ABSTRACT
INTRODUCTION 4HEREARETHREEDIFFERENTCATEGORIESOFRHYTHMICANDPERCUSSIVESOUNDSTHEMAIN drum kitTYPEOFSOUNDSTRADITIONALpercussionSOUNDSANDALLOTHERSOUNDSTHAT AREUSEDASPERCUSSIVESOUNDSWITHOUTNECESSARILYBEINGRELATEDTOANYTHINGhREAL WORLDv7ECOVERALLOFTHESEINTHISCHAPTERBEGINNINGWITHTHEMAINDRUMKIT SOUNDSASTHESEWILLFORMTHEBACKBONEOFANYREMIXYOUWORKON
)WILLNOTGOTOODEEPLYINTOTHEHARMONICTHEORYSURROUNDINGEACHPARTICULAR KINDOFDRUMSOUNDASTHATSUBJECTINITSELFWOULDBEENOUGHTOlLLHALFOFTHIS BOOKONITSOWN4HEREAREMANYGREATBOOKSARTICLESANDWEBSITESTHATCOVER THECOMPLEXPHYSICS INVOLVEDINRECREATINGDRUMSOUNDSIFYOURELOOKINGFOR AMOREDETAILED INVESTIGATIONINTO THESUBJECT&OR THEPURPOSESOF THISBOOK )WILLCOVERMOREPRACTICALAPPLICATIONSANDEXPLAINHOWTHEMAJORITYOFUSGO ABOUTCREATINGOURDRUMSOUNDSONADAY TO DAYBASIS
,ATERINTHEBOOKWHENWELOOKATMIXINGANDEFFECTS#HAPTERSTHROUGH WE WILL BE COVERING HOW TO USE COMPRESSION AND %1 TO ENHANCE DIF FERENT TYPES OF SOUNDS INCLUDING DRUM AND PERCUSSION SOUNDS(EREWERE DEALINGWITHACTUALLYCREATINGTHESOUNDSRATHERTHANHOWTOGETTHEMTOCUT THROUGHINAMIXORHOWTOHANDLETHEDYNAMICS9OUCANALWAYSJUMPFOR WARD TO THOSE SECTIONS AS YOU AREWORKING ON CREATING YOUR OWN SOUNDS IF YOULIKE
DRUM KIT SOUNDS: KICK DRUM 4HEMOSTOBVIOUSDRUMSOUNDTOANYDANCEMUSICPRODUCERISTHEKICKDRUM )NPRETTYMUCHEVERYGENREOFDANCEMUSICTHISISONEOFTHEFUNDAMENTALELE MENTSOFATRACKANDSOMETIMESTHECHOICEOFKICKDRUMSOUNDCANMAKEOR BREAKAGROOVE+ICKDRUMSOUNDSRANGEFROMTHEAUTHENTIChACOUSTICvSOUND INGTOTHETOTALLYSYNTHETICANDAMILLIONSHADESIN BETWEEN3OMEAREhPUREv ANDAREADIRECTSAMPLEFROMAREALKICKDRUMOTHERSARESYNTHETICAND HAVEBEENWHOLLYCREATEDONASYNTHESIZERSOMEAREHYBRIDSANDOTHERSHAVE BEENSAMPLED FROMOTHER RECORDS4HESESOUNDSAREOFTENENDLESSLY SAMPLED
RESAMPLED EDITED AND REINCORPORATED WITH OTHERS UNTIL THEIR TRUE ORIGINS ARE INDISTINGUISHABLE )F YOURE THINKING ABOUT TRYING TO RECREATE A FAVORITE KICKDRUMSOUNDYOUCOULDBE IN FORQUITEA STRUGGLEAS THE SOUND INQUES TIONCOULDPOTENTIALLYBEMADEUPOFAHUGENUMBEROFELEMENTSANDLAYERS 4RYINGTORECREATEALLOFTHESUBTLETYOFTHATCOULDBEAMOUNTAINOUSTASK
"ETTERTOCOMEUPWITHYOUROWNUNIQUESOUNDS9OUCOULDIFYOULIKEUSE A SAMPLEDKICKDRUM FROMONEOF THE EVER INCREASINGNUMBEROF OFTEN VERY GOOD SAMPLE LIBRARIES )T WOULD BEMISLEADING TO TELL YOU THAT ) HAVE never DONE THATBECAUSE )HAVE"UTMOREOFTEN THANNOT )WILL LAYERDIFFERENTKICK DRUM SAMPLES WITH SYNTHESIZED SOUNDS TO CREATE SOMETHING THAT IS TOTALLY UNIQUETOMEANDPERFECTLYSUITEDTOTHETRACK)AMWORKINGON
,ETS BREAK THE SOUND DOWN INTO A FEW COMPONENTS TO SEE HOW THESE WORK TOGETHERANDHOWWECANCOMEUPWITHWAYSOFBUILDINGOUROWNKICKDRUM
