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4. Au­di­tion­ing and select­ing FX sounds to max­imise a drop

Computer Music - - The Drop -

1 The lead up to the drop can be just as im­por­tant as the drop it­self. A great way to max­imise your im­pact is to let FX sam­ples lead us into and through the drop. Start off by load­ing DropNoFx.wav onto a new au­dio chan­nel. This is a ba­sic sketch of a build-up and drop sec­tion, but it’s miss­ing the tran­si­tional ef­fects. 2 There’s three main ar­eas that would ben­e­fit from some dec­o­ra­tion with tran­si­tional ef­fects. We need ef­fects to lead into the break­down, some to build up to the drop, and some to in­crease the im­pact when the beats and bass come back in. The first thing to do is de­fine the start of the break­down with a noise ef­fect, so drag NoiseCrash.wav into a new chan­nel at bar 9. 3 It’s far too loud, so pull the track vol­ume down to -11dB. Now it’s sit­ting in the mix bet­ter, we’ll add an­other ef­fect to smooth the tran­si­tion into the break­down. Drop in PanSweep.wav onto a new chan­nel half­way be­tween bars 7 and 8, and turn the track vol­ume down to -9dB. This sam­ple leads us nicely onto our crash ef­fect, ty­ing the two sec­tions to­gether nicely. 4 Now we’ve smoothed the tran­si­tion into the break­down, lets lead into the drop. Load in LongNoise.wav onto a new chan­nel at bar 9 and pull the track vol­ume down to -16dB. We want this ef­fect to lead us up to the drop, so we’ll play it back­wards. Dou­ble-click the clip and click the Rev but­ton to re­verse the sam­ple. 5 This sounds OK, but we could use a lit­tle ex­tra power at the last mo­ments be­fore the drop. For this we can add an ad­di­tional sam­ple right at the end of the build-up. Im­port BuildWoosh.wav onto chan­nel three at bar 16. This sam­ple has a sharp ramp up­wards, which gives an ex­tra burst of power right be­fore the bass kicks back in. 6 A fall­ing tone right when the drop hits will add a lit­tle drama and in­ten­sity when the beats come back. Im­port Fall­tone.wav onto chan­nel two at bar 17, just when the drop hits. In con­trast to all the other sounds used, this sound has a de­scend­ing tone which re­leases the ten­sion and lets the groove take over. Ex­per­i­ment with lay­er­ing up ad­di­tional sam­ples to re­ally make the drop hit hard!

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