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Date: 2001-10-12 |
Author: HamsterAlliance |
Viewed 3146 times |
Breaks and Stuff
by,
JameZ the Giant Hamster
Do you often find yourself using the same old snare rushes in your songs?
That plain and simple 4 tick "Brrrrrrt" or those d r a w n o u t overdone 2 minute dance rushes?
STOP RIGHT THERE! You are in violation of good music law 6104!!
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In this file:
A quick sample of some lightning fast breaks and first-rate rushes.
You'll even learn how to make a good, cpu efficient, bassdrum and snare with simple machines!
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Construction of the sounds:
( These are pretty simple )
Bassdrum -
( FSM Kick -> FuzzBox -> EQ-3 XP )
1. The FSM Kick is a powerful bassdrum. Set it to desirable settings for your song.
2. The Fuzzbox adds a bit of grunge to the Bassdrum. I'm not all that into that 'clean' sound.
3. The EQ-3 is put on last to boost up the bass just a tad. Plus I wanted to test it =P
Snare -
( ERS Snare -> StereoDist ) + Cyanphase StereoRec
1. The ERS Snare isn't very much at first. Turn down the thump and boost the noise for a better sound.
2. Distortion! This is what takes the snare from a old electro type sound to a more D'nB' type sound.
3. Plug the snare into the StereoRec, set it up, and play one trigger. Now you have the Snare as a sample.
4. Use a Tracker now to control the snare. You get a better rush sound, you can do effects, and it's just nicer.
- I left the original snare setup so you can see I'm not lying.
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You're a big boy:
[ Do it yourself ]
Beats...
...Fast.
...That's simple enough. Now Make some.
...Ok, Got a good beat going? Excellent. Then skip the next section and move on to the Rushes!!
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What you say?!:
( A bit of help... ]
1. Crank the TPB and BPM up. Fast beats are easier to acomplish this way. I'm working at 145 and' 18.
2. This is where you chose wether or not you want a Bass Predominance or Snare Predominance. It's important.
3. This song is Bass Predominant due to its 'rushed' nature. I didn't want the song to be, "All snare, All the time"
4. Don't go too crazy with drums on the upbeats or offbeats. The faster you go, the sloppier they'll sound.
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Destruction of your mind:
( This might sting a little )
Alright, It's Rush Time.
Time to think out of the box.
Time to put away tried and true methods.
1. Invision a rush.
It doesn't have to be spectacular.
If you are having trouble, I don't reccomend it, think 'Aphex'.
Consider Delays, Volume Changes, and PitchShifts.
2. Look it over.
Analyze its simplicity/complexity.
Find its flaws. Theres nothing worse than someone hearing your song and going, "Ugh...That was off."
3. Revise it.
Add ear-candy such as reverses or sudden breaks in the pattern.
Don't break the pattern too much or else you will destroy the balance between intricate and unpremeditated.
Remember not to neglect the simple rushes. Filling a song only with 'special' rushes can be tourturous.
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Last notes:
( The end )
Listen to the examples in this file.
Work around the tips and instructions.
Don't limit yourself or think your ideas are stupid.
If you don't do something someone else will. They'll be rich and you'll be sad.
Don't steal my breaks. Learn, Make up your own, That's what this whole files is about!!
Later,
JameZ the Giant Hamster
-=The Hamster Alliance=-
o_O!
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| Attached File: Breaks-n-Stuff.zip |
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| Readers Comments: |
add comment |
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| hehe...pretty ugly alright. Please write a mastering tutorial the next time. ;-) 2001-10-12 by Nag Nag Nag |
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| I think you've to read the reviews that are allready posted better. There are allready some mastering reviews posted! 2001-10-12 by Mva |
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| I want one from the Hamster...this will help him too. ;-) 2001-10-12 by Nag Nag Nag |
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| As always, BRAVO!!! VERY nicely done :) 2001-10-12 by jts |
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| Yo nag nag, you don't like this sound because it's clean, i added a reverb to snare and kick, and a delay to the snare and it sounds cool! Okay so i don't really dig the "noise" in the kick but hey, it's good to have people adding to this scene the way the hamster does... 2001-10-12 by Frost |
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*Kicks Nag*
This isn't about Mastering. That's why there isn't any if any was needed.
You shouldn't use these sounds as they are...That's the whole point. Learn yourself. I'm not your teacher. 2001-10-12 by Hamster Alliance |
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| well said hamster 2001-10-12 by levin |
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| Yep, sounds definitely Aphex!
