teh almight snare rush
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teh almight snare rush
my snare rushes sound like ass and poo,
any pointers on how to make a snare rush thats made of awesome?
or even a snare rush guide for dummies?
thx in advance.
any pointers on how to make a snare rush thats made of awesome?
or even a snare rush guide for dummies?
thx in advance.
- avisupchurch
- Posts: 136
- Joined: Sun Aug 05, 2007 12:00 am
first of all make sure you're using a snare sample that is a appropriate... other than that, figure out what notes you want to accentuate (like what part of the beat you want to accent), and then try to make it so your 64th notes or whatever are leading directly towards them or away..... when you're happy with the rhythm, shape it up using filters, panning, volume, delays, etc. making a good snare rush is not that easy; you just have to be patient and get experience making them.... post a link to something you've tried to make, if you want more specific advice
- avisupchurch
- Posts: 136
- Joined: Sun Aug 05, 2007 12:00 am
if you're using reason, you should do all the processing on your snare sample (or any drum sample for that matter) like compression, distortion, reverb, etc. and then export it, and reload your single hit into a drum machine/sample device.... running your sequenced snare rush through distortion or reverb right from the device will destroy the clarity of the rhythm you're creating... and you can control your dynamics using the velocity curve as well
- plucking skanker
- Posts: 18
- Joined: Sun Nov 11, 2007 12:00 am
make sure the notes you are using a short and get shorter as the hits get more rapid
increasing the velocity works well as does increasing the cut off of your filter
slight increase in pitch as it goes along works nicely as well
increasing the velocity works well as does increasing the cut off of your filter
slight increase in pitch as it goes along works nicely as well
- felixhelix
- Posts: 14
- Joined: Sun Jun 17, 2007 12:00 am
Amen snare+effects=sorted mate. I personally like to fuck with the velocity over effects, it just sounds better that way, but in terms of a harsh gritty snare rush, a pitched amen snare gets you really very far.
regards,
regards,
- gigassassin
- Posts: 37
- Joined: Wed Apr 23, 2008 12:00 am
Well, here's my first post.
For those who would ask, a snare rush is the sound of multiple instances of a sample (often a snare drum, but hi-hats, kicks and, well, anything can sound nice), quantized close to one another. 64th notes are the start of rush territory at most tempos, but they can be made as fast as your equipment can play them. I find that most of the time 2048th notes, tend to get a little shrill for my tastes.
I like to use a sample that's set to execute once at a time -monophonic. Every new instance of the sample stops the one before it. Sometimes I let the sample play polyphonic, and most of the time there's a ringing involved that I'm not terribly fond of. Anyway, if your drum sampler, or machine, is worth anything at all it has a monophonic setting -it's the thing that makes your closed hi-hat stop the open hi-hat.
As far as manipulation of your snare rush goes, I'd say the three basic variables are interval -how far apart the notes are quantized, velocity -how loud they're playing, and pitch -y'know, pitch. Increasing or decreasing the space between the notes is effective in lowering or rasing the pitch of the rush, unless of course you alter the pitch at the same time, such as lowering the pitch of the sample while decreasing the space between samples (increasing the speed) to keep the pitch constant.
Velocity, well, it's shooter's preference. Increasing the volume as the rush moves through time creates a sort of reverse feel, to me. Decreasing it is like a digitized envelope release.
Then there are effects. I find it effective to enable a send from the snare to a reverb channel when I want some quick emphasis -as if a snare rush weren't enough of an attention grabber.
Heck, I could muse on snare rushes all day, but this post is already gettting long enough to keep conversation going.
Oh yeah, <b>ObedMarsh</b>, all through typing this I was all "Where do I know that name from?"
Innsmouth. Way to ring a bell.
For those who would ask, a snare rush is the sound of multiple instances of a sample (often a snare drum, but hi-hats, kicks and, well, anything can sound nice), quantized close to one another. 64th notes are the start of rush territory at most tempos, but they can be made as fast as your equipment can play them. I find that most of the time 2048th notes, tend to get a little shrill for my tastes.
I like to use a sample that's set to execute once at a time -monophonic. Every new instance of the sample stops the one before it. Sometimes I let the sample play polyphonic, and most of the time there's a ringing involved that I'm not terribly fond of. Anyway, if your drum sampler, or machine, is worth anything at all it has a monophonic setting -it's the thing that makes your closed hi-hat stop the open hi-hat.
As far as manipulation of your snare rush goes, I'd say the three basic variables are interval -how far apart the notes are quantized, velocity -how loud they're playing, and pitch -y'know, pitch. Increasing or decreasing the space between the notes is effective in lowering or rasing the pitch of the rush, unless of course you alter the pitch at the same time, such as lowering the pitch of the sample while decreasing the space between samples (increasing the speed) to keep the pitch constant.
Velocity, well, it's shooter's preference. Increasing the volume as the rush moves through time creates a sort of reverse feel, to me. Decreasing it is like a digitized envelope release.
Then there are effects. I find it effective to enable a send from the snare to a reverb channel when I want some quick emphasis -as if a snare rush weren't enough of an attention grabber.
Heck, I could muse on snare rushes all day, but this post is already gettting long enough to keep conversation going.
Oh yeah, <b>ObedMarsh</b>, all through typing this I was all "Where do I know that name from?"
Innsmouth. Way to ring a bell.
- pimperteen
- Posts: 282
- Joined: Thu Nov 15, 2007 12:00 am
erm, so essentially: some-snares-in-a-row.
Honestly these terms ... "snare rush" .. ugh. sounds like it was made up by a journalist or something. you spend more time explaining the thing the term refers to than the actual technique (lulz if you could even call it that).
fucking hell, if some people can't figure this out on their own - they should give up making breakcore immediately.
Honestly these terms ... "snare rush" .. ugh. sounds like it was made up by a journalist or something. you spend more time explaining the thing the term refers to than the actual technique (lulz if you could even call it that).
fucking hell, if some people can't figure this out on their own - they should give up making breakcore immediately.
- gigassassin
- Posts: 37
- Joined: Wed Apr 23, 2008 12:00 am
pimperteen wrote:fucking hell, if some people can't figure this out on their own - they should give up making breakcore immediately.
Some of me is inclined to agree.
I had fun figuring it out for myself.
Then again, I just love blabbering like a geek about making music, and the people I'm around these days don't know or care what I'm talking about.
- cornishacid
- Posts: 84
- Joined: Sat Jan 26, 2008 12:00 am
pimperteen wrote:fucking hell, if some people can't figure this out on their own - they should give up making breakcore immediately.
asshole.
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