ADVICE TO NEW PRODUCERS: It’s easy to want instant gratification, but you have to understand that your music won’t always be great. And TIME is the most important thing. Keep going. My music 5 years ago sounds so much worse then what I make today. But that change wasn’t overnight. So when you look back after years of working, you will be impressed with yourselves I promise. Just keep going!
I produce since 2-3 years now and I still don't love my music Its always the same I start with nice loop I make multiple loop with break tension drop... But when I start the arrangement I start to arrange mix and create at the same time and it always end or with a bad mix or with a bad arrangement or the two it's so frustrating. And I always have the feelings that I'm not learning good like I waste my time in the wrong things. Don't know what to do 😅 (sorry for the bad English).
@@tubeo94 while I like Au5’s technical depth, I find his tutorials tend to focus on his specific production techniques and sometimes things become a bit complicated and hard to follow (especially for beginners). What Aiden did a GREAT job of with this video was breaking down fundamental principles into their most basic elements while also using very practical examples. He made the knowledge applicable for any skill level and literally any genre of music that uses drums, which is an INCREDIBLE example of good instructional design. I know other folks do great tutorials and any praise can be deemed as subjective, but I stand by my original comment. I’ve been a music producer for 20 years and an instructional designer for 9 years and this video is amazing work. Aiden deserves all the credit for this one and he should get hyped TF up. Keep this stuff coming, @oversampled.
For me, drums are kinda the chillest thing to make. You really just need the transients and body. So like, go into the mix and go “tss” and cut it so it’s hella short. Than go “buh” and shorten that down so the two sound natural together. Than like distort it a bit. After that chain, make the thinnest band pass at the hey of the kick, and like side chain it to the attack. Export. Take the consolidated layer, and make it as short as humanly possible, without loosing that little bit of audible sub. Do this later in the track making process; use a random kick as a fancier click track and swap it out when you are ready. Than make it loud as ballz…..not like clipping and stuff. Maybe a soft clipper to prevent that, but have the rest of the track side chained and relatively quieter than the kick. Cuz, tbh, a kick is only as loud as the rest of the elements are relatively quiet or short. Also, speaking of Steve Duda, just do all this shiz in serum. Or, I dunno. Samples are usually pretty nice. Just, make em work with your song. You can take tails from one kick and glue em to another transient, than strap a whole different body to that bad boi to get a Frankenstein kick. But, to me, the cymbals are the hardest thing to sound natural. Like, bro. They are either thin, muddy, or sibilant af. Snares have been earlier since I’ve basically started treating em like kicks, but add 200-300hz. Also, high frequency reverb to short kicks is a cool thing to mess with. Buuut, imo, the initial click is the most important bit to get right. Its loudness, main frequency and length shape soooo much of the character. As with a snare, I find the body the most insane part. Slap a cmb- filter and a soft clipper to that boi and tune it, and you get some metallic fricken riddim or death metal thing. Swap that with a chilled out loose, warm noise and it’s instantly jazzier. Well nvmd. In the first one, the peak at like 2000-4000 ish hz is more aggressive on the attack sometimes. But still. It’s basically “kaaah” vs “ceh” but in a bass, it can be “boom” “toom”…”voom” …hard style be like, “tongue click sound with 7 layers of saturation and monster energy drink added.” ….just switch up the initial constant and you can see the different the initial click makes. But, it’s really all important. This is just my opinion on what makes the most drastic of changes. Like, If you make a kick and pitch it down like 2 octaves, it’ll sound pretty weird….but I’m not gonna get into why that is atm. Basically, imagine what pitching down a kick does, you you’ll just imagine how it sounds. It goes from “boom” to “vO0oOmuh”. Actually. Just watch the vid. I dunno what I’m even tryna get at here.
