Posts Tagged Can You Forgive Her

The Fate Of The 808

The machine has been co-opted countless times to lend street cred to artist branding: early 90s UK techno act christened themselves 808 State; Kanye West dropped it in the title of his disc 808s & Heartbreak.  And it’s regularly referred to by name in tracks like–wait for it–’808′ by Blaque.  By now, the machine is more famous than some of the artists that use it.  When Blaque sings ’cause I’ll be going boom like an 808,’ or Will.I.Am chants ‘we got the beat, that 808′ on the Black Eyed Peas’ ‘Boom Boom Pow’, we know they’re talking about the SUV-shaking kick of the world’s most celebrated drum machine, the Roland TR-808.

Legend has it that, in 1981, fledgling New York producer Arthur Baker travelled out to Jersey to buy a used 808. Roland had been manufacturing the unit for a couple of years, but like many new boxes, years can pass before someone stumbles upon a way to bring the art out of the technology. Baker brought the machine home and, reportedly, not knowing how to program it yet, he used a beat left in its memory by the previous owner as the basis of seminal rap track ‘Planet Rock’ by Afrika Bambaataa & Soulsonic Force, thus lifting the 808 from a potential fate of being a cheap novelty item stacked on pawn shop shelves for eternity. And that is how the disillusioned previous owner of that 808 turned out to be the nameless, faceless originator of that foundational ‘freestyle’ rap beat.

As the 80s progressed simple 808 beats began appearing on R&B jams by monster artists.  After a short lull the machine had a strong resurgence in the early 90s, newly realized, in the stuttering double-time swing of ‘miami bass’ and ‘booty’ tracks. Post- millennium, its status as a classic has regularly been reinforced with new rap trends like Plies’ Southern post-booty beats and most recently in the sparse, ultra-high impact production sound of Kanye West and Drake.

808

Roland TR-808

Here are the basic, untweaked sounds of an 808.

The low, long tone of the kick drum is what most people recognize first. The clap, snare and cymbal sounds have come to feel like the sleek natural compliment to that low end, and the ‘cowbell’ sound, which bears little sonic resemblance to a cowbell at all, is really some kind of synthesized fifth chord.

Some 808 beats over the last 3 decades: the  original freestyle beat of ‘Planet Rock’ by Afrika Bambaataa and Soulsonic Force (1982); straight ahead R&B jams ‘Sexual Healing’ by Marvin Gaye (1982) and ‘Who’s Zoomin’ Who’ by Aretha Franklin (1985); the syncopated miami bass beat on Inoj’s cover of Cyndi Lauper’s ‘Time After Time’ (1998) which incorporates a snare sample from another machine; Southern rapper Plies’ ‘Plenty Money’ (2008); the sparse 808 kick intro ‘Heartless’ by Kanye West (2008); ‘Successful’ by Drake ft. Trey Songz (2009).

In the early 80s Roland made a complete line of something-oh-something units.  The 303 was a bass sequencer, initially relegated to the accompaniment of one-man polka bands and the like until it found a perfect home within the rhythms of late-80s acid house and mid-90s techno.

Roland TR-909

Roland TR-909

The 909 drum machine also sat, semi-used, until disco re-emerged…re-branded as ‘house’ in the late 80s: the 909 is to House as the 808 is to R&B and Hip Hop. The machine’s solid, pointed kick drum, crisp high hats and full-bodied clap, used together, ushered in the meditative swing of house music. In particular, rolling the 909’s snare in a multitude of syncopated patterns became the thing to do.

The 909 in action: pre-house snare rolls and echoey clap patterns on ‘Pump Up The Volume’ by M.A.R.R.S. (1987); syncopated snare on ‘E.S.P.’ by Deee-Lite (1990); Shep Pettibone’s snare-happy house mixes of ‘Escapade’ by Janet Jackson, ‘Express Yourself’ and ‘Vogue’ by Madonna (1989-90); MK’s 909-heavy remixes of ‘Movin’ On Up’ by M People, ‘Can You Forgive Her’ by the Pet Shop Boys and ‘Heart Of Glass’ by Blondie (1993-95); and a 909-only beat on the Musk Men bootleg of ‘I Never Thought I’d See The Day’ by Sade (1995).

