Quick tip from a drummer: A lot of those hi hat samples sound like it's playing the top of the cymbal with the tip of the stick. For most drummers when they groove, they're playing the side of the hi hat with the shoulder of the stick, giving it a lower and thicker tone. Something to think about when picking sounds.
Have you listened to how a lot of drummers play now outside of like jazz and funk adjacent stuff, that's a pretty big part of the sound especially in metal
I would love to see FL add a feature for closed hi hats that would let us derive our open hats from the hi hat source being played as opposed to using random open hats. just an idea
it is really boring but it’s also the key difference between okay drums and incredibly good drums, even just the velocity tip for the hats can change the entire vibe of your drum loop if you pay attention to it
@@nuisanceguruyesss, and there’s also a lot of details when it comes to a recording of drums (or any instrument), like the space it was recorded in, and the many things you can do with the drum heads like putting an object on a snare so it can sound tighter. I could go on, but unfortunately like many others I don’t have a drumset or the equipment to record it anyways so I just resort to MIDI. Anyways have a great day!
it should also be noted that your drums don't *have* to sound realistic if you're writing in a more electronic genre or you just wanna get weird with it then go ahead; hit 2 cymbals and 4 toms at the same time, play an open and close hi-hat simultaneously, go bonkers
Yep, even some really acoustic styles may get experimental with double-tracking etc. Something I love is to take the sound of an open hat closing and really boosting that thumpy body it may have, then just using that as a hat when I want something thicc. Same goes with all other realism elements. Panning that mimics a real performance is cool and may potentially be something you wanna learn, but so is getting wild and unnatural with it. Similarly, super cool when people on an actual stage get experimental, whether that is through speakers, their physical location or both, especially if they can play with in front/behind and up/down instead of just left/right with a touch of foreground/background. Some people even bring props on stage to mess with stuff, iirc there was also a famous classical piece that faded out by slowly closing a door between the performance and the audience.
@@Gnurklesquimp2 very insightful and appreciated response kinda reminds me how they swung an amp from the ceiling in the Queen Freddie Mercury biopic to get that phasing room sound
Sometimes setting all velocities to max sounds good for the genre, ie: tech-metal. Basically, if you have a certain sound in mind, go for that sound. Music is an art form, not a competition.
Theres a tool in FL called humanization and it works well on drums. Usually when i program drums, i place the notes and adjust the velocity. I also make the length of each notes about the length of a drummer would play. I then aplly the humanization tool
Some very, VERY subtle ''random'' automation of a bunch of different parameters can also help make a part sound more alive. The wilder you get with it, the less it'll suit something that is supposed to sound like real traditional drums, but having a pitch shift, freq shift, volume, different waveshapers and more all drift imperceptibly subtly in ways that don't or at least hardly line up is very cool. With synths, there is a crazy amount of knobs to very subtly drift, FL's formula controller and linking automation together are huge. One goes up and down over 5 beats, others over 6, 7, 8, 9, 11, 13, 17 etc., takes a lot of beats before an exact pattern of overlap occurs again. You can make the automation not just a simple up/down if you want it to sound a bit more spontaneous, but going too far with that may make the polymeter effect more noticeable, I'm going for something smooth and gradual when doing this. Be especially subtle with certain stacked effects, such as freq and pitch shifters together or stacked distortion, as the difference between spots where a bunch of their automation is high and where it is low will be more easily noticeable. Also, if your synth has oscilator drift or phase start randomness or something, consider turning that on.
Great video - I love the perspective of designing digital instruments to just be an accurate mirror of real ones. It allows you to ground your music in something timeless while allowing technology and creativity to give you room to push the limits of what you can create w/o needing a single real instrument 🔥
Any time someone is giving advice on music production (or anything really) and they start explaining things with “cause it’s not good” or just “don’t do that” it’s pretty much guaranteed to be bad advice
also can turn the swing with the little knob on the channel rack, it makes it so there is a little off beat to each one so there not hitting so perfectly.
drummers would come and analyse my drum programming “ just to criticise it“ but they couldn’t because I actually played invisible drums in the air in my chair as I was programming the drums and I would only do what a drummer Could & Would likely do in that moment and in that song genre.
