Making & Using Drum Samples

Lesson 3 of 15

FreePreview: Drum Rooms and Tuning a Snare

 

Making & Using Drum Samples

Lesson 3 of 15

FreePreview: Drum Rooms and Tuning a Snare

 

Lesson Info

FreePreview: Drum Rooms and Tuning a Snare

What's the most important part of according trumps your drummer your drums and your room so my room I got a really cool big raymond and panda west twenty five twenty four twenty five twenty five and it has a big hallway spoken stick mikes out there I'll have a big bathroom second put that mike's all the way down the hole behind like forty feet away from the drums so it's really cool we can experiment a lot. The end result is that the room sounds really big very open you can hear the space itself and it's extremely extremely punching it's got lots of impact kicking snare hits really hard in there and one of the coolest things that we recently did you as we installed this drum grella always had a better picture of it to show right now, but the drum bell is basically device that sits above the drummer and weaken lower it and raise it up and just bunch of phone that sits in it. And the idea is that when you naturally tuna drum kit it's going to respond and resonate with the room, all rooms...

are kind of naturally tuned to it's something like when you hear me talk right now, we can have a here, the walls reflecting and that all mimics and relates to the drum sound, so when drummers play and they're starting to get snare challenge and tom jones were tuning the drums that they sound good in the room, right? So now we've got great germs in the room awesome! We go into the control room we listen to it sounds perfect then we put into the context of the song then guess what we find out maybe your snare drum isn't in keeping the song and your kitchen isn't, so we can then go there and try to adjust the tuning of the snare to match the song, but then it doesn't feel right in the room because it's not tune with the room anymore. So what we do about that right? We've lost the room responding and creating mohr impact and death on our snare so it's not going to sound nearly as big in our room likes and stuff? How do we fix that? Well, we play with the height of the drum bella because that is going to alter the tuning of our room to accommodate to the tuning of eardrums said so it's really cool because we can make sure that we restore any impact that is lost at all times. So what I do is I'll sit down at a drum set, I'll just kind of hit it for a while I'll make sure that it sounds good and then I'll bring into the drum bella down until the tom's kicking snare all feel and and punch justice evenly like I'm gonna roll through it and be like men. I could really hear everything at an even level right now, it's responding really well in the ground. So that's that's one of cools things a drum bella is impossible to make certain we have many don't have any tools to show your things like that my, my silly manager dalton, I spent a big week of his life working out how to just make that from scratch with no plan. So turn out really good and it's extremely helpful to our drum sound. It's it's been a big apartment you trump sound recently so here's the picture of the library. We also have a lot of wood on the sides there, as you can see all this treatment we built by ourselves, by the way, d I y for life, but basically because of all the would like everything just responds with a great they have has a lot of attack. It's. Very transient heavy, lots of definition. Clarity. So the next room that we have is panic east. That room is thirteen by fifteen. So it's a little smaller but what's really cool about it is so small like that it's really quick and it's really aggressive so I kind of imagine that if dave girl ever came to my studio he would probably really want to play drums in that room because it just sounds really cool it responsibly well, snares feel really good the best coolest part about is the fact that we have a warehouse that we just open the door and it's this huge river chamber so we could stick mikes out there and just have huge ami is like basically a river attract we just turn up so that's a huge benefit of the german here's the panties right here way like to use these these two sided go bows that we put in front of drum set you'll see a little video later we'll explain more of those but way basically tryto eliminate we're trying to create a much ambience between our actual room mikes and separate them from our drums so they're not getting direct impact but basically I didn't see the same type of wood treatment I was in the east the only reason west no aerial differences we don't have the drum bella and we have a huge warehouse that's when funding spare so so behind so and it's those like striped looking panels it's it's absorption behind you slap those cracks so it's like half so one side is diffuse is on the other side are reflective and effusive you and the other side is just absorption so what's really like the benefit of that is it's really apparent in east when you turn the diffusion side around, everything just feels much more live and, like snare responds a little bit better. Things just feel big and punchy and when you turn around the other way, you maybe lose a little bit of symbol decay and the kick and snare sound more quick more like the impact is more controlled, but the decay is just a little bit less anything, so I'm so if somebody wanted to build the leak, how much does that cost toe put something together