[tekloid]

some shit i lifted from doa's grid.

"Gated reverb with-out a gate"

Put together a phat break, doin' all your EQ'ing, compressing, what-ever.

at the final stage when yer just about ready to resample it, slap yer best reverb ontop of it, but use a bit more(and a slightly longer tail) then you normally would....

Now drop the tempo in your sequencer down to like 50bpm
and resample the break with all that extra space between yer hits.

Now chop the break up again, and load it back into your sampler.

Now play with the ADSR on the individual hits. You can control the amount/decay-curve of the reverb much more easily then if you were using an actual gate and sending everything to multiple channels.

Build Up effect.

Load a short sample into a sampler

Set the sample so that it loops while pressing the note until you release it

set the slide option on (or portamento)

set the slide time to more than 2 seconds

now play your root note say C1 then play C3

Everybody layers snares, right?

Notice how on the real breaks each snare hit sounds different, because sticks hit different spots on the snaredrum every time.

To fake this, let one of the snares (the sharper one) play normally, but put a narrow notch or comb filter on the other one and automate it (LFO's just fine tho). Now ecery snare hit sounds bit different, not really like a real break but adds action to the overall sound.

You'll need to tweak filters frequency and resonance settings, tho.

^^^ a sample and hold LFO would be gangbusters for that trick. Nice tip!

My contribution:
Run a send from your main mix to a compressor and back. (not an insert, you have to be able to fade it in)

set the compressor to something right fucking nasty, like 5:1 at -20

crunch that fucker down, makeup gain to bring it to zero in the compressor.

at mixdown time, fade it in till you get that weird humming pumping breathing at just the right amount for taste.

oldschool timestretch tip:

load a sample into your sampler (hard or soft, it doesnt matter).

map velocity to sample position.

filll up 8 bars (or whatever) with short notes, 32nds, 16ths, 64ths, make a funky pattern if you like.

draw a ramp of the velocity from 0 at the start to 127 at the last note...

this will accurately timestretch any sample to any amount of bars you like, regardless of the original tempo of the sample. it can also be fun on breaks (run them backwards, stretch the kick over a bar, etc,) - also try randomising the velocities for some random sounds.

Watch it with the compression. You're gonna poke someone's eye out.

one tricky thing i never heard mentioned. some time ago, i needed a ghost hit but i didn't have one in the break i was using. no other sample seemed to fit. none of the usual 'just make it softer/eq it/filter it/pitch it up/down blah blah' did shit.
the snare was compressed to a 'smash' sort of sound and i wanted a tick sorta sound for the ghost. so -
i used an expander.

That "Roni Size" ducked white-noise snare sound in software.

I had read that huge snare sound came from keying the snare to some white-noise via a gate.

Anyone else who has tried to set-up a keyed gate in cubase or the like will feel me on this, It's HUGE pain....possible to do but not very quickly or efficiently...

SO........

run yer snare to a seperate out and use a send so you've got it on one of the group channels. Now slap a vocoder on the group channel and set it to carrier to "white- noise".

Baddabing, badda bang....

Oh, and running a send of yer whole drum track to a vocoder can have some very kewl results as well.....see, above.....

My tip is to use the delay parameter to make your rhythms sound more life like. I am not talking about echo, tape delay or delay lines just so you're not confused. It is a well know funk trick to apply some negative delay to your snares (+ve delay makes sounds later, -ve delay makes them earlier) so they sound rushed and urgent. Hats often like a touch of negative delay too. Put delay on the kick drum to make it sound dragged and laid back. In house music the main offbeat snare sounds simultaneously with the kick drum. If you use this technique it means the snare will hit just before the kick which sounds rude. As with many production tips, be careful not to do too much. A bit of delay in your bassline will put the attack just after the kick drum so that they won't sound simultaneously preserving precious headroom in the bass region.

Try volume envelopes on your individual drum hits rather than compression on your whole break

very cool effect for vocals...i guess its called pre-verb

first off, make sure the vocal sample your using has a little bit of dead space before the beginning of it to give you some room to work with

then, reverse the bit you want the effect on or reverse the whole thing whatever your going for i guess

then, put a good amount of reverb on it preferably with a long decay and then reverse the vocal again and voila!

you can try this with delay to get another cool effect

DIY dub delay:
send one of your sounds to a (digital) delay through and aux is easiest, put the delay on another channel.

(example: ch1: sound, aux1 -> Delay in, ch2: Delay out)

This way, you can feedback the delay onto itself by adjusting aux 1 on channel 2. Now you can adjust the channel's EQ to taste do make those endless filtered delays. Be really careful with the feedback though.

metallic sounds, loops:
Set a delay to a really short time (a few ms.) with a delay amount to taste. This way you get a really metallic sound like the Sonic Mines in StarWars ep.2.

Predator screaming: Make some scary sounds (you screaming, or grunting) and add a subtle ringmod with a slow lfo if possible. It sounds like you are the Predator.

Sidechaining Synths To Percussion Lines in Logic :

This is well known but no one has mentioned it so fuckit. load up a synth patch and record some melody in your sequencer. Then Load up a Noise Gate or Autofilter on the synth track and choose your drums/hi hats/bongo tracks as the sidechain source. Do abit of tweaking and you should come out with some good results. Also sidechaining Your basslines to your drums via autofilter can create some sick twisted blines

Another Logic Trick this time utilising the Tremelo plugin...this ones really cool

The default tremelo patch is an auto panner and you can use this to create a variety off pulsating fx by crossfading between 2 seperate aux objects....

Load up a pad sound or something similar in an audio/audio instrument track. Next load up the logic tremelo plugin onto a stereo buss and make sure the bus's audio output routing is empty. Then feed 2 stereo aux objects panned hard left and right respectivley, from this bus object. Now route both Auxs to another bus this time in Mono which then feeds the mix normally. Feeding the stereo buss from a channel causes audio to sweep between the 2 aux channels each of which can be given different Eq/Modulation settings etc. The Mono buss object then combines the 2 aux channels into a singal channel which can be panned to match the original source if required

SIDECHAINING with CUBASE SX and Waves C1 sc in 9 steps

If you want to know how to use sidechaining in SX, read this. I just figured out how it works, took me ages

I recommend trying this with an easy 4x4 kick pattern and a basic subbass, makes it much easier to see and hear the results.

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1. start a new project and create 3 tracks - a kick drum, a subbass and a STEREO group channel

2. Insert the Waves C1 sc into the stereo group

3. pan the kick hard left and the bass hard right

4. route the kick and the bass channel to the stereo group

5. open the Waves C1 sc, and set KEY Mode to L>R
now the kick is "gone", your bass should only play on the right side.

6. to bring your bass back to the center open the mixer and RIGHT-CLICK on the PAN fader of the STEREO GROUP.
there are three options, one gets the desired result (and i forgot which one ). you'll see two panning faders there, just put them BOTH to the center. just try until you find the right option, if you get this working the hard part is done.

7. open the Waves C1 sc and lower the treshhold to -30db.

8. pull up the ratio and see how the gain reduction meter starts pumping to the 4x4 groove of your kick. you're almost there.

9. but now you wanna hear your kick again, right? create a new mono group, then go to your kick channel and SEND it to this group.
That's it!

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