+ICKDRUMSLIKEMOSTDRUMSOUNDSCANBEBROKENDOWNINTOattackANDsustainPORTIONSWITHTHEATTACKPARTBEINGTHEINITIALHITOF THESOUNDANDTHE SUSTAINPARTMAKINGUP THEBODYOF THE SOUND4HEREARE FOURDIFFERENT FRE QUENCY RANGES SUBBASS BASSMIDRANGE AND TREBLE %VENWITHOUT KNOWING TOOMUCHABOUT THE THEORYBEHINDAKICKDRUMSOUNDMOSTPEOPLEWOULD AUTOMATICALLYRECOGNIZETHESHARPATTACKOFTHESOUNDANDTHESOFTERSUSTAIN -OST PEOPLE ALSO AUTOMATICALLY KNOW THAT ANY HIGH FREQUENCY AND SOME UPPERMIDRANGEFREQUENCIES ONLYNORMALLYOCCURS IFATALLDURINGTHATINI TIALATTACKPHASE!FTERALLKICKDRUMSAREALSOCALLEDBASSDRUMSANDTHATIS FORAREASON7ITHTHATINMINDWECANSTARTTOTHINKABOUTAKICKDRUMIN TERMSOFFOURSEPARATEFREQUENCYCOMPONENTSWITHDIFFERENTAMPLITUDEENVE LOPESWITH THE HIGHER FREQUENCY COMPONENTS GENERALLY DYING AWAY QUICKER THAN THE LOWER FREQUENCY ONES "UT HOW DOWE GO ABOUT CHOOSING HOW TO CREATEEACHOFTHESECOMPONENTSANDULTIMATELYMIXINGTHEMTOGETHERINTO ONECOHERENTWHOLE7ELLINORDERTODOTHATLETSTAKEALOOKATTHEDIFFER ENCESBETWEENASAMPLEDhREALvKICKDRUMANDTHEALMOSTUBIQUITOUS2OLAND 42 SYNTHESIZEDKICKDRUM
)NAREALKICKDRUMTHEREISACONSTANTPRESENCEOF LOWERFREQUENCIES INADDI TION TO THEHIGHERONES WHICH AREHARMONICSOF THE FUNDAMENTAL FREQUENCY GENERATED IN THEVIBRATINGDRUMSKINANDDRUMSHELL )NA42 TYPEKICK DRUMTHEREAREONLYHIGHERFREQUENCIESINTHEINITIALATTACKPHASE4HEREASON FOR THIS IS THAT THEBODYOF THE42 SOUND ISMADEUPOF A SINGLEOSCILLA TOROUTPUTTINGASINGLEWAVEFORM3OTHEREAREHIGHERFREQUENCIESINTHEATTACK PHASEWHEN THE OSCILLATOR IS TUNED TO A HIGHER PITCHWHICH THEN DROPS TO A LOWERPITCH TOPROVIDE THEDEEPER SUSTAIN4HERE ISALSOAlLTEREDWHITENOISE BURST TO FURTHEREMPHASIZE THEATTACKOF THESOUNDANDADDAVARIABLEDEGREE OFSNAPPINESSWITHOUTHAVINGTOFUNDAMENTALLYEDITTHEBASICSOUND!SSUCH SYNTHESIZEDKICKDRUMSHAVEONLYA VERY TINYDELAYBEFORE THE LOW FREQUENCY BODYOFTHESOUNDACTUALLYKICKSIN4HISISONLYAMATTEROFAFEWMILLISECONDS SOITISPRETTYMUCHIMPERCEPTIBLETOTHEHUMANEAR(OWEVERITISWORTHCON SIDERINGIFYOUAREBUILDINGYOUROWNSOUNDSFROMSCRATCH
4HEREAREALSOMANYTHINGSTOTAKEINTOACCOUNTWHENYOUCONSIDERTHEGENRE YOU AREWORKING IN AS THISWILLHAVE A GREAT EFFECTON THE TYPEOF KICKDRUM YOUARELOOKINGTOCREATE"REAKBEATANDDRUMNBASSGENRESOFTENHAVEKICK DRUMS THAT HAVE A VERY hREALv FEEL TO THEM &UNKY HOUSE KICK DRUMS OFTEN HAVE A COMBINATION OF REAL ELEMENTS AND SYNTHESIZED ONES %LECTRO PROGRES SIVE TECH TRIBAL HOUSE AND MANY FORMS OF TRANCE AND TECHNO HAVE MORE 42 STYLESYNTHESIZEDKICKDRUMS!LLOFTHISISRELEVANT
