Built-in sequencers in plugins like Ultrabeat often also include a dedicated swing knob (in this case it allows you to dial in anything from 50-85% swing): Logic, for example, also offers Q-Swing and Advanced Quantization settings for each region. It’s worth bearing in mind at this point that a lot of DAWs now allow you to achieve swing in a few different ways. It’s very difficult to hear a difference in timing from small changes in the swing setting, so 4% increments work quite effectively you can hear the difference from one setting to the next, but it’s not such a dramatic change that you’re constantly wishing for an option in between two settings. Note that these six swing settings are almost exactly the same as the settings offered on the LM-1 and other vintage drum machines including the E-mu Drumulator, SP-12 and SP-1200, and the Oberheim DMX. Here’s how those swing settings sound when applied to a 16th-note hi-hat pattern: The higher the level of swing, the more the evenly numbered 16th notes (highlighted in red) are delayed.Īnd here’s how the same swing settings sound when applied to a 16th-note hi-hat pattern: Here’s the effect those swing settings have on the timing of 16th notes, with 16A at the top and 16F at the bottom. The manual defines those settings by swing percentage, using the same convention (50% = straight timing) as Linn: In the case of 16th-note swing, these are called 16A through to 16F. The main swing option in Logic dispenses with percentages altogether, offering a choice of six settings instead. At a 60% swing setting, the first beat would take 60% of that 8th note. You’ll still find that approach in hardware such as Akai MPCs, Korg Electribes, the DSI Tempest and DAWs including Logic and Reason. The most common approach (and the system we use in our Beat Dissected features) is the one implemented by Linn back in 1979, where straight timing is referred to as 50%, meaning that the first beat of every pair of 16th notes takes up 50% of the time of those two notes (i.e. So however you approach beat making in FL Studio, there’s sure to be something on offer that will get you the best results possible.Although most drum machines, sequencers and DAWs handle swing in essentially the same way – by delaying alternate notes very slightly – there are a number of slightly different ways of describing the same process. When you have a kit built from synth modules you can really get to the heart of the sound, detuning and morphing each element of the kit in ways that aren’t possible with samples, in order to get a really unique sound. The bundled plug-ins allow for drum synthesis as well as sample-based beat creation and it’s here that things can get really interesting. It’s rare that you would want to just use a single beat, so FL Studio also makes it easy to layer up patterns, create variations and add things like percussion and other, non-drum sounds to your beats to keep things interesting. For a more “human” feel, say perhaps for hop hop, dubstep or even rock you can add groove quantization and swing so that the music doesn’t necessarily sound like it’s been generated by a machine. Straight quantization will give you a more mechanical feel, which you might want for certain types of electronic music like house or techno. When you have your beats in the Playlist, you might want to quantize them and there are tools for that too. In addition to the various virtual instruments provided for making beats you can also import your own loops of course, and slice them up or time stretch them to make new variations and patterns. And the multiple programming options open to you mean that whether you prefer to play your beats in using the mouse, a step sequencer or an auto generator, there’s sure to be something that works for you. There’s Drumaxx, SrumSynth Live and Groove Machine as well as support for any third party plug-ins you might care to add. FL Studio provides you with a number of great tools to program, shape and process your beats to make your tracks sound even better. Beats are at the heart of most kinds of music, be they sparse acoustic sounds or full-on electronic assaults.
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