I posted the following thread earlier today, prolly b4 u joined.... Welcome to the list - hope this helps
Scope @ streetbeats >>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>> It's the same way most (breaks oriented) producers do it now. I always cut up breaks in soundforge myself. 1) its more accurate and MOST importantly 2) I don't just take the hits. An explanation I'll take a drum loop, say two bars in length, and once I've done all the Direct X/VST plugin magic in soundforge and wavelab......and once ive got it at the right temp.......then in soundforge I'll send the whole loop to sample number 1 say. Then I'll cut that first beat off, and so the loop is now shorter than the full two bars, and will now begin from say a hat inbetween the first kick and snare. I'll send that to sample number 2. Then I'll cut it from the snare onwards, and send this section to sample 3. Until I get to the end of the loop, the last sample I send over should just be an individual hit, the last one in the loop. Why do this you ask? Well sure it takes more memory in my sampler, but memory is cheap, and if you know how to use a sampler well then you make efficient use of that memory. The main reason for doing this, is that all of the feeling in a break and the movement in it, the groove if you like is held in the bits inbetween the main hits. Sometimes people refer to these as ghost hits, and if its not ghost hits then the feeling often just comes from things like the decay characteristic of the hits. So the way I use breaks, I have any individual hit I want to hand, keymapped. The difference being, if I hold the key down, I get more than just that hit, but a part of the loop too..... Now back in the very first instance, at or before the conception of hardcore and d&b, drum loops would be taken in there entireity, time stretched and laid down straight. Then as time progressed you could see these loops maybe being split into a couple of sections etc, and slightly rearranged. And b4 you know it you have producers like source direct and photek cutting these breaks up as I described above to give you ultimate flexibility and re-arranging power. So by laying down these various sections of breaks, in different length segments or whatever - there are no rules - you can very quickly build up different grooves. Once you have that groove, you may want to clean it up a little by deconstructing any longer sections of loop you are playing on a single note into smaller sections, or even individual hits. When doing this, the envelope and filter settings in your sampler become crucial in obtaining the same feel as you had whilst just playing a section of the loop on that one key. This step is also very important for achieving a fat sound, because you should have kicks, snares and hats on different channels on the desk, so you want the hist to be as granular as possible whilst retaing a real groove. Its hard to describe, but quite a simple concept. A lot of producers I run into who are just getting going will be using recycle or whatever and programming these individual hits, and the result often sounds staccato and interupted. That's what you've got to avoid. Note that the whole above ranting, is only one part of it, having the right sound on your breaks is awhole other consideration. Hope this helps someone. ************************************** Get your FREE Web based email at http://www.m4jungle.com ************************************** Streetbeats, Noir, Pi, Z-no http://www.streetbeats.co.uk http://www.m4jungle.com http://www.noir-recordings.com http://www.pi-recordings.com http://www.z-no.co.uk ************************************** --- Drum&Bass Arena Producers Discussion List http://www.breakbeat.co.uk You are currently subscribed to dnb-prod as: [email protected] To unsubscribe send a blank email to [EMAIL PROTECTED]
