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Yeh, I have been hooked to that for a while now. I find it so awesome for getting those trap music styled trills all while staying in on the sequencer panel. Honestly though I bounce all synth/bass parts at 70-140-210 then rephrase the stems.Today wrote:so you're producing halftime 3/4, so more or less 6/4 halfstep with a snare on 3 kind of feel?
do you mean 4/4 to 3/4 ?Roswell wrote: 1/4 to 1/3.
you end up with 12 beats per bar effectively running at 70 or 140bpm depending on how you look at it right? You know if you just turn on tripplet notes at 70 or 140bpm you get the same thing, 12 or 24 hits per bar depending on if you go for 1/8t or 1/16t.Roswell wrote: Well, one great way to capture the SWAG is by changing your time signature from 1/4 to 1/3. First you want to change your BPM to........yes, 210 BPM!! ( dropping gems).
You will have to change your bars from 16 beats to 12 beats, but you will notice the added swag is Boss. Additionally you can bounce the audio files at 70 -140 -210- 280 and lego the stems in a fresh project.
This also helps you jump from style to style, want a dnb break rise right before that huge drop? change the bars back to 16 prior to the drop.
Hope this helps you make your choice!
All the best,
Roswell
sall about 128 and 1105910 wrote:I can't really believe people still make tunes at 140 anyways man.
fuck that, i'm all about 560 bpm eighth time beats!hasezwei wrote:man its all about 280 bpm quarter time beats much higher resolution for beat placement so you can get that shuffled feel n higher lfo rates which enables you to make those skrillex lead sounds in fm8
also it renders faster thats nice for resampling
love it.SpookySpaceKook wrote: fuck that, i'm all about 560 bpm eighth time beats!
In the essence of preserving workflow, 210 bpm saves you from having to switch the grid back and forth, and allows you to lay down the triplets from the sequencer . This can really serve useful when you are one a creative roll and want to swag your beat. Plus in my DAW (FL), the higher the tempo, the more effective the swing function seems to work.Brian Oblivion wrote:do you mean 4/4 to 3/4 ?Roswell wrote: 1/4 to 1/3.
you end up with 12 beats per bar effectively running at 70 or 140bpm depending on how you look at it right? You know if you just turn on tripplet notes at 70 or 140bpm you get the same thing, 12 or 24 hits per bar depending on if you go for 1/8t or 1/16t.Roswell wrote: Well, one great way to capture the SWAG is by changing your time signature from 1/4 to 1/3. First you want to change your BPM to........yes, 210 BPM!! ( dropping gems).
You will have to change your bars from 16 beats to 12 beats, but you will notice the added swag is Boss. Additionally you can bounce the audio files at 70 -140 -210- 280 and lego the stems in a fresh project.
This also helps you jump from style to style, want a dnb break rise right before that huge drop? change the bars back to 16 prior to the drop.
Hope this helps you make your choice!
All the best,
Roswell
Roswell wrote:In the essence of preserving workflow, 210 bpm saves you from having to switch the grid back and forth, and allows you to lay down the triplets from the sequencer . This can really serve useful when you are one a creative roll and want to swag your beat. Plus in my DAW (FL), the higher the tempo, the more effective the swing function seems to work.Brian Oblivion wrote:do you mean 4/4 to 3/4 ?Roswell wrote: 1/4 to 1/3.
you end up with 12 beats per bar effectively running at 70 or 140bpm depending on how you look at it right? You know if you just turn on tripplet notes at 70 or 140bpm you get the same thing, 12 or 24 hits per bar depending on if you go for 1/8t or 1/16t.Roswell wrote: Well, one great way to capture the SWAG is by changing your time signature from 1/4 to 1/3. First you want to change your BPM to........yes, 210 BPM!! ( dropping gems).
You will have to change your bars from 16 beats to 12 beats, but you will notice the added swag is Boss. Additionally you can bounce the audio files at 70 -140 -210- 280 and lego the stems in a fresh project.
This also helps you jump from style to style, want a dnb break rise right before that huge drop? change the bars back to 16 prior to the drop.
Hope this helps you make your choice!
All the best,
Roswell
Cheers
You dont have to change the grid to be able to place things in a triplet pattern lolRoswell wrote:In the essence of preserving workflow, 210 bpm saves you from having to switch the grid back and forth, and allows you to lay down the triplets from the sequencer . This can really serve useful when you are one a creative roll and want to swag your beat. Plus in my DAW (FL), the higher the tempo, the more effective the swing function seems to work.Brian Oblivion wrote:do you mean 4/4 to 3/4 ?Roswell wrote: 1/4 to 1/3.
you end up with 12 beats per bar effectively running at 70 or 140bpm depending on how you look at it right? You know if you just turn on tripplet notes at 70 or 140bpm you get the same thing, 12 or 24 hits per bar depending on if you go for 1/8t or 1/16t.Roswell wrote: Well, one great way to capture the SWAG is by changing your time signature from 1/4 to 1/3. First you want to change your BPM to........yes, 210 BPM!! ( dropping gems).
You will have to change your bars from 16 beats to 12 beats, but you will notice the added swag is Boss. Additionally you can bounce the audio files at 70 -140 -210- 280 and lego the stems in a fresh project.
This also helps you jump from style to style, want a dnb break rise right before that huge drop? change the bars back to 16 prior to the drop.
Hope this helps you make your choice!
All the best,
Roswell
Cheers