like right there? Do it yourself if you want to build on that, you just got home depot get two two by fours or what? Like four dollars for ten bucks? I don't know how much of this and then you get a couple of flat wood slats and it took I think it's four o c seven o three panels because it's, what team there for them in there and basically that you could build one of those for under fifty dollars for sure guaranteed even with wheels and stuff on it. So it was awesome there wear for my two in each room it's really cool to use well put him through between amps and stuff like that so we can isolate and more, but they've been a really big help for me and making symbols not be so harsh in my drum likes because symbols just batch everything, they're just small way form that just so narrow just goes right and do it. So we feel like it's ice pick sometimes, so I'm always just trying to remove as much similar as possible. So that's the east live room, basically, how do we get drum sounds right? So we got a room, we're choosing our room, we know what we're going to, which room we're going to use now we need to sit with the drum set and we got to make it sound, so basically, what we're going to do it at this point is your jam on a drum set to sit there for a long time, you'll just basically play, they have him play, you hit it, make sure you don't really have any complaints about that. Three other thing I really like to do is I have four different snare drums, and I love to try every single snare possible. The reason being some drummers respond better to other snares, some stairs respond better to certain songs. So it's nice to have multiple snares set up so that if you're about to record ten songs, maybe you don't want to use the same snare sound for every song, because the keys change and things of that sort. So I find it's really helpful that multiple snares the next thing you have to do is you have to evaluate the key of the song and the tuning of all the material so the when you establish a key of the song there's three notes inside of a key that the most important for you to follow when you're going toe to toe drum kit it's the tonic the fourth and it's the fifth and the reason being that the tonic is the key of your song and the fourth and the fifth are pretty much the two notes that are going to make them both sense throughout the song you can if they're going to peddling if you're going to be like pounding on tom's you want them to basically fall within the key right so we'll get more into this the human aspect that real quick when I tuned drums I too might kick to the tonic my time my floor tom to the tonic my snare other to the fourth or the fifth and the tom toe out of the fourth and fifth so if this is the fifth that'll be the fourth if that's in for that fifth in this metaphor bones so those are really the guidelines how do you make your drum sound like those notes well you gotta grab a keyboard I have a little mini keyboard that I've been with me and I basically sit down at a hit the drum until I find out which note is basically the closest to it from there I'll be like ok, well how far away from my tonic is it is it two notes away? Okay, well we need to turn down a little bit and we'll start accommodating that so basically once you're cool about your training of your drums you to make sure that it sounds good in the room and then also sounds good in song that's the biggest aspect you wanna make sure your snare maybe it's tuned if you could get your snare tune to the key of the song I guarantee you'll be so stout and you will hear a huge benefit it's going toe is it's going to be real pleasing that's going to be much more easy to sit in mix so you do that mostly about year two right? You can't really completely by their tumors don't pick that up so there's like there's a couple of drum tuning like like I phone softwares and there's ah there's another thing called tune but have a picture of it on another slider but um I personally just don't have great experience with them because I follow my ear I want I want to make sure that things sound good to my ear because audio is subjective and if it doesn't sound good to me that it doesn't sound good so I just continue to work on until that um but basically we'll get we'll get into a tuning in a second, I'll show you my cool tips about it, but once you're once you got your drums tune, you gotta make sure it's to the song sounds good in the room. It's doing great in the room and what you need to do is you need to start actually recording a couple takes and hearing it in the mix, this's all before we've even committed to you our drum sound, you know, like, this is a big process of getting the sounds. So while he was obviously you're a woman like set up, I got everything going and make sure they're doing something good. I haven't played and recorded entire song come in, we listened to it will pull the fighters, I'll be ableto solo through each thing and be like my cake, maybe sounds weird listening maybe sounds weird in my time sound where I'll go back in there on keeping you have seen until we're cool, so the whole process is you rest after you do is you take a cool break, make sure that you're sound good and then you do the exact same thing again going on in the room, chan of the drum set. Make sure the different stairs sound good make sure that the drums aaron in tune with the song make sure their intimate with room make sure it feels good to you continue this process until your stepped on your jumps out