Hello friends!, I Would like to ask how to make powerfull Drums like in this youtube video:

Viva Elvis - King Creole

http://www.youtube.com/watch?v=1fpvX-bfWjc

Im using Fl Studio 10.

Any help certainly appreciated. Thanks for Reading!

 

Layer your drum 3 kicks ,2-4snares, depending upon your preference,
you can achieve Huge drums by combining (layering ) the different Ranges (pitch,velocity) of any instrument(s) or vocals!

 

I Will Try it! Thank you!

 

Totally agree with what ghost74 said, u can use that technique with modern beatz timbo neptunez styles drumkit (or something like that)
ueberschall urbanic got some drums like this too but the best way is to do it urself following what ghost said.

 

it also has to do with EQ and COMPRESSION and LIMITING to get them to sound LOUD CLEAN and CRISP one big tip i had to learn the hard way if you use low quality samples it is hard to get then to sound CLEAN in less dirty sounding drums is what you are going for now a days a lot of the drum kits go throw MASTERING so they sound good

 

If youre gonna layer several kicks/drums you NEED to EQ each hit so tht you dont get a mess of frequencies . Save the bits you like from each hit and EQ as much as you can afford out. Of course then you compress (I would say lightly as a lot of "hits" are already compressed) all the hits together as one sound.

Bit of panning will help too. i.e. 2 EQ'd snare hits 10% left, and the other two 10% right. IMO 4 snares layered is over kill though.....

 

some eq and compression or parallel compression

 

i agree with paus to get your drums big try a pultec followed by a 2a and a transient desighner with the attack at max on an aux......

 

Just to add (or clarify) -- The best way to get 'that' sound from your drum track is to isolate each percussive element to it's own track, and treat each track independently (EQ, Compression, EFX)
Side Chaining is especially effective to help keep your set pounding with out killing other sounds within the same frequencies, check the video tutorials for some insight.

 

Layer your sounds and parallel compression.

 

Sounds to me there may be an large orchestral bass drum layered in there too... perhaps a Yamaha 16x38, I also wouldn't doubt if a bass note was also punching in at the same time.

 

yes, a layered sine wav, an eq'd 808 kik, or just a boost at 80hz.....all different methods i use/have used in combination to get kicks to "pop" and "drop"
--
sG


I have thought about layering timpani drums and or the big marching bass drums with my kicks before.......

 

Hello guys
Without getting too technical here this is what I would do.

Find 3 different kicks with different clarities.
-One kick should be short and punchy - Like no Attack, 90% Decay, very fast ramp-down Sustain and no Release.
What we want in this case is a sharp pulse to give the kick its definition. This can be done with some modeling like TR-808 or just use a fast pulsewave.
The EQ-level should be peakcurve around 115hz or just where you can feel the punch. Be exact and only EQ the exact frequency you feel do it good.
-Second kick should have the nuance layered where the drag is, like how much air is going into the kicksound, how much texture, room, and dynamic you want.
What we want here is the "clunk" sound, and we want to emphasize the Sustain in the sound and I'd say a nice jazz kick would do it.
The EQ-level should be focused on the midlow - midhigh -frequences, so you hear the space in the sound. If you want some clearity add a second EQ and pull the midhigh up just a little bit.
-Third kick is all about the room and ambience. Here we point the flashlight at the wide in the kick. You can take a small impulse drum here. Like you cut off the echo from your favorite beastkick. But keep in mind it better not have too much depth in it, else you will end up with a dough/muddy sound.
The EQ-level should be focused at the midrange to highrange -frqeuenceies. and Make sure you almost mute the ~40-70~hz and ~100-150~hz range, to prevent this sound to swallow the defined pulse-kick you just made.

As far as the compressor works go, there are so many ways to work around and I'd say a typical tube/tape compressor in the "main chain" for the drumtrack would be:
EQ(to remove nasty artifacts from the sound) - Compressor(to give the final drums some punch) - Limiter/Exciter(to balance the ignition in the sound a bit) - EQ(to finetune the final sound).
When we come to the snare use the same method as for the kick, except keep an eye on the frequencies
I hope this was helpful

edit:
I forgot to mention a pretty important aspect too. Always make sure the samples are not in the same phase or at the exact same frequency. Try to experiment with the phase and pulsewidth to once again give a sample the perfect definition. This is when some kind of bandpass filter with quite a high resonance curve or Q-curve come in play, to regulate what difference we want and what we do not want.