)N STARTING TO BUILD A KICK DRUMOF YOUR OWN YOU could LOOK AT SYNTHESIZING ALL OF THE FOUR FREQUENCY ELEMENTS AND THIS IS SOMETHING ) CERTAINLY RECOM MEND DOING IF ONLY FOR THE EXPERIENCE AND DEPTH OF KNOWLEDGE AND UNDER STANDING OF THE KICK DRUM )T CAN TAKE A LOT OF TIME SO IT IS PERHAPS BEST TO EXPERIMENTWITH DIFFERENT SOUND SOURCES TO SEEWHATWORKS BEST !S A GUIDE ANDAWARNINGWHENUSINGTOTALLYSYNTHESIZEDSOUNDSOURCESITISALLTOOEASY TOENDUPWITHKICKDRUMSWITHANOBVIOUSPITCHTOTHEM4HISISNTALWAYSA PROBLEMBUT IT ISSOMETHINGTOBEAR INMIND!NALTERNATIVE TOTHIS IS TOUSE ACOMBINATIONOFSAMPLINGANDSYNTHESISTOCREATEAKICKDRUM4HISCANGIVEA SOUNDTHATSDEEPANDINTERESTINGANDHASAGREATDEALOFmEXIBILITYANDADAPT ABILITY)NTRIGUED4HENREADON
4HEBESTWAYTOILLUSTRATETHISISTOWALKYOUTHROUGHTHEPROCESS)USETOMAKE A KICKDRUM )WILL START OFF GOING THROUGHKICKDRUM SAMPLES FROM SAMPLE LIBRARIESnot FROMOTHERTRACKSASTHATWOULDBEANINFRINGEMENTOFCOPYRIGHT LAW EVEN IF THOSE KICK DRUM SAMPLES WERE THEN EDITED ANDMANIPULATED OR COMBINEDWITHOTHERSOUNDS 4HESEMAYBEREALORSYNTHESIZEDKICKDRUMS!S )AUDITIONEACHOFTHEM)LOOKFORELEMENTSINTHESOUNDTHAT)LIKE.OTETHAT) AMNOTLOOKINGFORoneKICKDRUMSAMPLETHATDOESEVERYTHING)WANTITTODO /NONESAMPLE)MIGHTLIKETHEWOODINESSOFTHEATTACKPORTIONOFTHESOUND ONANOTHER)MIGHTLIKEGRITTINESSOFTHEMIDRANGEANDONYETANOTHER)MIGHT LIKETHEWEIGHTOFTHESOUND)WILLPROBABLYPICKOUTMORETHANTHREESAMPLES HAVING MULTIPLE OPTIONS FOR EACH OF THE WEIGHT MIDRANGE AND ATTACK PARTS )THENLOADTHEMONTOAUDIOTRACKSANDMUTEANDUNMUTEDIFFERENTTRACKSTO GIVEMEDIFFERENTCOMBINATIONSOFTHESOUNDS)MAYENDUPUSINGMULTIPLETRE BLEANDMIDRANGESAMPLES/NRAREOCCASIONS)MAYEVENUSEMULTIPLESAMPLES FORTHEBASSCOMPONENTBUTTHISHAPPENSLESSOFTENASMULTIPLEBASSCOMPO NENTSOFTENDONTMATCHUPWITHUNPREDICTABLERESULTS
/NCE)HAVEAFEWOPTIONS)LIKE)EXPERIMENTWITHCHANGINGTHEBALANCEOFTHE DIFFERENTSAMPLESANDTHENSTARTTOUSE%1TOFURTHERCUTAWAYFREQUENCIESFROM THEDIFFERENTSAMPLES)MIGHTALSOUSEANOISEGATEORSIMPLYCHANGETHELENGTH ANDFADEOUTDIFFERENTSAMPLESTOPROVIDEDIFFERENTAMOUNTSOFSNAPTOTHEDIFFER ENTSAMPLES4HEREAREAFEWEXAMPLESOFTHISONTHISBOOKSACCOMPANYINGWEB SITETHATILLUSTRATETHESEPOINTSITMIGHTBESIMPLERTOACTUALLYLISTENANDSEEWHAT )AMTALKINGABOUTONSCREENRATHERTHANHAVEMETRYTOEXPLAINHERE
4HEREASON)INITIALLYMENTIONEDfourFREQUENCYRANGESANDINTHELASTFEWPARA GRAPHS)HAVEONLYMENTIONEDTHREEISBECAUSETHEREAREACOUPLEOFDIFFERENT OPTIONSFORDEALINGWITHTHESUBBASSCOMPONENT4HElRSTANDINSOMEWAYS
SIMPLEST IS TO JUST BOOST THE REALLY LOW FREQUENCIES IN THE BASS COMPONENT 4HISCANWORKBUTITCANALSOLEADTOARATHERUNPLEASANTBOOMYKICKDRUM)T CANALSOCAUSEFURTHERPROBLEMSDOWNTHELINEWHENTRYINGTOBALANCETHELEV ELSOFTHEKICKDRUMANDBASSLINE4HESECONDOPTIONISTOlNDANOTHERSAMPLE TOUSEASASUBBASSCOMPONENT/FTENTHISINVOLVESREMOVINGALLBUTTHELOW EST FREQUENCIES FROM THE SAMPLE 4HIS HAS THE ADVANTAGE OF GIVING YOUMORE CONTROLOVERTHELOWESTFREQUENCIESINTHESOUNDITWASTHEMETHOD)USEDFOR QUITEALONGTIME"UTITSTILLISNTTHEMOSTmEXIBLEORINMYOPINIONTHEBEST APPROACH
