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[Nathan]

The room is only part of their services, but it’s probably the bit that costs them the most!

The snare is the best at producing a wide-range of frequencies and some are minimal on their own head ring/decay. Starter pistol is a very short noise with immediate decay, which get’s it close to the balanced wide-band noise of the theoretical infinitely short impulse.

I’ve used two short pieces of flat timber (2×3 or 6×4, about a foot long), they’re loud enough when smacked together to need to wear ear protection, and if you hold them right, you get no ring from the wood.

What do you use for making reverb from impulses Juicy? I used to use SIR, but it was a bit unstable (or my workstation was) Looked at SIR2, but I’m well out of the loop these days. I’ve used some other people’s stuff on Logic and PT, but I only use algorithm reverbs at home on REAPER.

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SD2.3, NYII, C&V, MC, MF, ED, Latin Perc, Twisted, Pop, N1H, Electronic, Classic, Funkmasters, Rock Solid, Blues, Indie-Folk.

[Nathan]

Heyup Wags, wasn’t having a go if you thought I was.

I was replying to Lemort’s post and then the OP.

Hard to communicate by the written word sometimes

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SD2.3, NYII, C&V, MC, MF, ED, Latin Perc, Twisted, Pop, N1H, Electronic, Classic, Funkmasters, Rock Solid, Blues, Indie-Folk.

[Nathan]

I’m. Agreeing. With. You.

Not. Burned. At. The. Stake.

I’m beginning to think my sense of humour took a wrong left turn somewhere…

Lock the thread before someone takes it seriously.

>

SD2.3, NYII, C&V, MC, MF, ED, Latin Perc, Twisted, Pop, N1H, Electronic, Classic, Funkmasters, Rock Solid, Blues, Indie-Folk.

[Nathan]

I’ll email you single samples until you cave in 😉

(no, that probably contravenes the EULA)

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SD2.3, NYII, C&V, MC, MF, ED, Latin Perc, Twisted, Pop, N1H, Electronic, Classic, Funkmasters, Rock Solid, Blues, Indie-Folk.

[Nathan]

IT must make you doubt your vocation, or even your sanity at times

Got to be worse than even the most tedious overdub sessions I’ve been subjected to. I don’t know how you manage to keep an even hand through it all. How many days off do you have to take after a session? -or do you dive straight into a “normal” gig to readjust your perspectives?

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SD2.3, NYII, C&V, MC, MF, ED, Latin Perc, Twisted, Pop, N1H, Electronic, Classic, Funkmasters, Rock Solid, Blues, Indie-Folk.

[Nathan]

Not in a tolerant country, Scott.

How’s the live and let live vibe in your part of the woods, my friend..?

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SD2.3, NYII, C&V, MC, MF, ED, Latin Perc, Twisted, Pop, N1H, Electronic, Classic, Funkmasters, Rock Solid, Blues, Indie-Folk.

[Nathan]

I was going to say, Chris, that sampling short percussion in a studio live room is virtually tantamount to collecting an impulse.

Technology is not too far away so that looking at common and differning elements in source sounds and then analysing the resultant room sounds will allow extraction of a theoretical room impulse.

I’m surprised that no-one with some serious skills in maths and acoustics hasn’t already applied some heavy statistical number-crunching to sets of impure responses to filter out the pure impulse response.

Now where’s that patent application form…

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SD2.3, NYII, C&V, MC, MF, ED, Latin Perc, Twisted, Pop, N1H, Electronic, Classic, Funkmasters, Rock Solid, Blues, Indie-Folk.

[Nathan]

No, it’s called self censorship.

We live in a world of many cultures and the beliefs and lifestyles of some offend the beliefs of others. If you have these sensibilities, don’t go into territory where other beliefs are going to be expressed and/or celebrated.

To the OP: Who said it was aimed at “your” god anyway? Some people believe in more than one deity; just because you might be monotheistic doesn’t mean it was aimed at you and your beliefs. Many Christians denounce paganism and wicca, they’re allowed to preach these sorts of things in “civilised” countries with impunity. Do they give any thought to how the followers of these beliefs feel about it? That they might be offended?

There are many religions in this world and some of these guys believe their own things. Maybe you should be a little more tolerant and leave them alone? Each to their own…

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SD2.3, NYII, C&V, MC, MF, ED, Latin Perc, Twisted, Pop, N1H, Electronic, Classic, Funkmasters, Rock Solid, Blues, Indie-Folk.

[Nathan]

Maybe I was just projecting onto you Fizbin; I had a good listen to the demo beats last night and I downloaded it.

Three kits: Default Ayotte, Gretsch and Dunnet Ludwig, with an Alternate Ayotte kit using the Ayotte custom maple soprano snare instead of the 6-1/2″ Keplinger snare and the 22″ Ayotte kick instead of the 24″ Ayotte kick.

There are two extra snares, the Ayotte custom maple sprano and a Jeff Ocheltree “Spirit of 2002″ 5-1/2”. There is an alternate EQ of the Ocheltree snare also.

There is one extra Kick, the aforementioned 22×18″ Ayotte, with alternate EQs for the 24″ and 22″ Ayottes.

