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TIMBALAND'S MASTERCLASS 01introduction 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, work- ing 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 , , Timbaland isn’t a one-man show. His makes the listener want to , , Nelly co-producers, Fede Vindever and Angel move or dance. (Note: In Furtado, Jay-Z, , One Republic, Lopez, and his audio engineer, Chris audio production, the term , 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 , Björk, and realized songs. Throughout his career, with all effects included.) . 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 ’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 beat- box 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 , 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 . 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. He’ll leave the rest chords, and various texture to the track. of the vocal performance, and topline Then Tim gets back on the mic and songwriting, to his collaborators. improvises a vocal melody. The free associations coming out of his mouth Production Technique: are both what start off this track and Start With A Beat provides the finishing touches that resonate most with the listener. Starting with a beat, rather than a chord progression, gives you lots of Thanks to the miracle of Auto-Tune, you options when you start adding a vocal don’t even need to be a great singer to melody and harmonic texture. Angel improvise melodies on the mic. (Just be takes advantage of this when he adds sure you know what key you’re in, so a bassline using Massive by Native you can set the Auto-Tune.) The industry Instruments, a popular synthesizer for standard for Auto-Tune is a plug-in heavy dance-pop bass. The chords and made by Antares Audio Technologies. texture come later, and Tim’s topline However, most audio production comes last.

MASTERCLASS 7 02 Studio Session: Making a Beatbox Beat TIMBALAND

Dive Deeper: Building Assignment Texture Using Effects Build a track in the same order that Angel and Fede are responsible for Team Timbo does in this lesson. The “ most of the chordal harmony and steps are as follows: We’re a band. texture on this track, and they create a With laptops lot of this using third party plug-ins and 1. Record a beat by singing into a their programs’ built-in effects. microphone. (Use a metronome to instead of stay in tempo.) Angel contributes an ethereal vocal instruments. sample, which he alters using the 2. Add a bassline and perhaps some —Fede Kickstart sidechain, some EQ tweaking, electronic drums to compliment your and a Tantra plug-in, which can offer all vocal percussion. sorts of effects: filter, delay, distortion, and flanger to name just a few. 3. Add chords, ideally using a MIDI keyboard. Meanwhile, Fede is working with a guitar sample and running it through a 4. Add texture, using samples that you multi-effects plug-in called Effectrix by manipulate with built-in effects and Sugar Bytes. This plug-in offers all the plug-ins. “usual suspects” of effects—reverb, delay, chorus, and more—but Fede 5. Pick up the mic once again, and is also using its “vinyl” effect, which improvise melodies until you find one simulates a DJ scratching/dragging that sticks. a vinyl record. He also has his own vocal sample for Tim’s consideration, 6. (Optional) If you’re feeling inspired, and he’s using a reverse effect to add real lyrics, based around play it backwards. (Note: Most delay the feeling that the instrumental plug-ins or built-in effects will offer a tracks inspire. “reverse” feature.) If you make it all the way through Step All the Team Timbo producers are fond 6, you have a fully composed song on of compression, which is perhaps the your hands. most common effect in pop production. Sidechain compression is particularly popular in dance pop because it allows instruments to cut through a mix at all times. When other instruments in a mix get louder, the sidechain effect increases so that the track it’s on will never be drowned out.

MASTERCLASS 8 03building beats: tim's process TIMBALAND Building Beats: Tim's Process

By not knowing what’s up here, “ it makes me more creative.

imbaland uses Ableton Live and slow down playback. With both his software, a popular program for samples and his drum sound selection, Tdance, pop, and hip-hop producers who Tim makes spontaneous choices while use prerecorded samples. The second browsing through Ableton’s libraries. tool he uses is an Ableton device called You might say that part of his plan is to Push, which controls the software using not overplan. light-up pads. One more way Tim uses Push is to build Tim creates drum racks on his Push—in loops. In this lesson, he starts with a other words, he assigns drum sounds two-bar drum beat anchored around a to each one of the pads. When he kick and a snare. Then, he lengthens presses one pad, you hear the sound of it and layers additional drum elements a kick drum, and when he presses the on top of the original. He tops it off pad next to it, you hear the sound of a with a horn sample that he found in an hi-hat. He creates custom drum racks Ableton library and has altered with a by placing the drums in any order he few effects. This track will become a wants—he’s intentionally random about template for a new track he can start it. The element of surprise pushes him building with his collaborators. creatively, so that he produces sounds that are fresh and unpredictable. Dive Deeper

A huge part of Tim’s style is to create Most of the drum samples used on sounds you won’t hear from any other Ableton or similar programs are based producer. So he’ll chop up the samples off recordings of actual acoustic drums. he finds (using the “slice” mode in Here is a diagram of a standard drum the Ableton program), or he’ll use kit, with the names and sounds of each programmed presets that speed up component. (See page 12)

