>Step by step
Using foley sounds to design downtempo, glitchy beats from scratch
1 To begin, I have my Cubase Pro project set to 98bpm. I search through my sample library and stumble across the sound of a glass bottle breaking. This sound has a quick attack, broadly resembling the bright, sharp timbre of a hi-hat.
2 Here’s the sample loaded on a stereo audio track. To remove clicks and tighten my makeshift hi-hat’s volume envelope, I apply a fade-out directly on the audio file. Then, after duplicating each hat onto every beat over eight bars, I pitch the hats up for tightness and timbral interest.
3 To add ambient texture, I call up Audio Damage’s Eos reverb, choosing a short plate with subtle pre-delay. Using automation, I write in steep risers on every other beat for a cool ‘swelling’ effect. After that, I high-pass all frequencies below 1kHz to remove low-end boom, and apply a subtle 1dB top-end boost to shift the signal’s tone towards the treble region.
4 Next, I find a sample of paper ripping for use as percussive shuffles, then copy the audio on the offbeat throughout the eight bars. Reversing certain chunks of the sample gives my groove an interesting ‘sucking’ motion. I add Valhalla Plate for spatial interest, and highlight tops with FabFilter’s Pro-Q 2 equaliser.
5 Time to focus on the kick drum. I choose a recording of a heavy door slam, which features lots of weight and energy in the low end. Loading the sound in a Sampler Track gives me more control over pitch and velocity – using my MIDI controller, I record in a loop, varying velocity values for interest and dynamics.
6 In the Sampler Track, I use fades to shape the attack and release, giving me a snappier hit. The Tube Filter cuts all treble above 2kHz, and I also dial in some Drive for warm saturation. Tweaking the Coarse and Fine controls helps me tune the kick’s pitch alongside the other drums.
7 I feel the kick is a little lifeless, so I throw Soundtoys’ Crystallizer on the channel, which mixes in a stuttering ‘boom’ effect. I then use EQ to subtract ringing in the lows and midrange, while a low boost adds subby fatness. Then, for a touch more transient ‘snap’ last in the chain, I reach for Waves’ C2 compressor.
8 For the snare, I load up a fresh Sampler Track, import another ‘breaking glass’ sample and draw in MIDI notes to trigger the sample. Again, I use fades to shorten and tighten the hit. Using the Classic HP filter, I carve away low end, then fine-tune the snare’s pitch to help it fit with my kick drum and hi-hat.
9 Valhalla Plate now places my dry snare in a virtual space – a long decay combined with a low dry/wet mix amount creates a subtle reverb tail. Automating the plugin’s bypass causes this decaying tail to cut in and out. Next in the chain, a top-end boost and subdued midrange cuts customise my snare’s tone in the mix.
10 At the end of the snare’s processing chain, Cableguys’ ShaperBox is employed for some sweeping motion. With TimeShaper clocked to 4/4 Beat
Sync, I draw in modulation to produce a click sound and ‘reverse’ section.
11 It’s mixing time. After adjusting each sound’s volume and pan values, I set up a Group Channel (into which all individual drums are routed) and call up Slate Digital’s Virtual Mix Rack on this group. I push out certain frequencies with EQ, crank up some slight tube saturation for gluing warmth, and accentuate transient punch with heavy compression.
12 To finish, I set up an FX Channel, then send the drum group’s signal to this aux. Parallel compression will give my beats extra punch, weight and cohesion, so I call up Native Instruments’ VC160 – a virtual clone of the classic dbx 160 compressor – on the aux, and balance my squashed signal side-by-side with the uncompressed signal.