0:00

Hey listeners, in late March, I'll be

0:02

giving a very rare talk at Podcast

0:04

Movement Evolutions in Los Angeles. My presentation

0:06

is on Wednesday, March twenty seventh at

0:08

Ten Fifteen Am. It's happening immediately after

0:10

the opening keynote with Amy Poehler. In

0:12

the talk, I'll be breaking down the

0:14

entire Twenty Thousand Hurts work flow from

0:16

top to bottom, and if you'll be

0:18

a Podcast movement, I hope to see

0:21

you later in the day. From about

0:23

three pm to Four Thirty, all be

0:25

hanging out at Booth nineteen with Steve

0:27

Lack Audio so you can also find

0:29

me there and. If you see me roaming

0:31

around the conference, please stop me and say

0:33

hello. I absolutely love music listeners and if

0:35

you have no idea what I look like,

0:38

go take a moment to follow me on

0:40

Instagram or Tic Toc. My user name is

0:42

at Dallas Taylor.wave I'm also on linked in.

0:44

Thanks. This

0:51

episode is brought to you by One

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Plus One Plus Just launched their new

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have the same problem since they're so

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But. Thanks to Dual Driver Technology, One

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During the break, I'll explain how

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that technology actually works and as

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always we made this episode with

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for Creative Control. If you're a

1:15

long time listener, you might recognize

1:17

some voices in this from an

1:19

older episode. That's because they were

1:22

perfectly relevant to this particular story.

1:24

Let's get to it. You're

1:32

listening to Twenty Thousand

1:34

Hertz. I'm Dallas Taylor.

1:38

Whenever I listen to vintage music, one

1:40

of the first things that I notice

1:43

is a lack of base. For example,

1:45

in Nineteen Twelve, the top song in

1:47

America was the haunting melody by Al

1:50

Jolson. Since

1:56

this was recorded with a full orchestra,

1:58

there's almost certainly. Double bass in there,

2:01

but you never knew from the record.

2:08

Twenty years later, things were not

2:10

much better. Here's a Louis Armstrong

2:12

track from the early thirties. In

2:14

this one, the double bass is

2:16

just barely audible. In

2:27

the nineteen fifties, the base started becoming

2:29

a bit more noticeable in Bill Haley's

2:31

Rock Around the Clock. You can definitely

2:33

here with the bassist is playing though

2:36

it's still pretty quiet. A

2:45

decade later, bass guitars were much

2:47

more common, but the recordings were still

2:49

pretty fan. In this Rolling Stones

2:51

track in the bass guitar and kick

2:54

drum just aren't very president. Now.

3:07

It's not that people back then didn't

3:09

hear about Base, the microphones they had

3:12

just weren't very good at capturing those

3:14

frequencies. and even if they could, the

3:16

speakers and headphones that people had just

3:18

couldn't reproduce those low pitched sounds. But

3:23

in the sixties and seventies, a few

3:25

different companies release microphones that were much

3:27

more sensitive to low frequency. At the

3:30

same time people started investing in stereo

3:32

systems that can below those all cities

3:34

radios out of the water. The result

3:37

was an explosion of bass heavy music

3:39

from rock classics and with Dazed and.

3:41

Confused. But

4:01

as easy as that is, it's

4:03

nowhere near the booming sub rattling

4:06

tones we here today. To

4:19

unlock a sound like that, musicians would

4:21

need something truly revolutionary. It was a

4:23

little device that came out in the

4:26

early eighties and went on to transform

4:28

the sound of popular music. The.

4:30

Eight Await drum machine. The

4:37

a to wait is

4:39

everywhere. You may or

4:41

may not know what

4:43

my name but you

4:45

definitely heard it before.

4:47

Six. I

5:08

laugh week if I listen to the radio

5:10

for an hour, there's not one record that

5:12

you hear that's not an eight a way.

