THE OVERSHOOTER

As we’re all used to formulaic build-ups and drops, we expect everything to kick in on the usual beat one of the bar. But what if the track kicks back in on beat two or three instead? A great example of this can be heard in Peter Horrevorts’ Bloody Hands ( bit.ly/PHbloodyhands) – after the build-up in the middle of the track, it drops back in; but instead of placing the power on the first beat, it hits hard on the second beat. It’s extremely effective, and stands out as a key point of interest in the record. In its simplest form, leave a gap of absolute silence on beat one, which can leave an entire dancefloor wondering whether the record has been silenced. Alternatively, throw in a vocal sample, percussion sound, drum roll, bass squelch or reversed kick to help the unexpected edit flow more smoothly.