you want your german ago that's awesome. You want you to go? Yes, that's awesome! You guys high five you ready? Best friends were ready to get record transit point, you know? So that's that's the process of getting the sounds so, like I was saying, we'll get more toe team right now we got the tonic, we got the fourth and the fifth was the main ones we want to focus on then attention tuners and drum japanese all these aspects going to help us make sure drum isn't tune. So basically, these are the most commonly used drum tooni tools that I've run it come across tune bought is that digital drowned here? Uh, lots people have great experience with it. I personally never got it to work for me, so I don't really know what he is it but I know that other people really swear by it and recommended and maybe if I spent more than twenty minutes trying to learn it, I would actually have good results, but but my secret of tuning drums that I will be happy to share with everyone today is this evans drum kenny g I cannot live without this I want and I made a record in australia and I bought four of these before I went there because one is not enough to isn't enough I had to make sure that everything was cool and I gave you end up giving the drummer too because he loved it and I want you to him so basically the way that this seven ski works it's got this but I'm gonna really cool knob on it and the knob basically it's got zero through nine on it and basically it's got this little tabs and you can start off so you basically said it until you get your first tension and it and as to click over this thing so basically when we go to a drama at this point it won't will tune in and once it does this that means it's at that tension so we stopped and we go to the next lucky and we do that exact same thing again so the advantage of this is that we can make sure that all of our art what are those the lugs the attention logs are all at the same tension want them to essentially be scrutiny evenly so that her head is sitting at an even pressure on on top of the entire head some jumpers think that this is wack and they'd completely will be like get that out here but I'm I highly recommend it, and if you really pay attention to what I'm going to talk about this, I think you'll you have really good drum sounds and you'll find that trump tenure is really easy, that what I originally the issues that I had when I was doing drum teenage originally is that you're following your ear and it's just trial it's trial by hair, right? You're just going there and turning a couple logs and again, is that sound good? I'll go higher well, what's higher at this point because we have no frame of reference for where we're at currently on the snare and if we go higher, how do we go back there so that's where this thing comes in so handy you find a number you basically any time a german comes in, they sit down at the trump set and I go through every single german and determine what number is the one that's closest to how it sounds so feel it on the time will be like, ok, it's starting to click out of four and if I go up to a five it's way too highest it's tuning too much obviously. So you make sure that you establish which numbers are which the numbers on here are totally different for each key. So that's why I say I buy for them because they're all sound a little different and they all have different numbers of register different things but for example this key particularly it's starts on three is where it really starts minutes first tension s o what I find is that almost tom's the number four is the lowest I can go before the head is completely just crapped out on it's not actually doing anything so it'll bring it up to a five and I'll say how's that sound maybe it's perfect maybe it needs to go a little bit higher so bring it up to a six and once I'm out of six like it's too high let's go back down to a five if I didn't have this key I would go that's too high let's try toe go back to where we were and we don't have a frame of reference for that with this we do and we don't have to spend all day doing it so yes maybe following your air and other drum keys are a little better or something but I find that this is the best for me to define what my drum is, where it is sitting and how to get back to where that it currently is so also it's like a little more scientific it sounds like but ultimately you still use your ear absolutely yeah six sounds best toilet it's using its using the numbers to have a frame of reference so that you're like ok well six is high five is medium for as low so I'm gonna if I want to go home to go to a six andi you could define how high that it could go if I go to seven that's way too high that sounds terrible like and I got a three that's way too low doesn't work so I can on ly tune this drum between a six five and four that's it so then when you evaluate your tuning of the key of the songs you're like ok, well I wanted to be the notice see and it's kind of over here in a deep well you really only have two other numbers to play with so does it sound better at six or does this sound better for does it sound better at five? One of those numbers is going to be closest to the key and at that that's the best that's the best you can do with five minutes of tuning and a junkie for full proof options so I only use this I don't find him don't even go back with my ear and just follow me here on ly a numbers guy with this this is how I changed rounds so I guess I liken scoot over here and I