Making & Using Drum Samples

Lesson 8 of 15

Selecting Samples

 

Making & Using Drum Samples

Lesson 8 of 15

Selecting Samples

 

Lesson Info

Selecting Samples

We're gonna create a print bus so in order for us to do this we need to create one stereo track I want to name this full kid and the reason is we're going to send the entire kit right now and we're gonna print all those samples that we just cut up toe one stereo check so I want to make it bust fifteen I'm gonna send my next bus or actually just on my bus teo number fifteen so if any of these other guys and let's make sure we are getting town that is the latest key command protocols as this you press command in space bar to record but then also it brings up spotify earth spotlight so let me just engage that real quick all right so now let's go let's just put the trim on there and just verify it real quick so we got that set so basically these drums are all sending to this track that we're pretty right here so now that we've done that let's go back over our samples here and let's choose a little strike time before we'll start time afterwards and let's record all right cool so we now have...

our kick drum sitting up here it's scary okay it's the full drum kit it's every single microdot going tom likes everything it's our full kid so let's listen to this again and let's see which which kick drum samples we sound we think sound best again, what I was going to do is I'm gonna I'm gonna mute whichever region I think is not that good sounding so if I make anything grates because I'm cutting it up and I'm gonna mute it for us it isn't much better good okay? Really good cool you got one, two, three, four, five let's listen to these lasting I'm gonna take this other one now that we got this let's get rid of these other files that teenager let's chop that was chopped that and we got ourselves for really good hard kicks great. So this is how I like to name an export these basically let's go ahead, consolidate each one they become their own audio file we don't need to place a is because they've already been applied on the other one. Rachel tracks themselves so I double click on this and I'd like to name these things. This is our kick so I'm gonna go kick lp which is the drummer's name? Um let's call it creative life being headed here then we're gonna call it full because it's the full kit it's not just the close mine. Okay, copy that. Do the same thing to this guy two three for we've made four kicks samples and now we need to export things and put him on our desktop but before we do that one thing we can do, which I personally don't do but a lot of people do if you buy if you buy samples they're all pre like normalized essentially so they take this normalizing plugging and they basically say I wanted to be right below the peak point because a lot of these samplers they want to see this file at an optimal level and some of them are at zero devi is what it's at so I personally don't care about that, so I'll skip that step, but if we did, we just press this through this thing and just actually whatever let's just try now it'll sound long, much later cool so again, I all I did was I just took this level plugging on the normalize I brought it down basically a percentage so it's immediately right below the clipping point cool, eh? So with that we're gonna just really need to make sure that they're cool. Well, calm norm because we normalize this rename each of these and then we'll be cool so that is our full kick drowned sample now we're going to the exact same thing again. Okay for cool kick trump samples some of selective when asylum let's export them I'm going to export them as a early flower because I want my stereo in her leave file of this to enter as one file instead of a left file and a right file we want to be one stereo interludes file so I'm going to get twenty four bit because everything I do in pro tools sees my files as twenty four bid and I recorded forty forty one so twenty four bid forty four one let's create a little folder on the desktop here let's call this slp kid samples great. So let's, go ahead and export these they're perfect. Go back to our desktop here so we've now just made our samples here. So that's our kick sample now, what we need to start talking about is how we start blending. We're going to make a bunch of different samples at this point. We're going a bunch of versions of the sample, but I'm going with the snare next. So we did a full kit. We got the whole full kit sound. What about just the two close mike's? What about just the ambience? We're going to both this someone make two more tracks here. It's not twelve. All right, I'm gonna call this one close night and I'm gonna call this one effects great. So let's, move over towards syria. We got our awesome sound of and let play this back and let's record this first we're gonna make our full, uh, focus samples, same thing and still ratted we're gonna make sure we're not deactivate this track, it's muted this guy doesn't have an input, so let's make it the exact same and put fifteen sixteen some of this kind of all right, let's, go ahead and record enable this now I'm on. Lee got a solo is two snacks now the last one we're gonna do, quote, enable our facts here, let's go back down here and we're gonna solo on our hallway. Our room, our