Ight. Update. I’ve progressed in my drum making skills. Basically, for bass music, the actual fundamental of a drum should be as short as possible. I sort of did this but, I didn’t actively understand the importance. It wasn’t until I decided to use a kick that I deemed “almost non existent” in a track….and it went hard. The kick itself was so short, you almost couldn’t even tell it had sub. But, it turned the rest of the track into the kick tail. So I took it a step further. I took the entire track and consolidated it. Blurred it slightly. Than I made an automation. It cut out for the kick and swiftly faded in, and than out after. The track was high passed, compressed, pitch mapped to the key of the song, re consolidated and pitched down. The automation was midi triggered and matched the kick. The end result was the kick sounding like the entire song forming into a kick. And I gotta say. I dunno if I’ve heard this before but, it is so cool. Now for snares. I have a mono bus for the transients and a second stereo bus for the tail. With patcher, there’s a preset called multiband sidechain and I linked the transient up to the tail. Basically, it’s a snare maker. The tail, yet again is linked so to a trigger than widens it out the longer the tail goes on for. And since it’s liked to a multiband sidechain, it never interferes with the transient. And this is dope, because the transient is short. It doesn’t have to vary. However, you can slap anything into the tail bus and it instantly changes the snare. Therefor, snare variation is easy as balls. So yeah. Also, layering snares works sometimes but, if you have a strong transient, most of the time, it’ll be better. I’ve tried. The fundamental of a snare is in the “i phase cancel shit easily” territory. So, a lot of the times, layering a snare to make it thicc, actually makes your snare sound weaker. Same with a kick. You can layer the tails and shit. But, even still, a lot of the time, for drums, less is more. And yes. I produce riddim, au5 style dubstep and some Porter sounding shit. The same shit that applies to Porter sounding drums also applies to the heaviest of riddim drums. Oh yeah. And despite what a ton of edm producers (even what over sampled says) slapping a distortion on the whole ass drum chain isn’t optimal. It kills the transient of the drums (actually flattens it out) and boosts the ring out time of low end harmonics. Pretty much a sure fire way to get your sub sounding all wobbly nd shit due to phasing issues. What you wanna do, in that case, is run the entire drum bus in parallel and compress that. Like, a lot. A shit tone. If there were any sin waves left, you failed. Make it into a square. Than high pass it and multiband side chain it back to the main drum bus. This way, you keep the attack and sharpness of the drums while also having some beef to cut through the mids and highs. Now, I’m not gonna get into drum eq and compression. But, generally this requires some clean up, transient shaping (or midi routed automation) and stuff to not completely mess up the actual leads and stuff of the song. But, that’s kinda a genera thing. Or you can do the same thing with two square waves and really get it clean from the beginning, though this is kinda hard to keep track of. Cuz you will now have like 4 layers of kicks and a million automation layers….Just for the drums. Also, I’ll leave here with a final message. A tip for complex ass bass with minimal effort….and this is for fl users. You can automate the routing of a bass….yeah. So, let’s say you have a Simple ass sin wave playing the root note of your chord. You want to make drop out of it. Make like 10 different effects busses all routed to a single rack. Make a separate layer for a sub because that fundamental is gonna get messed up. Than get out a notebook. Make a quick automation for each bus. Write down the value of each bus (if you don’t do this, it’s gonna be hard af to find each bus. Cuz there’s 125.) now just slap a point wherever you want a bass change to happen and randomly type these numbers in. I’ve gotten some impossibly complex sounding drops out of this strat in like 5 mins. Also, if you do this with a really gritty sort of au5 style neuro bass, and match a bus sweep with a pitch bend……bruh. BRUUUUH. Just, if anybody reads this, mess around with that. Because, I made a bass this way that I genuinely believe is one of the most insane basses I’ve ever heard in my life. It sounds like a single bass but, each transient within the wave table is a different sound. Aaah. It’s just….try that. Ight. Be back in a few more months.
One thing that i prefer over limiting for drums is clipping. It can be soft or hard clipping, but that makes a big impact on the drums, makes them incredibly loud and retains punch, whereas most often limiting will squash the transients and the drums will sound weak. That depends on your limiter of course.
Straight to the point, brimming with information, innovative and very well paced. I genuinely could not have asked for a better tutorial. Thanks very very much. Been exceptionally frustrated with drums after returning from a long hiatus in music production so this is a huge help.
