okay.Let's go over to the bass sequence.
I work at this with a sample from the
better tool Drunken Master Break by DJ
This is a contrabass sample,
I think, and it goes like [NOISE] so.
Now, what informations are important for
me to create a bass sequence?
In this case, I will produce a constant
and logically I use the release playing
The whole time.
So now, due to the fact that the bass
tempo goes through different tones like
I will define some queue points.
This is very important.
The first queue point is for me.
This one here.
The second cue point is this point here.
[SOUND] When you look at the button, this
is 12 o' clock.
And, the third cue point is the distance
between 12 and
[SOUND] this here.
The practical conversion goes like this.
We start with the first queue point
[SOUND] on the one beat.
And, we play it really simple,
only a release note.
[SOUND] Then, we make a one-sixteenth
Then, we play a little back scrap like
And, In direct secession, following once
again a one sixteen note.
I will play it over a hi hat.
After this, we move the record back to
the second Q point at 12 O'clock, and we
let it play.
But now, the,uh, Whitmaker positioning is
really important because we let,
let it play at the two ends that means
when you count.
One and two and three and four and one and
two and three and four.
We place this sample on the two and.
So, over height.
you can count this, one two three four.
[MUSIC, So, I cut every record motion
with the reverse transformer click.
You can also use the normal transformer.
So, and then, after we let the sample play
from this positioning.
We came once again to our first queue
point and we repeat our sequence.
So, it goes like.
Basically really simple.
We make it one time, and then we move the
Once again, to our second cue point, and
we let it play a little bit longer, until
we arrive the end of our sound sample.
Once again, [NOISE].
So, and this is, is a positioning of this
last sample this is a four and.
That means one and two and three and four
and on this positioning,
we catch it and we place this sample.
So, after this, basically we got it.
That means, our last move was.
Then, we move it back, and now came our
third cue point in action.
Du du du du do du du du do.
now we put all the things together over
This is interesting as effects, we work
with three different cue points and yeah.
That makes it possible to create the best
which runs through different tones, okay?
And, it's really important to try out,
yes, to try different
rhythmical positionings because you obtain
always different acoustical results.