side are mid and our overhead likes nothing else on that. All right, cool. So now, next video. So we printed our full kit version of this snare we've printed just the close like we printed just the effects again. The reason why we're printing is to a two track is because I'm committing to the sound that we captured I'm saying this is the best sound we captured. We've evaluated that it sounds great and we're going to go move forward with this is our drum sound, and if I need to alter the levels later on, the knicks that's fine, but at this moment and this time I did the best I could with the tools I have, and I'm going to record, and I'm going to catch that. So now that we've done this let's go through let's make a group of this big fan of groups by the way so I'm just gonna call this at it because we're just gonna use this to edit real quick and so basically now let's listen tio just the effect version of the snare let's see which one we like and then we'll go through the full kit and then just the close one will establish which four snares we want to choose and have those air samples and you guys have a preference on any of these so far anyone staying out too one sounds weird to me all right? Especially last one's my favorite line cool let's go ahead and just listen to just a close mike now that was kind of weird that last one is still my favorite and then also the focus so we're gonna go with these four as our sara all right so now yes I would do in the character let's go ahead and let's normalize all of these it wasn't one by one so I kind of always a here perfect perfect that's going to make a special it's going to take the room samples much easier to work with because they're not going to be such quiet level when we go in all right so we normalized all these last stop in this just need tio name each one so we're gonna call this s person there mrs lp on full kit one cool thing is one too and this one three and this one for perfect now I'm gonna name this one helping close last one the effect track fx room ok cool perfect so now we're just going toe export each of these into their own folder let's go back to the desktop as soapy kick samples and still make a new one that says s apiece in air samples for those who don't know my name is samuel lewis pura so every single one of my folders that I'd create starts with slp that any engineer at my studio it's our rule user three initials helps for easy file allocation everyone knows what follows mind not to touch and I know whose other file not to touch so very smart thing anyways so now we've chosen just our full kit mikes so let's make a specific full kid uh samples perfect export those great now let's export these close likes well like its own folder for that too close and then lastly our fact on okay form of on tio prep unease and students like trigger and all that do we have any questions blew that pretty quick because I thought it's a little monotonous and do this every day so any questions yeah we got that there's there's one online for presenting specifically does he is you being he a consistent attack delay for the drum parallel compressor does it change like dependent audio track I usually for an eleven seventy six for those who don't know much about eleven twenty six let's get near the real quick theater back time on eleven seventy six is so fast it's basically it's point eight milliseconds toe like point zero eight milliseconds itt's faster than a millisecond where usually went on compressing drums I like my attacks to be anywhere between thirty fifty milliseconds to ten milliseconds and the reason being that on mostly compressors that I've used in my life I don't like to shave off transients people who are using compressors they kind of approach compression and in different ways and most people most people are using it to tame out of signal and flat and it up and I'm not really doing that I kind of come from them I'm a guitar player so I come from the school of I use compressors as a form of saturation so I don't want it making these weird movements and grabbing movements on my transients instead I want them to let the transmit back on toe let it through and on ly attack on the sustain and to bring up my sustain and not kill my transit and I I have the upmost respect the transient detail and preserving transient detail so with that being said every single time I used eleven seventy six on whatever it is the knob on the attack thing goes all the way to the slowest setting, which is still extremely fast, and the release is although the fastest I never touch it. I never looked the meters. I don't. I try, not tio like, sometimes I'll be hitting that real hard will be hitting like negative twenty and stuff. I try not to, really so out the compressor and hear it by itself. I really use it for vibe, it's, it's, my vibe, track and it's helping push more air into the session instead of teii me, my transients, and making drums, even in compressed that's. Not why I was that I use it as a form of gir thing up and making the drum sound dig. So, uh, that's my go to every single time I use any parallel drum compression. It's, an eleven seventy six, slows attack time fastest, released forty one gain reduction, whatever you want, how crazy you want to go.

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!!