WORKSHOP: PRODUCE RAVE!

Techniques and tips that will help you go old skool!

1

Let’s get the ball rolling by layering a couple of breakbeats up using TAL’s excellent Sampler. By using this instead of what our DAW has under the hood, we can instantly print a retro 1990s sound onto our breaks. Load TAL Sampler onto a new MIDI track, then create a one-bar MIDI region with a C3 note in it to trigger the sample. Now, let’s drop a break in. 4

We can use TAL Sampler’s Resampler to print the classic Akai S1000 sound to our break. Set mode to S 1000, then reduce bit depth to 12-bit with sample rate at around 22kHz. Dialling in some Saturation alongside this will give our break a full, fat sound. Reduce the channel volume to -6dB to keep the levels in check. Now, let’s throw down another break. 2

Set BPM to 140, then open TAL’s Layer A tab. Import DF_BeatD_120-04.wav from the Beat Creation folder at filesilo.co. uk, then move the Loop End marker to the end of the break. Change the High/Low key to C3, so only one note triggers the sample. Timestretch the break to the track’s tempo by setting Stretch mode to Cyclic, with Stretch at 16%. 5

Add another TAL Sampler instance to a new MIDI track, then copy the MIDI region from our first track to trigger the sample. Open TAL Sampler, and import DF_BeatB_120-01.wav from filesilo.co.uk into Layer A (a bass-heavy break that layers brilliantly with our first one). Move the Loop End to the sample’s end, and set Root, High and Low keys to C3. 3

We’ll add the same break to Layer B. Turn on the layer, and load in the break with the Root, High and Low keys set to

D3. Set the Stretch mode to Cyclic again at 16% Stretch, then move the Sample start to the first snare. We can then play notes C3 and D3 interchangeably, allowing us to start the break either at the kick or snare for greater variety. 6

Timestretch the second break by setting the Stretch mode to Cyclic, with Stretch amount at 16%. Now, you’ll hear the two breaks layer together. Turn on Layer B and import the second break again, with the Root, High and Low keys set to D3. Set the Loop Start to the first snare. Apply the same timestretch settings as Layer A, so the break plays in time.

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Turn the sampler channel down to -6dB, so that both our breaks balance together. We’ll colour our second break differently to the first, selecting the Emu II Resampler, with Sample Rate at around 22kHz, Hiss at 0.6 and Jitter at 0.8. This gives our break a hissy, crunchy sound reminiscent of classic 90s rave records. Now, let’s map out a longer drum track.

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Set the synth sample’s Warp mode to Complex Pro, to reduce artefacts. Turn the synth channel down to -9dB. Next, add a female vocal from filesilo.co.uk. Import Vocal.wav to a new audio track, then delete everything but the first 16 bars of audio. Chop the vocal into individual segments, so each phrase is a separate piece of audio.

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Extend the MIDI region on the first break channel to four bars. Now, draw in notes to create your own drum pattern using the variations of the break we’ve set up. After creating your pattern, copy the MIDI onto the other sampler track, so both breaks are triggered in unison. Duplicate the MIDI regions over 16 bars, so we can add some other sounds into the mix.

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The vocal gradually drifts out of time as the 16-bar phrase opens up, so go through and quantise every part until it flows nicely with the track. Next, we’ll add an 808 bass hit to give our section some sub low power. Add a new MIDI track, then call up Dope VST’s Bass Engine CM. We’ll select the 2010s 808 Clinical preset, as it’s the most authentic on offer.

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Vinyl noise from the Layering Kit pack adds atmosphere, like on a vinyl rip. Add LK_VinylNoiseC-02.wav to a new audio channel. Duplicate it across the arrangement, then turn the channel down to -20dB to stop the noise dominating. Next, add a musical sample from filesilo. co.uk; put Synth_Tinkles_(120bpm).wav on a new audio track.

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Add a new two-bar MIDI clip to the channel, and draw in a few E0 notes to create a bass stab to layer underneath the rest of our parts. Copy the clip across once, then add an E1 note to the end of the second clip to create a variation. Duplicate the two clips across the arrangement, then turn down the channel to -4dB to keep the levels balanced.