you'll never have anybody else's sound. but if you want to sound like this, just use RC-20, occasional U-He delay in Bucket Brigade mode, and no reverb besides maybe a barely detectable early reflection (if you can hear it, it's too much). create a "hip" sounding nickname, and start selling your loops. Then when someone wants to copy you, they'll advertise your beats in threads like this.

 

People here mentioned RC-20 a bunch of times, but I'm not sure why really.
A better option is to gate each separate drum sound first to cut off the muddy tail, and to smash it with u-He Satin afterwards.

 

me and another dude said rc 20.
i only mentioned rc20 to give an extra texture, after the tape emulation - which i also said to be the most obvious effect (nobody seemed to notice it before my comment)
Which tape machine emulation? sketch cassete? satin? vtm? phoenix II ? Tascam?
I don't know and doesnt matter... they all will serve just fine

 

you are delusional my friend, but entertaining...

 

Agreed. I get it, I've tried the RC-20 over the years, but I can't bring myself to get into it. This type of altering of drums, to this degree, is really outside mixing, at least initially, and becomes sound design of a sort, so a chain of different plugins is always going to yield more creative results.
Some plugins that are my go-to for processing mentioned in this thread would be NEOLD's Warble, Kiive Audio's Tape Face, or even Black Rooster's Magnetite (I use Flywheel on every track, but being more transparent, that's not going to take you into that deeply colored tonal territory that other tape emulations will,) any clipper will work, but a couple that have nifty features are Boz Digital Labs' Big Clipper 2 and SIRAudioTools StandardCLIP, and there's five million saturation units but ones that are always handy are Klanghelm's IGVI, Kiive Audio's Distinct, and the Vertigo VSM-3. Nembrini also has the LoFi Vintage Clipper and the PSA1000 distortion unit, both which can take your sound from crunchy to utterly mangled far better than RC-20, in my less-than-humble opinion.
And if you really want to get creative with it, try stacking preamps for saturation tones on each channel of your drums, or buss; I like True Iron and Fuse Audio Labs' VPRE-31A for this, as well as Eplex7. And if you want to deep-dive into crazy, set up something like Klebvgrand's Gaffel, or Nugen Audio's Sigmod and use the crossover module to split the drum buss and stack preamps or saturators on the high and low sections of the signal differently and then tie it all back down with a even harmonics on the collected buss.
Also, NEOLD's new Wunderlich plugin definitely has some creative degradation options.

 

The man is a butcher. You can't expect those in the meat packing industry to have all the time in the world to also become the guy for Rush. Come on guys. Use your heads.

 

And you seem to be working off jaded preconceptions—but that's what most people do, so whateverwhatever. Enjoy.

 

What about

u-He Satin or Goodhertz TUPE >>> Waves SSL E >> FL Studio Soft Clipper?

 

I'm working off of facts.

You're sitting there telling me that these 9 billion sample packs that show up out of nowhere every day are unique and original - the producers of which have hired session players to produce them and none of them are simply warmed over MPC beats we have all heard a thousand times or vinyl ripped processed drek that have appeared on countless "sample discs" for the last 2 decades. I'll give you that maybe 0.1% might be actually be producing something that hasn't just been popped from a can and refried but we're talking a very small percentage...

...And I'm the one that is "jaded". That term being totally off base in this context... Enjoy living in your dream world... Sayonara, Arrivederci, that's all.

 

No one mentioned looptrotter? Saturates nice on drums and bass also or should I say sa2rates

 

You're not.
Everyone knows that a shit-ton of companies pump out rehashed or ITB-created garbage, it's no secret, to anyone, anywhere, you're not the holder of some hidden piece of knowledge, but the fact that you're writing nearly everything off and making rash assumptions straight out the gate—again, in a conversation that you've made clear that you don't belong in—make what you have to say nothing more than a weak concoction of bravado and sewage.

Really? That was your takeaway? That's what I was "telling" you?
Seriously, kid—at this point you're hard trolling or just straight playing dumb so you can pop off.
What's crazy to me is the fact you're dry-humping a thread that has nothing to do with you when there's fifty other topics on here that you could be weighing in on, from audio hardware to PC guts... and yet, here you are. It's equal parts sad and confusing.

 

Do it. Why not? Do whatever sounds good to you and fits the track.
I just threw some plugins out there that I use for really torquing drums, in case you hadn't thought of them.
The real trick is order of operation and dialing them in, just play around, do stuff and see what happens, have fun with it.
I don't always smash my drums like Beat Butcher does, I make a lot of straight Funk, Soul, or Neo Soul (though even then I do still have decently prominent drums, just not mangled,) and I've found experimenting with drum sounds and coming up with unique processing chains can inspire new musical ideas, so there's always that bonus as well.

I'm a whore for saturation units, so I have... well, I have as many saturation plugins as most people have compressors [see: too many] so I just rattled off some of my favorites, but Sa2rates is another solid plugin.

 

Your drivel is quoted above not mine. Enjoy your ignorance.
And I'll decide which threads I participate in not you, thanks very much. Buh bye now...

 

Last edited: Jun 18, 2024

What are you agreed upon? RC-20 is amazing, however it's not a tape sim.

 

he never did

 

Last edited: Jun 18, 2024

Well-played. I see you cherry-picked the only thing that I said that could be torqued out of context.
And skip any rebuttal on phrasing; I refuse to believe that you're stupid enough not to understand what I wrote. You just wanted some flimsy excuse to perpetuate your stay in this thread... which is again, confusing.
As for the threads you participate in, I'm sure everyone would love to have you. If they don't, I'll do my best to act shocked. Promise.

 

"Agreed" that I'm not sure why it's being mentioned here, but I guess we were coming at that from different angles.
The RC-20 is fine (though I fully disagree with "amazing,") if it gets your music where you want it, but it is limited and the only thing going for it is its streamlined workflow, which I don't think is worth the lack of quality/options you'd have just using individual plugins. You're right in that it's not a tape sim, with the Flutter and the Saturation not amounting to any sort of actual tape emulation.
I just don't understand why it's been heralded from day-one as some sort of holy grail for filthy processing. It's always had this weird following around it which I've never understood. Dunno—did somebody famous plug it back when it dropped or something?

 

RC 20 was probably first reliable lofi effect, there were already many of them but not all in one. For that purpose it's also very tweakable for sound mangling..

 

I think what some may overlook is that Beat Butcha has an extraodinary ear for sound design first and foremost. His early productions were primarily sample based (by which I mean digging and flipping samples), after which he evolved his ability to play and incorporate his own melodies and elements into productions, so as not to have to rely on these. His methodology is far from generic in so much as, whilst he may be inspired by the greats like many of us, I believe he saw from early on that you had to feel out the vibe rather than simply try to emulate it using this or that plugin. By his own admission, he used to program beats in Adobe Audition (pretty sure that's what it was) while many thought he was using an MPC or some other kind of contraption from who knows where. He has an impeccable ear for such things and has always had the ability to make his productions stand out from the rest, as he really loves the shit. Without getting too deep, I can personally attest to that.

It reminds me of that Bruce Lee quote 'It's like a finger pointing away to the moon. Don't concentrate on the finger or you will miss all that heavenly glory.'

 

Yea after doing some digging... I've discovered that he's actually a pretty able instrumentalist. I admire people who have evolved from sampling to playing the samples or extracting the groove and vibe.

I also discovered that other well known producers have used even his retail stuff, in major placements. The dude is really on a different level IMO.