Files:

FL Zip Package (475KB)

Steps:

Making electronic beats is rarely as straightforward as simply manually programming a few samples. The higher the bpm of a beat, the harder it is to establish a groove. If you listen to a fast beat (i.e. 140 bpm), you'll find that individual samples merge into a sort of texture, and it becomes hard to distinguish what, exactly, is contributing to the groove in what way. Even if you slow the beat down, it is hard to tell what element is doing what in the groove.

So how are these "groove textures" created in the first place? I'm sure every producer has their own techniques, but I've "evolved" one of my own that is fairly effective, although it does rely a little bit on trial and error (but it doesn't usually take more than 2 trials!).

So here goes.

Step 1: Make a basic 4/4 beat. You know... 4 kicks, 2 snares, maybe an 8ths hat, and the usual open hat.... listen. It's nothing special.

Step 2: Make a basic "break" beat.... listen. It's also nothing special.

Step 3: Here's where the magic happens. Compress the break beat, and EQ some bass out (so the break kicks don't interfere with the 4/4 kicks). Route both the break beat and the 4/4 beat to the same channel, and compress them together. Listen. Unspecial layered with Unspecial = Special. : )

Tips:

You can completely change the character of the resulting groove by playing with compressor settings and eq. The only real fixed rule is that you'll have to take some low out of the "texture" component (the break beat) to prevent a mess of subs.

When working at high bpm, remember that a strong groove at high bpm will almost always become an even stronger groove at a lower bpm. Use that to your advantage - always start your temp 10 or so bpm higher than your target bpm. If you get a good groove going at that tempo, then it will be a great groove when you lower it to your target tempo. Do NOT go the other way around. A groove that sounds great at 130 bpm may completely disappear at 140 bpm.

 

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