I feel like Oversampled is a true giga Chad who just loves music and wants to share his passion and business. Its a crime he doesn't have millions of subscribers tbh.
Hands down the best drum design video I've ever seen, been producing semi-profesionally for 7 years and there are always new things to learn, you have a follower for life dude, legend.
One thing that really really makes a big difference in quality in creating any drum sound is understanding the relative harmonic overtones that different frequencies naturally produce.
Incredibly creative and clear tutorial! One of the best I’ve seen in a long time. Cannot wait to fire up Ableton and try these techniques. I’m also pleased to see someone of your enlightened production caliber using Thermal and Portal, I throw them on practically everything, it makes me feel like maybe I’m actually on the right track after years of playing around. Looking forward to more of your content!
i dabbled in sound designing before and id say im pretty good at pre made drum manipulation and even synthetic sound design but the first 2 minutes of this video gave me information that i desperately needed and i didnt even know it. this helped so much man i cant thank u enough
Wow! Maaaaaan, i think that your video gave me sooooooo much ideas! I wasn't thinking in this way at all while sound-designing my drums and i ignored so much important things! So many thanks to you, so much! This video will change so much things i my workflow! THANK YOU!
Reminds me of the times I make these Challenges in my Lifestream, where I only use Voice recordings a friend sends me and make a full track out of those.. So I make A kick, A snare, Hi Hats and Instruments out of random recordings of mostly this dude talking. These challenges helped me understand how some sounds behave and are Made because I have to make them sound like something completely different. This far I made a Hybrid Trap/Tearout song and a Harsh distorted Trap beat with those... (There are cut versions of those Streams over here on UA-cam on the Channel of the dude who gave me the samples and the challenge)
No disrespect to you or your process but somehow watching this video just makes me homesick to return to the more simplified days of using keyboard synths, drum modules, digital recorders, and mixing hardware. Computer recording and the "loudness wars" have really taken a lot of the fun out of just creating good music. Believe it or not, there was a time when you would have never put effort into trying to make your instruments 'pop'. You didn't have to. The only real competition was just to create a track that was likable and marketable,...not a louder one. Again, technology and the DIY concept have a lot to do with it. The good thing is, we can only push sound decibels as far as the human ear can sustain them. So hopefully one day, things will return to normal, or else we will surpass the eardrum threshold, go deaf from the competition and blow the sound sources trying. Once that happens,...the loudness war will finally be over and there will be "no" winners. Peace
Solid advice but honestly it's not necessary to create a good track. And it's over complex for beginners. They might think that they need to know this kind of stuff to make something nice but it's unnecessary. In fact most of the biggest hits you hear on the radio were made with just good samplepacks and synth presets. Additional..this is the kind of stuff that just makes you overcomplicate things and enter creative blocks. With just a good kick snare hat clap from a decent sample pack, and the proper synths and creativity you can make something that sounds world class.
Hey Peter, thanks a lot! As always precise content! I have a request tho if it wouldnt be hard: the 4th element - preshift. Could you make an explanation vid on how to do the badass "preshift" on drums just so they would make a feeling of someone swinging hard their punch into the drums? I can often hear that in hard style sound like Mick Gordon's (BFG Division for ex.)... So yeah I would be very greatful! ("phBOOM" "phTSH" sound :D) I tried adding swoshes and noise fayde-ins but they aren't quiet the same thing with the requested one :\
Could also be compression on drums with lots of reverb. If you dial the compressor just right you get that breathing drum sound. And sometimes you can get a similar sound by distorting the shit out of it on some analoge gear.
I know it's a bit out of context but I thought using loops was cheating, so I programmed my own using samples. I then thought using samples was cheating, so I recorded real drums. I then thought that programming it was cheating, so I learned to play drums for real.
best advice I can give to any producers reading this: Don’t spend months on one beat that isn’t really going anywhere. Much better to make 4 good SIMPLE beats in 1 day than 1 incredibly complex beat that takes weeks to finish that you don’t even LOVE. reeeally listen to that beat you’ve been working on for months. You can do better than that, can’t you? I know you can.
that serum snare sounded like crap. but i expected that to happen. synthesizing snares is still much of an unsolved mystery. your drum editing and processing was cool tho
When snare samples have low end (sub 100) should you eq that out? Most the time if I lowcut a sample it will start clipping(because of phasing I think). Should I eq it out then throw a limiter on, or just leave the sample as is?
