How to Create Loopstation Cover Songs for a GBB or BBBWC

How to Create Loopstation Cover Songs for a GBB or BBBWC

The Grand Beatbox Battle and Beatbox World Championship are more commonly known as the two pre-eminent beatboxing events. The competitions hold five tournaments for different forms and categories of beatboxing one of which is loop station. Utilizing the BOSS RC505, loopstation is a category in which one beatboxer uses live looping, effects, and other hardware to create three minute performances in tournament styled battles being decided by a panel of judges. Preparing such presentations generally requires source material, analysis, beatboxing technique, and finally, loop station experience and understanding. These steps below explain how to utilize a proper thought process and different measures of technique to create a routine akin to those used in the professional beatboxing scene.[1] X Research source

Part 1 of 5:
Choosing a Song

Image titled Choose a Song for a First Dance Step 7
1
Create selection parameters. In selecting a song, your overall goal is to be impressive both technically and dynamically namely having variation in intensity. These occurrences are commonly referred to as "drops". Song criteria must be used to filter songs that don't have such dynamic contrast or that would require work that isn't equivalent to the reward. Furthermore, you should play to your strengths. Leaning into the development of either the BOSS RC505 or beatboxing tech is a manner in which to get a song across while compensating for the opposing category. Self assessment may be needed when choosing a song in order for the performer to find one that suits their style.
Image titled Prepare for a Coding Interview Step 7
2
Eliminate complexities. When faced with choosing between songs it may be more fruitful to choose a song that is less complex in lyrics, melody, or overall composition for the sake of the overall track.
3
Finalize your selection. In the song that you choose you must become familiar with and willing to commit to analysis. A stern decision is necessary before moving into the following stages.
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Part 2 of 5:
Analyzing your Song

Image titled Cut a Song Step 1.jpeg
1
Listen thoroughly and take notes. Divide the song into sections Highlight key instrumentation Study the chordal organization of the song Make use of motifs and melodies Find commonalities [2] X Research source
2
Divide up the partwork. After giving your song a couple of look throughs, isolate the key aspects of the track into different components in a form of reverse engineering. Using instrumentation at hand or any other dissertation methods divide the song into Rhythm Bass Harmony Motif Melody Or Other
Image titled Write Song Lyrics Step 24
3
Rearrange. The original composition of the song may be overly complex or spatially unique from one section to another. Simplifications of rhythm and bass lines can be important in the overall flow of the song and can help the creator save on time in the performance stage. Keep in mind that inversions are important but costly time-wise. You only have three minutes for your song.
Image titled Beatbox Step 30
4
Find imitation technique. Using common beatboxing techniques, find ways to imitate the instrumentation in the song such as: Drumlines being converted to beatbox phonetics Synthesizer lines being duplicated via vocal manipulation.[3] X Research source
Image titled Beatbox Step 16
5
Practice. To ensure that a performance can go off smoothly, you may need to practice your beatboxing tech for both articulation and consistency. The penny game is a great way to train yourself if you need to drill.
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Part 3 of 5:
Building your Partwork

