Excerpts from The BeatTips Manual: Gear and Sound Fundamentals
Understanding Production Setups, EMPIs, Sounds, and Other Prerequisite Factors
Gear and Sound Fundamentals: Understanding Production Setups, EMPIs, Sounds, and Other Prerequisite Factors
The following article is an excerpt from The BeatTips Manual, 6th Edition by Amir Said.
Production Setup Choices and Why They’re Made
A Production Setup Defined
A “production setup” or “setup” is simply a wholesale term used to describe all of the gear and equipment that producers use to make their beats; it’s where the drums, bass, piano/keyboards, strings, brass, and effects come from. Setups are characterized as hardware, software, or hybrid. They can further be distinguished by all-in-one types of setups, i.e. workstations, production centers, etc. Setups are made up of their base (primary pieces) and their support (secondary pieces). Because beatmakers are self-contained composers who generally create, arrange, and perform all of their music by themselves, we all use a setup of some sort.
The Hardware/Software Debate
Though beatmakers choose hardware- or software-based production setups for generally the same reason: functionality, they often choose a particular EMPI — hardware or software — because of the advantages that each piece potentially presents. Thus, in this section, I’ll discuss the commonly expressed fundamental pros and cons of either hardware- or software-based production setups.[83] But before getting into a comparative analysis of hardware- and software-based setups, it’s important to point out that the hardware vs. software debate is actually very misleading.
Regardless of the production setup, no two setups can ever be the exact same for any two people, nor can any EMPI be the exact same to another. But are there some comparable functions in let’s say an Akai MPC and FL Studio? Sure. But the functions of a hardware or software EMPI is an entirely different notion than how an individual beatmaker works with hardware or software. To be certain, each of our individual musical expressions is pragmatic in nature. And although we often find ways to challenge ourselves, we are still essentially working off of set, subjective ideas about making music. Therefore, musical expression is much more about one’s individual feeling about music and the role technology plays in the compositional process; it’s less about any allegiance to a piece of hardware or software application. So the more attention we invest in additional (perhaps unnecessary) processes, the less attention we actually pay to infusing the feeling that we ultimately want to express musically.
Another reason why the hardware vs. software debate is misleading is because the decision to use hardware or software should never be about what hardware or software can do (arbitrarily); it should be about how the hardware and software enables you to react to and work with it. For example, some beatmakers choose a hardware EMPI because it provides them with a link back to a music-making tradition — a tradition, it must be added, that figures heavily in the psyche of their beatmaking process. On the other hand, some beatmakers choose a software EMPI because it simply makes their musical process more flexible. In either case, the hardware/software debate is mute. The real point is about how effectively hardware and/or software enables you to make the musical expressions that you intend to create. That being said, below is a brief outline of the commonly expressed advantages and disadvantages of hardware and software EMPIs.
Advantages and Disadvantages of Hardware
There are three fundamental advantages that are typically associated with hardware EMPIs: (1) hands-on feel; (2) quick workflow/immediacy;[84] and (3) a link to tradition. Of all the reasons that beatmakers cite as their preference for using hardware EMPIs, the hands-on factor is the one beatmakers raise the most. “Hands-on,” an often ambiguous and misunderstood term, simply describes the traditional physicality that hardware EMPIs offer beatmakers. Hardware EMPIs physically give beatmakers the sense that they are not simply programming music, but playing it as well.
The quick workflow or immediacy factor of hardware EMPIs refers to how relatively fast hardware allows beatmakers to work out their musical ideas. For many hardware users, the prep-time — the amount of time needed for even the most basic procedures — often associated with software is too much of a hassle. Because of the rather quick workflow associated with hardware, many beatmakers are able to work on (create) multiple beats at just one sitting. But speed of workflow can be subjective, as ome beatmakers are more comfortable working within a software environment.
Finally, for many beatmakers, hardware EMPIs provide a much sought after link to the past, specifically, the classic periods of the beatmaking tradition. Though Software-based setups are no longer relatively new, they don’t offer the same sense of connection to earlier beatmaking periods. Thus, for many beatmakers, hardware EMPIs offer a connection to the techniques, methods, and processes of an earlier time; and when it really comes down to it, this connection (real or perceived) plays a significant role in the musical psyche of many hardware users.
As for the disadvantages commonly associated with hardware EMPIs, there are three: (1) cost; (2) less flexibility; and (3) lack of mobility. Hardware EMPIs are often considerably more expensive than software applications that purport to do the same thing. Hardware EMPIs cost gear makers much more to manufacture than their software counterparts, and therefore, they’re usually more expensive. Another commonly associated disadvantage of hardware is its supposed lack of flexibility. Although all EMPIs are made compatible through MIDI, Software EMPIs usually have more flexibility, as they tend to include more functions, more sounds, and access to more sounds. Finally, hardware EMPIs are less mobile than software alternatives.
