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How do create drive in your tracks?
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| cammaxwell |
I like a certain style of house, a certain energy, that is really driving. The kinda stuff I like to play at peak hour in the clubs.
So when I'm making my tracks I'm trying to create the driving feeling but have been struggling. Sometimes I feel like my drums are there, but then the synth element I bring in takes the track deeper than I wanted. But I know even my drums are still missing something too.
What do you guys do to create drive? What do you do to the drums and what do you do to the synth elements? Are there certain sound placements? Certain chords?
Love to hear your thoughts, thanks! |
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| adi_hanson |
Listen to those tracks you play at peak hour.
How do they reach the peak?
Its all about the arrangement, and use of FX.
But dont forget your playing there records because they are good.
Its a huge learning curve, but trawl the net and pick up little bits of info instead of asking a straight question on here.
So... The only bit of advice I can give, is that when im making a track, I start and continue until the break with maybe 6 tracks.And soon as the break and build up start, 15 channels could be running.
But personnally synths , FX and automation is all you need for a good break with energy. |
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| Zombie0729 |
| a lot of it has to do with syncopation, how your elements talk to each other and move forward rather than fight for groove. |
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| DJ Robby Rox |
Theres 2 ways I notice most artists accomplish drive.
Either by automations that introduce new patterns, or by events that change during a pattern loop.
Ie. Swooshes thrown over transitions make the new pattern drive in much stronger then if the swoosh wasn't there. But what happens is the swoosh fades out, and the beat itself is left to maintain the drive.
Thats why I love tracks that don't use swooshes, but rather a powerful drive within the actual beat, so whether or not you have crazy fx pushing the beat, the beat is capable of carrying itself.
So obviously its always gonna be more important to have events within the beat that keep it driving.
Somethings I do:
filter open/close sequences.
You have 4 beats a bar.
One beat has a bass that changes octave like this:
---x
--x-
xx--
The second beat is the same patch but doesn't change octave:
-xxx
You add them together you get:
---x-------x----
--x-------x-----
xx---xxxxx---xxx
(note, these patterns are NOT displaying right because of the variation between the x's and -'s, just visualize it or write it out for a better picture)
You use one patch, and drop filter sequences, or have each patch routed through a different filter in the mixer, doesn't matter. But to keep it simple you wind up with:
---x-------x----
--x-------x-----
xx---xxxxx---xxx
But then each beat from above gets treated with alternating filters that goes lp env, bp env, lp env, bp env.
Beat 1
---x
--x-
xx-- gets treated with a regular low pass envelope.
Beat 2, same patch, gets treated with either bandpass or hipass env (bandpass usually drives better I notice)
-xxx
So you have beat 1 pulls the drive up (forward), the beat 2 releases after the kick with the bandpass automation. So it goes heavy/drive (beat 1) light/float (beat 2). And you get an effect where 1 beat pulls the beat forward, then the following beat just hangs in the air floating till the 3rd beat comes back and pushes it forward again.
Theres naturally tons of variations to this.
Method 2:
Using resonant automations/spikes to throw the bassline away from center.
And this comes down to establishing grooves between event automations (using Fruity lingo sorry).
But saying for instance you have 2 basslines.
1 is a hard sync off beat like this:
---x--x----x--x-
Put the sync on a resonate bandpass.
The first x note you keep the band pass open a bit, then when the second x note hits you close it just a tiny bit.
With a bandpass filter on a resonant sync, this creates a very obvious push pull effect or drive.
To compliment the sync do this:
Place a second bassline on every other note:
xxx-xx-xxxx-xx-x
Then use resonant sharp sweeps to throw the bassline away from itself as it runs (best way I can describe it). But you wind up with sharp sweeps usually by filter, that sounds very much like little explosive spurts of energy. Doing this creates the mere perception that the bassline has more energy then it really does. Almost like its boiling like lava as it flows, then occasionally explodes in little spurts at dedicated intervals via the filter sweeps.
But the next step I'd work on the beats right after each last sync, so when the bp closes on the sync and pulls the beat down, a sharp opening sweep on a lp filter will create "spurts" of energy right after the sync closes. When looped you have the sync pushing pulling the beat, then little sweeps on the second bassline throwing hi frequency drifts into the air.
You can get fancy and rev fx or other samples right as these changes are being made, to create a deeper more driving sound.
These are just basic methods I use among many, but I'm sure you get the idea. |
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| Lucidity |
| I agree with Anthony on this one, for one maybe a bit of swing or shuffle, or also, render your parts to wave, then try moving certain tracks, ie- hats and clap, to the left or right by milliseconds, it can add that certain groove sometimes. |
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| aNYthing |
| Sidechain pads :) |
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| parafrNalia |
| Syncopation, Hi-hat shuffle etc. |
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| Richard Butler |
That RunDMC dance remake ("it's just the wayyy it issssss") of about 7 years ago has awesome drive.
Also Fedde LeGrands hands up for Detroit.
I've made a study of these types of track recently and I think part of the 'magic' is in the individual sounds themselves.
Also clever use of automated reverb on things like a kick drum can really add an inaudible bounce that's hard to put into wrods.
Timing of the grove is absolutely key.
One thing non trance people say to me about a lot of trancers is that actualy even some of the 'cool' tracks do remind them of washing powder or car adverts.
They say there is'nt enough of a grove and such tracks don't have a danceble vibe.
Here's a link to Joris Voorns myspace - lisdten to the groove of it from 1 minute in - immense, yet seemingly simple.
Track is 'chase the mouse'
http://www.myspace.com/jorisvoorn |
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| Sonic_c |
Im into that double kick thing but I thought it went
---k---k---k---k
K---K---K---K---
But when i try it it oesnt have the same groove just sounds like a bad dj mix, im thinking they put it off by a few ticks or a dotted or triplet quantize but for the life of me i cant find that spot. |
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| RichieV |
| use groove templates. I find stylus and its ability to export the midi of the loop invaluable for groove templates. Also it is important to not quantize all the loops the same. Tension between elements adds drive. |
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| Lindo |
| Sonic_c: That's the pattern right there. Use a low tom instead of a kick or if you use another kick sample, start off the sample a little ahead. Airbase has a good tutorial on it on his youtube channel. |
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| kitphillips |
| , I thought some of us here were into actual music, you know, as in, NOT pop music. Fedde le grand gets played next to lady gaga in top 40 clubs around here. I'm seriously considering going over to IDMforums.com and just never coming back:( |
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