![]() To top things off and make the harp even more captivating, Stargate has added a short 16th-note, highpass-filtered delay to the harp eliminating all but the highest frequencies in the delay’s wet signal. The harp in So Sick is a true inspiration to its listeners, charging the hook with an engaging realism. ![]() What’s the result? A superb emulation of organic harp timbres mixed with a modern R&B sequencing style. Being both multi-sampled and multi-layered, the harp patch is programmed using multiple harp samples across the keyboard, as well as using multiple velocity-controlled samples per keyboard note. The hook is played using a multi-sampled, multi-layered harp patch. Occupying most of the same frequency range as the vocals are the instruments of So Sick’s hook. Each vocal channel needs a prominent level in the mix for the vocal performance to shine through. ![]() As with every Hit Talk Frequency Map, voc 1, voc 2, and voc 3 represent the vocal’s root notes, vocal overtones, and sibilant consonants respectively. The same goes for the distant sirens in the right channel. ![]() Furthermore, because the synth’s higher harmonics occupy that gap in the mix around the 5k range, the synth timbre’s distinctive characteristics are easily noticed. Since the upper frequencies of the mix are sparse, the synth’s level does not have to be loud to be heard. In Hit Talk’s Frequency Separation Map above, S-1 and S-2 represent both the fundamental and higher frequency harmonics of the synth line that plays starting in the second hook. Identifying and managing fine production details such as the proper tuning and frequency carving of kick and bass must be second nature to a successful producer. In So Sick, the only bass channels layered together are the kick drum and the bassline however, they compliment rather than conflict with each other because the kick has been carefully tuned and carved to integrate with the bassline. The overall warmth and low end of a song come from its bass channels, but that warmth can be destroyed as more bass channels are composed and layered together, increasing the potential for frequency conflicts. Layering bass channels is precarious, because if done carelessly a frequency clashing nightmare could result, filled with nasty beat oscillations, saturated standing waves, and dead spots where one wave cancels another. Naturally, all bass-laden channels are vital in an R&B song such as So Sick, and it’s crucial that no low end from one channel conflicts with another. The toms have the potential to conflict with both the bassline and the kick drum, but they’ve been reserved for the off 8th notes, thereby avoiding both bassline and kick. The bassline shares that frequency range except in the song bridge, where the bassline climbs, with clever improvisation, into the tenor range. The kick drum occupies most of the 50 to 200 Hz range. Let’s get started…Ĭarrying So Sick to the charts required a crafty, well-implemented foundation of kick, bass and toms. A full Hit Report containing Hit Talk’s Melody Map, Chord Progression Map, Song Arrangement Map, plus VIP samples can be purchased at the end of this post. Next, we discuss the hit’s chord progression, music production, plus the strongest production elements that made the song a sparkling success. As with all hits covered on Hit Talk, we first outline the hit’s song format, frequency separation, and mix. In Ne-Yo’s hit song So Sick, the tightly interwoven song elements are a testament to the prodigious and elite production style of Tor Erik Hermansen and Mikkel S. What’s Ne- Yo’s secret, why are his songs so captivating? Because they are built with class, with production elements implemented so well they instantly warrant Billboard placement. Ne-Yo singles mesmerize listeners with the sheer power of their emotion.
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