Another How to Make That 'crack' snare/clap?

[TechnoMusic]

claps are one of the hardest things to synthesize.

the claps you hear on countless techno and house records are usually the analogue ones from the TR909. (if you read the link below its explains how its done, it uses a digital noise source and analogue circuitry)

they can easily be disguised by filtering to sound like they arent 909 claps, so even if they dont sound like it, there's a good chance they are,

this might shed some light on it,

http://ericarcher.net/devices/clap-raca/

Interesting article, I've found that I can produce a lot of new and interesting claps using a simple audio editor and a bunch of pre processed clap samples. Just get a load of claps you already like the sound of and grab different sections and edit them together, Ive created some interesting samples this way then player with other synthesised claps etc.

[ICN]

I like the Linn Clap & the DMX.. Filthy.

The samples I use for them are from this library:

http://www.hexawe.net/mess/200.Drum.Machines/

[jessejames]

What's the best tools to control the peaks of a clap/snare? Any recommended compression settings?

That's always the one element that I can almost never tame the peak. Doesn't matter which compressor or limiter, the peak always sneaks through, no matter how fast the attack.

I have gotten much better results with the SPL Transient Designer than I ever did with compression.

[steevio]

What's the best tools to control the peaks of a clap/snare? Any recommended compression settings?

That's always the one element that I can almost never tame the peak. Doesn't matter which compressor or limiter, the peak always sneaks through, no matter how fast the attack.

I have gotten much better results with the SPL Transient Designer than I ever did with compression.

thats why you need an analogue filter mate

[patrick bateman]

What's the best tools to control the peaks of a clap/snare? Any recommended compression settings?

That's always the one element that I can almost never tame the peak. Doesn't matter which compressor or limiter, the peak always sneaks through, no matter how fast the attack.

I have gotten much better results with the SPL Transient Designer than I ever did with compression.

thats why you need an analogue filter mate

sorry for a possible stupid question. Is it possible with a filter plugin too and how would you set the settings, I tried but didn't succeed totally..

[jessejames]

To add another stupid question/comment, I'm not sure I see how that works? Unless the peak information is contained mostly in the high end? Or maybe this method is best suited for synthesizing?

I mean, don't get me wrong, I'd love to have an MF101 if I could justify the expense. Not for taming peaks but other duties moreso. My $300 is going to be better spent on my mortgage, unfortunately.

[NoAffiliation]

there is no secret to this, you need noise, envelopes for pitch and volume, distortion, filter, eq.

all of this is built into the sonic-charge microtonic interface. they obviously knew what they were doing designing it

also, make sure to adjust the attack/decay to fit your tempo and TUNE the sound to the key of your track and then maybe a little reverb

[steevio]

What's the best tools to control the peaks of a clap/snare? Any recommended compression settings?

That's always the one element that I can almost never tame the peak. Doesn't matter which compressor or limiter, the peak always sneaks through, no matter how fast the attack.

I have gotten much better results with the SPL Transient Designer than I ever did with compression.

thats why you need an analogue filter mate

sorry for a possible stupid question. Is it possible with a filter plugin too and how would you set the settings, I tried but didn't succeed totally..

ive no idea mate, there's a huge inherent difference between analogue and digital filters.