The Ayotte and Gretsch kits are six-piece, the Dunnet Ludwig is a four-piece (RT1 & FT1). All drums sound full and punchy, very well tuned and recorded as we’ve become accustomed to from TT and as you’d expect from the source pedigree, lots of body and impact for the intended genres, much use is made of ambient and compressed room mics in the default setting and very impressive it is too.

Only slight disappointment is the two FT2 drums don’t quite match the fullness of their FT1 kin for a produced sound, upsetting the running balance, but this is a perennial real-world issue for low-tuned Floor toms and I guess it gives us something to do in the mix .

I did also expect more kicks and snares from the marketing-blurb, one extra kick with two alternate EQs and two extra snares with one alternate EQ has to be hyped a bit to be described as “Three complete kits, a large collection of cymbals, extra snares & kicks.” -but to be fair it is all listed out in the details tab in black and white. Do I really care? -Nope, I’m going back through some of my past projects to find what needs these fat roomy toms, and for some reason I’ve got a bit of a thing for the Gtetsch kick and the Ludwig Black magic snare.

Oh, and there’re some cymbals too. Someone else can describe them, I’ve not got that far yet

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SD2.3, NYII, C&V, MC, MF, ED, Latin Perc, Twisted, Pop, N1H, Electronic, Classic, Funkmasters, Rock Solid, Blues, Indie-Folk.

[Nathan]

…but you know you waaannt tooo…

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SD2.3, NYII, C&V, MC, MF, ED, Latin Perc, Twisted, Pop, N1H, Electronic, Classic, Funkmasters, Rock Solid, Blues, Indie-Folk.

[Nathan]

I dunno, you remind me the day before my birthday.

Sorry Dug, in all honesty I forgot, and I’ve not actually got near my workstation in two weeks (apart from a bit of creative editing of some Halloween tracks for a childrens’ disco That and the fact that we gained a new addition two months ago (Heidi Emma 7lb 15oz) means we look like Halloween zombies here, and we’re about as productive

Gimme a week or so and I’ll see if I can provided you with some examples…

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SD2.3, NYII, C&V, MC, MF, ED, Latin Perc, Twisted, Pop, N1H, Electronic, Classic, Funkmasters, Rock Solid, Blues, Indie-Folk.

[Nathan]

I think some of this sound you are looking for has got to be in the actual drum sound recording and is very dependent on the tuning of the drum.

Top and bottom heads are tuned to sound good, and this usually means tuning so the top and bottom heads interact with each other. Just like with a guitar string where the tension increases and then reduces as you pluck it, increasing and then settling the pitch, the tension on a drum head rises and then falls as you strike it.

This raises the pitch of the various tones and overtones of the batter head differently to the shockwave stretching the bottom head affecting its tones, etc. This means there is not a fixed relationship between the resonances of top and bottom head and the sympathetic resonance will change over the strike and drum decay. With me so far?

Some drummers tune their heads so that there is a “hot” sypathetic co-resonance zone passed through as the heads relax after the strike resulting in very resonant booms that are different or just aren’t there during and immediately after the strike. the sound changes as the various frequncies slide over each other and head and shell resonances “sympathise”

This is why, as a percussive instrument, tuning is still very subjective. There isn’t a definitive tone to necessarily aim for, it is a very complex tonal AND atonal instrument with two heads and a shell co-resonating in a changing and dynamic way. You can model it with synthesis methods to learn how to shape the sound in more of a quantative way, but the usual and quickest method is tweak and listen -tune it by ear…

This is another reason that with some tunings drums just don’t sound “right” unless you hit them hard enough I say audition all the toms in your collection with hard hits, and then treat the close and ambient mics with compression to tease out the effect you hear in the drums that you find are tuned that way.

Hope this helps.

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SD2.3, NYII, C&V, MC, MF, ED, Latin Perc, Twisted, Pop, N1H, Electronic, Classic, Funkmasters, Rock Solid, Blues, Indie-Folk.

[Nathan]

You can’t put your own samples into SD2, it’s a ROMpler, only plays pre-setup sounds.

If you want to set you own sounds up, load them into a VSTi called Short Circuit. Don’t use the beta version, but the last relase version. It’s freeware now and quite a few people on the REAPER forums use it.

Load different velocity hits into different velocity ranges, and try to use the same MIDI notes as SD2 maps to. It will take a while, and it won’t be able to do the bleed and the sequential random stuff that SD2 does, but it will let you use you own sampes, or supplement your SD2 kits with individual percussion and other sounds.

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SD2.3, NYII, C&V, MC, MF, ED, Latin Perc, Twisted, Pop, N1H, Electronic, Classic, Funkmasters, Rock Solid, Blues, Indie-Folk.

[Nathan]

Try using a compressor on the tom like Juicy recommends, or do the same thing with the ambient mics and listen.

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SD2.3, NYII, C&V, MC, MF, ED, Latin Perc, Twisted, Pop, N1H, Electronic, Classic, Funkmasters, Rock Solid, Blues, Indie-Folk.

[Author]

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