MASTERCLASS 10 03 Building Beats: Tim's Process TIMBALAND

Hip-hop and dance production also The Who, “The Real Me” (1973) - draws heavily on acoustic hand drums, The percussion on this high-energy most of which originate in African or song is played exclusively on a “ Afro-Caribbean culture. Here are a drum kit. Which pieces of the kit I like the few of the most common pieces. (See are emphasized? element of following page.) Once your listening is complete, try cre- surprise. Assignment ating a drum loop using Tim’s “random” method. Rather than use a predictable Listen to the audio samples of each kick/snare/hi-hat combo, see if you individual drum and/or cymbal (available can create a similar groove using totally here). Now listen to the following songs, different sounds. If you know how to and see if you can identify which of assign individual drums to individual these drums are prominently featured in keys on a MIDI keyboard (or to individual the recordings. pads on an Ableton Push), do so. Or if you’re just dealing with preloaded Lionel Richie, “All Night Long sounds on a keyboard, play a beat (All Night)” (1983) - This song mixes on the keys, but let your fingers land hand percussion with a traditional drum randomly. Allow this random approach kit. Listen for, and identify, both types to lead you to some unique sounds. of drums.

Beyoncé, “Formation” (2016) - This song emphasizes deliberately synthet- ic-sounding drums. Which acoustic drums are they emulating?

MASTERCLASS 11 03 Building Beats: Tim's Process TIMBALAND

STANDARD DRUM KIT

RIDE CYMBAL

TOM-TOMS

CRASH CYMBAL

SNARE DRUM HI-HAT CYMBAL

FLOOR TOM

BASS DRUM

ACOUSTIC INSTRUMENTS

BONGOS TABLAS WIND CHIMES

CONGAS STEEL DRUMS TIMBALES

MASTERCLASS 12 04making a beat: getting warmed up TIMBALAND Making a Beat: Getting Warmed Up

There’s no right or wrong way to communicating and sharing. It’s just: Do they have the same “ love as you?

DIVE DEEPER: he members of Team Timbo work Dive Deeper SIDECHAIN together on a quartet of networked Tcomputers, sharing audio files and Timbaland cites the following songs as If you’ve been hearing the sequences. They share individual files personal highlights for sonic innovation. word “sidechain” a lot in this using Apple’s AirDrop feature, but for MasterClass, there’s a good reason for that: it’s all over actual audio production, they utilize the Jay-Z, “” (2003) dance music. studio’s internal network to route audio - This Timbaland-produced track appears to a master computer operated by Tim’s on The Black Album, a record that many To hear an example of heavy engineer Chris. (See following page.) fans and critics consider to be the high sidechain compression, point of Jay-Z’s career. (For more on this listen to “One More Time” by In this chapter’s collaboration, the track, see Chapter 4.) Daft Punk. At 00:45 a kick team builds a track around a sample drum enters the mix. Listen manipulated by Fede. The initial sample Aaliyah, “Are You That Somebody?” to the effect it has on the is labeled as a bell, but Fede’s produc- (1998) - This song, performed by the bass; it’s almost a pulsing effect. tion causes the sound to warble a bit, late Aaliyah, is one of Timbaland’s most making the final product sound a bit like critically acclaimed. called If you’re producing house, a steel drum. This prompts Timbaland to it “one of ’90s' R&B’s most astounding EDM, or other club music, imagine being on a beach. moments.” (For more on this track, a sidechain compressor see Chapter 10.) will become your new best As a producer, it’s important to find friend. musical inspiration in all aspects of Justin Timberlake (feat. T.I.), “My There are many sidechain daily life. Tim hears patterns in Love”(2006) - A highlight off of Justin effects out there, but a very ocean waves, garbage disposals, trash Timberlake’s FutureSex/LoveSounds popular plug-in is Kickstart cans rattling, and rakes scraping. See if record, the vast majority of which was by Nicky Romero, which you can do the same in your own life. produced by Timbaland. Angel uses on the track in this class.

MASTERCLASS 14 04 Making a Beat: Getting Warmed Up TIMBALAND

TIM'S EQUIPMENT

NATIVE INSTRUMENTS KOMPLETE KONTROL A25 ABLETON PUSH 2

UA APOLLO TWIN DUO ABLETON LIVE 10

FEDE'S EQUIPMENT ANGEL'S EQUIPMENT

M-AUDIO MIDI KEYBOARD 2 ABLETON PUSH 2

UA APOLLO TWIN DUO

AKAI MPK MINI

LOGIC PRO X ABLETON LIVE 10

UA APOLLO TWIN MKII QUAD

CHRIS'S EQUIPMENT

PRO TOOLS

MASTERCLASS 15 05song origins: “dirt off your shoulder” TIMBALAND Song Origins: “Dirt Off Your Shoulder”

‘Dirt Off Your Shoulder’ has something about it. I don't know what it is—it is a feeling. And I knew “ when I did it, it had a certain feeling.

he backing track for Jay-Z’s hit “Dirt but each key activates a loop of audio Off Your Shoulder” was intentionally tape that plays a recording of another Tvery minimal. Timbaland built the beat instrument, like a string section or a off of three instruments—a synth drum French horn. You can hear mellotrons kit (created on his Ensoniq ASR-10), a on classic rock records like “Strawberry sped-up bell sample, and what he calls Fields Forever” by The Beatles and “tape strings.” “Stairway To Heaven” by Led Zeppelin. The melodic sound on “Dirt Off Your This three-instrument beat was actually Shoulder” sounds like a harder edged Timbaland’s second submission for the version of a mellotron-string sound. song. The original beat he offered to Jay-Z went on to be the backing track Dive Deeper: for “,” by . Watch Fade To Black