Linn LM-1

Linn LM-1

There are a few other early drum machines worth noting for the impact they had on music as we know it.

Roger Linn created the Linn LM-1 in 1980, and it quickly became the go-to machine for pop production in the U.S. and U.K.

The LinnDrum and Linn 9000 models followed, adding a few more sounds to the initial palette.

Countless instantly recognizable beats were programmed on these machines including ‘The Look Of Love’ by ABC, ‘Don’t You Want Me’ by the Human League, ‘Love Is A Battlefield’ by Pat Benatar, ‘Shock The Monkey’ by Peter Gabriel, ‘Dress You Up’ by Madonna, ‘Wanna Be Starting Something’ by Michael Jackson, ‘Mama’ by Genesis and ‘Everything She Wants’ by Wham.

A friend used to joke that Jimmy Jam and Terry Lewis must have had a climate-controlled room with a sleek black box the size of a tank to produce sounds as big and clunky as they used on Janet Jackson’s ‘Control’ and ‘Rhythm Nation’ albums.  Evidently, however, the production team often used Linn machines drenched in gated reverb for Jackson’s signature sound.

Drumtraks

Sequential Circuits Drumtraks

Prince crafted virtually everything he produced in the 80s with these machines as well as two others, defining a funk sound we all know.

The raw sounds on Sequential Circuits’ Drumtraks sounded like this:

Oberheim’s OB-DX sounded like this:

OB-DX

Oberheim OB-DX

With a little manipulation (re-pitching the sounds and adding various effects to them) he was able to create a fresh basis for each new song while defining his production sound. In particular, he seemed to use the Drumtraks clap a different way on virtually every track.

Some samples of Prince’s production from ‘Nasty Girl’ by Vanity 6, through a range of his solo work over the decade including ‘Let’s Pretend We’re Married,’ ‘Little Red Corvette,’ ‘Let’s Go Crazy,’ When Doves Cry,’ ‘The Beautiful Ones,’ ‘Raspberry Beret’ and ‘Kiss’:

No tour through notable 80s drum machines would be complete without mentioning Simmons drums. These were actual physical drum kits produced in varying incarnations between 1980 and 1990 with hexagonal electronic pads that triggered a synthesizer box.

Simmons

Simmons SDS-7 Drum Kit

Some individual sounds.

The instantly recognizable white noise fakeness shows up sporadically on all kinds of prog rock, new wave and funk. Some examples are the intro to ‘Somebody Told Me’ by the Eurythmics, the whole drum groove of ‘She Blinded Me With Science’ by Thomas Dolby, the accents in the break of ‘Mr. Roboto’ by Styx, and the snare on ‘Word Up’ by Cameo.

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I’m Only Inhuman: Vocal Trickery Through The Ages

Not content to replace pianos with synthesizers and drum kits with drum machines, producers have spent the last few decades pushing against that final frontier: the mechanization of the human voice.  How have we dehumanized ourselves?  Let me count the ways.

Vocoder1

Classic 70s Korg Vocoder

1. The Vocoder

In the mid-70s ‘robot voice’ tracks began turning up in earnest. Kraftwerk was at the forefront with the Vocoder (not the Vocorder, as it is so often mispronounced, but the Vocoder: it is a ‘coder’ of ‘vocals’).  For many years the Korg Vocoder was the standard unit, but all vocoders work on the same principle: you sing into a mic and the electric signal created by your voice shapes the sound coming out of the synthesizer.

One of the first commercial hits with a female robot vocal upfront was ‘Funkytown’ by Lipps Inc., in 1980.  In 1983 Styx gave us ‘Mr. Roboto’.