5:15

That's. Dj Jazzy Jeff He's a world

5:17

renowned Dj, producer and hip hop. I

5:20

time famously P was Will Smith's partner

5:22

back in a Fresh Prince days. We

5:35

were seeking out what we heard on

5:37

the early hip hop letters and the

5:40

machines that they use own. There was

5:42

nothing that was more distinctive and more

5:44

sought after. Been eight on. The.

5:50

Roll into Yeah right away is a

5:52

drum machine. That's. Paul Mccabe from

5:54

Roland, the company that created the A

5:56

To Wait when they first released it

5:58

back in the early eighties. Drum machines

6:00

weren't exactly sought after for twenty or

6:02

thirty years. They had mostly been used

6:04

in the home. With

6:08

us remember when the seventies, the sixties,

6:10

the fifties music being played in the

6:12

home was still a very popular thing

6:14

and television hadn't taken over the living

6:16

room quite yet. So families that often

6:19

gather around and they would play music

6:21

people would play music has a past

6:23

time on a high percentage the population

6:25

was playing music. And

6:31

their families were hanging out in the

6:33

living room playing music. They typically didn't

6:35

have a drum kit laying around. they

6:37

might have a guitar, may a piano.

6:40

Or and organ. As.

6:44

You can imagine people wanted a rhythmic

6:46

instrument that wasn't as big or loud

6:49

as alive. Drum kit. If

6:53

you see photos of some of the earliest drum

6:56

machines, in fact, you'll even see drum machines that

6:58

are designed to sit on top of an organ

7:00

where the music rest would normally be. Particular,

7:06

the the earliest machines were really

7:08

working to try and recreate the

7:10

sound of us all acoustic drums

7:12

and so that would be a

7:14

check from and a snare drum

7:16

and the symbols and tom toms.

7:18

For years, drum machines were used

7:20

casually and professional musicians mostly ignored

7:22

them. But.

7:25

In time, musicians did start to find

7:27

uses for drum machines. By the early

7:29

seventies, many songwriters would program a drumbeat

7:31

and then right to it. Now.

7:34

Most of the time this drum machine

7:36

would get replaced by alive drummer but

7:38

not always one of the first according

7:40

to include a drum machine was Family

7:43

Affair by Sly in the Family Stone.

7:53

Around the same time, early versions of

7:56

electronic music we're starting to go mainstream.

8:02

This is the Robot by Krasner

8:04

Kraftwerk. As a four piece band

8:07

out of Dusseldorf, Germany, they would

8:09

be one of the founding fathers

8:11

of techno for craft drum machines

8:14

were a perfect compliment to their

8:16

precise synthesised baseline. By.

8:20

The late seventies drum machines were finally

8:23

gaining traction. They started to become used

8:25

more and live performance in a situation

8:27

where either an acoustic drummer wasn't available

8:30

or to enhance a rhythm section. And

8:32

then they started to appear in recordings.

8:34

At the time, one of the most

8:37

popular drum machines was the Roland see

8:39

Our Seventy Eight, which was a predecessor

8:41

to the Ada. Wait here it is

8:43

in Blondie Heart of Glass. And

8:54

here's the Cr Savage and Phil Collins is

8:56

in the air tonight. These

9:07

songs inspired early demand for a

9:09

stage ready drum machine. So Roland.to

9:11

work on a new model. They

9:16

wanted to build a machine that was

9:18

portable, flexible and durable. When one sees

9:20

a T R A to wait it

9:22

almost us military in his design. It's

9:24

kind of a drab all of color

9:26

and there's a reason why to or

9:28

a to weights are still being used

9:30

to because you could drive a truck

9:32

over them and probably many of them

9:34

would still work. That was kind of

9:36

globe was in our mind at the

9:38

time where it went to. Needless to

9:40

say is someplace quite depressed. Over

9:44

the centuries, there have been a

9:46

few instruments that changed music forever.