FL STUDIO TIP FOR "REALISTIC" MIDI: Alt + x (control generic intensity) Alt + r (randomize intensity) Alt + s (randomize beat - it moves it a bit from the grid) Have Fun
As a drummer I want my recordings to sound perfectly quantized. Like I'm a badass playing always right into the click. So just draw drums with magnet and that's all you need to make it "realistic"😂
heres something i wish i did a lot sooner. get a midi controller as soon as possible. get the cheapest one you could grab if you are not yet a musician. if you are already a musician, get the best you could get without breaking the bank. play the notes using the that midi controller as much as possible. theres no substitute to actually playing an instrument, even if that instrument is just a midi controller and not a real drum, guitar etc.
doesn't really matter that awfully much long as the instruments sound good, and have a couple of velocity layers sampled so you can meaningfully use velocity in the first place, it's more a production technique than anything else, you can beef things up a lot with EQ mostly about gating and drying up the sound, then compressing the shit out of the bassdrum, i often have my compressor on full-on hard limiter mode for those :D you kind of almost only want the velocity variance in the bassdrum to act for it's high end response to vary the timbre so to speak, and compress most (but not all) of the actual volume disparity between them dead so you can bring that double bass up front real hard and punchy, it's just a shitload of compression in a controlled manner and applyng EQ at the right places to fatten it up. and you will need to be able audio route them to seperate tracks and isolate out that bassdrum, snare and hihat and all that to have the level of control you're looking for optimally, you want the drum vst to be as dry as possible, so take out the bleed and room, and you want to audio route all the 8 seperate tracks (you can sitll have 1 or 2 tracks for room) to their own individual track, so you can individually process the BD, SD and all that beyond what most built-in mixers of drum vst's are capable of. alternatively, you can just route them to individual tracks wet and see how much you can fix with gating to tame the breathing on each individual channel, it's less autistic in terms of control, but often gets the job done quicker, and that's how they do it when tracking real drumkits in shitty rooms too. they gate out the noise to dry it up before compression then give it some breathing room later. it will sound really thin when you dry it, but that way you can apply heavy compression to the bassdrum for that extreme metal feel, before you make the signal wet again with your own processing ultimately the point here is to dry up the sound enough so it sounds defined and not like a breathy mess of garbage when you're going to do some very busy beats., that reverb/room has got to go first, and doesn't come back until later. personally i always start out mixing them all mono, take out all the panning from the drum vst, then do the making it stereo part later, making them stereo will make the cymbals more defined, so if it works in mono, you know it's guaranteed to work, i just don't like the stereo image masking my judgement on the high frequencies early on , so i take out that variable and don't bring it back until the very end either :D i used a lot of ezdrummer, and well, the rides and crashes don't work well without the ambience, so i have ran a 2nd instance of ezdrummer with for those, route those to even more tracks and then process it later with compression and/or gating to kind of control the breathing, it's a bit of a workaround :D anyway, you group all those tracks back together to a singular drum track once you roughly mixed them, and put a bus compressor on that group at the end to give you more control on how the drums cut through the mix as a whole re-introduce some wetness on the snare, and do your stereo imaging to after the fact, having a delay between the left and right channel of like 24-40ms can really spice up a ride cymbal and hihat and even make a thinner higher one cut through if you compress those too and really bring out the tail ends, just don't go overboard or you'll ruin your transients to the point it loses the agressive accents, a 5:1 compression ratio is proably more apt here to retain them and if your overcompressed stuff sounds a bit too clinical and doesn't cut through the mix well, often in isolation the drums sound roomy, but when you add the other instruments, it can dry up pretty quick, so loosen up the gates a bit, or work that aforementioned bus compressor which can change the timbre quite a bit, and also add breathyness to make things looser or pumping effects if you want it tighter
Thats why Goregrind is filled with Sh111t projects. I can name 1 or 2 projects worth listening, Gruesome Bodyparts Autopsy from Chile and old Active Stenosis.