can start talking about how to actually turn up the stairs right now so when you get a mike on am I going to take a seven? Journalists are going to make a plan or do they want to see me? I think we want to see you actually like cool make that thing up so I want to put a mike on a snare drum and we're gonna turn this right now. So basically the most important aspect of working and mike in the snare drum is you have tio place your mikes that it's getting a nothing the attack and also enough of this head that is resonating too. I got this cool dw singing and guitar center loughner's thanks. Basically, we want to make sure that our microphone is going to be out of our generous way and it's also going to be pointing where he's going to be hitting it right? So my general wolf found what I might snare drum is that we talk a little bit about no points well too this microphone it's cardio pattern meaning that it only picks up right here but also picks up a little bit out of here about out here but really nothing over here. So everything that's right here is pretty much rejecting, so we like to aim are no point is what we call it at whatever we want to reject, right? So if I got a high hat right here I'm gonna and my no point right there that way the high at being the cause this thing to the snare is being rejected from it. So I usually mike from this side because of rack tom's here, and I don't want to do this because I don't want the high hat getting introduced with cardio pattern so all usually mike from this that so that's my first step with that the next g o two aspect of michael snare drum is you need to use what I call the finger rule, so basically all right, basically sorry, when we get our snare happening would basically want to put the microphone so it's amy two fingers above at the head so we got two fingers and that's it sitting right there. I like to do that as my general rule of thumb, because that way we know it's living away from the head it's getting enough of it and we can also take our cool drumstick here and we'll be like, all right, well, it's obviously pointing right here and I want point in the middle, so let's do this and now we're pointing more of the middle right there, great come on right now, almost there, all right, now that we got a snare stand up here, that's, why they're so first thing that I hear when I hit it it's got way too much to k way too much residents so let's fix a little of that when the cool things that we like to use this moon jail you get to saying it's our center in jails cool thing basically is these cool blue sticky pads? What I like to d'oh is it like to actually cut these down common half and or and force and maybe kind place a little bit around because I find that one is a little too heavy sometimes. So for this example show you what? What you which is how basically hit around the head until I find a spot that I put my finger on and it takes out all that extra residence in decay doesn't have any weird overtone it has a nice, thick bottom, a nice attack and no, none of that weird ass noise this right here much better now that we've got that happening let's talk about to snare drum so let's define what this snare drums that right here some of the put this at zero let's hear we've got obviously it's, not a zero because it's clicking so it means that the snares treat higher than zero so let's bring it up to a to see how that is still clicking, probably living out of three or four so it's cup before and it's clicking so pretty much living out of four right here. So what I'd like to do, the first thing I always do is you have to understand that the drum needs even tension and for us to mess with anything on him, we need to do ah, pattern that I like to call star pattern the star pattern is really confusing pattern because you're supposed to skip along each time and I don't I don't like to skip plugs like that because I can't my brain will lose the thought of where I'm at and which like I was working on, so I just go, basically, I'll start on top and you always tune down, then back up perfect, right there we go directly across to the other leg, tune down, back up till clicks we're gonna keep going through the entire thing and we're going to make sure that this head is tuned to a four again the numbers they're all different on drum keys so you have to use you have to use your feel on this and understand what what you're doing. So lord, hear now before sounds great so now actually does it again, he's all right, now let's, try this, I'm going to turn it down to a three let's see how that sounds, can we go any deeper? So you're back in it off setting and the reason the reason that we take down and up to it is because we want to bring our lug up to the tension not down to the tension so we're bringing it up from under the tension and making sure that we have all of them sitting at the even tension another another thing is that once you finish all your lugs lots people go around and then I'll just they'll do it again I'll double check it and click it don't do it don't always go down and then back up to it never just go around start clicking it because the tension is going to be a little bit different now so this guy's going to read a little bit differently so that's why we always go down up we're down to three it still sounds great right? Let's get out of it to see how we get I can hear that it's at the point where is going to start getting wonky if I go one more lower but let's establish that so the other big important