Phasing is when you put multiple identical sounds on top of each other and it creates are very ugly feedback sound. I hardly make a beat without putting a 808 kick under my normal kick.ДЄ good idea is to slightly pitch the left and right drum samples differently to avoid phase issues. The same goes for any other sound you can layer. Or even layer a percussion sound like a tambourine on top of the snare. I often put a short crash on top of my snare to create an explosive effect.

Putting 2 different snares sounds on top of each other will create a completely new snare sound.

You can (and should) also use this layering technique to create new sounds. This will create a very spacious and impressive sound. Layer three equal drum sounds on top of each other and pan one of them close to the far right (between + 80 / 90), one of them close to the far left (between вЂ“ 80 / 90) and leave one exactly in the middle. ThereвЂ™s one simple technique that is incredible for strengthening clap and snare sounds: Be careful with panning elements completely left or right, because they may disappear entirely when your song is being played back on a mono source or if 1 speaker is broken. To find out what works the best for you, itвЂ™s best to just play around and experiment with the panning settings. I suggest a more radical panning, like between -/+ 45 and -/+ 90. If 100 is hard left hard right (=completely all the way) and 0 is center, anything between -/+ 10 and -/+ 30 will do.ДЇor the more melodic and exotic percussion elements, like toms, bongos, congas etc. Usually, I pan the hi hats, cymbals, tambourines and shakers, so the more basic percussion instruments, a little to the right and/or left of center. In other words, you donвЂ™t need to apply any panning to them.ДЄround this center, you can pan the other drums and percussion samples. Therefore, I advise you to leave all the kicks (including 808 kick drums) and snare sounds at the center. Mixing is relational, thatвЂ™s probably why they call it вЂњmixing.When youвЂ™re panning your drum sounds, you want to make sure that the most impactful elements remain at the core of your beat. However, you should not make any of these decisions without taking the other elements of the mix into account, especially the vocal. WeвЂ™ve done this to highlight what we can do with drums alone. Indeed, in cases where we use reverb as inserts, the difference of 1% or 2% on the wet/dry balance has a drastic impact.ДЄ final point to be made here: weвЂ™ve been showing you drums without music. This is achieved with smart selection of reverbs, tinkering around with settings, and most importantly, a subtle hand when it comes to balances. Finally, the sound seems to travel, not only from left to right, but from the front to the back of the image. It also has a larger apparent width, though you canвЂ™t see it in the Sound Field MeterВ in Insight 2. Listen with those in mind and you can notice a few things: though the kit doesnвЂ™t sound obviously affected, thereвЂ™s a weight to the low end now that wasnвЂ™t there before. WeвЂ™re talking subtle moves to help bolster a feeling of weight, depth, cohesion, and impact. Our drums arenвЂ™t suddenly in a huge cavernous space, thatвЂ™s not what this article is about. What you should notice, first of all, is that it isnвЂ™t so obvious. Finally we add a well-timed reverb the settings change depending on the mix, but hereвЂ™s what weвЂ™ve got for this one:

Next, try adding some harmonic distortion-or even amp emulation-to mangle the sound a bit we want to divert the ear away from the obvious doubling, and distortion can help. In this case, four semitones, give or take, lent a nice little something to the sound. Use your musical ears here: you want something that fits with the snare drum and the key of the song. Now use a pitch shifter to bring the drum down in pitch. Gate it, so that youвЂ™re only getting the strongest hits (you want to avoid the ghost notes). It can thicken up a really cheap-sounding snare, and it can help add a pleasant resonance to a good-sounding snare.ДЇirst, send the snare to a bus.

The tail has been widened, and its timing has shortened. ItвЂ™s the same as above, but the early reflections have been turned down, while the early attack has been changed to favor the later portions of early reflection.

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