Male 1: Trap hats are a signature sound to the genre. The hats pattern often alternating between multiple note values including jumping on and off from a triplet grid. To start off, I'm gonna create a simple 16th note closed hat pattern, so I'd click and change the grid to a 16th note. I'm gonna double-click on the closed hat to create one and use the Cmd or Ctrl+D to duplicate. Let's select the entire first bar of only the closed hats, and Cmd+D. And let's listen.
We can hear it sounds okay, but doesn't have the trap quality to it. Let's start taking a few 16th note and turn them into 8th notes or even 32 notes. First of all, I'm going to right-click and change re size to 32. Let's take this note. I'm gonna double-click to delete it, and then I'm gonna click again to create two 32 notes. Excellent. And we'll take this one, and we'll extend it. Take this one and make it a 32, and we'll make this one an 8th note. Maybe even go smaller than 32. Now, enable to write when you right-click. You can not see smaller values than 32 notes. So, what you can do is hit the Cmd+1 key, Cmd or Ctrl+1, to change the grid size to a smaller value. And right now, we have 64.
Gonna change this note to a 64, and Cmd+D to duplicate it. Excellent. Let's change this to 32, and let's create the last one as an 8th note. And we'll take the entire first two bars and duplicate them to the third and fourth bar. Let's listen now. Excellent. Try to experiment with changing your grid to a triplet grid, and adding a few notes in this type of note division. To toggle the triplet grid, I'm gonna right click, and I'm gonna choose Triplet Grid. Let's right-click again. And choose 16th note. Before the last snare, I'm gonna delete all the note.
Let's create three 16th notes triplets. Let's listen to it from here. Once again. . For the open hats, I'm gonna place them on every other beat which is the two and the four. Let's take the open hat. I'm gonna right-click to turn off the triplet grid. Right-click again to turn on the quarter note. And let's create an open hat here, here. We'll highlight all of it and duplicate. Excellent. Let's listen.
Now we didn't hear any open hat, and the reason is, is because the open hat and the closed hat are connected together. Meaning that they cannot play at the same time. Now this has come to mimic the real world, where we think of a high hat pedal And it cannot play the same time the open hat and the closed hat because its the same instrument. In your software, make sure that the open hat and closed hat are connected together. Sometimes it might be called as a choke group. In Ableton Live, you can go to the drum rack from the bottom right tab. Open up the chain list, open up the inputs/outputs and make sure that your close hat and open hat are in the same choke group. It doesn't matter which number as long it's the same. Now if we make some room for the open hat by deleting all the closed hats on the second and fourth beat. We can start hearing, the open hat.
. Excellent. Let's just give it some triplets at the end here. Let's just spice things up. Excellent. . May be another one here in eighth note. Whenever you are gonna add the closed hat when the open hat is playing, the closed hat is gona cancel the open hat´s sound. So for example, I'm gonna play the closed hat on the second eighth note of the second beat. And we can listen that the first open hat that plays in our beat is much shorter than the rest. Let's listen to it again. Excellent. Use the choke groups to your advantage and you will have full control on how long you want the open hat to play. If you wish to expand on the trap beats, try different hat patterns. Also try to replace the open hat with the cow bell type sound. And try adding human shouts on every other beat just like we did with the open hat. You can also try placing a clap sample on every beat for more of a clubby feeling. Let's try that. I'm gonna hold Option and I'm gonna copy our existing clap. Let's select all the claps in the first bar and Cmd+D.
. Trap style beats should be very bouncy and should make your head nod. Try experimenting with different types of hi-hat patterns to see how many trap beats you can come up with.
First get some basic rhythmic theory, including counting music and note subdivisions, and learn how elements like cymbals, percussive instruments like congas, and even homemade sounds from cans, bottles, and counters contribute to your beats. The following chapters tackle the particulars of house, dubstep, drum and bass, trap, juke, and hip-hop. In each of these chapters, Yeuda discusses how to choose the appropriate tempo and drum sounds for the style and how to sequence the kick, snare, and cymbals. The course closes with some pro mixing techniques that balance punch and presence, so your drums will cut through the mix and sound their best.
- How to count music
- Using a piano roll editor
- Choosing the right tempo and samples for various genres
- Sequencing your drum elements
- How to program house, dubstep, drum and bass, trap, juke, and hip-hop beats
- Adding extra percussion sounds
- Adding breaks
- How to mix your beat for presence and punch
- Adjusting levels and panning
- Adding reverb to your beat