-YSECRETWEAPONOFKICKDRUMPROGRAMMINGISTHEHUMBLESINEWAVE7HAT ) HAVE BEEN DOING A LOT RECENTLY IS CREATING A KICK DRUM AS DESCRIBED EARLIER USING ALL BUT THE SUBBASS COMPONENT OR PERHAPS JUST REDUCING THE LEVEL OF IT AND THENBOUNCING IT TOANEWSAMPLE FOREASEOFUSE MOREON THIS INA MOMENT ) THENHAVEASEPARATESUBBASSCOMPONENTWHICH IS SIMPLYASYN THESIZEDSINEWAVEWITHANAPPROPRIATEAMPLITUDEENVELOPEAPPLIED4HISOFFERS AGREATDEALOFmEXIBILITYBECAUSEYOUCANMANIPULATETHESUBBASSLEVELOFTHE KICKDRUM INDEPENDENTLY USING LEVEL ASOPPOSED TO THE LESSPREDICTABLEAND ACCURATEMETHODOFAUTOMATING%1CHANGESTOTHEMAINKICKDRUMSOUND AND ITALLOWSYOUTHEOPTIONOFlNETUNINGTHEPITCHOFTHESUBBASSCOMPONENTTO PERFECTLYMATCHTHETRACK)TDOESNTALWAYSWORKEXACTLYASYOUHOPEBUTWHEN YOUGETITRIGHTITHASTHEEFFECTOFBEINGANALMOSTIMPERCEPTIBLEEXTRAWEIGHT TOTHETRACKTHATITALSOVERYCLEAN
7ENOWCOMETOTHEQUESTIONOFHOWTOCOMBINEALLOF THESEINTOONECOM PLETE NEW SOUND 7E could SIMPLY KEEP THEM AS THEY ARE BUT COPYING AND PASTINGUPWARDSOF THREEOF FOURAUDIOlLESEVERYTIMEYOUWANTTODUPLICATE AN INDIVIDUALKICKDRUMHIT IS IMPRACTICAL9OUMIGHT INADVERTENTLYMISSONE WHILECOPYINGWHICHWOULDRESULTINANUNEXPECTEDCHANGEINTONEOFTHEKICK DRUM3OWHATDOWEDO7ELL)NORMALLYSTARTBYROUTINGALLOFTHEINDIVIDUAL SAMPLESTOABUSANDTHENMAKESURETHATTHECHANNEL LEVELSONEACHSAMPLE ARELOWENOUGHTOAVOIDOVERLOADINGTHEBUS4HEN)MIGHTAPPLYSOMEOVERALL %1TOTHESOUND4HISISDONEMOSTLYTOHELPGLUETHESOUNDSTOGETHER!TTHIS STAGE)MIGHTALSOGOBACKANDTWEAKTHEINDIVIDUAL%1SOFTHESAMPLESTOHELP THEMALLBLENDBETTER)WOULDALSOAPPLYSOMELIGHTCOMPRESSIONTOHELPPULL ALLOF THECOMPONENTSOF THESOUNDTOGETHERBEFORElNALLYADDINGSOMEVERY LIGHTLIMITINGATTHEVERYENDJUSTTOMAKESURETHATNOTHINGISCLIPPINGFOLLOW INGTHE%1ANDCOMPRESSION&ROMTHISPOINT)WOULDSIMPLYBOUNCETHECOM BINEDSOUNDANDTHENDRAGTHATCOMBIKICKINTO,OGICS!RRANGEWINDOW&ROM HERE)CANWORKWITHTHESOUNDWHILESTILLKEEPINGTHEORIGINALlLESINTACT IN CASE)WANTTOGOINANDTWEAKTHESOUNDAGAINONCE)PROGRESSALITTLEFURTHER WITHTHETRACK
$EPENDINGON JUSTHOWMANY INDIVIDUAL COMPONENTSWEREUSED TOMAKEUP THE SOUND )MIGHT EVEN BOUNCE SEVERAL VARIATIONS OF THE KICK DRUMBYMUT ING INDIVIDUAL COMPONENTSOR COMBINATIONSOF COMPONENTS TO GIVEDIFFERENT RESULTS0ERHAPSTHEMOSTUSEFULISAVERSIONWHEREALLTHEBASSCOMPONENTSARE
MUTEDLEAVINGONLYTHEMIDRANGEANDTHETREBLECOMPONENTSACTIVE4OSOME EXTENT THE SAME EFFECT CAN BE ACHIEVED BY APPLYING A HIGH PASS lLTER TO THE COMBIKICK 4HIS IS A GOODALTERNATIVE TOHAVE GIVEN THAT IT IS RELATIVELY LITTLE EXTRAWORKTO JUSTMUTE THEBASSCOMPONENTSOF THESOUNDBOUNCETHECOM BINEDSOUNDANDDRAGINTOTHE!RRANGEWINDOWASWELL
)FTHISALLSOUNDSLIKETOOMUCHWORKFORWHATISINEFFECTAVERYSMALLPARTOF THElNALTRACKREMEMBERTHATYOUAREDEALINGWITHONEOFTHEMOSTIMPORTANT ELEMENTSOFYOURlNISHEDTRACK)FYOUWANTTOYOUCANALWAYSTRYTOlNDEVERY THINGYOUARELOOKINGFORINJUSTONEKICKDRUMSAMPLE4HERESISAGOODCHANCE THATYOUMIGHTlNDWHATYOUNEEDBUTIFYOUTAKETHEEXTRATIMEANDEFFORTTO DESIGNTHEBESTSOUNDYOUCANYOUWILLBEPLEASANTLYSURPRISEDBYTHERESULTS
4HERE IS ALSO A lNAL OPTION TO CONSIDER THE EXCELLENT -ETRUM PLUG IN FROM THE 6ENGEANCE 0RODUCER 3UITE www.vengeance-sound.de/eng/VPSMetrum.html 4HISDOESINPLUG INFORMMUCHOFWHAT)DESCRIBEDEARLIERINTERMSOFLAYER INGDIFFERENTSAMPLESEACHWITHITSOWNINDEPENDENTAMPLITUDEENVELOPES)T INCLUDESONEDEDICATEDOSCILLATOR LAYERALONGWITH THREE SAMPLE LAYERSPLUSA MODULATIONMATRIXANDSEVERALUSEFULBUILT INEFFECTS4HE-ETRUMHASTHECON VENIENCEOFBEINGSELF CONTAINEDANDBECAUSEITISAPLUG INTHEREISNONEED TOBOUNCETHECOMBINEDSOUNDTOWORKWITHITINACONVENIENTMANNER)HAVE USEDITWITHGREATSUCCESSONSOMERECENTTRACKS4HATSAID)STILLUSEMYTUN ABLE SUBBASS LAYER UNDERNEATH THE SOUNDS PRODUCED WITHIN-ETRUM SIMPLY BECAUSE)LIKETHEWAYITCANBETUNEDTOFOLLOWTHEBASSLINE
DRUM KIT SOUNDS: SNARE DRUM 4HE SNARE DRUM ALONG WITH THE CLAP IS THE SECOND IN THE (OLY 4RINITY OF GROOVE MAKINGDRUMSOUNDSINCLUBMUSIC )F THEROLEOF THEKICKDRUMIS TO PROVIDE A SOLID AND REGULAR BEAT FOR PEOPLE TO DANCE TO AND THE ROLE OF THE HI HATSALONGWITHTHINGSLIKETAMBOURINESANDSHAKERS ISTOPROVIDETHEPACE ANDMOVEMENT IN THE GROOVE THENWHAT DOES THE SNARE DRUMDO7ELL THAT ISNTALWAYSANEASYQUESTIONTOANSWER4HESNAREDRUMCANPROVIDESOMEEXTRA RHYTHMICINTERESTINTERMSOFSYNCOPATIONBUTMOREOFTENTHANNOTITISSIMPLY USEDASANACCENTONBEATSTWOANDFOUROFTHEBAR
-ANY OF THE CHOICES YOUMAKEWHEN CHOOSING AND PROGRAMMING SNARE DRUM SOUNDSDEPENDONTHEGENREYOUAREWORKINGIN3OMEGENRESGOFORQUITESMALL ANDTIGHT SOUNDINGSNAREDRUMSOTHERSFORBIGGERANDBRASHERSOUNDS3OMEDO AWAYWITHTHESNAREDRUMCOMPLETELYINFAVOROFACLAPSOUND3ORATHERTHANGO INTODETAILFOREACHGENRE)WILLSIMPLYGOOVERTHEBASICSOFPROGRAMMINGSNARE DRUM SOUNDS AND lNISHWITH SOMEPOTENTIALWAYS TOMODIFY AND ADAPT THOSE SOUNDSTOTAKEITMOREINTHEDIRECTIONOFTHEGENREYOUHAPPENTOBEWORKINGIN
/NCEAGAINTHESNAREDRUMHASSEPARATEATTACKANDSUSTAINCOMPONENTSTOTHE SOUNDBUTTHEYMIGHTBEALITTLEHARDERTODISTINGUISHBECAUSEOFTHEINHERENT QUALITIESOFASNAREDRUM4HEATTACKCOMPONENTOFAREALKICKDRUMISMADE WHENTHEBEATEROFTHEKICKDRUMPEDALHITSTHEDRUMSKIN4HEHIGHFREQUENCY
