Professional Documents
Culture Documents
1. Introduction
1.1 Who and why?
Why this guide? Because I keep seeing people answer the question, and it's easier for me to give a URL for this guide than type out the same advice every time. Who am I to give this advice? Good question. You don't want to take advice from any old nobody: you want someone famous, respected, experienced, hopefully even signed to a well-known record label. I am none of those things. I'm just a bedroom amateur who has been producing drum&bass for about a year, at the time of writing. If you think that makes my advice not worth paying attention to, I don't blame you, and you're welcome to not read any further. If you feel like reading the rest anyway, who knows, maybe it'll help you. This guide is my opinion only and as such many people might strongly disagree with it. Disclaimer: I will use bad language in this document. If this offends you, read no further... and fuck off :)
Note, a lot of this guide applies to other styles than drum'n'bass too. Other electronic forms like ambient, idm, techno, house, will have an awful lot in common with what's said here. Some info will even be relevant to the amateur producing of rock, pop, or whatever other music genre you can think of.
1.3 more?
If anyone else wants to add anything to this guide - particularly in those areas that I confess to being less than knowledgeable about such as using hardware instead of a computer-centric approach - feel free to email me and I'll appreciate anyone's input!
2. Computer
Like I just said, there's a basic choice between hardware and software. Olden days, everything was hardware. It's only quite recently that computers have become good enough to compete with hardware, and some people still doubt that they can. They can: believe it. Of course, you can also mix the two, which is probably best. I'll assume the core of your set up will be the computer, running an assortment of software, but you might also use certain hardware as well.
You need the fastest computer you can afford. Pretty simple. Most things on computers like word processing and internet use take a tiny fraction of your speed, but audio work will take a lot. You will come up against a limit due to your computer: a limit of how many channels of audio you can run, how many voices of polyphony in your soft synth, how many chained DSP (digital signal processing) effects you can run. You also needs tons of RAM. Stacks and stacks of it. Mountains. Nowadays it's recommended to have 64MB just for 'normal' use. 10 seconds of CD quality audio (16 bit, 44.1Khz, stereo, to be specific) takes up 1.7MB, and you're going to working with lots of it. You also need a big hard drive, for the reason just stated. A whole song saved as pure audio takes 60MB or so. Plus you'll need to store all your samples, soundfonts, etc. Of course, that's all very well if you're about to buy a computer. If you've already got one, you might be thinking: "oh, well it won't be good enough". Chill. I've got a lousy AMD K6-200Mhz, 64 meg of RAM and 2 hard disks giving 10 gig total. It's not great, but it copes with most things I throw at it. PS. Did I mention I was assuming a PC with Windows? It's true, some people still swear by Macs. If you're already a Mac die-hard, fine, you can certainly do decent audio work with them. If you've no ready-set preference, I'd advise going for a PC. Cheaper, more expandable, more peripherals and software available, oh, and not lame as shit. As for other operating systems, BeOS was designed for audio/visual work, but lacks software. Linux lacks software too, and wasn't even designed for it. I know there are plenty of reasons to hate Windows, but pragmatically it's the best choice.
A breakout box with sockets you can use that aren't round the back of your computer. A real bonus because you dont have to fiddle about behind your case. Big jacks (7mm instead of 3.5). Usually only comes with a breakout box because they won't fit on the back of a card. Ditto for a real MIDI socket instead of joystick port. Multiple I/O sockets. Again, generally you only get more than one input/output on cards with a breakout box. Optical or SP/DIF (Sony/Philips digital interface) connecters. Useful for very high-quality recording or mastering output. Higher quality sound, e.g. 96Khz. Onboard DSP chip... now we're really getting into fantasy land :)
If you're a mortal like me with limited money available, the best buy at the time of writing has got to be a SB Live! Platinum. You can pick them up for about 160, you get a breakout box with some juicy sockets, SoundFont support, a decent software bundle (Cubasis, Wavelab lite), basically all you need. If you've got several hundred quid, or a grand, to throw around, well, the world's your oyster: you can get studioon-a-card systems like the Creamware Pulsar or killer MIDI cards like the Yamaha SW500XG.
Finally, the speakers that came with your SoundCard are a heap of shit. Throw them in the bin straight away. Apart from being just... er... generally shit, computer speakers "warm" the sound to make it sound nicer. Which isn't too great when you're tweaking EQ, because what you hear is not what you really have! You need speakers that don't lie to you. This is one of the more expensive pieces of kit, nothing under 500 is going to be that great. If you're a poor bastard like me, hook your soundcard up to your stereo instead. But remember: FLAT EQ! No point having 10 band parametric control over EQ to the tenth of a decibel, if you're going to run it through a stereo with some lousy "jazz" preset fucking with the sound.
