Also using the same old ones need to invest in a field recorder imo
I use different different hats on every tune. Except Iām always coming back to the 808 hats. Sometimes layer one an octave below on an 808 hat for the banter.
sample pack one, might be too much, over compressed and poking too much through some mixes
tried and tested organic hat - sampled from a tune - might just fit straight in a mix, but might not have that ^bit where it cleans the slate and states im the only 1 here like the pack one
this one is good itās the one where the hat is part of the same break as the break your using
masterwork
I love putting really short panned delay on hats, kind of a light touch, gives a nice stereo image for them.
in the ultimate sensei sense yeah
like building and hammering out a piece of metal that is in key with the brass section, one for the winds and so on
but Iām not saying I tune all hats with like melodyne (I might) but from a musical perspective, I think hihats (and most cymbals) have largely ended up becomming this weird pseudo dissonant bit that is obnoxiously unimaginative.
Itās useful as a compositional tool and in a band situation, to have that constant hi end focal point and i think thats what excuses āits useā throughout the last century and I think it needs an excuse tbh. Because itās essentially just too abbrassive as an instrument (yes Iām taking you on history of music ! ). Itās like having a peacock in heat strapped to your back when you need to be stealthy.
Its kind of cheap and opening up composition/music to the idea of having other bits going in constant 16ths or 32s that at the time underline or go with the notes in the song - screams to me as being something ābeatā music has to go through.
What they contribute to music is largely tinitus
Are you referring to the trapification to beats music?
And all the kunty drummers Iāve played with, it was always the fāing crash that fried my brain.
Actually not that, specifically, because I see trap as a thing where it could change because the hatsā role is so central to the structure and that thereās not so many elements to switch around or vary.
So a trap track comming up - might define itself by having the hats sound like something else.
Thereās also kind of an overlap between the ghost hits, the shortest snares and the hihats in trap. Not directly interchangable but āgoing offā in the same way some times. Which removes the idea of what a ? should be further ofcourse.
I like to generally mess around with trasposing/panning/delay/reverb and sometimes layering.
808 hats with 1/16th rolling patterns mmmm
Open and closed Hi-Hat Samples
Hi Pass at 1k
Add Reverb using a send channel
Add Delay using a send channel
Add Camel Crusher plugin using a send channel
Add Transient Shaper plugin using a send channel
thank u dudes really interesting read and canāt wait to try some of this shit out
yeah had nice effect just now from layering 2/3 808 style hats with an 808 style one reversed to give it some dust
I like my hats to sound a little weighty and physical, not exaggerated but just enough
I cut a hat from a isaac hayes break that i got in a sample pack and that one I use all the time
yeah i found the lex luger ones on their own sound ok but in the mix sound really like āsnippyā and harsh when i try and make them prominent with volume and eq
how come i aināt heard a harkat tune in what feels like ever
Cus Iām slow as shit haha
made this 1 last month
that is trill, those rattling percs, on some skull disco trap vibe
Fucking sick
theres the old techno trick
where you compress the hats or a cymbal in a group with the sub bass going throughout the whole song, quite severly and then eq or filter out the sub frequency againā¦
it seems a bit detrimental or extra or whatever on the first read maybe⦠but what it does is actually so sick⦠because it means that the sub has now kind of poked a hole or ripped up the floor of the entire hat section - becomming bigger and more aliveā¦
hats and other very harmonicly strong sounds will always eat up space