![]() So actually most of the content of the classic breakbeats is midrange. You have to realize the original source material was mastered for vinyl at a time when playback was very very averse to excessive sub content. This can be emulated through the technique above, with basically indistinguishable results.įor jungle, imo, it’s mainly about chopping the low end off of the break at around 100 hz to give more of a thuddy quality to the kick rather than a true deep boominess. ![]() The thing that gives chopped breaks their unique vibe is the fact that you’re hearing the literal exact same reverb decays on each iteration of the slice… basically like turning a photograph into a stamp and then collaging it. ![]() Then just sample it to one audio file and chop it up, re-pitch it etc. It’s especially great if, after the processing, you stick a dynamic mic in front of an actual speaker in real life and re-record it. Send the whole thing through a room verb (uad’s capitol chambers is legendary for this), some eq (use graphic eq and pultec style to get the soulful quality), compression (1176 in all-buttons-in mode is great for this), a bit of tape saturation etc… basically make it a bit janky and character-ful like all the best pre-existing breaks out there. If you’re willing to cheat a bit, try writing your own drum breaks using something like superior drummer or logic’s drummer.
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