To add a little final movement we’ve added a couple of additional snare hits. The loop is imported into the project alongside the layered clap/snare combo and it’s sounding pretty full. The audio plays our mix of the sampled elements, EQd, compressed and re-sequenced to work in our groove. It’s also worth experimenting with the stereo width of the sampled loop: in this example we have placed some of the sounds in mono and others in stereo to help generate more dynamic and organic space. The skill is in picking one that works in the context of your own groove, and then re-sequencing it and sculpting it using EQ and compression / transient designers so that it doesn’t overpower the beat foundation created in Steps 1-3. There are a range of sample companies offering bang-on-the-money loops for this kind of purpose. Although they’ll not play a key role, their presence serves to add a third dimension and complexity to the beat – alongside, in this instance, a slight live shuffle. To add depth, character and sonic glue to the beat, it’s time to bring in a loop or two. (We’ve got: low tuned hit, solid machine hit, higher live hit, wide clap hit and high double-hit.) The start time of each sample is carefully moved so that each triggers at a slightly different time to ensure that the final sound feels like a single hit – rather than an awkward and messy mix of five. In this example we’ve pushed the boundaries somewhat and ended up with a layered combo made up of five separate sounds (shown as Clap/snare below).Įach sample is chosen for a specific sonic reason, and each sound fills out its own bracketed frequency range. If you’ve got a superb sample palette, amazing sound design skills or you’re very lucky you might find a single clap and snare that work well together – and with the rest of the beat – in a matter of minutes. Now let’s layer up a killer snare/clap combo. The humble hi-hat is often overlooked by beat makers, but clever hat programming can deliver serious groove to a bog-standard rhythm. Varying the interplay of velocity and note length bestows a nice slinky groove. Hat 3 is the most important of the three: a smooth, synthetic semi-open sound. Hat 2, again mixed low, adds bulk to Hat 3. Hat 1 is a short, tight sound that reinforces the kick drum it is mixed very low. We’re using three different hi-hat samples. When layering drum sounds, spend time searching for the right original samples although you can do a certain amount to sculpt the sounds with EQ and transient shaping tools, you’ll always end up with something better if your source material is strong. Because no single kick’s doing the job we’ve chosen two different samples that complement each other, one supplying the powerful low end, and the second strong in snappy mids. We’re looking for something with depth, bite and body.

I'm no Clapton but I can tell a crap guitar from a good one, and the fender was worse to play.Sounds mix of organic and synthetic Step 1 The 'crappy' guitar just sounded better and was a lot nicer to play.

Guess which one i went with? It wasn't the £1200 Fender, I can assure you. Fat Cat Dual-Adjustable Snappy Snare provides a super sensitivity professionals demand. A true beauty, this brass beaded shell provides a legendary sound that this classic-style drum is famous for. I played anything from £1200 Fender Telecasters and Stratocasters (Which is worse, left handed is more expensive than right with guitars) to a £90 Stratocaster copy from a little manufacturer called Westfield. The 6' Advantage This 6' snare is the perfect depth for many applications and one of the most desirable snare sounds ever made in a 13' diameter.

I was looking for a new guitar a few years back, before I gave up and started to consider bass my main stringed instrument. I know this isn't anything to do with drums, but it's the same principle (and can be applied with anything). Sometimes (and this goes with all instruments, as I'll demonstrate in a moment) price can sway you subconsciously away or towards something because more expensive seems better. I reckon the best thing to do is just go and play whatever snares you can, without even looking at the price tag. Ah ok, I just didn't want to come across as rude.

Snappy snare drum processing