Remember to cut each sample accurately or you may find that the release portion of certain hits clash with the rest of the track's flow, especially if using samples of loose live playing.ġ0. Consider chopping up such loops and mapping them up the keyboard so you can trigger them in a manner that fits your track's overall rhythm. Because of grime's lopsided rhythms, you may find that percussive loops, or indeed any looped samples, are tricky to get sounding right alongside your beats. Eastern sounds work particularly well, but any quirky percussion (used tastefully) can help liven up a rhythm.ĩ. More individualistic sounding beats can be developed via the use of unusual percussion. This can create more human sounding snares and hi-hats.Ĩ. You can change the feel of a beat by playing with individual hits' velocity values. Avoid using excessive gating as this may mask any quieter yet rhythmically important percussion elements, such as shakers or hi-hats.ħ.

If you find your beats are too rolling, try cutting out excess hi-hats or rides before any accented kicks or snares - this will provide more punch. As with dancehall, there's no need to have percussion and bass constantly erupting all over the place - indeed, the silence between the beats is an important ingredient that gives grime its distinctive dynamic. 'Avoid overly complex arrangements, and concentrate on getting each percussion element sounding right in the mix.'Ħ. If you're using audio to sequence your beats, you may find editing your percussion sounds in a sample editor first is a handy way to achieve this effect. To get that sound, you can experiment with your percussive sample's amplitude envelope - short decay and release times along with a low sustain level will give you that snap you desire. Like two-step garage, grime's beats are generally of the clipped variety - note, that's clipped in the sense of being abrupt rather than excessively overdriven.

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