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Studio Pass with Tommy Rogers and Jamie King

Lesson 9 of 32

Recording Drum Samples

Tommy Rogers, Jamie King

Studio Pass with Tommy Rogers and Jamie King

Tommy Rogers, Jamie King

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Lesson Info

9. Recording Drum Samples

Lesson Info

Recording Drum Samples

Time and we'll have you get me some samples real quick let's just pretend that we've done loads of experimentation these also you get awesome sounds we can possibly get uh you know, but given the time let's go ahead and extend to those you out you know out there whatever I normally take samples is just a precaution in this case just in case it's a rim shot and we need a you know, a clean tom sampled pull from or if we wantto beef up the drums with some sample replaced when I talk about that later also likes it for certain styles of music you want more of a process sound you know, it's long time no more consistent but for metal you want really consistent kick drum really common to replace the kick drum with a sample and I I personally prefer to use the sample of the actual real kit okay? So that it has a you know, character and things like that you can use pre process stuff but then it sounds like, you know, somebody else could use that exact same kid is going to sound the same somebody...

you know so I like to you know, you know, use the drummers kit and india the processing myself make the sample myself so that's what we'll do now and I'll just go through that process but tommy real quick and I usually just throw my samples out if you notice I do a whole records in one session that's one thing I haven't mentioned yet most people use do separate sessions free song I'm different and it makes it to me it's more efficient there's some few drawbacks but there's too many positives too in doing so like all the modern computers can handle this but I found only just do my drum samples like outside you know, records could only be eighty minutes long on a cd these days so I'm at ninety seconds I'm doing my drum set was just so people home cool tommy yeah let's start with the a kick drum just give me ah, like eight light hits eight medium hits and ate hard hits relatively slow please cool that was light hits yeah, you do the medium perfect and, uh let's do the snare do left and right eight light medium a hard into him a little faster so we can get through it so I can start and start with the light ones to start a little lighter than it like if you're like kind of ghosts truck, you know yeah, if he didn't hard with those of the meeting, I do the hard ones that's good just for those you out there like that week I usually just get eight different dynamic samples from each drumm er we just for speed tommy just this you know, for demonstration do each tom just dude like eight nice solid hits on each tom ok, but those you out there normally like that I'll do light medium and hard, but for these demonstration purposes we could just roll with the hard ones and elena symbols you do the symbols just hit page one of them just once nice and hard and then let it fully to k before you hit the next one. Awesome that should be fine for now, but for those of you watching like said, normally I will go through all the drums, all the symbols on the ride I'll have the drummer give me some bail samples if he plays bill some ride sample if he plays ride sometimes across stick on the snare just anything I could use to maybe I might need to read to enhance the the mix or to repair any performances that kind of stuff pretty standard stuff, but should we go ahead and track real quick? Yeah, because song yeah, let me see that room, tom, and we'll have you go ahead and you want to go ahead and track it yeah that's when we got the great sounds you're warmed up like said normally and I've lectured you on anything you're doing wrong which I don't you're not doing anything wrong that I can see so ok just just vibe out man drew have a good time and harness whatever whatever emotional energy you know is that you know, within the song man just put it in there you know, whatever, whatever you're talking about uh uh like I said, I'm not concerned with timing so much I'm not concerned with the a rim shot here their dynamics I just want a good solid energy take stuff I can't do anything about it in the final perfect that's good that's a great because I know I can go over the punch in but just start from before you messed up on it will put you but you know, I like they like said the for those you o'neill in order for those you home whatever like said the tommy didn't rick ford these originally so he's kind of doing some improv and normally, like sit with the improv stuff I would just kind of, you know, let the drummer go through and just take the best off so let's just say we really like everything you've done so far just to get through this okay say everything is great up to there and I'll just take it from before you messed up and you could just this play along and I'll just put you in first do you have any idea where you don't have any idea where you're at, right? I just start to start at the beginning of the verse also how do you feel I felt at that great obviously like normally I would go through and listen to everything but let's just say hey, we've listened to that that's that's a great take one thing I forgot to mention most you guys probably know this but on pro tools for toe punch and you have to have quick punch enabled and let's see where is that it's under set up or no options? Just click on this quick, quick punch feature and I'm sure all the other dolls have something similar to that but when you punch in one thing uh said you have to uh luckily tommy miraculously played the same tom phil before where I pushed him in like I punched him in the middle of verse said the tom believed was there so when you punch it, especially the drummers improv ing you want tio check to make sure the simple believe is the same and that kind of stuff but I'm repairing my points right now because computer, even if you're perfect on your time in the computer has like a lag when it actually punches and as most you guys know, you can stretch the region's uh because pro tools in particular is always recording when the thieves are armed so I think most of you guys probably knew that and obviously you want to across faith that I do like a batch fayed were just ah oh my keyboard it's apple if I guess this command deaf now ah but I usually use ah just a standard faded maybe just like equal game fade but not pretty quick like three milliseconds boardrooms don't take questions sure okay um milton wants to know um what do you do when the drummer really likes the first take but you're not convinced with the tones so in other words you know that you could probably get better towns or that's not what's gonna work out in the end best but the drummers just like that sound smashing right now yeah I just I usually just ah you know because there's you can I usually I'll tell the german hey let's keep that cake was doing here let's mess with the tone is a little bit more in just do some other takes and you know I don't think you know you I think you know I guess if over time like I think I've become a respected engineer producer and a lot of people don't like did I really think it would be better and I think you can get the good take again you know most people were pretty open minded to that you know it's just it's to be a matter of convincing I don't think I've ever been a situation where I had to convince somebody like you know, someone was like do this to take and like and I had to like our talk him out of it yeah