Eine bessere Art, DRUM SAMPLES zu verwenden!

<p>this is the sound we start with<br />we’re gonna be going from a sound like this<br />to a sound like this<br />hi it’s been a while<br />where have you been well<br />I’m resident loser Jeremy<br />and I’ve been sitting right here when the cameras off<br />one question that comes up on the videos a lot is<br />in regards to drums I love to track drums<br />sometimes I’m hiring players<br />sometimes I’m recording bands<br />sometimes<br />I’m getting files from wherever they’re coming from<br />to mix and sometimes I’m recording them<br />god forbid cause that’s the worst option<br />inevitably samples come up in discussion<br />do I use samples do I not use samples<br />if I have complete control over a situation<br />and unlimited time unlimited budget<br />a great kit a great player<br />I’m probably not gonna use samples<br />but does that happen every time<br />you’re delusional<br />there are a fair number of cases where yes<br />you have to lean on samples<br />and that could be for any number of factors<br />there could be something<br />mechanically wrong with the kit<br />they’re just not hitting hard enough or common issue<br />you just need to sample augment the kit<br />to get it in the world<br />of where they’re trying to go with their reference<br />and what that target audience is going to expect<br />out of a drum kit a buckle up<br />because this is subjective city<br />we’re pulling up on right now<br />he started talking specificity and tones and samples<br />and sample players there’s gonna<br />be everybody with their own preferences<br />and what they want out of a sound<br />I wanted to do a video where I actually show my process<br />and how I do use samples<br />because it’s come up a few times<br />I do use trigger sometimes<br />but more likely<br />I’m making a midi roadmap of what’s happening<br />with a real played kit<br />in a situation where I need to use samples<br />more than likely<br />I’m gonna lean on using it in a MIDI context<br />because it is so much more reliable to me<br />so I wanted to make that video for a while<br />then lo and behold along comes a sponsor<br />hurts Instruments with their Hertz Drums Bundle<br />a pack of samples and different kits<br />a red pack a white pack and a blue pack<br />each one kind of giving their own spin and feel<br />on drum samples<br />I go down the line and show how I’m using this sampler<br />I’ve used on a lot of projects so far<br />at first<br />this was a video I wasn’t really sure I wanted to do<br />then hurts kind of sent along some of the plugins<br />so I could get acquainted with it<br />I really really liked him<br />quickly found a home on my mix template<br />so far<br />I’ve used this stuff on multiple songs that I’m doing<br />here so yes<br />this is a sponsored video<br />take that with a grain of salt<br />however<br />the principles that I’m showing in here are still valid<br />for whatever sampler you’re going to use<br />so let’s get into it so here we are in Pro Tools<br />this is a song that I recorded<br />I played drums on and I am not a drummer<br />I can’t hit the drums as consistently as powerful<br />and as well<br />as someone who actually knows how to play drums<br />so in a song like this that’s heavy<br />that’s congested that is kind of meant to<br />just be a little claustrophobic<br />in places<br />there needs to be some sample augmentation to one<br />account for my playing and to<br />to kind of help poke those transients out<br />above the sound<br />because that’s the sound I’m hearing in my head<br />in this situation I definitely do<br />I am not the best person to show you how to<br />midi rating and drum parts<br />that’s not who I am I can play a drum set<br />and then kind of build around that<br />so<br />what I’m gonna be showing is how to use a drum sampler<br />like something like Hertz<br />or insert your own superior drummer<br />get good drums anything like that<br />you can use it essentially the same<br />using mini triggers from Real Drum<br />I find it to be way more accurate<br />you don’t have to worry about the odd<br />little phase shifting that happens from like<br />an intersample perspective<br />where sometimes they’re not lining up exactly this way<br />you have an unparalleled amount of predictability<br />when using something like many<br />I really like doing it this way<br />so let’s start with what we have<br />we’re gonna be going from a sound like this<br />to a sound like this<br />so real quick let’s take a look at the plug in itself<br />Hertz Drums<br />pretty predictable interface<br />when you’re