Orange Vocoder Software Plugin

Orange Vocoder Software Plugin

In recent years software plugins like the Orange Vocoder have appeared, eliminating the need for another physical keyboard taking up space in the studio. The sound is a little less cutting–as the raw, aggressive squelch of old analog vocoders are still somewhat outside the realm of the computer–but tracks like 2002’s ‘Remind Me’ by Röyksopp have carved out a different niche for the software vocoder’s silkier sound. Korg’s MicroKorg keyboard and Ensoniq’s rackmount DP-4 have kept hardware vocoders alive.

2. The Talkbox

Stevie Wonder began using a talkbox in the early 70s, but after Parliament-Funkadelic alumnus Roger Troutman mastered the physically challenging device and formed funk band Zapp, radio got a steady stream of funk/R&B hits through the first half of the 80s.

A Talkbox

A Heil Talkbox With Hose

A talkbox setup is in many ways the reverse of a vocoder. A synthesizer–typically a Yamaha DX100–set to produce a very strong, pure tone is plugged into the talkbox. A speaker driver inside the talkbox pumps the focussed sound out through a hose which is inserted into the corner of a singer’s mouth. As the singer forms words, their mouth physically shapes the sound from the synthesizer.  This happens in front of a mic, which picks up the shaped synth sound coming out of the player’s mouth.

Roger Troutman’s command of the instrument shines on ‘I Wanna Be Your Man’.

For a visual demonstration, check out the great Stevie Wonder covering ‘(They Long To Be) Close To You’.

Akai S1000 Sampler

Akai S1000 Sampler

3. Retriggering

Evolving through the 80s, samplers like the Synclavier, Fairlight and Ensoniq Mirage were initially intended to realistically recreate acoustic instruments. The Emulator seemed to encourage more creative sampling however, and the Emu SP1200 was the sample-based drum machine that spawned the dopest hip hop beats. But by the late 80s the Akai S1000 was the rackmount sampler of choice, and the fact that you could expand the memory to load entire vocal tracks into it made retriggered vocal riffs the next logical step in house music.

In 1989 Black Box sampled parts of Loleatta Holloway’s vocal on 1980 disco hit ‘Love Sensation,’ placing it over new piano chords and a housebeat.  The rhythmic retriggering of her impassioned vocal–the computerized sonic repetition of those growling phrases of sound–brought a clean, futuristic sensibility to dance music, an effect akin to referencing ‘Love Sensation’ in quotations.  However at first those quotations were used without the appropriate footnotes…so court cases followed.

4. Stuttering

Through the early 90s house producer MK (Marc Kinchen) ran with vocal sampling, taking the retriggering concept to extremes.

Four examples of his work follow. On his remix of the B-52s’ ‘Tell It Like It T-I-Is’ he experimented with stuttering the last syllable of individual lines. This became a common technique borrowed by many producers, so MK forged further, finding a more individualistic practice: he began pulling single syllables from various places in the vocal track, reordering them to create hooky melodies (with nonsensical words). His 1993 remix of the Nightcrawlers’ ‘Push The Feeling On’ made massive waves, superseding the original version of the song without using a single intact vocal line. In demand as a remixer, he created hooky vocal stutters for the Pet Shop Boys on his remix of ‘Can You Forgive Her’ and for Blondie on his updated remix of ‘Heart Of Glass’, dropping the full vocal in between stuttered sections…and reportedly turning out one remix per week at $15-20K.

The Amazing Slower Downer

The Amazing Slow Downer

5. Timestretching

In the mid-90s Armand Van Helden took the baton, building a brand in part on the innovation of cheeky vocal processing techniques. ‘Timestretching’ audio using software plugins is a commonplace practice now, to make beats match in tempo or to conform an acapella to the desired speed of a remix. At the time, Armand Van Helden pushed the relatively new technology to the limit, placing ridiculously elongated vocal lines in the climaxes and dropouts of his tracks as dancefloor payoffs.

