A few months ago, in one of our Reason production tips we wrote about how to use mixing gear (or the Reason mixer) to transform mono sounds into captivating stereo images. Since then, many of our readers have asked privately how to replicate that effect using a standard software DAW such as Audacity, or Pro Tools without having to route through a mixer. The answer is quite easy: do it Timbaland style. Timbaland produces using the Ensoniq ASR-10: a sampler that allows a producer to work with two copies of one sample. You can hard pan one copy of the sample to the left, and the other copy to the right, and create a stereo image by delaying one sample in relation to the other. In addition to creating a stereo image, the technique we show below will pave the way for additional stereophonic experiments you can implement to give your productions a tantalizing shimmer that other producers will be hard-pressed to match. We’re serious. Check out how it’s done:

Duplicate Your Sample

In many of Timbaland’s tracks you will hear samples that Timbaland recorded, then tweaked to a perfect stereo image in his ASR-10 or in a sequencer. Take, for example, some of the background tracks in “Bounce”. This is a very easy technique to perform in an ASR-10, but it’s even easier in a DAW like Ableton Live. At left, In Ableton Live, is a mono recording we made of a few unrehearsed notes on the guitar. In Ableton Live, you can copy a sample clip easily by using “CTRL+left click” and then dragging the file to the next track. If your DAW doesn’t allow this action, most likely it allows you to copy and paste. So, copy and paste your mono sample clip into a new track, and synchronize it with the original clip.

Pan Your Tracks

Once you have two identical mono tracks, the next step is to pan your two tracks to opposite sides of the stereo field. At left, in Live’s mixer view, you can see that we’ve panned track 1 all the way to the left, and track 2 all the way to the right. To get to Live’s mixer view, all you need to do his hit the “tab” key, which toggles between mixer and sequencer views. By creating two identical mono tracks - one panned hard-left, and one panned hard-right - essentially we’ve created a stereo track out of two mono tracks. But, in contrast with recording a single stereo track, the action of panning two mono tracks has the massive advantage of being able to change one side of the stereo image independently of the other side.

Create Your Stereo Image

Now, you’re ready for the final step. At left, we’ve zoomed to an extreme close-up of the very beginning of the sample clips, which start at beat 1:3 on the timeline, or the third quarter note of the first bar. From here, the process is easy. Simply click on either clip and offset the sample’s timing by dragging it forward (to the right, graphically) by a range of 15 to 60 milliseconds in time. As you shift the clip from smaller millisecond values to larger, listen closely how the stereo image changes. The greater distance apart the start of each clip becomes, the wider your stereo image. It’s as simple as that.

Create Your Own Sound

This method of creating a stereo image out of 2 mono samples is a particularly strong, yet flexible method. Not only is it fast and easy, but it can be done with any mixing software; Cubase, Audacity, Logic, you name it. Another advantage to this widening method is the independence you create by turning 1 sample signal into 2 independent samples, left and right. It’s this independence, between left and right, that makes this technique such fertile ground for experimentation. Here’s why: routing a mono sample through a stereo delay or chorus restricts you to using the same effects for both left and right. The pre-mix, sample-copying method we explain above gives you the control to treat each channel with its own set of effects processing, dynamics processing, or synthesis as desired.

If you enjoy Timbaland’s production style, and you want to push new frontiers just like he does, this technique is a sure bet. By processing each channel - i.e., each side of the stereo field - with unique effects, you can treat the listener’s brain to a new sonic goodies it has never tasted before. For example, what happens when you process one side of the stereo image with an overdrive, and the other with a subtle phase effect? The same sample is playing in either ear, but it has a different timbre in the right ear than it does in the left, lending not only depth, but also shape to the stereo field. Overdrive/phase was our arbitrary suggestion, but by now, your imagination should be generating plenty of its own possibilities. For now, we’ll leave you to experiment. Keep the beats rollin’ and the sequencer scrollin’.

FL 10 + M-Audio Keystation 49e + Microlab Solo 2 MK-3 + Infrasonic Quartet + Behringer B-1

A lot of our readers know that a weak beat can be strengthened with a compressor, but what settings are best for what applications? What are the optimal compression settings for a Hip Hop snare, kick, bass, or percussion? In Hip Hop, if you want to compress like the best, you need knowledge of standard compressor settings used by Hip Hop producers. Though this tip deals expressly with Hip Hop, it applies also to House, Trip Hop, Crunk, Grime, any genre requiring maximum punch. We use Kjaerhus Audio’s ree audio compressor, the Classic Compressor, to explain which settings dictate which audible result, then we go in-depth by looking at advanced settings using the Sonalksis SV-315.