looking at like a drum sample like this<br />the more I dive into this<br />the more I appreciate what they’ve created here<br />because it’s very easy to create<br />the exact drum sound that you want<br />with everything right here<br />your finger so when you get Hertz Drums<br />which I’m gonna be putting a link to<br />some free trials down below<br />so you can check them out<br />if you wanna purchase that<br />there will be links down there as well<br />and trust me I have been in contact with these guys<br />that are part of this company<br />and without going into details um<br />if the type of person behind a plug in like this<br />is a factor and whether you support a company or not<br />these are good people they’re good people<br />doing good work outside of the software world<br />we’ll just leave it there<br />so when you enter Hertz Drums you’re gonna be presented<br />depending on the packs you have<br />I have white pack blue pack<br />red pack each one of these<br />kind of have a different vibe to them<br />the red pack to me is by far the most interesting<br />however if we want to take a look at some of these<br />let’s say you load up any preset we have white metal<br />it’s gonna load all that stuff<br />and but as we take a look around<br />we look down here<br />we have our numbers 1 through 15 okay<br />cool Mike a B and C interesting kick left<br />kick right snare everything’s fairly predictable<br />I find myself not messing with the mixer<br />nearly as much as I do<br />this kind of little mini mixer up here in the corner<br />let’s go back to the sampler<br />this is loaded in<br />so we can quickly touch around the kit<br />see what’s going on<br />pretty cool this is a metal kit off the white<br />my favorite one so far is red alt rock<br />this is the one I’ve kind of been playing with<br />as a starting point<br />and watch how easy it is to combine the stuff<br />so here’s the sounds we got here<br />the thing that’s hard to sell with drum samplers<br />like this is the room and I feel like I’m in the room<br />this doesn’t sound far off to me<br />as something I could record in here with a good player<br />but I’m not a good player<br />so this immediately feels at home to me<br />the part that really surprised me was the overhead<br />stuff listen to these how clean these overheads are<br />the sense of space that you get take for example<br />this guy this little bell over here<br />you should really hear the 3D space happening<br />part that I didn’t dig on<br />this was the kick if you find something that okay<br />this is 90% of the way there<br />but I’m just not digging this kick and I don’t<br />we can click around here and find different kicks<br />and these are separated on the screen here in groups<br />so we have our sample libraries<br />red pack right here that I’m on<br />this is blue pack and then our other pack white<br />I love kick 15 on the white<br />and from here we have different mics<br />so obviously with the one we’re on now if you like that<br />you can pick different mics<br />and mic positions on these different nozzles<br />right here but I don’t really like this one<br />I wanna see what these other mics sound like<br />right<br />click it and you’ve now changed that kick right there<br />and it’s that easy<br />the snare<br />I wanna find something more of a transient on here so<br />oh<br />I really like that brat<br />but I really like<br />that right there I love this<br />so real quick let’s make some actual MIDI triggers here<br />so few different ways that you can do this<br />you can literally take your snare track<br />and move it up to a MIDI track Tada<br />now you have many triggers for your snare<br />I find that not to be very accurate<br />and you can get a lot of extraneous things<br />especially with real drums recorded in a way that I did<br />and I’m not a drummer sometimes that works for me<br />that’s not all that fun I<br />like to do this by going to Massey d R t if you want<br />so let’s pull up our snare<br />we’re gonna highlight it in the window<br />it analyze it’s gonna pull that in<br />so we have a lot of stuff happening here<br />these look like it’s making triggers<br />we have loudness sensitivity so on this loudness scale<br />I’m gonna go right in the valley between these two<br />because basically that’s telling us hey<br />you have a lot of transient information<br />where it’s really really loud<br />that would tell me that’s the main snare hit<br />that’s the mic hitting the snare<br />and then you have a lot of information down here<br />where it’s not so loud that could be<br />things that are bleeding into