To his EQ starting point (which I now use all the time) I would add: it's often worth trying out a dip around 700-800 Hz, which often adds a kind of 'papery' quality to the sound. Take a look at this Andrew Schep's tutorial, to get an idea of how fast you can go to 'eh' to (as he puts it) 'that sounds like it could be on a record'! This really was a revelation to me: If you are working with raw acoustic samples of snare drums - say BFD, or EZDrummer, or Slate - then be aware that the totally unprocessed sound of a real snare can sound.

One for snap, one for sustain' ot transient designer) and verb(s). You might need a sample to reinforce, either the attack or the room,Īnd just additional compression (again' a couple of parallel, Tracked drum in a good room already but even in tht case It all depends on your samples, assuming you don't have a well Send to additiona verb or compression ir saturation if needed bla bla. Send them all to a snare sum bus and tweak more if needed, Or you can process each sample indiviually, like send the acoustic snare,Īlone or together with the fat sample to a parallel compression channel with slow-ish attack to get the snap,Ĭompress the roomy sample with very fast attack and fairly fast release etc. (with compression and or transient designer, possibly multing it more than once) One has the body (some old drum machines samples work very well for this kind of sounds), and one is your main, real acoustic snare.Īs far as the processing you can go different ways about it,Įither sum them to a bus and process as one You usually want 2 or 3 samples where at least one of them is pretty roomy, Layering samples, a couple of verbs, compression, transient designer.

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