what to do when your 808 speaker stops working
Growing up in Miami, FL, in the 1980s and '90s, I was exposed to a great deal of the Roland TR-808 sound. Establish in roller skating rinks, and cars with "tricked out" systems across the metropolis, the window-shaking, os-shattering Miami Bass sound was literally inescapable. The other-worldly 808, with its long and resonant kick drums and toms, crispy snares and claps, and lighting fast how-do-you-do hats was and so pervasive, even my parents knew what an 808 was.
I barbarous in dearest with the futuristic bounciness of the 808, and it was a large part of what inspired me to desire to make records myself. What I didn't know at the time was how much frustration this would crusade me in my early 20s, trying to figure out how to mix the darn things.
I recall the first track I finished that featured an 808 drum kit. I thought information technology sounded neat in my studio monitors, and in my headphones, so I burned information technology on a CD and then I could put it to the ultimate examination—the car stereo. To my dismay, when I popped it in the CD role player and cranked it upwards, the depression end sounded downright atrocious. The speakers were buzzing, rattling, and distorting, and the sound diameter little resemblance to the classic 808 sound I was going for. Why did the track sound keen in my home studio, but terrible in the car?
Things Are Non every bit They Seem: The Importance of Authentic Monitoring
One reason the tremendous 808 boot is then tricky to tame is that most smaller speaker systems (like headphones) but practise not accept a low enough frequency response to accurately reproduce its sub bass. You tin can't right what you can't hear. And so get-go and foremost, to monitor the bass and sub bass frequencies accurately when mixing, you lot really demand a pair of well-nigh-field studio monitors along with a subwoofer. The JBL LSR308 two-Way Powered Studio Monitor Kit with Subwoofer is a keen package with which to start. In one case y'all've got yourself a studio setup that allows you to properly monitor the sub bass frequencies, you'll exist able to observe the overpowering low-stop frequencies you would hear on a good car stereo, or a larger system, in your abode studio. At present that you tin hear the issues, you tin start eliminating them.
Trim the Fat: Cleaning Up the Low Cease
When I'g mixing a track that uses 808s—or one without 808s, for that matter—I always endeavor to tackle issues in the low-frequency elements beginning, which normally prevarication in the boot and the bass. If there's an 808 kicking with a long decay, as a rule of thumb, I start with a relatively steep high-pass filter anywhere between 20 and 40 Hz, depending on how the 808 is tuned. The goal here is to attenuate some of the ultra-low frequency content that isn't doing annihilation to help the audio, and volition but end upward causing bug with speaker rattle, and baloney. Also, the long 808 boot generally doesn't take much useful frequency information any higher than 200 Hz, so I usually besides instantiate a low-pass filter at 200 Hz or fifty-fifty lower. This helps create room in the mix for the residual of the instruments in your mix.
The Boom versus The Knock
A common technique for helping to accomplish the signature 808 "nail" and "knock" simultaneously is to employ 2 808 kick drums, each with unlike ADSR (Assail, Decay, Sustain, Release) envelope settings, and dissimilar mix processing, at the same time. The thought here is to gain contained control over these two elements in the mix.
The commencement step in designing this kind of kick sound is to pull up a long resonant 808 boot in your drum sampler and to lengthen the attack using the ADSR controls, effectively calculation a slight "fade-in" to the kick each time it happens. Now, y'all can layer a 2nd short 808 boot with a quick decay on pinnacle of the long resonant 808 kick, without the attacks of the two sounds stepping on each other'south toes. Plus, y'all'll exist able to process the two sounds separately, using discrete EQ and compression settings.
The Balance of The Kit
While the 808's boggling low terminate is by far the trickiest chemical element to become sounding right, cleaning up the rest of the sounds in the kit volition help clarify your mix in the upper midrange and high end, and help make room for the massive bottom. I generally high-pass the 808 hi hats and cymbals somewhere between 6-9 kHz, and sometimes fifty-fifty higher, depending on the rest of the mix. For the snare and handclapping, I outset with a high pass between 300-500 Hz. I may also make various high-end boosts and add reverb to these elements for added presence, depending on the sound I'm going for, but this is a good identify to start.
Apply Corking Sounds
Unless yous starting time with smashing drum samples, none of the tips to a higher place will practise you much good. Native Instruments BATTERY iv is a module within its KOMPLETE 11 suite that comes with some excellent 808 samples, and is also a powerful drum sampler. If you want to synthesize your 808 sounds from scratch like they did in the former days, the Roland TR-08 is a compact recreation of the original TR-808. The TR-08 features the same front-panel layout and user interface as the original and is powered by Roland'southward Analog Excursion Beliefs (ACB) engineering, which delivers the aforementioned skull-crushing bass.
I promise this commodity has been helpful for you, and I encourage you to leave whatsoever thoughts or questions yous may have in the Comments section, beneath.
Source: https://www.bhphotovideo.com/explora/pro-audio/tips-and-solutions/make-your-808s-bang-without-blowing-your-speakers
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