Bring the samples up until their effect becomes apparent in the mix. Design, code, video editing, business, and much more. Hello folks, Matthew Weiss here. Discover how to make your kick and bass hit hard by cutting (NOT boosting) the right frequencies! Host meetups. I've filtered out everything in the sub range, below about 80 Hz, and added a presence boost at about 5 kHz to help it cut through the mix. Shares (Image credit: Elena Peremet) MusicRadar's best of 2018: Creating a beat in your DAW is easy. I needed a spacious live room that was also very tightly acoustically controlled. When Samik “The Symphony” made a record using The Maio Collection, he layered drums from within the collection together. This short series of quick tips is designed to give you a good overview of the audio processing techniques involved in creating a professional sounding drum beat for use in house, electro and breaks in Cubase. Everything you need for your next creative project. Don’t use a sampler. Jazz drummers tend to think not just rhythmically, but “melodically” as well. However, because the character of the drums are complex, they layer very well with simple sounding drums such as 808s. Share; Tweet Download the free sample pack from Cristofer Odqvist. In other words, I needed a “dead” live room. A comprehensive discussion of sample file creation and processing is beyond the scope of this Manual. I'm using 3 different sounds to make up the kick drum in this case, one to provide the low end weight, one to add some punch and attack on the top end, and a hi hat sample to add a little extra definition up top. In this part we will look at the kick drum. When picking kick drum samples, pay particular attention to the high end of the sound. I feel I can pride myself on having captured exceptional hats and cymbals. In the meantime, have a listen to the sound I chose for the top end: This is a softer sounding drum, with a slightly old, and flat sounding top end, which should help to create a nice distinctive drum - the top end will often be where the character comes into your kick. Of course we had more at our disposal, but his tuning, damping, and playing choices created so much variation we could have just never stopped. How to Take Hip-Hop Snare Drums to the Next Level. Get your drum tracks sounding bang on with these tried and tested techniques. I’ve lived a good portion of the evolution of Hip-Hop. Now here we are in 2014, and I have to say that on the whole, Hip-Hop production has come a long way. If you were into Hip-Hop in 90s, you know one of the most important aspects of the production was the character of the drums. If you're compressing heavily you may well find that you lose some bass energy from your kick, so another EQ on the whole group might be necessary. On top of that, I needed a studio where I could track to tape, through a console, and with a sizable collection of vintage mics so I could emulate certain sounds. Design like a professional without Photoshop. The drums were not intended to be layered with other complex drums. I’ve been a Hip-Hop head for over twenty years. I grew up with Rakim, Big Daddy Kane, Biggie, Arrested Development. Download this 40-minute workshop by Matthew Weiss, now for FREE! However, that brings about an inherent problem: room sound. … Not a bad thing, but not what I wanted. Here is the hi hat sample I selected: The sample isn't really anything special but it's not overly bright, which can be an advantage - it will be very low in the mix compared to the other kick samples so don't worry too much - play around to see what sounds you like. 12 dynamite drum processing tips. I remember when he went solo, and I remember when he cut his dreads. That’s going to remove the drum rack and leave your sample. I remember when he went solo, and I remember when he cut his dreads. The second was my compressor which has a modification that would be considered a technical flaw. This is the sample I have selected for the low end. Again, some samples may be crudely recorded, while others may be recorded with an absolute scientific attention to detail. This sample also has a pronounced click at the top end, but this is unimportant as we will shortly be rolling off the teble using an EQ. In other words: it’s a soft-clipper when in bypass mode. It is very difficult to find even half-decent cymbals and hats in a Hip-Hop drum library. I’ve lived a good portion of the evolution of Hip-Hop. Important: To obtain the best results and achieve the sounds you want, use high quality sample files and properly prepare them before use. I'll now do the opposite to remove the low end from the high kick sample. You can also try automating the Pitch Bend for more control. The post production process was where my mixing skills really came into play. You should be able to hear a solid bottom end there with a good bit of weight behind it. Now here we are in 2014, and I have to say that on the whole, Hip-Hop production has come a long way. Design templates, stock videos, photos & audio, and much more. Using sample-based drums actually runs the risk of dating the production style. Get in touch: I'd like to receive the free email course. But it’s not like things have simply improved laterally. This may sound counterintuitive, but you don’t need a sampler to use samples. Some things have become better, other things have fallen off. By Cristofer Odqvist. Share ideas. I may process my drum subgroup with any of the aforementioned processes so that the drums really start to sit well together, and sound as if they belong within the same mix. The bypass circuit on the peak limiter section only removes the compression stage from the chain, but the knob still reduces the output headroom. I want my drum library to not only hit hard and sound great, but also inspire. Infinite drums. I’ve been a Hip-Hop head for over twenty years. Here is a before and after of my kick drum group: The difference is subtle, but you should be able to hear that the second set of kicks sound more punchy and controlled, with less 'fluffyness' to them - this will really help them sit in your mix. Now we have our samples loaded in, I've layed them out on a track so they sit on every beat like this: To get our samples to sit nicely together a bit of EQ is necessary. In order to get a nice snappy attack and release on my compressor I am going to use a neat trick outlined in my previous tut which can be found here: Drum Compression: Get Your Attack and Release Times Correct. Some of the best out there. Finding the sweet spot to induce this distortion is a signature part of The Maio Collection, and one that is reminiscent of classic Hip-Hop. Here is a sample of the type of beat you could expect to end up with at the end of this series of tips: Choosing appropriate samples is absolutely crucial to getting a good drum sound as no amount of processing will correct a sound if it wasn't right to start with. The Maio Collection was designed to be stand alone. Firstly I will be removing the top end from the Lo, bassy kick. I’ve felt that one of the big losses is drums have become more drum-machine based, and less sample (real drum) based. A hi-hat on top of the kick may feel inconsequential when you're concentrating on finding a sound with a solid attack and bottom end, but it can interfere with the highs of your drum mix later on, which obviously isn't ideal. By Computer Music (Computer Music) 01 January 2019. I've simply filtered out the hi hat to remove any unwanted low end frequencies that might be hiding in there, but have turned the volume down. I used these techniques to get the perfect relationship between the multiple mics used on the individual drums. Matthew has mixed for a host of star musicians including Akon, SisQo, Ozuna, Sonny Digital, Uri Caine, Dizzee Rascal, Arrested Development and 9th Wonder. © 2020 Envato Pty Ltd. And while that’s not a bad thing, the whole mode of hustling and being business-minded can take away from the fun. Quick Tip: Drum Processing Part 1: The Kick Drum Choosing Your Samples.