Layering Claps.

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avensa
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Post 10 Aug 2015

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

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pushedbutton
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Post 10 Aug 2015

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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Ronin
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Post 10 Aug 2015

Whats a "pre-shifted clap"?
is it pitch shifted? Some more details would be helpful please :)

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avensa
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Post 10 Aug 2015

Ronin wrote:Whats a "pre-shifted clap"?
is it pitch shifted? Some more details would be helpful please :)
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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avensa
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Post 10 Aug 2015

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.
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.

pLansford

Post 10 Aug 2015

Ronin wrote:Whats a "pre-shifted clap"?
is it pitch shifted? Some more details would be helpful please :)
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.
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.

Ronin
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Post 10 Aug 2015

I see. Thanks for clarification.

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Exowildebeest
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Post 10 Aug 2015

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.

pLansford

Post 10 Aug 2015

Exowildebeest wrote: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.

It might happen to you too, Avensa. :twisted:

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avensa
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Post 10 Aug 2015

Exowildebeest wrote: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.
True. Love the 808 clap, works wonders sometimes.

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Exowildebeest
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Post 10 Aug 2015

avensa wrote:
Exowildebeest wrote: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.
True. Love the 808 clap, works wonders sometimes.
Yeah me too. Putting Audiomatic on it in Tape mode works wonders, smoothing the often somewhat too sharp highs.

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syncanonymous
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Post 11 Aug 2015

Interesting...my latest soundalike has layered claps- just dirty and clean tho
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Tweak
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Post 14 Aug 2015

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

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avensa
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Post 14 Aug 2015

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
Hi 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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avensa
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Post 14 Aug 2015

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
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

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esselfortium
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Post 14 Aug 2015

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

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ebop
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Location: NZ

Post 16 Aug 2015

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/

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motuscott
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Post 16 Aug 2015

Sometimes the "simple" things ain't so much.
Cheers to the audio scientists among us.
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Tweak
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Joined: 16 Jan 2015

Post 18 Aug 2015

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 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.

Thanks again,
Marc

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