Making A Bryson Tiller Type Beat
Logic pro x tutorial
In making a beat, it is important to understand its structure. Different genres of music have different rules and structures for beats. Like for instance, in most hip-hop beats, having syncopated kicks and a snare or clap on every other bar is common.
Remember, no matter how well thought out your beat is, if you're just using an 808 kicks and a weak General MIDI snare, no one is going to want to listen to your beat.
It's important to find hip hop drum kits and loops with some extra flair to kick it up the notch. There are many producer packs you can download to get a wide range of effective kicks, snares, hi-hats, and claps.
The Formula to A Bryson Tiller Type Beat
Another player in the music industry by the name of Bryson Tiller has introduced to the world a rather phenomenal kind of beat.
Although there are also other amazing beats out there, the Bryson Tiller Type Beat has something up its sleeves that really sets it also apart from the others. It's time to get to know more about Bryson Tiller through his beat.
The Bryson Tiller Type Beat has a very busy verse type of synths. It is also a common type of beat with really heavy synths. A busy and slow-paced trap type synth beat is also called an Electro Trap.
For the Intro, A Bryson Tiller type beat has a nice kind of arpy synths in the middle that really makes it appealing. Its round sub base is creating like an ear candy sound effects.
Bryson Tiller Traps are very busy but at the same time has minimal sounds, a common element with trap music that doesn't overwhelm its listeners since it really compliments each instrumentation. Not to mention its trap beat are sometimes too empty.
The beat has to be masked by quietness with erk sounds and pad sounds that tend to leave a space so as not to make it too crowded; otherwise, there will be no space for the vocalist.
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Composing the beat in logic pro x
It's also consist of a lot of reverbs that has a massive synth. We call this Analogica and it has too much space with layered synths on up and down scale melody.
We hear a massive screaming erk, very metronomic with a lot of reverb. Busting out some reverbs and a spreader to even out the mix while layering it with the same melody with another synth from a massive called too much space.
The sounds of a high reverb are more like a percussion than instrumentation but together it blends and sounds really nice.
Let's Have a Look at the Channel EQ
Looking at the Channel EQ, a load of a low section is loaded up and boosted a little bit of high, took a lot of below 7k frequency just to lessen the interference and give the sounds more harmony. Now, they all sound good together.
What makes beat making really complicated is finding the right sound that goes well with another sound.And there is also the instrumentation like how you play is actually not the main point of making beats.
It's also about how disciplined you are on to building small things.
The initial sound is good, its kind of repetitive, which becomes boring at times and it sounds clean but if two sounds really work well you tend to really build it out.
How I construct the core of the beat
For arp beat with massive synths, it has a delayed effect than the initial one and almost acts like the base. It really sounds like the initial one but in a louder and slower way.
In the Channel EQ, it has busted effects and reverbs.
I scooped out frequencies that you think doesn't match the entire beat and which interferes with the synthesizers.
To hide quietness add The 2 pad sounds that are very quiet but together it brings out the track without adding anything to it and without overpowering the main melody.
Everything just compliments each sound. In the Channel EQ, create more space and more of scoop 2k frequency, for example, to avoid interfering with the 2 synths.
Next section of the intro is the Sub base. Accentuating these synths here will make the ethereal barely audible.
A technique you can use with strings, not with synthesizer this time. Extra notes or double string synths is what makes certain notes pop a little more and adds fullness to the track.
There's a subtle but prominent effect which really gives a big difference. It sort of augments the initial one but doesn't compete with it.
It is nice to invest in good speakers as well to really hear the sub base.
Huge base in a Bryson Tiller type rap instrumental is usually rolled off a lot of highs and bust out to its own parallel completion.
It has a round base with a bit of distortion through overdrive, a distortion plugin which makes it a bit darker and creates a spooky vibe to the sound.
resources I use
Hip Hop Drum Kits the final elements behind the beat
The verse is busy than the hook, this is really the crucial part of the beats. All those instrumentations are what’s in the beats and we've taken out little sections.
Kick- not too complicated, it's a dragon drop sample that popped into ultrabeat in logic x pro. Rolled off a few beats from here and there. Drums were collected over time from various sites like modern producers.
Snare- nothing complicated on the drum pattern. It's very simple.
Hats- there's a little bit of roll and it matches well with the beat.
And then sub base comes again.
Overdrive and channel EQ parameters are where sub sounds are stack up at EQ to cut out frequencies that you don't want and distort sounds to create a better sound that will match the synths.
All the instrumentation coming in and playing together where the hook is very quiet and the verse is very busy throughout the whole track.
Hats are very busy as well and synths are in and out. This usually happens throughout the track and while removing some instrumentation.
Heavy synth traps are kinda hard to mix that's why it takes time to create this Bryson Tiller type beat. Use a parallel compression on drums and kicks instead of busting a lot. If you click here you can hear one of the
Kid Cudi Type Beat Tutorial I Did A While Back.
Stick it on in a parallel compression, a very heavy one with about 5:1 ratio, -15 dv with VCA compressor. Not every sound works for every kick but sometimes a little tweak will do it and depending on how you mix your base as well. Aligning to VCA will help you control it like a mixing disc.
Note: To avoid system overload, freeze track sections. Configure the header to freeze tracks and press play to make audio copies of your tracks. Since it uses less of your CPU or you can change the buffer size and process buffer size to a large one.