because of you I said a vocalist gets like this awesome emotional take but then like there's the mike cut out I mean, what do you do you have to you have to redo it you know and it's is terrible but things happen so totally do you find in years better for tracking that headphones are there better controlling bleeders that just what? Tommy yeah, tom what tommy's got some custom eighteen years and there's a great because there's there's minimal bleed for drum tracking I actually use headphones at home. I have those extreme isolated headphones or vic firth make some isolated headphones on but yeah, I think it's important for any mike instrument vocals and so to use a pretty isolated headphones from some full years like these you know, the sony seventy five of six is there pretty good? These are pretty industry standard headphones but they cover your complete year and then if you wanted to do a one year off thing, you could put it against your head so that you know the sound's not believing outside the mike some of the morning expensive headphones like there's a lot of believed and, you know it's you know it could be it could be a problem a little bleeds not a problem little believes almost normal on a vocal mike and sometimes drums wonder sometimes you hear click faintly in the background if you isolate the drums but if you can't hear in the mix at all and you're fine, okay, but yeah, I recommend isolated either either either in airs or the isolation and extreme isolation headphones ok, cool, I think we're good on questions also but yet huh? And here tell him you won't listen to that and see if you're satisfied with it and one thing I always do I just have a habit of it say if I had my pro tools to set up for auto save every five minutes but I hit save constantly because you know for obvious reasons awesome I think it's killer I mean, yeah, if it's workable for you it's not perfect, but there's like I said, it is great because there's a few moments where it's a little bit ahead of the clear one thing I want to say to the viewers obviously, like if we came into this like, hey, we want to do completely organic, no editing type approach we need to touch up a few spots because a few hits their head behind the b maybe a dynamic discrepancy here there but for the sheer fact that I know that I'm going to kwan tai is this you know, like I you know, that's kind of an industry thing nowadays people kind of expect stuff to be in time it sounds best to most people it sounds best to me when everything spot on in time, but plus it gives us, you know, opportunities for this song doesn't have any sit the sizes, but if we wanted to sequence any synthesizers that makes it easy to do that percussive elements of the music uh, you know, there's, there's there's a whole host of reasons why kwan ties is really useful thing to do when every bus is I know I'm going to want is this I'm not worried about this few early hits and whatever, you know, and so yeah, I think we're golden with that I think the tones are all solid you hit the drums consistently dynamically and, you know, it passes my litmus test or whatever good, you know? Yeah, so if you're happy with it, I'm happy with it that's fine, we can move forward, you know, we're getting some questions, jamie about converters actually a lot of questions we get all your questions that air coming through, so what? What converters do you prefer? What do you like? I've just got the the dj design one ninety two catches a factory standard converter like specks wise the speck out among the highest in the industry aa lot of people don't like when you a be like with somebody they have some some after an effigy converter here whatever when you a b the gets liken apogee apogee to me like are fantastic sound very clean they feel like they have some hype in the high and low in its kind altars and stand a little bit and you know often that's that's kind of the desirable thing but for me I just like a clean just natural uh you know, conversions yeah, something that doesn't change my sound at all I want I want to capture the pre empting the mike as they are things like that so I'm fine with one ninety two, you know? Um let's see, kyle wants to know do you use the compression circuit on the u s for a seven ten d ring now, but yeah, like said at home, I'm normally using uh go use any u a for so so uh it's just for here, whatever, but yeah, I normally wouldn't use compression on drums the only thing I use compression for us in line would be with vocals or maybe it comes to guitar and we'll talk about that in the later segments awesome problem evan wanted to know and this one got four votes. What do you do about any phases she's making your drum sound thinner and what would you do about unwanted bleed and using gates naturally got uh yeah, the as faras phase you know, obviously the we didn't really go over that, you know, actually mike, the angles and things like that of the mikes but that's important whatever's forces drums like, um, a distance of overhead. So this yeah, there's like there's, some math and things that goes in that you can use tio to make sure there's no face problems or whatever. But I just trust my ears, you know, usually you can hear phase there's, you know, a weird q cancellation like hey, what are you know, like like, um, you know, to me that's one of things I when I was soloing out the tracks, I'm listening for phase, like with with my overheads, and we were not listen to the whole drum solo and, you know, there's some quick things you can do, like the top and bottom likes, you know, usually want to have the phase, you know, flipped whatever and you can do that with a plug in, you know, as well as a lot of hardware, you can do the face reversal, but like a lot actually don't have it on this one because my my pre apple's flipped at home, but like, for this instance, like the bottom, like, I would just there's this little phase button or inversion, and you just click the button and, you know, so it's going to be an involved or inverted polarity, so my top is just normal and in my understand, like, same thing with the inside and outside kick, I reversed the phase on one so there's no cancellation and with the overheads, like said in the room likes like, so just make sure you know what? What causes the phases this mike's picking up the same signal? Is this mike or this mike's picking up the same scene of this much too? Just make make sure they're there. You just try to envision their pickup pattern and just make sure they're not picking up a lot of each other's signal. You all right? Yeah, I don't think you'll have to break out a slide rule. Mathematical people say always supposed to be this race. Exactly. Put it on there and listen to what the sales fine, it's. Fine. You know it, you know. I think it's one of those things where it might be worth it if you don't know what face sounds like, it might be worth experiment. I mean, just think about a phase guitar phaser I've noticed in nature. When you walk, you know you're in a concert or something, walk from one side, the concert together, you can actually hear the flames, your phaser sound and it's, because you're hearing you're you're, you're hearings changing, like which which speakers you're hearing is changing, and it gives you a phase type of sound. That's what the effects, you know, and so that's. Why, you know, if you've got that type of almost like a half caulked wog, if your guitar player, you know what a half cocked loss and, like, you know, do you know you might have some phase issues and we'll talk about it's really noticeable on guitar. I really just completely blade, and so I think you know, we'll talk about that.

