Drum Programming and Beatmaking
Objective
Create a 16-32 measure composition from several sampled sources. Program your own two-bar drum pattern, then use repetition and variation to turn it into a larger arrangement. You may rework your loop project, but you must use new samples.
Requirements
- Include at least four tracks. Use one Sitala track for the drum kit and separate Sitala tracks for the chordal hit, vocal sample, and found sound. Every track must use MIDI to trigger Sitala.
- Capture or download the audio you use. You may use a YouTube downloader or record system audio with Audacity’s WASAPI loopback on Windows (setup guide ). Read the sampling and copyright note below before choosing your sources.
- Trim or render the part of each recording you want to sample, then load it into Sitala. One-shot files can go straight into Sitala if they are already trimmed.
- If you need to isolate part of a recording, such as drums without bass or a vocal without the accompaniment, you may use Ultimate Vocal Remover . It runs locally and separates a mix into stems, though the results depend on the source. Audition the stems before using them. List the tool in your submission notes along with your sample sources. See the AI tools section of the syllabus .
- Use the production techniques covered in class, including EQ, compression, reverb, and delay.
- Create at least one reverb or delay send, as you did in Project 3. Route two or more tracks to it so they share the same space. Keep EQ and compression on individual tracks as inserts. Review the rough balance lesson if you need help with routing.
- You may manipulate the samples beyond basic EQ and compression by stretching, reversing, pitch-shifting, or processing them with other effects.
- You may work in a new genre or combine genres, but this is optional.
Sample categories
Programmed drum pattern
Load at least three one-shot samples into one Sitala instance: a kick, a snare or clap, and a hi-hat or another percussion sound. Program an original two-bar pattern. The second bar must contain at least one change, and at least one drum part must use more than one velocity level.
You may cut the individual hits from a classic breakbeat, such as “Amen, Brother” by The Winstons, or use cleared one-shots. You may layer a sampled break underneath your programmed drums, but the break does not replace the programmed pattern.
Example: Most-used drum breaks on WhoSampled
Chordal hits
Find a sample or loop of a chordal instrument, such as piano or guitar.
Examples: Piano samples on WhoSampled and Johannes Brahms samples on WhoSampled
Vocal sample
Use a short vocal phrase or hit as a melodic or rhythmic element.
Examples:
- Mariah Carey samples on WhoSampled
- Lyn Collins, Think (About It), on WhoSampled
- Burial’s Archangel sampling Ray J’s One Wish on WhoSampled
Found sounds
Choose a sample from Freesound.org to add texture or “ear candy.” You could use vinyl noise, a field recording, or another short sound. You may instead record your own found sound with a Zoom recorder or your phone.
In addition to the four MIDI-triggered tracks, you may use one audio loop.
Sampling and copyright
For this project, you may sample from existing recordings, including audio captured from online videos. That is workable here because the project is unpublished coursework. Releasing music made from samples requires clearance: permission to use both the recording (the master) and the song (the composition). Those rights usually belong to different people. The Winstons, whose “Amen, Brother” break underpins entire genres, famously never received royalties.
Do not upload Project 4 to SoundCloud, Spotify, or YouTube. Submit it only to D2L and share it in class. For a version you can release, use cleared sources such as Freesound , your own recordings, public-domain compositions such as Brahms works, or a paid clearance service such as Tracklib . Check the license for every Freesound file; some require attribution. We will discuss the rights behind famous samples during the WhoSampled class session.
Submission instructions
Submit to D2L the following:
- A compressed folder with the complete project, all audio files, and all samples
- A rendered audio file of the final master mix
Rubric
| Criterion | Exemplary | Proficient | Developing | Emerging | Points |
|---|---|---|---|---|---|
| Sample Sourcing (7 pts) | All four categories are present: drum one-shots, chordal hit, vocal, and found sound; the non-drum categories are on separate tracks | All four are present, though one is a weak fit for its category | One category is missing, or the non-drum categories are combined on a track | Two or more categories are missing | /7 |
| Sample Manipulation (7 pts) | Samples reshaped through stretching, reversing, pitch shifting, or slicing so the source becomes your material | At least one sample meaningfully altered; the rest play close to source | Samples trimmed only | Samples play as downloaded | /7 |
| MIDI Sequencing and Drum Pattern (8 pts) | Four or more tracks trigger Sitala with MIDI; the two-bar drum pattern uses kick, snare or clap, and hi-hat or percussion, with a change in bar 2 and purposeful velocity differences | Four tracks trigger Sitala and the required drum parts are programmed; either the bar 2 change or velocity work is missing | Fewer than four MIDI tracks, or the drum part is a one-bar pattern or audio loop with little original programming | Little or no MIDI sequencing; no programmed drum pattern | /8 |
| Arrangement (8 pts) | 16 to 32 measures that introduce, develop, and resolve; parts enter and drop out on purpose | Correct length with some development; a section or two stays static | Correct length but built from one repeating block | Off length, or a single loop repeated | /8 |
| Insert Processing (6 pts) | EQ and compression on individual tracks, each addressing a specific problem in that part | EQ and compression present on several tracks and doing something audible | One processor used, or settings with no audible effect | No insert processing | /6 |
| Send Routing (5 pts) | At least one reverb or delay send with two or more tracks routed to it, placing them in a shared space | A send created with two tracks routed, though the effect is subtle | A send created but only one track routed | No sends created | /5 |
| Submission and Source Notes (4 pts) | Zipped project with all audio and samples, rendered master, and a list of every sample source and any separation tool used | All files present; the source list is incomplete | Files present, no source list | Missing files | /4 |
Total: ___ / 45