Polymath Producer Podcast

In todays music production analysis live Zoom call, we analysed 'Fly as Me' by Silk Sonic. This is a free call within the Polymath Producer Community held every week. https://www.skool.com/polymathproducer The Polymath Producer Skool is a free community where members learn how to use music production analysis to master music production. The free Skool group includes: -The 7 week program Polymath Producer System -Weekly Zoom calls analysing hit tracks -Access to other community members and forum If you’re interested in music production analysis to reach mastery in your skill set, would love to see you in there! For access to even more music production analysis calls weekly head to: https://www.polymathproducer.com/pro Silk Sonic - Fly as Me - music production analysis #producertips #producer #musicproduction

S2E3 - Morning Train - Sheena Easton - Music Production Analysis  SHOW NOTES:   Instrument List to Listen out for: Drums- Kick, snare, claps (chorus), closed hat, open hat, tambourine, toms, crash, cymbals/ ride Bass- Synth bass, electric bass guitar Synths- Synth arp Synth chords in bridge Synth riser FX Entrance hit synth? Organic instruments- Saxophone Piano Guitar chord hits on 2 and 4? Electric piano Vocals- Lead vocal Background pack vocal pads (male and female mixed) KEY NOTES: 1-Harmonically, the verses are Dm, G, Bb, Am, Dmajor with D7 on the build Chorus is, G, Em, Am, D - very common in Motown style doo wop hence why the genre of this track sounds like a doo wop track inspired even though its the 80s. So they were taking inspiration from the 50s in the 80s like we take inspiration from the 80s in the 2020s. -Prolonged harmonic build with all instruments rising with it before choruses in pre choruses 2- 80s version of a build transition in modern day includes: (there are other things than white noise) vocal pad swell, snare hits on the off beats, synth arp, sped up bass line to match the snare hits harmonically it sustains on the DOMINANT note to build prolonged tension. Beatles trick similar to in twist in shout ahhhhh. -actually a white noisey/ synth riser before the bridge. Like an 80s version of the modern style. -entrance hit on the chorus start after the synth arp rises in the build 3- Featured instruments. Withholding claps until the chorus for extra impact. LOVE these claps -Sax playing in the chorus second half as a hidden hook an octave higher. 4- Key changes 3 times at the end with fade out 5- -Dance beat throughout the whole song without rest at all 6--Mixed background vocals doing vocal pads through the whole track. AHHH in intro. In verse 1 0:31 they come in temporarily as a teaser (think Olivia Rodrigo no 1 recently) Pads are lighter energetically, but can also swell like they do in pre chorus -Mixed background vocals stacked tightly with the lead vocal in chorus energy intensity higher. Vocals sound like they are lower than the lead, lead dancing on top 7-end of bridge rhythm follows vocal line rhythmically. Flow instrumental with vocal melody trick. crashes to accentuate all the accents of the melody with toms added in final snare build to finale. Interdependence principle 8-Instrumental version of lead motif in the introduction by sax 0:00-0:17 To note: -Bass has a unique core rhythm, also includes many passing notes in the lines especially in the pre-choruses and bridge, stays quite simplistic in the chorus though. -interesting synth arp playing through the majority of the track -piano playing the core rhythmic driver, while the bass accentuates parts of the core rhythm -quite a high based synth chord section in bridge mixed with synth arp that takes over the rhythmic driver temporarily -drum fills at the end of each section

