Jbox Prod. Sessions 02: Layering

Hey guys! I've got a couple demos here in which I want to share some quick techniques that I use to achieve some of the sounds present in a lot of my work.

Lately I've been experimenting with layering of multiple synth instruments to create a single bass instrument. I'll show you two examples, one I've used 3 Serum patches to provide width and body; and other where I've used 4 Operator patches and grouped them to provide depth and variation.

So here's the first demo, WIP name of the track is called 'Entire'.

So first of all have a listen to the full demo. I solo each element which comprises the bass/chords instrument at different stages to point out their role in terms of stereo imaging and how the layers integrate. You'll notice there is a left and right version of my 'pluck' part of the synth (labelled 'pluck' in the image below).

I got a fairly mono pluck sound from Serum and duplicated it. The left and right are then panned 20 degrees apart from each other, and then delayed to create that haas stereo effect. I find setting -6 ms and +6 ms has a really nice sweet spot for me. There's probably some maths behind it with the phase timing, however it's just a number I've stuck with for a while and it's worked for the purposes I've used it for. I also find that by delaying both rather than putting one behind the other allows the grouped instrument to 'wrap around' as I call it and give the kick some space for its transient to punch through; especially when I'm using such a sharp, plucky sound.

So this 'pluck' group is then layered in the main section with a more centred chord patch in which it's main role is to give the whole sound more body, low end and presence. Especially needed and should be considered for mono-compatibility when you're using this haas effect in a lot of different contexts.

In slower tempo electro/house tracks like this demo, what works really well is clap layering and delaying the main clap/snare so that it's transient gives the kick on the same note, that extra chunkiness. Have a listen to the clap/kick relationship audio and you'll hear what the layering is made up of. It's a little more on the subtle side in terms of an example; however you'll hear that the clap just nicely slots in just milliseconds before the kick.

This is probably one of my favourite techniques to use in drum programming, and you can take it right from subtle transient enhancement like this demo; all the way to one of my favourite examples of Disclosure using it in their track 'Omen':

Throughout the chorus they actually change the delay settings to create a human playing feel to it, so that every clap hit is slightly different and feels less mechanical. Some of the hits almost sound like it would be something like -50ms and -25ms for the left & right settings. I've done an experiment in the past and have achieved some pretty similar results to the sounds in this track. Between the delay of the claps and possibly some different syncopation and natural swing with the classic 909 open-hat, it creates an incredible, bouncy groove.

Next up is my Operator bass layering. I basically had a go at grouping four different settings of a similar 'deep house' style bass patch I created in Ableton's Operator. They serve slightly different purposes: To fill a part of the groove, to lengthen the decay of a bass note but with a slightly different sound to give the tail some movement and modulation, a clicky mid-high frequency channel and the main channel where most of the body comprises.

(Warning on the tracks, the Demo Sample is mastered whereas the bass on it's own is not, so please turn down your volume before going on to the next piece of audio to avoid potential tinnitus inducing pain.)

The top image shows the layers, visually where the notes lie and the different in levels in the mix. The bottom image is the effects rack of one of the channels to give an example of how the setup looks. The Operator settings in this particular one shows the mid-high frequency click-role. The carrier of the oscillator has it's coarse set to two, and then the first modular set to 4 which gives it that bell character - the volume is set quite low as it is a pretty harsh tone if left louder. The 18 coarse modulator serves as a click, as it's ADSR is extremely short which provides that sharp top-end presence.

The bass notes on its own may sound quite simple or even not very well executed, however once they combine with my chopped staccato piano samples, the groove starts to become somewhat apparent - but really works well with the other rhythmic elements when you listen to the whole demo in action. I believe this is a good example of how simple the bass elements in a lot of house/most dance music actually are, but its more of a case of how well they integrate with its accompanying elements to form rhythm and get people dancing.

More production sessions coming soon!

Lachy :)