/Xiny6581

 

Xiny, your a gem, happy to have you around

 

Kind words there mate
I love to help and share some luv too.

Only old chicken hatch their eggs until they get rotten hah hah. I share my eggs!

 

As long as its with cheese and toast, all good ! :dancing:

 

In this video the drums are sounding powerful because:
1) The mix is not very busy, so there is a lot of space for drums
3) Drums are layered over original drums of the track.

And plenty of compression of course

 

A lot of Experimentation with what was mentioned should do the trick There is "NO" perfected method to the right way! listen to your ears & others Should also listen for you You can Feel music Close your eyes & Listen, Feel....

 

There are many things to try first before even considering layering as the process of layering is actually the reverse of what you should be doing to get BIG drums.

Ironically your drums are probably already sounding pretty big if you have a good sample CD like vengeance you won't need to touch those with anything.

It' all about contrast and separation, You need to cut all synths sounds FX everything below 200HZ, this will leave room for your kick to punch through as it's power is in this range. Then you can tune the kick and bass to be on different octaves. Depending on the style, sub bass lies around 50HZ and kicks have a hump at 100HZ. Cut the freqs at 50HZ on the kick and cut some freqs at 100hz on the bass. You can always side chain the bass to duck a little on the kick transients too to open up some more room.

From that you should have a better mix, Next snares!

For a snare it should have a fundamental around 200Hz yes it's kinda a doubling of everything up the frequency scale. above this lump at 200HZ you should have a totally linear slope from 800hz-22khz, the more linear the louder it will be. Next up is compression.

With compression you want to be really careful, you are trying to enhance not flatten the sound, i like to use a compression with a high ratio 6:1 slow attack 30-50ms and a longish release around 300ms on kicks and snare, i then adjust the threshold to get that spike up a few dB from the body of the sound. Then i like to limit the sound so the first 20ms of it are clipped and the rest passes without it being touched.

You can further enhance the sounds by using a transient shaper. I love oxford transmod as this has a built in clipping function to only slam the front of the hit so you get a more zappy sound without smashing any peaks.

If you want huge stadium type drums a little stereo reverb with a gate works amazing. Breverb vst is pretty good for this.

Next up is sidechain compression on the Buses. To get even bigger drums sidechain anything that is static in level, such as strings, synths, hihats etc to the kick and snare. make it very subtle but do it on as many channels as you can. This way your brain thinks the drums are bigger and punchier than before as they are causing the rest of the mix to blank out.

Don't over eq your sounds. A huge mistake is to think that you need to add more bass and treble to every sound. Its actually the reverse, the power is in the mid and low range freqs. if you add highs you will only make it harsh and tinny, and also a flabby kick with loads of sub is going to rob your other instruments and bass of their headroom.

It's ironic but you can achieve very big and loud results from removing frequencies than by boosting.

This happens because of frequency masking. For example if you boost the high end of a snare, it will sound great on it's own but then you listen back and because it sounds so bright all the other sounds in the mix will sound dull. You then try and boost all the other sounds to match, now it becomes all very toppy with loads of high freqs battling. In reality you should have only used EQ when mixing with other instruments.
Layering drums is another similarly complex task to mixing with even more things to worry about and it's best you know all about phase before even attempting.

For example you could use two kicks, one with more of a click and one with a nice bottom. Then together they sound weak? you can see the two waveforms are cancelling each other out. So you would then need to cut the low freqs to avoid the conflicting freqs affecting each other or swap the phase of the sounds and start point so they match up and create positive reinforcement of the waveform. Or you could use and envelope to cut the times short to avoid playing the conflicting parts of the samples.

Now i like layering claps and hats but you need to be aware of the pitfalls of using multiple kicks and snares which both have low frequency fundamentals.

Good luck. Ramble over.

 

What an awesome remix!