cool edit pro 2.0 static at the start of mixdown tracks

#Cool edit pro 2.0 static at the start of mixdown tracks how to

Incorporating little things like this can make a surprising difference to the natural ‘flow’ of programmed parts, even in electronic genres where strict realism isn’t always an issue.

To take a simple example, a drummer only has two hands (and two feet): so when he’s striking a crash cymbal at the beginning of a new phrase, he probably won’t also be striking the hihat, tom or other percussion at the same time. Real instruments and players have physical limitations that it can be helpful to remember, in order either to give your programmed samples more realism, or simply so you don’t make your compositions too dense. Program sampled instrument parts as if you were playing the real thing This takes a bit of practice to sense where the real ‘beginning’ of some hits actually are (especially sounds with slower attacks like shakers), but once you’ve done it a few times and shuffled things backwards or forwards to taste you’ll find it pretty straightforward. You can either do this using the features of your DAW – for example the Groove Quantize functions in Cubase – or you can simply line up your own MIDI (or audio) hits manually against the waveform of the loop on a neighbouring track in your DAW, and add in your own velocity information if necessary. Take your favourite drum loops and grooves and use them as templates for your own patterns. Sample Grooves And Patterns From Your Favourite Tracks I find that trying out many different percussion loops and perhaps taking the sounds of one loop, chopping them up and matching them to the pattern and placement of another loop, can also quickly spark lots of ideas developing a lively and more original rhythm track as I write. Percussion loops with a nice bit of organic shuffle laid behind your main kick and snare pattern can instantly transform an otherwise heavily quantized groove. Drop In Groovy Percussion Loops To Loosen Up The Main BeatĪ classic trick, but it works. Programming your spatial effects manually can introduce very subtle timing ‘discrepancies’ that are surprisingly effective for loosening up the groove and giving a subtly human feel to your electronic/programmed tracks.

Try turning off tempo-sync on your delay effects, and experimenting with longer reverb pre-delay times. By the way all the tips and tricks on this list are in a sense examples of the 10 Principles Every Producer Must Know To Achieve The Pro Sound. None of these tips are very difficult to implement on their own: but try using as many of them as possible together, and you’ll find your finished tracks positively pulse with a new sense of urgent, organic dynamism.

Fortunately, there are loads of tricks for sustaining interest in loop-based music, disguising and blurring the various grids that you use to build your tracks on, and making them feel like living, breathing creations with a power all their own. It seems on the surface like it’s just a matter of flicking from one repeated/looped section to another: but when you try lining up the blocks of programmed drums and synths in your DAW, the result just doesn’t have the kind of energy and sense of drama that you hoped for.

#Cool edit pro 2.0 static at the start of mixdown tracks how to

You know the feeling when you listen to a well-produced electronic track: Everything about it seems to burst with energy, each of the elements twist and wrap organically around each another, giving the impression that the whole track is one big living and evolving ‘thing’.īut when you’re getting into producing electronic – that is, loop or grid-based music – it can be really difficult figuring out how to inject your own tracks with this sort of excitement and life-like energy.