I'm not really sure about this one. I usually lowcut it and don't think about the phase, but Idk if that's the best approach. You can try using EQs that correct the phase like proq 3
Yo! I’ve always wanted to see how to do these kinds things with serum because I currently have Kick 2 but it’s only for kicks 🥶 super limited but now I’m gonna be able to make a snare that punches and penetrates through anything 😏 💯🔥😂 thanks for sharing!!🤟🏻
If your snare isn't punching through enough after all that, try ducking your other sounds when the snare comes in (you can also cut the sound a tiny bit before your snare, might not seem like it makes much difference but when you go to the mastering stage this will allow the limiter and any other master bus compression stuff to recover a bit before your snare hits it)
I don’t know why but drum sound design always seems like a chore for me. I don’t know why. With pads or leads or any synth sound I can spend hours on patching and sculpting the sound. But with drums it always seems so tedious. And it is not like I hate drums, I play drums for over 2 decades.
Might be dumb question but is there such thing as overcompressing when it comes to sound design? Are you trying to maintain any level or dynamic range in your head or you just go with what sounds good?
ADVICE TO NEW PRODUCERS: It’s easy to want instant gratification, but you have to understand that your music won’t always be great. And TIME is the most important thing. Keep going. My music 5 years ago sounds so much worse then what I make today. But that change wasn’t overnight. So when you look back after years of working, you will be impressed with yourselves I promise. Just keep going!
inspired by you, thanks
Thanks friend, can't wait to see how my snares sound in five years!
Don't do it for the clout and you're all set
I produce since 2-3 years now and I still don't love my music Its always the same I start with nice loop I make multiple loop with break tension drop... But when I start the arrangement I start to arrange mix and create at the same time and it always end or with a bad mix or with a bad arrangement or the two it's so frustrating.
And I always have the feelings that I'm not learning good like I waste my time in the wrong things.
Don't know what to do 😅
(sorry for the bad English).
@@logoss2976 use reference tracks in your session and try to sound match the elements. This was the best way to improve quickly for me at least
Easily the best drum sound design explanation I’ve EVER seen. Awesome work, yo!
🥺🙏
It’s very good I agree. But to consider who re the best is a preference thing. You should check out au5 or seed to stage, they are considerable too.
@@tubeo94 while I like Au5’s technical depth, I find his tutorials tend to focus on his specific production techniques and sometimes things become a bit complicated and hard to follow (especially for beginners).
What Aiden did a GREAT job of with this video was breaking down fundamental principles into their most basic elements while also using very practical examples. He made the knowledge applicable for any skill level and literally any genre of music that uses drums, which is an INCREDIBLE example of good instructional design.
I know other folks do great tutorials and any praise can be deemed as subjective, but I stand by my original comment. I’ve been a music producer for 20 years and an instructional designer for 9 years and this video is amazing work. Aiden deserves all the credit for this one and he should get hyped TF up. Keep this stuff coming, @oversampled.
@@hey_maurice well said, thanks for the insight too!
the name of the video is matching with the video content. great work man thank you!
