Week 2: DÜÜB... coming to an ear near you

With a project moniker to work under, this week featured a lot of research and development surrounding production techniques (including a look at modular synthesis, a curiosity of mine). Our team delivered an elevator pitch, and the project has gained another dimension. Check it out below...

And just like that DÜÜB was decided upon as our project name; a cheeky reference to both the genre and culture associated with our concept. Dreamt up during our weekly meeting, Quinn, Rob, and I felt it was a fitting theme for a dub-influenced production. We took advantage of this meeting to book a four-hour studio slot each week, where our meetings would henceforth be centred around, and to reflect on our elevator pitch.

Presenting a 60 second project pitch seemed simple in theory, but in actuality we came to realise that it was difficult to condense our concept into such a small time-period. Besides not having time myself to speak (which realistically did not bother any one of us), we were in agreement that the the proposal ran reasonably well, receiving feedback that our idea to create a 3 Track EP looked well-planned. Our goal to create and incorporate a Tongue Drum sample pack and recorded Bass Guitar was also well received. Moving forward, we agreed to individually extrapolate upon the skeleton I created last week, with the goal of providing one track each by the end of week 4. I also made contact with Liam Fazio, an animator who would like to collaborate with us to create a visual dimension to our project. Finally, I generated a playlist of songs that I could use for reference or inspiration:

Throughout the remainder of the week I began work on a track teardown (available soon in my DECOMPRESSION blog series), and attempted to make some more progress on a scratch track. Though after hours of experimentation, I decided my time would be better spent researching sound synthesis and production techniques. So in an effort to understand the fundamentals of producing Dub music, I read up on the history and development of the genre; this article by FACT Magazine was one that provided a lot of knowledge, inspiration, and listening material. I then found some resources which helped to give some more technical inspiration; this investigation by Sound On Sound (henceforth SOS) I found particularly useful for techniques.

"For the first time ever in my working career as a sound engineer, I was aware of the creative central position that I occupied when mixing dub. It was as if the mixing board became a real musical instrument" - Andrea Terrano, 2007

Both the articles revealed dub's roots in reggae and investigated some common elements of the style. It was interesting to note that my instincts thus far were definitely leading in the right direction, with various elements included that I had already aimed to incorporate.

• The quintessential bass line and kick combination was discussed, confirming that the kick is often omitted more than included (with a recommendation to emphasise the third beat, especially with a snare hit or rim shot layered above), and the importance of including a catchy bassline.

• The ska guitar rhythms I mentioned last week, Terrano (2007) from SOS termed 'The Chop', explaining that commonly a piano or guitar is included in the arrangement and placed on the off-beat to create a push-and-pull type effect, providing the listener with something to 'lean on'.

• Delay and reverb featured often, though I learned of a few production techniques which experimented with them, and combined them with creative use of the auxillary sends. For example:

1. The Feedback Loop: This technique involves routing something via an aux send to a delay unit, before sending it to a new stereo return channel (or two panned mono's). The signal is then sent from the return channel back into the delay unit. By gradually turning up the aux send level a feedback loop is generated, which could be used quite creatively. It was recommended to set the delay time at around 0.7sec, and is often set such that it develops in triplets.

2. The Room Shot: Incorporating a more dynamic approach to reverb, this effect is created by sending a channel (or several) via an aux send to a reverb unit and turning up the send level momentarily to capture particular instruments (such as a snare hit or the chop), before returning it to its original position. This creative tool will be useful once the scratch track is arranged, creating interest and variety in the song.

3. Effecting Effect Returns: In addition to these concepts, I also appreciated the suggestion to try including a flanger or phaser on the return channels. Another idea was to insert a gate on the return channel, and adjust the threshold until it starts 'skattering'.

To further broaden my knowledge of Ableton and production techniques, I followed several tutorials on Lynda, spending equal parts observing and practicing. Over an entire day I managed to work through Ableton Live: Producing Electronic Music and began my way through Ableton Live 10 Essential Training.

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Modular Synthesis is something on the side that has intrigued me for years, having got my first real taste working at Berlin Atonal and assisting in the modular display. So when I saw a Learning Modular Synthesis module on Lynda I couldn't resist. Between watching that and the following video, I have been inspired to build my own modular synthesiser at home. I believe it would be an incredible way of solidifying my knowledge of a signal path, whilst encouraging my soldering skills, with the bonus prize of being able to use it in all future endeavours. Had I more free time between other commitments I would start it as a side-project right away. Perhaps instead I will include it in a SHARPEN UP blog; a series on its way explaining various skills and techniques useful to an audio practitioner.

However, be sure to check out a side-project of mine that is now underway, THE MAILBOX CREW blog series, where I will be documenting the steps I take in recording the aforementioned band's EP.

Stay Tuned

- TA