9:49

The piano revolutionized classical music. Electric

9:55

guitars defined rock and roll. Any

10:01

Eight await transformed hip hop and

10:03

electronic music. When we think

10:05

about the sound of the A to Wait we think of

10:07

it in terms of its influence on hip hop in our

10:09

and be And you know when we think of hip hop.

10:12

of course we start with Africa Bottom Planet Rock. Is

10:19

this otherworldly mash of this

10:22

kind of east coast New

10:24

York sound worth crap? Like.

10:31

A lot of musicians at the time

10:33

Dj Jazzy Jeff heard Planet Rock and

10:36

was captivated by the drum sounds. we

10:38

emulating whatever we heard so you know

10:40

when Planet Lot came out it was

10:42

com like I need that missing. There

10:45

was no drum machines, dad had a

10:47

kick drums that sounded like that that

10:49

had a snare that sounds like that

10:52

their heads or Christmas to the hi

10:54

hats like and eight a week so

10:56

it was definitely sought after. So to

10:58

see gonna make these workers. Once.

11:01

These D J's got their hands on the

11:03

eight. Oh wait, they started expanding on it's

11:05

possible and. There

11:13

was a record funk box time flies

11:16

Mastodon com and and he was a

11:18

D so that was very very good.

11:20

Tornado A musicians were experimenting. Here's a

11:22

Gypsy and lover over on the West

11:25

coast. And

11:31

here's some eight away electoral from a group

11:33

called the Is A West. Here's

11:44

Indian musician currency say using In A

11:46

To Wait on his album ten regard

11:49

to a disk. And

11:59

years Mervyn Geez. The

12:01

aid of a. Happy.

12:15

On took off, it wasn't clear if the

12:18

sound had any staying power, he could just

12:20

be a flash in the pan that would

12:22

be replaced by the next big thing to

12:24

resolve these moments that were happening. These musical

12:27

moments that were very serendipitous in the early

12:29

eighties that you know if they go on

12:31

less than stellar, right? If this guy did

12:33

this on a Tuesday, a set of a

12:36

Wednesday, we probably wouldn't be talking about the

12:38

a to wait in this context. Today it's

12:40

was literally vast. Magic. A

12:49

huge factor in that magic had to do

12:51

with the eight awaits bass drum sound and

12:54

a little not for controlling it labeled detached.

12:56

That one tiny knob allowed musicians to

12:58

push the base and their music farther

13:01

than they ever had before, and it

13:03

created a sound that still dominates To

13:05

discuss. Traditionally,

13:13

in order for something to produce a

13:15

lot of base, it needed to be

13:17

big. That's why a double bass. Is

13:21

so much bigger than a violin. The.

13:25

Reason is simple physics based frequencies

13:27

have a really long sound waves.

13:31

So. They need something big to create them.

13:35

Until. Now that's been a huge problem

13:37

for earbuds since they are so tiny

13:40

they end up sounding really. But.

13:43

Now one plus has solve that problem

13:45

and made some of the bases. The

13:47

ear buds I've ever heard. Most ear

13:49

bud struggle with frequencies below one hundred

13:51

hurts so a big base since sound

13:53

like this. No

14:01

one three work all the way down

14:03

to fifteen hurts so the low end

14:05

is rich and for. In

14:08

fact, if you're listening on normal ear buds

14:10

right now, then you're probably not really hearing

14:12

these examples in their full glory. Our

14:21

audience come. Up with solutions.

14:23

Such jade leave from once. I

14:25

had line to units in new that

14:27

Clive C away the high and low

14:30

frequency know skyn the more consists in

14:32

prison. In other words,

14:34

the one plus three drivers

14:36

inside. One takes care

14:38

of the face and ones

14:40

exercise. Without getting

14:42

any to, there's ways. And this

14:45

design doesn't a we generate banks and

14:47

also helps fourth amid and high pitched

14:49

sounds like piano and vocals. but simply

14:51

they make music sound amazing. It it

14:53

does all of that for just ninety

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nine dollars And Ninety Nine cents. Stick

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around until the end of the episode

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to hear how that works along with

15:01

some other great features. I love. Congratulations.