Dive Deeper: Watch Fade To Black, a 2004 docu- Early Synthesizers mentary about Jay-Z. It’s set during the period when he was recording and The crucial element of this song comes touring off The Black Album. The film from a “tape string” sample Timbaland features many cameos by Jay’s collabo- found in Japan. It was most likely based rators during the early 2000s, including on an instrument called a mellotron, Timbaland. Notice how both artists talk which is a precursor to a synthesizer. A about the process of creating music. mellotron has a piano-style keyboard,

MASTERCLASS 17 06making a beat: starting with a chord progression TIMBALAND Making a Beat: Starting With a Chord Progression

We just go by the feeling… I let it take “ me where it’s gonna take me.

im and his team are creating a track Assignment based around a chord progression Tsubmitted by his collaborator Angel. Now that you’ve heard Timbaland and As with much of Timbaland’s music, his crew utilize certain audio effects, see the secret to the track’s catchiness is if you can hear them in other people’s its simplicity. Angel’s progression is a songs. Listen to the following recordings four-bar phrase that loops throughout and see if you can discern one or more the track. (See below) of the following: reverb, echo, chorus, and compression. Using numerous audio effects and layer- ing drum patterns atop Angel’s loop, the Kanye West, “” team is able to create a truly memorable (2010) - Pay particular attention to the track. The cherry on top is an ethereal treatment of the drum tracks. vocal sample that makes Tim perk up the moment he hears it. The Police, “Roxanne” (1978) - Listen carefully to all the instruments, espe- cially Andy Summers’s guitar.

Walk The Moon, “Shut Up and Dance” (2014) - Listen to all of the instruments. What effects can you pick out on the guitar and keyboards?

MASTERCLASS 19 07making a beat: tweaking and layering drums TIMBALAND Making a Beat: Tweaking and Layering Drums

Everybody has a different swing. “ That’s what makes producers unique.

im shows how he manipulates Tim’s audio engineer, Chris, then explains volume and EQ to make the drum his process once he receives sounds from Tsounds he hears in his head reach Tim. Compared to other producers Chris the listener. Some key elements of his has worked with, Tim tends to deliver personal style: drums sounds in close to final form. Still, Chris does a few EQ tricks of his own, but • Boost the lower-mid frequencies of he emphasizes that it’s easy to overdo it kick drum samples and mostly leave on plug-ins or a program’s built-in effects. snare drum samples alone. The It’s also easy to overdo it on volume and kick provides energy and the snare compression. Not every track in a mix can provides texture. be pumping at 100% the whole time. So if you want to make one instrument louder, • Create a mix that sounds great on consider making another instrument softer headphones. Not everyone has a in response. massive hi-fi stereo system, but they do have headphones, whether they're In this demonstration, Chris is using an over-the-ear, on-the-ear, or earbuds. iZotope Neutron EQ plug-in on the snare drum and a FabFilter Pro-Q, another EQ • Record lots of layers at the beginning, plug-in, on the kick drum. These plug-ins but when you start mixing, strip it are valuable for their presets, but all digital down to elements that will stand out audio sequencers (like Ableton, ProTools, on their own. Every track should have Logic, Garageband, etc.) have their own a purpose in the overall mix. EQ functions built in.

MASTERCLASS 21 07 Making a Beat: Tweaking and Layering Drums TIMBALAND

EQ EFFECTS

LOWER MIDS UPPER MIDS

MIDS SUPER HIGH

SUPER LOW

20Hz 60Hz 250Hz 500Hz 1kHz 2kHz 4kHz 8kHz 16kHz

Dive Deeper: caution. On an amplifier or speaker How To Use EQ system, these frequencies would be heard via a subwoofer. “ EQ effects boost or lower certain It’s super frequencies, which alter the overall Lower Mids (app. 60Hz to 250 Hz) - sound of an instrument or sample. These frequencies are resonant and important to Here is a rundown of key frequencies. pleasing to the human ear. A lot of not get crazy (See fIgure above) producers (including Timbaland) boost the lower mids on drums to make them plug-in heavy Super Low (approximately 20Hz to 60 “pop” a bit more. Melodic instruments before you’ve Hz) - These frequencies are the lowest that fit this range include cello, bassoon, audible sounds humans can hear. In baritone and tenor saxophones, trom- struck a good club music, you hear this via bass, sub- bone, and the low notes of a guitar. On bass, or low-pitched drums. Boosting an amplifier, these frequencies would be balance. these frequencies can shake a room controlled with the bass knob. —Chris or a car and they can be heard from far away. That can be a cool effect, but Mids (app. 250Hz to 1500Hz) - too much boosting will make your mix These are the frequencies that humans muddy and undefined. It’s hard for our hear the most clearly. As a result, ears to pick out individual notes in super boosting the mids can have almost low frequencies, so use this region with the same effect as simply boosting the

MASTERCLASS 22 07 Making a Beat: Tweaking and Layering Drums TIMBALAND

overall volume. If you want a particular Assignment: instrument to cut through a mix, boost EQ Experimentation the mids. But be aware that too much mid-boosting will tire the ear and Experiment with your own EQ overwhelm the listener. On an amplifier, settings. Using your home music these frequencies would be controlled software, pull up loops for each of the with the middle or mid knob. following instruments:

