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Why "sample stacking" or "layering" is useful.
Adding different sections into a beat keeps it from sounding boring. You can pull bits and pieces from several different sources and have them all run in the same song. You're doing "Cut-Up Technique" like William S. Burroughs. - Making a patchwork of clippings from a bunch of different newspapers and magazines that you use to make something new and artistic. After all, that's how Daft Punk created the music on their album Discovery. Stitching pieces together.
What program is better??? Both Ableton and Reason have their own benefits.
In Ableton you have track lanes, so you can pretty much have as many clips as you want. In Reason you have Dr. Rex as your method of adding a chopped sample. It uses files made in Recycle with slice lines (rx2 format). It's far more simple than actually carving up a sample by hand in Ableton.
Can you use both at the same time? Yes, by using Rewire to link the two programs so they can work in unison. That means you have all the patch banks and racks Reason offers while having access to Ableton's many sample lanes and EQ filters.
~ Dummy Tracks or Dummy Blocks ~
Keeping track of where in the mix your samples go in Ableton would have to be entirely based on the track time mark, as you won't have anything to look at in Ableton if you're using Dr. Rex for your sample base.
A good idea to solve this issue would be to create "Dummy Clips" - These are clips of pure silence that you can match up to a bar's length and drop into Ableton. Since the clips are totally silent, you won't hear them but you can see them and assign colors to them.
To have the same Dummy Clips in Reason, like say there's a section you want the beat to drop out and just go silent, just copy an existing bar block and highlight and erase all the notes in it.
This gives you a way to make a visual marker for what part of the track is where. Pay attention to what color piece is where in your track.
~ Color Coding ~
Verse (Light Blue).
Chorus (Light Green).
In Reason the choice of color coding is more limited. You will have to find an appropriate substitute for the colors. Grey is close to white.
Make use of color codes for your extra instrumentation also.
Red for Drums. (Re-Drum).
Green for flutes.
Blue for horns.
~ Mixing Sampling Techniques ~
Something really cool you can do is to have a chop pattern of a track playing in Dr. Rex - but then have a straight loop playing in Ableton and have one transition or "trade off" to the other.
This way, you could have a VERSE that is a "Chop" of a sample in Reason's Dr. Rex, but also have a CHORUS that is a straight sample of the same song playing in Ableton.
Long and winding road, that leads near, to your door.
Will never... Disappear.
Lea-- and / --pear (awoo-mm-woo-m-woo-m)
This was the technique used for Apollo Brown's beat "Never Disappear" which was used by Charlie.Rose. It has a straight sample intro and then a chopped pattern verse.
Rhyme Asylum - Don't Wanna Be follows the same concept. At first that Lee Moses sample is played straight through.
Don't make me beee.....
What you don't want me to beee....
Don't - Mmm - Don't - Mmm - Eee
Oooh - Waah - Oooh - Waah - Eee
~ Intro, Chorus, Verse, Bridge ~
The "Intro" is the lead-in. The part that builds up to the beginning of the song. It shouldn't be too lengthy. The hi-hat frequency or kick frequency might be slower than the verse parts or chorus parts. This sets it apart from the rest of the song.
The "Verse" is the repeated part that is sung or rapped over.
For a verse, 16 bars is preferred. Or 32 if you aren't using a chorus at all. Wu Tang Clan's "Triumph" does not have a chorus. It's just verses from each member, one going into the other.
The "Chorus" is either 4 or 8 bars. It's the catchy part that gets repeated. The ear worm that buries itself into the listener's brain.
"I-I haaa-aate | my-my stepdad - so tonight I'm say-ayin' - bye-bye stepdad!"
A "Bridge" is like a short "break" in the song where it isn't really like the rest of it and it slows down. The kick or the hi-hats might be less frequent or not even there at all.
"No! Steppin' into the unknown. You find yourself. You're floating freely. No emotion!"
A "Bar" is one block that you can count 4 taps to with the beat or metronome. Reason has tick lines like a school ruler to indicate this. Two blocks is not a bar, only one is a bar. Two end rhymed sentences is not a bar, only one of them is a bar.
You can have inward rhymes within the bar, yes. But it does not change the fact a bar is one count of 1 2 3 4 to a sample.
"Sick with this penshit, eyes red as lipstick" /
That's still only one bar even if it has internal rhymes.
~ Instrument Naming ~
Keep it short. Simple. Something with a 4 character space. This makes it so it can be identified at a glance.
"BAS1" = Baseline 1
"FLT1" = Flute 1
"HRN1" = Horn 1
"DRX1" - Dr. Rex 1
~ Sidechain Compression ~
When you use a baseline you want to have Sidechain compression so the bass ducks under the kick drum and doesn't try to crowd around it. Your mix will sound harsh if the kicks and the Bass are fighting for dominance over the mix. Google search "Reason, Side Chain Compression" - You have to re-route wires on the back with the tab key. It's complicated but necessary for proper sound.
...Back to sample layering - use your color coded Dummy Clips to locate where you are in the track when you are in Ableton view. You can relate where you are in Reason by the same block and time mark.
You can use phrases and fills from other songs as ways to spice up your instrumental track. On the song Atheist Dreadnought 2013, by Greydon Square, there's a drum fill that breaks up the monotony of the chop.
On Returmination by Rhyme Asylum, there's a drum fill that breaks up the monotony of the loop.
~ Cheap Gear is Easy Gear ~
Want scratches in your song??? Don't blow 1500 dollars getting a Numark NS7 II. Just get a cheap DJ-Tech VTT-01 and hook that up to an outdated copy of Traktor Scratch Pro. You can record scratches from that instead.
For better timing, copy your reference track to an mp3 on your phone or portable mp3 player, scratch to the rhythm of what you're listening to. Then when you are done you can save the best parts ("takes") and drop those into Cool Edit Pro 2.1 - Use the Speed Ramp with lines and dots to add back that motorized feeling that the static platter doesn't have.
Highlight a small part of the start of the scratch clip. Then manipulate the dots in the ramp so that it aims / slopes down from left up to right. Apply.
This adds the feel of the scratch being slowed from the platter being touched while in motion. A static platter doesn't move and the VTT-101 uses a sensor so grabbing is instant. Not gradual like a motorized moving platter.
Do this for each starting part of each scratch clip to add back the missing gradual slow down of a hand touching a moving platter.
Now, focus at the end bit of each scratch clip. Highlight the end of the scratch. Open the Speed Ramp with lines and dots. Aim your ramp to go up from left to right. Apply.
Do this for each scratch clip ending. This will add back the sensation that the motor is "Recovering" from the weight of your hand.
Save your scratches as .wav files and drop them into a new lane in Ableton, title it "Scratches" - and put the clips where they need to be in your song.
Or, alternatively - load your scratches into Recycle and add slice lines. Create a Dr. Rex file that you can load in Reason and use your drum pad or midi keyboard to trigger scratch sections on command. It will sound a lot different from just having the wavs in Ableton, as Dr. Rex does add a bit of echo, but it will still be useful.
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