Image titled Beatbox Step 1
1
Set Your Rhythm. The first part to any build is a rhythm track. This can emphasize a drum kit, tambourines and shakers, and/or any other percussive rhythmic feature. It is also noteworthy that this is a good indicator of your tempo for setting the rest of your song and that pocket pairing with your bass line will be the foundation of your song so plan carefully. [4] X Research source It is most typical to use beatboxing techniques when creating your rhythm. Imitation mechanics for the bass drum, snare, and hi-hats create a full kit in most scenarios although if more is needed there is an imitation mechanic for any conventional percussive sound. It is also possible to use imitation instruments to simplify your rhythm into chord structure like a backing guitar riff
Image titled Sing Deeper Step 13
2
Set Your Bass. Working in the pockets of your rhythm, the next step to your partwork will be to set your bass line. Making sure your key and intonation are on point is paramount for your development. Keep in mind that your bass line will be reliant on your source material and for many songs the character can be drawn back to the bass line so keeping close to your source material is mandatory. Many versions of vocal bass techniques are viable in creating bass riffs and are used in the pro scene. A common effect to use is guitar to bass to create low bass like pitches. Combining this with either the vocal distortion or the lofi effect can create a very sub synth bass. Pairing either lofi, synth, or vocal distortion notes with the vinyl flick effect at 75 creating a warbling bass effect. Delays effects of any kind including short duration and 100% feedback with kicks, lip rolls or sucker punches can create a pitch-able and time-able effect that is completely user controlled. Using the filter effect on 0 rate and lip buzzing (oscillation or vibration) bass techniques you can create another bass.
Image titled Beatbox Step 27
3
Introduce a Melody. The melodic format is dependent of the source material but can take either imitation instruments or lead vocals. There is substantial amounts of practice to getting lyrics right so this may be a more time consuming step. It is optional to include an equalizer for your track, it is all up to user experience and taste. Vocal dist, chorus, and reverb are also options for vocal alterations.
Image titled Direct a Choir Step 12
4
Introduce a Harmony. Very commonly effect ridden, harmony can be interpreted as either a mood/space setting layer or a complement to the melody. If the goal is mood or space setting, common effects include reverb, filters, or any pre-mentioned vocal effects. If the goal is to complement the melody, transposition, robot and pitch-bending effects can be used to create perfect intervals in which to layer your tracks.
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Part 4 of 5:
Planning Inversions

1
Image titled Bossrc505
Experiment. The possible number of inversions out there is infinite with the ability to mix and mash effects on the 505. Taking time to work your tracks and experiment with the possible effect variations can create transitions and drops that add depth and positive crowd effect to any song as well as create a dynamic environment over a looping system.
Advertisement

Part 5 of 5:
Timemapping

Image titled Time Contractions Step 2
1
Timeout development with effects. Once you cemented your plan for your song, find what you have time to implement. Songs in the GBB or BBBWC fashion are three minutes long overall so from what techniques you gained during your experimental inversions create a plan for your overall song layout.
2
Piece it all together and finalize. Time your game plan and shorten or lengthen as needed. Make sure to preset your effects on your test runs to save time in your delivery so that there is no need to sit on a loop when preparing inversions.
Advertisement

Part 1 of 5:
Choosing a Song

Image titled Choose a Song for a First Dance Step 7
1
Create selection parameters. In selecting a song, your overall goal is to be impressive both technically and dynamically namely having variation in intensity. These occurrences are commonly referred to as "drops". Song criteria must be used to filter songs that don't have such dynamic contrast or that would require work that isn't equivalent to the reward. Furthermore, you should play to your strengths. Leaning into the development of either the BOSS RC505 or beatboxing tech is a manner in which to get a song across while compensating for the opposing category. Self assessment may be needed when choosing a song in order for the performer to find one that suits their style.
Image titled Prepare for a Coding Interview Step 7
2
Eliminate complexities. When faced with choosing between songs it may be more fruitful to choose a song that is less complex in lyrics, melody, or overall composition for the sake of the overall track.
3
Finalize your selection. In the song that you choose you must become familiar with and willing to commit to analysis. A stern decision is necessary before moving into the following stages.
Advertisement

