Meer Power
Boring synth stuff

Chopping One-Shot Drum Samples Out of a Break And Making a Kit in FPC With Them

Chopping up a breakbeat in the Fruity Slicer or Slicex or Recycle etc. and rearranging it is a lot of fun. You can make the break your own, instead of just looping it. Even better, making one-shot drum samples from breaks and making huge velocity mapped multisample drumkits will let you mix and match between breaks and get relatively more realistic results. I was going to make a video about this, but I can’t be arsed, so I’m just going to put up a crapload of pictures. WordPress is pretty annoying, because it likes to format pictures on the page randomly and never does what you want it to do.


The first step is to find a breakbeat, or any recording of just drums. Load it into an instance of Edison, probably on the master mixer channel, and open another Edison directly below it. The first Edison is going to be used to find each individual drum sound, and then the second is where they’ll be edited, fine tuned and saved. It’s useful to methodically chop out all the kick drums first, and then the snares, or however you want to do it, sometimes it can be hard to remember if you’ve already sampled that tiny snare or not. Before you do anything, right click in the Edison windows and go view- display settings and un-check fancy mode, unless you really like it; fancy mode is less accurate and just looks fancier. Also, right click again and go edit – and at the very bottom, make sure Click-free (smooth) editing is off, this ‘feature’ automatically fades any of your edits, so while you can’t screw anything up, you also can’t do anything useful.



So, select the first kick in the first Edison. I’ve found that selecting more than the whole hit is better than trying to get it exact the first time, since it can be trimmed down later very easily. Copy n’ paste it into the second Edison, and trim it down so you’re left with only the stuff you want. Ctrl-Delete will delete everything except what’s selected, which is useful. Now you might think you’re done, but not quite. Since it’s chopped from an actual beat, the drum’s decay was interupted by another sound, like a hihat or something. This sounds bad because the tail of the drum just cuts off abruptly. We could fade out the end of it, but that wouldn’t really fix the problem. Bathing the whole thing in reverb might help, but might sound really bad as well. The best way that I’ve found to remedy this is to copy and paste the whole drum sound next to itself, reverse the second one and fade it out. This can give the illusion of a natural decay, and it’s faded out before you hear the ‘Schhwwwwooop’ sound.


 One thing that’s pretty important is to make sure the sound begins and ends on a zero-crossing point before you do all the copying and pasting and reversing. This prevents any annoying clicks from happening, since the audio begins and ends in silence. Usually, I zoom way in, select a few samples and use the fade in or fade out buttons.

Zero Crossing

If you can’t see those buttons, you might have to resize the Edison window. Once that’s done, I hit Ctrl-A to select all,and then Ctrl-C and Ctrl-V for the copypaste. The first section of the sound will still be selected, so click and drag near the beginning of the selection to the end of the second section of the sound. You might have to zoom out with your middle mouse button to see it. Sadly, there doesn’t seem to be any ‘inverse selection’ shortcut, but oh well. Once you have the second section selected, Alt-Left Arrow will reverse it. Zooom in to where the two sections meet, and if it looks weird, right click- tools – reverse polarity might make it look better. Since you faded them out, there won’t be any clicky sounds, and it might make the phase better or something, it probably doesn’t really matter, I guess I’m just OCD about things like that


Fading Out


Now that you have a ‘Pooschhssschwooop’ sound, you’ll have to fade out the ‘wooop’ part. I used to use the volume envelope, but now that I’m lazy, I just use the fade out button a few times, in different places. If it doesn’t sound good, you’ll have to undo and do it over again. When you’re happy with it, trim it down. The waveform view of the sound might be deceiving, so press S to go to the spectrum view and trim it where the sound really ends. Just to be safe, select a little bit of the end of the sound and fade it out again. You can EQ your little sound now, for the most part taking out the extreme low-frequency rumblies is all you’ll do.

Trimming and Eqing

If you’re making a kit in the FPC, which you should be, right click the little grey bar above the waveform/spectrum where it says ‘TITLE’ and give it a title. I would recommend something easy like Mydrums1_kick_1 or something like that, to keep it all organized. Edison doesn’t seem to support saving as 24-bit wave files, so you could change it to 16-bit if you want to by clicking the little ’32’ box. If you know your sample is mono, clicking the box next to it will change it to mono. If you do this and it sounds weird, your sample wasn’t mono. We’re going to be dragging and dropping sounds, and if the sounds don’t have a title, FL will automatically name them “Dragged_Sample_68” or something like that, which sucks. All of the sounds we drag will be saved in the Patches/Sliced Beats Folder, but we’re going to save them somewhere else later, so we’ll end up with duplicates, which is okay I guess, you just gotta clean out sliced beats sometimes.

 Open up the FPC, and using the Empty preset, click on the pad you want to be your kick drum (or whatever) and using the drag n’ drop button in Edison which is on the very right, under the ‘O’, drag and drop the sound into the sample zones place of the FPC. If everything worked right, you should see your sound in the FPC with the right filename, yay!

The next step is to do this over and over again for every drum sound you want from the break, dragging each kick to the kick pad in FPC, etc. Once you’ve gleamed pretty much everything you want form the break, it’s time to organize your multisample layers in FPC. Play through each sound by clicking on the waveform display and figure out which sounds are more aggressive and which are softer. The softer sounds will go at the top of window, using the up/down arrows next to the large ‘DELETE’ button, and the harder sounds will go to the bottom. Once you think you’ve got them in order, click the little button next to ‘SPREAD EVEN’, and it will spread the layers evenly, as well as not let them cross each other, so only one zone will be triggered at a time. Sometimes, layering sounds together is fun, and if you want to have more than one layer uh, layered on top of each other, make sure that button isn’t glowing. Now we can adjust the velocities that each zone will respond to. Generally, I like to have the harder sounds closer together in velocity, and the softer sounds further apart.With a pad controller, play the pad and see if it feels right, if you don’t have a pad controller, it might be kind of had to know where to put them.

Drag n drop

When everything is completely set up, and you’ve tried playing the kit with your pad controller, and everything is nice, click the dropdown arrow next to the pad selector arrow things in the top left. Choose ‘Save Entire kit as pad presets..’ and give your kit a name. The pad presets should be saved to Image-Line\FL Studio #\Data\Patches\Packs\FPC.. if you put the kick drums in the pad that FPC wants you to, it will save it to the kick drums folder, etc etc.. Down in the corner of this window, make sure you check ‘Save wave files’, it will save the audio files in the same place as each pad preset, for easy portability and generally neater organization.

I could have gone into more detail, but I didn’t. This was pretty badly organized and stuff, but I don’t care that much. Read the Edison help files.


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