| StoreTags: tip, production, drums, crunch, rasp
Author: cbit on January 21 2007 Viewed 5724 times. 51 people liked this blog. You can rate it below if you haven't already.
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Theres a certain gritty crunch to 'snare' type percussion sounds that chris clark (among others) does very well. Here's a way of approximating a similar sound.
An 808 clap sample has the same quality. Inspecting the waveform close up reveals several transient peaks very closely spaced in the the 'attack' portion of the sound (simulating the slight lack of syncronisation when x number of people attempt to clap at the same time).
You can pull this same trick on a variety of non-clap samples as long as they have a nice brief peak transient at their onset (if they don't, make one).
Quickly and dirtily in live: zoom in, copy the attack transient of your percussive hit and paste it one or two times prior to the 'beat'. vary the pitch or some other kind of modulation if you like. When played back, the copied transients shouldn't be independently identifiable. They should all still sound as though they are one 'hit' but now with that certain crunchy raspy crackling something.
Experiment with the positioning of the completed sound. having the initial 'hits' begin slightly before the beat tends to give an effect that i like. | |
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01/21/07
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tylth
yay! now i can make teh crunch fart!
01/21/07
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AllThatFall
haha, looove the picture!
01/21/07
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utofbu
Ancient Chinese secret eh?
01/21/07
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EsromCole
Neato! Definately something to experiment with, and I like experiments.
01/21/07
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astroid
getting the asynchronicity down can sometimes be a trick. too tight and you get superclap, too loose and you get popcorn. something which i also like is putting a resonant filter (try any and all varieties for effect, but the crunch part will be helped by the resonant bell) on one of the transients. really helps it to "crack".
01/21/07
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bleen
and if you have the filter modulate via velocity, then the crack gets brighter/sharper as the hit gets louder.
01/21/07
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utofbu
its fun to add a gated noise floor that is triggered by the peak transient too. You can change alot of things about the color by doing that as well.
edited: Jan 21 2007
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cbit
good stuffs!.. also: layering a diamond hard mid/trebly 'click' (use a compressor to make a tiny portion of the attack really really pop out) with a big deep kick so that it hits a few milliseconds after the beginning of the kick, that works really nicely too. makes the kick sound like its part of an infernal machine (of DOOM).
01/21/07
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sclr
audio example? more on crunch farts please.
01/21/07
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cbit
farting clack kick : link
01/21/07
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adcBicycle
great tip... thanks cbit!
01/21/07
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astroid
this is a prime time example of the conversation that hiphop and electronic music have been having for the past 25 years.
that cccklklkATCH in the snare is something that's very developed among hiphop producers. the gear is good to know for that stuff-a secret technique is to use an sp1200, one of those old cruddy/rad samplers with (i think) 12 bits of depth and 22,000 k of sampling speed. sample from a record into that beast, and it adds some wet grit to whatever you're sampling. people would also run samples through that thing really hot to get more grit. they also have a characteristic filter.
also, you gotta figure in some compression from the beloved mpc2000, and the groove of adding 5-6 snares/claps by hand, all with different grit from different records.
01/21/07
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astroid
god cbit, that little snip is hot as fuck
01/21/07
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Radio909
yeh cbit I hope thats gonna be a full tune, sounds wicked
01/21/07
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jdg
cbit is hot as fcuk!
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