HARMONICS GENERATED IN THE VIBRATING DRUM SKIN DIE AWAY COMPARATIVELY QUICKLYBUTTHEDEEPERFREQUENCIESCONTINUEON)NASNAREDRUMHOWEVERWE HAVEANADDITIONALFACTORTODEALWITH!SNAREDRUMISINMANYWAYSSIMILAR TOOTHERDRUMSBUTDIFFERSINTHATITHASSNARESDRAWNTIGHTLYACROSSTHEBOTTOM SKINOFTHEDRUM)FWEWERETOREMOVETHESESNARESTHEPROCESSFORRECREATING ASNAREDRUMSOUNDWOULDBEVERYSIMILARTOTHATOFAKICKDRUMALBEIT INA HIGHER FREQUENCY RANGEANDWITHOUT THE SUBBASS CONSIDERATIONS TODEALWITH 4HEREWOULDBETHESNAPPYATTACKTHISTIMECAUSEDBYBEINGHITWITHADRUM STICKRATHERTHANTHEBEATERFROMTHEPEDAL ANDTHERESONATINGSUSTAINCAUSED BYTHEDRUMSHELLANDTHESKINS
"UT THEADDITIONOF THE SNARESBRINGS INA THIRD FACTOR4HE SNARES THEMSELVES ARE ACTUALLY JUST A GROUP OF COILEDWIRES UNDER TENSION HELD AGAINST THE BOT TOMSKINOFTHESNAREDRUM7HENTHETOPSKINISHITWITHTHEDRUMSTICKTHE PRESSURECREATEDINSIDETHEDRUMSHELLCAUSESTHEBOTTOMSKINTOVIBRATEAND ASITDOESSOTHEUP AND DOWNMOTIONCAUSESTHEWIRESTOBOUNCEAGAINSTTHE SURFACEOFTHESKIN4HISALTERSTHEVIBRATIONOFTHESNARESANDTHEBOTTOMDRUM SKINASWELL!NDITISTHISDISTINCTIVERATTLETHATGIVESTHESNAREDRUMITSUNIQUE SOUND&ROMASOUNDDESIGNPERSPECTIVETHISCANBESEENASANADDITIONALMID RANGE TO HIGH FREQUENCY COMPONENT WITH A LESS SNAPPY AMPLITUDE ENVELOPE ANDASLIGHTLYLONGERDECAYTIME3OTOCREATEACONVINCINGSNAREDRUMSOUND FROMSCRATCHWENEEDTOCONSIDERALL THREECOMPONENTS THEhSTICKvNOISE THE DRUMSHELLANDSKINSANDTHESNARESTHEMSELVES
'IVEN THAT A REAL SNARE DRUM IS HUGELY DIFlCULT TOMODELWITH CONVENTIONAL SYNTHESIS TECHNIQUES PERHAPS THE EASIEST OPTION IS ONCE AGAIN TOUSEDIFFER ENT SAMPLES LAYEREDUPANDEDITED FOR EACHOF THE COMPONENTSOF THE SOUND YOUWANT TORECREATE4HESAMETECHNIQUESWEWOULDAPPLY TOCHOOSINGSAM PLESTOCREATEACOMPOSITEKICKDRUMAPPLYHEREALBEITWITHSLIGHTLYDIFFERENT ATTRIBUTES
7HAT IFYOUACTUALLYdoWANT TOSYNTHESIZEASNAREDRUMSOUNDYOURSELF4HE TWOMAIN FACTORS TOCONSIDERARE THESOUNDOF THEDRUMSKINS SHELLAND THE SOUND OF THE SNARES THEMSELVES )N ORDER TO ACCURATELY SYNTHESIZE THE SNARE DRUM SHELL AND SKINS WE HAVE TO CONSIDER A COMPLEX HARMONIC STRUCTURE "ECAUSEOFTHEhCLOSEDSYSTEMvOFTHETWODRUMSKINSANDTHEDRUMSHELLAND THECOMPLEXINTERACTIONSBETWEENTHEMTHEFREQUENCIESPRODUCEDARENTNICELY HARMONICALLY RELATED SO CONVENTIONAL OSCILLATORS WOULDNT BE UP TO THE JOB HEREUNLESSYOUUSEDINDIVIDUALSINEWAVEOSCILLATORSANDABASICADDITIVESYN THESISANALYSISTOCREATETHEINDIVIDUALFREQUENCIES
