Tran­si­tions in club tracks

Future Music - - FEATURE -

Dance pro­duc­ers have long un­der­stood the power of in-be­tween parts, and with some cin­e­matic prin­ci­ples, we can make our tran­si­tions even bet­ter

In this track, we’re go­ing to see how to turn what starts as ‘just an­other four bars’ of a track into a de­vel­op­ment sec­tion which bridges what comes be­fore to what hap­pens af­ter­wards. What’s in­ter­est­ing is that, hav­ing been on this lit­tle four bar jour­ney, when the track re­turns af­ter it, it sounds de­vel­oped or changed in some way. In truth, it’s sim­ply a re­peat of the open­ing eight bars, but the way in which the tran­si­tion is man­aged some­how gives new weight and im­por­tance to what comes af­ter it. That said, tran­si­tions like the one we’re build­ing here of­fer the per­fect ‘in­tro­duc­tion’ to then bring new sounds into your tracks. There are end­less tech­niques you can use for cre­at­ing tran­si­tions in tracks: new sounds, fil­ter treat­ments, spa­tial or de­lay ef­fects, and more. We’re choos­ing a cou­ple of our favourites here.

Our back­ing track con­sists of two beat loops, plus sep­a­rate bass and synth stab parts. At the top is a siren synth which comes in for four bars. We want to make this sec­tion more of a tran­si­tion into bar 14 but the back­ing track cur­rently con­tin­ues re­lent­lessly.

We ren­der all parts ex­cept the siren as an au­dio file and add a high-pass fil­ter treat­ment. This de­lib­er­ately fin­ishes ‘above’ the kick drum so that there’s a pleas­ing drop at bar 14. To the siren, we add an auto-pan­ner, which speeds up be­tween bars 10 and 14.

This works well, but we want sep­a­ra­tion for the synth part, so we re-ren­der the back­ing track, split­ting it into ‘Drums and Bass’ and ‘Synth’. This gives in­de­pen­dent con­trol over fil­ter curves, and we also copy and re­v­erse the fi­nal slice of the synth part for fur­ther vari­a­tion.

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