I tend to make a lot of drum hits and build kits with the 202, 404, my record collection and some analog drum samples..

how is everyone else doing it ?

another related issue : lately I've been just chopping drums from records and then eq and compress but the kick and snare always sound funny… so maybe someone has some tips or pointers for sampling a single source drum hit that might be helpful


thanks
peace

i do this almost everytime
so your kits sound as your kits (even if the majority of sampled drums from record are supposed to be goodly Eqed by themselves, by cool or good engeneers)...
other thing: sometimes i do that also because for some reason (a pumped bass, an heavy synth etc) drums are suffocated in the mix (or the contrary)

Are you a breaks or one-shot type of guy? Tequila or whiskey?

Breaks... if used, everything is already there (the feeling, consistent tone & timbre, etc) so I will chop for groove. Once that is all done then I might go in there and extract some one-shots for added punctuation. I don't have much experience here since I play drums. /

One-shots.... a strange fetish of mine.

Before I post some hyper-formal, fanboy'ish love letter about drum creation... I'd like to hear more about what you're wanting to achieve/learn from your inquire.

Holler back, now churrrrrin'

chopping stabs/one-shot drum hits…for example I am chopping a kick and a snare from a record.. now I eq to accentuate the tones that I like from the sample.. I think my problem comes when I run it through the sp compressor

^ all my balance problems went away when i quit using sp 404 for production,

it is alright for a scratch pad/ sample collector, however, it is so awkword sounding for all 1 one production. when I switched to 505, it was finally balanced, and MPC 2000 100 times better, the 404 is still good for certain things, but I no longer mix or produce beats on it. too janky. agree or disagree ? sorry for off topic.

at first i thought you were trying to answer my question i was confused

lol i don't mind if we go off topic

I use the sp202 and sp404 to record and process my samples… then i import everything into my mac to sequence and mix down

i love the sound i get with my 202/404 combo I wouldn't replace it, I've been working this way for 10+

I like tapping it all out live into the 4 track.
Gives it a human feel.

layer sounds from drum kits, vinyl, recording sounds like claps etc, on 404 sx then add effects from 404sx or 505 such as panning hats to the left and snare slightly to the right. then record it on the 505 and bounce to 404sx because I don't know how to use the 4 track sequencer on the 505 yet

The golden rule about EQ-ing is to avoid any boosting but work with cuts instead, meaning cut the unwanted, try to avoid any boosts (of the wanted part).

If you EQ and then compress, you can lose some of the effect of the EQ, because compression evens the levels again somewhat.. the thing you cut out now just got louder again.

Personally I too like to layer drums, especially snares, I usually don´t layer kicks or hats.. but with snares I like to build my snare from a low punchy one, a middle/neutral one and for example a clappy or snappy sample for the high end snap... I usually don´t EQ them, just play with the levels of the samples making up my snare to get a result i like (which is EQ-ing in a sense tho )
Sometimes I use 2 kicks, one boomier and heavier for the main hits and start of the 1st bar, and another shorter and snappier to for the syncopated/ghost hits or just for variety..

Sampling and chopping breaks sucks a bit because there are almost always hi hat hits on the kick and snare, so you don´t get clean one-hits..
When you EQ the kick or snare you cut out you are also EQ-ing the hi-hat that comes with it... also they already have some reverb which limits your options.

Oi. I don't really chop breaks for one-shots so I can't help out with technique there.
The comp on the 404 is beyond brutal to my ears but sometimes it works.

I made one-shots of my acoustic sets and processed them in LP9. So yeah, not much of a breaks dude so no real help there mayne. Sorry to waste your time lolz.

If you want some unprocessed acoustic one-shots... holler. Doesn't really help you learn but it's here if you want.

Gated, slowed down drum breaks chopped up with delay and cut on every 4th beat is what works for me.

Slowing the break down degrades the quality and lowers the pitch which in turn lowers the bass..

I always cut the break on the kick and snare so that when I perform the drum track all the details in between (hi hats, toms, etc.) are all off beat. This creates a swing effect which is enhanced by the added delay.



*edit: If you guys want I can created a video tutorial for all you visual learners...

i sample from records. often the treatment i give them is EQ, Distortion, Compression.

Recently ive been shaping drum kits from synths and then processing the hits with the 404.

regarding your compressed drums, try layering the compressed drum with the original. what happens when you compress is that it can affect the transient or the first part of the sound...there is a ton of information there that is extremely important to the listener. another option if your drums are weak from compressing is layering one that has a good clicky transient.

Lately I've liked just taking a filter, turning up resonance on it a little bit and play around with the mix of clean and filtered with regular stock drums and then layer some kind of clap or snaps or random percussion on top to give it a new flavor. The filter on the snare makes the snare punchier when set right (don't over do it) and the random percussion, like i said gives it originality but also can add shimmer and looseness depending on the sound you choose to layer for the clap or whatever.

The classic LinnDrumm snare is a good starting point I like.

ASR 10