[Dream] Drums - sampled? - Sound Forge

[almir]

yeah, snares should be important but psy trance snares suck. techno and dnb
have to right idea.

if you can cram a fat snare into your tunes, joao, then more power to you :)

On 3/27/07, Joao Vilaca <jvilaca at gmail.com> wrote:
>
> 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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