Upper Mids (app. 1500Hz to 6600Hz) • Kick drum - Upper mids should be boosted spar- • Snare drum ingly, because this is the frequency that • Bass guitar can be most damaging to the human • Saxophone ear. When boosted correctly, the upper • Flute mids will produce a chime-y, bell-like sound. The upper mids are also the fre- Let each loop play, one at a time. Then, quency that sounds most like distortion. add on an EQ effect (either one that This can be a great effect for intense, came with your software or one from an fuzzed-out keyboards or guitars. On an outside plug-in). See what happens to amplifier, these frequencies would be each instrument when you boost certain controlled with the treble knob. frequencies and dip others. You’ll quickly find that different EQ settings Super High (app. 6600Hz to are appropriate for different instruments. 20,000Hz) - These frequencies are among the highest that the human ear can perceive. They range from stinging and annoying (in the lower part of this range) to ambient and atmospheric, as though you’re hearing wind or waves (on the upper end of this range). A lot of producers will dip the upper mids so that nothing sounds too piercing, but they’ll boost the super high frequencies to create an atmospheric sound. On an amplifier, these frequencies would be controlled with the presence knob.

NOTE: We’ve divided up the audio spectrum into five “bands,” but producers can create their own divisions. A five-band EQ is quite common, but there are also three-band EQs, eight-band EQs, 12-band EQs, 15-band EQs, and more.

MASTERCLASS 23 08song origins: “pony” TIMBALAND Song Origins: “Pony”

I try to do timeless things that don’t sound like “ what’s going on today… It still sounds new.

“ ony” appeared on ’s “Beat It,” which added heavy guitars to album Ginuwine… The Bachelor disco-inspired pop. Think of Cypress Pin 1996. Tim, Ginuwine, and the late Hill’s “Insane in the Brain,” built around artist, songwriter, and producer Static a sample of a horse—yes, a horse. It’s Major wrote the song together several the artists who dare to be different who years prior. When Ginuwine signed really break through. with Sony Music, he chose “Pony” to be his first major single. Dive Deeper: Even back in the days of “Pony,” Tim selected his samples by using emotion The lead songwriter on “Pony” was and spontaneity. The heart of the song Static Major. Static wrote music for is the deep bass sample he found on many of the artists in Timbaland’s an old rack-mounted sampler. It stood orbit—Aaliyah, Destiny’s Child, and out from the other bass samples for its of course, Ginuwine. He was perhaps “frog” tone. Everything else in the mix, most famous for cowriting and singing Tim says, is “ear candy.” One sound on ’s smash hit “Lollipop,” was lifted from the video game Q*bert. which won the 2009 Grammy for best Tim created other sounds himself by rap song. Be sure to check out the full blowing into a microphone. album, Tha Carter III, which also won a Grammy and was in Rolling Stone’s 500 There’s no guaranteed formula for best albums of all time. making a song “timeless,” but it helps to keep challenging yourself to Sadly Static Major’s “Lollipop” fame be different. The hits that transcend was posthumous. He died in 2008, the decades aren’t the songs that sound victim of a rare medical condition and a identical to everything else from their hospital error. era; they added something that no one else had. Think of Michael Jackson’s

MASTERCLASS 25 09making a beat: manipulating vocal samples TIMBALAND Making a Beat: Manipulating Vocal Samples

When the feeling takes over, it takes over. “ You don’t think about it. You just go.

ach person on Timbaland’s team— syllables). By experimenting, Fede found Tim, Fede, Angel, and Chris—brings the filter also sounds refreshing on an Ehis own skill and creative voice. Fede electric bass. and Angel are masters of their respec- tive software and stay up to date on the He’s decided to make the bass sound latest plug-ins, so they’re able to keep wider, so he uses a panning effect (part the music at the level of freshness and of Logic’s built-in effect Guitar Rig) unpredictability that Timbaland fans which pushes the sound further to the demand. left and right extremes (and out of the center of the listening mix). The vocal track that the team works with in this chapter was not recorded Dive Deeper: Angel’s live. It was pulled from a CD of fair use Effect Choices vocal samples. The team believes the original sample wasn't good, but Fede Angel alters the vocal sample with saw potential in the vocalist’s rhythm. two plug-ins. The first is Lo-Fi by Air. They created something interesting by It allows a producer to degrade an splicing it and adding numerous effects. audio track, making it sound like it was recorded on low-fidelity equipment. It Dive Deeper: Fede’s does this by using various functions, Effect Choices such as bit-crush, down-sample, clip, rectify, and mangle an input signal. To change the sound of the bass guitar Angel also uses Movement by Output, sample in this chapter, Fede uses a which is an all-in-one plug-in that can WOW filter plug-in by Sugar Bytes. He’s add sidechains, EQ, delay, reverb, com- using a setting on the WOW called a pression, filtering, and more. Angel’s formant filter, which is typically used intention is to create an “airy, spacey” on vocal tracks (to bring out clarity of sound with the vocal.

