Audiomulching Drum Samples Tutorial Screencast: Part IV
In the final part of the four-part series on working with drum samples in Audiomulch, we build a weird beat and the make a variation using only one approach of the several available using the set of contraptions at hand. Check out the other parts of this video series and other clips on Audiomulch at Gearwire's Audiomulch section.
[ROB WARMOWSKI PLAYING AUDIOMULCH PROJECT]
ROB WARMOWSKI: If we want to, say for example, get rid of more of the conventional drummy parts of our loop and focus instead on this triple, maybe triple in hats. It seems like something resembling a breakbeat might come out of that, at least for a bar or two, so we'll go ahead and assign that to preset slot number 2, and then we'll transition between the two of them at the top of the measure.
[ROB WARMOWSKI MODIFIES PATTERN]
Ah, the triplet not really playing nice if you ask me. Let's dial that down and let's give more focus to the main beats. We'll store that in 2. The transition between the 2 and C, it should have some subtle change. Nothing terribly jarring but it is the kind of subtle textural change that can benefit a mix if you roll in a loop in 16th or 32nd position that is just slightly differentiated from the previous, say, 15 loops. It can create some subtle tension in the listener's ear, sort of telegraphing that something is changing or about to change, and of course that being subtle when you're called upon to make a change in your drum beat is probably not as popular a move as a producer as being really obvious and having a gigantic change in drums from one to the other, so let's create yet a third preset and in that let's just mute the triplet, crank the conventional parts a little bit, store in there, and then transition between one and three.
[ROB WARMOWSKI MODIFIES PATTERN]
That works nicer. The triplets, the ghost notes if you will, sort of happen and then they stop happening. Back on and off.
Well that is one way to do it. What we end up with here is a drum loop transition in about 10 to 15 minutes that incorporates some self-recorded drum samples and doesn't really get involved in using presets that come out of anywhere. This is about as organic a process as I think you could ask for if you're sitting down at a computer to sort of knit together audio and musical elements out of prerecorded clips, which is exactly what working with samples is. This is one of the reasons I love Audiomulch. It can get you quite a bit down the road pretty quickly and I like unusual beats and this is definitely a great generator for those.
Well, thanks for watching. This is Gearwire.Com. Keep it on Gearwire.
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