Snare Drum Sample Prep
I got a few cool techniques about stare and we'll go over all is here. So first of all, let me, uh, enable trigger you pulled the trigger. Ok, cool. Same thing goes again. Let's, go to our brows are actually we're gonna need to go to our perfect on our sara sample folder. Let's go ahead and let's, listen to these. So we gotta close samples. Nice four kids samples and then just the effects. Nice. What is this? Number four? The one sounds best to me. Cool. Let's go back to the trigger stage and let's, basically, solo are sandra in here and let's just start cheering. Let's set up the little settings on here. Four thirty eight. All right, let's, publish set up. So now let's, start prepping this track again. We're going toe pull up the strip silence, and I'm just gonna come through all of this and I'm gonna mentally look at this and we're going to see how this looks looks like I'm missing a hit right there which I don't want to. All right, that'll work. So now let's solve this top snare let...
's, all the sample and let's. All right, so before you fix all the phase let's, make sure that we're just not miss fine, okay? So these sterols these things are what get really complicated and you need to be really artistically aware of what's happening with the drums so you can make this you could make the sound as human as possible otherwise we're going to make this sound obvious fake and if anything uh your listener might hear your bad engineering skills and we don't want him to hear that we want to be invisible so cool I'm just gonna start comes out here so right here this listen this again and let's listen this and half time shift space bar a place that has you so we're not we're not missing anything okay see these things these air not scenario it's right? Why they're there you need to get rid of them. What are they and why the jury well it's of the tom hit the tom hit is bleeding into it really loud and it's making me think that it's a sex so I'm going to let both those and we won't have that misfire anymore right right here that is a snare hit and it's not atomic so perfect but it's grabbing this time head here so let's get rid of that and we'll listen that one more time tom cool right now this part is the really really, really cool thing where we need to be awesome here so he's going to be a lot of ghost notes right now and we don't want to trigger those goes nuts because they're not meant to be full impact hits we want on ly reinforce his big hits so let me just newt this things that we could just hear what's going on you can understand real quick cool so all I want are those big hits the trend so let me just go through and make sure no one there one there cool looking good not misfiring anywhere else except for here how we're on that blast big part cool all right let's go unless that now what we got here is that a spirit? Yes, it is all right last part all right no misfires lots phase issue so lots of so let's start listening to these and let's see what we got right here pull this end and it's because it's this weird thing that's hitting it before so let's make that wait let's pull this one and so doesn't miss anything else. Okay? Perfect and I haven't a tom misfiring gold great. The really important thing is in order for us to check it we just called a foul play and it should sound thick not we're not facing right that sounds weird like so let's fix that difference there you go third one was weird on that so what? Sorry somebody online wants to know what are you listening for? Phase like most people understand what phase is exactly these issues are but what are you listening for specific let me find another example of where is out of phase so I conclude that and we'll talk about that school read thank you for asking all right, I'm gonna lose this and notice that we have an absence of bottom end and we have ah attack that sounds kind of weird whereas when we listen the one next to it that's one has there really similar so it's very hard to hear that one has more box when we listen to this it's weird to say I was not working right but now if we fix this something that can help better much better that's another great example this has nobody because it's so out of face just weird like snap the attack now with paulison much more bottom much more reinforced impact this is gonna sound great again extremely flat it sounds like you're hitting like it's something you're getting this table like gonzaga snare get in here right there come on weii go much more impact cool I see this extra tom hit there and make sure we get that out of the way it sounds like you're hitting a folger's coffee can or something doesn't sound right for lack of a better example it sounds just like metallica st anger and we don't want that still wants a good bottle right there right there and just little home first hit it doesn't totally totally out of phase perfect if anything maybe I want to do a little cut right between her so this hits perfectly so you remember all these these things that we're cutting up these air isn't just blips that air just trigger points like there's other there's another application called nasty gtr that a lot of dudes use it basically makes many clips on these I find that I have a much more difficult time working with it and phase and moving things around that I do with the audio files so that's why I prefer to do the audio file way cool in the face shows last one's good are just be a a whack hit on his part kind of is that's perfect right now this is the fun part again this is the cool grass you know, things that pay really close attention to all the little ghost no trigger points that I'm specifically not triggering because we want those to remain dynamic goes nuts I want to go back to that one more time and just show you how there's one hit that he hits a little hard right here and if one was naive they would probably try to trigger that and so I'll show you how if we do do that it's not going to be a sound that didn't work so that I didn't pull that never got signed it just sounded like a trigger coming out of nowhere it didn't sound like a snare it because it's a trigger of the really hard sarat so if we wanted to trigger all these goes notes we would have to use our multi samples at this point but we don't want to use that because we all we want to do is reinforce our impact and add some more sustain and get creative with our kicking spare accounts this one started just a little faizi so let me make sure I cut up each hit here just really make sure that we're cool cool it was really bad this fire all right, wait wait it's the world of a difference if we don't do this step you're not going to have drum sounds that sounded human with samples behind it the only way that you're going to super respect your generous performances by making sure that every hit isn't phase and then our snares sample does not sound obvious well facing these guys still it's because the times are happening in there so it's uh it's going a lot of civil action too more time on this guy almost done with the song guys now think about it this way to do an entire album of twelve songs it takes a long time so you got a lot of patients and you got the oh you got to be able to really, um understand that through this pursuit and thiss long efforts is going to come great rewards I guarantee it that's