i use renoise, which is a tracker so i can just punch the notes in with the keyboard, i manually punch in the note-offs too to control the length it's so much less hassle than having to click them and slide down the velocites, i can just go back to the top, and sit in the velocity field and type in values after i made the initial pattern to set them
Programming drums well is so boring and tedious, that you may as well get a cheap drum kit with MIDI compatibility and learn some beats yourself and program them in with the kit. But if you are tight for space and a full drum kit isn't an option, then try a midi drum pad, I can't think of specific model names of the top of my head but basically it's a tabletop drum kit, with pads that have MIDI and pedals on the floor so you can play them in. There are even super cheap roll up mats that have pads with MIDI, but they can be really shit as loads of them don't have any velocity sensors so you end up with everything being the same velocity, which sounds like ass. I have a Donner DED200 drum kit and I use it to control Spectre Digital's Extinction Level Event and even set it up to do double bass drums and replaced my hi hat with an x hat, since the pedal is now another bass. On that note, realism also comes from tone, and many drum modules and libraries are shit, and sound way too processed and clean to sound realistic, with drums recorded in isolation, no room noise or bleed or any of the actual sonic characteristics of a micd up acoustic drum set. So, Spectre Digital's Extinction Level Event is my personal favourite as it's made to be ultra realistic and has all the features of the acoustic kit sound - from multiple mics, listener perspective (drummer perspective vs audience), to room mics, room settings and even bleed between the mics which helps them actually work together and create an in the room live acoustic kit feel, instead of a programmed isolated drum machine that sticks out like a sore thumb. The drums and cymbals also all are completelh dry and not processed to shit, so they actually sound organic, but you can select presets where they are mixed. The icing on the cake is that it works on the free Kontakt Player so you only really pay for the library, which really isn't too expensive last time I checked, and it had an update with more parts, so more toms, more cymbals etc. But honestly even the basic master kit was packed with features, like two crashes, a ride, a China, a pedal hi hat, an x hat or am optional stack, a splash, four toms I think too a snare and a bass. Each of those instruments is also customisable, which is especially cool on the snare as the selection of snare drums you get is really cool with some amazing sounding ones. I overall love that library so much and the fact that I can essentially turn my entry level Donner drum set into a high end acoustic kit. Also of you're struggling with programming, I think Scott from Chernobyl Studios has a course I programming drums like a real drummer, so I'd check that out.
@icewings_intotheclouds How do you do it so it is interesting then? Either way, you're not playing anything, just sitting and clicking a mouse and tediously programming in every note throughout the whole song, spending potential hours doing something a simple session on a drum set will do better in less time and actually be fun.
@@AnkothOfficial because i express myself with the drums i program. i look to find unique rhythms, something that tickles my brain. interesting drum textures, variety. there's so much to do with drums, it's really beautiful.
I’m a drummer who can’t record her drumset because she doesn’t have any mics other than a single 57 :P If there’s one tip I could give, it’s that we drummers are lazy motherfuckers. Make a pattern as simple as possible, but make it sound as impressive as possible.
you missed the most important thing you have to multi channel split the individual instruments and make them dry, so you can add your own processing individually for each later
Quick tip from a drummer: A lot of those hi hat samples sound like it's playing the top of the cymbal with the tip of the stick. For most drummers when they groove, they're playing the side of the hi hat with the shoulder of the stick, giving it a lower and thicker tone. Something to think about when picking sounds.
Thank you for the tip !
@@johnnyjoeflac ...of the stick
I'll see myself out now.