MASTERCLASS 27 09 Making a Beat: Manipulating Vocal Samples TIMBALAND

Fede and Angel are fond of the Kickstart Assignment: Alter sidechain plug-in, made by Nicky Your Own Vocals Romero. This provides a classic EDM/ house/contemporary R&B compression Start by recording yourself singing sound. You may find it’s too intense something. (Use an external micro- for other genres like rock, jazz, or old phone, your computer’s built-in mic, school R&B. or your phone’s voice recorder.) Pick a song with melody (perhaps a Top 40 hit, Most of these effects are possible or even just “Happy Birthday”). to generate simply by using your software’s built-in functions. The main Now, using the effects you have reason producers seek out these plug- available, start playing around with it. ins is that they have excellent presets Adding reverb and delay will quickly (settings tuned at the factory by the and dramatically change your vocal product’s designers). qualities. Adding compression or slight EQ changes may be more subtle.

While certain effects may help your production sound unique, too many all at once can sound muddy and chaotic and drown out the original melody. Remember what Tim says: most of his biggest hits have been remarkably simple, so make your productions sound unique, but use restraint when it comes to effects.

MASTERCLASS 28 10making a beat: creating a breakdown TIMBALAND Making a Beat: Creating a Breakdown

I believe that a hit song is really about Sometimes stuff the energy you put out. comes in small “ packages. You don’t need a lot. It’s all about usical taste is subjective, and All of this culminates in a backing the feeling, the trends come and go, so Tim track where a singer adds a melody (or Mdoesn’t obsess over which of his topline) during the next studio session. voice, the sonics. recordings might be hits. He’s correctly Not everything that’s currently on the predicted some of them and been track will survive once a vocal topline wrong about others. He focuses on is added. Ultimately, the song will be what he can control, which is the energy driven by its melody, and some of the between his collaborators and the cool sounds the team has found will get feeling they put into the song itself. cleared out to let that melody shine.

When studio communication and energy Sometimes improving a track doesn’t are at their max, amazing things can mean adding layers onto it. It can also happen. Team Timbo has been working mean stripping away layers until you to set up this track for success, with discover the core elements. Finding Angel creating the chord progression, the simplest form of what you’re trying Fede refining basslines, and Tim loading to say can be the most effective form up his Push with the sounds he wants of communication. to use on this song. (Tim says his goal is to build “a rhythm within the rhythm” Tips for Making a of the existing beat.) The verbal com- Breakdown munication is strong between Tim and the whole team—in fact it’s so strong Many popular music songs have that when Tim says the track needs sections, usually about two thirds of a breakdown section, Fede is already the way through, that are different from ready with one. When Tim calls for a cut everything else in the piece. In rock in the music, Chris can make it without and jazz music, these sections are even stopping the track. often called the bridge. They typically

MASTERCLASS 30 10 Making a Beat: Creating a Breakdown TIMBALAND

feature singular chord progressions Dive Deeper: and melodies. In club music (house, The EBow EDM, etc.), these sections are often “ breakdowns. The chords remain the Fede creates some of the key sonics for Sometimes same, but another rhythmic element the breakdown by using an EBow simu- stuff comes changes. Here are three ways to create lator. EBow stands for “Electronic Bow,” a breakdown in your own music. and it became popular in rock music in in small the 1970s. It’s a battery powered device 1. Strip away: Removing certain instru- designed to be a “bow” for an electric packages. ments from the mix, most commonly string instrument. You don’t the drums or anything else that’s creating a groove. We hear Chris When violin, viola, cello, and bass play- need a lot. doing that under Tim’s direction in ers use bows to glide over their strings, It’s all about this chapter. The breakdown is built they’re able to make them resonate for around the chords Angel played long periods of time. Guitar (and electric the feeling, when the songwriting began. bass) strings don’t work that way. You pluck them, and the sound dies down. the voice, 2. Slow the tempo: Slowing down the But with the EBow hovering over a the sonics. beat can also create the desired string, the sound can go on forever, or contrast of a breakdown. The at least until the EBow’s battery dies most common way to do this is by after a couple hours. switching to half-time. In half-time, the drums and other rhythmic instru- ments are playing half as often as they would in the main groove. This means you can think of the whole song slowing down, or continuing at the same tempo, with half as much playing.

3. Shift the pitch: You can also keep playing the whole track with full instrumentation, but shift the pitch up or down. Tim demonstrates this by using the Simpler function in Ableton, which samples your entire recorded track and lets you instantly manipu- late it, like shifting the pitch when you press certain pads on the Push. (The Simpler can also speed your track up, slow it down, and more.)

