[Dream] Drums - sampled? - Sound Forge

[Joao Vilaca]

this thread is making me go back to stealling from tracks...

snares are important :)

>A snare is just a tom with bunch of cords or wires

and a kick is just a big tom turned sideways :D the most important sound is
from the cords/wires. i've made snare-sounding patches just with filtered
white noise and a big of resonance.

i dont think creating you own hats is a good ideia, it's just a bit
overcomplicated (maybe FM synths are good for those) i think most (vintage)
drum machines use samples anyway.

but then, you can probably make a HO just with a bit of filtered noise too
:)


On 3/27/07, Mark <dream at primatesynthesis.com> wrote:
>
> On 3/27/07, Kudos put forth:
> >It's funny this thread pops up just a few days after I made my own kicks
> >in Wavelab.  I wish I did this years ago when I first read the IM Kick
> >drum tutorial that everyone goes one about!  Thanks Mark for those
> >links.  So far, kicks are all I know how to  synthesize - and just the
> >past few days I've been wanting to know how to do my own snares and
> hi-hats.
>
> Are snares that important in psy-trance??  Anyway, snares are not
> that difficult.  A snare is just a tom with bunch of cords or wires
> mounted on the bottom which vibrate against the bottom head.  So you
> create a tom sound (which is the same as a kick drum, but much higher
> in pitch) and then add the crack of the snare to it.  This can be
> done using filtered noise.
>
> Hi-hats are a bit more difficult to create using subtractive
> synthesis.  While you can use ring modulation, multiple detuned
> oscillators, or FM to get the metallic sound, it might be easier to
> use a sample.  Create a loop of metallic noise, then use a filter and
> VCA to sculpt the sound.  This is how a 909 works -- it uses PCM for
> the raw sound, then processes it with an analogue envelope, VCA, and
> low pass filter.
>
> >The kicks that I made were all quit similar (about 60 of them) as they
> >were made from one session of using the signal generator tool and I only
> >wanted to make one particular kind of kick tone.  They're just pure
> >sines, rapidly falling in pitch from between 9Khz and 14Khz down to
> >around 120Hz to 180Hz over about 10 or 20 ms, then slower down to around
> >70Hz in around 80ms, then down to 20 or 30Hz in 300-400ms with a
> >fadeout.  I'm fairly happy with the result, but I'd like to make a
> >different upper-frequency 'tap' to the kick as it sounds a bit too much
> >like a ZAP.  I never considered mixing noise or any other waveform into
> >the start of the kick so I will give that a try next time.  Does anyone
> >know if there's a maximum frequency a kick should sound at?
>
> I don't know, but 9KHz sounds like an extremely high starting point,
> and 14kHz is probably beyond the audible range for most trancers
> after they've been at a party for a couple hours.  If I had to guess,
> I would say the tuned portion of the sound -- where you are using a
> VCO -- would begin around 600Hz??  The beater slap and shell crack of
> a real kick drum are much higher, but you would add that by adding
> noise or some other sound to the beginning of the patch.
>
> >The envelope features of the Wavelab generator are limited so I'm
> >thinking a multi-stage envelope would be better to create more
> >variation, one where you can zoom in to work in finer detail.  That got
> >me thinking more about which VST Instrument would best to do this, 'cos
> >it'll be cool to dive right into the shape of the kick to make
> >adjustments at any time - and to be able to control it in numerous ways
> >for experimental effects.  Wouldn't Crystal or Absynth do a good job of
> >it?  Crystal's the free one...which might be a good result for you, Josh.
>
> What you need are several envelopes, not complicated envelopes.
> Which is why the Waldorf Attack doesn't look so good.  It says it
> only has two envelopes, but I guess you could make up for that by
> playing two patches at once.  Anyway, the envelopes do not need to be
> that complicated.  They do not even need to be ADSR's, a few
> attack-release envelopes is all you need to make most drum sounds.
> The "envelopes" in real drums generally follow a simple exponential
> curve.  So you either need linear envelopes with exponential VCA's,
> or exponential envelopes with linear VCA's.
>
> Or you could just steal everything from X-Dream ;)
>
>
>
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