Hey guys n' gals. Hi hats have plagued me for a long while. I don't know why, but it just seems impossible to find good ones. I always make drum beats using one-shots.
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I never have a problem with kicks - I have loads of them, and it's easy to get them sounding right with a bit of EQing and stuff. Snares and claps are fine too, although it generally takes a couple to be layered to get the right sound.
But those damn hi-hats!! For you guys who also use one-shots, do you know of any awesome sample pack or something that has nice hi hats (open and closed)? How do you generally get your hi hats? By the way, I'm doing electronic music, so I'm not looking for super realistic hi hats. Although, sometimes real ones do sound good in EDM. Any suggestions on a way to source these things would be VERY much appreciated! You could try going to this link and just download the hi-hat sets.
There are three sets of hi-hats, Istanbul Radiant 14', Masterwork Resonant 14' and Zildjian Avedis 14' New Beat. They may not be what you're looking for but they're a free download so worth a listen. The cymbals are pretty good as well, although I've found that the whole package needs a little EQ to get rid of some of the lower frequencies. If you fancy trying out the cymbals as well you can go here and download the entire package in one.rar file http://erdo.se/downloads.html. Try the Addictive Drums demo. It has a great set of hats.
I love the setup as far as articulations. There is sweet spot between simplicity and usability, and AD hits that spot. I have some sounds I sampled myself, and I always program them to be just like the AD drum map.
It just works for me. Any good recorded hi hat that works in context is most likely going to sound like crap when you solo it. Work with the samples to see what you can pull out of them before making such critical sonic judgments. Whatever samples you choose, you are going to want an overhead mic setup in addition to the close mic. I hardly ever use the close sounds. Close mic hihats are just a bad idea unless you are Stewart Copeland. FWIW I myself downloaded cymbal packs from Drumwerks (not sure if it's what you need, but the cymbal sounds I myself lack are hi hats, splashes and crashes.
I use EZ and Steven Slate which are great don't get me wrong.but just lack that certain realistic sound for those types of cymbals I guess. The packs are pretty cheap especially for all the variations you get.
Also +100 on Jame's post above about soloing a cymbal. They all just sound crappy or weird, until you place them in the mix. You'd be surprised at the difference you hear afterwards. The hihats in the Abbey Road kits are pretty good.: ) My biggest problem has always been with crash/ride/splash cymbals. I can always tell they're samples because they sound kinda washy. Must be some that aren't somewhere, but you probably use crash cymbals even less than hihats.
I just listend to the hats in the Platinum Evil drums. Those are pretty good! But the crashes, eh. (I realize I'm partially threadjacking, just my two cents).
You tried adjusting the playback envelope for them? Or even choking them? I find the SD2 cymbals to be great compared to many drummers I encounter -i can turn the brassware down or even replace those 22'x 2' thick monsters with more appropriate studio cymbals.;). The hihats in the Abbey Road kits are pretty good.: ) My biggest problem has always been with crash/ride/splash cymbals. I can always tell they're samples because they sound kinda washy. Must be some that aren't somewhere, but you probably use crash cymbals even less than hihats. I just listend to the hats in the Platinum Evil drums.
Those are pretty good! But the crashes, eh.
(I realize I'm partially threadjacking, just my two cents). Have tried like Superior Drummer allows you to: a) Separate outputs kick, snare, hihat, toms, overhead(cymbals), ambience b) then increase level of overhead and ambience to liking c) experiment with level of bleed to the top mike of snare, maybe bottom mike of snare as well, and bleed to hihat mike. There is plenty you can do.
Well if it's hi hats then you got to and see Stewart Copeland 'the king of high hats' We should kidnap him and make him do some hit hat samples LOL So in saying that and what I have done 'bordering on illegal here' I just cut some samples of some police songs, especially some of the older Police songs as they had crazy stop music drum solos which were very isolated. So I took some samples in wav clips from some of them on the high hat parts and Macflied it into a sampler, and works very well since now I have studio quality high hat parts.
