I like the slightly loose, House feel of 'SketchArtist_118_TopDrums' paired with 'SketchArtist_118_Kick', which when pushed up to 122 BPM sounds like this: To begin, let's get our drum loops going to build things on top of. My demonstration will take place in Ableton Live but you can of course do the same in pretty much any other DAW you care to try. I'm going to show you how easy and creative this process is by throwing some tail sounds from our Outlook - Electronic Loops & Samples on top of a drum loop from the same pack. These tail samples can be used for much more than this, however - we can turn them into entire, if very simple, instruments for use in constructing melodies and harmonies far removed from the parent loop. Image a pad loop for example, with long decaying notes that stretch out beyond the end of the 4 bar loop - without the corresponding tail sample, as soon as you've finished looping this sound it will simply just cease to exist beyond the end of the 4th bar, causing something of a jarring sonic effect. If you've picked up any of our royalty-free loop packs recently, peering inside you'll have noticed a folder of short stabs labelled 'Tail Samples', primarily used to pair up with the main loops and bring them to a smooth, natural decay without the need for reverb or delay. Today however, I want to explore the use of one less common yet equally fantastically flexible form of sampler feed - tail samples.
Moreover, loops and one-shot samples were made for samplers (the clue's in the name, right'), allowing you to custom-fit each piece of audio to suit the given track with the barest touch of a pitch control, or tweak of an amplitude envelope. Samplers are hungry beasts - throw them some nice, juicy bass samples, a spicy snare hit or two and a couple of leftover synth stabs and they'll only want more in return.
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