this in mind, this MasterClass which was the industry standard in isn’t designed as an introduction to decades past. music composition or production MASTERCLASS 4 01 Introduction TIMBALAND Sidechain compression: If you’re specifically interested in learn- Assignment A type of compression ing Ableton, which Tim and Angel use where the effect level on one throughout this course, Beat Academy To produce like Tim, you have to be instrument is controlled by the volume level of anoth- offers a thorough crash course for ready to layer. Using the audio software er instrument. A common people new to the program. There is of your choice, create a four-bar percus- example would be making also a multipart video series offered sion loop with the following elements: the compression level on by Ableton itself. To learn Logic, which a bass controlled by the Fede uses throughout the course, check • Low end (either sung with your mouth output volume of the kick out an hourlong intro tutorial by the or using a kick-drum sample) drum, so when the kick drum producer/teacher Tomas George. You sounds, the bass gets more can also take a course via Apple, who • Snaps (either with your fingers or using compressed, and the two purchased the software in 2002. As a software sample) instruments become even for Pro Tools, which Chris uses as the more intertwined. team’s master audio software, peruse • Claps (make them land on different Tail: The end of a musical individual videos from the program’s beats from the snaps) note, often extended using manufacturer, Avid. You’ll learn by reverb or a delay effect. experimenting, trying random functions, • Cymbal sounds (either sung or by and not being afraid to make mistakes. using a hi-hat sample) Topline: The vocal melody of a song. To “topline” means Ultimately music production is an art, No need to add bass, chords, or to write a vocal over a pre- and producers become great because vocals—those will come later. For made beat. of their creative decisions, not because now, focus on getting a tight, layered of how much gear they own. The more drum sound. No pop hit is complete comfortable you are with the production without one. tools at your disposal, the more mental energy you can use to focus on making the most creative, best-sounding music possible. MASTERCLASS 5 02studio session: making a beatbox beat TIMBALAND Studio Session: Making a Beatbox Beat I found magic when I put “ the headphones on. ometimes a song’s production both software has its own version of Auto- starts and ends with the producer Tune built in, and there are free plug-ins Son the microphone. This song is built (of varying quality) available online. around a sung passage by Tim, and at the end of the process, it’s topped Tim doesn’t primarily think of himself as off with sung melodies from Tim. On a songwriter, although in the world of a Timbaland production, the vocal contemporary pop, most producers are beatbox doesn’t always make it all the at least partial songwriters. They provide way to the final mix. Still, it provides the texture and groove for other toplin- a guiding template for much of the ers to add vocal melody and lyrics. On production process. a lot of Timbaland productions, Tim moonlights as a “feature,” meaning he’ll Once the beat is established, Angel be featured as a vocalist on a small and Fede go to work adding bass, section of the song.

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