Presets Get the Job Done, But Customized Sounds Help You Create Your Own Style and Sound
|By AMIR SAID (SA’ID)|
You know the deal—drum sounds are fundamental. Whether you made your 10th or 1,000th beat this week, you’ve learned the importance of dope drum sounds. And when it comes to drum sounds, you can get away with a limited number of non-descript kicks. But without a distinct group of snare sounds, your beats might suffer. Why? Because since the advent of the MPC 2000, widespread sample packs, and software programs galore, many beatmakers have taken to using the exact same stock snares. And, in the process, they’ve decreased the chance of giving their beats a distinctive sound.
Now, don’t get me wrong. There have been some beatmakers who have been able to get away with rocking one or two snares. But in those cases (most of the time), the snares have been cultivated to an ultimate level of distinction, a level in which they work almost with any non-drum arrangement. Keep in mind, however, in order to arrive at such snare sounds, some level of customization had to have gone on previously. So for this post, I want to discuss some different methods for customizing snares. Some of which were taught to me, and some of which I developed on my own.
The first set of snare sounds that I ever customized were part of a classic rock kit (on floppy disk) that came with the E-Mu SP 1200, the first drum machine/sampler I ever used. Some of the snares on the kit were OK, but they didn’t fit where I was trying to go sonically. So after finally being honest with myself about the fact that none of the snare sounds fit with the feel and style of music that I was going for, I went about customizing them. At the time, I didn’t have an analog mixing console to run my sounds through; therefore, I couldn’t easily boost up the bass (the low end) of the sounds I wanted to modify. I did have a dual *cassette* recorder and a lot of imagination, though.
So here’s what I did the first time I ever attempted to customize snare sounds. I recorded every snare sound that I had to cassette tape. Next, I dubbed (duplicated) them. After dubbing the sounds, I sampled them into my Akai S950. Once inside of the Akai S950, I was really able to get creative. It wasn’t that I couldn’t have chopped or filtered the sounds inside of my old SP 1200; I could have. It was just that the S950 gave me a different sound; plus I felt more comfortable working with its sampling functions than those on the SP-1200.
Next, I went around my room (at that time) with a Shure SM-58 live microphone sampling all sorts of sounds. I took a hammer and hit the bottom of a metal folding chair. I took a drum stick and rapped back and forth on a Nike sneaker box filled with socks—I should note that I sampled the sneaker box with and without the lid on; there was indeed a noticeable difference. Switching up between the hammer, the drum stick, and a wooden hanger, I hit the inside of a window pain. Needless to say, I sampled every sound that I could imagine, anything that I thought might be interesting. All of this sampling probably took me no more than 10 minutes, tops. By the way, I would also like to think that this process taught me more about acoustics, but I digress…
So having sampled this wide assortment of sounds—all in the same room, mind you—I went about “matching” the sounds with the cassette versions of E-Mu’s classic rock kit as well as several other snare sounds that I had. Incidentally, this was around the time that I first began to understand the process of layering sounds. Particularly, I was discovering the potential for layering, both as a means for customizing drum sounds as well as other sounds. I was also learning how layering could affect the overall texture and tenor of a beat. Not too long after that, I began applying these techniques to all of the drum sounds that I used. And after while, I stopped buying other peoples’ drum kits altogether, and I started sampling drums from records and literally making my own.
Special Note. Since I first began customizing my snare sounds, I have never used a pre-set drum sound again. Although pre-set drum sounds undoubtedly serve a purpose (I have heard some pretty nice pre-set drums), I’ve always found that customizing your own sounds goes a long way in helping you carve out your own unique style and sound. Still, if I come across a pre-set drum sound that I like, I’ll use it. Of course, I modify it to make my own…
Short list of items great for customizing snares
*Live microphone…with a LONG chord to travel freely around your room.
*A tambourine. Any percussion instrument you can pick up from a music store will help you customize your snare sounds as well create sound composites that are unique.
*A wood block.
*At least one drum stick. You can use two in rapid succession on any hard surface. You’ll be surprised what you can come up with after you filter and adjust the pitch on a sound created by two drum sticks.
*A mallet AND a hammer
*A real set of bongos are ideal but not absolutely necessary.
*A cassette tape player! Yes…they’re dirt cheap now, and they allow for connection back to the analog age (if that matters to you). Also, nobody will ever be able to duplicate your sounds if you’ve used some combination involving a cassette tape.
*Some sort of wooden board, maybe a chef’s cutting board, something that you can strike with anything, like a bottom of a shoe, a mallet, a set of keys, a hockey puck, and, of course, a drum stick.
*Some studio foam.