@@roma540 Ba-Dum-Tsssss! 😁
Another drummer here, I’ll see myself out as well…
It's good that Ezdrummer allows you to change the pitch of separate drumkit elements
"drummer isnt a robot"
every note snapped to grid
That's the whole point to make it sound realistic. Because drums nowadays are always quantized as fuck. Isn't it?😂
drummer isnt a robot
he says while using a robot to emulate a drummer
well yes. Mordern music quantizes drums. Doesnt matter if real or MIDI
Have you listened to how a lot of drummers play now outside of like jazz and funk adjacent stuff, that's a pretty big part of the sound especially in metal
I would love to see FL add a feature for closed hi hats that would let us derive our open hats from the hi hat source being played as opposed to using random open hats. just an idea
lol are you using fpc
Might want to do that backwards. Take Open Hi Hats you like, take them into Audio Editor & shorten them to make Closed & Medium Hats you like.
Sampler exists
so basically velocity sensitivity, kinda
there are decent drumkits for FPC so you can use them ig
I find it fairly easy to program realistic drums but it's just really slow and boring work. Like writing a book by carving the words into stone.
it is really boring but it’s also the key difference between okay drums and incredibly good drums, even just the velocity tip for the hats can change the entire vibe of your drum loop if you pay attention to it
it's a really good band-aid, but nothing replaces the feel of a good drummer
this is why i've prefer playing them on the midi keyboard. i don't know if it's any faster, but it's a good deal less boring
@@nuisanceguruyesss, and there’s also a lot of details when it comes to a recording of drums (or any instrument), like the space it was recorded in, and the many things you can do with the drum heads like putting an object on a snare so it can sound tighter. I could go on, but unfortunately like many others I don’t have a drumset or the equipment to record it anyways so I just resort to MIDI. Anyways have a great day!
try transient shaper for hi hats it's amazing
0:36 when those staccato hats suddendly get a rhythm, it's pure magic!
it should also be noted that your drums don't *have* to sound realistic
if you're writing in a more electronic genre or you just wanna get weird with it then go ahead; hit 2 cymbals and 4 toms at the same time, play an open and close hi-hat simultaneously, go bonkers
Yep, even some really acoustic styles may get experimental with double-tracking etc.
Something I love is to take the sound of an open hat closing and really boosting that thumpy body it may have, then just using that as a hat when I want something thicc.
Same goes with all other realism elements. Panning that mimics a real performance is cool and may potentially be something you wanna learn, but so is getting wild and unnatural with it. Similarly, super cool when people on an actual stage get experimental, whether that is through speakers, their physical location or both, especially if they can play with in front/behind and up/down instead of just left/right with a touch of foreground/background.
Some people even bring props on stage to mess with stuff, iirc there was also a famous classical piece that faded out by slowly closing a door between the performance and the audience.
@@Gnurklesquimp2 very insightful and appreciated response
kinda reminds me how they swung an amp from the ceiling in the Queen Freddie Mercury biopic to get that phasing room sound
Sometimes setting all velocities to max sounds good for the genre, ie: tech-metal. Basically, if you have a certain sound in mind, go for that sound. Music is an art form, not a competition.
If you are writing a more electronic genre, go rethink your life desicions
@@lees4416dude go outside
Theres a tool in FL called humanization and it works well on drums.
Usually when i program drums, i place the notes and adjust the velocity. I also make the length of each notes about the length of a drummer would play. I then aplly the humanization tool
Do you not use the channel rack? I can't seem to figure out how to humanize the midi in the piano roll after I program them in the channel rack.
@@Blackmystixlook up a tutorial for how to use the humanisation function
nice pfp
@TakenUsernameAuradium WAIT WTF I JUST REALIZED WHO YOU ARE
@@Blackmystix it's not a feature in the channel rack. It's a feature in the drop down arrow in piano roll - tools - humanization
Some very, VERY subtle ''random'' automation of a bunch of different parameters can also help make a part sound more alive.
The wilder you get with it, the less it'll suit something that is supposed to sound like real traditional drums, but having a pitch shift, freq shift, volume, different waveshapers and more all drift imperceptibly subtly in ways that don't or at least hardly line up is very cool. With synths, there is a crazy amount of knobs to very subtly drift, FL's formula controller and linking automation together are huge.
One goes up and down over 5 beats, others over 6, 7, 8, 9, 11, 13, 17 etc., takes a lot of beats before an exact pattern of overlap occurs again. You can make the automation not just a simple up/down if you want it to sound a bit more spontaneous, but going too far with that may make the polymeter effect more noticeable, I'm going for something smooth and gradual when doing this.
