STU­DIO STRATE­GIES

Ex­plore found-sound beats with pro pro­ducer Ed:it

Computer Music - - Contents -

When mak­ing mu­sic, I try to spark my cre­ativ­ity by think­ing out­side the box. Ex­per­i­ment­ing with ab­stract, bizarre sounds is usu­ally my start­ing point. By delv­ing deep into my li­brary of ob­scure sam­ples, I’ll come up with unique out­comes, es­pe­cially at­mos­pheres and in­dus­trial beats.

For this month’s Stu­dioS­trate­gies tutorial, I want to fo­cus on the lat­ter and show you how to gen­er­ate unique drums us­ing sounds recorded from the out­side world, taken from fo­ley sam­ple packs, movie sound­tracks and my own recorded sam­ples I’ve col­lected over the years.

First, I’ll seek out record­ings that fea­ture some kind of tonal re­sem­blance to an as­so­ci­ated drum sound. For ex­am­ple, a heavy door slam­ming can be­come a kick drum; smash­ing glass can be turned into a snare or hi-hats; and rip­ping pa­per of­ten makes in­ter­est­ing per­cus­sive shuf­fles. These kind of beats work es­pe­cially well when pro­duc­ing down­tempo, glitchy styles of mu­sic.

After find­ing suitable hits, it’s time to chop up the au­dio, then edit the sec­tions us­ing my DAW’s edit­ing fea­tures. How­ever, raw sounds like this of­ten sound weaker than off-the-shelf beats from sam­ple packs, which is where clever sig­nal pro­cess­ing comes in. EQ, com­pres­sion, cre­ative ef­fects and par­al­lel treat­ments can all bring vanilla sig­nals like this to life.

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