the mic itself<br />so I go right in between those two<br />and I’m gonna get mostly snare heads<br />same thing down here sensitivity<br />how sensitive do you want these triggers to hit<br />I wanna do the same thing<br />let’s lean towards the louder stuff<br />so now we end up with a much cleaner looking profile<br />as far as what we’re capturing over the arc here<br />I would like to crank the heaviest hits up to where<br />they’re about there what you can do with this knob<br />you can flatten out the performance<br />I don’t like to do that on a snare drum because it’s<br />that’s what’s gonna make this seem like a sample<br />if there’s no difference between the hits themselves<br />so let’s get this back to default<br />and I just wanna bring the volume up to where<br />the heaviest hits look like<br />they’re<br />darn close to as heavy as this thing can possibly<br />sample 1:27<br />when we’re happy with that<br />we just drag it over<br />so we move it up to a snare and we’re good<br />let’s do the same thing with the kick<br />so we’re gonna pull in our kick<br />let’s go get Massey DRT back<br />we’re gonna do the same thing<br />we’re gonna pull up that loudness<br />pull up the sensitivity<br />this one gets a little more iffy to me<br />so let’s bring that loudness a little higher<br />we’re gonna keep it about there<br />I’m I’m fine with this now for a kick drum<br />I want it to be more consistent<br />because I know myself as a player<br />and I’m not that good so<br />I’m gonna flatten out the performance<br />just a little bit here<br />not something<br />I don’t want a perfectly flat performance<br />but I don’t want my foot all over the place<br />at the same time<br />that’s gonna make my low end a little unpredictable<br />if I was a better player I could take care of it<br />but I’m not then<br />I’m gonna take the overall thing<br />and put it pretty close to the ceiling<br />because I would like that aggressive kick<br />but notice it’s still not perfect<br />there’s deviations that is<br />kind of the difference between a really good player<br />and a machine and you can tell the difference<br />so we’re gonna drag this on<br />now for this this is approaches specific thing<br />but what I’m gonna do is I’m gonna copy<br />if I click option m it’s gonna paste special<br />where it’s gonna merge those two MIDI parts<br />so now what I can do is come into my MIDI<br />highlight just the kicks<br />and then put them where they’re supposed to go<br />now we can really dig into what’s possible<br />up here in this little corner<br />you can switch mics here as well<br />down here as well<br />for whatever source that you’re trying to get<br />but you also have pitch trim<br />which is basically your overall volume<br />of whatever source that you have<br />for my kick<br />these are pulled back just ever so slightly<br />because they’re a little more prominent<br />than something like the snare<br />which I want a little more out front<br />and this contact from here<br />there’s a super cool room and verb sound check this out<br />so we’re listening to the sample snare here<br />so for me I wanna be about right in the middle<br />a little room a little reverb<br />we can make our minimum<br />as far as how hard we wanna hit<br />a lot of these are pretty hard hits<br />so I’m gonna bring it up at least<br />I mean not all the way<br />but I’m gonna put a limit on how dynamic<br />I actually want this<br />and you can change the dynamics here<br />I would rather do it as far as telling it<br />I don’t want you to trigger anything<br />below this certain number<br />so it’s gonna come out like a heavier hit<br />other cool part about this is<br />controlling the bleed into other mics<br />so we have RDI overheads sub<br />which in this instance is like the sub snare<br />bottom snare I think it’s a language thing<br />so I thought it was like the subbiness of a snare drum<br />which was cool but if we pull that up<br />we just see it’s a bottom snare mic<br />so in this instance<br />I have a pretty cool bottom stair mic<br />I don’t want a ton of that<br />but I’ll keep it in there for context<br />but I can pull up overheads<br />effects and the direct signal of the snare<br />I’m gonna play with that till I’m happy with it<br />in the mix itself<br />that’s pretty cool<br />so looking right here<br />we can see that our little fundamental<br />on the actual snare is 1:60 five<br />so let’s come over here put another instance of Pro Q<br />and see where this snare is hitting<br />that’s 2:23 so I’m gonna drop the pitch of this snare<br />and I’m gonna watch on Pro Q<br />until we get about