Be especially subtle with certain stacked effects, such as freq and pitch shifters together or stacked distortion, as the difference between spots where a bunch of their automation is high and where it is low will be more easily noticeable.
Also, if your synth has oscilator drift or phase start randomness or something, consider turning that on.
Great idea man appreciate you 🙏
Great video - I love the perspective of designing digital instruments to just be an accurate mirror of real ones. It allows you to ground your music in something timeless while allowing technology and creativity to give you room to push the limits of what you can create w/o needing a single real instrument 🔥
0:28 infant annihilator: "*that's cute.*"
welp this video's getting saved for me to come back to once a week everytime i forget to put more nuance in my drum patterns
0:29 Infant Annihilator
Whats that guitar plugin? sounds amazing
Thanks!
This is golden information, when you out all the tips into work it immediately started to sound real
genuinely awesome video man this helps a lot
"He can't drum faster than light!"
Kevin Frasard: Hold my beer
simple tutorial, much needed ty
Any time someone is giving advice on music production (or anything really) and they start explaining things with “cause it’s not good” or just “don’t do that” it’s pretty much guaranteed to be bad advice
Unless they're telling you not to hit 5 drums at once when trying to be realistic
thanks a lot! this is helpful for many beginners!
honestly really good presentation bro. well done congrats and thanks
Thank you !
“He can't be faster than light”
Jazz drummers: 🤔
also can turn the swing with the little knob on the channel rack, it makes it so there is a little off beat to each one so there not hitting so perfectly.
this video is so creative!! i love it
Amazing video, great job
Nice one! I've taken a lot of value out of this :)
Thank you and Merry Christmas
Making drum patterns with other noises is fun too, and funny. Like sound effects
Very nice tutorial
Good tips
Thanks man, amazing video :)
I hope for more videos like this
❤nice work mehn
thank you !
As a drummer, it was interesting to see what you did here. Very good 👍
would love to know what drumkit this is, it sounds incredible
It's the Periphery V pack from Get Good Drums, they usually have simple to use packs and ready to mix
@johnnyjoeflac ty!
this is just epic, so underrated
thank you! this was very helpful
drummers would come and analyse my drum programming “ just to criticise it“ but they couldn’t because I actually played invisible drums in the air in my chair as I was programming the drums and I would only do what a drummer Could & Would likely do in that moment and in that song genre.
Marvelous!
But remember the golden rule:
Do what sounds good!!
FL STUDIO TIP FOR "REALISTIC" MIDI:
Alt + x (control generic intensity)
Alt + r (randomize intensity)
Alt + s (randomize beat - it moves it a bit from the grid)
Have Fun
nice one :)
"and he can't be faster than light"
oh boy
easy to understand, thank you
This is great content.
As a drummer I want my recordings to sound perfectly quantized. Like I'm a badass playing always right into the click. So just draw drums with magnet and that's all you need to make it "realistic"😂
0:29 might not be realistic but it sounds pretty cool
Cool :D
EZDrummer 3 my beloved.....
velocity is one tge most over looked things i think
Yes it is ! It can change the mood so much
This sounds legit , what plugin did you use for the guitar or is it a live recording ?
It's a live recording, I used the Gojira archetype from Neural DSP
Sometimes I think UA-cam is talking to me 0:30, I was doing something similar right now , I'll stop and follow your advice👍
W plugin, I love GGD Matt Halpern Pack
You must be at 1 million subs
Fireeeeeeee 💥
i wish i got this before i learned how to do it
heres something i wish i did a lot sooner. get a midi controller as soon as possible. get the cheapest one you could grab if you are not yet a musician. if you are already a musician, get the best you could get without breaking the bank. play the notes using the that midi controller as much as possible. theres no substitute to actually playing an instrument, even if that instrument is just a midi controller and not a real drum, guitar etc.
