3 Bar Loops...
I might be chopping up a sample, and then i'll come up with a great loop... only problem for me is, they sometimes end up being 3 bars long, and no matter how long i experiment with the tempo of the song, it just doesn't feel right. Does anyone have advice on how to work with three bar loops?
try to cut some parts inside the 3 bars loop and build a fill part for the 4th bar.
Hm, I try it when that happens again and tell you how it works out
if the loop is longer
then you can fill those last 3 bars with a snare or kick roll
this sounds especially nice within those last 3 bars there are defined hits liek a piano for example
putting kicks or snares on top of those can make it sound very nice
i sometimes do this intentionally as it is also a great way to mask your looping especially if on the first kick of your drum loop you have a nice, low(volume) symbol or ride
you can do interesting things in terms of composition with a 3 bar loop, i wouldn't rule out just using it. for example, consider creating a 2-bar rhythmic pattern against the loop (ie the clave in latin music). The rhythms will only sync up every six bars in that case. it gives the music rhythmic tension and makes it less predictable
sframpt is exactly right: There are many ways to go forward with a 3-bar loop. However, it depends a lot on which part of the sample (samples are not loops, we *make* them loop) that you like or need the most. If you want to keep the entire sample *as is*, then within the 3-bars, you can create a drum pattern that makes everything mesh together.
In the past, when using 3-bar loops, I've placed a snare on the first step of the sequence, and then arranged my kick pattern around it, usually something rather simple. Most of the time, that solved the issue. Other times, an additional "covering sample" (usually just a snippet of the same sample) at either the end of the 2nd bar or 3rd bar solved the issue for me. Usually, this would involve somehow getting a 4-bar structure, though.
But in those cases where that didn't work, I copied the 3-bars, making them six. Now with the six bars, I deleted the last two, giving me 4 bars. I'd play the 4 bars to see what/where I was lacking something. Keep in mind, I would not delete the original 3-bar loop, because I wanted to use it as a reference. So even though I was working on just one beat, I would have three (or more) separate sequences of the same idea. This means that I would have the original 3-bar loop sequence, the 6-bar loop sequence, and the 4-bar loop sequence. For each sequence, I would construct a slightly different drum pattern, varying in complexity and syncopation.
Now this is where mute groups (I call them "cut offs" in The BeatTips Manual) really helps. On each of the sequences, I would experiment "cutting off" different points of the sample. Often this would tell me exactly which part/moments of the sample that I really wanted and which parts I didn't actually need. Having discovered that, it became easier to identify if I needed a 3-, 2-, 4-, 6-, or 8-bar sequence. If I still found—after all of that—that the 3-bar loop was the best, I would just make a 2-bar drum structure (lead by the snare) inside of the 3 bars, then I'd duplicate everything to give me 6 bars (a pair of 3-bar sequences). Main reason I duplicate up to 6? Because as a rhymer, I like the longer structure, because it allows me to put in a specific sound (like my infamous Hat X) on the 6th bar, which helps me with my timing, and gives sound a level of uniqueness.
A bit off topic, but Sa'id, does your track "Deal Wit It" have that infamous Hat X in it?
Last edited by dkelloway; 01-19-2011 at 08:42 PM.
Absolutely! Yes it does. In fact, I use two variations of it (different velocity and sustain) on that joint...
Originally Posted by dkelloway
that's my favorite joint of yours. The bassline/drums (the rhythm section) really do it for me. I can relate to the rhyme too.
Originally Posted by Sa'id
Did you assign those 2 hi hats to the same pad or did you assign them each to their own pad?
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