things to do is make sure that you're not like grabbing the head or the rim anytime when you're doing this because you want the head to see even tension and you don't want to have your hand pushing it in a weird way and not having to see the proper attention so cool that stone here all right now too obviously to level we've got some more residents back move it's terrible that belonging to that so now way no that the four is the best to me let's go back up to four let's hit it again no let's try five see what how that sounds might be kind of hard to understand exactly how this works basically u turn until the black thing clicks never cool just looking back in and you're going to reset it. Um as you can see, the whole number thing means it's a lot more easier for us to experiment with a couple different tunings and immediately recall it and have no issues game back to the sound that we were like all that one sounds good, but let's, try this like if you just if you're not using a tool like this and you're just going about it, you're gonna have a hard time chasing that original town unless you count exactly how many turns you were doing or something. So wait for that sounds great let's go five and let's just see if that can be better apologies didn't go down and then not grant me my almost all right thiss point I would say that foreign five are my favorite sounding ones if we need to go lower, I know that I could do three so at this point I'll go in have hit the snare drum deal like word five sounds pretty good I'm into that I don't have weird residents I had a nice attack let's do that do we want to go lower let's go for you want your lower one time let's go three do we want to go up above five let's try six and let's establish that again I like to establish our range so we know exactly how much range we have opportunity it does make sense you guys like this all right way got a question from online audience do you two in the bottom as well yeah we'll get to that in just say ok awesome so you do the top for you first because I assume that the drum already kind of sounds good and I want to get the top snare I want get the top if I'm doing this right now and it doesn't sound good there is a problem with the bottom where we need to adjust that too but the bottom is pretty cool right now so we'll get that in tune and we'll make sure that that's cool in a second teo six actual sounds great I'm gonna go back down to five because I like the five but do you know that six is gonna be cool to word so now that we know that five is our cool thing where do we like to to not our bottoms so on I would say with tuning a kick and it's tom's you're going to find that there's uh the bottom likes to live in three places either the same number as the top or a number below or number above that's pretty much the range of that because you just established the head up on top and the head on bottom is pretty much going to be the same type of thing because it's same drunk same size and gaining so that's that's how we do that snares a little bit different than what I find to be the most common problem with snow turning is everyone comes in with a snare bottom that is too way too tight so basically that sounds great actually start getting this very I wish we could make a sample this and we will later and it was now at the bottom um basically you want to have this to have a little bit of give hear that and move on I want to be able to push this thing and have it not be too tight so let's establish the range that is that right now I want to go down to a zero they're obviously one looks like it might be at a one there's that too try to cool now let's try the three so like I said with tom we like him to be based on the same number either one below one above the same number with snares I like it to be about I like to start to numbers below so we established that the top sounded best at five I'm going to go ahead and I'm going to use to a three and the cia that sounds how did I learn that I like the snow bottom two numbers because I generally think that snares are tuned weigh two hundred so that's I'm going to naturally assume that this guy is a little lower since it had that give and I'm gonna and it sounds better there anyways so we're going with a lower number word all right so also the only reason I have assumed lap now is because obviously I can't in the bottom of the like that so as long as you have it sitting on the surface and you're not pulling on the rims you continued on anything so that's cool all right let's see how this guy sounds now maybe a little too high we got a little bit was overturned going out so let's go down one more and let's see how that sounds so I just turned to your three now too sounds huge let's go one more lower and just make sure that we like it it tio even if you're stoked still got establish your boundary and your envelope because later on you'll want experiment and you want to know how much will you have to play with with each head cool all right. I'm just a side note with this drunk you here I find that I like my snares usually toe live around uh zero to four and are the highest being six and the bottoms I usually find that it's around tio two is what usually works that's with this strumke and those numbers those numbers are totally different for everything else but stepping down to numbers like I talked about is the exact same thing regardless of the drunk that's perfect I don't think we need to do anything else on stoked on that so now our snare