🔥
This tutorial helped a lot
Little does everyone know... I AM A DRUMMER
Step 1: find high quality drumkits
easy tbh but time consuming
❤❤
the drummer isnt a robot but no one said your drummer isnt the best in all human kind
0:23 and so what? You can have two drummers instead of one.
you really can't
@Radior_ orchestral percussionists disagree with you.
@@Capewearer this video isn't about orchestral percussionists, they don't even use the same drumset
@Radior_ drummers are the percussionists, you still can have more.
@Radior_ you miss one very important fact:
Digital music doesn't need to fit the conventions of band structure
Why make realistic drumming, when you can make breakcore?
XD
as a renoise user, i felt that
i seem to be the only one not making breakcore with it lol
Now how to program realistic guitar
Perfect, now what about the mixing? What plugins are the best for making those drums (P5) heavier? (for example Heavy/Dark/Death Metal)?
I would love to give advice, but I'm still learning and my drums never sound the same from one week to another ^^'
doesn't really matter that awfully much long as the instruments sound good, and have a couple of velocity layers sampled so you can meaningfully use velocity in the first place, it's more a production technique than anything else, you can beef things up a lot with EQ
mostly about gating and drying up the sound, then compressing the shit out of the bassdrum, i often have my compressor on full-on hard limiter mode for those :D
you kind of almost only want the velocity variance in the bassdrum to act for it's high end response to vary the timbre so to speak, and compress most (but not all) of the actual volume disparity between them dead so you can bring that double bass up front real hard and punchy, it's just a shitload of compression in a controlled manner and applyng EQ at the right places to fatten it up.
and you will need to be able audio route them to seperate tracks and isolate out that bassdrum, snare and hihat and all that to have the level of control you're looking for
optimally, you want the drum vst to be as dry as possible, so take out the bleed and room, and you want to audio route all the 8 seperate tracks (you can sitll have 1 or 2 tracks for room) to their own individual track, so you can individually process the BD, SD and all that beyond what most built-in mixers of drum vst's are capable of.
alternatively, you can just route them to individual tracks wet and see how much you can fix with gating to tame the breathing on each individual channel, it's less autistic in terms of control, but often gets the job done quicker, and that's how they do it when tracking real drumkits in shitty rooms too. they gate out the noise to dry it up before compression then give it some breathing room later.
it will sound really thin when you dry it, but that way you can apply heavy compression to the bassdrum for that extreme metal feel, before you make the signal wet again with your own processing
ultimately the point here is to dry up the sound enough so it sounds defined and not like a breathy mess of garbage when you're going to do some very busy beats., that reverb/room has got to go first, and doesn't come back until later.
personally i always start out mixing them all mono, take out all the panning from the drum vst, then do the making it stereo part later, making them stereo will make the cymbals more defined, so if it works in mono, you know it's guaranteed to work, i just don't like the stereo image masking my judgement on the high frequencies early on , so i take out that variable and don't bring it back until the very end either :D
i used a lot of ezdrummer, and well, the rides and crashes don't work well without the ambience, so i have ran a 2nd instance of ezdrummer with for those, route those to even more tracks and then process it later with compression and/or gating to kind of control the breathing, it's a bit of a workaround :D
anyway, you group all those tracks back together to a singular drum track once you roughly mixed them, and put a bus compressor on that group at the end to give you more control on how the drums cut through the mix as a whole
re-introduce some wetness on the snare, and do your stereo imaging to after the fact, having a delay between the left and right channel of like 24-40ms can really spice up a ride cymbal and hihat and even make a thinner higher one cut through if you compress those too and really bring out the tail ends, just don't go overboard or you'll ruin your transients to the point it loses the agressive accents, a 5:1 compression ratio is proably more apt here to retain them
and if your overcompressed stuff sounds a bit too clinical and doesn't cut through the mix well, often in isolation the drums sound roomy, but when you add the other instruments, it can dry up pretty quick, so loosen up the gates a bit, or work that aforementioned bus compressor which can change the timbre quite a bit, and also add breathyness to make things looser or pumping effects if you want it tighter
Forgot to not 100% quantize. but decent advice!
solo goregrind artists hate this one simple trick
Thats why Goregrind is filled with Sh111t projects.
