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A tip I always see written here is placing a reversed cymbal before the snare, so it transitions nicely into.

Only I'm having trouble perfecting it, most cymbal samples seem too long, if you have the snare on 3 is the reverse placed on the start of the bar?

Example;

I usually use snare, instead of a cymbal. And using reverse reverb (might be an option in your reverb unit).

But to me that Breakage track sounds like a white noise sample, not sure though.

That just the synths/noise with the side-chaining causing that effect isn't it? Very well done though. You can get similar sounds with cymbals/snares/whatever as mentioned though. Sidechain on the reverb (on the snare) as well.

RE: does the sample start at the beginning of the bar

since its reverse samples you're dealing with, their attack phase is long and quiet. so point being, it matters very little when you start the sample, but it REALLY matters when it ends.
You just need to manually line those up so that they end right as the snare hits. that is where it's effective. You could trim or time-scale it so that it fits exactly 2 beats or something, for example... that way you can quantize the hits and things will be nicely lined up. Raise the attack on the envelope a touch to make it fade in more. etc. etc.

overall, its about where the end of the sample lines up.

Automate the volume and make sure that as soon as the snare hits in the volume is on 0 on the reversed cymbal/clap/snare
I personally use a clap when I do it, and put it 2/3 beats before the snare sometimes maybe more but its not really complicated I don't know why you'd have any problems..

I like to sample reverb tails for this.

OllieScott wrote:I usually use snare, instead of a cymbal. And using reverse reverb (might be an option in your reverb unit).

But to me that Breakage track sounds like a white noise sample, not sure though.

This.

timestretch any reversed sound, it can be any length you want.

i use a reversed snare for something like that:)

I use a reversed cymbal for it and I just manually line it up so it ends right when the snare/clap hits.

it can start whenever you want it to, if you want a massive suck, then start it at the start of the bar, but if you just want a short suck then place it like half a beat before you snare or summat, but yeah try using a mixture of white noise, reversed snares/claps, with/without reversed reverb, reveresed cymbals. mix them all up and make a new sound.

Cheers lads, will get experimenting.

Mate. Record Yourself saying "Eeeeurgh"
Highpass filter. Reverse it. Reverb and maybe +2 tones up
You'll love it

KONVENJENS wrote:Mate. Record Yourself saying "Eeeeurgh"
Highpass filter. Reverse it. Reverb and maybe +2 tones up
You'll love it

Reverb first, then reversing would work better.

But that's a lot of work. That song sounds like it just uses some filtered white noise. Lots of sidechain compression going on as well.

Sounds to me like he's eq'd some white noise and put a filter on it which is automated up and down with it and then sidechained the fuck out of it with a slow release and low threshold. He's also sidechained the fuck outta pretty much everything else up to the snare aswell, that's what gives it such a 'sucking' sound. If he'd only done the sidechaining on the white noise it would sound very very different indeed.

just get a reversed snare or white noise stab or anything, and line up the audio clip so it stops right when the snare hits

I like a nice whip-like snare

I take the snare that I am using for the song (usually like 2 or 3 layers) export it and reverse it

I'll shorten it, place it appropriately on a different track and have it lead into the existing snare.

yea it's white noise sidechained in that tune

is it just me, or does it sound more like it's sucking into the kick?

sidechain compression