Advantages and Disadvantages of Software
There are three fundamental advantages that are typically associated with software EMPIs: (1) accessibility; (2) flexibility; and (3) mobility. If beatmaking is indeed the most accessible gateway to music composition for the ordinary man, then software EMPIs represent the most accessible means to this gateway. Software EMPIs are much more accessible to people for various reasons. First, software programs are usually less expensive than hardware EMPIs. In fact, most software programs offer free downloadable demo versions. Second, the availability of software EMPIs overshadows the often limited availability of hardware EMPIs. Software EMPIs are also quite flexible, and they outshine hardware alternatives in the area of the sheer number of available stock sounds; but hybrid EMPIs like the MPC Renaissance and Native Instrument’s Maschine have leveled the playing field. Finally, software EMPIs are more mobile than hardware alternatives; and they can be operated on any laptop computer. This allows beatmakers to make music on the go.
But for all of the advantages that software seems to promise, there are some disadvantages or hazards that are commonly associated with software EMPIs. First, software EMPIs can, for some, present a disconnect from the culture and historical force of the hip hop/rap and beatmaking traditions. Such a disconnect can lead to an overly synthetic sound. Moreover, here, it should be pointed out that software EMPIs are fundamentally designed to simply facilitate (simulate) the mechanical steps of beatmaking. They are not designed to stand alone, or to give the physical instrument dimension that hardware offers. Though beats can be made using software and a computer keyboard alone, most beatmakers who use software-based setups often use hardware gear, such as keyboard controllers and/or drum pad controllers. Perhaps this is because without additional hardware components like keyboard controllers or drum pad controllers, which, in effect, convert software EMPIs to hardware EMPIs, the traditional physical sense of playing an instrument is lost.
There is also another type of disconnect that can occur with software EMPIs: Software EMPIs can induce a click-fix approach to making beats. This means that software EMPIs can foster a persona of clicking a beat rather than creating one. In this way, a software “click-fix” approach can be far too formulaic, placing much emphasis on seeing the digital numeration of music rather than feeling (seeing) the visual imagination of music. Never under estimate the difference between looking at the music on a screen in front of you, as opposed to seeing the music in the wide open space of your mind. It should always be remembered that the musical process is commanded, in large part, by emotion and mood. Sometimes, by the nature of the process of making beats exclusively through software, there can be a disconnect from this fundamental understanding. That said, all gear is nothing more than a vessel that serves at the mercy of your creativity and will to express your ideas.
Another hazard (not necessarily a disadvantage) of software EMPIs is the fact that their sound architecture is typically bright, clean, and extremely clear. Most software EMPIs are not designed to account for hip hop/rap’s fundamental preference of lower frequencies and vintage sound. However, some software EMPIs have addressed this issue by including sound packs that simulate these types of prioritized sounds. Also, software EMPIs don’t “color” the sounds that are input within them; unlike hardware EMPIs, software programs don’t carry unique timbrel signatures. The sounds of software EMPIs are primarily stereo quality at 24bit sampling rate. So in other words, the sounds are characterless and flat. But this problem is often addressed through the use of software plug-ins and/or external hardware sound processors.
Hardware/Software Debate Summary
In the final analysis, the hardware/software question is not about which is better, but which is better for you. Each beatmaker has different aesthetic priorities and, more importantly, different technological and musical sensibilities. These differences are what ultimately determine whether or not a hardware- or software-based setup is right for any us. Plus, the reality is that hardware EMPIs are very reliant upon internal software; likewise most software-based setups actually work best with hardware EMPIs.
Musicians don’t deal in infinite realms of creativity. By that I mean, we ALL develop our own fundamental likes and dislikes; from these we establish our own compositional platforms that we use to express ourselves musically. Hence, no beatmaker typically attempts to tap into 100% of the capabilities of any given EMPI. Why? Because it’s impractical and counterproductive to our rather straight-forward musical goals.
Finally, it’s worth noting that in moving from hardware to software EMPIs, there is the reference-point factor. That is, those beatmakers who go from hardware to software have an entirely different reference point than those beatmakers who go from software to hardware. Take DJ Toomp, For example; a veteran well-known beatmaker (producer) who can create dope sample-based and non-sampled based beats. What Toomp can do with a software EMPI is different than someone who’s only used software EMPIs before. This is because Toomp is referencing his own techniques and sound that he’s developed over the years through his use of hardware EMPIs (in particular the Akai MPC 60 II, E-Mu SP 1200, and the Roland Fantom). Thus, starting off with a software EMPI rather than a hardware EMPI, means you’ll lack the same sort of reference to draw upon. This might explain some of the initial distance between some beatmakers who begin with hardware EMPIs and those who begin with software EMPIs. But in either case, eventually experience and knowledge of the beatmaking tradition proves to be the equalizer. Therefore, make no mistake: Quality beats can be made using either a hardware or software setup. Whichever you choose ultimately comes down to the type of beatmaker you are or want to be.
Notes:
83: There is a timbrel quality associated with hardware units. That is, each unit produces a certain sound (color) that is only characteristic to itself. It’s further worth noting that though hardware actually relies on software (i.e., it’s internal operating system), it gives the feel and perception of using a traditional instrument. Therefore, hardware EMPIs are non-traditional instruments that give a link to traditional instruments, much like synthesizers and electronic keyboards give a link to the piano.
84: Workflow is the pace, mood, speed, and overall level of efficiency of how a piece of gear and/or production setup enables you to operate. Certain pieces of gear or setups can constrain workflow, just as certain pieces of gear or setups can expedite and ease up workflow.
