Example of a "Top 40 hit" instrumental bed, its relevance to production + songwriting

[God]

Dear all,

I stumbled across a wonderful resource that can be used as a reference for your beats and hit-making.

For those not aware of Cheiron Studios in Sweden, it is essentially a "hit factory" where seasoned songwriters are/were apprenticed into learning production essentials among pop-songwriting basics. Many Top 40 hits, from Britney Spears, N' Sync... all the stuff you love to hate, came from this purely for-profit collective. Famous pop producers, like Max Martin and Denniz Pop worked there.

This will also show you how important good songwriting, as opposed to strictly focusing on beatmaking will improve your marketability as a producer. Being able to have a "hit" completely done, with the bed finished and only the vocals needed by the artist is a crucial selling point. This will also give you a reference, especially if you're into producing pop - at the need to focus on NOT overproducing your instrumental bed. Make sure the vocals and songwriting is strong, instead.

The song will sell itself.

Here is an example of a late-nineties instrumental from one of the Backstreet Boys' hits "Everybody" (Backstreet's Back). Note the simple production of the instrumental bed and the utilization of dynamics as tension points in the song. This formula is still followed today by Timbaland and others regarding pop-production with a quasi-hiphop feel.

Basically I want you to think: "If I wrote this - would I think the instrumental is hot?" I would venture to say that you probably wouldn't. This is WHY you should focus on songwriting COUPLED with great production.

Here's the INSTRUMENTAL BED I'm talking about:


Here's the CHEIRON STUDIOS homepage:
http://www.youtube.com/user/CheironStudios

Good luck! See how the vocals change the entire song? The cheesy yet commercial songwriting SELLS the track. Remember that having wonderful production is only half of the challenge.

This song also supports my theory of writing for the lowest common denominator (if that's your thing.) See the post on "selling out" in this forum

I also remember why I hated this song.

 

[wrightboy]

i can feel what you're saying here. personally, i don't like most of the tracks that i make until after they have vocals on them. it seems that all of the tracks that i think are "bangin" never get anything written to them. makes sense to me.

good post.

 

[God]

i can feel what you're saying here. personally, i don't like most of the tracks that i make until after they have vocals on them. it seems that all of the tracks that i think are "bangin" never get anything written to them. makes sense to me.

good post.

Thanks.

But to producers who are learning the art, remember that the money comes from publishing... meaning that you should focus on songwriting as a weapon in your arsenal.

For example - this sounds like a Max Martin track - listen to the formula in action and how he utilizes "tension and release" constantly through the song. This is indicative in his instrumental bed production and then extrapolated in the vocal cut.

For example, let's analyse the introduction of the song:

1. Vocals are "bare" (actually, they sound like they're running through a doubler) with the synth sans beat.

2. It is an "introduction" to the song via a single voice introducing the listener to the hook of the song.

3. The intro expands (creating tension) with the synth's envelope "opening" its resonance (more tension) into a release: the entire group says "Backstreet's back, all right."

4. Goes directly into a synth hook with beat "release."

5. Max pulls out everything except the beat and bass during the first bars of the verse, creating the expectation of another build-up through the verse (tension). This is further built-upon in the pre-chorus ("Am I the only one?... yeah... Am I sexual?... yeah....) This prechorus then moves into the full realization of the musical release, which is a repetition of the song intro, but with full instrumentation and layered vox.

Classic formula writing! Even Nirvana used a sans-vocal variance of this on "Smells Like Teen Spirit." Take some songwriting notes, even if you don't like the song.

Here's an example of an N' Sync song using the SAME INTRO FORMULA. This was also produced and recorded at Cheiron Studios (try to get past weak vocals in the beginning and the lame video):
N' SYNC - Tearing Up My Heart (click THROUGH the link, as embedding is disabled by YouTube.)


Remember, the STUPID SHIT sells. Don't believe me? Watch the MTV video on the Backstreet Boys link (only visual payoff: the chick is hot.)

Also, these songs follow a formula that R&B follows and a TON of pop songs featuring non-boy bands follow. With a good melody and formula - it's possible to make something reasonably close to a hit.

 

[Relic]

Excellent post once again, it makes much sense as usual.

 

[Kontents]

Thanks.

But to producers who are learning the art, remember that the money comes from publishing... meaning that you should focus on songwriting as a weapon in your arsenal.

Thank you for posting this because it is the truth. I took a music biz class and that was one of the main items revolving profit for the artist WHO WRITES THEIR OWN WORK!!

 

[God]

Excellent post once again, it makes much sense as usual.

If you're doing strictly hip-hop or some sort of "hip-pop" a la Flo-Rida's hits try to start with the hook immediately - minus the beat. Especially in today's ADHD society, grabbing the listener at the onset of the song is crucial to keeping the listener invested in the song.

Maybe you have a hot chorus sung by one of your friends who's a struggling R&B singer (we all know one, be honest with yourself.) Try to use this example...

(Also, think of using a prechorus as a buffer between the verse and chorus. This will also create "lift" to your track, giving the listener adequate payoff)

Example:

START: Chorus (w/o bed) >>> instrumental hook A >>> verse 1 >>> pre-chorus >> chorus w/instrumental hook A >>> back to verse

It adds better tension and release in your song.

Remember, the songwriter gets a big piece of the publishing.

 

[afriquedeluxe]

aint nothing but the truth here. I am slowly creeping into song writing thing. Especially since I noticed a lot of hits are not overly produced, use rehashed chords but usually have really catchy lyrics. dope post G.

 

[Kontents]

"I'm okay with Kontents being agnostic." - God

AHahahaha I barely caught that in your signature.