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Hi Hats Clop
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Jeto
Jeto
Started Topics :
258
Posts :
3252
Posted : Jul 5, 2004 21:36
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What is the best way to do it...
Use sample?
I tried to use sample and edit so it will fit my tempo and then i added a compressor to make it from muffle to clear. Didnt get very good result. Someone know better way to dO? |
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Mike A
Subra
Started Topics :
185
Posts :
3954
Posted : Jul 6, 2004 02:07
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Clop? What do you mean?
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Jeto
Jeto
Started Topics :
258
Posts :
3252
Posted : Jul 6, 2004 04:16
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Closed Hi Hit and Open Hi Hat
Tshhh Tssss
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reptilian agenda
Started Topics :
4
Posts :
24
Posted : Jul 6, 2004 06:12
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just do whatever rhithm with closed hat...
put any open hh where you want the "clop".
then i you have the option of testing out samples during playback (ei orion platinum), scroll through your open hats until you find one that interacts well with your closed hat.
k k k k
ch ch ch ch ch ch ch ch
ohh
sn sn
somethin' like that anyhoo |
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reptilian agenda
Started Topics :
4
Posts :
24
Posted : Jul 6, 2004 06:13
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that little "diagram didn't turn out right..
oh well |
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EYB
Noized
Started Topics :
111
Posts :
2849
Posted : Jul 6, 2004 07:49
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k---k---k---k---
c-c-c-c-c-c-c-c-
----o------------
s-------s--------
i think you meant something like that?
 Signature |
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Input
IsraTrance Junior Member
Started Topics :
24
Posts :
456
Posted : Jul 6, 2004 18:52
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Quote:
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On 2004-07-06 07:49, EYB wrote:
k---k---k---k---
c-c-c-c-c-c-c-c-
----o------------
s-------s--------
i think you meant something like that?
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I think the OHH will mostly sit better at 8th
k---k---k---k---
c-c-c-c-c-c-c-c-
--o--------------
s-------s--------
and it can also do a full job
k---k---k---k---
c-c-c-c-c-c-c-c-
--o---o---o---o-
s-------s--------
Space is the place
http://www.megabit.co.il |
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br0d
IsraTrance Junior Member
Started Topics :
12
Posts :
355
Posted : Jul 6, 2004 20:28
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It's generally not a good idea to sound a PHH, CHH, or OHH at the same time, since this can cause phasing and sibilance. In fact, many samplers (like Halion and DR008) offer the ability to assign hihats to monophonic keying groups, so that one sample will turn off as soon as another one is played.
Many conventions in dance music came out of the physical realities of live drummers. No drummer on a single acoustic kit can both CHH and OHH at the same time, and so this mutual exclusivity has come to sound pleasant in dance music as well. |
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EYB
Noized
Started Topics :
111
Posts :
2849
Posted : Jul 6, 2004 23:19
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In psytrance everything is possible 
I often do both at same time and it often sound great
Signature |
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Analog Xperience
IsraTrance Junior Member
Started Topics :
32
Posts :
326
Posted : Jul 7, 2004 05:04
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why not making the sample ? is not so hard make drums in sound forge !!!
just ned creation and pacience for the first drums.. is not so easy to make .. but after some try's u will make nice stuff .. my kicks are made in sound forge and im really happy with them
how to make !!!open sound forge ..
then menu TOOLS ..
then u chosse SINTHESIS
then FM ....
one box will apear ... u have different option now ... u chosse the type of wave u whant .. sine .. touth etc etc ... chosse de frequencie u whant the sample can be heared ... per ex .. hit hats .. hig freq .. now it depends .. per ex .. after 3000hz ... for starting
one new wave just apear in your screan .. cut a little from the wave ...
then select it .. and select the menu ÊFFECTS .. then PITCH .. then PITCH BEND ...
then is amather of your tast .. chek out .. volumes .. semitones .. and the line u put to the sample .. u have a preview button to hear what u are making to chill and calmly u make nice perc
sorry this explanation .. im not a good teacher ..
hope u get at least the idea
BOOMM |
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br0d
IsraTrance Junior Member
Started Topics :
12
Posts :
355
Posted : Jul 7, 2004 09:27
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Quote:
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On 2004-07-06 23:19, EYB wrote:
In psytrance everything is possible
I often do both at same time and it often sound great
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Yeah, yeah, peace love, and possibility. It's always better to know the rules before you break them though. |
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reptilian agenda
Started Topics :
4
Posts :
24
Posted : Jul 7, 2004 20:12
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man thick chuggin' break loops are made with like 10 hh....
for a good portion of my hi end, i slap loops together before i do anything else...
run er' through a hipass to get rid of all the ploopy plop kind of weirdness that sits in the lower half of the spectrum of a lot of drum samples. |
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br0d
IsraTrance Junior Member
Started Topics :
12
Posts :
355
Posted : Jul 10, 2004 08:52
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hihats operate in the range to which the ear is the most sensitive, mainly 1.5KHz-8kHz. they contain lots of random frequencies approaching white noise. carelessly layering hats, esp OHH with long decays, can result in far more sibilance than rhythm. this is exacerbated by the use of un-EQ'd or carelessly EQ'd reverb because it diffuses the sound into even more white noise with even longer decays. I can dig strange CHH/PHH combinations, but if you overlap too many things in the high mids and highs, you're asking for trouble. tambourines are especially dangerous. trust me, i've ruined more than enough songs with ambitious hat and tamb attempts.
the challenge of hats is in keeping them interesting without making them too busy. bands like X-dream pull this off with phasing, filtering, flanging tricks, etc. smart work. i dont particularly like PHH and CHH too much in psy or any music which relies heavily on spitty 16th note synth lines w/arps and such, beause the resonant properties of the synth arps often clash with the hats if they are not carefully tuned to one another. PHH and CHH are at their best in house music where fewer synths and more classic instrumentation with slower attacks like horns appear. and of course the screaming fat divas.
i have a love/hate relationship with tambs beacuse they are both beautiful and dangerous. triangles are especially nice because they are more tuned than hats but still percussive.
when in doubt you can always slap an OHH tuned to a fifth or a third up from the tonic on the "and" of the beat and leave it at that, allowing the synths underneath to do the work, maybe swapping it out for a PHH or CHH in the buildups and turnarounds, etc. 1200 mics/GMS seems to use this pragmatic technique to good effect. better be a good programmer of high synths tho 
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Jeto
Jeto
Started Topics :
258
Posts :
3252
Posted : Jul 10, 2004 10:45
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Quote:
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On 2004-07-10 08:52, br0d wrote:
when in doubt you can always slap an OHH tuned to a fifth or a third up from the tonic on the "and" of the beat and leave it at that, allowing the synths underneath to do the work, maybe swapping it out for a PHH or CHH in the buildups and turnarounds, etc. 1200 mics/GMS seems to use this pragmatic technique to good effect. better be a good programmer of high synths tho
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what does that mean
tuned to a fifth or a third up from the tonic on the "and" of the beat and leave it at that,
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saxopholus
Started Topics :
0
Posts :
79
Posted : Jul 10, 2004 19:05
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I think he means that if your tune is in C then pitch the hihat to E or G and the "and" is up-beat in the bar, but I'm sure brOd will clarify. But still i am interested to know why you would do that anyway? Is it to avoid clashing with everything else frequency-wise? I guess this would apply for shakers too?
i am not happy the results I get with hihats, so this is useful info, thanks brOd.
Sax James. |
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