MASTERCLASS 31 10 Making a Beat: Creating a Breakdown TIMBALAND

HERE IS A QUICK Dig Deeper: Digital Exercise: RUNDOWN OF THE Audio Workstations Create a Breakdown MAJOR DAW OPTIONS: The software that musicians use to Apply some of Team Timbo’s break- record on computers is called a digital down tricks to your own work. Create If you’re interested in mainly audio workstation (almost always a three-track audio loop that includes producing dance pop, EDM, abbreviated to DAW). You can add drums, bass, and some sort of chordal house, and other electronic third-party sound libraries and plug-ins instrument (keyboard, guitar, etc). Make music, consider Ableton, FL to create your sonics, but your DAW is your loop at least eight bars long (or Studio (aka Fruity Loops), Reason, and Akai MPC. the program running the whole show. longer if you prefer). Tim’s DAW is Ableton, but you can also If you’re interested in creating see his collaborators using Logic and Once the loop has played all the way orchestral sounds (as in film Pro Tools. through a couple times, create your scoring) by using samples breakdown by using one of the three of real instruments and you Tim makes two key points about techniques discussed in this workbook plan to perform most of DAWs: The first is that music isn’t all chapter. Try muting the drum track to the music yourself using about what software you have or what create that “stripped away” feel, or slow MIDI keyboards, investigate samples are in your library. The second the tempo (or remove some of the drum Logic, Digital Performer, and Cubase. is that when you select a piece of beats) to create a half-time feel. You can software, make it your business to really also shift the pitch of the whole thing If you’re primarily interested in learn it, so the sounds in your head can (almost all DAWs have a pitch-shift func- recording live audio in a stu- be efficiently transferred into actual tion, and if not you can get a plug-in dio, Pro Tools is the industry audio tracks. that does, like Celemony Melodyne or standard. Many producers DMG Audio PitchFunk). also use Logic, Digital Per- former, and Cubase for live No matter which technique you use, audio, and even Ableton can make sure your breakdown is different be used for this function. from the rest of your song. Cut back If you’re on a real budget and on the groove so that when the groove can’t afford to pay several does return, your listener loves it more hundred dollars for a DAW, than ever. many of these programs have limited versions that are available for free. Some of the best free programs in- clude Cakewalk and Garage Band (which is a stripped down version of Logic).

MASTERCLASS 32 11song origins: “” TIMBALAND Song Origins: “Gossip Folks”

The pie was so perfectly made, “ it drew that out of Missy.

art of being a producer is working Dive Deeper: with artists of all styles and person- Classic Disco and Funk Palities. Missy “Misdemeanor” Elliott is a hands-on collaborator who has strong Once Tim laid the groundwork for opinions on all aspects of the produc- “Gossip Folks,” Missy added a key tion process. Missy and Tim came of sample from “Double Dutch Bus,” a age together in the Virginia Beach music 1981 disco funk song. At that point, she scene. She was Tim’s partner on his deemed the song ready for her vocals very first hit with Aaliyah (“If Your Girl with her guest rapper, Ludacris. Only Knew”), and she’s been a steady collaborator ever since. Performers and producers like Tim, Missy, and Ludacris were children The rhythm track on Missy’s hit “Gossip during the disco era, and that music has Folks” is infectious, but it’s comprised of inspired what they create today. The just a few instruments: kick drum (with intersection of disco and funk continues a built-in sub-bass effect), snare drum, to provide today’s producers with shaker, and a little click sound that essential samples and inspiration. sounds like synth tablas. Tim intention- ally kept the track minimal to give Missy If you aspire to produce music like space for a virtuosic vocal performance. Timbaland’s, you must immerse yourself in 1970s disco and funk. This is not optional. Here are some records to get you started:

MASTERCLASS 34 11 Song Origins: “Gossip Folks” TIMBALAND

KC and the Sunshine Band, KC and Michael Jackson, Off The Wall (1979) the Sunshine Band (1975) - If anyone - People call him “the king of pop,” doubted that disco, funk, and pop could but when Michael Jackson broke big coexist in a single song, KC and the in his solo career, it was as a disco Sunshine Band proved those people artist. Under the guidance of master wrong time after time. The group, producer Quincy Jones, Jackson founded in Hialeah, Florida—not far merged long-form dance music with from where Timbaland now lives and undeniable pop hooks, paving the way works—was a mixed-race pop group for unprecedented stardom on his next at a time when such a thing was highly record, Thriller. uncommon. Most famous for its '70s output, the group continues touring to Parliament, Mothership Connection this day. (1975) - It’s hard to pick just one essential record by Parliament founder Chic, Risqué (1979) - If today’s hip-hop George Clinton, but Mothership and R&B artists could only sample one Connection is a good place to start. song, it might be “Good Times,” the Equally influenced by and opening track on this disco-funk record. Star Trek, this record set the standard The band features guitarist Nile Rodgers for funk music going forward. and bassist Bernard Edwards, two of the industry’s most influential players on their respective instruments.

MASTERCLASS 35 12adding a topline TIMBALAND Adding a Topline

When you get in a room with an artist, it’s all about conversation… There’s no “ thought process. It’s all about having fun.

