+Hospital Property+
>From: [EMAIL PROTECTED]
>Reply-To: "Drum & Bass Arena Discussion List" <[EMAIL PROTECTED]>
>To: "Drum & Bass Arena Discussion List" <[EMAIL PROTECTED]>
>Subject: [dnb-prod] Secrets Of Programming Breaks
>Date: Fri, 25 Oct 2002 18:32:54 EDT
>
>
>
>Dont have the time/energy to do a full breaks tutorial but Ill give away some
>of the secrets that professional producers know that you don't. The
>following is for those who have mastered the old school basics (ghost notes,
>varying velocity, etc.) and are ready to move beyond into new school
>territory.
>
>Im going to keep my language dogmatic because again, I dont have the
>time/energy to explain. If you need to probe further, listen CAREFULLY to
>your favorite producer's records and youll hear the elements Im talking
>about. To put my money where my mouth Ive included links to some of my own
>(completely homegrown) breaks. Use em if you like in your own tracks, or
>better yet make your own.
>
>1. Multiple Hi Hats. The secondary/tertiary hi hats are used in prime spots
>to "accent" certain parts of the break, and have a big hand in creating it's
>groove. The different hats kind of "meld together" across the length of the
>break, emulating the fact that a drum sounds differently depending on where
>and how hard it is hit, and more importantly, creating a vibe. Dont try too
>hard to MAKE them sound like the same hat though- to the untrained listener
>(whose listening to the break as a whole, not picking it apart) they just
>WILL. Multiple hi hats are a MUST for a good break, just varying
>velocity/filtering is for new jacks. Your goal is to create a hi hat "line"
>of sorts that creates a groove across the kick/snare- (warning:OPINION
>coming)- the hi hat line should be good enough to stand on its own when heard
>alone during an intro/breakdown. And once and for all quit NEGLECTING the
>OPEN hi hat!!!! Its an important weapon in your toolbox and put in the right
>place can do much to add to a wicked hat line.
>
>2. Layering. The above accenting/layering technique can be used with
>kicks/snares too- your goal is to give each hit a "purpose" of sorts. For
>example try layering a second more "reverby" kick with the first kick in the
>break. Be subtle- you want it noticable but not too much so. This gives the
>first kick a feeling of importance, which makes sense dunnit. Try layering
>two snares, but crossfade them so that the first one is louder during the
>first hit and the second one is louder during the second. Then, use one of
>the "non layered" snares as a ghost. Youve just simultaneously created a new
>snare sound, added variation to your break, and found a ghost snare that will
>fit in seemlessly. Laziness? Genius? A bit of both. Bruhahahaha... These
>arent the only two ideas- use layering anywhere you want to add variation or
>to create an accent. Much cooler than fiddling with the filter.
>
>3. Ghost Kicks and Hats. DnB is constantly evolving but as this is being
>written the new trend is for breaks to sound FAST, not "half time" like they
>did 5 years ago. Ghost Kicks are essential for this. Think "butterfly"- the
>kicks should kind of flutter across the break, just barely being heard but
>adding a feeling of urgency. Some new breaks are using CRAZY amounts of
>ghost kicks, sometimes every 16th note has a drum playing!!!! Besides ghost
>kicks, remember ANYTHING can be a ghost , not just a snare. One technique
>is to use a hi hat in the same position that you would normally use a ghost
>snare (told you this was for those who had the basics down). This lets the
>break kind of "roll" in that part in a less obvious way than a ghost snare,
>and can be used in conjunction with it. A break can "roll" twice across its
>length. Also dont forget to try sticks/congos/bongos/any percussion as
>ghosts.
>
>Bottom line, eliminate random thinking,. Quit "randomizing" your hats and
>start accenting them in a way that creates a groove that you dig. Dont just
>make two snares sound different for the sake of it, make one with a shorter
>decay to make it "snap" and one with a longer decay to let it "drag",
>creating a different feel across different parts of the break (be subtle but
>not TOO subtle). Realize that a break is more than a kick/snare with hats
>there to fill up space- every element should contribute to the vibe of the
>thing, and there are usually more elements than you may at first notice-
>multiple hats'/kicks/snares, rides dancing subtly across to accent, extra
>percussion here and there, reeaaally low ghosts; the programmed breaks of
>today are generally more "busy" than the two-step of yesteryear, since
>producers are actually pickin up on how to make their breaks sound like the
>old ones that we had to SAMPLE to get vibe/style from.
>--------------------------------------------------
>
>Sample breaks to come (sorry girlfriend just got home and I was supposed to
>cook - ahhhhhhhh my ass is grass...)
>
>
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