I can name 1 or 2 projects worth listening, Gruesome Bodyparts Autopsy from Chile and old Active Stenosis.
i wanted to make grindcore
then i realized i';m incapable of making drum sequencers sound that fucking shit
so i settled for thrash metal instead
❤❤❤❤❤❤❤💛💛💛💛💛💛💛💛💛
Gently?
I hate to use piano roll to make realistic drum samples, instead i’d use the midi pads
i use renoise, which is a tracker so i can just punch the notes in with the keyboard,
i manually punch in the note-offs too to control the length
it's so much less hassle than having to click them and slide down the velocites, i can just go back to the top, and sit in the velocity field and type in values after i made the initial pattern to set them
Yea, definitely doesn't sound like quanitized trap drums
Can i have flp pls 😢
Programming drums well is so boring and tedious, that you may as well get a cheap drum kit with MIDI compatibility and learn some beats yourself and program them in with the kit. But if you are tight for space and a full drum kit isn't an option, then try a midi drum pad, I can't think of specific model names of the top of my head but basically it's a tabletop drum kit, with pads that have MIDI and pedals on the floor so you can play them in. There are even super cheap roll up mats that have pads with MIDI, but they can be really shit as loads of them don't have any velocity sensors so you end up with everything being the same velocity, which sounds like ass. I have a Donner DED200 drum kit and I use it to control Spectre Digital's Extinction Level Event and even set it up to do double bass drums and replaced my hi hat with an x hat, since the pedal is now another bass.
On that note, realism also comes from tone, and many drum modules and libraries are shit, and sound way too processed and clean to sound realistic, with drums recorded in isolation, no room noise or bleed or any of the actual sonic characteristics of a micd up acoustic drum set. So, Spectre Digital's Extinction Level Event is my personal favourite as it's made to be ultra realistic and has all the features of the acoustic kit sound - from multiple mics, listener perspective (drummer perspective vs audience), to room mics, room settings and even bleed between the mics which helps them actually work together and create an in the room live acoustic kit feel, instead of a programmed isolated drum machine that sticks out like a sore thumb. The drums and cymbals also all are completelh dry and not processed to shit, so they actually sound organic, but you can select presets where they are mixed. The icing on the cake is that it works on the free Kontakt Player so you only really pay for the library, which really isn't too expensive last time I checked, and it had an update with more parts, so more toms, more cymbals etc. But honestly even the basic master kit was packed with features, like two crashes, a ride, a China, a pedal hi hat, an x hat or am optional stack, a splash, four toms I think too a snare and a bass. Each of those instruments is also customisable, which is especially cool on the snare as the selection of snare drums you get is really cool with some amazing sounding ones. I overall love that library so much and the fact that I can essentially turn my entry level Donner drum set into a high end acoustic kit.
Also of you're struggling with programming, I think Scott from Chernobyl Studios has a course I programming drums like a real drummer, so I'd check that out.
wall of text
@beyshore_ learn to read, it helps
@@AnkothOfficial if u think programming drums is boring, you're probably doing it wrong
@icewings_intotheclouds How do you do it so it is interesting then? Either way, you're not playing anything, just sitting and clicking a mouse and tediously programming in every note throughout the whole song, spending potential hours doing something a simple session on a drum set will do better in less time and actually be fun.
@@AnkothOfficial because i express myself with the drums i program. i look to find unique rhythms, something that tickles my brain. interesting drum textures, variety. there's so much to do with drums, it's really beautiful.
I’m a drummer who can’t record her drumset because she doesn’t have any mics other than a single 57 :P
If there’s one tip I could give, it’s that we drummers are lazy motherfuckers. Make a pattern as simple as possible, but make it sound as impressive as possible.
you missed the most important thing
you have to multi channel split the individual instruments and make them dry, so you can add your own processing individually for each later
why wpuld u want a drum machine to spund realistic
HUH
EZDrummer 3 my beloved.....