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The number of bars used when sequencing drum samples can vary quite a lot. Usually, the total number of bars will be equal to the length of the song as a whole, and if you’re making loops to start with, it can be a bit more complicated.

If you’re composing a standard loop and want to portray a general outline of your song in a fairly straightforward manner, using four bars should be enough. The theme of the song can be condensed into these four musical bars, and the sample should be able to stand on its own; that is, you should not need surrounding music to really give the sample context. You should also add some variance in the drum samples or instruments, and a popular method is to do this toward the end of the forth bar. Keeping the listener comfortable and yet not sure what comes next is the aim of the game here, so remember that variance is key, even in a measly 4-bar loop.

Sixteen bars is another common loop number, usually because in hip hop, 16 bars is a typical vocal verse length. So if you can develop the 16 bar loop, complete with pre-chorus introduction and an 8 bar switch-up (just an example), you can give a good example of the way the song would be structured. Using drum samples over these 16 bars will give see you test your creative limits, especially if you make a few beats every day. Introducing the hi-hats starting at bar 8, for instance, gives the song a great motion factor.

Looking beyond changes to the drum samples? You can be as creative as you want. A lot of producers will change the harmony as well as the rhythmic aspects around the half-way mark or even after just four bars to kick things off. If you change multiple aspects of the beat, you’re really telling your listener that things are starting to kick off, and this is a great way to create some energy in your song.

Looking outside instruments and drum samples, vocals can also be a great trigger tool. A singer or rapper may perform the first four bars in a very monotonous tone and then simply explode with emotion. This is a wake-up call on its own, but coupled with the other techniques, you could really run wild in your listener’s mind.

Having said all of this, though, drum samples are definitely the easiest way to introduce some change into an existing musical piece. Your singer does not have to sing anything different to switch up their vocals and you don’t need to play new harmonies or anything else to add that subtlety.

If you’re a beat maker and want the best-quality hip hop samples to use, go here: drum samples.

The hi-hat drum samples of today are as varied as they are underappreciated. Think about your favorite songs for a moment. You can probably hear the kick and snare working away in memory, but it can be very hard to keep track of the hi-hat. The truth is, most hi-hats (hats for short) are just supporting acts to the snare and kick combinations that dominate our attention, but they are nevertheless an essential part of most music production projects, so underestimate them at your peril!

The two mistakes made by producers are not just the domain of amateur producers who may not know better, but also of professional music producers and beat makers.

The first mistake we will look at concerns the volume of hi-hats. There is definitely a battle of the loud out there, and we try to compress and tighten everything up, but the fact of the matter is we don’t need to do this for hi-hats. Hats are plenty loud as it is. Many hundreds of thousands of years ago, humans were pray to aerial monsters that let out sounds that share similar frequencies with hi-hats. We have developed a tendency to pick these sounds out quickly, so drop those hi-hat drum samples down a few decibels – your audience will hear them.

A good way to go about combating this incongruity is to mix the hat to the point where you think it sounds just about right, and lower it about two decibels further. Any listener will still be able to pick it up due to our superior perception of this sound, so don’t worry about ‘mixing it out’ these drum samples.

The second mistake that gets a lot of attention in audiophile circles regarding hi-hat drum samples is the lack of authenticity in songs. If you’re developing a MIDI track for a rock song and decide to include, say, a 1/16th constant hi-hat pattern throughout every bar, you need to be wary of the possibility of other instruments to play off this constant hit. Your drummer should not be hitting the hi-hat, snare, tom and cymbal all at the same time, as this is practically impossible to achieve with two and even three arms if that came along. So aim for an authentic pattern, especially if you’re producing rock tracks and other genres where the ability to replicate the sample track in a live setting is a necessity. If, for instance, you’re making a dance track, the realness can be toned down a bit or completely dismissed, as there is a general acceptance in your listener that this is all made on a drum machine or sequencer. So you can really go wild here and not worry about those rules.

You can also go with the default drum samples patterns in programs like Toontrack EZ Drummer and BFD, as well as others. These programs usually include patterns that were really tapped out by a professional drummer on an electronic drum set and do not include these mistakes. You can learn a great deal using programs like this.

Want to make your own beats? Check out our how to rap freestyle guides.