Great, Great videos probably the moste useful one i've seen on the internet with the stuff of Btheclick. No fake promises, no "dothis to succed rule" (like there is one lol), only useful tips and concept well explained ! thanks ! Another tip I could add on how to sound more analog (or groovy?) is to play with "track delays" in ableton. When you produce in the box, everything is perfectly in sync, almost too perfectly in sync. When u use to record music back in the days, one machine would provide clock to all the other machines, through cables, wich caused some machines to be a little "late" or "early" depending of their position in the chain. This delay might make your kick, or your hats or whatever element late or early, wich would add some groove (controlled or not). Playing with the track delay of each track can enable you to recreate this feeling. It is basically like in a band when you are playing ahead of the beat, on the beat, or behind the beat. If you wanna try this : create a simple 909 house groove in ableton (poum tchik ta tchik poum tchick ta tchik) made of 2 different tracks (one for kick only, the other for the rest of the drum machine) then start playing with the track delay of the "kick" track as the pattern is playing and see how it feels. I know that i love a little bit late kick (from 3ms to 10ms late). It gives that extra little naughty groove feel like on this track : ruclips.net/video/7ppZhsgB97g/видео.html Reading this i have no clus if it is clear let me know if it isn't peace
🙏🙏🙏 thanks for the super nice comment and extra insight! :) I definitely shed a few tears when I see a producer of your level comment on my stuff haha 🥲cheers
Hardware is not automatically analog. The sequencers of the 909, even the sequencer of the 808, are digital, while some of the sounds in the 909 are analog (Kick, maybe also the snares and clap) and all of the sounds are analog in the 808.
thanks for this great point, you're right!! many people use the term analog synonymously for hardware outside the DAW, even though that's not entirely right. I didnt get too deep into this because the video would have gotten too long. To me it seems like this is another good point to realise that the sound of hardware doesnt have to be this magical thing that you cant recreate in the box :)
The kick, snare, toms, rimshot & clap in the TR-909 are all Analog, whereas the: Open Hat, Closed Hat, Ride & Crash use 6-Bit samples. The sequencers of the 808/909 use an NEC microprocessor and the internal timing is handled by a crystal oscillator, which is basically the same sort of tech used in Seiko Quartz wristwatches.
for sure, you can use snares to get jackin grooves and place them in similar ways to the closed hats and also use a similar processing approach. I would not use choke groups for snare, but heavy saturation together can be cool and also check out how to handle the transients to create a certain flow. you dont have to pitch them down though. Or what exactly did you want to ask with that last part? :)
@@OleansHouse i am interested to know how to get the ghost snare effect. its usally on the 16th position. i decribe it like a 'double kick', but its really a swung hi hat or snare. i can provide some examples if needed
I would say, sound wise probably a little, yes 😅workflow wise it can be veeery nice. but if you find a cool way to mimic analog approaches with midi controllers you can kind of survive completely without it. but it also has its charm for sure
@@vulvaether5169 I might do either one or even both depending on the situation. If I use it almost like a "sound design" tool to have a big impact like on the closed hat, I might use it on a single track especially if I want that effect to happen on a single element. also sometimes I like to catch (clip) peaks of single elements using tape saturation instead of a limiter. in this case I might also use it on a single track. there might be more examples that I dont think of right now. but it can be very nice on a specific group of your drums, like just your hats to get a groove going, but also on a tops group including clap and snare, but I might drive it a bit less extremely. Ive also used it on a whole drum bus, but probably a lot less extreme (or in parallel) especially if theres A fat bass drm involved. I would really try things out and find a way to decide what sounds good for you. you might not need any saturation. Sounds like this template reply haha but there really isnt one very obvious approach to take 😅
XO is my current go to for groovy drums.
Your videos are gold! Keep them coming!
Very nice video. I have been struggling with getting the right drum sounds and your channel has helped me so much. Thank you ❤
@@puneet-404 thats very nice to hear :)
last point is gold, cheers!
thank you sensei Olean!
