Overtly electronic sounds, with bit depths, sample rates, and filtering altered on the fly and triggered by fast runs of notes, are usually the first things that come to mind when you think of glitchy drums. Today’s popular music genres, such as Trap and Drum & Bass, make extensive use of glitched drums especially with a focus on the hi-hats. The next tutorial will show you how to glitch the hi-hat sequence without painstakingly chopping and slicing audio events.
As usual, we’ve prepared a basic sequence in our SoundBridge: DAW that contains the majority of the full mix’s elements. We will focus on the hi-hat as a major sound. It was initially meant to hit every eighth note. So, let us listen to it.
To spice up our hi-hat we’ll use a few effects. Since, to be honest, it’s a bit boring right now. We’ll first use Sugar Bytes’ Effectrix, which we’ll place on the hi-hat channel’s empty effect rack. After we open the interface of the Effectrix the first thing to do would be to slow down the tempo of the Effectrix sequencer at 1/ 8 as we want a longer sequence.
Hi-Hat Techniques For Real Trap Music
The Effectrix sequencer is displayed as a grid, with square icons that you may position with a left mouse click and drag to the right in order to increase the duration of the effect. The tiny squares actually activate the effects listed vertically on the interface’s left side. Naturally, each square will be marked with a different color that corresponds to the left-hand effects. At the bottom of the interface, we may adjust various parameters by clicking on some of the effects on the left (X-Loop, Reverse, Vinyl, etc.). Also, you can see in the picture below, we have made a certain sequence including X-loop, Reverse, Tonal Delay, Vinyl effects just to mention a few. Further, let’s hear the difference between unprocessed and hi-hat processed with Effectrix.
We may also add another effect to this hi-hat pattern to make it more intriguing. MeldaProduction’s MComb is a comb filter effect that may be used on a range of instruments, vocals, and other sounds. We’ve already gone through the interface and settings in some of our previous tutorials (https://soundbridge.io/get-creative-with-melda-mcomb). So we won’t go over them again. We will use just one of these bands for our task and automate the frequency and feedback parameters. You can see this in the picture below. Let’s hear the difference.
Finally, let us hear how the hi-hat is sounding now processed with these two effects in the context of the full mix.
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