Put shorter reverbs on elements that move faster, longer reverbs and delays on slower elements. Because the generated harmonics are not entirely similar to the source you can get a little more bass out of these without adding level as quickly.īreak elements down into their sub rhythms, and address them accordingly. Software like RBass, Lo-Air, BXBoom are designed to create sub-harmonic content based off the source sound. Bass enhancers: These are kind of like steroids for the low end.This will give the kick more presence in the mix. It creates a character and texture, and also emphasizes the pitch of the kick. Saturation and overdrive: The harmonic tone of the kick is important.If you can blend the layered kick under the 808 and extend the 200hz range - you end up getting what basically sounds like a super punchy 808. That range won’t do much for standard 808 which is hanging out below 100hz - but if you are working with a layered kick for punch (something I would consider dubbing into the mix if it isn’t already present) - pushing that range can be very helpful. The 200 Hz range: There’s a good amount of punch in your average kick drum around 200 Hz.There are a multitude of ways to do this - subtlety and taste really come into play because each of these techniques can easily make the kick feel smaller just as fast as they can make it feel bigger. After the right level is found, the trick becomes finding ways to make the kick appear louder than it is. The kick needs to be loud - but after a certain point, it will mask everything else. Low Endīasically you can’t get a good trap mix without a massive low end. Keeping a static mix rarely works in this case. In Trap Music the arrangement often changes dramatically. Third example, just for emphasis - when mixing, the idea is to balance the arrangement of the instruments. In the case of Trap Music, the bass is usually the kick! It’s not uncommon for a song to go from an element with nothing but a couple of drums and maybe one melodic element to a full orchestra of synthesizers and samples.īecause of the things listed above, mixing Trap Music is a little different than mixing other forms of Rap.įor example, a common aspect of mixing is coordinating the low end - getting the bass and kick to really complement each other. Contrast. Trap Music is rarely a repeating loop - there’s often some form of either chord progression, or a major change in arrangement.One of the most interesting aspects of Trap Music is that the kick drum often acts as the bass instrument as well. In other words, the lows are low, the mids are mid-rangy, and the highs are high. The kicks are note specific, the snares are super cutting, and the hats are very bright and tingy. Generally 808s and 909s, the drums tend to be very focused sounds. In Trap Music, the synth elements are layered up - for the same reason - but also to make the sound very dramatic and heavy. In other forms of rap, the drums often get a great deal of layering to make them powerful and unique. A lot of times the rhythm is straight, but sometimes there will be poly-rhythmic elements that will overlay a triplet feel over the eighth notes. Sometimes even a quadruple-time feel - with super fast hi-hats and snare rolls. But there’s a double-time feel that exists in the sub-rhythms. The large pulses tend to be pretty slow - 75bpm. There are certain aspects that make Trap Music unique in the rap scene: Artists like Young Jeezy, Waka Flocka Flame, Gorilla Zoe, and Gucci Mane have been doing this variation of Dirty South rap for a long time running. But Trap Music has existed far outside of the context of this one album. famously named his 2003 album “Trap Muzik”.
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