For me, drums are kinda the chillest thing to make. You really just need the transients and body. So like, go into the mix and go “tss” and cut it so it’s hella short. Than go “buh” and shorten that down so the two sound natural together. Than like distort it a bit. After that chain, make the thinnest band pass at the hey of the kick, and like side chain it to the attack. Export. Take the consolidated layer, and make it as short as humanly possible, without loosing that little bit of audible sub. Do this later in the track making process; use a random kick as a fancier click track and swap it out when you are ready. Than make it loud as ballz…..not like clipping and stuff. Maybe a soft clipper to prevent that, but have the rest of the track side chained and relatively quieter than the kick. Cuz, tbh, a kick is only as loud as the rest of the elements are relatively quiet or short. Also, speaking of Steve Duda, just do all this shiz in serum. Or, I dunno. Samples are usually pretty nice. Just, make em work with your song. You can take tails from one kick and glue em to another transient, than strap a whole different body to that bad boi to get a Frankenstein kick. But, to me, the cymbals are the hardest thing to sound natural. Like, bro. They are either thin, muddy, or sibilant af. Snares have been earlier since I’ve basically started treating em like kicks, but add 200-300hz. Also, high frequency reverb to short kicks is a cool thing to mess with. Buuut, imo, the initial click is the most important bit to get right. Its loudness, main frequency and length shape soooo much of the character. As with a snare, I find the body the most insane part. Slap a cmb- filter and a soft clipper to that boi and tune it, and you get some metallic fricken riddim or death metal thing. Swap that with a chilled out loose, warm noise and it’s instantly jazzier. Well nvmd. In the first one, the peak at like 2000-4000 ish hz is more aggressive on the attack sometimes. But still. It’s basically “kaaah” vs “ceh” but in a bass, it can be “boom” “toom”…”voom” …hard style be like, “tongue click sound with 7 layers of saturation and monster energy drink added.” ….just switch up the initial constant and you can see the different the initial click makes. But, it’s really all important. This is just my opinion on what makes the most drastic of changes. Like, If you make a kick and pitch it down like 2 octaves, it’ll sound pretty weird….but I’m not gonna get into why that is atm. Basically, imagine what pitching down a kick does, you you’ll just imagine how it sounds. It goes from “boom” to “vO0oOmuh”. Actually. Just watch the vid. I dunno what I’m even tryna get at here.
Ima print this comment out and hang it on my wall
@@guskerby2048 😂
Mate, you just unloaded like 20 extra nuggets of percussive audio engineering gold into a single paragraph haha. Love it
I love this
Ight. Update. I’ve progressed in my drum making skills. Basically, for bass music, the actual fundamental of a drum should be as short as possible. I sort of did this but, I didn’t actively understand the importance. It wasn’t until I decided to use a kick that I deemed “almost non existent” in a track….and it went hard. The kick itself was so short, you almost couldn’t even tell it had sub. But, it turned the rest of the track into the kick tail. So I took it a step further. I took the entire track and consolidated it. Blurred it slightly. Than I made an automation. It cut out for the kick and swiftly faded in, and than out after. The track was high passed, compressed, pitch mapped to the key of the song, re consolidated and pitched down. The automation was midi triggered and matched the kick. The end result was the kick sounding like the entire song forming into a kick. And I gotta say. I dunno if I’ve heard this before but, it is so cool. Now for snares. I have a mono bus for the transients and a second stereo bus for the tail. With patcher, there’s a preset called multiband sidechain and I linked the transient up to the tail. Basically, it’s a snare maker. The tail, yet again is linked so to a trigger than widens it out the longer the tail goes on for. And since it’s liked to a multiband sidechain, it never interferes with the transient. And this is dope, because the transient is short. It doesn’t have to vary. However, you can slap anything into the tail bus and it instantly changes the snare. Therefor, snare variation is easy as balls. So yeah. Also, layering snares works sometimes but, if you have a strong transient, most of the time, it’ll be better. I’ve tried. The fundamental of a snare is in the “i phase cancel shit easily” territory. So, a lot of the times, layering a snare to make it thicc, actually makes your snare sound weaker. Same with a kick. You can layer the tails and shit. But, even still, a lot of the time, for drums, less is more. And yes. I produce riddim, au5 style dubstep and some Porter sounding shit. The same shit that applies to Porter sounding drums also applies to the heaviest of riddim drums. Oh yeah. And despite what a ton of edm producers (even what over sampled says) slapping a distortion on the whole ass drum chain isn’t optimal. It kills the transient of the drums (actually flattens it out) and boosts