🙏😅
Great, Great videos probably the moste useful one i've seen on the internet with the stuff of Btheclick. No fake promises, no "dothis to succed rule" (like there is one lol), only useful tips and concept well explained ! thanks !
Another tip I could add on how to sound more analog (or groovy?) is to play with "track delays" in ableton. When you produce in the box, everything is perfectly in sync, almost too perfectly in sync.
When u use to record music back in the days, one machine would provide clock to all the other machines, through cables, wich caused some machines to be a little "late" or "early" depending of their position in the chain. This delay might make your kick, or your hats or whatever element late or early, wich would add some groove (controlled or not). Playing with the track delay of each track can enable you to recreate this feeling. It is basically like in a band when you are playing ahead of the beat, on the beat, or behind the beat.
If you wanna try this : create a simple 909 house groove in ableton (poum tchik ta tchik poum tchick ta tchik) made of 2 different tracks (one for kick only, the other for the rest of the drum machine) then start playing with the track delay of the "kick" track as the pattern is playing and see how it feels. I know that i love a little bit late kick (from 3ms to 10ms late). It gives that extra little naughty groove feel like on this track : ruclips.net/video/7ppZhsgB97g/видео.html
Reading this i have no clus if it is clear let me know if it isn't
peace
🙏🙏🙏 thanks for the super nice comment and extra insight! :) I definitely shed a few tears when I see a producer of your level comment on my stuff haha 🥲cheers
Hardware is not automatically analog. The sequencers of the 909, even the sequencer of the 808, are digital, while some of the sounds in the 909 are analog (Kick, maybe also the snares and clap) and all of the sounds are analog in the 808.
thanks for this great point, you're right!! many people use the term analog synonymously for hardware outside the DAW, even though that's not entirely right. I didnt get too deep into this because the video would have gotten too long. To me it seems like this is another good point to realise that the sound of hardware doesnt have to be this magical thing that you cant recreate in the box :)
The kick, snare, toms, rimshot & clap in the TR-909 are all Analog, whereas the: Open Hat, Closed Hat, Ride & Crash use 6-Bit samples. The sequencers of the 808/909 use an NEC microprocessor and the internal timing is handled by a crystal oscillator, which is basically the same sort of tech used in Seiko Quartz wristwatches.
@ thanks for the extra insight!
Great vid thanks!
those hi hats, should you ever use a snare too? escially on the 16th note. if so does it need to pitched down?
for sure, you can use snares to get jackin grooves and place them in similar ways to the closed hats and also use a similar processing approach. I would not use choke groups for snare, but heavy saturation together can be cool and also check out how to handle the transients to create a certain flow. you dont have to pitch them down though. Or what exactly did you want to ask with that last part? :)
@@OleansHouse i am interested to know how to get the ghost snare effect. its usally on the 16th position. i decribe it like a 'double kick', but its really a swung hi hat or snare. i can provide some examples if needed
@@chrish215 I have a Video called Jackin' House Basics - Call and Response in Drums - you can check that out I also talk about snares there :)
The analog hype is so overblown
I would say, sound wise probably a little, yes 😅workflow wise it can be veeery nice. but if you find a cool way to mimic analog approaches with midi controllers you can kind of survive completely without it. but it also has its charm for sure
@@OleansHouse Do you use tape saturation on individual tracks ? Or on the topdrum group only?
@@vulvaether5169 I might do either one or even both depending on the situation. If I use it almost like a "sound design" tool to have a big impact like on the closed hat, I might use it on a single track especially if I want that effect to happen on a single element. also sometimes I like to catch (clip) peaks of single elements using tape saturation instead of a limiter. in this case I might also use it on a single track. there might be more examples that I dont think of right now. but it can be very nice on a specific group of your drums, like just your hats to get a groove going, but also on a tops group including clap and snare, but I might drive it a bit less extremely. Ive also used it on a whole drum bus, but probably a lot less extreme (or in parallel) especially if theres A fat bass drm involved. I would really try things out and find a way to decide what sounds good for you. you might not need any saturation. Sounds like this template reply haha but there really isnt one very obvious approach to take 😅