Breakbeat House

In this instalment of Beat Dissected well be creating a driven breakbeat house style beat.

Beat Dissected is a regular series in which we deconstruct drum patterns, showing you how to program them in any DAW. Just copy our grid in your own software to recreate the loop.

Click here to download the samples.

Heres the beat were building today:

[spec tempo=””118-125 BPM”” swing=””Maschine 10%”” sounds=””Drum Machines – Samples From Mars 808, 909″”]

Step 1

Well begin by making a heavily distorted bass drum. We load ”˜BD_Tuned_3_808_E into a Drum Rack, and programme a breakbeat pattern with the sample, placing 3 hits each bar. Pay attention to the length of each hit, this sample will also provide the sub frequency in the project, so longer notes equals more sub! We load an instance of Fabfilter Saturn and use the warm tape algorithm, but to control the shape of the effect we add an envelope to the Drive control in Saturn, meaning the drive tails off slightly on each hit. We follow this up with an instance of Oek Sounds Spiff, set to Cut mode this takes out the transient in a very natural sounding way.

Step 2

Next to add another layer to the kick drum to take care of the transient. We add ”˜BD_909_37 to the group, placing identical hits as the previous kick drum. Then we add an EQ to sweep the lowest frequencies form the sample. We add another instance of Spiff to the Group, cutting the transient at around 6k, which is the most ”˜clicky part of the sound. This second layer add a nice solid thump to the kick drum.

Step 3

Next for a snare/clap layer for the upbeats. We begin with ”˜Clap_RP_808_11, taking back the Attack slightly and controlling the tail by taking down the Sustain. Now when we programme longer notes well hear more of the splash from the clap, and shorter notes will sound tighter, great for some variation between the different upbeats. We also add ”˜Snare_909_02, pitching it down -2 semitones helps it gel with the clap sound better. We add an instance of Spiff to the snare, taking out most of the transient, and also use an EQ to take out some high frequencies.

On the snare/clap group we add Soundtoys Decapitator for some drive, followed by a low cut EQ and then (yet another) instance of Spiff, this time using the Boost mode to add some more transient detail in the lower mids,

Step 4

Now for some hi hats. First we load ”˜CH_909_15 and programme hits on every 1/8th note, but take the velocity right down for the hits that land on the upbeat and downbeat so they dont interfere too much with the kick and snare, we also add a syncopated hit right at the end for variation. We also tweak the envelope, backing off the attack and taking don the sustain. Next we add ”˜OH_909_15, backing the attack right off, we programme a few syncopated hits, with the sound mixed low acting like ghost notes, providing extra rhythm and shuffle. Finally we add ”˜OH_909_08 programming hits in the offbeats, but shortening the first one in each bar, adding extra groove.

Step 5

Finally some group processing. We group all 3 groups into 1 and load the Glue Compressor. Backing the attack right off and bringing dow the release, for some Snap style compression, we take the Dry/Wet down to 40% for a more subtle application as well follow this compressor with another more aggressive one. We then load Native Instruments Supercharger, only adding a small amount of Compression with the main control, essentially though by turning on the Dirt and Punch we add loads of power to the drums.

Source: Attack Magazine

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