How is it going?
My name’s Chizzy Stephens here at Dolby Atmos Henszey Sound studios.
I am a producer, songwriter, creative entrepreneur. I’ve worked with Chris Brown,
Jennifer Lopez, Justin Bieber, DJ Snake, The Dream, and more…
I’ve worked with a number of artists that range from R&B, Pop, a little bit all over the board but
for Jennifer Lopez, I worked on her album A.K.A. I produced “Same Girl” and “Tens”,
for Chris Brown I worked on “Heartbreak” on “Full Moon” and on Indigo I worked
on “You like that”, “Cheetah” and “Part of the plan”. Also worked on DJ Snake’s album.
I did the song of “Paris” featuring Gashi and I worked on The-Dream’s 3 Part mixtape
or album that he put out called “Sex tape menage a trois”
and I did the song called “I like” on there.
Pigments is a really user-friendly interface to use. I got into and I
started messing around with it and kind of started getting to know it like
pretty quickly like I was able to find the effects, the filters, easily using the
different cut-offs and so that’s been fun, and then kind of going into the
macros and playing with the different sounds, it’s been like a really cool
experience to do.
I’ve been playing music pretty much all my life I started
playing the trumpet in band and then from there I ended up getting into a rap
group, and then in this rap group we needed somebody to make the beats
because we obviously didn’t have any money to pay for him, so basically I
taught myself how to start making beats. So I made the beats for the rap
group and then from there on, one of the Eminem’s engineers actually heard one of
my tracks have reached out to me and kinda at that moment I was like “Hey, if
I’m catching this guy’s attention I must be doing something right,
and then from that point on I started taking music seriously, you know.
I never looked back.
Cool, so the very thing I started with on this is the melody.
I used pigments for that, so let’s pull that up.
So here, the reason why I chose the sound
for one is I was looking for something that kind of had like a sensual kind of
emotional vibe and I just loved the kind of reverse thing that’s happening at the
end, but I also want it to dirty up the sound a little bit so I went into my
effects here, and I added this overdrive. Then I’m just kind of go there turn
that up a little bit and then I just use this to crank it up just to make it a
little bit dirtier and then from there I added a little chorus effect and I think
this EQ is already on there.
And that was essentially it for that part, then I
went into my filter here, turned up the cutoff a little bit just
to change the texture a little bit now it kind of has a little bit of an edge to it.
So then from there, I took that same sound and actually converted it to audio
and then pitched it up and the reason why I turned it into audio and then
pitched it up is that when you pitch audio up, it kind of adds like this this
weird kind of inconsistency to the sound, but it kind of sounds cool so you can
hear that here.
This one is just a MIDI.
That’s pitched up and this is the audio that’s pitched up
So that’s it for the melody. From there I added this pad just
to kind of build up the track a little bit, so let’s pull that up.
I use this organ bell and here’s the pad here.
And then later on in the song, I actually
start to automate the cutoff on it.
So it starts low, and it kind of starts to build up and kind of open up and as you
can see the filter here is rising.
And the reason why I did that is that this is at the end of the song, this is
where the final hook comes in, you have all these ad-libs, these backgrounds and
I just kind of wanted to feel big so…
And so then that just rides out and then you have this outtro and I have the filter go back down.
Then it phases-out. So that’s the pad and that pad which is just to add some extra
emotion to the track and really kind of give it that fill in there.
Next I have added some guitars, so with these guitars with this whole vibe going where
it kind of feels like sensual and emotional I felt like this guitar was to
kind of drive it a little bit, add a little bit of edge to it, so let’s pull that up.
I use the Mystic plug.
So I have a couple different things going on in here.
Let me actually take everything off.
So that was the original sound,
and then I added my effects under FXB I added my overdrive and I just
cranked it all the way up.
So if I take it off, it’s very soft. And this was with it.
Then from there I just EQed it, added a couple more effects just to kind of
get that dirty sound and there we have it!
And it just kind of sits in the background, accenting the vocals and then
on the low-end, I have this guitar here.
So I have a couple of effects going on here
so let me take all of that off so. It’s just that mystic pluck sound and then I
added my distortion, and I added this M12 filter. I found this really cool preset
called “Fat puncher” and it kind of gives like a sidechain in effect, and the
reason why I did that was that I have the kick and the 808 going on.
I just added a cool little rhythm to the bounce.
That’s my guitar down there.
For the bridge, I wanted to do something that was unexpected
so what I did was I actually bounced out this
musical section here and turns it into audio.
So I took all of that, turned it into audio
and then I added this m12 onto it.
In here I use this preset “Ratchet Club”.I thought it was cool it added like this cool bounce,
it’s something that was unexpected like the majority of the songs you’re kind of
floating and then you have this bridge section comes in, it’s got kind of
like this bounce going on, so I thought that was cool and unexpected.
Let’s check that out.
I also have my pad going on in there just to soften the section up a
little bit. I’m going to actually mute that for a second.
From there it rises out, and it goes back into our hood.
Towards the end I actually have that part come back in just as now
you’ve heard is it’s not as unexpected but cool
that’s it and then attack just rise out from there here our guitars our pads and
the main melody and that’s it