drums totally tuned at this point as you see we went through the top and went to the bottom made sure that we know are arrange we're cool with that we got the movie gel on here I'm ready to record drums at this point any questions I think you do get that drunk eat is really cool this is awesome I literally cannot live without this thing there was like one time where a drummer thought this was his and he because he had one too so you took mine and I like one and I was like a junkie a junkie I need to get a guitar center right now has to go by this drunk because I cannot record drums let's have this junkie now does the resistance so if you have a really old snare drum or something with a little more resistance on those legs are the numbers of private change exactly? And that also that if you don't, if you have, like, if you're working with that old, like I just did this pans safer to use on me the other day, and he's got like, this super old ludwig kit thing doesn't really work too well on that, obviously, because one longest, super rusted and the other one is, like, kind of weird. So those things like I basically rely on him having a good town, and then I'll just go in there manually and kind of mess around with it. So this is only gonna really work if you have a good drum in front of you that is well lubricated, I guess, and ready to go. Basically, I was saying nine out of ten drums that recorded this works totally fine. Nineteen out of twenty drugs that I record this works perfectly, throwing one out of twenty eight. Maybe it doesn't work sometimes, but those dudes, I want to say, I already have a good drum, so I'm going on and that's, why they choose to play that kid. So yeah, this this is the most important aspect from may for tuning on making sure that everything's in tune also like I said the moon jill it's huge benefit I don't really use try like the only time I ever really used dampening is on a snare I'll have this thing called a snare wait, did you see that picture there that's from the school company out of san francisco it's actually what's cool that is that because it's this piece of breast that that brass adds more mass to your rim so when you hit the snare, that actually sounds a little bit bigger maybe so it not only helps to kind of dampen the town, but it also restores a little bit of impact by being connected to your room, whereas when he used moonshine like this, some people hate me in jail because they say it's like it's killing the resident of the head and it's all altering like it's, altering the tone, whatever. Sure, maybe it is, but it doesn't sound good to you and good thank you hadn't recorded there's no right or wrong way of doing it. So do it your way and make sure that sounds good, but I would suggest getting a strong key and having fun with it because I guarantee that if you don't have this right now and doing everything right here, this is gonna change that awesome yeah yeah I'm pretty much uh I'm pretty much done with this segment one way have questions from online do you get do you have any questions in the house here? How much do the beautiful things their way I think I want to say it's like forty to fifty dollars he doesn't look it up I don't know the evans on the drunk here the snare wait the ticky tacky I think that this is like thirty forty dollars is well I just looked down guitar center it's like fifteen sixteen bucks yeah, but if it's the same way that I haven't I don't think there's any other black and it's key that looks like so yeah that's in order I have three of them in my studio right now and they won a city next my drum set one is here with me right now and the other is sitting with my assistant ryan all he's recording back in panties that's also we have a couple questions from the online audience about thiss snares themselves and when you adjust that so we went through the top had the bottom head what most of the time in my experience you don't need to adjust the actual stairs themselves but when you do that like what? What sounds bad when you hit it so what tells you need to adjust for me with the actual snares themselves you got to make sure that they they're kind of tricky. I me on all my stairs. I have like, I think, like, thirty strand one have a huge one of these. I love bombs near sound because I put it, mike on the bottom here. So I want to get as much of this going on in that mike so I can put that into my snare sound. But basically, the whole concept is you want this tow, obviously not be choking the head. It'll way want to be evenly there, and we got this knob so weaken a just how tight it is and what my general thing is, I really like tio the way that always set it for everyone. I'll make sure that I am is this thing gonna even turn it is so crying. Oh, my gosh. All right, we'll see if we get into this. But basically, what I like to do is, uh, like to make sure that when I hit it, it rings like that. Just a little bit doesn't because it's got it's kind of sitting nicely, so that way, wouldn't you do nice narrows its responding the whole time. I like to be really active like if you hit a tom, I'd like him to move a little bit, so I'm not got it likes that snare sound to be happiness offense possible, so I don't time it too much, but this one like it's pretty good, I wouldn't have complained if anything, I would want to go a little bit looser on it to see if it has a little bit of sizzle that happens at the end it's like, but our head on top of still doesn't have that extra resident overtone