Original subtitles

So young

Snares

Now

This is one common thing that

Kind of drives me nuts about EDM in general but it works for the most part

But

The way that this is setup is as I'm moving my cursor here it's it's highlighting

To a grade of

Strict even though

So

This is

1B that's you know to be as this is

Hobart

And everything is all very

Quantized meaning that it

It's going to lock right there

One mistake I hear in EDM is you know

Aldi's pre transients don't go through because

Everything if you zoom in

You know is being

Triggered

Like

I'm like

In

Sample land right here meaning like

The time scale is

You know moving it from here to here is is not noticeable at all

But as you can see everything is is perfectly locked to the thing now

So I hear a lot of

Out wall that makes

Sound all right to some people

It's just to bang on to me while at least for the snare the kick it doesn't really matter the kit can be like

Mukbang on and all that stuff and that's great but you

The rule for me is

This is basically no

The cake is the log track

And then everything else can kind of go back

Can for between the

So now if I want to bring that transient

Out on a snare a bit what'll end up doing is is taking that snare

Maybe I'll just reduce this clip so that the snare only plays once

And then

What I do is I dragged that snare

Just a little bit earlier than it should

Now you're going to notice as I start to do this

You're going to hear

A different sound

Too far out you're going to get it you know where it's at a time

If you find a spot halfway in between

You're actually going to get a different sound than you would if it was locked in because you're hearing a little bit

The snare before the kick

And you know there is

Bottom end some in some cases and

Low-end and mid-range frequencies in a snare drum

Kick isn't exclusively low-end in Ennis

Snare isn't top

Typically like midden high it's all frequencies are all over the place

So if I put this one back to

You'll hear the difference between this section

I was just going to be read right answer wrong way I guess

I would

MN

If I play this other one

You get a different sound

So if you know that that's something you got to go into detail in and get really fit

Finicky about nail experiment within your times

And the same applies for like say the top end of a keg

Delaying it you know like I can go in and you know one end and moving knowledge this way and that way on the timeline

But there are other ways around it to like cellphone

Now you hear the top way out of

Time because it's negative 600 samples playing earlier or something like that

But Ableton

Do sit up a lot because of the latency the plugins and Deuce and all that stuff too so

That's a whole nother

World of problems if called PVC plug-in delay compensation meaning

The heavier the process of the plug-in the more time

It takes for the audio tube route into a get processed

And come out so dull Azar induce because of that so

What does try to do is compensate for that delay in

More often than not to get so messy when you start having a whole bunch of different plugins doing

Something so it's always best

To just kind of move

Anyway I find

So

We had it

Pretty good right there

And that's just

2 out of whack there so that's fine so we'll keep that

Will get rid of that

The bad demo day

Now another thing when shaping stuff

Is

So see you put a there's a lot of dead

Space in in here there's not a whole lot of air or anything like that so I'm

I tender you know

Apply some kind of like you know like if that's near was coming out of a drum machine is going to be some ground left or something like that that's like

You're filling up a little bit of that space or just are

Dirt

Stuff like that so

For demo sake let's let's throw a big ugly Reverb on that snare

So we're going to get something like that but

Again you have this problem that the Reverb is in

Really breathing or pumping with the rest of the tracks so

I would add you know a compressor at the end of that

Sidechain it from the

From the

Bottom kick which is that one

And then as I bring the threshold down while give it like no ratio 10 to one with

You know

Really quick release and almost nil attack

Now I start to bring the threshold down

You hear

You see that needle pumping up that's actually the game reduction happening coming from that

Text

So you're getting

I'm more of a

A pumping effect as opposed of it sitting on top of everything and just being in the way

So you're going to get

More that none of course you can go back and

Baby changer

Kate I'm on the Reverb to really hear it but

You want something like that basically it is you know the kind of compressed something's now you can pick and choose a

What you want to do that too I'm not saying you should put

Side chains on everything because you really should

But you know be very choosy about what elements you know you're going to squash like that and whatnot

Now another thing I tend to do to is like I'll duplicate that channel

Pick a different sample

Sure why not

And then maybe I'll take the Reverb out

That one

I'll keep the compressor on

You know and then if I find that all that

Got too much glow mid in it you know

In that case I would take

EQ

Some of that out and you can see the frequencies that I'm cutting out

That's just for this EQ course

Ali neq isn't qzunique you you're going to have different flavors different styles

And different process

More less than

Fundamentally the same

So now I have these two snares playing at the same time

Now for a little stereo Imaging I could add an extra one as many as you want just as long as they're mixed right

It looks

Not do that

What I do want to do those come debut

Just see how the sound spread

A little laugh

This guy little little right now I can't hear the image but

I'm sure it's pretty wide

Balancing all that kind of stuff

Keeping in mind that on top of all this

I have a transient designer that's

You know, taken everything and then

And then it's all going into a compressor that's like really freaking out

Wonder why

Whatever

The drums in snow cone were kind of a different case

So what I have here is

I would have been really terrible naming my stuff so

What you're listening to his the group of this

And this was a a percussive group and then outside of that

So if I break this down

These are little

Snippets of some shaker

And this is just some

Dirt noise

That was where I don't know where I got that recording

Generally the drums from snow cone

Shaker stuff not going to combine all these elements II

This with all little cut-up

Bits

Of a of a vintage drum loop I just

Found some Libor and if you could see here

What I've done is that I've cut in certain parts out of it so the orange dictates your amplitude level of that Loop

So only the orange

Bits are playing so I've skip the whole

Lot of it

So if I actually

Play the whole Loop

The original sample was actually

He said I shouldn't be showing this

Totally get sued for that what is that

Birds and donuts I don't know but I know that Luke and it's it's not mine I didn't make

But

My-oh-my One-Shot drums which are just basically all just one shot adios

Where this

Secure act like that

Ride cymbal there at the end of every 4 so that would be like in the bells and whistles

Like I could break all this stuff down

Barebones stop and then all this stuff is kind of a

Dirt stuff in air

Kind of sounds that adds the compression

Irr get compressed and then just kind of adds to the Lube so as I start sit

That kind of stuff and then we throwing a shaker

And then the loop which is just a kick in the snare but you would never know

Unless

But

Itsfunneh

You know part of the creator

Creative sampling as far as I'm concerned if you noticed or not

Not ripping off someone else's

I don't know still gray area because it's like

Interview Pharrell right

I mean

To get a sound and inbred and in manipulated such a way I mean

Where do you draw the line legally on

But all that stuff is just all

All being you know kind of mixed and matched together in such a way that you know

Sounds

Different on

Same with that is you got to hear the ducting effect on that kick

So at the end so let's see here it's 12345

6

789

10

1010 elements to compose those drums and then it's the

If you could see here is like I only have the kick and then I bring in that symbol that I bring in the Shaker it's all

Additive

And subtractive kind of thing

Is so

Essentially the whole drum track is is right here

And then what I've done this when I've started to arrange the track is just basically take

Very minimal parts of it

And then halfway through the track you know more elements are being introduced

And enforce the end

Then comes out

Diamond that that's the drums for snow cone in a nutshell really