Class Description

Get an inside look at how things run in the studio with Tommy Rogers & Jamie King in this Studio Pass.

Tommy is the vocalist for the progressive metal band Between the Buried and Me and has worked with Jamie to produce most of the band’s albums. In this class, they’ll share their signature approach to production and detail the process they used to record Tommy’s latest solo album “Modern Noise”.

Both Tommy and Jamie aim to track songs that sound organic and real. In Studio Pass: Tommy Rogers & Jamie King, they’ll show you how things should run in a studio to get a final track that sounds like the band on their best day, but not over-produced.

You’ll learn about the role good pre-production plays in getting the best sound and what you should do before you ever set foot inside the studio. You’ll learn about the recording process as Tommy and Jamie track drums, bass, vocals, and guitar for a song from Tommy’s solo album. They’ll also deconstruct Pro Tools sessions and talk about how performance impacts the final arrangement.

If you want to learn how these guys work in the studio, don’t miss your chance to hang for two days with Tommy and Jamie and get a behind-the-scenes look at their process.

Class Materials

bonus material with purchase

Jamie King - Tommy Rogers - Gear List.pdf

Jamie King - Tracking Template.ptf

bonus material with enrollment

Tommy Rogers and Jamie King - Syllabus.pdf

Ratings and Reviews

Student Work

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Zachary Towne

Thanks for two outstanding sessions. Tommy, Jamie and the Creative Live folks really did a great job elucidating the studio recording process for producing honest, listenable, and powerful rock and metal recordings. I particularly appreciated the individual treatment of each instrument as well as how they all integrate into the mix. I found Jamie's methods to be straightforward and effective and I'm really looking forward to applying that to my own production.

a Creativelive Student

Another well done class from Creativelive. A glimpse into the daily life of a pro musician and pro engineer. Some great advice, tips and tricks that anyone can use to make better music. Was hoping they would get more into the business side of things, they did briefly discuss it towards the end, however a more detailed, longer discussion on the topic would have been good. You do learn some cool ways to record and mix. Some of these are obvious, some not so much. I am sure that for most people you will get something of value from this class.


This was an awesome 1st half of the course! Jamie touched on so many things that I've always had questions about in the production environment. I can't wait for the second day! This course is a MUST HAVE!! I will be purchasing it soon!! Many thanks for the Livestream!