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drumclobber - drum tips, drum samples and more... tips for layering drum samples with live recordings i could do an entire premium course on advanced drum sound design , but today i’m going to give you just a few tips. start with great drum sounds! you need to pick the best drum samples that you possibly can to give you a great starting point. you know how the saying goes, “garbage in, garbage out.” a bad sample can never sound good, any matter how much processing you do. so if you are recording your drums, then i am assuming you are off to a great start. if you want to layer in some drum samples, you need to make sure you are picking up the best drum sounds possible. for a quick reference on some great sounding samples, check out the drum samples website – you can literally find any sound in any genre. i love that resource. moving on… tune, tune, tune you should get into the habit of tuning your drum sounds . every sample has a unique pitch to it, and it will sound that much better if you can get it in key with the song. tuning your samples is especially essential when you are layering them on top of your recorded drums. nothing sounds worse than a recorded drum and a drum sample that aren’t in tune with each other or the song. for whatever reason, if that doesn’t work out, then i’ll try moving up the scale until i find something that works. i would point out that while you’re was trying to tune the sample, it’s better to have the song playing instead of soloing it. i think it’s obvious, but i thought i should mention it anyway. if i’m layering sample, i might make one sample one note of the scale and the other a different note of the scale. think of this as a harmony of sorts. layering samples for specific characteristics. did you know that you can layer samples simply for their characteristics? for example, you may like the snap of one sample and the weight of another sample. why not put a couple of them together to create a super duper mega drum sample? – muhuhahaha. this technique is super useful for making some clean samples that cut through your mix, and it can also do an excellent job of avoiding phase issues. i use this specifically for kicks and snares. tips for layering snares. i’m into working on a lot of rock and hip-hop music , so i tend to like my snares to be super heavy. i honestly will go 3-4 layers deep with my snare drums. so once i get the snare drum recording to the point where i love how it sounds. you know, you’ve played with the mic placement and got it to the point where it sounds pro, but it just needs a little something extra. at that point, i’ll go through my drum sample library and choose a snare that i like that has “weight” to it. this is the sample that, when combing with the recording, will make up the body of the sound. from there i’ll move onto to finding a sample that has some attack or punch. i’ll even go as far as cutting off the body of the sound and just keep the attack (which is what i’m looking for). another trick that most people don’t know of is that you can layer in some white noise on top of your snare to give it some more brightness. try it out; i think you are going to love it. the last stage to getting the “ultimate” snare drum is that you can layer in a kick drum underneath to give it some extra weight. you can try to tune it up a bit and layer it in ever so slightly. if it does not fit with the vibe of your song, try using a tom sample as this can often be the right timbre for specific genres of music. go forth and layer! check out this video on layering drum samples in ableton. i thought it could help. lee rumsey november 30, 2017 drums , samples drums , production , sounds recording kick drums like a pro having the right kick drum sound is a deal breaker when it comes to making a fantastic record. would led zeppelin records sound as great as they do without john bonham’s monstrous bottom end? of course, they wouldn’t. the bass drum is the pulse of the music. it needs to sound right, and that means it needs to be recorded right; all the editing, filters, and after effects in the world can’t save poorly recorded drums. the problem is that recording kick drums can be tricky. engineers have to keep three things in mind when they’re getting a bass drum sound : compression, microphone type/placement, and eq. compression when recording audio, the term “compression” refers to the process of narrowing the dynamic range of what you are recording by reducing the volume of the loudest sounds, without affecting the quieter sounds. compression is used to reduce gain, and gain reduction is measured with a ratio. a ratio of 4:1 means that if the volume of what you are recording spikes, and exceeds the threshold you have set by 4 decibels, then the output will only be 1 decibel over the threshold. for example, if your threshold is set to 6db, and the signal you’re recording jumps to 10db, the compressor will bring it down to 7db for a gain reduction of 3db. when recording kick drums, a good place to start is at a ratio of 10:1 and set the attack (the speed at which the compressor kicks in) at 7ms. from there you can start tweaking the settings until you find something you like. make sure that the kick drum registers at least 5db on whatever you’re using as a gain reduction meter. microphones the best microphone for recording kick drums would be a dynamic microphone . these mics don’t have the same sensitive frequency response that condenser microphones do, but they’re much more sturdy and stand up well against high-pressure sounds like kick drums and loud guitar amps . however, if you don’t have a high-quality dynamic mic, you can still get good results with some shrewd mic placement. what you do not want to do is place the mic directly in front of the kick drum’s beater, as this will end up giving you a dull and lifeless sound. if you displace the microphone a little bit, moving it off center, you will be able to capture natural resonance in addition to the general attack, and the resultant sound will be fuller. you don’t want to move your recording device too far to the left or the right as each hit will sound too explosive. experiment with mic placement. if you have the means and the time, you might even want to experiment with two microphones: one right inside the drum, and another placed outside of it. equalization when you’re eqing a bass drum track you want to concentrate on the three principal aspects of the sound: boom, smack and click. the “boom” is the bottom-heavy thud that anchors the entire track. that thud can typically found in and around the 50-60hz range. to boost the “smack” that helps give more definition to individual hits on the kick drum, you want to start looking at around the 3-5khz range. as for the “click,” this helps the bass drum sound to cut through the entire mix and can be found close to the smack, at around 6-8khz. keep in mind that these numbers are basic guides and will vary according to the size and style of bass drum you’re using, and the particular sound you want. after all, as is always the case when you’re in the studio, recording drums is both an art and science. there is always a level of subjectivity (either your personal taste or that of the client you’re recording) that comes into play. lee rumsey november 25, 2017 drums , kick , recording drum recording , kick drum drum overheads – the secret to a great drum recording are you having a hard time recording your drums? it isn’t easy. many folks find it tricky and somewhat intimidating, but it can be simpler the moment you comprehend the basic principles of recording drum overheads. we all know that a great drum sound is the key to a superb mix. i mean if you didn’t think that was, then you wouldn’t be searching for this article. if your drums sound amazing, you’re off to a great start. conversely, if your drums aren’t working as is expected, you’ll never achieve the big fat chirs lorde-alge sound. here are some tips you

