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PostPosted: Fri Feb 10, 2017 5:49 pm 
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mnml maxi
mnml maxi

Joined: Fri Apr 11, 2008 1:01 pm
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Location: Worcestershire
hydrogen wrote:
AK coming through with the techniques.Looking forward to trying these out.

Been experimenting with Valhalla vintage verb to get more pumping reverb effects with pre-delay and different algorithms. Had some good results with the Chamber algorithm on it. (I don't think this is the same effect the OP is going for tho, so I'm sorry if it is off topic!)

Mmm never thought of using the dual shock for that rumble. Brilliant! :lol:


Dunno how useful it is in this context to be honest, but hey, always worth pimping stuff that has worked in other places.

I've done what you have described above but I am never happy controlling it, like most things, I sample off stuff and envelope/filter it etc and go through a series of resampling until I get where I wanna be. I just end up in a mess with gates and sidechains and what not. For reverb stuff, I'll sample a 'freeze' function ( if it has it ) and maybe do that with the meat of my drums. These samples are great onced enveloped and put into perspective. I have done stuff where I just add a low level so that it sounds like controlled reverb, slapped a mid/side eq on it so that theres no low end in the stereo info and all the wet signal samples are in a zone with 1 note polyphony so they cut each other out, but done rght, you get this nice under ambience and organic thing going on with the raw beat.

You wouldn't notice it in a mix but when your drums are bare ( I hate a silent background ) it can be one technique to just add that 'air' to an otherwise potentially sterile loop. in a textural sense.

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PostPosted: Fri Feb 10, 2017 6:11 pm 
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mnml maxi
mnml maxi

Joined: Fri Apr 11, 2008 1:01 pm
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Location: Worcestershire
Just to add, if you have ever had a sampled kick which is really short but you like it but would love more decay and you try layering in something, or 'welding' it onto the decay of another, try using the source sound so that you are dealing with the same set of frequencies. Reverb freeze or the Paul Stretch thing, then pop the sample playing along with the kick and tweak about so that you end up with some 'air'.

This might just be my OCD but I hate choppy drums for my stuff, and a short sample is a short sample, so it wont 'bleed' into the the next hit naturally so I have done some of this stuff for that reason and on an exagerated scale, that's what the techno 'rumble' is really.

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PostPosted: Fri Feb 10, 2017 6:44 pm 
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mnml maxi
mnml maxi

Joined: Fri Apr 11, 2008 1:01 pm
Posts: 1971
Location: Worcestershire
Anyway, my advice to sophiesophie in light of the tracks posted ( particularly the 2nd because there's more obvious tuning ) would be to first tune the drums ( 808's are easy to tune as are 909's ) because you are going to be using these as your low end. Tuned drums = tuned reverb - which essentially what you're going to be using for the low end. So that much is obvious I guess.

Next step is to sample off the 'freezed' , wet reverb from the kick ( or anything else )

Once you have all your wet signals recorded, put then all into a > drumrack? (I'm an Ableton user)

Now go to town on your processing, put envelopes on all your effected hits and lay them out with the beat and work backwards. If it sounds a mess, start applying envelopes in your sampler, maybe group them all and try 1 note polyphony so they all cut each other out for a tighter sound, eq them, filter them, whatever. When you get a sound you like, run them together with your main drums into a buss and smash them hard with a dry/wet compressor and edge the signal in on a low level, then add another compressor fully wet and just tweak the transients to glue it together.

If I was doing this, I'd be working along those lines. There isn't any other technique to discuss that will get to this, it is this way. The rest is in your processing.

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