why just a little weird habit of it it was perfect but this time I'm still a little weird great wait go there's a few times that you might get bored and think it's out of phase but it's actually just handed having really like just little different velocities of his actual snare yes travel there's three kind of whack hits but it's not really the face so let's just go through each hit and let's press play on it still a little weirder perfect still just a tiny that weird okay good way weird perfect still just the tiniest bit weird right now in the world doubles weird almost almost much better absolutely it sounds weird but I think it's actually okay, perfect cool yes it's because the tom is being slammed so it's sze picking up the tom transition we gotta make sure that is our several prepped let me just make sure this one's totally cool here. All right? So at this point, if we wanted to be those guys we would go through and we would triple check everything and then quadruple check it, make sure everything is totally cool but what we'll do now let's go ahead and let's pull up all these drums let's, listen to it is it just to stock whatever samples just kind of going on that we made ourselves? We're hearing hee hee hee hee we haven't killed our job if anything, we've just beefed up his performance and we respected his intent even more by doing this with samples were not replacing his sounds, I'm not saying I'm a afraid of my sounds and that I need to get a different picture. I'm going because I'm not happy with my kick drum instead of grabbing a q instead of grabbing a compressor, I'm using a sample and I'm getting my kicked him more bottom maura top, more consistent punch and we're doing that with a sample that makes sense any questions so far were all right, we're doing good, cool so we gotta chat rooms air sort of answering each other's questions as we go. Perfect. So let's do this now, so I'm gonna I'm gonna play this entire thing back and let's let's get our our guitars and our vocals in here and let me just start playing and start kind of trying to get around a little bit with these little stock, whatever samples going and again, this is just the samples that we printed here exploited put in that's all it is all right, meet my buses, everything sounds good. What's the problem right now e want more kicked room I want more snow drum so let's grab our samples that we haven't even touched it and let's talk about it so as you can see samples definitely add a better definition to rk trim, lots more snare and it's sounds great in the mix I can crank it as high as I want and it actually sounds pretty usable. It doesn't sound too fake, you know, like I'm literally I'm only six kick winds and snare samples just a little too obviously it's just a little bit so we can give ourselves more headroom and let's go over to our guitars and that's wrong, you can see it's a little too obvious when we do those pills and stuff like that, so what's that wait, what about this? So basically that kind of ah essentially concludes our sample prep aspect I'll do ah quick thing for you guys and just show you these tom's here because we talked about the snare and those guest notes, the stuff I want to show why tom's aren't the greatest thing to be triggering and why they it's if you got a trigger tom's it's an extreme art form and you have to pay a lot of attention to an axe because with our ghost note example on this part of the song here wait, blast! Right? So now let's, go and look at these comments that he's got going on right here this big tom phil and as you could see, because tom's air naturally pretty dynamic, if you're doing lots of films like this, look how inconsistent these levels are, right and that's fine, because we hear it sounds fine if anything, they would have turned up a little bit, maybe just a little bit of bottom, but we don't have all the snare drum it. We don't have all this simple, and it wouldn't have all this picture, so the terms give us a lot of options. Tio utilize some yukio and some compression without having detrimental effects on the tom sound cool if I want to try to sugar these, it would not work out, it would just be but are not, you know, it's not terrible sound like popcorn, just going off and not being cool. So that's and also, if we look at any of these, tom feels like when he does actual roles he's like look, those hits were also even you couldn't ask for anything better than that that's it's too perfectly saying with all these things, tio so that's, where my suggestion is if you are having issues with tom's, where you need tio trigger toms I would suggest making your german go back into the room and make his tom's better and punching those filles specifically just go in and be like, great, we're going to play a lot of course we're going to focus on and getting a great philippians one of the biggest things that I do want to do drums always get big, full takes, we'll go back and maybe we'll take a couple parts by part if we need to and if I don't have a good film, they specifically go back in there and they play phil again for me lots of times if I have these issues, I will make troubles go in there and use the butt end of their stick so that way they're not using this side they're using this side and a banging and they're having a lot of velocity, so the velocity is way more consistent than this little plastic pieces that is hitting it. Those are my tips for howto make your tom's sound big and great and if you listen to your with these samples frontlines higher kit the tom's don't sound like they really need anything so let's kind of stole it up I don't have a complaint like jobs right there if anything, I wanted my kicking my senior to sound more like those times and more consistent and now we have achieved such so word how we doing doing awesome, how are you doing? I'm doing good that pretty much completely mine my first complete segment three for me next, all we're going to do is we're just going to get into choosing a lot more, but I haven't think sample library, I'll go through all the samples will talk about some of the problems that I may have brought with me, and we'll start blending in some affect samples and we'll start getting really weird and making these drums sound big. I'll play both of the songs and this one's like the main focus because it's got a bunch of guitars and stuff and it's a good song so it's funny listening all day, and then I'll show, um, I will bring in carries drum samples from east and west and show the differences on the rue mikes and all that awesome, any questions q and a time? Well, we have one question from the online audience to ever layer drum samples. I do not use samples, I do not use one sample I use seven, eight, twelve I layer every single sample idea. I've never in the past, like four years that I've worked on records, I have not used a single sample, I can't remember I always blending three to four on dh. I'll get completely into that because that's, where I think the funnest that's, where you can bring your engineering into the picture and say, let's, help chase this vision. Let's, get weird. We want more real well, let's, get a little bit more bottom impact. And you're using these samples. Teo, fix any of the little idiosyncrasies that we have again not replace, to blend in and to actually support our sound that we have.