DJ Fresh

Harmonics in 808s are really important, as are the pitch envelope and transients. I often replace the transient audio with a piece of pink noise I’ve made in a synth. I then compress this using a CLA-2A compressor, especially when using the 808 as a kick drum.

"How much space have I got? This program is absolutely incredible. I was recently hanging out with emerging US producer Dillon Francis, who is also a massive Ableton fan. We spent about an hour getting excited about how incredible it is, and how crazy you'd have to be to overlook it."

"This is my DJ workhorse. It has the flexibility of a studio sequencer, but the live performance options you need as a touring DJ."

"But for overall simplicity of use, great sound and modulation options you can visualise at a glance, Sylenth1 is the boy."

"For general modulation and synthesis features, especially when it comes to programming envelopes, this is my favourite synth/sound module out there. It has some incredible synthesis features, and a really user-friendly layout, which I find becomes one of the most important factors when it comes to the real-life usability of a plug-in."

"This is the most incredible plug-in for sequencing and refining drum-kits. It includes the ability to shape and non-destructively edit waveforms and kick drum sounds."

DJ Fresh Can be seen using the Motu MachFive 3 @ 8:42 into his interview with SB-TV.

2nd- and 3rd-order harmonics are what give the 808 presence. You can create or exaggerate these harmonics using distortion; but a more precise way to do it is to use the Cobalt Saphira harmonics shaping plugin to enhance odd and even harmonics, which can help shape the tone of the body of an 808. Another plugin that can help you add harmonics and shape the tone is Renaissance Bass.

“I’ve used Renaissance Bass to beef up low harmonics in my sub on several of my big hits, including ‘Earthquake’ with Diplo, ‘Gold Dust’ and ‘Hot Right Now.’”

I usually process the body and transient separately, then fade them into each other and compress. Often it’s good to distort and add harmonics, and then use a filter such as OneKnob Filter and automate it so that a steep low-pass filter cuts the high frequencies and deadens them in the first 15-20 milliseconds after the transient hits. When distorting the body, you also get unwanted high harmonics, which the filter automation can tame to taste. If you do this, make sure that you join the transient to the body at a zero crossing and in context with the pitch movement of the body at the join.