A few examples of this new intersection of the machine and the biological: he stretches the line ‘Sugar Daddy’ as a re-entry to the beat in his remix of CJ Bolland’s ‘Sugar Is Sweeter’; he stretches the hook vocal to prepare us for a drop out of the beat in his own track ‘The Ultrafunkula’ (the same track also exists as ‘The Funk Phenomena’); and finally during a dropout in his remix of Janet Jackson’s ‘Got Til It’s Gone’ he obsessively retriggers the sample of Joni Mitchell singing ‘don’t it always seem to go…’ (from ‘Big Yellow Taxi’), building to an unidentifiable, impossibly timestretched spoken line before dropping the beat.

All samplers and audio production software have a timestretch function, but it sounds like he used an early version of the ‘Amazing Slow Downer’ Mac program. Either that, or the application was conceived later specifically to achieve that Armand Van Helden sound.

Antares Autotune Plug-In

Antares Autotune Plug-In

6. Auto-Tune

In 1997 a company named Antares marketed a rackmount box that could automatically correct a singer’s pitch in real-time. Shortly afterward, they released a software plug-in that did the same thing but also allowed graphical re-drawing of the pitch of individual notes in a recording.

Strangely perfect-sounding vocals began to appear on pop, country and R&B recordings, like the silky layers of Brandy’s voice on ‘Almost Doesn’t Count’ and ‘Angel In Disguise’ from her 1998 album ‘Never Say Never’:

Applied subtley the processing isn’t obvious, but the singer’s voice does take on an otherworldly pitch-perfection that we’ve all now come to expect. Singers, producers and engineers now assume that one of the phases of recording will be tuning the vocals.

7. Abused Auto-Tune

Put auto-tune into overdrive and you get what became known as the ‘Cher Effect’.  In an interview in Sound-On-Sound producers Mark Taylor and Brian Rawling attributed the ear-twisting effect they applied to Cher’s vocals on 1998’s ‘Believe’ to a complicated vocoder setup. But what was obvious to most producers was exposed soon afterward: this was an auto-tune plug-in set to ruthlessly round the note up or down, causing lightning fast, perfect-pitch trills in the vocal. Madonna producer Mirwais took things a step further on tracks like ‘Impressive Instant’, redrawing the pitches of notes to create impossible, unexpected jumps in the melody.

Melodyne: The New Auto-Tune

Melodyne: The New Auto-Tune

8. Melodyne

In recent years hip hop hook singers like T-Pain, Lil Wayne, Akon and Kanye West have recorded exclusively with an effect universally referred to as auto-tune. I’m convinced however that these guys are mostly using a newer program called Melodyne. It works in a similar fashion but allows much more precise editing of multiple layers of vocals, as well as control over an additional attribute of the performance: the tonal quality of a singer’s voice–from munchkin to giant– independent of the pitch.

Kanye West’s vocal on ‘Heartless’ and T-Pain’s vocal on ‘Chopped And Screwed’ (a song whose subject incorporates reverence to vocal trickery) demonstrate the metallic sound of multiple takes of the lead vocal processed through Melodyne. On 2009 single ‘D.O.A. (Death Of Autotune)’ rapper Jay-Z started a backlash against the generic use of tuning as a crutch for singers.

Celemony, the makers of Melodyne, will soon be releasing a new version that will be able to isolate and manipulate the pitch of each note within chords on recordings (as opposed to individual notes).  It’s anybody’s guess where this will take producers next in the field of vocal cybernetics.

Digitech Vocalist

Digitech Vocalist

9. Digitech Vocalist

For some reason Digitech is not one of the major go-to companies when it comes to effects boxes, but they’ve always pushed the envelope of digital processing. Imogen Heap’s 2005 hit offering ‘Hide And Seek’ was entirely acapella-and-effects, bringing a fresh ear-bending sound that could have been a traditional vocoder but for the oddly futuristic slides between notes. The lush, fanned out harmonies were created from single vocal tracks by the Digitech Vocalist box, which is able to digitally extrapolate live harmonies on the spot based on chords played on guitar or keyboard.

Look for additions to this article as new vocal processing technologies are used and abused by producers.

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