![]() ![]() ![]() ![]() In addition to killing spill, setting a suitable release time can also control any excessive ringing in the drum head or shell. Set the gate release so that it closes fully as soon as the sound has finished - if you set it too long, the drum sound will be followed by a trail of spill, though if it's too short then the natural decay of the drum will be lost. Drums need fast attack‑time settings, because of their percussive nature, though this setting can also have a beneficial side‑effect: if a gate with a very fast attack time is used, the chopping effect that the gate has on the drum's waveform as it opens can give the sound a little extra definition. The close mic will include spill from the snare drum and the toms, so using a gate to clean it up will usually be a good first step. Let's concentrate on the kick drum first. So how do you obtain a decent amount of control over individual drum sounds while also keeping a convincing overall kit sound? Kicking Off While spill can lend a sense of coherence to the complete sound, and is not necessarily a problem in its own right, it can cause real problems when you come to mix if you need to control the balance and tone of the drum kit. In fact, if the drums were recorded at a live gig or in a small studio where the band all played together, there will also be spill from the other instruments to contend with as well. Obviously, the overhead mics should have picked up a bit of everything, but you'll probably find that there is considerable spill from the whole kit on even the close mics. The first thing you notice when you play back recordings of real drum kits is that each mic will have picked up more than just the sound of a single drum or cymbal. Normally pop productions use close mics for each drum, a pair of overheads to capture the overall kit sound and room ambience in stereo, and often a separate hi‑hat mic. In the world of synths and samplers, we take acoustic separation for granted, but when it comes to mixing acoustic drums, things are very different because of the usual way in which a drum kit is miked up. Paul White explains the basics of this important mixing skill, and shares some secrets on how to get the best drum sound. With drum machines and samplers becoming increasingly prominent in music production, mixing real drums is becoming something of a lost art. Gui could use larger buttons for it’s parameters.Ībleton Lives’s built in Max drum synths are also awesome and well worth checking out.The SPL Transient Designer can often help you get the drum sound you're after, even when traditional compression and equalisation techniques have failed. Xils lab StiX is super clean and versatile but can lack bass and punch if your not careful to program it in or stumble across it with it’s fun random mode. Big and punchy.īaszzISM is also for kick drums only. Kick 2 is kicks only and uses samples for transients and synthesis for everything else. (Many modules have a wave/synth control)ĭ16 has a range of great sounding XOX emulations and Punchbox which is a kickdrum sample/synth plugin. Softube’s Hearbeat sounds good for classic style drum machine sounds but is not very versatile and appears to involve layering samples. Also the developer seems to have disappeared so don’t expect updates. However it doesn’t support multithreading and is a CPU beast on a laptop because of it. It’s complex and has many parameters but is fairly easy to use if you understand synthesis. I’ve always dreamed of a Tremor 2 but Fxpansion was bought out and it doesn’t seem like a priority.Īrturias Spark 2 sounds great and has comprehensive synthesis but it’s GUI is a bit of a nightmare.ĪudioSpillage DrumSpillage 2 is IMO the best sounding software drum synth I’ve heard anywhere. ![]() Bought it years ago and never liked the sound.It’s possible, Electric Himalaya did it in a sound pack. I must check if there's a way to make Tremor not sound horrendously distorted before giving up on it. ![]()
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