Production Music Live - Weska - Peak Time Techno Sample Pack (WAV)

Peak Time Techno Sample Pack screen shot

Peak Time Techno Sample Pack description:

 today's I want to walk with you a little bit through my latest track I've made the track yesterday so it's super fresh for me and the guy from production music live asked me to

produce a trek with their latest temple pack which is an artist pack from an artist called weeks he's a drum code artist who has some nice releases on drum code I'm not sure Sara Krav tech maybe I'm not sure

but anyhow really nice samples and yeah in today's video I want to show you what you can make out of the samples of what I made out of the samples and also some tips and tricks I use and I've learned recently

yeah so let's jump directly into the project what we have in front of here is yeah the track so let's just have a quick listen I gonna skip

a few parts and so you can have a yeah an idea what we are going to produce here let's go

so that's the track so first uh

please let me know in the comments how you like the track because yeah that's the latest track I've produced so it's just one day old as I mentioned already and what I'm really interested in how

you think is the like um is it a good idea to make a track which is pretty rough here before and after the drop so more like straight techno more like the deeper kind of techno and

in the middle is almost like trans you know all of my tricks are very trendy very melodic kind of techno and uh I had the feeling maybe you saw it when I listened to the transition between uh yeah the part before the drop

and the break that there should be a little bit more to have it more like I don't know and less harsh because I have the feeling it's like really really straight and then it goes like dee dee dee dee dee

and oh yeah I think I gonna work on that transition or maybe I gonna change the notes of the track because they are maybe way too happy but anyhow this is not what we want to talk about in the video today we want more what

what we want to talk about is is the samples Wesker made and uh yeah I think most of you guys are yeah very interested in the processing on the kick drum so that's what we can start with uh the kick itself is uh directly from the sample.

pack it's just a loop so you have nice kick rumbas in here and let me just go through here a little bit so you can have a feeling or listen to how it sounds

so this is the one I've chosen rumble 14 so yeah let's have a short listen so pretty nice kick drums really you can just throw them in and start from there but I like to add a little bit of my personal

touch to samples but anyhow it's not a crime just to use those samples because they are nice and uh if you have listened to two tracks from vesca I mean his low end is amazing so

the kick drums are amazing yeah there's nothing to add but anyhow let's just have a short listen to how it sounds here so this is how it sounds processed a

a little bit and this is how it sounds like a sample so in the end, it's just a bit louder it's uh three bpm faster because

all the stamps are in 127 bpm yeah and yeah that's basically it then what I really like to do is add some rhythm to the low end

so I use mostly most of the time the same kick drum and just put it in a simpler and then yeah play like the double kick which sounds like this

and the trick is here to uh yet to shift the notes a little bit this one is directly on the grid, uh this one is a little bit off-grid so you can create kind of a rhythm a

a little bit more groovy low end and it feels sometimes it depends it has really to do with uh it feels a little bit faster sometimes when you move the the the sample or the timing of the node which is in the

end uh where the sample starts and it's also uh when it comes to um was it called face cancellation um you it may sound different or better or worse when you move the note a tiny bit and you could

also um moving the starting point in in the simpler device would be also more or less the same and what I do is also shaping of the sample most of the time

on the double kick also on the kick drum but in this case, I use the loop of course because it's nice and

yeah so anyhow this is what we have when we put it together so and please keep in mind I have a lot of latency in the project here because the

master chain is full of effects that are switched off now but anyhow the latency is in here I'm also using a

buffer size of 20 48 samples so the project is pretty slow but I have a few divas in here and uh I also have the ozone and stuff which is CPU heavy like soothe and stuff so yeah please keep this in mind what you

see is not what you hear you need to wait for a second or so yeah then next let's go for the next channel I decided um after yeah a few hours or not hours I mean i for the whole track I think i needed

about six hours five to six hours um I decided to add a loop to change a little bit more in the low end to make it yeah more interesting as you can see this is the whole arrangement of the track

and after like uh the first, let's call it mini drop here which is usually around two minutes um we have the double kick um coming in and also like a loop from the

premium volume five because there are a lot of nice tom loops in here let's have a listen to this one

and this sounds pretty simple and it doesn't sound like techno at all but when you combine it with the kick drum let me switch it on

let's start without it and then just switch it on so it goes like

and in the background and it's really nice when you come from this kind of this part of

the track [Music] yeah it's just an idea to make the track more interesting this is something i I've done in the past a lot more often than i changed the low end during

the track so it is even more interesting I know that some of the stuff I'm doing it is not super interesting because I don't have this kind of crazy percussions and so on in the background but I try to compensate for this with

different uh stuff like like yeah changing how the low end feels and sounds during the track especially after a short drop and then coming back a little bit different

yeah that's basically uh the low end it's printed so let me um what we can do we can just do a little comparison um let me switch off external audio effect

and then just loop this part here and have a short listen to the orange one which is the printed audio and the group number one which is the original source audio and I can hit like

button on the keyboard which is what I usually do and when I compare i i bind a button to this on and off thing here I don't use the solo button because solo has some latency issues and sometimes you have like

overlapping sound which causes clipping so when you switch between the channels you can hear uh for a very short time both channels and I don't like that because it clips and

it's just not um as fast as switching uh on and off of the tracks itself so let's go for that one let's start with the original and then I'm gonna change back and forth and you can check here five and one so you can have a feeling

which is the one which is playing

so it might sound that the original sounds a little bit better could be I mean maybe it's worse than the printed audio but

uh you need to keep in mind that the printed one is at 60 and not printed on the original one is almost 3 dB above this so it might also

be just coming from a different level of the sound let's check this because I'm interested if I made it worse with the outboard