Part 2 of 5:
Analyzing your Song

Image titled Cut a Song Step 1.jpeg
1
Listen thoroughly and take notes. Divide the song into sections Highlight key instrumentation Study the chordal organization of the song Make use of motifs and melodies Find commonalities [2] X Research source
2
Divide up the partwork. After giving your song a couple of look throughs, isolate the key aspects of the track into different components in a form of reverse engineering. Using instrumentation at hand or any other dissertation methods divide the song into Rhythm Bass Harmony Motif Melody Or Other
Image titled Write Song Lyrics Step 24
3
Rearrange. The original composition of the song may be overly complex or spatially unique from one section to another. Simplifications of rhythm and bass lines can be important in the overall flow of the song and can help the creator save on time in the performance stage. Keep in mind that inversions are important but costly time-wise. You only have three minutes for your song.
Image titled Beatbox Step 30
4
Find imitation technique. Using common beatboxing techniques, find ways to imitate the instrumentation in the song such as: Drumlines being converted to beatbox phonetics Synthesizer lines being duplicated via vocal manipulation.[3] X Research source
Image titled Beatbox Step 16
5
Practice. To ensure that a performance can go off smoothly, you may need to practice your beatboxing tech for both articulation and consistency. The penny game is a great way to train yourself if you need to drill.
Advertisement

Part 3 of 5:
Building your Partwork

Image titled Beatbox Step 1
1
Set Your Rhythm. The first part to any build is a rhythm track. This can emphasize a drum kit, tambourines and shakers, and/or any other percussive rhythmic feature. It is also noteworthy that this is a good indicator of your tempo for setting the rest of your song and that pocket pairing with your bass line will be the foundation of your song so plan carefully. [4] X Research source It is most typical to use beatboxing techniques when creating your rhythm. Imitation mechanics for the bass drum, snare, and hi-hats create a full kit in most scenarios although if more is needed there is an imitation mechanic for any conventional percussive sound. It is also possible to use imitation instruments to simplify your rhythm into chord structure like a backing guitar riff
Image titled Sing Deeper Step 13
2
Set Your Bass. Working in the pockets of your rhythm, the next step to your partwork will be to set your bass line. Making sure your key and intonation are on point is paramount for your development. Keep in mind that your bass line will be reliant on your source material and for many songs the character can be drawn back to the bass line so keeping close to your source material is mandatory. Many versions of vocal bass techniques are viable in creating bass riffs and are used in the pro scene. A common effect to use is guitar to bass to create low bass like pitches. Combining this with either the vocal distortion or the lofi effect can create a very sub synth bass. Pairing either lofi, synth, or vocal distortion notes with the vinyl flick effect at 75 creating a warbling bass effect. Delays effects of any kind including short duration and 100% feedback with kicks, lip rolls or sucker punches can create a pitch-able and time-able effect that is completely user controlled. Using the filter effect on 0 rate and lip buzzing (oscillation or vibration) bass techniques you can create another bass.
Image titled Beatbox Step 27
3
Introduce a Melody. The melodic format is dependent of the source material but can take either imitation instruments or lead vocals. There is substantial amounts of practice to getting lyrics right so this may be a more time consuming step. It is optional to include an equalizer for your track, it is all up to user experience and taste. Vocal dist, chorus, and reverb are also options for vocal alterations.
Image titled Direct a Choir Step 12
4
Introduce a Harmony. Very commonly effect ridden, harmony can be interpreted as either a mood/space setting layer or a complement to the melody. If the goal is mood or space setting, common effects include reverb, filters, or any pre-mentioned vocal effects. If the goal is to complement the melody, transposition, robot and pitch-bending effects can be used to create perfect intervals in which to layer your tracks.
Advertisement

Part 4 of 5:
Planning Inversions

1
Image titled Bossrc505
Experiment. The possible number of inversions out there is infinite with the ability to mix and mash effects on the 505. Taking time to work your tracks and experiment with the possible effect variations can create transitions and drops that add depth and positive crowd effect to any song as well as create a dynamic environment over a looping system.
Advertisement

Part 5 of 5:
Timemapping

Image titled Time Contractions Step 2
1
Timeout development with effects. Once you cemented your plan for your song, find what you have time to implement. Songs in the GBB or BBBWC fashion are three minutes long overall so from what techniques you gained during your experimental inversions create a plan for your overall song layout.
2
Piece it all together and finalize. Time your game plan and shorten or lengthen as needed. Make sure to preset your effects on your test runs to save time in your delivery so that there is no need to sit on a loop when preparing inversions.
Advertisement