Building on the techniques discussed in the previous post (click here for Part-1), a variety of more advanced methods can be applied to polish your D&B tracks to get those phat breakbeats out while on the go.
For instance, if at the time of performing, you notice that your track’s switch isn’t cutting it, then you could employ a different pattern of rhythm or breakbeat to get the crowd moving again. Then there are processing methods that you could try, some of which have been explained in detail below.
Working With Heavy Compression
At times, DJs face this problem with their beat getting overpowered every time a significant kick drum sound is triggered. Its generally the case when playing heavily compressed rhythm tracks.
As a rule of thumb, always consider segregating any potentially overpowering sound to a different channel. In fact, it’s a good idea to even have these sounds compressed separately.
Conversely, if your kick drum itself needs a kick, then you could try reinforcing it with a TR-909 sample of the kick drum albeit in a layered manner. But, be mindful of it becoming too loud. At the end of the day, the beat and the sub-bass need their space to function.
Introducing Complexity Into The Track
There are tons of ways DJs go about making a complex D&B rhythm track but one common process is to use a variety of breakbeats, both layered as well as reprogrammed. It may sound hard to achieve given that there is always the chance of an errant cymbal or high-hat playing spoil sport with your track’s flow.
But the trick here is to produce a tight-knit sequence of breakbeats that feel like they are building as they go forward. And one surefire way to ensure this is to cut and program your drums with precision and then employ additional equalizing to minimize the effect of any sort of flabby drum kicks.