the ring out time of low end harmonics. Pretty much a sure fire way to get your sub sounding all wobbly nd shit due to phasing issues. What you wanna do, in that case, is run the entire drum bus in parallel and compress that. Like, a lot. A shit tone. If there were any sin waves left, you failed. Make it into a square. Than high pass it and multiband side chain it back to the main drum bus. This way, you keep the attack and sharpness of the drums while also having some beef to cut through the mids and highs. Now, I’m not gonna get into drum eq and compression. But, generally this requires some clean up, transient shaping (or midi routed automation) and stuff to not completely mess up the actual leads and stuff of the song. But, that’s kinda a genera thing. Or you can do the same thing with two square waves and really get it clean from the beginning, though this is kinda hard to keep track of. Cuz you will now have like 4 layers of kicks and a million automation layers….Just for the drums. Also, I’ll leave here with a final message. A tip for complex ass bass with minimal effort….and this is for fl users. You can automate the routing of a bass….yeah. So, let’s say you have a Simple ass sin wave playing the root note of your chord. You want to make drop out of it. Make like 10 different effects busses all routed to a single rack. Make a separate layer for a sub because that fundamental is gonna get messed up. Than get out a notebook. Make a quick automation for each bus. Write down the value of each bus (if you don’t do this, it’s gonna be hard af to find each bus. Cuz there’s 125.) now just slap a point wherever you want a bass change to happen and randomly type these numbers in. I’ve gotten some impossibly complex sounding drops out of this strat in like 5 mins. Also, if you do this with a really gritty sort of au5 style neuro bass, and match a bus sweep with a pitch bend……bruh. BRUUUUH. Just, if anybody reads this, mess around with that. Because, I made a bass this way that I genuinely believe is one of the most insane basses I’ve ever heard in my life. It sounds like a single bass but, each transient within the wave table is a different sound. Aaah. It’s just….try that. Ight. Be back in a few more months.
This video format is amazing ! Great work !
One thing that i prefer over limiting for drums is clipping. It can be soft or hard clipping, but that makes a big impact on the drums, makes them incredibly loud and retains punch, whereas most often limiting will squash the transients and the drums will sound weak. That depends on your limiter of course.
Straight to the point, brimming with information, innovative and very well paced. I genuinely could not have asked for a better tutorial. Thanks very very much. Been exceptionally frustrated with drums after returning from a long hiatus in music production so this is a huge help.
I feel like Oversampled is a true giga Chad who just loves music and wants to share his passion and business. Its a crime he doesn't have millions of subscribers tbh.
BOOKMARKED. thanks !
Hands down the best drum design video I've ever seen, been producing semi-profesionally for 7 years and there are always new things to learn, you have a follower for life dude, legend.
One thing that really really makes a big difference in quality in creating any drum sound is understanding the relative harmonic overtones that different frequencies naturally produce.
Incredibly creative and clear tutorial! One of the best I’ve seen in a long time. Cannot wait to fire up Ableton and try these techniques. I’m also pleased to see someone of your enlightened production caliber using Thermal and Portal, I throw them on practically everything, it makes me feel like maybe I’m actually on the right track after years of playing around. Looking forward to more of your content!
Guy !!! This went from simple genius to advanced genius in moments! Thanks for continuing to share, you transform our careers.
This is the ultimate drum production video ever period
Great. I want to see your arrangements for your drums when you make a dubstep track or your buildup before the drop. You got them good build ups sir
Finally a youtuber giving awesome tips and in a fast way, not puting sht content to make you stay in the video for 20 mins. THANKS!
You've earned the right to call yourself Oversampled with these sound design skills. 🔥 Killing it! 🙌
Damn even as an experienced producer this video is incredibly helpful and laid out in such a great way
Happy to hear!
i dabbled in sound designing before and id say im pretty good at pre made drum manipulation and even synthetic sound design but the first 2 minutes of this video gave me information that i desperately needed and i didnt even know it. this helped so much man i cant thank u enough
This video has helped me see with eyes unclouded. Thank you for being direct and to the point with this too!
Glad it was helpful!
I loved your thumbnail 🤟🤟
Wow! Maaaaaan, i think that your video gave me sooooooo much ideas! I wasn't thinking in this way at all while sound-designing my drums and i ignored so much important things!
So many thanks to you, so much! This video will change so much things i my workflow! THANK YOU!
Thanks a lot for the tutorial!