The problem is you have to slow down the music and zoom in max to cut up the samples you need. That was my workaround for getting awesome highhats. Thank you dudes! Cracking suggestions. I think I'll try creating some hi hats with white noise first (thanks Viente). I always like to go absolutely fundamental if possible. That way you have complete control.
I'm actually contemplating buying a set of hi-hats/hi-hat stand etc and a couple of sticks.be a shrewd investment I think.just for overdubbing over midi.I'm not a drummer but I think this idea has merit. What do yous think? Hmmmm.might be hard to mix in realistically due to lack of overhead integration.
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This actually seems like a great plan to me. It's not the best option for me right now, just because my level of production doesn't justify it, but I say go for it mate! You can pretty much make every hi hat sound you want with that. Thank you dudes!
Cracking suggestions. I think I'll try creating some hi hats with white noise first (thanks Viente). I always like to go absolutely fundamental if possible. That way you have complete control. This actually seems like a great plan to me. It's not the best option for me right now, just because my level of production doesn't justify it, but I say go for it mate!
You can pretty much make every hi hat sound you want with that. Yeah.I'm gonna borrow some first and give it a bash.has to be worth a try. I'd say it could make for a very realistic drum production.its the hi hats that give away the fact that its a sequencer. Thank you dudes! Cracking suggestions. I think I'll try creating some hi hats with white noise first (thanks Viente).
I always like to go absolutely fundamental if possible. That way you have complete control. This actually seems like a great plan to me. It's not the best option for me right now, just because my level of production doesn't justify it, but I say go for it mate!
You can pretty much make every hi hat sound you want with that. With white noise you can control everything.attack, decay, release, frequency, length etc. After some research, Running through the night is the track! For a time my sounds came from music we owned or the odd floppy from a magazine. Recently listened to some Lionel again and man he can do transitions like a boss. Transitions v important.
Its not trendy tunes but he knows his craft i'd say. My favourite Lionel track. It's starts with the closed hi hats. When I started in sequenced music, I had a Roland W30.
All I had was 14.4 seconds of 8 bit sampling! I used to scrutinise 12' records for the odd snare, kick or hi hat.
If I was lucky, there was a bass sound to nick! I remember buying the future music mags to see what freebie samples there were. The good old days when you had bits of expensive hardware & a floppy drive!;-). My favourite Lionel track. It's starts with the closed hi hats. When I started in sequenced music, I had a Roland W30.
All I had was 14.4 seconds of 8 bit sampling! I used to scrutinise 12' records for the odd snare, kick or hi hat. If I was lucky, there was a bass sound to nick! I remember buying the future music mags to see what freebie samples there were. The good old days when you had bits of expensive hardware & a floppy drive!;-) I had two of those as well (think I still have one, actually.).
Its sampling specs are 12 bits, 30kHz iirc. Its envelopes and VCF are amazingly good, and its 8 outputs make it awesome for mixing into a desk with some effects. And its MIDI sequencer is rock solid - much more stable than.any. software I have ever seen. 14.4 seconds was plenty, as there was another, much more frustrating limitation: it has a maximum of 32 places to put samples. So a one bar breakbeat, sliced into 16 parts, in stereo, and you're out of space to do anything else - I typically had well over 10 seconds of sampling memory left.:D. I too had a problem not having a (singular) decent hi-hat sample, until i found one on a Lionel Richie Album - sampled it with my 8 bit sampler into my amiga.
I was most pleased. This was 20yrs ago mind.;) Ah, those were the days. Reminds me of my FZ20M experiments.
One thing I did back then which worked out really well: I decided to try creating a drum kit by sampling my voice to make individual drum hits. You know, like when we're trying to get the drummer to play a certain beat by 'saying' it - 'duh, ker, duh, duh, ker.' So I sampled my voice 'saying' the individual drum sounds and mapped them into my sampler. It was an interesting experiment and quite successful too. The drum kit certainly sounded different. But the Hi-Hats were the best and I used them a lot.
Might be worth a try. Sample your voice impersonating hi-hat sounds (tss, shup, sheea etc). Samplers are fun:). I had two of those as well (think I still have one, actually.). Its sampling specs are 12 bits, 30kHz iirc. Its envelopes and VCF are amazingly good, and its 8 outputs make it awesome for mixing into a desk with some effects.