15:07

To Dee Williams for getting last episodes

15:09

mystery sound right. That

15:12

sounds place throughout the soundtracks of the

15:14

new Super Mario Bros games. Back in

15:16

the nineties, composer Koji Kondo came across

15:19

this track on a Cd. a vocal

15:21

sounds made for sampling. For

15:29

Mario Sixty Four condo. Use that to

15:31

create the melody you hear after you

15:33

jump into a painting. Then

15:37

he made it the signature sound in the

15:39

music of New Super Mario Brothers. Whenever these

15:41

notes play in the game, the enemies on

15:43

screen while hop or dance. And

15:50

here's a mystery. Meat

15:59

use didn't. That bound, submit your gas at

16:01

the web address Mystery.twenty K .org There's also

16:04

a link to the mystery, some forms and

16:06

the shown as anyone who gets is right

16:08

will be entered to win one of

16:10

our super soft Twenty Thousand has desserts. When

16:19

drum machines were first developed, they were

16:21

meant to replace live drummers, so the

16:23

goal was to sound like a real

16:25

drum kit using artificial sounds. The Roland

16:27

Eight Away was designed with the same

16:29

idea in mind. even when we got

16:32

that yeah right away. The technology was

16:34

designed to recreate an acoustic drum kit.

16:39

The. A To Wait was released in

16:41

nineteen eighty and at first it wasn't

16:43

a big hit. For one thing, a

16:45

cost twelve hundred dollars which is about

16:47

four thousand six hundred in today's money

16:49

and soon after it came out, the

16:51

eight away got some tough competition. right?

16:54

About that same time, Nineteen Eighty

16:57

One, the first drum machines that

16:59

used recorded sound clips or samples

17:01

came into being. This

17:04

new generation of drum machines could play

17:06

real recorded drum sounds once they hit

17:08

the scene they made Set aside from

17:10

a seems like Kate Wait sounds great

17:13

It. To

17:16

me this is very Nintendo when

17:19

the Tories. This is my computer

17:21

version of what I think a

17:24

drum to is supposed to sell

17:26

in. It doesn't sound anything like

17:28

a summer or drum set at

17:31

all. At

17:34

the time and Atari video game, he drum

17:37

sound just wasn't what people wanted on their

17:39

records. But after a couple years of mediocre

17:41

sales, the a to Wait started showing up

17:43

in pawn shops for a fraction of the

17:45

price. I

17:50

ended up getting mind some a pawn shop

17:52

because you couldn't will walk into a store

17:55

and seat and eight a week musician started

17:57

picking them up because it was a piece

17:59

of equipment. They could actually afford recording

18:01

studios often had one on a shelf

18:03

collecting dust for somebody friend my lin

18:05

them one for a live show, but

18:07

the jury was still out on whether

18:09

the eight away with anything more than

18:11

a cheat machine that couldn't play real

18:13

drum sounds. The A To Wait was

18:15

really facing quite an uphill battle to

18:17

gain any kind of acceptance, but in

18:19

a kind of one of these classic

18:21

your strength as your weakness paradoxes where

18:23

the strength of the drum machines that

18:25

were based on recordings of actual drum

18:27

sounds was that at first glance I

18:29

sent. A. More natural on the other hand.

18:31

certainly with the technology available that time

18:33

you couldn't really good just the sounds

18:35

That much we were used to having

18:37

a draw missing that you was stuck

18:39

with. Basically to sound that came out

18:41

of there wasn't too much manipulation that

18:43

you can do. So the have this

18:45

machines that you can take the small

18:47

penis out of the snare. And

18:52

you can add more boom into the kid.

18:58

This one missing to sound a

19:00

hundred different ways. The.

19:05

Eight Away may have sounded artificial,

19:07

but those video game he tones

19:09

were highly adjustable and that ended

19:11

up being the key to success.