S2E2 - Lady Marmalade - Labelle - Music Production Analysis Instrument List:  -Lead vocals + background vocals -RMI electra piano (main counter) Left panned slightly, mid to high range, mostly chords off beat and counter motif -Percussion- Cowbell (panned right straight beat) Congos (panned left beat underneath faster pace with fills) -Drums- Kick, snare, crash, closed hats, open hat, ride/ cymbals, toms -Hammond organ- Left panned more than the RMI but similar range. -Bass guitar- Middle, main motif, sustained motifs during the builds, running bass in the builds, bass slides. -Guitar- Right panned, fills and motif doubling octave higher -Piano- Right panned, off beat hits, straight hits, and fills -Alto sax x 2, tenor sax, baritone sax- slightly left panned Used as fills as well as crescendo pad swells builds for the pre chorus build Solo section -Trumpet, trombone- panned left slightly more than saxes Used mainly as counter motifs in the chorus As well as crescendo holds Key Notes: 1- The track starts on the offbeat before the 1. 2- Core rhythmic highlighters: in the piano, emphasising the off beats of the bass line, in a mid level during the intro. -in the electric piano, emphasising the off beats with the bass line, plus with a top line counter motif to the vocal in the second half of phrases which emphasises the rhythm while bass is missing. 3- Bass line creates a vacuum because it does the riff, then stops leaving just the drum beat into the open hat. Less kicks on the vacuum too. 4- Counter rhythms micro- More off beat style core rhythm, so the counter rhythms in this are more straight. (Cowbell) 5- Different rhythms macro- Follows core rhythm, but on pre chorus builds, ends of the chorus punchline space, plus the ends of chorus turnaround. (Turnaround/ pre chorus combination happens during the solo, repurposing those rhythms to build suspense.)

S2E1 - My Girl - The Temptations - Music Production Analysis  SHOW NOTES: 1- Acapella Vocal arrangement: Listen to YouTube acapella version for more detail. 5 Members- Lead, bass vocal, baritone, tenor x 2: four part harmony around the lead Bass sometimes does its own bass line fills Verses 0:10-0:25- ‘Ohhs’ vocal pads Pre chorus 0:25-0:32- sustained melody so the arrangement is sandwiched all around the lead Chorus 0:32-0:40- My girl, call and response my girl solo vocal, stacked my girl, counter hook wohhhh, MY GIRL call and response stack. All in succession. Technique: -They are using the different styles for energy development. The vocal pads are more discreet, and are really there to add pad and texture. -The vocals surround the lead in the pre chorus and it makes it more intense when they sing the melody and words with the lead. Full stack, wide octave range -Then they take on a more active role as a call and response, moving between solo and stacked for intensity depending on the phrase and punchline. 2- Finger snaps are natural, therefore they sound different every time. Technique: RYAN TEDDER mentioned that when using snap samples you want to make them different pitches and times so that it is more natural. If not then it stands out too much and sounds amateur. Swedish are very detail oriented and make micro changes on everything to make it sound humanised. 3- Extra kicks for energetic development. Illusion of speed. Core Rhythm. Verse: 0:10-0:28 Electric guitar hits on beats 2 and 4, Motown style, emphasises snare hits harmonically Drum pattern, kick snare kick kick snare kick - straighter kick pattern. Bass follows kick pattern Pre-Chorus: Drum pattern, kick snare kick kick snare kick kick, illusion that the track speeds up because kick comes in on the beat earlier to the verse. Stays like this for the rest of track? Bass follows kick pattern CORE RHYTHM 4- The Motown snare hit/ guitar hit technique Using a guitar chord hit on the 2 and 4 can emphasise the snare. But this can be done with any harmonic instrument. 5- Interdependence principle. Everything flows as one unit. Particular times. 1:22- Snare, hats, bass, kick, brass, strings all play at the same time rhythmically. The unit becomes one for emphasis. This is used throughout but the more in line something is the more emphasis it gives at climactic stages.

Polymath Producer is based on Music Production and song creation analysis of hit pop songs and tracks. I will be analysing the great tracks and producers of all time to figure out why the best producers in the world do what they do and think how they think. In Polymath Producer we teach you how to 'read songs like a book' so that you can get out of being stuck with  surface level youtube learning and instead learn how to 'think' like the masters do. Your idols. When you learn to think like the masters the world class solutions to all your music production problems happen effortlessly and intuitively. In this session we analyse Sugar by Maroon 5