![]() Then i know where to place the samples if i want to construct the original break, or sections from the break (e.g. Amen, with sub folders for each bar, i would have one shots that make up that bar and are labeled with their beat/division placement. This means that once i export everything into a folder dedicated to the break e.g. I would then label these Kick 1, Snare And (1), HiHat 2, Snare E (2), Kick and (3), Snare A (3) etc. Then i slice at transient markers, so i then have the break in one shots. I try not to have one shots last more than a beat because thats when i start to have timing issues. I then quantise the loop to 16ths/semiquavers, this means that i work in the resolution of 1 e + a, (4 events per beat) etc, so that each one shot lasts a 16th, unless it is a Kick, Snare or Vocals, they usually are a quaver/dotted quaver. With the end of the current one shot, i try find the lowest part in the waveform so i don't get that "suck" sound at the end of the sample (although the end transient marker is also the start of the next one shot, so i try compensate for both)ģ. I try to get the transient marker just before the spike, so i don't lose the attack of the current one shot I'm working on or spill from the previous sample. Once i have done this, i go into the sample editor and move the transient markers (as Logic's transient detection is shite and the + function does not work in Logic X due to a bug, worked ok in Logic 9). Then i time stretch/compress the break so it fits into a 4 bar loop (or how many bars the break originally is) and can be looped with no issues.Ģ. Shorten the end region just before the next beat(kick,snare etc). Shorten the region at the beginning so the kick(or other instrument) is directly on the beat (or a few ticks off for a human feel, but the region is on the beat) Use the bpm counter to figure out the breaks rough bpm. amen) record it from vinyl into Logic X at 96k, making sure the vinyl is super clean and there is no prominent clicks and pops. I will now break down how i now chop breaks below ġ. Now i know this is how Drumcorps, Venetian Snares, Shitmat, Squarepusher, Igorrr and Maruosa, among many other artists that influence me (including a lot of you talented chaps on here) do this, but being a complete novice i had no idea about the level of detail that was put into sample preparation and only figured this out by listening extensively to those artists. Creating this master break, i would only need to import it into a new song and not have to chop and slice it every time i started a new song. So i came to the conclusion that id have to chop every break into one shots, which i could then place on the samples relevant subdivision of a beat in a tracker and be able to build the original break and variations. By researching and watching tutorials, i tried to figure out a method that would work and i would only have to do once. Granted the use of the sample offset command would help me choose different parts of the break and combat timing issues, but since Octamed only has one line for commands, id be missing out on all the glorious pitch shifting and other effects it has to offer. I felt this was a lot of work to put into a break every time i wanted to write a new song and i did not want the songs BPM to be dictated by the breaks BPM. This worked for a while but the pitch would always need to be fine tuned to get the groove right and this really annoyed me. C to C# etc i could play the break at faster tempos, or pitching it lower for slower tempos as well as combating timing issues (you guys know this :P). After experimenting (as i have no experience with producing breaks or drum loops, i am a guitarist into METAL ) i realised by either increasing the pitch of the break e.g. I realised that sometimes the break would either wrap around too early, or not play in its entirety before the loop comes back around. I would figure out the BPM of the break and then set my song to that tempo and put in the break. When i started getting into breakcore, i would find a break, be it 1 bar or 4 bars and transfer it to my Amiga. Primarily i work on LSDJ on the gameboy so i have an understanding of trackers, but i wanted to "up my game" but still use old hardware, so i bought an Amiga with Octamed and started using that. I will give you a little introduction on how i started out and then go into great depth on how i currently chop/process breaks today, to be used within Octamed for my Amiga 1200 and Renoise on my Mac. I wanted to ask you all some questions in regards to break preparation and if you can offer any tips to improve my technique and speed up workflow, as i am completely self taught on this subject. ![]()
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