Layering Claps.
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Layering Claps.
-When it comes to drums, claps are going to be one of the main elements you will use. They play a vital part in the drums section.
-I hear in many tracks from many producers, that their claps sound 'weak'. A reason for this may be from lack of layering and misuse of compression.
-A technique I use is something I've been doing for the past year. Essentially, I have 3 layers. First layer, would be a preshifted clap. Second layer, I have a snare like clap. Third layer, white noise.
-Layer 1: I usually have a preshifted clap. Pre-shifted claps add more power in the drums, and give the kick more presence on how it introduces it. I try to look for a pre-shifted clap that also has a nice tail. The reason being, is that I compress the clap to the point where the tail is being dragged up. (With of course the start of it being present) So there is pretty intense compression.
-Layer 2: I always have a snappy snare like clap for this layer. This is the main clap, and for the main clap you want it hitting mainly in the mids. I cut the low end, and I cut around -5dB around the 10k Hz region (for layer 3). I compress this layer slightly, as I don't want it to lose it's characteristics.
-Layer 3: White noise. I try to have this the same length as Layer 2, using the sustain function. I usually have the white noise to add that 'snap' in the highs. Hence why I cut -5dB in the 10k Hz region for Layer 2, it is to make room for the noise, so there isn't too much 'hiss'. Once you add white noise, you can hear that it sounds quite dull (as it's the one sound that hits in all of the frequencies.). Cut the low end and most of the mids to get a clear & clean sound.
-Be creative. Don't be afraid of trying new techniques that could really bring something to your art, even if they're not "by the book". Making music should be all about breaking expectations and doing whatever the fuck you want.
Hope this helps.
-AVENSA
-When it comes to drums, claps are going to be one of the main elements you will use. They play a vital part in the drums section.
-I hear in many tracks from many producers, that their claps sound 'weak'. A reason for this may be from lack of layering and misuse of compression.
-A technique I use is something I've been doing for the past year. Essentially, I have 3 layers. First layer, would be a preshifted clap. Second layer, I have a snare like clap. Third layer, white noise.
-Layer 1: I usually have a preshifted clap. Pre-shifted claps add more power in the drums, and give the kick more presence on how it introduces it. I try to look for a pre-shifted clap that also has a nice tail. The reason being, is that I compress the clap to the point where the tail is being dragged up. (With of course the start of it being present) So there is pretty intense compression.
-Layer 2: I always have a snappy snare like clap for this layer. This is the main clap, and for the main clap you want it hitting mainly in the mids. I cut the low end, and I cut around -5dB around the 10k Hz region (for layer 3). I compress this layer slightly, as I don't want it to lose it's characteristics.
-Layer 3: White noise. I try to have this the same length as Layer 2, using the sustain function. I usually have the white noise to add that 'snap' in the highs. Hence why I cut -5dB in the 10k Hz region for Layer 2, it is to make room for the noise, so there isn't too much 'hiss'. Once you add white noise, you can hear that it sounds quite dull (as it's the one sound that hits in all of the frequencies.). Cut the low end and most of the mids to get a clear & clean sound.
-Be creative. Don't be afraid of trying new techniques that could really bring something to your art, even if they're not "by the book". Making music should be all about breaking expectations and doing whatever the fuck you want.
Hope this helps.
-AVENSA
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i find the best way is to stand 3 or 4 people round a mic and say 'who knows that queen song, 'we will rock you'?' then stomp your feet twice.
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Using Reason since version 3 and still never finished a song.
Using Reason since version 3 and still never finished a song.
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Whats a "pre-shifted clap"?
is it pitch shifted? Some more details would be helpful please
is it pitch shifted? Some more details would be helpful please

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Sorry, thought you would've known. A pre-shifted clap has a sort of 'reversing' effect at the start, which causes it to have different placements rather than a normal clap. I personally think it brings in the kick nicely.Ronin wrote:Whats a "pre-shifted clap"?
is it pitch shifted? Some more details would be helpful please
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As cool as that may sound, many producers like myself are unfortunately not in decent recording environments to do so, but I look forward to trying it sometime.pushedbutton wrote:i find the best way is to stand 3 or 4 people round a mic and say 'who knows that queen song, 'we will rock you'?' then stomp your feet twice.
Ronin wrote:Whats a "pre-shifted clap"?
is it pitch shifted? Some more details would be helpful please
Shifting the clap slightly before or after the beat 1/64 or less in the grid. You shift it before the beat for a sense of urgency and shift it after for a more laid back feel. Vengeance has pre-shifted snares and claps but I'd rather do it myself. This is not the same thing as a reverse clap.avensa wrote:Sorry, thought you would've known. A pre-shifted clap has a sort of 'reversing' effect at the start, which causes it to have different placements rather than a normal clap. I personally think it brings in the kick nicely.
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I see. Thanks for clarification.
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Sometimes though, a straight, non-layered 909 or 808 clap is all you need to give a track a classic feel
I've really come to like that simplicity, although I fully agree that layering claps is one thing everyone should definitely try.

Yeah I'm with you on that one. I couldn't write a paragraph about that process in my own productions. I just pick a sample and run with it. I'm at a point now where I'm actually trying to tone down the energy since my tunes are becoming more laid back.Exowildebeest wrote:Sometimes though, a straight, non-layered 909 or 808 clap is all you need to give a track a classic feelI've really come to like that simplicity, although I fully agree that layering claps is one thing everyone should definitely try.
It might happen to you too, Avensa.

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True. Love the 808 clap, works wonders sometimes.Exowildebeest wrote:Sometimes though, a straight, non-layered 909 or 808 clap is all you need to give a track a classic feelI've really come to like that simplicity, although I fully agree that layering claps is one thing everyone should definitely try.
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Yeah me too. Putting Audiomatic on it in Tape mode works wonders, smoothing the often somewhat too sharp highs.avensa wrote:True. Love the 808 clap, works wonders sometimes.Exowildebeest wrote:Sometimes though, a straight, non-layered 909 or 808 clap is all you need to give a track a classic feelI've really come to like that simplicity, although I fully agree that layering claps is one thing everyone should definitely try.
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Interesting...my latest soundalike has layered claps- just dirty and clean tho
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I like this thread a lot.
It'd be awesome if the OP could put a simple audio example together. I'd want to hear 4 files, each individual layer and then the mixed result after layering and compression/glue.
This is something I've tried to do often, but rarely come up with something I liked. I wondering if much of the skill in this is in picking the right samples to begin with...
Cheers,
Marc
It'd be awesome if the OP could put a simple audio example together. I'd want to hear 4 files, each individual layer and then the mixed result after layering and compression/glue.
This is something I've tried to do often, but rarely come up with something I liked. I wondering if much of the skill in this is in picking the right samples to begin with...
Cheers,
Marc
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Hi Marc,Tweak wrote:I like this thread a lot.
It'd be awesome if the OP could put a simple audio example together. I'd want to hear 4 files, each individual layer and then the mixed result after layering and compression/glue.
This is something I've tried to do often, but rarely come up with something I liked. I wondering if much of the skill in this is in picking the right samples to begin with...
Cheers,
Marc
Just saw this comment. I'll put together a few samples and send the file over to you. Been super busy lately so haven't got the chance to check social media.
Respect,
AVENSA
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https://soundcloud.com/avensa/claps/s-nbXNM (Available for download if you wish to extract some samples from it)Tweak wrote:I like this thread a lot.
It'd be awesome if the OP could put a simple audio example together. I'd want to hear 4 files, each individual layer and then the mixed result after layering and compression/glue.
This is something I've tried to do often, but rarely come up with something I liked. I wondering if much of the skill in this is in picking the right samples to begin with...
Cheers,
Marc
For the first 6 bars, it's the dry samples, in this order. 1. preshifted. 2. snare. 3. white noise. Then the next 2 bars are all together after processing.
The first 2 bars with the kick are the dry samples. The last 2 bars with the kick are wet.
Hope this helps.
-AVENSA
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One trick that I've found works well for very easily adding some depth to a clap or snare that sounds excessively sharp is to stick a short (maybe 25-50ms) delay on it with no feedback, and turn the dry/wet knob to at least 60% wet. This will give it a little pre-attack transient that can loosen it up a bit. It's similar to what the OP suggested with layering a pre-delayed clap, but is arguably a bit quicker and more lazy-producer-friendly.
Sarah Mancuso
My music: Future Human
My music: Future Human
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This from the Attack Magazine website about layering snares/claps. They have some useful tips on here with audio examples.
http://www.attackmagazine.com/technique ... -tutorial/
http://www.attackmagazine.com/technique ... -tutorial/
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Sometimes the "simple" things ain't so much.
Cheers to the audio scientists among us.
Cheers to the audio scientists among us.
Who’s using the royal plural now baby? 🧂
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Thanks for spending the time putting this up, the results of your layering really work nicely. Looks like I'm going to have to spend some more time looking at this.https://soundcloud.com/avensa/claps/s-nbXNM (Available for download if you wish to extract some samples from it)
For the first 6 bars, it's the dry samples, in this order. 1. preshifted. 2. snare. 3. white noise. Then the next 2 bars are all together after processing.
The first 2 bars with the kick are the dry samples. The last 2 bars with the kick are wet.
Hope this helps.
-AVENSA
Thanks again,
Marc
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