Blending Multi Samples and Mixing Part 1
We set up our germs. We made our prince, we prepped everything. So now I'm in a session where I have all the cake and snare prepped for all three of our germ performances here. So let me go ahead and let's pull, trigger an honor kicked him and let's start choosing some samples and let's put a bunch of them in so we can try to start planting them. Cool. Here we are. I'm just gonna go and solve this kick drum, let's, make sure we got my browser here. So I'm gonna show you ah, gettinto, some of my samples that I brought with me, a really big sample library I make a lot of, I think, a lot of drum samples, and I also have a lot of, uh, a lot of cool samples at a purchase from, like steven slater, I add like some old ones from itunes rack and stuff. I don't really use the purchase once too often because I find that my samples and I make sound more organic on my own recordings because they're my tones and they work on my tone. So that's what I do, but I, like tio, have a couple of other snare...
s and er kicks that are too good to be true, to blend into their to at least try to give a little bit of hi papa production or something like that so these samples let's get into talking about victory because we're on the picture right now so the sample right here it's extreme it's called against me because the beginning of one of the songs he has this cage around that I'm just like word describe that so that's it against me example this's a sample from one of my favorite mixers and andy wallace I got this because uh an old session that I got from his assistant had the sample on it so here's a sample I made for this man called basement um here's the devon sample that we just made close mike okay just affects thiss pan empire the son I wonder kicks from one of their nice little electoral be kick the fan felicia this is a kick that I'm in love this kick that's the coolest metal kick ever I'm proud to say that's my own sounded sample thiss one is actually providers from that's on my hero a green one this one is actually this is a cool sample I got this from lincoln park because my old vanity is to work with they made an album with jay bomb garner he was their producer and they got all the sessions and he was like, yeah, I'm using the lincoln park kick sample on yours so this is the one from that session that's cool his are carry ones this's the popular parable run that's float around the internet and then I got the stories of far that's there's strokes so weird so there's a cool my eyes a few my favorite go to your samples that I have so let's pull up something here I'm gonna use this uh first of all, since we're doing carrion general let's pull the east one like that the best actually we're gonna put this west wind and then I'm gonna put just the east indians now let's grab scrub it against anyone describe this nice medal uh huh. I might add some really interesting topping their um so what else we can fill this with, um, cool wear sandals and I got two more slots that's just fill it up let's put that really weird strokes like all right six we're gonna watch samples load now it's ready to have fun so, uh I'm a soul on the start here a sample too. So the premise of what we're doing right now is we're just going to start trying to build a blend and we're gonna audition each of these. We're going to see if any of these sound weird if anyone sound where they go pretty little obviously and how did you get here? Lots of our right now let's start listening to that next let's make sure we're not overlooking any so um all right so what I'm noticing is I got I got a good top but we need some more bottom so let's let's go back in or trigger and let's try to find a nice bottom so anyone not really having much I'll just get rid of that one sounds pretty unique let's keep going here it's a little too much all right let's get right about what kind of weird although it is nice just is sign of weird much better cool that's when the real kick that way that's right I don't like the this carry west one someone remove this on I don't like this solution one so I'm gonna move this also don't like this tia step one so let's start adding a couple more samples in here and see what we get all right let's have this damning one that sounds pretty good that sounds pretty good we were all just we're just showing that we got nothing else going on cool now let's go into this curves here and let's fix are we gonna link all these dynamics they're gonna link the velocities and let's just make this kick sound more consistent by increasing uh the dynamics my favorite number so one that sounds bass isn't that's the power of the number thirty eight for you cool let's listen to this and with the drums it's going to turn the sample we don't look at the sample to this eyes adding so much more sustain it's helping our kids have a better image it's supporting the lohan and it's giving us just a little bit more click and attack it's as if I went to my cue cranks and bottom cranks on top and thick ended up without having to actually use that thing now if I want to use any of you I can get aiken aiken messed with other the real snare or I can mess with sample so let's just keep working with the sample little bit make sure that we got it sounded good in the mix and they will move on to the snare a lot of hair on it it's got a lot of weight on it again with and without fear without way enforcing that bottom and making sure that this kick is living consistently awesome all right let's move on the snare so I pulled my friend sugar again because he is a great friend by the way I sing a lot I think singing is great and entertains all my clients really well too so yeah anyway so there we go uh let me pull up they for the right base directory all right, so now we're in my their sample I very cool what's my first sample right here number thirty eight because it's the best on the sample have it's part of the audition o s so good so that sample is ah that's a sample from this dude named dick florencia who is ah big mix engineer and friend of mine he next spans strata that I used to work for on that was one of his really cool samples that he had he actually got me into using this job bottom sample it's just it's one that he had made on dh had in the next two years so it was out of this one or those ones will be next together so that really cool tail and they have a really unique character in town again against me backto andy well that's a great so anyone tio great sounds very cool thing about any wallace he's like a big big knicks engineer that a group like idolizing it looks like system of down and like slipknot and uh nirvana and let this kid next everything is greatest but he's a