Making Disco Claps, Part Two
Let’s continue with part two of ‘Making Disco Claps’. There’s more fun to be had with audio alone, so I’ll introduce EXS24 at a later stage in this series. I’d like to add that there is no right way to do this, I’m just giving you options on what tools to use. Drop me a comment if there’s something that you don’t understand.
This is where we I left off in Making Disco Claps – Part One:
All claps are on bus 1. Remember, bus 1 had some EQ, and now I put on a little reverb for taste. Let’s record this bus (bouncing a bus is not an option). To do this, add a stereo audio track, bus 1 for input, no output.
The result (bottom region):
The newly recorded track now has all claps, balanced and panned, but the bus was recorded pre inserts so I assigned bus 1 to the new track to get the EQ and Reverb back. Mute all tracks containing the original claps. Strip the silence off the new track by pressing ctrl+X (the region must be selected):
Now I can move the individual claps around again. Remember I already had different claps for beat 4? Repeat the section so we can emphasize beat 8 a little. Copy the section, or activate the cycle locators for the section and click on ‘Repeat Section’. Result:
The region for clap number 4 is longer because I time-stretched it. To do this, make a length change of the right side of the region while holding down ⌥. Zoom in to be able to make smaller nuances. Once again, these aren’t rules, so play around with the position of the individual regions, and strrrrrrretch those regions, until it feels just right. Stretching introduces some artifacts that I really like in this case.
If you want more control over what algorithm is used for stretching, hit ⌘+F to activate Flex View, and select the mode in the track header. Another option is to select ‘Audio’ in the Arrange Window and select ‘Time Stretch Algorithm’.
Here’s what it sounds like. (Mix reference : laptop speakers)