MusicRadar

Wiley: responsible for a grime wave, apparently.

View in gallery

Hooks

16. When using instrumental samples, try cutting them up and repeating them using different rhythms until you get something that works well with your track's rhythm. You may find you need to timestretch certain parts of the sample to make it fit, though this can be achieved in most soft samplers without having to resort to using audio or heading back to your sample editor. Reversing some of your cuts can make for an unusual feel, too.

17. Another effect that's trendier than it ever was back in the day is the chipmunk vocal. That's right, why bother timestretching those vocal samples when you can simply pitch them up? The higher pitched and more indecipherable, the better – extra old-school points are awarded for combining this with stuttered effects, a la Kray Twinz' What We Do.

18. Vocal hooks are popular in grime tracks, so if you're working with a vocalist try cutting up a few lines of a take. These can then be triggered with your MIDI keyboard to create a hook. Don't shy away from n-n-n-nineteen effects – if you've no idea what this means, try asking your dad

Synths

19. When using synthesized acoustic instrument sounds, good programming is a must unless you're going for the blatant cheesy riff factor – ie, the steel drum patch in 50 Cent's P.I.M.P. If you're struggling, search the net for MIDI files of classical music – note the similarities between Rondo Veneziano's La Serenissima and Dr Dre's Still Dre.

20. If your synth hooks sound lifeless, try adding a little modulation with a pitch envelope or LFO. Used delicately, these can take the robotic edge off a synth riff and make it sound more human. Similarly, try experimenting with each note's velocity level for added expression. This can be especially effective when tied to the sound's filter cutoff level.

21. Go easy on the reverb – a big part of the grime sound is its 'straight from the bedroom' chic, which puts the sound right by your ear, rather than in a stadium. A handy lo-fi technique is to simply increase the track's volume in your sample editor rather than using compression. This can give everything a rawer, tougher edge.

22. If you're stuck for synth sounds, root through any old speed garage, DnB or old-school hardcore vinyl you've got lying around. With a little cutting up and processing you can fashion new dark noises from riffs found in older tracks, like Mark One's use of the classic Planet Dust hoover on Stargate 92.

Around the web: