how are people getting that metallic clink that people are using for trap snares these days, i think this came up recently, is it a sample or some layering
it’s kind of in this (50s) but can’t remember a better example
https://soundcloud.com/londonondatrack/young-thug-with-that
you mean like in this too right?
definitely some sample - - maybe from a drum machine i think layered with a clap
1 BigUp
that’s the one x
Yeah, forgot about that part haha. I dunno about verb thouh, sounds more like a bee falling into a vacuum space than drowning imo. but you could have a sine-based popping sound a little before it as like the sound it makes when it hits water.
1 BigUp
Grab some rides/bells/hats and get layering them with other hits. I have a sample I’ve used similarly and could post it here if you’d like.
1 BigUp
I’m gone for a few days, but I’ll post one up when I get home 
2 Likes
Yes RKM its a sample
Put it on zippy for you guys
3 Likes
I wanna know why commodo’s kicks kick the shit out of mine. infact every sound he has seems so beef, and the right kind of dust on the hats/percs/claps as well.
i try hard with various plugins for warmth and tape saturation etc, but i think maybe my sample selection is just off… waaay off.
just seems like his kicks are huuuuuge and lay perfectly on top of the bass to.
If I were to estimate; he’s going as low as 60 on the main bus, and lumping individual kick elements narrowly and at various intervals between 80 and 150 hz. That and good compression. Sounds very 808 based.
1 BigUp
what are kick elements in that respect dear boy ?
Like, I presume he layered a few hits, each hit is a single element.
It’s good thinking tbh. I like that you would assume that because there’s some potential in doing something like that definitely.
But most producers wouldn’t layer kicks tbh. Especially because that freq area is where a lot of ‘difficulties’ occur so you don’t want to mess around with a lot of transients there . . . it can definitely lead to something but it’s unlikely thats what he’s done tbh.
I never don’t lol. Need. Essentially, it’s just a layer of sound from which I can sculpt the frequencies I want most emphasized across the spectrum. I think it is in the first one at any rate though. The bottom sounds like an 808, but there’s way too much top. Perhaps it’s from a sample pack, but even that had to be layered.
And on transients, get onto the ADSRs, keep them tight.
I’ve seen quite a few tutorials on kick layering tbh, unless you want kicks that sound just like everyone else’s, you probably should be doing it imo.
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pipe down
if you wanna communicate
Try new things, if you wanna advance yourself 
If anything, people not doing it is all the reason to do it first.
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This statement makes me sad. A very good example of why quite a few people need to get off forums when it comes to make music and just do it. Hemming yourself in with silly rules like this is no way to advance a sound.
No wonder so much of the stuff online sounds the same, no one taking chances with what they’re doing.
^^ This.
1 BigUp
I have to say as I’ve improved my skills I’ve stopped having to stick loads and loads of samples on top of each other. Usually 1 or two tops. Idk I find it hard to be sure of phase issues in reason. I have to use the tape mode on scream distortion to flip the phase
I dunno man, to me it’s an essential part of sound design, even with synths. It’s not like I’ve got a bunch of essentially similar hits wasting headroom; some are being pitched, some are slightly off the beat, pairing claps and snares with kicks or hats etc.
He’s the newfound don of the sidechain
If you lot want any clues into his production set-up, check his FB for the ‘Commodo Towers’ series of videos of WIP beats he posts sometimes
In most of them you can see about 3/4 Fruity Peak Controllers (a common FX unit used for sidechaining in FL), fucking bare JB Ferox tape emulators (for that saturation), & then nuff FL Compressors.
There doesn’t ever seem to be that many layers on his kicks, i’d say maybe two at most, a toppy one for the flap and then a solid subby one.
Imo it’s the saturation and sidechaining that are the most distinctive aspects of his production style and why his tunes hit so hard in a non-clinical way
3 Likes
Right right right, that is totally something i have been neglecting, I don’t use FL so i had no idea what was going on in those little vids when i saw them a while back, cheers.
So he’s probably also doing alot more with those sidechains than i usually do, (hats/perc chained to kick, atmos and pads as well sometimes)
I realise now that’s an element of his production i love so much, and I notice it’s pretty much the same thing going on with Gantz and guys like Iskelotor, where everything is getting pushed and pulled and sucked around the bigger elements in the track.