27.1 3
Intheopeningsectionofthetrack,a
spokenwordvocalhasclearlybeen
subjectedtoprocessing.“Ithinkitwaspre-processed
beforeI putitin,becauseI haven’tgotthatmuchonit.
We’vegottwopluginsthatjustseemtocrispitupa
littlebit.I’vebeenusingbitcrushersforages,ever
sincetheystartedcomingabout.Wedidn’thave
bitcrushersonsomeofthe[hardware]Akaisand
thingslikethat,butnowyoucanputa bitcrusheron
anythingandjustmakethesamplerateworse,which
cansoundreallygood.Here,itbringsoutthe
crispiness.It’ssetto 12 bits.”31.13
Surprisingly,Jim’sdrums
aregenerallysourcedfrom
singlesamples,ratherthanlayeredup
manuallytocombinetransients,tails,
etc,MiseryGuts’ kickbeinga prime
example.“Irarelylayerthreekick
drumsthesedays,”hesays.“I used to,
when I was experimenting.
“I like to find different genre one-
shots, like tech house, for instance.
Also, trap has been a place I’ve been
going to recently to get sound sourcesthat aren’t part of a drum ’n’ bass
sample pack. Listening to a lot of
people’s music – the clients I teach –
I’ve heard the same snare in probably
five different clients’ tracks, and I
really need to help people to stop
doing that. So my mentality has
always been to sample away from the
genre you’re producing. Dubstep is
definitely another place I like to go.
This [kick] sounds like it’s come from a
trap or dubstep background to me.”Processed dialogue
The kick: good source samples are key
Misery Guts in Steinberg Cubase Pro
46 / ComputermusiC / July 2019
make music now / producer masterclass