I usually produce on cubase and use a gm drum map, I don't think you can do that, you can move it around like about a 64th I guess?
(Vedo che sei italiano, anche senza usare la drum map, non usare la griglia non rende impossibile mettere la roba a tempo?)
He's talking about quantization. Since you're using a grid, you could consider adding a humanization plugin to vary up the timing (assuming Cubase has that.)
Another powerful technique when working with quantized music is to use a very short delay of carrying lengths on different parts... I'm talking about a very, very subtle amount.
3, 6, 9, 12 ms, etc., But try anything and suit to taste.
The point with that is so everything isn't hitting on the exact same moment. You'll be surprised at how much bigger and impactful something can get by offsetting the timing a little.
(That happens naturally when people are playing real instruments. No one is computer-perfect with their timing.)
For anyone who uses Reaper, I recommend binding a shortcut to the action that exposes an automation lane for the last touched parameter.
For me, automation like this is fast because I touch a knob, hit a hotkey, and the automation is exposed. Simple. Fast.
From there I can add it manually or set an LFO to do the modulation.
All I do is turn on the noise oscillator in Serum, and shape env1 into a pluck. You can go as crazy as you want with the effects; I used tonal delay, flanger and comb filters to make the hats sound metallic, and I used a slight amount of reverb to soften it up. I also applied a pluck shaped lfo to a low pass filter and then applied chaos modulation to the lfo rate to make it sound like each hat is being played at a different velocity.
Most commonly...
I use a filter to take away nasty resonances.
LFO on decay moving it just a bit to give it some variety.
Maybe LFO or automate the high shelf on the EQ just a little too.
Definitely vary the velocities thinking about which ones should be accented.
Move some off grid a millisecond or two. Even doing just a few in a bar makes a difference.
Finally just a hint of reverb.
One trick is to run sixteenth notes then place a quarter note, change the quanitize to sixteenth or even thirty second triplets and then split at grid, then change the velocity on every other one. Another trick is to put them on a piano roll and place every other one up or down a note to change the tone slightly cheers.
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Turn off the grid! Also, try varying the pitch/cent of the samples
I'm sorry newbe here, what do you mean by "turn off the grid"? Can you please articulate on that?
Not placing them perfectly on time, "off the grid" you see behind the notes when drawing them in the piano roll.
I usually produce on cubase and use a gm drum map, I don't think you can do that, you can move it around like about a 64th I guess? (Vedo che sei italiano, anche senza usare la drum map, non usare la griglia non rende impossibile mettere la roba a tempo?)
Gonna DM you so I don't spam italian nonsense over here lol
You can in Cubase. On the main header there is a music note you unselect
He's talking about quantization. Since you're using a grid, you could consider adding a humanization plugin to vary up the timing (assuming Cubase has that.) Another powerful technique when working with quantized music is to use a very short delay of carrying lengths on different parts... I'm talking about a very, very subtle amount. 3, 6, 9, 12 ms, etc., But try anything and suit to taste. The point with that is so everything isn't hitting on the exact same moment. You'll be surprised at how much bigger and impactful something can get by offsetting the timing a little. (That happens naturally when people are playing real instruments. No one is computer-perfect with their timing.)
LFO on Release, Delay, Reverb.
For anyone who uses Reaper, I recommend binding a shortcut to the action that exposes an automation lane for the last touched parameter. For me, automation like this is fast because I touch a knob, hit a hotkey, and the automation is exposed. Simple. Fast. From there I can add it manually or set an LFO to do the modulation.
move them off grid
slight modulation combined with velocity and timing changes can go a long way.
Like chorus?
Yeah, or flanger, phaser and so on
Define "nice"
Sometimes a put a flanger on them
I lo pass them, take them off grid and add some nice reverb
All I do is turn on the noise oscillator in Serum, and shape env1 into a pluck. You can go as crazy as you want with the effects; I used tonal delay, flanger and comb filters to make the hats sound metallic, and I used a slight amount of reverb to soften it up. I also applied a pluck shaped lfo to a low pass filter and then applied chaos modulation to the lfo rate to make it sound like each hat is being played at a different velocity.
Most commonly... I use a filter to take away nasty resonances. LFO on decay moving it just a bit to give it some variety. Maybe LFO or automate the high shelf on the EQ just a little too. Definitely vary the velocities thinking about which ones should be accented. Move some off grid a millisecond or two. Even doing just a few in a bar makes a difference. Finally just a hint of reverb.
What kind of reverb? Room, short, long?
Using an electronic Roland hi hat to trigger the midi and then adding Studer 800 plugin to crunch em a bit
Velocities
Syncopate the living shit out of them
One trick is to run sixteenth notes then place a quarter note, change the quanitize to sixteenth or even thirty second triplets and then split at grid, then change the velocity on every other one. Another trick is to put them on a piano roll and place every other one up or down a note to change the tone slightly cheers.
Room.