Blending Multi Samples and Mixing Part 2
Let's, move over tio this song get fast and we're going to do pretty much the exact same thing but let's just go ahead and let's play with these guys play with the sounds and we're gonna we're going to listen to the guitars and stuff that we have and we're going toe to show you howto out these how to print these and how to actually get rid of our triggered track and just have only audio tracks that we're dealing with cool word pretty good on this guy so let's just go through replace it with his kids just do is close mike I'm not any of the ambient because we have a lot of areas going on so the biggest I don't know if you guys could really hear this at home but the biggest thing that I'm listening for when I'm hitting these face which is here is I'm again I'm listening to the bottom because the way we have phases use most obvious here that it's happening in is in alone that's when it's really obvious to hear it until andi all we're really trying to dio again is reinforce impact so all t...
hat really matters is making sure that our bottom is in phase and that it's sounding thick and consistent so there's two isn't go either on or off and I want it sounds better than the other there's no right or wrong way that's good that this really weird strokes one again he's got a really cool like low mid kurt that happens, huh? And again like if you listen to this sample by itself it sounds kind of terrible like but it's cool it's like it's just like the hallway and the wild card nights like in order to be artistic you've got to get weird and you got to get real weird and things like this are cool you know it adds a unique character got two slots open let's find something unique let's find something weird basement go down one more that's gonna be a graft sambal with aboutthe outside outside with it sounds great most important thing is that believe in the background if we didn't have that bleed this whole thing with sound so thick and it wouldn't work out I'm a big I'm a big firm believer I don't get my kick I don't get my spare don't get my tom's that's why I didn't get my times but I edit them manually by doing fades so it's really important for me it's really important to keep your kick open let all that ever happened to keep the snare open let all that air and ambient noise happened embrace it don't run away from it embrace your blade like go with it and it's a part of your drum sound it's living in that like there's really nothing you can do other than have it be your best friend your name like that get cozy with it and make this friends with it and figure out how to work with it because it's going to be on that track forever so again just will pull the cake by itself you know, with the sample so these things hee hee hee that sounds awesome. Sounds great. How many samples we got on there for our home slice at home that asked if my blood samples you want two, three, four, five, six, seven, eight the answer is yes, I blind samples. We have eight going on and this is pretty much what I was doing. Cool. Now, it's going to snare and let's just start getting any greater with it, making best friends with it and making the sample sound good and the slave thing you can't do like an option d select all right, hold on the browser and let's switch up his devon's near with his I like that. That sounds great, right? As you can tell, using the rial sample of the actual snare jam with itself is extremely beneficial for helping out impact and also its prey. Uh it's pretty visible you kind of really can't tell that's happening no way you can get away with going real out on that perfect a warehouse that's the air samples great but thea problem with this near sample is it has so much transient snap detail that you can easily overdo it and completely making your sample obvious so what? Anything is really transient heavy like this and has like a nice bite and snap you got to be real careful with it and you have to really blend that if anything being with the transient, snappy one light and a close mike being safe and going just a little bit lower like find a good area and you bring it down just a little bit that's going ensure that you're not going to get too crazy just an fbi about that sample that is a s and fifty seven wildcard mike on a story so far in the middle of the room pointed up in the ceiling completely completely smashed within eleven seventy six on all buttons in mode and it's just a rumor example on that so that's that's when you hear when it's something he said as a rule like so don't be afraid to try out really weird things that don't seem okay to try out. I assure you it might be the best thing you have done in your life just I want to put the hallway mike out and the mike in my shower like giving experiment like that it's become a part of my drums out now let's get rid of this uh l p one and let's, put something else cooler in there instead. Let's go with back in the bottom. Try this now. It's got a really weird bonham and thirty eight going thirty eight one isn't adding much other than what the bottom line is easing so let's find a weird e know that. Do that really quick. All right, let's, listen to that in the mix. I like that. I could hear that bottom taylor going on. Yes. All right. Cool let's. Get the rest of the drums going in here. And then we will start playing with the towns of these and trying. Tio jimmy, don't you see me running for my thing? It just occurred to me I'm really big on selling vocals and listening, doing with drums lots people are like let's get base and then let's go guitars in there couldn't care any less about guitars, a bass and times all I really care about his impact of drums and vocals and those are the most important things. So I'm always soloing those things and I'm making sure that they live and they sit together because my side information is guitars and base and that is awesome, pretty easy, easy stuff to fit and once I have the important stuff there, you got to fit it all in around that everyone makes this mistake they go cool, I got big guitars, they got big drums, I got big bass and you've got this much space for your vocals so you're going over compress them you're gonna have to really make sure it works so I'm a big guy where when I start getting my drum sounds I want to have my drum sounds again I want to have vocal sounds going and I want to I want to be recording vocals as quick as possible so I could be listening to the mix and really seeing how the drugs were going to look for this session. I was really sad because the center chris he's great amazing vocalist like the day after we get drums a set of vulcan like that night we did vocals every single night on each song, so it was cool to be able I really like starting with vocals immediately in getting there because it's going to get us on the train to an end result in a final mix much quicker everything is going to make much more sense if we can get a drum sound going and our vocals working with their drums out each it's way wait these these points on this council are really useful for this and I'll demonstrate how we'll just turn down the snare a fighter and I basically I got a grid of where it can get and it can either live here here here here that's either at ten five, zero or six and