From what little I know about drum recording, there are additional microphones (overheads and room mics) used to capture a sort of ambience. Now what I don’t understand is how this never came up in any tutorial discussing sample-based drum programming. Isn’t this something that could be utilized in electronic music? That is, taking the whole part you’ve made, duplicating it, and processing it so that it sounds similar to what a room mic would record. I suspect that reverbs more or less accomplish this but I’m just curious if that is the case.br
br
One more question: Should I try to use only drum samples and clips recorded in the same session by the same engineer? I would imagine this adds some sort of consistency to the drums, rather than just picking cool sounds from multiple sample packs and using those together.br
br
Thanks.
Oh, and one more question: If you want a drum sound to “cut through the mix”, would boosting the frequencies 2-3.5 kHz be a neat trick since that’s the range at which the human ear is most sensitive?
Anyone?
all the techniques you talked about are a part of a wide range of tools and techniques.br
br
parallel processing is very common in drum programing/mixing and this extends to adding and processing the reverb (as you would do with live drums).br
br
A lot of electronic drum sounds come from synthesis as opposed to recordings especially kick claps and snares so they cant really come from the same recording as such. a more important issue is just finding sounds that gel well together and processing them in a complimentary way.br
br
an interesting tutorial for drum processing is the Synth Punk (prodigy) one. Lots of parallel and heavy processing going ton to achieve a particular sound.br
br