> Step by step

Craft­ing a rolling 135bpm groove with cm250’s sam­ples

Computer Music - - Free Samples -

1 Let’s dive in and put to­gether a fast­paced 135bpm track us­ing the Es­sen­tial 808, 909 Over­drive and Loop­mas­ters sam­ple packs that come free with this is­sue. We’re kick­ing things off with this in­spir­ing 808 kick and snare pair­ing. The kick’s ex­ces­sive dis­tor­tion gives it more of a chip­tune-like synth tim­bre, as op­posed to a tra­di­tional punchy kick sound. 2 Time for a TR-808 closed hi-hat pat­tern to ac­com­pany the kick and snare. 808 hats are syn­ony­mous with trap, and to em­body the spirit of that ev­er­pop­u­lar genre, we’re us­ing an arpeg­gia­tor to con­trol the hat’s re­peats. By au­tomat­ing the arpeg­gia­tor’s rate, we draw in a flour­ish­ing, ma­chine gun ef­fect that works with our beat. 3 For rhyth­mic in­spi­ra­tion, we’ve dropped in this in­ter­est­ing TR-808 drum loop, which sounds more like a synth hook thanks to the force­ful dis­tor­tion baked into the sam­ple. We’ve used au­to­ma­tion to si­lence the kick and snare at­tack within the loop, to pre­vent it clash­ing with our other drum hits. An EQ cut around 260Hz re­moves clash­ing mud. 4 To give the kick punch, we layer a snappy 808 kick over the top, then raise the at­tack of our dis­torted 808 to lop off its tran­sient and pre­vent clash­ing. There’s no real sub power in the mix, so sat­u­ra­tion and Melda’s MBas­sador fill out the dis­torted 808’s miss­ing bot­tom oc­tave. For the flat-sound­ing snare, EQ and tran­sient shap­ing adds weight and punch. 5 Next, let’s cus­tomise a break­beat loop from this is­sue’s Loop­mas­ters pack. In its orig­i­nal state, the loop is a bit over­bear­ing, so we use Live’s Tran­sient En­ve­lope to tighten and gate the groove at clip level; harsh high-pass-fil­ter­ing re­moves bass and mids; and heavy lim­it­ing crushes its spiky tran­sients, sit­ting it fur­ther in the back­ground. 6 For some bass in­spi­ra­tion, we chuck a Loop­mas­ters bass loop (from the Lenz­man pack) into a sampler and trig­ger it in the gap be­tween our main kick. Fluk­ily, this gives us a nifty sub wob­ble and midrange stab that fits per­fectly in the groove with a touch of sat­u­ra­tion. For vari­a­tion, we use a Loop­mas­ters sine ‘fall’ sam­ple to fill the gap in the sec­ond bar. 7 Some form of vo­cal el­e­ment will give the track per­son­al­ity. We drag a Loop­mas­ters vo­cal loop into a new sampler, and ran­domly draw small MIDI notes through­out the groove. A longer note, pitched down an oc­tave, cre­ates a quirky vo­cal stut­ter that in­ter­plays per­fectly with the Lenz­man bass. A coat­ing of cmDe­lay adds spacey vibe. 8 In­stead of drop­ping a generic crash cym­bal on the down­beat, we use the front end of a drum loop, then al­ter­nate be­tween the orig­i­nal sound and the same sound pitched down an oc­tave. And for a fin­ish­ing touch of pace, we mix in a heav­ily EQed loop that’s been tuned to fit the track’s key. It’s now time to start ar­rang­ing our loop into a full track!

Newspapers in English

Newspapers from Australia

© PressReader. All rights reserved.