I wish you recorded in 4K so we can see the DAW UI more clearly, though.
It's a gem of a video
iv been looking for a video like this for YEARS.
Your the Goat !!❤❤
Reminds me of the times I make these Challenges in my Lifestream, where I only use Voice recordings a friend sends me and make a full track out of those.. So I make A kick, A snare, Hi Hats and Instruments out of random recordings of mostly this dude talking. These challenges helped me understand how some sounds behave and are Made because I have to make them sound like something completely different. This far I made a Hybrid Trap/Tearout song and a Harsh distorted Trap beat with those... (There are cut versions of those Streams over here on UA-cam on the Channel of the dude who gave me the samples and the challenge)
Very dense in content, keep it up!
thanks for making this detailed video about it!
Finally great short, clearly and depth video about sound design drums. Let me congrats to you! 🙏🙏🙏
Cool video! That's why a good rest is the best thing to do to boost a quality of your work. Btw I would like to see some vlogs
Nice tutorial! Crystal clear instructions and explanations !
I just got done with my drum kit & now I’m gonna add to it lmao… I’ve never heard of or considered the first method
Man, I kind of wanna get Thermal and Pancz now, it looks so nice.
Also Infiltrator, but I already spent so much money on plug-ins lately
never cut the tail/transients/mids like that before, should be dope to try
what a great and helpful video! thank you man!!
that backing track is slappin
Well structure tutorial. I like the plug-in recommendations as solutions to problems.
Holy shit an actual serious video from Oversampled? DAAAAAAAAAAAAAAMN !
This really is the best video for this lol.
Legend. Love your videos bro! Thank you! Also, I love Pancz!
thank you so much, i cant believe how many bogus videos out there talk about drum arrangement instead of actual production/synthesis
(seriously- i gotta say it again, thank you so much for this video xD)
Always sharing the knowledge.🤙
No disrespect to you or your process but somehow watching this video just makes me homesick to return to the more simplified days of using keyboard synths, drum modules, digital recorders, and mixing hardware. Computer recording and the "loudness wars" have really taken a lot of the fun out of just creating good music.
Believe it or not, there was a time when you would have never put effort into trying to make your instruments 'pop'. You didn't have to. The only real competition was just to create a track that was likable and marketable,...not a louder one.
Again, technology and the DIY concept have a lot to do with it. The good thing is, we can only push sound decibels as far as the human ear can sustain them. So hopefully one day, things will return to normal, or else we will surpass the eardrum threshold, go deaf from the competition and blow the sound sources trying. Once that happens,...the loudness war will finally be over and there will be "no" winners. Peace
TYSM for the video helped me a lot
You are great! Thanks for the video.
Finally, a video UA-cam still missed.
OMG THE SENSEI IS BACK :000
I never looked at sound design this way. This is great
This video has the best tumbnail ever
Always learning shit from you man. Thank you 🙌
Pancz plug is fyee
this is such a great video thanks so much
Solid advice but honestly it's not necessary to create a good track. And it's over complex for beginners. They might think that they need to know this kind of stuff to make something nice but it's unnecessary.
In fact most of the biggest hits you hear on the radio were made with just good samplepacks and synth presets.
Additional..this is the kind of stuff that just makes you overcomplicate things and enter creative blocks.
With just a good kick snare hat clap from a decent sample pack, and the proper synths and creativity you can make something that sounds world class.
I love making my own sounds and this video just inspired the hell out of me! You’re on another level.
Instant sub.
Nice video Idubbbz
Very well explained
This video is great!
Thanks KING 🔥
Best information thanks
Can u do, how to sound design sounds for melodies. Basic to pro?
Heeyy that's pretty good!
Your a bit of a genius 👍
Great video 🙌
Nice drum tutorial
this actually gave a lot of useful tips
thank you!
Great video!
Love it! Thanks!
Add a ring modulator or resonator to your hihat for additional grit. Or why not both? :-)
Jack "Me" snare lol I see what you did there
Thank you for the informations ❤
Nice job 👍👍
Can you do a tutorial on cinematic drums?
