You will have to nudge it forward or backwards to make it feel right, but don’t be afraid, “command + Z” will become your best friend. Or even try freestyling with some instruments on MASCHINE without quantizing. Sometimes you can even find loops that are just 1 BPM slower than your session tempo and make a shorter loop that matches up well with your existing programming. If you don’t have a mic or interface, you can also try bumping the loop a few samples off the grid to keep it from sounding robotic and sterile. This will add more unique character to your loop that no one else can replicate. If you’re working with a pre-made loop, you can experiment with volume automation even within just one bar. Whereas your MIDI programming will likely be very dynamically static, having layers of sounds within your loop that have varying dynamic levels will add some subtle variance that will help make things feel real.Īnother great reason to add live percussion is that you get the sound of the room you are recording in through the microphone. This will add different dynamics within the different sections of the song and even within one verse or chorus. Maybe even try to perform a complete take of the song along with the MIDI programming and leave it untouched. When recording a part, use a two, four, or eight-bar loop of a shaker or tambourine loop to add to the arrangement. If you have a microphone and an interface, it’s highly recommended recording real percussion and claps to add life and vibe to your sound.
In the example below you will hear one drum loop, and then the same loop with a clap and an additional kick and snare sample added for effect.Įven if low in the mix, adding extra percussive instruments like shakers, tambourines and claps will make a huge difference in how your loops sound and feel. Get creative, and let the song or genre guide your choices. You can also try panning different samples to the left and right along with your main samples that are centered. When it comes to things with a lot of low-end sounds, like kick drums, floor toms and bass drops, layer less to avoid phase cancellation. Be creative and use your ears, as sometimes an out of phase combination of snare drum samples can actually be sound really good. Generally, this will result in a lack of low-end in the sound, which is usually not desired. When adding samples, be careful to check the phase coherence between sounds as you can easily layer two or more sounds that are out of phase with each other. Sometimes just adding a simple clap to a snare will bring your beat to life.
#DRUM MASCHINE NATIVE INSTRUMENTS FREE#
For example, when working with an 808 snare, for example, feel free to layer a deeper, dirtier 909 or Linn snare underneath for texture and weight. While preset kits like a classic 808, 909 or Linn Drum kit can be helpful as a starting point, don’t be afraid to branch out and layer sounds.
This will give you the flexibility you need to layer samples. When starting a beat or loop, using a sampler (like KONTAKT for instance) to load all the different types of drum or audio samples. Here are five key things to help you add life, feel and uniqueness to your drum programming. Whether programmed in classic drum machines, sequenced in MASCHINE, or using other algorithmically based programs, the authenticity, and unpredictability of great beats are what makes them sound so alive. From classic 80s hip hop cuts such as ‘The Message’, through to more experimental music by the likes of Mount Kimbie and Hudson Mohawke, great human-sounding beats and loops are what makes songs dance-worthy.
#DRUM MASCHINE NATIVE INSTRUMENTS HOW TO#
By providing some essential tips and tricks, you can learn how to get that human feel on your productions, without having to revert to using a real drummer. Miller looks at the role of organic drum programs in contemporary electronic, and hip hop based music. Originally published over at The Loop Loft, L.A.
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