A solution is to record the loop in two or more keys: when recording my AdrenaLinn Guitars sample CD, I played each loop in the key of E (to cover the range D to G) and Bb (G# to C#), making it possible to reach any key without having to transpose by more than three semitones. Perfect pitch: if you need to play in a specific key, don’t worry, but if you plan to use the loop in other keys, remember that transposing much more than three semitones often leads to a very unnatural sound. After processing, check that the loop is the right length.) (Be careful, though - it’s rare, but some algorithms create a file that’s actually slightly shorter or longer than you specified in order to improve the fidelity. Generally, the difference will be small enough that time-stretching won’t alter the sound in any noticeable way. Use a time-stretch algorithm and snap-to-grid facility to force the loop to the correct length.With short loops, trim the end to the correct length judged by ear if the difference is only a few milliseconds - don’t worry that the loop is a few milliseconds short or long for the desired tempo.That may not sound like a huge difference, but when working with loops, small things really do add up! The problem’s easy enough to deal with, though: For instance, the theoretical duration of a four-measure 90bpm loop is 10666ms, but a four-measure loop generated by the internal sequencer in one of my keyboards lasted 10693ms.
I also create loops by dragging in one-shots, like drum hits, to the timeline and then bouncing the results to an audio file.īeware tempo mismatches: note that where you’re capturing loops from drum machines and keyboards, even if the bpm displays for hardware and software are the same, the actual tempos may differ very slightly. You’ll probably want to turn off snapping, zoom in to see the actual transients, and trim to the start of the first note and the beginning of the first note after the clip (assuming these fall on a beat).
When you’re done, trim out a section you want to use as a loop. Set up a track or two to which you can play along, then start recording. One option is to create loops in your DAW. Create a basic loop: your loop could be an audio clip you recorded, a virtual instrument output you’ve bounced, or whatever. In Reaper (pictured), for example, you hit Alt and drag - the cursor turns into a pair of hands to denote that you’re in stretching mode.
Whatever tool you’ll eventually use for stretching, the first step is always to make a good loop, so let’s kick off with some tips for preparing ‘loop-friendly’ audio.Īlmost all DAWs now have an offline time-stretch facility which allows you to drag a loop to the desired size and usually gives better results than real-time stretching.
In this article, then, I’ll do a number of things: I’ll explain how to make seamless loops I’ll discuss the pros and cons of the different approaches to time-stretching and I’ll then give some pointers to help you use looping tools effectively. And you’re going to need your loop to be able to stretch or shrink to fit the tempo of any project you wish to use it on. You must work to avoid glitches, pops, crackles and other ugly artifacts. You need your loops to transition seamlessly when laid end-to-end, so your edits must be precise. However, there’s much more to loop creation than tracking a part and snipping out a two- or four-bar measure. And although there’s a need to invest time in loop creation, you’ll find that you waste far less time auditioning a gazillion unsuitable loops you’ll never use - a process that can sap your creative juices all too quickly. Not only do you get something unique, but you get to determine exactly what material you use in your projects, rather than let the loops dictate what you write.
We’ve really never had it so good.ĭespite the quality of many commercial libraries, though, there’s a real satisfaction to be had from making your own loops. Your DAW also offers various means of editing, quantising and otherwise mangling your loops. I mean, it’s just so easy isn’t it? Loop libraries abound you can buy them in various formats for any genre, and most DAWs ship with several gigabytes of such ‘content’. There can be very few people now who don’t make some use of audio loops in their music.
Rolling your own loops can breath life into your compositions - especially if they can stretch and shrink on demand.