19:14

And so with that in mind, you're

19:16

lucky Gabi Sullivan sounds. Here's

19:18

the kick snare. Closed.

19:21

Hi Hat. Open hi

19:23

hat crash symbol. Tom's.

19:28

Have club. Rim. Shot.

19:31

Cowbell. The always

19:33

gotta have more Cowbell! And.

19:35

Finally claw they. When

19:39

you start getting into the class

19:42

and the cowbell those with to

19:44

very distinctive sound it's best if

19:46

you put them on anything you

19:49

knew they came from and eight

19:51

elites. But.

19:54

There was one sound on the eight,

19:56

a way that changed music forever. the

19:58

bass drum also known as the. There.

20:00

Was a point in time that I felt

20:03

like people were afraid of kick drums. You

20:05

couldn't have the kick drum too loud, you

20:07

couldn't have it to bumi. Fear

20:13

Scorpio by Grandmaster Flash and The Furious

20:15

Five. You can hear that a kick

20:17

drum is relatively low in the mix.

20:23

Someone. Had the heart.

20:25

To. Put and eight a week

20:27

kick drum debt. It was round and

20:29

it was bumi in itself. Really good.

20:32

Peers. Can't control with a wand and

20:34

auto picked. Somebody

20:44

on a record opened up

20:47

the decay. And

20:50

when that kick drum rang out,

20:53

it was nothing like you've ever

20:55

heard. Here's. Dj Jazzy Jeff

20:57

himself opening up that decay and

20:59

letting the kick drum drive the

21:01

song. Have you ever in your

21:03

life say when. Jesus.

21:13

Soon enough, the sound of the Eight

21:15

Away bass drum became synonymous with hip

21:17

hop. The idea of young people driving

21:19

down the street with Big Bumi subwoofers

21:22

was largely because of that tone. Here's

21:26

My Tram a Miami based hip

21:28

hop duo singing about bumi car

21:30

stereos in Nineteen Eighty Eight. noticed

21:32

the signature sustained eight Away bass

21:34

drum sound. Twenty.

21:45

Years leader Felix a house cat released

21:47

a song kick Drum which pushes that

21:49

decay to it's absolute limit. To.

21:58

The season six the. The

22:00

they do a kick sounds to create

22:02

full on baselines. Over

22:08

the last couple decades this technique has

22:11

been used and hit song after hit

22:13

song it's in Hotline Bling by Drake.

22:21

It's in Dna by Kendrick Lamar. In

22:29

Up like already be. By.

22:39

Now we've heard these booming base tones

22:41

in hundreds if not thousands of tracks.

22:43

But back in the early eighties, a

22:45

sound like that was unheard of. You

22:50

not supposed to have your base

22:52

to? I'm driving that much for

22:54

the satellite. why not? Everybody's riding

22:56

around in a car playing the

22:58

music in his by Britain A

23:00

car. Any enjoy that there's no

23:02

light and long in it are

23:04

really feel like the eight a

23:07

week kick drum was one of

23:09

the first things that started shattering

23:11

the rules of which should or

23:13

shouldn't do when it came to

23:15

recording music. The.

23:18

Decay Control basically turned to the Eight Awaits

23:21

bass drum into a whole new instrument. It

23:23

was so different that the studios making early

23:25

hip hop records didn't even know what to

23:27

do with it. When

23:32

we did used to do jam

23:34

the rapper was the first record

23:36

said I used a the Weeds

23:38

and Eight always samples the ones

23:40

that I've wanted to kick to

23:42

to really resonates. And

23:47

I remember fighting with the engineer.