eam Timbo has stripped down the The team’s collaboration rests on their track to create space for the singer interplay. Adrian offers a vocal idea that TAdrian to add a vocal topline. Although inspires Tim, who records a vocal line the chord progression and fundamental in the booth to inspire Adrian’s next bass and drums remain, a lot of the take. Angel and Fede jump in with their percussion overdubs and sonic embel- own pitches about how to refine the lishments are gone (it’s possible they'll track around the vocals. The ideas that get added back after the vocals are set). survive multiple takes will be the ones that make it to the final recording. When Tim contributes to vocal writing, he approaches it the same way he Songwriting Tip: approaches drum beats. Sometimes he Melody First, Then Lyrics directs his collaborators, but sometimes he just picks up a microphone and To work as spontaneously as Timbaland records it himself, as he would with does, you have to remember his vocal percussion. direction: “There’s no thought process.” Building vocal tracks starts with emotion As Fede explains it, the structure of and inspiration. Both Adrian and Tim get pop music lends itself to particular their melodies out using dummy lyrics. vocal rhythms. The vocalist starts with Refining the lyrics and subbing in actual a verse, which invites the listener into a words will come later. The first order of song. As producers, they look to leave business is to seize the magic while it’s space around verses. The “pre-chorus” there for the taking. builds in intensity, encouraging the listener to pay attention. Finally, the Do some songwriters write the lyrics chorus is the climax of the track—higher first? Definitely. Some writers only write in pitch or intensity, so it sticks in the lyrics while others only compose music. listener’s head. Piano legend is famous for his process with songwriting partner

MASTERCLASS 37 12 Adding a Topline TIMBALAND

Bernie Taupin. As they tell it, Taupin Assignment would sit alone in a room writing lyrics, then pass them off to Elton John in Work with the stems that Timbaland “ a different room, where he would try has produced. Download them via this We don’t to set those words to music. Just MasterClass, load them into your DAW, know what the like Timbaland, that team created a and see which sounds you can contrib- lot of hits. ute to the mix. If they catch his ear, he words are, we might use them. Remember: Tim likes don’t know spontaneity and surprise. He’s always striving to create pop music that sounds what the song like no other producer. is about, but you’re hearing words that are coming out freely 'cause the music is telling us what it should say, and giving us notes on what it should be about.

MASTERCLASS 38 13song origins: “are you that somebody?” TIMBALAND Song Origins: “Are You That Somebody”

Back again: you’ve “ what you do.

aliyah’s hit “Are You That • Tim’s mouth percussion Somebody?” was first recorded forA the Dr. Doolittle soundtrack. It was • A (randomly found) synth lead created and recorded in one night, and some of the best parts of the track • Plus a bonus secret weapon: an altered were technical accidents. (The quantize sample of a baby’s laugh. function on Tim’s keyboard didn’t do what he thought it would. Instead, it At the end of the track, Tim pulls instru- scrambled the notes of the sample, and ments out of the mix in order to draw Tim decided to keep that effect.) focus to certain sounds. It’s a signature Timbaland moment. “Are You That Somebody?” is another track where Tim’s vocal percussion was The net effect sounds a bit like a a key part of the final mix. He heard nursery rhyme because the vocal something in his head and rather than follows the percussive sounds within dig around for all the right percussion the backing track. It’s another example samples, he grabbed a microphone and of the “simple but complex” groove recorded it. that characterizes so many Timbaland productions. There are only four main instruments on the track: Ultimately, the reason the song came together was because of the chemistry • A synth drum kick with a prominent of the collaborators. Tim, Static, and the snare sound singers they worked with, were more than just colleagues at work—they were • A guitar sample like family.

MASTERCLASS 40 13 Song Origins: TIMBALAND “Are You That Somebody”

Recording Tip: Changing Assignment: Find a Killer the Tempo and Quantizing Sound Effect

“ In the world of digital music production, We all know what the secret sauce At the end, I you don’t have to be a great keyboard is in “Are You That Somebody?” It’s kinda always player to get the sounds you want. the baby! You can find plenty of pop If you’re recording a part using a hits with guitar, drums, even vocal give you a MIDI keyboard, but you can’t get the percussion, but the laughing baby technical playing quite right, slow down sample? Not so much. So now it’s your display of the tempo until you’re able to play it turn to take a groove and carefully place the art. properly. If it’s still not quite right, use a sound effect that changes the whole your program’s quantize function to character of the song. The best of these snap your performance into the grid. In effects are sounds that no one would other words, it aligns what you played see coming, but once you hear them, with the proper beats. Once you’ve got you can’t imagine the song without the performance just the way you like them. If you’re looking for a resource for it, speed the tempo back up before random sound loops, check out www. bouncing out the audio. freesound.org, which has recordings of just about everything.

MASTERCLASS 41 14tim's influences TIMBALAND Tim's Influences

It was moments. We tried to make moments. And that’s why I enjoy the craftsmanship of “ these producers because they made moments that still live on today.

imbaland is a singular voice but he’s of dance halls with the sounds of the one to share credit, whether that’s street. His most famous collaborators Twith collaborators or the producers who include Michael Jackson and Bobby who paved the way for his success. Brown. Tim notes how Riley’s skill with A few of these producers stand out snares make his tracks sound unique. among the others: Dr. Dre - Producer, rapper, label owner, DeVante Swing - A founding member and industry mogul, Dr. Dre got his of , the 1990s R&B band. He is first major break with the credited in some circles for “discover- hip-hop group N.W.A. As a producer, ing” Timbaland, offering him his first he is most commonly associated with significant opportunity to co-com- the West Coast G-Funk style that pose and produce recorded music. emphasized slower tempos, memorable He is also the founder of the Swing instrumental lines, hard-edged lyrics, Mob, which was both a collective of and mining the classic vaults of the artists and a boutique . In 1970s. He’s played a prominent role in addition to Timbaland, the Swing Mob the careers of Snoop Dogg, , 50 included Ginuwine, Missy Elliott, and Cent, , and , many others. to name only a few. Tim especially admires the simplicity of his arrange- - Considered the founder ments and the way he made every effect of the “” style of music— sound robust and “action packed.” a 1990s-era movement combining elements of hip-hop, dance-pop, sam- DJ Premier (aka Primo) - Best known pling, and R&B. Riley is known for active as half of the rap duo Gang Starr. On drum patterns that fuse the energy the strength of that group’s output, DJ