really big kicking snare sample guy big time and uh from what I know he likes to use those and on ly send them to river therefore the rial actual sample itself is on ly one hundred percent affected by river and he's using the sample too trigger the reverb for his actual snare that way is not sending any high hat or anything else from that snare mike and it's on ly just snare ambience that is being used to sport so it's kind of the same type of thing that we're trying to do now it sounds great through this band basement this is a great so it's this is the pinstripe had such a splatter snare so that's a really good example of when you tune in snare head down so much if you turn it down and you tape it up you can get a huge, huge thumping pop and you get a really nice crack that still sounds like the snares tuned really high but it's actually a very low teens here's the standard ones we made that sounds so good that empire son really cool here's one that I made for pollution this one I don't think I made I think just think when they used steven slater wanted something um green day for fighters back tio james bond this's jack dress and poet he's a big mix engineering that I love is also a three initial dude like s o p j e when I refer to myself as slpp when I'm joking around and being like I want to be like changing so yeah he's carry ones that we just need some really good too this's one that I made from a friend kevin he actually is concerning the story's far and he like made it a kiss come with me and I just used one single room like on the drums and that sounds so sick so this is like this one used to be my favorite snare sample for all your good three years linda ronstadt just got this nice crisp attack is the healthy ones that we just met nickelback how sick is the tail on it? So cool story so far so let's start adding some samples in here so we're working on that on kerry's kid pull that one up put that over there there was also a really big snacks able I love you just so much punch well good for consistent hands you want to add a lot more impact? Cool. So many is this it's a fact? One because this is just like the warehouse basically course we'll put that in there then let's uh try my favorite little bronze that one that he used to love and let's go with that story following in that sounds great, but does that help you want to cool? So we got our triggers in here. Let's. Go ahead and let's just solo this guy nice bite on that round table. I love this one is that commonly use one of mine that's really good to k it should. It should be kind of obvious at this point I'm not specifically using I don't really like to use snare samples for transient information really it's really for impact and for sustained all my transmit information is actually happening from my snare itself so I'm not looking for like, really crack e snares or anything I'm looking for snares that have just a lot of really nice mid range beef where when we blend it with our snare it's just going to add it's going to make that thing much more round and more focus from or consistent so good cool my favorite so good see how that plays back the warehouse real nice tale some pretty good. So, alice, listen to this. Next we got a kick sample, we got a hair sample were sounded pretty good, no samples what samples with with let's try to make that snare sound just a little bit better. I want a little bit more bite on it so it's like instead of grabbing any q and increasing bite I'm grabbing a bite snare and I'm christine the fight you know, it seems like a logical choice, but uh it also takes some stepping back and understanding exactly what our snare is missing and what we know teo support with it to help us accent is hit. So with that now let's hear the bottoms now with that coal around these levels of it, my general vibe on like right, my morals and vibe on samples is the most important thing is tempo with any song you want to make sure that you yourself and your listener wants to bang their head right that's the entire purpose that we want to listen to music, we want to be able to get into it and be ableto wantto be like, yes, this is sick and I feel like when you when you have germs that are really on time and you have consistent hits that have a lot of impact, it's much more inviting and much engaging and invite you in to be able to feel the song and be able to say, well, like, I'm feeling the movement, I'm feeling the vibe of the song, I have all the impact it's hitting me. I'm not just hearing things so it becomes much more of an emotionally engaging process because you're physically involved in the mix as opposed to just hearing it. I want things I wanted to be driving out of the speakers and before scene impact and sustaining bottom, where when we listen to this we go, we perceive the drums as a real drum set sitting in front of us just as ill as I went into the other room. So I mean that's, that's, another big aspect of, um, sounds logical and and and they makes the most sense to me, but lots of people don't go into the room and listen to a drummer. And then go back in the control room and try to match the two that's literally what we're trying to do we're trying to make a drum sound like that so at the end of the day I know that these drowned sounded as best as I possibly could to make it sound like it did in the room and if anything we have accomplished that full vision by adding more reinforcement with their kicking snare so again let's just listen this in the knicks apply from the top because that's a cool song anyway so let's do something way way out of his depth mike's let's let's demonstrate how much better this could get if I just increase just are effects and our room ones so again, it should be obvious the point isn't replacing this sounds it's just augmenting and helping them cut through in the mix a little bit more because we did the exact same song panties let's just listen to the exact same song but the panties version is dead I don't think I mentioned this earlier but the dynamics on a scenario I don't really change that too often because a most important drum on entire drugs that is the snare and I'm paying the most respect and attention to it and all I'm really trying to do is reinforce impact so I want each narrative to really fall the dynamics of the snare and teo uh not the obvious that the sample gets louder at one point, whereas with the kick, I'm trying to add more weight. And I'm trying to add more consistency and that's. Why we play with the dynamics on that. I personally never really play with the dynamics of velocity on this narrow sample, because I just want to be true to the original source is possible.
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