23:49

Because. I wanted to push the

23:51

envelope on how loud and how

23:53

deep I wanted to eight a

23:55

week because I knew there was

23:57

some hip hop recruits that you

23:59

would. In a car and you

24:01

would play it and the entire car

24:04

would vibrate. And. I was like I

24:06

want dead. But. Sense that was

24:08

so unusual at the time. The

24:10

engineer refused. I

24:13

had to fight with the engineers turn it

24:15

up me would turn it down and turn

24:18

it up and I had to come to

24:20

explain to him like I understand that there

24:22

is a technical way that you think you're

24:24

supposed to do something. I want to push

24:27

the envelope. I need this to be disallowed

24:29

are needed to be almost that the brink

24:31

that is not distorting and is not overpowering

24:34

everything. But I need this to be the

24:36

focal point of the record. Hip.

24:38

Hop is something that the drums have

24:40

to drive to records and I've got

24:42

him to allow me to do it

24:45

to the point that I loved it

24:47

And what I never realized was I

24:49

never told the mastering engineer that I

24:52

wanted debt. And he thought it

24:54

was a mistake and he took all

24:56

of the Eight a weed out of

24:58

the album. and I don't think I've

25:00

ever said this in public. I can't

25:03

listen the he's the D down the

25:05

rapper now. That is the biggest regret

25:07

we've ever done. And I absolutely hate

25:09

the waited it sounds because they sucked

25:11

all of the bottom in from the

25:14

eight a week house mast. Here's.

25:19

A clip from He's A D J, I'm The

25:21

Rapper as it is, and the record. Themselves.

25:32

And here's what Dj Jazzy Jeff was

25:35

probably going for. In.

25:46

San I'm in. Vienna

25:53

wait arrived at exactly the right

25:55

time. Through the nineteen seventies, the

25:57

rise of function disco made people

25:59

have. The for something bass heavy music.

26:01

Then in the early eighties the a

26:03

to Wait showed up just as hip

26:06

hop was starting to take off. It

26:08

was the perfect storm. When

26:10

the A away was absorbed into

26:12

hip hop culture is the ability

26:15

to create that boom. And the

26:17

boom was largely driven by where

26:19

you tuned to kick, mm where

26:21

you adjusted it's decay to that

26:23

became the signature. So as hip

26:25

hop group the sound of hip

26:27

hop group the backbone of that.

26:30

Sounds was the Eight Away. Pretty soon

26:32

these bumi bass drum spread into our

26:34

and be electronic music and beyond to

26:36

days the A To Wait as just

26:39

everywhere it's or pop music and by

26:41

saying part that such a wide term

26:43

now that encompasses world music, electronic music

26:46

and Edi am hand techno and house

26:48

and it's not an understatement to say

26:50

that the A To Wait as an

26:53

instrument that is actually defined culture just

26:55

like the electric guitar with rock and

26:57

Roam the Eight Away allowed musicians to

26:59

express. New ideas or at least

27:02

two expressed timeless ideas in ways

27:04

that sell new and exciting. This

27:06

is why I love music so

27:09

much because the as a thousand

27:11

different combinations and ways to get

27:13

to a result that ended today.

27:16

You realize that someone who had

27:18

a crappy week at work depending

27:20

on how you present his music

27:23

you can change their day. You

27:25

can introduce two people together the

27:27

end up spin and arrested laws.

27:30

Together just by playing music

27:32

in a certain way to

27:34

bring people together I've been

27:36

blessed to have a some

27:38

point in music in making

27:40

it or playing is that.

27:42

Affects people's moon. that's a

27:44

cool his job and world.

28:09

Twenty Thousand Hertz is produced out

28:11

of the sound design studios of

28:13

De Facto Sound Find out more

28:15

a De Facto sound.com This episode

28:17

was written and produced by Sill

28:20

Corpus and Casey. Enrolling with help

28:22

from Crazy it was Sound Design

28:24

and next by Job Later and

28:26

Justin House. Thanks to our guests

28:28

Dj Jazzy Jeff and Paul Mccabe,

28:30

you can Princess latest work at

28:33

Dj Jazzy jeff.com and a big

28:35

thanks to One Plus for partnering

28:37

with us on this episode. To

28:39

learn more, visit oneplus.com Um

28:42

Dallas Taylor Thanks for listening.

28:54

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