how to get not "canned" hats & claps...?

[Oxen Blank]

I have a problem with the hats & claps, the stuff i make never satisfy me if I pay atention to that sounds...maybe i'm too obsessed with them.
Please tell me some ideas for change that conventional sound, i had triyed to do chorus, distort, saturations, many kind of eq and filter.... :roll:

[dan the acid man]

how do you mean canned

also, get it right from the start, get some good quality samples, and then do some selective eq

[auditory hallucinations]

this will be absolutley no help whatsoever, but i think i know what you mean by "canned"...i call it "mulled", which ain't much better really...

unfortunately i don't know how to get that sound...but would love to know. kinda sounds like the high-end percussive elements have the high shit removed, but doesn't sound like a normal low-pass on them

maybe whacking them thru gained out desk channel might help, with the high eq removed a bit...will give it a go anyhoo

[loopdon]

maybe it's the vinyl processing?? it 4 sure changes the sound of stuff, i.e. the highs!

i'd advise you to get hold of good samples from cds. or sample stuff you like and analyse.

don't forget loads of stuff you get to listen to has been through (expensive) hardware, too.

[Oxen Blank]

i'm spanish and here we call this "canned" but a friend of mine (he's american) told me that "mulled" could be the same thing in this case :lol:
Also, many times, the sound of that highs are too conventional, you can easily recognize what effects were used... :lol: they are the worst part of the mix in my stuff.

[loopdon]

err - try loops?

[Mindful]

First use good sounds.


With hats I find it best to use different hats,pan them in the stereo feild to give them a bit of life,gentle reverb or delay will give them life and movment as will messing with the velocity(should stop them from sounding stale and boaring)Cut the low frequencies out of them and give them the tinyest boost around 13 khts(be carfull dont want to go over board in this area or we will all have sore ears)slight distortion or bitcrushing sounds cool too.

With claps gentle or extreme reverb can work as does panning and messing with velocity(a quiter clap just before or after a louder clap for example)and cutting out lower frequencies works for me and try to layer a snare,metal strike,whatever under it.


And lastley its possibly a good idea not to listen too me cause Im not exactley great :lol:
This is just some of the ways i approach it ;)

[Jay Pace]

Claps?
Record yourself clapping. Or slapping a table.
Or smacking a wall with a newspaper.

Want unconventional sounds? Make them yourself.

Then you have the smug satisfaction that no one will have ever heard them before, and your work can stand out more.

Hat noises can be replicated using all manner of metal things. Real life sounds are rich in harmonics, and give you masses of material to play about with when eq, distort, reverb etc.

Buy a half decent mike and go to work. There is a whole world of noises around you. Use them!

[RDR]

Claps?
Record yourself clapping. Or slapping a table.
Or smacking a wall with a newspaper.

Want unconventional sounds? Make them yourself.

Then you have the smug satisfaction that no one will have ever heard them before, and your work can stand out more.

Hat noises can be replicated using all manner of metal things. Real life sounds are rich in harmonics, and give you masses of material to play about with when eq, distort, reverb etc.

Buy a half decent mike and go to work. There is a whole world of noises around you. Use them!

Indeed. :clap:

[FIK]

This may help you: bounce your clap into a loop. Reverse it and stick it onto the original sound. Put the reverse-clap slightly in front of the original clap. Just move the loop around it around, you'll hear when it's on the right spot.

[dirty_bass]

Yeah, find some other sounds to use instead.
I`ve been getting great top end percussive pleasure from the following.
Air tools (air wrench, air hammer)
Air release (pressure release on hydraulics, hydraulic doors, etc)
Sheet metal.
Scrapes (metal on metal)
Human voice (shush, and tssss)
Dropped metal (spanners, hammers, screws) onto metal sheet.
Car crashes.
Water splashes.
Rain.
Jet engine noise.
And other stuff.

[dan the acid man]

but it all went horribly wrong when i decided to sample a car crash, was a bad idea going 60mph head on into a lorry just for a sample :lol: :lol:

[Oxen Blank]

Great solutions! I think all of you are right... I will try to build my own library of highs...I always were looking for the adecuate sounds just editing conventional samples or aplying too many effects, but this time i will records the sounds of the real world ( i need a new quality mic...) and i'll seek into the libraries that have many real sounds and then edit or apply the fx...
Reverse sampling could be a good idea too!
Thanks to all, you have just refreshed some ideas that were facing me this time...

[auditory hallucinations]

so recording them yourself... what recommendations would you have for a half-decent mike?

[TechMouse]

so recording them yourself... what recommendations would you have for a half-decent mike?

Shure stuff is normally quite reliable in my experience.

Seem to remember SM 57 / SM 58 being the two industry standards for instruments / vocals respectively. Think either would do the job.

Though I just have a cheap radio shack mic, and it works perfectly fine!

[Jay Pace]

If you buy a shure mike it will be a long time before you start out performing it. And that may never happen.

Good investment, easy to resell, cost you around £60 in the right places.

Then you can spend all day rustling plastic bags, and chopping the sample up in soundforge.

Cracking.

[auditory hallucinations]

cool, ta

"Then you can spend all day rustling plastic bags, and chopping the sample up in soundforge"

ace, can't feckin wait :lol: