How do get that Eskmo muti clap?

Been wondering this for a while, it’s probably one of my favorite sounds, does anyone know where it came from and who it started it?

I haven’t had much time to record anything but as far as I know it’s choosing the right sounds that fit in the mix - crumpling paper really fast, finger snaps with claps etc. How do you do it? Is there a more specific name for it?

a bunch of random samples just a little off time bot directions…processing etc…just think about it man… the concept is rather simple…matter of pratice ans talent

can you post examples?

Multiple claps, presumably.

multiple claps/rims, pitch some down, move some 2ms etc etc

“Layer water sounds with your claps”

  • somebody on the old dubstepforum
1 BigUp

Wiley and a few other OG’s like Danny Weed used “Plugsounds 3”, the MPC kit has bare old school Grime sounds including the classic Wiley clank snares as well as bare others.

If I remember correctly, the Morgue / What sound is somewhere in them packs also. (bagol?)

Done this before, can confirm this sounds great. Frequent does this with his snares too.

As for who started it, it’s basically just layering odd sounds to create new ones with different textures or fx. a very old technique used by foley artists since pretty much the end of the silent film era.

Films aside these kind of claps have been around way before Eskmo,Clark anyone?,Autechre (pretty much the entire Warp roster)using found sounds as sources is not something that miraculously became a thing when Amon Tobin and Eskmo arrived (they seem to be the most lauded)

You are looking for any kind of sound that is essentially granular in nature (made up of taps/impulses) e.g shakers,particular articulations of paper (scrunched,crumpled),water etc etc,which you can if you wish offset/play-off a more traditional percussive envelope (snare and tom shapes for example)but not strictly either.most things that can be enveloped can be made to function as any part of the percussion family with abit of know how and understanding of grooves and rhythms, helps make this less analytical(like this topic) and more fun. at least then you would know when and where to use these style of claps for them to WORK in a rhythm, unless you want to sound like the umpteen poor imitations of Tipper (i think it’s called neuro-hop or as i like to call it "stiff hop"because quantizing everything to a swing or moving things off grid does not make up for poor envelope,articulation selection (smiley face))