Any suggestions are appreciated. And, as I said, don't be hatin', I know a lot of you guys hate on trap.
Question on Trap House music (don't be hatin')
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patrick.olson86
- Posts: 160
- Joined: Sat May 02, 2009 7:26 pm
Question on Trap House music (don't be hatin')
So, my question revolves around BPM and what you trap producers like to make your tracks in. A double-time feel or regular feel? Basically, like 70 bpm with snares/claps on the 2 and 4, or a 140 bpm with claps/snare on the 3 of each bar? Now, I'm aware you can make the same song with both bpms, it's just how you build the rest of the track around it... Now take that question and add in this: What if I want to add a 4 on the floor house beat in some parts of the song, or if I'm transitioning from a trap beat to a house song. Is there a bpm you guys recommend for this? And again, I know you can do it in double time feel (140 bpm with accented snares on the 3 beat) or in regular timing feel (70bpm with accents on the 2 and 4). BUT, is there an advantage anyone has found to either? (I'm thinking grooves, ease of understanding as I come from a background of playing in bands where I'll only count accents on the 3rd beat if I'm playing reggae, and programming hi-hats in triplet grids as a lot of trap patterns do..)
Any suggestions are appreciated. And, as I said, don't be hatin', I know a lot of you guys hate on trap.
Any suggestions are appreciated. And, as I said, don't be hatin', I know a lot of you guys hate on trap.
Re: Question on Trap House music (don't be hatin')
Do both. It is all about understanding different ways to exploit different ideas in various contexts.
You can do what works best for you, or try anything else. Usually when you venture away from your comfort zone you get some exotic stuff. But if you work where you're comfortable, you might churn things out more readily.
Same goes for djing. Understanding that there are more ways to skin a cat gives you the flexibility to be able to make sets interesting. It'd be boring of you always did the same kinds of transitions. Maybe have a little foresight so you know when exactly you want to take advantage of each type of transition (some tracks work better when you slow down and then pump in the energy, others it is great to build something busy with high speed and then kill it with a vast open thumping space.
Challenge yourself. You've got plenty of years to go before you are exhausted of options.
You can do what works best for you, or try anything else. Usually when you venture away from your comfort zone you get some exotic stuff. But if you work where you're comfortable, you might churn things out more readily.
Same goes for djing. Understanding that there are more ways to skin a cat gives you the flexibility to be able to make sets interesting. It'd be boring of you always did the same kinds of transitions. Maybe have a little foresight so you know when exactly you want to take advantage of each type of transition (some tracks work better when you slow down and then pump in the energy, others it is great to build something busy with high speed and then kill it with a vast open thumping space.
Challenge yourself. You've got plenty of years to go before you are exhausted of options.