Why should you create your own signature sound?

Every major producer and composer follows a similar formula but can be studied from a distinct point of sonic identification when you listen attentively to the nuances in their work. In the mid-2000s, Scott Storch used similar drum sounds and played Middle-Eastern riffs to create a signature sound, Timbaland used big sounding percussions sounds and baby crying samples to create his signature sound, Dr. Dre used minimalistic drum sounds with piano riffs and transitional elements to create his sound, 808 Mafia uses their signature hi-hat triplets and 808 bass hits within a specific arrangement, and so on. Every producer has their own sound – it’s what ultimately sets you apart from the crowd. After all, the music production community is extremely overcrowded and opportunities are limited. Let’s talk about what creating a signature sound is, and what it is not.

A signature sound is a collection of customized drum sounds, VST patches and synth sounds, arrangement nuances, and melody and chord approach frameworks. What a signature sound is not is a specific template where every single production sound is exactly the same to the point of being uncreative in your approach to creating records.

The magic is in the nuance of how you approach creating a signature sound. What makes it work is perfect practice. Repeating your own formula and frameworks as taken from this book will get you to a point of unconscious competence when it comes to creating records.

Let’s break down how to start building a signature sound.

These are the components that make up a signature sound:

• Drum sounds
• Customized VST patches (or layering synth patches)
• Transitional sounds
• A producer tag or sonic brand tag
• Arrangement style
• Mixing for a creative feel (not the same as mixing for release)

To avoid any doubt, each element can be expanded upon long after you have finished this book, and building your signature sound collection is always an evolving aspect of staying up to date on your sound as you expand your creativity and as modern music and pop culture change.

A great example of this is when you listen to early 2010s trap music, you will notice that the 808 bass sound (which was originally created by Drumma Boy, and then altered and crafted by Lex Luger and Southside) had a very heavy mid-range feel to it. In today’s trap music, the use of a more distorted and staccato sound is used. This new modern 808 sound offers more of a grunge sound and represents the point in pop culture at which rap music is today.

Another general rule of thumb when it comes to sound design is the use of samples or re-invigorating eras in music – producers will typically sample eras that existed 20 years before today’s date. For example, you may notice that samples used in pop music today are from the early 2000s, whereas samples used in the early 2000s relied heavily on an 80s sound.

When it comes to drum sounds, there is a balance of fitting in with what is current and how you can augment or predict trends. If everyone uses the same sounds, music gets boring – even established producers get caught in the pattern of copying the new generation, and although they add their own spin to it, it is always better to try to set or predict trends.

The most successful producers are typically the ones who change or set trends in their generation. As a general rule of thumb, there is no rule per se on what you can use – it will be up to you to decide whether you want to follow trends, augment trends (by using what’s current and adding your own flavor), or set new trends with totally new snare sounds. When it comes to trend-setting, a lot of that has to do with your position in the marketplace. If you are the “it” producer of that year, typically, people will copy your style and thus create a new trend. As a general rule of thumb, becoming the “it” producer has everything to do with relationships in the industry. Major labels that sign producers to publishing deals and JV agreements have a vested interest in that producer getting placements, and typically, you see these signed producers dominate the charts for no other reason than the labels attempting to recoup their investments. A major label system is a machine that supports its signed artists and producers based on the methodology that it controls the marketing and visibility of a specific song or album based on budgets that indie artists typically can’t compete with. This is neither good nor bad, but just how the industry has operated for decades. Occasionally, producers will break through with a new artist, but with the production market having such a low barrier to entry with the internet at beat-selling marketplaces, it has become increasingly even more competitive to do so – but not impossible, even if you have all of the odds stacked against you. More on this in Chapter 8!

Now, let’s discuss how we can overcome and beat the competition by creating our own signature sound that will set us apart from everyone else. That starts with creating your signature drum sounds. These will carry your productions throughout your career, and having the right kick or snare will set you apart from everyone else. So, what drum sounds will we need to create to start our signature sound? Drum sounds can be defined as kicks, snares, claps, snaps, hi-hats (both open hats and regular hats), and percussion sounds (e.g., bongos, sticks, hits, etc.).

Now, let’s get into how you can start crafting your own signature sound using FL Studio’s stock sounds!