I wish I would have such a twisted mind ;)
Well done! 2001-10-14 by maYO |
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| whoooooosh! That's how I like my snares! Nice piece of rock'n'roll :) btw imho it sounds better with a slightly smaller fuzz amount... 2001-10-14 by 2ndProcess |
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| jts: the word that you have written ('Bravo') it's an italian word.. are you italian like me??;) 2001-10-14 by lad[prOject] |
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| As far as I know, the word "Bravo" exists in nearly every language on the whole planet, it has is roots in the Latin speech and also exists in English and German. 2001-10-15 by renniac |
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| Why is tpb 18? does not compute... 2001-10-16 by Data_Bass |
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Data_bass, What kind of question is that?! =P
The TPB is 18 so that you can make lightning fast beats...that's it. Did you listen to the file? o_O 2001-10-16 by Hamster Alliance |
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| Yes, i did listen, and i liked the a lot; but the question is - why 18 instead of say, sixteen, that would be logical, and have some relation to thath that yopu place the patterns if i recall correctly, every 16th row. TPB 4 means that a beat is divided in 4 16th notes and 16 rows make one bar or one measure; with TpB 8 you have 32th notes and 32 rows in a bar; tpb 16 you have 64th notes... if you trigger patterns every 16 or 32 tick or row while tpb is 18 that means the tempo, the actual bpm is not then the bpm that buzz shows - 2001-10-17 by Data_Bass |
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| I just treat the TPB as Tuning and the BPM as Fine Tuning. 2001-10-17 by Hamster Alliance |
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| Hamster, Data_Bass has a point. If you use a TPB of 16, and place your notes 'twice as sparsely' on the patterns (downbeat every 16 rows instead of 8), your BPM is still correct. If you use a TPB of 24, set the length in the sequence editor to 24, make your pattern lengths multiples of 24, and place your notes correctly (downbeat every 24 rows) your BPM is still correct and you can also do triplets accurately over half, quarter or eighth notes. Using a TPB of 18 is a weird choice IMO because your pattern lengths are messed up, your fractional notes are not (musically!) nice divisions like quarter- and third-notes, and there is no option for 18-length patterns in the sequencer. 2001-10-17 by edsca |
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Reasons it doesn't matter:
1.I'm not syncing with midi.
2.It sounds fine.
3."going against the grain" is good in life.
4.the BPMs incorrect...so?
=P heh.
Why is the option of 18 tpb even in there then if it's so illogical and dumb? 2001-10-17 by Hamster Alliance |
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| Oh, and you can type in 18 ticks in the Pattern editor. 2001-10-17 by Hamster Alliance |
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| Is there a way to do say bass drum at 4, hats at 8
and then snares at 18 TPB, or do I have to start with 18 and work with that for everything? 2001-10-18 by soundwave |
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| Hamster, of course you can do what you want, and I never said it was dumb. ;) Just try out the triplets thing though... (groovy grooves) If you don't like it, you don't have to buy it. ;) 2001-10-18 by edsca |
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| Edsca: =P. Yes, I understand Triplets. But he was saying that using 18 for any reason what so ever is stupid. It's not...plus, I'm not even using triplets in the song, so it doesn't matter. SKkiBitTy!!! o_O heh. 2001-10-20 by Hamster Alliance |
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| It depends what your trying to do really doesn't it? If you're just writing soundz to phunk with your friend's minds then it sounds like a good way to do it, but if you want to cut a dubplate and drop it at the next rave, you better stick with getting your snare hits on the even counts and hihats on the 1/2 counts.. otherwise good luck trying to mix it with anything.. train wreck city. 2001-10-21 by Guile |
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| Long, random burst of nerdyness from a newbie. Sorry if this isn't the right place, I just felt the need to babble...
It's a matter of prime factors - 4 = 2^2, 16 = 2^4, 18 = 2 x 3^2, 24 = 2^3 x 3.
(The comparison to microtonal tuning and the idea of 'prime-limit' is pretty strong - generally we work inside the '3-limit' for rhythmic subdivision. For real wierdness try writing stuff at say 7, or 30, or 42 divisions per beat.)
The more times two is a prime factor, the more levels of standard 4/4 subdivision are available. The more times three is a prime factor, the more rapid triplet-like patterns you can have.
Since most electronica (and most modern music) is 4/4 (wierd goa tracks and stravinsky excluded :), having triggers on 1/2^n divisions sounds conventional, while triggers on 1/x^n, x>2 divisions sounds more exotic, at least until it gets so fast that it's just a single rush.
Also, the buzz interface is built around the 'powers of two' idea, with only a little concession to other numbers (praise be for the variable row length in the sequence editor, but shading is still every 4 rows, etc), so it's easier to work with a beat subdivision that is a power of four.
Soooo... 4 is totally vanilla, 8 is just like doubling the BPM, 12 is the minimum for triplets and 1/4 notes, 18 is good if you want lots of off-beat triggers (and a sweet AFX2-like sound, as demonstrated), but is a pain to work with and doesn't even allow 1/4 notes, 24 allows down to 1/8th notes and triplets at the same time, 36 allows 1/4s, and also triplets and 9ths, et cetera.
Trouble is that even at 18/24 TPB each pattern is starting to look painfully long, considering buzz's limited scrolling options, and it's starting to feel like you might as well just scrap the sequence editor and write the whole song in one great honkin' pattern.
What would be useful would be a util that converts a .bmx from one TPB to another, so one could write the basic elements at 4 TPB, then add sugar at the (harder to work with) 18 or 24 TPB level.
If it doesn't appear before then, I fully intend to code just such a thing as soon as I finish my thesis. The basic idea is easy (just text-processing, really), but optimally it'd also convert all the tick-based timings in machines, which isn't conceptually hard, but requires work to build and maintain the database of parameters and value scalings. (Of course even better in some ways would be a horizontal, logic/reason-esque sequencer that could export to .bmx, or to the clipboard in buzz pattern format. Anyone?)
S
Die ganzen hat der liebe Gott gemacht, alles andere ist Menschenwerk. 2001-11-08 by memetoclast |
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