Let's talk snare rolls/transitions

[David Ray]

Don't forget- sometimes less is more: how about a mute?

[David Ray]

...or half time hats.

[i3enjamin]

Good point. A drop can make a huge difference... and it's an easy option to forget about.

[KT1]

Transitions can be anything. I use everything from LFO's and resonance to percussion groove changes. Rolls - i like complex programs. Swithcing time signatures or a random groove. It's endless.


White/Pink noise is almost the best tool in the world with some good filters..

[yosemitesam]

Reverse crash cymbals into crash cymbals. Tom rolls. Flams.

[NinaBeatz]

Sometimes dropping the kick and or snare for the bar right before the hook or bridge creates a big enough impact to be a sufficient "Transition" by itself.

[thisisfdr]

I use track mutes a lot too, sometimes even go to complete silence. I love it. Pitched snare rolls seem appropriate more for trap style beats.

Also on the last bar of the phrase sometimes I will let the kick hit like 4 on the floor style, maybe layer the snare on top with some cymbals. That's a basic one that works in a lotta places.

I want to improve on my actual drums patterns into a transition, ones that a actual drummer would play. I just purchased Addictive Drums for more realistic expression from the drums, but I haven't quite figured out how to make those life like drummer transitions yet. I know its a lot of velocity, and slight differences in the actual snare/kick hits, etc... Anybody programming in their own realistic drum transitions?

[Colin McCabe]

How about delay effects on snares. I was listening to boarding pass and I think Johnny Juliano did it on that song to make the snare roll sound like it was a box of marbles being dropped on the floor. Just a cool creative idea.

[Impulze]

I love to make snare rolls myself, by filling in steps all the way, like one bar with 4x4 beat snares, next half bar is 8x4 and so on, just fill in the steps when it sounds right.

For lasers or "sweeps", as it's called in my type of genre, I have a generator make a sine in like 250hz, and one in 1k, and the same with whitenoise, so I end up having 4 different 1 sec (or so) long clips of audio, and then fade between them (from the two 1k's to the two 250hz's), as well as automate a huge bell eq to roll down the eq, so that the sounds pitch down from really high pitch to low. Then I bounce them as one, when all automation is complete. Keep in mind that you have to set the levels between the sine sounds and the wn sounds. Then I add lots of reverb, and maybe some tube dist, bounce again, and reverse it

For glitching i prefer dBlue Glitch, a free vst for Windows. It has tape stop, retrigger, gater, crusher, modulator, shuffler, reverser, delay, and stretcher, and you can randomize it so that all of them mixes together and stuff. Great plugin.

[zzz]

sometime cut other elements...

[RyanC]

Xfer LFO tool. Buy it. It's usefull for SOOO many things, not the least of which is creating next level (and the ones after that) transition fx. Being able to store your own automation presets and import them over any/every element of your mix is pure magic. And the new version has killer filters...

[KT1]

Originally Posted by RyanC

Xfer LFO tool. Buy it. It's usefull for SOOO many things, not the least of which is creating next level (and the ones after that) transition fx. Being able to store your own automation presets and import them over any/every element of your mix is pure magic. And the new version has killer filters...

It's cool Ryan I also use this. I like how quickly you can get into the envelope. I especially like it on noise and or square wave forms with noise in the osc mix and some resonance. In live you can get into the envelope easily so I don't use it as much. For the sidechains unless foot floor type I find it a little artificial. That being said I have a couple presets I have made I like on certain sources ans it does save a little time.

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