And its MIDI sequencer is rock solid - much more stable than.any. software I have ever seen. 14.4 seconds was plenty, as there was another, much more frustrating limitation: it has a maximum of 32 places to put samples. So a one bar breakbeat, sliced into 16 parts, in stereo, and you're out of space to do anything else - I typically had well over 10 seconds of sampling memory left.:D Ah, I could have sworn that it was 8bit!;-) I thought it was 22.05khz or 11? Isn't 22.05 not 8bit then? I also still have mine.
I would never get rid of it. The other big flaw in the W30 was the fact that if you started to seperate channels to different outputs it knocked the hell out of the polyphony. I had many a frustrating time where notes would disappear, but if I started to share channel outputs, it would solve the problem. Still love it though! Ah, I could have sworn that it was 8bit!;-) I thought it was 22.05khz or 11? Isn't 22.05 not 8bit then? I also still have mine.
I would never get rid of it. The other big flaw in the W30 was the fact that if you started to seperate channels to different outputs it knocked the hell out of the polyphony. I had many a frustrating time where notes would disappear, but if I started to share channel outputs, it would solve the problem. Still love it though!
Bit depth and sampling frequency are not the same thing; you can have e.g. 8 bit samples at 192kHz, or 32 bit fp samples at 1Hz.:) The W-30 also had a lower quality option, using half the frequency (i.e. In those days, where RAM was much more expensive than nowadays, 12 bit / 30kHz was a very nice compromise between memory usage and sonic quality.
You aren't losing as much on the high end as with 22kHz, where the Nyquist frequency is at 11kHz, which is still very much in the audible range (the extra range between 11-15kHz makes a lot of difference, much more than the 15-22kHz range which you would also get with sampling at 44.1kHz), and with properly normalised samples, 12 bits gives plenty of dynamic range (dumping samples over MIDI wasn't a lot of fun, though). A bit of grit doesn't hurt much.:) Btw, for more 90's sampler nostalgia, check out this awesome anniversary freebie by Sonic Charge: Typhoon: a complete TX16W software emulator in VST and Audio Unit formats (Congrats Magnus!:). I had two of those as well (think I still have one, actually.). Its sampling specs are 12 bits, 30kHz iirc. Its envelopes and VCF are amazingly good, and its 8 outputs make it awesome for mixing into a desk with some effects. And its MIDI sequencer is rock solid - much more stable than.any.
software I have ever seen. 14.4 seconds was plenty, as there was another, much more frustrating limitation: it has a maximum of 32 places to put samples. So a one bar breakbeat, sliced into 16 parts, in stereo, and you're out of space to do anything else - I typically had well over 10 seconds of sampling memory left.:D Yes, a really solid sampler/sequencer for what it was.is, I also still have one left here. About specs, while the data format is 12 bits linear, D/A converter is actually 16 bits.
PA Decoder used to make an expansion board (and different OS) to get more memory and sample slots but it was really pricey back then. I copied some PT HH presets/settings into ReaEQ, sometimes they work fine with sampled HH. HH clean High Pass at 180hz; +3db at 10 kHz, Q 1.0 (always band filter when thereĀ“s a q-value!) 2. HH ad texture High Pass at 175hz; + 4db at 5,5 kHz, Q 0.6 3. HH cut harsh attack High Pass at 175hz; -2db at 1,95 kHz, Q 1.0 4.
HH Close Mic mellow High Pass at 490 hz; -2db at 1,95 kHz and cubase HH preset / setting High Pass at 245hz -5.7 at 516hz, Q 5.9 -4.3 at 6,4 kHz, Q 1.45 High Shelf +3.8db at 6,8 kHz Q 1.8 I prefer HH from Boss DR-880, but it is hardware. Boss Dr-880- the best realistic drums I ve ever heard from a machine. Bit depth and sampling frequency are not the same thing; you can have e.g.