MASTERCLASS 43 14 Tim's Influences TIMBALAND

Premier has become an in-demand Production Tip: Keep producer, working with the likes of Pushing Forward Anderson .Paak, Common, D'Angelo, “ Kanye West, , Mac Studying the masters is important, but I don’t Miller, and Ludacris. the great producers don’t imitate their think people idols; they draw inspiration from them in - A singer, songwriter, order to produce something fresh. Tim influenced producer, and entrepreneur who learned from masters like Dre and Teddy me; I think rose to fame as part of the recording Riley, but his music does not sound like juggernaut . Pharrell later a clone of theirs. people had went on to a solo career that has ranged me interested. from chart-topping hits to film-score Tim also does not fall back on repeating collaborations with . Like his own work. Think about the classic Timbaland, Pharrell grew up in the hits he’s produced for Aaliyah, Missy, Virginia Beach area in the 1970s and Jay-Z, Justin Timberlake, and so many '80s, where both were members of others. The music he created in this the music production ensemble S.B.I. MasterClass doesn’t sound like those (Surrounded By Idiots). Tim cites his past hits. He’s pushing new boundaries mastery of bounce. with his current collaborators, whether that’s Adrian or country-rock star Rodney Jerkins - Also known as Brad Paisley. Darkchild, Jerkins has produced chart-topping hits with Destiny’s Child, Assignment Beyoncé, Brandy, Monica, Toni Braxton, Lady Gaga, and the Spice Girls. Jerkins A great producer’s signature style was mentored by Teddy Riley, and has comes through across a wide range spoken of drawing influence from a of recordings. Listen to the following childhood immersed in gospel music. records produced by the same person and identify what connects them all. Is it - A -based rapper, the way certain instruments are mixed? producer, and entrepreneur. Nas stands The presence of certain production out on Timbaland’s list of influences for effects? Vocal performances? Or per- drawing most of his fame as a performer haps something totally different? rather than a producer. He is known for creating one of the most acclaimed PRODUCER: DR. DRE hip-hop debuts of all time, Illmatic. It • Snoop Dogg, “Who Am I? (What’s My was released in the same time period Name?)” (1993) that Timbaland was acquiring his first • Eminem, “The Real Slim Shady” (2000) significant producer credits with Jodeci • , “New Day” (2013) and Aaliyah. • Anderson .Paak, “Who R U?” (2018)

MASTERCLASS 44 14 Tim's Influences TIMBALAND

PRODUCER: RICK RUBIN Now think about tracks that you have • LL Cool J, “Going Back To Cali” (1988) produced. Do you find yourself going • Red Hot Chili Peppers, “Give It back to your own signature sounds or “ Away” (1991) effects? Are there certain drum beats or Once you • Justin Timberlake, “(Another Song) All chord progressions that keep making make that Over Again” (2006) their way into your music? Striking a • Wu-Tang Clan, “Ruckus in B balance is important: everyone wants a cake, let it be Minor” (2014) signature sound, but no one wants to be too predictable. eaten. Move PRODUCER: MAX MARTIN on, make • , “...Baby One More Time” (1998) another one. • NSYNC, “It’s Gonna Be Me” (2000) • , “We Are Never Ever Getting Back Together” (2012) • Ariana Grande, “No Tears Left To Cry” (2018)

MASTERCLASS 45 15how to persevere TIMBALAND How to Persevere

You’re gonna have falls and bumps. “ Do you love music enough to get back up?

ou have to adopt the right mindset We are living through an incredible era for to succeed in music. Persistence music production. In decades past, people isY the key for everyone, whether you’re had to pay thousands of dollars for studio a multi-platinum producer or someone time. Thanks to today’s digital innovations, just starting out on a laptop computer almost anyone with a personal computer or or a smartphone. There will be many smartphone can create music. The flipside rejections, and some of them will is that there’s a lot more competition out seem unfair. Be open to criticism and there. You aren’t the only person who can dedicated to personal improvement. download a free program and start creating You have to be a creator, not an imitator. beats. You have to work hard, keep releas- The world already has a Timbaland ing new output, and seek out talented and a Dre and a Boi-1da; what it now collaborators. needs is you. The true source of joy in music production You also have to be a collaborator. for Tim isn’t fame and riches—it’s about Today’s pop music scene isn’t built connecting with other people and creating around auteurs who create every single sounds that reach people’s ears and hearts sound heard on a record. You may start across all other boundaries. As long as you out that way in your home productions, focus on music as its own reward, there’s but your big break may end up being a no way you can fail. chance to lay down tracks for a topliner you’ve never met before. You may find yourself looking for fresh ideas, so you team up with someone like Angel or Fede.

MASTERCLASS 47