4HEPROBLEMLIESINTHEFACTTHATTHEFREQUENCIESPRODUCEDDONTFOLLOWONIN A RATIO SYSTEMWHERE EACH IS AMULTIPLE OF THE PREVIOUS ONE 2ATHER THE FRE QUENCIES PRODUCED HERE HAVE A RELATIVELY SPEAKING lXED INTERVAL BETWEEN THEM"YTHAT)MEANTHATTHEHARMONICSFOLLOWASEQUENCEALONGTHELINESOF (Z(Z(Z(ZANDSOONADDING(ZEACHTIME RATHER THAN (Z (Z (Z (Z AND SO ON WHICH IS THE PATTERN FOR THEHARMONICSOFASQUAREWAVE 9OUMIGHTBESEEINGSOMEKINDOFSIMILARITY
!hNORMALvHARMONICSERIESSTARTINGAT(ZINSTEADOF(ZWOULDDEVELOP AS(Z(Z(Z(ZANDSOON"ASEDONTHATYOUCANSEETHATWE AREGETTINGCLOSERTOWHATWEWANT!LLWENEEDISAWAYTOSOMEHOWOFFSETTHE HARMONICSBYADDING(Z TOEACH7ECANDO THISWITHADEVICECALLEDA frequency shifter&REQUENCYSHIFTERSWORKBYDOINGEXACTLYWHATWEREQUIREADDINGA lXEDFREQUENCYOFFSETTOTHEHARMONICSWITHINAWAVEFORM3OIFWERANA(Z SQUARE WAVE THROUGH A FREQUENCY SHIFTER WITH AN OFFSET VALUE OF(Z WE WOULDGETTHERESULTINGFREQUENCIESWEWANTED4HEREAREACOUPLEOFPROBLEMS WITHTHISTHOUGH4HElRSTISTHATFREQUENCYSHIFTERSARENTEXACTLYSTANDARDEQUIP MENTINMOSTSYNTHESIZERS4HEYARENORMALLYRESERVEDFORTHELIKESOFEXPENSIVE MODULARANALOGSYNTHSORPERHAPS!RTURIASEXCELLENT-OOG-ODULAR6PLUG IN 4HESECONDPROBLEMISTHATYOUWILLNEEDTWOOFTHESESET UPSASTHENATUREOF THESNAREDRUMHASTWOOFTHESEINHARMONICSERIESCOMBINEDALONGWITHOTHER ELEMENTS )TSSTARTINGTOLOOKLIKEAGREATDEALOFWORKANDTHATSBEFOREWEHAVE EVENGOTTENTODEALINGWITHTHESOUNDOFTHESNARESTHEMSELVES
)STHEREAWAYTOCREATESOMETHINGTHATSOUNDSAPPROXIMATELYLIKEASNAREDRUM WITHOUT GOING THROUGH ALL THIS TROUBLE OR SHOULDWE JUST REVERT TO SAMPLES 7ELLFORTUNATELYFORUSTHECLEVERENGINEERSAT2OLANDCAMEUPWITHANANSWER INTHEFORMOFTHEDIDYOUGUESS 42 SNAREDRUM-OSTOFUSKNOWTHAT ITDOESNT SOUNDESPECIALLY LIKEA hREALv SNAREDRUMBUT IT GIVESUSALLOF THE ESSENTIAL CHARACTERISTICS OF A REAL SNARE DRUM !ND YOU CAN REST ASSURED THAT THEYDIDNTUSECOMPLEXFREQUENCYSHIFTERSORTHELIKETOCREATETHISTRADEMARK SOUND
7HAT THEYACTUALLYDIDWAS STRIP THE SOUNDDOWN TO THEESSENTIALS/UTOF THE MANYHARMONICSPRESENTINASNAREDRUMSOUNDTHEREARETWOMAINFREQUENCIES CALLEDTHEhMODESv7ITHOUTGOINGINTOUNNECESSARYDETAILABOUTWHATTHESE ARE OR HOW THEY ARE CALCULATED THE ENGINEERS WORKED THESE OUT TO BE AROUND (ZAND(Z3OYOUFORMTHEBASISOFYOURSOUNDBYHAVINGTWOTRIAN GLEWAVEOSCILLATORSSETAT THOSE FREQUENCIESWHICHWORKOUT TO&AND%IN CASEYOURSYNTHDOESNTALLOWYOUTOSETABSOLUTEFREQUENCIES ANDTHENSETTHE AMPLITUDEENVELOPESTOHAVETHEATTACKASSHORTASPOSSIBLEANDADECAYRELEASE TIMEOFABOUTMSPOSSIBLYALITTLELESSONTHE(ZWAVEFORMIFYOUHAVE THEOPTIONOFGIVINGEACHITSOWNENVELOPE 4HESETWOCOMBINEDWONTATTHIS STAGESOUNDVERYMUCHLIKEASNAREDRUM!NDTHATISWHYWEADDINTHElLTERED WHITENOISECOMPONENTNEXT