URL analysis for drumclobber.com

https://www.drumclobber.com/recording-kick-drums/
https://www.drumclobber.com/tag/tuning/
https://www.drumclobber.com/tag/drum-recording/
https://www.drumclobber.com/tag/kick-drum/
https://www.drumclobber.com/tag/production/
https://www.drumclobber.com/category/recording/
https://www.drumclobber.com/category/overheads/
https://www.drumclobber.com/category/drums/
https://www.drumclobber.com/tag/drums/
https://www.drumclobber.com/drum-overhead-recording/
https://www.drumclobber.com/layering-drum-samples-live-recordings/
https://www.drumclobber.com/feed/
https://www.drumclobber.com/author/dclobber/
https://www.drumclobber.com/tag/sounds/
https://www.drumclobber.com/category/kick/

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Domain Name: DRUMCLOBBER.COM
Registry Domain ID: 2024727936_DOMAIN_COM-VRSN
Registrar WHOIS Server: whois.namecheap.com
Registrar URL: http://www.namecheap.com
Updated Date: 2018-02-10T15:27:17Z
Creation Date: 2016-04-28T18:39:38Z
Registry Expiry Date: 2019-04-28T18:39:38Z
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Registrar IANA ID: 1068
Registrar Abuse Contact Email: [email protected]
Registrar Abuse Contact Phone: +1.6613102107
Domain Status: clientTransferProhibited https://icann.org/epp#clientTransferProhibited
Name Server: NS1.BLUEHOST.COM
Name Server: NS2.BLUEHOST.COM
DNSSEC: unsigned
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  REGISTRAR NameCheap Inc.

SERVERS

  SERVER com.whois-servers.net

  ARGS domain =drumclobber.com

  PORT 43

  TYPE domain

DOMAIN

  NAME drumclobber.com

  CHANGED 2018-02-10

  CREATED 2016-04-28

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NSERVER

  NS1.BLUEHOST.COM 162.159.24.80

  NS2.BLUEHOST.COM 162.159.25.175

  REGISTERED yes

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