3. Sounds
3.1 GM soundset and soundfonts
The GM (general MIDI) soundset that comes with your soundcard will be a piece of shit. Yes, even if you paid 500 for it: you might get decent pianos and harps on a pricey card, but it'll still be useless for drum'n'bass. GM just doesn't do sci-fi pads, scary bleeps, twisted squidgy basses and the like. That's why I told you to get a card with SoundFont support, so you can load new sounds instead. SoundFonts are something I've never messed with so I won't go into them. Lets just say, they're one way of getting non-shit sounds. Here are some others.
3.2 Synths
Hardware synths? Yamaha, Roland, Korg... Go looking. Far too many to look into in this little introduction, even if I knew much about the subject, which I don't. Software synths? I know a little bit more here. Lets start with Rebirth: two 303s, an 808 and a 909. If you don't know what they are, where the hell have you been the past twenty years? Anyway, I started with Rebirth so I can get it out of the way, because I'm well sick of it, and I'm not the only one. The last thing we need is more dorks playing Josh Wink. Other stand alone synth programs include Vaz+ (30) / Vaz Modular (249) and Reaktor (245). The last is rated very highly. I sadly haven't had a chance to play with it. With the latest versions of Cubase and Logic, you can use plug-in synths. This means they aren't programs on their own, they're plugin instruments which integrate with your sequencer. It's definitely a nice idea and the way forward. Shame is, it's another excuse for them to rip you off, with each new plugin synth possibly setting you back over a hundred quid, on top of the several hundred quid you paid for the sequencer in the first place. Finally I should mention Buzz which has plugin synths in a similar fashion, but with the advantage that they're free, and legally so. Also, from what I've read, there's no reason to suppose that they're not as good. The M4w has more features than Steinberg's comparable Model E (cost: 150). I shall expand more on Buzz later.
3.3 Samples
Samples aren't just for things that you think of samples, like that vocal lifted from a movie. You can sample anything, and you probably should. For starters, GM drums are particularly weak, and you're probably going to want to build your breaks from drum samples (if you don't have a hardware drum machine, anyhow). There are specialist programs for building drum loops, like FruityLoops, which I find spectacularly pointless, but maybe you'll find them helpful. Also look into ReCycle! which cuts up breaks into individual hits. So where are you going to get samples from? You can get them on the cover CDs of magazines like Computer Music; for free from websites like SampleNet, AnalogueSamples, SoundAmerica; or pay for commercial sample CDs from places like Time+Space. Two words of caution about samples. First, please resist the temptation to use that "cool" sample from Reservoir Dogs or whatever: it's been done before, and so many times. Novelty samples really add little to a tune. Vocal samples which are just 'plonked' there so as to reference some movie are really pointless, and it's a shame when vocal samples can be used as an integral part of the music, structurally and textually. (Listen to Orbital for how to use vocals well.)
Second, think twice before using those copyrighted samples. I'm not saying that because I'm crusading against illegal practices and piracy... shit, I've pirated enough things in my life. Nope, I'm just saying it because it's a royal pain in the arse if you ever really get somewhere with your tunes, only to find that you're in the shit for using dodgy samples. Better to save yourself potential legal hassles and not use them at all either that, or process them beyond recognition :)
4. Software
4.1 Audio Editors
You need a good audio editor. This is especially important if you work with samples, because you'll want to work on the samples before using them. If you're working without samples (it can be done, a friend never uses them), a good audio editor is still useful to tweak, post-produce, and master your finished song. Three of the best known are SoundForge (349), WaveLab (399) and Cool Edit ($70). Certainly expensive (if you pay for them, no comment), but difficult to live without.
What am I getting at? In short, unless you have (a) a lot of high-quality hardware such as synthesisers, drum machines, etc, and/or (b) a lot of money, making MIDI the centre of your composition is not sensible for the drum'n'bass genre. So, paying hundreds of pounds for MIDI sequencers is paying money for features that aren't much use to you. You're better off working with software synths and audio samples. It's a controversial opinion, but I'm sticking to it.
to be continued...
Copyright © 2000 Stephen Mercer, all rights reserved. Non-commercial distribution of this document is unlimited provided it remains unaltered. Commercial usage is forbidden without my express consent. | URL: http://www.dur.ac.uk/~d90hta/hipnotic/ |