4HEPURPOSEOFTHElLTEREDWHITENOISEISTOEMULATETHESOUNDOFTHESNARES )F YOU THINK ABOUT IT WITH A REAL SNARE DRUM WHEN IT IS HIT WITH ANYTHING ABOVE AMEDIUM STRENGTH YOUHEARMORE OF THE SNARE SOUND THAN THE RESO NANCEOF THEDRUMSKINSANDSHELL4HAT ISWHATWEAREAIMING FORHEREWITH OUR 42 TYPE SNARE 3O WE TAKE A WHITE NOISE SOURCE AND THEN WE RUN IT THROUGH A LOW PASS lLTER TO TAKE OFF SOME OF THE REALLY HIGH FREQUENCIES AROUND+(ZCUTOFFFREQUENCYSEEMSTOSOUNDABOUTRIGHT ANDTHENWERUN THATTHROUGHITSOWNAMPLITUDEENVELOPE7HEREASTHETONALPARTSOFTHESNARE SOUNDHADAPRETTYSHORTDECAYRELEASETIMEHEREWECANEXTENDTHATTOAROUND
MSORPERHAPSEVENA LITTLEMORE )T IS THIS COMPONENTOF THE SOUND THAT REALLY CONTRIBUTES THEMOST SO IF YOUWANTED TO INCREASE THE TIGHTNESSOF THE SOUND YOU COULD REDUCE THE DECAY AND RELEASE TIMES ACCORDINGLY /NCE YOU HAVEADDEDTHIS INYOUWILL START TOHEARSOMETHINGTHATSOUNDSA LITTLEMORE LIKE A SNARE DRUM 4HE 42 ALSO HAD A hSNAPPYv CONTROL AND THIS ADDED IN AN ADDITIONAL LAYER OF WHITE NOISE THIS TIME HIGH PASS lLTERED AT AROUND (ZINADDITIONTOTHELOW PASSlLTERINGALREADYDESCRIBED BUTWITHAMUCH SHORTERDECAYRELEASE TIMEOF AROUNDMS 4HE LEVEL OF THIS COULD THENBE CONTROLLEDINDEPENDENTLYTOGIVEADEGREEOFADJUSTABILITYTOTHESOUND
9OU COULD USE A COMPRESSOR WITH APPROPRIATE SETTINGS TO FURTHER EMPHASIZE THEATTACKOFTHESOUNDORTOGIVEITMOREBODYMOREONTHISIN#HAPTER ANDALITTLE%1TOMAKEITSOUNDFULLERORBRIGHTERBUTWHATYOUHAVENOWIS PRETTYMUCHSNAREDRUM LIKEINITSTONE)TSUNLIKELYYOULLFOOLANYBODYINTO THINKINGTHATITISAREALSNAREDRUMBUTREMEMBERWEDONTALWAYSGOFORREAL ISMINDANCEMUSICWEGOFORWHATSOUNDSGOOD!NDTHE42 SNAREDRUM SOUNDSSOrightINTHISCONTEXT
4HEBESTPARTABOUTCREATINGASOUNDINTHISWAYISTHATITALLOWSYOUTOACTUALLY CHANGETHESOUNDASTHETRACKREQUIRESIT9OUCOULDFOREXAMPLECHANGETHE BALANCEBETWEENTHEPITCHEDPARTOFTHESOUNDANDTHENOISEPARTOFTHESOUND OR YOU COULD CHANGE THEDECAYOF THE SOUND )N SHORT YOUHAVEMUCHMORE mEXIBILITYTHANYOUMIGHTGETFROMUSINGASAMPLE)NMUCHTHESAMEWAYAS ANORIGINAL42 HADCONTROLSTHATALLOWEDYOUTOALTERCERTAINASPECTSOFTHE SOUNDCREATINGYOUROWNSYNTHESIZEDSNAREDRUMALLOWSYOUTOBUILDA LITTLE MORECONTROLANDVARIATIONINTOTHESOUND
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/NE lNAL POINT TOMENTION BEFOREWEMOVE ON TO CLAPS IS THAT UNLIKE KICK DRUMSITISNTUNUSUALTOHAVETWOOREVENMORE DIFFERENTSNAREDRUMSUSED IN THE SAME TRACK/FTEN YOUMIGHT lND AMAIN SNARE DRUM BEING USED ON BEATSTWOANDFOURANDONEORMORESLIGHTLYDIFFERENTPERHAPSSOFTERSOUNDING SNAREDRUMSUSEDFOROFFBEATHITSANDGHOSTNOTES4HIScanBEACHIEVEDUSING PROGRAMMEDPERHAPSVELOCITYDEPENDENT CHANGESWITHINASINGLESOUNDBUT DONTBEAFRAID TOUSE A FEWDIFFERENT SOUNDS IF IT GETS YOU THE RESULT YOUARE LOOKINGFOR
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