The glitchy drum sounds of Justice, Sebastian, Teenage Bad
The glitchy drum sounds of Justice, Sebastian, Teenage Bad
Just wondering if anyone has some useful info on how to get those "glitchy" drum sounds that i am hearing on alot of ed banger stuff. I realize there is alot of creative use of sidechain compression and gating but I am just hoping some others could give some insightful input. Alot of the Justice stuff almost sound like some type of crossfading technique or something.
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friend_kami
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Re: The glitchy drum sounds of Justice, Sebastian, Teenage Bad
thats not glitchy, its just cut up.towens wrote:Just wondering if anyone has some useful info on how to get those "glitchy" drum sounds that i am hearing on alot of ed banger stuff. I realize there is alot of creative use of sidechain compression and gating but I am just hoping some others could give some insightful input. Alot of the Justice stuff almost sound like some type of crossfading technique or something.
search the forums, theres a ton of threads about people who wants to sound ed banger (not that i understand why, but whatever).
ok
I understand that this sound would be more considered a "cut up" or microsampled technique. I'm not neccessarily trying to mimic Justice or Ed Banger stuff ... just trying to figure out techniques for creating this drum sound. I hear some bit crushing, distortion, reverses, micro edits, compression, and white noise layers under drum hits. I really just can"t figure out the drastic slicing and dicing sound which sounds like it could be automted crossfades or something. I'm just looking for some useful insight.... I've searched this forum and others over and have discovered a great deal of intuitive tips and tricks but this sound is still something that i am struggling to create with my drums.
This is where live shines. Set markers, zoom in and go nuts. command/ctrl+e, command/ctrl+d, rev and the transpose wheel WILL be your best friends. It might sound obvious, but once you get into the small parts you'll realize how easy it really is.
Vary between individual sounds, bounced parts or even full bounces.
Vary between individual sounds, bounced parts or even full bounces.
Chop, edit, resample, move, transpose, reverse, that's all there is to it and if you're not achieving desired results you just need to keep doing it.
If you don't want to spend alot of time really getting down to the core you can use plugins, bounce down a few minutes of a loop, insert it into the project and splice in parts from the bounce into the mix.
Great plug-ins for stuttering/retriggering is supatrigga, livecut and instajungle. However, you also seem to be looking at some filter-techniques. Load up a sequencing filter (audiodamage, camelspace etc), automate alot of parameters, bounce down and splice in the parts later.
And when it comes to compression, it's obviously paralell compression, i know alot of newer "electro house" or whatever artists use more than one extra track too.
Sure, layering is vital, but something alot of producers these days work with is using 4-5 snares that has the same kind of body and alternate between them. It might sound obivous but it is not supposed to actually be hearable in the mix, it's just supposed to add movement and humanisation to the beat. I love the energy using 15 snares (3 laters, 5 alternating) adds to a groove.
If you don't want to spend alot of time really getting down to the core you can use plugins, bounce down a few minutes of a loop, insert it into the project and splice in parts from the bounce into the mix.
Great plug-ins for stuttering/retriggering is supatrigga, livecut and instajungle. However, you also seem to be looking at some filter-techniques. Load up a sequencing filter (audiodamage, camelspace etc), automate alot of parameters, bounce down and splice in the parts later.
And when it comes to compression, it's obviously paralell compression, i know alot of newer "electro house" or whatever artists use more than one extra track too.
Sure, layering is vital, but something alot of producers these days work with is using 4-5 snares that has the same kind of body and alternate between them. It might sound obivous but it is not supposed to actually be hearable in the mix, it's just supposed to add movement and humanisation to the beat. I love the energy using 15 snares (3 laters, 5 alternating) adds to a groove.
kraze wrote:Chop, edit, resample, move, transpose, reverse, that's all there is to it and if you're not achieving desired results you just need to keep doing it.
If you don't want to spend alot of time really getting down to the core you can use plugins, bounce down a few minutes of a loop, insert it into the project and splice in parts from the bounce into the mix.
Great plug-ins for stuttering/retriggering is supatrigga, livecut and instajungle. However, you also seem to be looking at some filter-techniques. Load up a sequencing filter (audiodamage, camelspace etc), automate alot of parameters, bounce down and splice in the parts later.
And when it comes to compression, it's obviously paralell compression, i know alot of newer "electro house" or whatever artists use more than one extra track too.
Sure, layering is vital, but something alot of producers these days work with is using 4-5 snares that has the same kind of body and alternate between them. It might sound obivous but it is not supposed to actually be hearable in the mix, it's just supposed to add movement and humanisation to the beat. I love the energy using 15 snares (3 laters, 5 alternating) adds to a groove.
Thanks a bunch for the input!!! Much appreciated. I'm fairly profficient at warping, chopping and processing audio. I also own a ton of plugs (suppatrgga, liveslice, audio mulch, and dblue Glitch) I guess i just need to spend more time at it. I think it also might be a matter of using different triggers than just the a kick for sidechain compression. I still feel like i hear drastic and quick crossfades in some of the Justice and Teenage Bad Girl stuff... sort of like Akufen. Thanks again for sharing some knowlege and helpful tips.
Parallel Compression is just duplicating and audio track or bussing it to another track....then applying some extreme amounts of compression on the duplicated signal...then u can blend the heavily effected signal with the original. It will add some bite to drums and synths without smearing the original transients.
i love that sound too. a good midi controller is useful - keyboard or pads or whatever, so you can chop it all up live and not have to sit and program it all. this makes it much more rock n roll sounding. i export little processed pieces of loops into an mpc and get crazy on it. the sound is rich and the sequences come out with a kind of naturalism.
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