LAYERS: Taking Apart Mr. Bibal's "Supa Bibal Warudo"
Originally from Cameroon and currently based in Paris, Mr. Bibal started playing the piano at the young age of three and graduated to the world of beat production in his mid teens. He continued to utilize his keys skills on vintage synthesizers, rarely using VSTs on his tracks. Drawing together the hip hop influences of Jay Dee era J Dilla, the sounds of musique concrete pioneer Pierre Henry, and the early Moog work of Jean-Jacques Perrey, Bibal birthed an instrumental beat style that sounds something like Dabrye’s One/Three set to shuffle.
Bibal has an album dropping this month, and he shared with us a track from the upcoming record—broken down into pieces, of course. Here’s what he had to say about the track:
When I was a little kid, I used to play with my Gameboy a lot. One of my favorite games while travelling was Super Mario World. I used to think that the music in that game was fascinating and very entertaining because you could effortlessly remember the melody and even the atmospheric arrangement. That’s how the idea of making “Supa Bibal Warudo” came about. Supa Mario Warudo is the Japanese name for Super Mario World. This beat is a part of my new album F A I L U R E, which is about to be released on Trueflav Records on March 6th. Like the rest of the project, this track had to contain failures in sound, but also a strong musical structure to handle it all.
Usually, I start working with a simple loop at a specific BPM and add elements to it. Here’s exactly what I did—I started playing some chords on my Juno-6 from Roland. Finally, I had the idea to play with the arpeggiator, especially with its rate. I made a rough glitchy sound on the Juno-6 and recorded it.
The next step is to multiply this loop and find some alternative to it. I started playing with a few effects on Cubase—Surround Pan, Compressor, EQ, etc. After this, I tried pitching down the original loop and it sounded extremely good. I made a basic song structure with it.
I played a simple drum loop to match the glitchy synth. I didn’t make anything special with the rhythm, so I decided to reverse the kick to make it something different.
To help the drums knock more on the low end, I played a simple bass line with two or three notes without any rhythm.
To build a song, you need an intro and an outro, so I used a typical J Dilla siren and a simple sample from an Akai S20 to make it happen. Now it’s time to add more subtleties. I added some cuts to this whole loop with the losing power effect, filters, and reverse.
Put the above pieces together, and here’s what you get. Mr. Bibal’s “Supa Bibal Warudo.”