if six is too loud and zeros to quiet then guess what it's going to somewhere in between that right so it's very easy thing when you have a mixer like this time tohave to have numbers and understand our ceiling and where everything is living so it's true e way now it's got the cake and do the same exact thing and the reason why the big reason I'm listening to this would just vocals is because it matters to me that my drums sound natural by themselves along my samples toe work so what I've just listened to the drums that sounds good but also still I want to be able to nudge kicking sneer sample up a little bit and that way if I sold the drums maybe it sounds a little too fake to me but in my makes it sounds perfect so I want to get it sounding natural and the most natural to me it's way twenty ten five zero let's say we got wait let's somewhere between zero sixty e gonna go through this get a little bit of a better drum mix I'm gonna make sure that this is sounding good and then I want to start bringing in the guitars in the base after this way radio waves wait get you some example you're making now start bringing the guitar let's start bringing some bass so now that I've got a pretty decent level the drums with vocals I got everything happening now I need to make sure that my drums can fight and compete with my next that we've got going on here we gotta help him cut through so we're gonna go up to our parallel bus and our main bus and we're gonna play that those two favors either were a little bit more compression or a little bit more dry so let's see what we got here I think maybe that's a little weird pumping so let's just all the drums and maybe bring them down a little bit I'm going to click that plug and I'm not gonna look the introduction because I don't care how much gang reduction is going I just care if I'm getting enough movement and I'm getting my compressor tio give my drum some life and making kind of push a little bit I wanted to say that sounds a stagnant I want air moving around welcome back so I got my apparel drum bus going at three tv right now and I got my regular drum bus going at negative six right now so right in the parallel bus harder and it sounds like it sounded like you find the parallel bus really does too is that because you're giving it so much drum information it's going to smash the samples pretty hard into your drum sound it's got a kind of help make it sound more cohesive and it's going toe it's gonna blend them together and made it sound more human again that's all compression wait wait wait wait get everything sounds pretty good let's work out this kick it's near a little bit more let's go into the samples and let's make let's do a little fine tuning of each of the levels and let's make sure we're cool because I'm feeling pretty positive about this they were like ninety percent there but let's ah what's tweet this more because as the search continues we will continue to find the best I'm a big thing that I really like to do let me just show this I'm really big about groups and uh let me just make some groups here and I'm just going to show you how I love groups and how I make them my best friend all the time so basically we got on drums busing to your drum bus we got way got a top kick or I mean we're going inside kick we got a sample we got outside kick we got tops in there like we got a bomb stand like we got a sample going so let's make a group of all these drugs it's times like them all cool group g make a group I'm gonna call this drums that's what drones everything's going to that we got that happening cool next group I'm gonna make it gonna make my drum bus group it's going to the two buses that are actually feeding that now the handy thing about this this is where fayed er's coming tio play and this is where I find the state is to be the strongest thing we're going to take these two hundred buses I'm gonna just group him and we're going to play with driving our drums into our drum bus harder and play with our levels and see where if if we like where we're at all the groups to buses city really well also with just two groups and three favors right here I just took all of our drum legs and mess them in to make sure that we got enough saturation, enough compression enough punch and that we're ready to go from there now I wantto go to disable those groups and I'm gonna start making going kick group we gotta kick now we gotta snare because oftentimes I said to myself, I can't hear my snare my next so instead of grabbing three theaters simultaneously, I want to grab a group of one and I want to play with it the coolest thing about being in a group like that is that when you have three favors coming up, if you're grouped, you can put two three fingers on all three fighters and you could still move them and it will actually not snap back to the original group like him so you could be you could move them all and then get it happening and just start fine tuning from there so let me make a group of the talent that we got the next thing I like to make a group of is the ambient mikes so let's see here here's all of our ambient likes and I exclude the overheads from that the other heads of the one thing that has its own one fatal because there's nothing else related if it had hyatt and ride I would group high hat overheads and ride together but I don't have those mikes because I don't have to use them so now that we got a groups I'm gonna disabled my drum group and I'm gonna keep the buses going so let's just listen to this and I want to start just fine tuning my kicks narron tom's so they start cutting get it sleep apart with the same thing I'm going to try to bring a little bit more top snare and not the actual snare sample and it's somebody disable apple that's working let's keep listening from there start playing with room let's bring up all of you well we're starting pretty good let's listen these drums now just saw him up our levels inside trader always really need, at this point, just like one two to three possible little movements were really there were just find tending our range and making sure that we're getting enough. Click not too much room, not too much bottom, just enough where it just sounds consistent. Great, I'm really into that. That sounds great. It's often been said that if you find yourself saying along to the song, then you've done your work and that's, all you're really supposed to do so I was just saying along for a second.
Drum samples are a staple in modern music recording. Drummers can’t deliver a pitch perfect performance every time – drum samples free you up to make small mistakes that you correct for in the recording studios. Learn how to use them.
In Making and Using Drum Samples with Sam Pura you’ll learn all about recording, editing, and placing drum samples in a mix. Sam will help you identify weak spots in a performance and show you how a sample can reinforce your tones, add depth to a recording and fill in the gaps. You’ll learn how to record samples from a drum kit, edit them, and then place them in your mix using Beat Detective and Slate Trigger. You’ll master the art of integrating drums samples that sound authentic and natural, not copy and pasted.
If you are ready to get solid drum tracks that cut through the mix, this course is for you.