![]() We’ve layered it with some white noise to create a subtle crispy decay tail, helping the 16th-note pattern to breath. The second, Hat 2, is similar to first but without the use of saturation and reverb. The first, Hat 1, is treated with some saturation and subtle plate reverb and plays on the off beat, mirroring the snare pattern in most places and adding a little complexity toward the end of each bar. This beat contains two slightly different closed hi-hat sounds. The resulting sound isn’t quite a snare any more, but an indefinable percussive sound. Secondly, the snare has been pitched down extensively (nearly a full octave from the original 808 sample) and then run through a 24dB/octave low-pass filter with mild resonance. The snare effectively works more like an open hi-hat normally would, filling the gaps between kick drums. There’s a small amount of velocity variation to add interest, but it’s mainly the placement of these snare hits that gives the beat a lot of its character. Firstly, the snare pattern is unusual: the snare hits on off beats and 16ths rather than on the two and the four as you might normally find it in a lot of house and techno beats. The kick pattern is a simple four-to-the-floor beat.įor the snare, we’ve used a Roland TR-808 sample as a starting point, but we’ve broken with convention here in a couple of ways. Finally, we’ve boosted the low end and removed made a small cut around 250 Hz. We’ve chosen a LinnDrum sample for its unique snappy attack, then run it through heavy compression and analogue overdrive to add character and harmonics. ![]() The kick is the main exception to the analogue rule. Sounds Vintage drum machine samples and analogue hits Step 1įor this beat, we’re mainly going to use analogue drum samples as our sound sources, processing them with filters and saturation to create a distinctive in-your-face techno sound.
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