Chris Henderson Top 5
Songwriter and producer Christopher “Deep” Henderson is R&B's newest hit-maker. Henderson is the creative force behind "Blame It," Jamie Foxx’s mega hit which remained at the top of the Billboard Hot R&B/Hip Hop Chart for a phenomenal 13 weeks.
He also co-wrote and produced songs for R. Kelly, Trey Songz and Nelly’s new CDs and has worked with Case (he wrote and produced Case’s hit “Happily Ever After”), 3LW, G-Unit and Cheri Dennis.
DeepBass (Reason Factory Sound Bank / Subtractor Patches / Bass)
I knew that I wanted the tuned 808s to drive the bass line of the song, however I also knew that the tune of those 808s would disappear on smaller speakers & I wanted the melody of the bass line to be present & full no matter what. DeepBass provided my 808s with the perfect tonal support. The synthy yet stringlike edge that the sound has in it's higher frequencies laced the 808 tone perfectly in club speakers but was also bassy enough to provide the audible bass line in computer speakers.
24dBLead (Reason Factory Sound Bank / Malstrom Patches / Monosynths)
My philosophy with most tracks especially urban & pop mid & up tempos is that they all need 'drivers,' a sound that stays melodically & rhythmically constant while other aspects of the track & song change, like a heartbeat. Of course most people think the heartbeat is in the drums & I agree but I also believe that a drive has to be in a melodic instrument to give the track that hypnotic element. 24dBLead was perfect for this especially because the MOD wheel allowed me to shape the frequency to give the sound that pulsating, transforming quality.
VNS Trem (Reason / Orkester Sound Bank / Strings / Violins (VNS))
This sound sounded so amazing to me when I first heard it, it was the best trembling string sound that I had heard up to that point. It sounded so crisp I just had to find a place for it. In this track it best served as a highlight sound, used to transition between the chord changes, I definitely didn't want to overuse it. Where I did use it, it felt perfect.
Mitant (Reason Factory Sound bank / Malstrom patches / MonoSynths)
This sound was the perfect partner for the way I used the 24dBLead in "Blame It." I was similar in feel but it was a much brighter sound that cut through the 24dBLead so that when it wasn't harmonizing with the other leads, it could stab, bounce & in a sense, help the rhythm track out. Together the two sounds provided much of the spacy synth feel that inspired the 'getting a little tipsy & unfocused' theme of the song.
Bad Trippah (Reason Factory Sound bank / Subtractor Patches / Fx)
One thing that really helps bring a beat out are transition and highlight sounds between cycles in the loop or sections of the song. It helps bring a section to conclusion, climax or lets you know that the hook or bridge is coming. I usually take time at the completion of a track just to hunt for those elements. Reason had plenty to choose from & quite a few ended up in my final track but since I have to pick 5 favorite patches, Bad Trippah made the cut. It really punctuates the change in the track & if you notice when it's played or performed, it's the Bad Trippah sound particularly that triggers that "GET UP OUT YA' SEAT!!" moment.
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Stenchman Malstrom Patches
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