You can delete all other videos about making drums on the internet 🤷♂️🔥🔥 this is so cool!!
i love your videos ❤
Hey Peter, thanks a lot! As always precise content! I have a request tho if it wouldnt be hard: the 4th element - preshift. Could you make an explanation vid on how to do the badass "preshift" on drums just so they would make a feeling of someone swinging hard their punch into the drums? I can often hear that in hard style sound like Mick Gordon's (BFG Division for ex.)... So yeah I would be very greatful! ("phBOOM" "phTSH" sound :D) I tried adding swoshes and noise fayde-ins but they aren't quiet the same thing with the requested one :\
Try reversing kicks for that boomy swoosh :)
Could also be compression on drums with lots of reverb. If you dial the compressor just right you get that breathing drum sound.
And sometimes you can get a similar sound by distorting the shit out of it on some analoge gear.
Producers: instead of stealing stock sounds from other kits when making a drum kit, just do this!
can you please show how to create a djembe sound?
Just try to add ott on your foley... It's so nice
Nice thanks :)
dude that serum snare was straight up wackness
I know it's a bit out of context but I thought using loops was cheating, so I programmed my own using samples. I then thought using samples was cheating, so I recorded real drums. I then thought that programming it was cheating, so I learned to play drums for real.
*u havent gotten to sheep rearing phase thats where u really graduate as a music producer* ..
@@Pranav9977 exactly
Every artist uses cheat codes to increase production, in there own little ways. How else do all these artists throw out content so fast.
Then I became aware that my brain is cheating my hands so I decieded to become the drum
"kick makes kick! bass makes bass! use bass for bass!" -dedmus
best advice I can give to any producers reading this: Don’t spend months on one beat that isn’t really going anywhere. Much better to make 4 good SIMPLE beats in 1 day than 1 incredibly complex beat that takes weeks to finish that you don’t even LOVE. reeeally listen to that beat you’ve been working on for months. You can do better than that, can’t you? I know you can.
Option 2 is what i typically do
Great video
that serum snare sounded like crap. but i expected that to happen. synthesizing snares is still much of an unsolved mystery. your drum editing and processing was cool tho
how did you do that trick at number one. what is it called?
When snare samples have low end (sub 100) should you eq that out? Most the time if I lowcut a sample it will start clipping(because of phasing I think). Should I eq it out then throw a limiter on, or just leave the sample as is?
Clipping is not a problem
I'm not really sure about this one. I usually lowcut it and don't think about the phase, but Idk if that's the best approach. You can try using EQs that correct the phase like proq 3
@@Oversampled yes that’s the only solution
@@fiirasmusic5366 elaborate if you mind
nice cook bruh
Why didyouset the kick to only left side? 10:20
Yo! I’ve always wanted to see how to do these kinds things with serum because I currently have Kick 2 but it’s only for kicks 🥶 super limited but now I’m gonna be able to make a snare that punches and penetrates through anything 😏 💯🔥😂 thanks for sharing!!🤟🏻
If your snare isn't punching through enough after all that, try ducking your other sounds when the snare comes in (you can also cut the sound a tiny bit before your snare, might not seem like it makes much difference but when you go to the mastering stage this will allow the limiter and any other master bus compression stuff to recover a bit before your snare hits it)
Great vid thanks.
Ableton theme?
Check my video description
@@Oversampled no mention about theme
Saw that thumbnail and thought you were idubbbz there for a sec lmao
I don’t know why but drum sound design always seems like a chore for me. I don’t know why. With pads or leads or any synth sound I can spend hours on patching and sculpting the sound. But with drums it always seems so tedious. And it is not like I hate drums, I play drums for over 2 decades.
The nice part of a playing acoustic drums is how instant and hands on it is. Drums designing is the opposite of that
Mr bill just did this
what daw is this ableton?
yes ableton live 11 suite
What a video
Which DAW is this? Looks dope
Ableton live 11 suite
Might be dumb question but is there such thing as overcompressing when it comes to sound design? Are you trying to maintain any level or dynamic range in your head or you just go with what sounds good?
Always with what sounds the best. There's no level that will work for all scenarios