in the same area<br />and we’ll do the same thing with the kick drum okay<br />so kick is hitting around sixty<br />for that that is close enough for me<br />cause it’s hard to pinpoint exactly where I’m doing it<br />because I’m hitting the kick so inconsistent<br />that how hard I’m hitting<br />is really changing the pitch of the kick itself<br />I love using samples like this<br />it doesn’t sound too much like we’re using samples<br />in a perfect world I wouldn’t need them<br />in this instance I’m the player however<br />there are instances where we can’t control the player<br />and having a discussion like that<br />is a little difficult but in the instance like this<br />and using samples like this<br />if the kid itself is decent<br />you can get by pretty heavy handed with samples<br />but it’s gonna match the vibe of the kit<br />the other cool thing we can do here<br />say your in a session you’ve already recorded the drum<br />can’t really go back and change much<br />Hertz Drums has an option<br />and let’s just bring up another track<br />to show how this could really be cool<br />I had this little guy hiding behind the wings<br />just to be extra sneaky<br />but let’s go ahead and make it active<br />and I have Hertz Billy Decker<br />a little pro Q just to show me what’s happening<br />nothing’s actually here and vintage verb<br />the cool thing here<br />if you wanna make something like a snare bomb<br />there’s a reverse button here and a length option<br />and you can do that with any source you want<br />so if I want overheads reversed<br />I can create swells reverse swells into any part<br />so if I wanna pretend it’s like 2003 metalcore<br />obviously I’m not lining it up perfect<br />but you can put snare bombs all over the place<br />obviously there’s things just here<br />where it’s built by people who have used libraries<br />like this before and they’re just making it easy<br />all the velocities here we have our attack<br />sustain release<br />decay all of that<br />it’s ultimate control over your drum<br />the thing that gets me<br />was using normal sample replacements<br />like trigger it’s okay<br />I like doing it in some instances<br />but there’s a certain level of inconsistency<br />something like this<br />using MIDI that is never gonna change if if<br />unless I change it and I have control over that<br />so I like sample augmenting in this fashion<br />a lot of times<br />using samples from sample libraries like this<br />they’re created with a bit more care I’ll say<br />and sounds like this they sound great<br />I haven’t messed with the overheads a ton<br />because that’s not how I use drums like this<br />but for these sounds<br />this just takes it over the top for me<br />and a performance that was lackluster<br />because I created it into something like this<br />using mini like this<br />you can hop around to any number of samplers<br />not lose how you want to replace your drums<br />and you can float around to so many different sounds<br />with this one<br />it’s especially easy to incorporate into any workflow<br />because the key mapping is already there for you<br />can come from addictive drums<br />easy drummer groove agent<br />Steven Slate drums superior drummer logic if you want<br />everything is here and I love when companies do that<br />because one of the most annoying things<br />hopping between libraries<br />is not having that middle ground there<br />so even using this to get from one to the other<br />could be helpful if this isn’t a sound you want<br />however I do find this incredibly useful<br />and I really like these sounds<br />I’m really anxious to see what their next packs are<br />gonna sound like because yeah<br />this is a metal song but I’m not working on metal a lot<br />this is my own personal stuff<br />but I could definitely see<br />some of the folkier things on here<br />would be really really cool<br />it’s just in the way they’re capturing these drums<br />it has just an organic feel<br />you can hear the room<br />you can hear the care taken to the instrument itself<br />and they’re not overhyped samples<br />which is something that’s a real big turn off sometimes<br />so if you wanna give these guys a try<br />there’s gonna be links to some trial versions<br />and if you wanna purchase it<br />go ahead purchase it there<br />I get nothing if you purchase that<br />that is no kickback to me whatsoever<br />but I do think if you try it<br />you are gonna like it until then<br />if you’re using Hertz Drums or you’re using anything else<br />go make some music I’m resident loser Jeremy<br />I’ll see you guys in the next one</p>