I am always looking for better drum kits. Has anyone out there purchased some of the new drum libraries that have recently come out?
I have to admit that I am a little skeptical about them. I am hoping that someone has combined the 2 most important elements of drum sampling (1.great engineering with all the right mics, preamps, compressors, eq, and experience with recording and mixing pop records. 2.sample tons of velocities)
By the way, Eric Pershing\'s drum expansion board for the 5080 is not too shabby. But, there is plenty of room for improvement.
Actually we have recieved lots of emails recently about this very thing. Therefore Sean and I have decided to move our drum set library up the list of things to do. I hope everyone will enjoy it! The target date is sometime this summer.
I listened to the Topaz demos and really liked some of the hats and cymbals and one of the snares. But thats kind of my point. I usually like a few sounds from various libraries, but I have yet to see the complete package. You can turn on the radio and hear great sounding drums on pretty much every tune. It seems like a good sample producer needs to get together with a great pop/ rock engineer who is making records today and make a great library.
-Donnie, I wish you well and I have no idea of your background, but you might want to get an pro engineer involved in your project, if you don\'t have that kind of experience yourself. Good instincts and intelligence won\'t neccesarily do the trick. You might get some great natural sounds, but you won\'t get radio ready drums unless you have tons of experience in recording and mixing rock/pop.
It\'s always difficult to make drumsamples that fits all tastes. (Probably goes for all samples...)
I\'ve worked in recording studios (and own a couple myself) and my experiences with drums are that you have to hear them in a contex to be able to know how to tweek them to sound good.
Providing ready-made processed drums will, in my opinon, only work in certain cases. For makin quick demos they can be great
since you don\'t have to spend time on compressors, gates, reverbs and other gadgets, but when you make the final mix, you almost certain
to wanna change the reverb a bit, add some EQ, and so on.
If the drums are recorded processed this is a bit difficult.
This is what I like about the Topaz Studio Kit. The drums are recorded sounding as natural/live as possible with no effects added. This gives you the possibilities to tweek them yourself. Yes, it\'s more work, but personally, I think it\'s worth it.
Nick wrote:\"but you won\'t get radio ready drums unless you have tons of experience in recording and mixing rock/pop.\"
I agree, but there is a huge mistake here. Making \"radio-ready drums\" is impossible in my opinion. You have to finalize the drumsound during the mix. The drumsounds must balance with other instruments (think of the bass and synth\'s, how they can interact with drums). The amount of reverb, eq, compression, ambience etc must be adjusted in relation to the rest of the musical context while you are mixing. Therefor, I believe you need dry samples. Raw recordings without too much processing work better than over-produced material, in my opinion. As you must be able to adjust important aspects of the drum sound during mixdown, there is no \"radio-ready\" drum sound. As the word \"ready\" would suggest you don\'t have to adjust anything. The producer must turn the raw drumsounds into shining radio-ready drums.
\"You can turn on the radio and hear great sounding drums on pretty much every tune.\"
??? You think so? The drumsounds you hear on most songs nowadays are based on mostly the same techniques. Good recording technique and good producers.
A very important factor, beside using the right gear during recording, is to get the right \"feel\" or musical attitude for a specific style or song in the recorded material. When you would isolate a snare drum, played in rock song, and use this as a sample in another style, it will most likely not work at all.
You need samples for each musical style in order to match the sound with the song.
\"It seems like a good sample producer needs to get together with a great pop/ rock engineer who is making records today and make a great library. \"
Another point is the programming of drum samples. You really need a musical person to program sequence drumtracks.
And he/she has to listen to the right samples (the ones you will use in the final mix) while recording the sequence.
Thinking of such a new drum library, my guess is -based on Q L Brass- you are probably the right person to record a great new set of RADIO DRUM samples!
I must admit I\'m kind\'ve scratching my head at how this is turning out.
Nick- I don\'t think that there is such a thing as a \"radio ready\" library unless of course you want it to be 50 discs. For example when you turn on the radio just about every kit you hear sounds different. Every person has their own idea of what they want their drums to sound like. There are SO many choices of compressors and EQ\'s alone that you could have thousands of different overall sounds.
Our approach to this will be simple. We will record the most complete package of drum samples that we possibly can and to the best or our ability.
As far as hiring a \"professional\" engineer I have to wonder what you are getting at. Why would Sean and I knowing what every drum can sound like (and more importantly knowing HOW to make that drum sound like that) want to bring in ONE guy who has his own distinct sound that he likes? I thnk that as with our other projects that we will go it alone.
Bob Clearmountain 1 & 2 are good examples of a great engineer making a sample library that doesn\'t sound like his records. You guys make good points, but I would like a drum library that sounds polished and radio friendly out of the box (reverb excluded), and that is also very expressive.
Makign aradio ready sounding kit would involve a lot of compression and limiting, which would take out alot of the expressiveness.
i think what I\'m missing right now out of available Drum Kit libraries is multiple strike velocities (I mean MULTIPLE!!!!!) as well as Left/Rigth hits. then slapping come compression and light LIGHT reverb to roudn it out, I\'d prolly get a decent sound.
I also think that most of the cymbals out there suck real bad.
Really...I am an Idiot
[This message has been edited by KingIdiot (edited 04-07-2001).]