I like both of them the original one has a much better transient which hits harder but the rumble itself is less dynamic less groovy it sounds a little bit too much like the same

and in the compressed version, I think the rhythm in the low end is much more noticeable anyhow I think i i gonna leave it like this because I think stuff like this does not really matter

in the end in the overall track so yeah I think it's it's fine it's not bad so so it's fine yeah so anyhow this is the low end

anything else to say as you can see there's not much going on yeah because uh webcam samplers are amazing that's everything I can say like there's just outboard gear there's a pro q but no crazy eq just a little bit uh

automation for the intro and and and stuff um on the rumble there's also just an eq yet of course to shape the frequencies

a bit and on on this one of okay we have a lfo2 to make space for the kick drum a little bit of overdrive just to thicken up the sound in the lower part of the sample and the at the lower frequencies and we have the pro q

yeah where I did a little bit of crazy um okay it's just three two five what is it five four dB uh what I what i did here is like I pressed it into the key with uh because the track is in g minor

and I was not completely sure about the tom loop if it is if it fits key wise so I just yeah boosted a little bit the g to press the sound into the scale of the track

yeah so that's basically it when it comes to the low end so let's go forward

let's um switch on all the tracks again because we want to hear everything yeah then let's switch to the I don't know what this is

let's delete this one to the percussions um on the percussions I'm also using some wesker heads and loops let's just have a quick listen to the sounds

so also pretty nice very like how to say this um very nice saturated um very full

sounding heads and uh yeah just simple techno stuff I mean uh you have the off head which is basically this one

and a little bit of overdrive to make it harsher in the top end okay much harsher in the top end

um yeah so but basically nothing special I mean um what I could have done here I think i forgot that one is just to um

cut the low end yeah because you can see there is a lot when we switch this on I think

okay i think i i was a little bit too quick with that track but anyhow it works so there is not really like a lot of

stuff going on in the low end so it's not super important but to be a little bit cleaner it should look like this and uh yeah anyhow let's go forward then we

have another hi-hat which is let me check tops nine so I think it is

tops oops nine is this one really nice loops because they sound like yeah really natural so not like the basic not like the standard techno

samples which are super on-grid they are groovy they sound like real instruments I don't know how he made it but it's just nice yeah and then we have a ride which is also

a loop from the rights I think here we go I mean the right has a lot of um how to say resonance is in there which

he could have eq'd all but I usually do it uh just with using soothe because I'm lazy and soothe is amazing and doing this kind of stuff I always show you

this directly so it sounds without soothe sounds like this

so it depends really what you want to have I mean this is super washed out now it is like almost a shaker and not really a ride anymore but I like it to have it clean like this

and then I mean you could also do this with eq and like just take down the resonance frequencies but for example when you uh automate the pitch of the sample when you, for example, go down here

in the pitch when it comes to the break you don't want to automate all your eq curves in the eq so sooth is doing perfect work on that because everything works automatically and yeah because you could for example just

shift the frequency in here [Music]

for example like this and then coming from here minus 50 whatever at zero more or less and and and especially when you

Doing stuff like this soothe is perfect because you don't need to care about your resonances because

it's automatically following it let's show you let me show you this let me check if this sounds nice in the

context of the track because then I can leave it directly like this

yeah why not so yeah this is yeah the hi-hats not really special stuff going on we

have a nice I really like the shaker loops from the premium volume 5 which are also pretty nice I can show you them really quick um because they are they're like from real shakers we have

one here in the studio let me show you so from stuff like that one

and yeah and there sounds supernatural they have a nice groove so everything you need so we have more like uh yeah simple

stuff going on like um some raw um rimshot from yeah a very old sample pack from small up volume one just to yeah make the track a little bit more interesting not like just have the standard off

high head and the 16th I had also have a little bit more rhythmic going on like in this part here

yeah really long reverb tail on it just simply eq nothing special nothing crazy I'm really a fan of

choosing the right samples instead of using a lot of time for tweaking them so maybe you can see this here they are just basically eqs of course some compressors when I want to change a little bit uh relation between the transient of the sound and

and the tail but that's basically it

and then we have yeah the clap sound which you can hear here

so these are the percussions and on the group itself I mean we could have compressed the group a little bit what I what i like to do to compress the percussions is just

use the Ableton glue compressor where is it here we go a b c d e f g Gigi Gigi g where is it it's always the same

isn't it here we go so yeah and then we just could like make it very slow in the attack very fast in a release

four or two ratios and just compress a tiny bit

so yeah it sounds a little bit more glued together of course it's the glue compressor which is more or less like I don't

know SSL compressor or whatever it should be but I really like how it sounds on on on trumps especially when you compress like this and just a tiny bit I think it's even a little bit too loud

so but anyhow we're going to leave it like this and then we have what is super interesting here is this a trick I've learned from wear so the guy who made the samples and he's using

omega and to uh yeah wash out uh the trash or the harshness of the hi-hats and all the stuff you can use it on everything almost and it just sounds better and more full and warmer when you put it on the

chain but what do I have learned is you really need to mix into it when I put it on the chain after I've made the percussion group I don't like it because it changes the sound too much in a way I don't want it to have but

when I put it directly on a chain I can really develop the sound into the plugin and I can shape the sound as I want it to have and when I then switch it off it's crazy how

thin the sound sounds I will show you real quick.

so it's fuller it's a little bit more together all frequencies are a little bit more even in my opinion it adds also a little bit of low end to the sound.

Peak Time Techno Sample
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