Discuss the various methods you use in music production, from compressor settings to equipment type.
User avatar
By Rodrigo Thu May 20, 2010 5:38 pm
I just stumbled onto this, not sure if this is what he does but it sounds pretty damn close.

1. Create a drum loop out of individual, one shot, drum hits.

2. Then chop that whole drum loop into bars or beats. Have a chop that starts with a snare, a chop that starts with a kick, and a chop that starts with a hi hat. Make sure it's not just a single, one shot, drum hit. In other words, make sure it's a snare followed by other drum hits etc.

3. Then place these chopped samples into pads with the Note Off/Note On function.

4. Slow or speed up the original drum loop (1) by changing the tempo on the main screen by a small amount. This will make the finished product sound natural.

5. Let the original drum loop play (1), and then trigger the chopped samples (3) randomly on top of it (not directly on top of the original sections) without quantize, like ghost notes. You'll get that stuttered effect.

- make sure the chopped samples are tuned up or down by like -/+ 2 or 3, to avoid phasing problems.

6. If you decide to make a sequence out of it, go into the Step Edit screen and season the duration of the chopped samples to taste. You can also adjust the timing of the chopped sample, to get it perfect.

7. Merge all individual drum hits from (1) into one track (delete or mute the original tracks), and use the Track Mute screen on the new merged track.

8. If you want to increase the stuttered effect, turn the Note Off/Note On function on (1) sounds.

If anything sounds confusing, let me know. I wont blow up your spot. It might even introduce a whole new technique. That's how you stumble upon things.
Last edited by Rodrigo on Fri May 21, 2010 3:00 pm, edited 4 times in total.
User avatar
By Rodrigo Thu May 20, 2010 7:25 pm
I just O.D. with the edits. Trying to be articulate. haha
User avatar
By Ill-Green Thu May 20, 2010 9:01 pm
OK, you got a technique. My advice would to use mute groups for those drums because having a kick or snare overlapping each other especially with the same frequency would dull out your sound. Better known as phase cancelation.
User avatar
By Rodrigo Thu May 20, 2010 9:36 pm
Ill-Green wrote:OK, you got a technique. My advice would to use mute groups for those drums because having a kick or snare overlapping each other especially with the same frequency would dull out your sound. Better known as phase cancelation.


Tuning usually helps fight this problem. You can take a snare sample and layer it with a copied version that's tuned -/+ 2 or 3 to make it sound better, no phasing problem even if it is nudged a little. I should also emphasize that I didn't trigger the chopped samples to sit directly on top or right next to the original section it was taken from. I triggered them a beat before/after the original spot, thus creating a completely new drum loop. Like adding ghost notes...
Last edited by Rodrigo on Thu May 20, 2010 9:49 pm, edited 1 time in total.
User avatar
By Rodrigo Thu May 20, 2010 9:43 pm
Ill-Green wrote:use mute groups for those drums


I'll def add that to the list.

7) Mute the original loop (1) in and out will give more options. Good looking
User avatar
By Ill-Green Fri May 21, 2010 10:40 am
Rodrigo wrote:
Ill-Green wrote:OK, you got a technique. My advice would to use mute groups for those drums because having a kick or snare overlapping each other especially with the same frequency would dull out your sound. Better known as phase cancelation.


Tuning usually helps fight this problem. You can take a snare sample and layer it with a copied version that's tuned -/+ 2 or 3 to make it sound better, no phasing problem even if it is nudged a little. I should also emphasize that I didn't trigger the chopped samples to sit directly on top or right next to the original section it was taken from. I triggered them a beat before/after the original spot, thus creating a completely new drum loop. Like adding ghost notes...

:mrgreen: Dope, thats why I said same frequency. But yes thats the way to do it, change pitch and EQ.
User avatar
By The Grublet Tue Jun 01, 2010 12:35 am
In other words, he merges all his drum hits to one track and messes with the track mute? And also plays single drum hits? My bad, I tend to over think it. But would appreciate it if you elaborate a little.


he has several sequences on the mpc 60 built

he switches back and forth between sequences manually.

while switching, he also does live track mutes (via main screen track/ on off/ solo...

he also adds live "note off" snares when he feels like it.

thats it.
User avatar
By Rodrigo Tue Jun 01, 2010 1:01 am
Good looking. Makes sense
By Heartbeat Tue Jun 01, 2010 1:12 pm
The Grublet wrote:
In other words, he merges all his drum hits to one track and messes with the track mute? And also plays single drum hits? My bad, I tend to over think it. But would appreciate it if you elaborate a little.


he has several sequences on the mpc 60 built

he switches back and forth between sequences manually.

while switching, he also does live track mutes (via main screen track/ on off/ solo...

he also adds live "note off" snares when he feels like it.

thats it.


and how does he record? just the stereo-output or separated tracks(8-out)?
User avatar
By thx Tue Jun 01, 2010 1:33 pm
The Grublet wrote:He uses an MPC 60II.

Hence the high end presence.


he uses the note off function.


some of his stuff is really rough live track mutes while using live taps (but playing looped sequences.


the song you posted is done like that.

he also uses a **** of compression.

how do I know?

because I know Daniel Doomalay. Thats why.... sucka!


:shock:
:lol:

really interesting topic
thanks to all for sharing the knowledge
i love Doom, Viktor Vaughan, Madvillain, Metal Fingerz... etc... etc...
he made dope records (got 8 of them on vinyl + other songs on various stonesthrow compilations)
definitely one of my heroes!
User avatar
By epps Tue Jun 01, 2010 3:32 pm
The Grublet wrote:He uses an MPC 60II.

Hence the high end presence.


he uses the note off function.


some of his stuff is really rough live track mutes while using live taps (but playing looped sequences.


the song you posted is done like that.

he also uses a **** of compression.

how do I know?

because I know Daniel Doomalay. Thats why.... sucka!


I thought he f*cked with the 303 as well?
User avatar
By The Grublet Wed Jun 02, 2010 4:22 am
stereo out.

he doesnt have a 303, but madlib does.
By jellyphant Fri Jun 04, 2010 7:25 am
That's a picture of Doom with a sp303; doesn't mean he use it.
I think they used the 303 a lot while getting blunted at the Bomb Shelter for Madvillain