and that walking whom whom you don't want in your snare town want to just be a nice, quick attack with a lot of bottom, and but yes, so I wouldn't justice more if this thing wasn't crazy timing, and I can't touch it because I'm a weekend means, but I hope that, you know, I think it totally does what types of heads do you think work best for heavier rock and punk from the time of the I'll go on record of saying, I'm a huge remo fan in general, but I do really like evans heads to anything that they have some cool new things. One of my favorite evans heads is the evan just dry head, it actually has a bunch of holes across the entire thing on dh that like theoretically, why do you want holes in your drum thing doesn't make any sense, but it actually kills a lot of that extra overtone, so if you have like a particular if like lots of I have a few like brass snares and things like that way no matter what you do, it just kind of rings naturally because the snare itself is a very reflective thing, so putting ahead like that is awesome because it really kills a lot of that over town and that residents immediately my other favorite and most consistent use snare drum head is the remote controlled sound it's basically got a big black dot underneath it in the middle and just sounds perfect that I use I had all time the other like common heads that you will use is like the power dot I think that thing is so weird because if you don't hit the dot, the whole scenario isn't respond right? So generally like tohave a coded head and I'd like to make sure that it's got a dot underneath it not up on top for a little bit more consistent impact. But if I don't have that all these in evans dry and sometimes I even used a penchant for clear pinstripe on the stand basement that recorded that was that's like a highly reference snare drum town of mine people are like man that trump sounds like it's actually just this pinstriped that he was just walking on real hard and just like that correct so much top and not really much overtone because it isn't a coded head so I would suggest experimenting with pinstripes the evans dry head if you have if you occasionally have overtone iranian issues and uh if the classic if you've got a good german front ofyou given the classic the remo uh controlled sound and going to guarantee you'll have great dreams that's awesome some drummers tune their stare up super tight does that depend on the size of the snare so like does that like if you have a little piccolo and you want that rig a crack obviously you're going to hire but is there some standard for like big snare should be lower the small streams so here's here's my my general vibe about snare drum to me lots of your like when I used to play in my old and somebody wants a kid our drummer with just like you put a new drumhead on it's like crank it up turn it up was our crack crack crack got tom's turnover yeah do you like just go at it find that heads don't sound good cramped that they actually sound good when they're seated comfortably and they have just enough ripples in them to not be dying out that's where the drum sounds biggest best and hasn't most bottom end so the more you crank that snare they're gonna lose so much bottom's all these deeds will be like I want to be super tacky, but then I wanted this bottom, so what they don't understand is that they're used tio cranking it because they're killing all that residents when they crank it that's what they're trying to do and when we get it low like this it's got all that body and it's got that crack, but it has this weird overtone of residents, so it sounds like the head's too low and it doesn't make sense that's why we got a news dampening so that you can restore and you can get that crack that familiar attack that they're used to but also still getting the body so it's basically, if you like to spend this legend that I just recorded, we'll show you some video of it and the next segment but basically he loves a snare tune super high it's like the travis barker style crank that thing and I had to go on there, turn it down a little bit any big now I like higher like I know I know, but trying to get way to meet in the middle on this I got no bottom and I got too much crack and we just need to kind of like this a little bit and teeter that totter and making a center the same level of self the higher snare drum goes less body you're gonna have if you want a lot of body to nothing as low as you can and put his much tape and our moon gel to kill that residents, so it doesn't. So you can sit on there like that that's what another big trick is called the wallet trick, because that's what the dude from motown is doing. The old a little baby just used to sit my panel, wallet and everything. You just said it, wallet on it, just original way of everyone doing it, and you could tune your snare drum really low and get lots of bottom and lots of crack that way. So I'm yeah that's s so if you have a drummer that likes to tunis snare, drum high that's, cool worker, that if you're a german, lectured detainer sandra that's. Cool work of it me personally, I like him to be a slow as possible because I like trump's to sound its biggest possible.

Class Description

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.

Reviews

Geo
 

Crazy useful knowledge on Making & Using Drum Samples. Sam is the man, and throws in tons of tips and tricks along the way on building gobos and room treatment and other random production ideas, this class is definitely worth it!!