1) Ratio & Threshold settings dictate amount:

n most Hip Hop applications, many heavy weight producers use ratios of 4:1 to 7:1. Ratios of 8:1 & above are more effective for limiting, not compression. Pros generally use threshold settings that range from 10db to 15db of gain reduction on kicks, snares, percussion, bass, or guitar. At left, using the Classic Compressor to shape the sound of an acoustic kick drum, we’ve set the compressor threshold to -12.4 dB of gain, with a compression ratio of 5:1. Once you’ve decided on the best compressor ratio and threshold settings, you’re ready to add real heat to your beat by using the compressor attack and release settings.

2) Knee dictates sharpness of onset:

The other parameter you see in the above diagram is the compressor knee. When set to “hard,” the compressor reduces gain as soon as the gain level exceeds the threshold. When set to “soft,” the gain reduction is applied gradually as the gain of the signal approaches the threshold, yielding a gentler effect. This parameter isn’t key to optimizing beats, but should be used for compression that’s less abrupt.

3) Attack times dictate snap:

To ensure the most punch per track in your mix, you need to assign each track it’s own compressor attack settings, one at a time. Starting with the kick, set your attack to its fastest possible setting. Next, increase the time of the attack until the kick’s timbre dulls slightly. Once you’ve reached that point, decrease the attack time slightly to recover the original kick timbre, and leave it at that setting. Again, using the Classic Compressor, we’ve set a value of 9.75ms, preserving the kick’s original timbre and sustain, but also adding presence and power. Repeat this method for every track that needs satisfying punch.

4) Release times dictate recovery:

After you’ve optimized attack for each desired track, you must now assign each of those tracks its own release setting, too. Again, starting with the kick, set your release to its longest possible setting. Next, decrease the time of the release until you hear the compression fully recover the kick’s volume before the next kick pulse begins. If the compression release is set at too large a value, then the next kick pulse will suffer unwanted gain reduction, (breathing or pumping). For the kick drum in our example (in the second illustration), the best compressor release setting turned out to be 17ms. Repeat this method for all other tracks needing optimum volume recovery.

5) Advanced Compression Settings:

To explain compressor fundamentals, we used Kjaerhaus Audio’s Classic Compressor because it is straightforward and easy to use (and free). A more intricate device such as the Sonalksis SV-315 compressor above, can offer even greater control over signal processing. Understanding two of its key features, the “Crush” parameter, and the side-chain section, will enable you to take full advantage of our above advice while using more complex devices.

The “Crush” parameter, controls transient gain reduction. Imagine you try out our tips laid out above, but you want a little more snap on the attack of your kick. Lowering the crush parameter in the SV-315 will sharpen up the attacks of each pulse without otherwise altering threshold, ratio, attack or sustain. This technique is vital for preserving the original character of percussion such as crashes, hats, rides, tablas, triangles, and djembes, that have defined attacks, but often require a compressor boost.

The most notable feature of the SV-315 is the side-chain section. You’ll find a side-chain section on most pro compressors, gates, and limiters. If you tried our above tips using one of the SV-315’s presets, and didn’t notice any changes, it was probably because of the side-chain section. A side chained filter tells the compressor gain to respond to a specific range of frequencies. If the sample you’re using is devoid of those frequencies, then the compressor won’t respond. Most often, however, you can use these filters to achieve a more subtle compression. We should stress that this isn’t the same as filtering a signal using a resonant filter or an EQ. We’ll put it simply: when using a side-chain filter, some frequencies are routed to the gain control of the compressor, all frequencies pass through the compressor; in other words, some frequencies control the gain reduction, all frequencies are affected by the gain reduction. Dig?

The SV-315 possesses many more well-implemented features, but we figure you have enough to chew on now. Side-chaining is also an extremely useful production tool that we’ll explain in later tips. For now, try combining this tip with our previous tip on widening your beats, and we’re sure you’ll love the results it creates for your music. Stay tuned for more upcoming production tips, and Hit Reports!

FL 10 + M-Audio Keystation 49e + Microlab Solo 2 MK-3 + Infrasonic Quartet + Behringer B-1