8 bit samples at 192kHz, or 32 bit fp samples at 1Hz.:) The W-30 also had a lower quality option, using half the frequency (i.e. In those days, where RAM was much more expensive than nowadays, 12 bit / 30kHz was a very nice compromise between memory usage and sonic quality. You aren't losing as much on the high end as with 22kHz, where the Nyquist frequency is at 11kHz, which is still very much in the audible range (the extra range between 11-15kHz makes a lot of difference, much more than the 15-22kHz range which you would also get with sampling at 44.1kHz), and with properly normalised samples, 12 bits gives plenty of dynamic range (dumping samples over MIDI wasn't a lot of fun, though). A bit of grit doesn't hurt much.:) Btw, for more 90's sampler nostalgia, check out this awesome anniversary freebie by Sonic Charge: Typhoon: a complete TX16W software emulator in VST and Audio Unit formats (Congrats Magnus!:) Blimey, I've got some swatting up to do. That makes perfect sense. I remember sampling bass sounds on the 11khz setting as the bass sample was just as good. I used to be in the roland W30 sampler user group & sample some of my synthesizers in return for a swap for other sample discs.
My library is huge for the W30. I've tried everything to get them converted to WAV but to no avail. SMFW30 just doesn't seem to work. Regarding typhoon, I have that. Superb little freebie!
Thanks for the info and the memories! My library is huge for the W30. I've tried everything to get them converted to WAV but to no avail. SMFW30 just doesn't seem to work.
In the past I used two DOS programs for this, WGET and WPUT. WGET could extract samples from W30 disks as wavs and with WPUT one could write wav files (16 bit!) to disks and then they could be loaded into W30. Unfortunately SMFW30 was never finished proper, it seemed to kinda work, then again not. Ha, so you have also a big library for the W30? I stopped around 200 floppies and moved onto zip100, but have only few for W30. Much more for the S-series.
In the past I used two DOS programs for this, WGET and WPUT. WGET could extract samples from W30 disks as wavs and with WPUT one could write wav files (16 bit!) to disks and then they could be loaded into W30. Unfortunately SMFW30 was never finished proper, it seemed to kinda work, then again not.
Ha, so you have also a big library for the W30? I stopped around 200 floppies and moved onto zip100, but have only few for W30. Much more for the S-series. I had hundreds of disks too - until some evil person threw them all away while I had them in storage (even worse: he also threw away a bunch of my synths, including a pair of Alpha Junos.). Those zip100 drives were.still. painfully slow, so I never got one. The main benefit was not having to swap disks.:) Iirc the S-series disks were also usable by the W-30; the main difference with the S-series is that it had only one VCF, whereas the W-30 had one for every voice (= 32x).
All factory sound disks kind of sucked anyway - much better to just sample Lionel Richie CD's or whatever.:D. Those zip100 drives were.still.
painfully slow, so I never got one. The main benefit was not having to swap disks.:) Oh, I thought the zips were blindingly fast compared to floppies. For sure a lot more could be packed into them anyway. Iirc the S-series disks were also usable by the W-30; the main difference with the S-series is that it had only one VCF, whereas the W-30 had one for every voice (= 32x). Yes, W30 could read S-50, S-330 and S-550 disks too. That didn't work the other way around for all those samplers. I have all the official factory samples for those, but my 'real' libraries are actually for the S-7xx series.
True though, it was fun to make the own samples of.everything.:D.
Martin Garrix is a Dutch electronic music producer and DJ. Prior to releasing his music under his current name, he released tracks on various small Dutch labels under the alias 'Marty'. He ghost produced a track that went on to become popular on the label Spinnin Records, and he was consequently invited to play his tracks for them, of which one was signed. Martin Garrix has a very minimal studio setup, consisting of a PC running multiple versions of FL Studio (he says due to not having consolidated all of his samples and sounds onto one version). KRK Rokit RP6 monitors can clearly be seen in his studio as well. Martin's setup is so minimal that he even opts not use a midi controller to play notes into FL Studio. Some of the software synths and plugins he relies on are Sylenth1, Massive, Ace, iZotope Ozone, and The Glue.