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The Art of Drum Layering

The Art of Drum Layering

This article is an excerpt from Samplecraze's ebook release, The Art of Drum Layering, by Eddie Bazil. This book shows you, step-by-step, how to layer drum sounds. As always, you can Buy Book at Lowest Price on Amazon

download this chapter in pdf format, if you'd rather read it offline.

To hear the audio examples in this article, please download them here.

A little Intro

Every sound has an attack, a decay to the attack, sustain and a release - this is referred to as ADSR. Drum sounds have these characteristics in abundance, and these characteristics can determine the success of a sound in a beat, or the whole beat itself. Slight changes in any component of the ADSR of the drum elements in a beat can have a dramatic effect on the overall perception of the beat. A funky example that you should understand, and if you don’t, then take up cooking or crochet, is that of a snare sound. As you know, a snare has an attack that makes it distinctive as a snare sound. This is the ‘snap’ that you hear on snares. The speed at which the attack reaches its maximum point and then drops is called the ‘decay’. The body of the snare, past this point of attack and decay, is called the ‘sustain’ and the ‘release’ is when the snare stops, or rather, the way it stops.

To make life easier, let us take a clip snare as an example ( Clip Snare 01). You can hear its distinct attack and quick decay. It has a very small sustain (body) and a sharp release. A good example of a long release on a snare might be that of a flam snare ( Flammy Snare 01) that dies slowly and gives the impression that it is being played as opposed to a sample being triggered. Think about it. A drummer hits a snare and the snare takes time to be hit then released. This is why we like drummers, because they sound real and fluid and because they bring the strongest beer to the gig.



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