# Drum programming literature/tutorials/etc



## keithb (Nov 6, 2006)

"How to Write Original Drum Tracks"
http://www.tweakheadz.com/how_to_make_original_drum_tracks.htm

"The Theory of Drum Programming"
http://www.alandmoore.com/ramblings/index.php?article=articles/TheoryOfDP.htm

These two have helped me a lot, although I still really suck at drum programming. Anyone have any others?


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## smueske (Nov 13, 2006)

This may or may not be off-topic as I've been programming drums for awhile now, but when I first started programming drums I found it helpful to buy a few books on drum rudiments and then actually practice those rudiments with the drum sampler. When you practice and record those rudiments you start to notice patterns and it makes it a lot easier to program fills, etc.

The biggest factors I've found in drum programming are these:

1.) velocity. you don't need 5,000 variations on drum hits, but you do need a pad with at least 8 layers of samples. when you program the beats, fills etc. it helps to play the parts and then edit them to time (missed beats etc). I find it preferrable to physically move the notes rather than quantize.

2.) Note duration. This is critical as well. The longer the sample triggers, the more authentic the sound. There are exceptions, of course (hi-hats, chokes, etc) -- this just takes a bit of messing around

3.) having right hand and left hand pads. It's preferrable to have a slightly different sound for each, but even if it's just a copy, it helps to have one pad for each hand. This allows you to draw the durations out longer while composing fills and double bass lines

4.) a sampler that supports multiple ports. this is essential because it allows you to place different drums on different tracks

5.) Compose with "landmarks" in mind. that is, what in the song needs to be accented? this will help when you are composing a beat.

6.) write the drum track in a simple stereo, main out format until the song is composed. that is, don't start fucking with post-processing until you need to. adding compression, reverb, etc. only bogs down the CPU.


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## Jux (Nov 4, 2008)

I also recommend that article: link


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## sami (Nov 6, 2008)

My own personal rule is that I try not to make something that sounds like a drummer that has more than 2 arms. Some of Vinnie Paul's work on FBD makes me scratch my head because it sounds like he's got 3


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## newamerikangospel (Nov 6, 2008)

The strongest advice I could give someone is

1) study drum techniques, and the physics of a drummer. This will give you an idea of what a drummer is capable of, and can help lift that little shroud of mystic of drum programming when you first get into it

2) try to program specifics passages/songs that you really find the drums to be doing what you like/want. This will give you a more practical knowledge of how to use what you gain from above. 1 will be your butter, 2 will be your bread. You can eat butter on its own, but thats pretty gross , but without butter, bread tastes a little plain.


Veloctiy is EXTREMELY important, in my opinion. If you aren't using velocity changes, you are programming drums for Sun 0)))....lol, or you aren't going to have a fully expressive, aka "real", sounding drum track.


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## zeusdeux (Dec 5, 2008)

newamerikangospel said:


> The strongest advice I could give someone is
> 
> *1) study drum techniques, and the physics of a drummer. This will give you an idea of what a drummer is capable of, and can help lift that little shroud of mystic of drum programming when you first get into it*
> 
> ...



these two facts being normally the most underrated are a deciding factor on the sound of the whole piece of music.
Phrase the drum parts right.
If ur using dkfh -> apply and eq and reverb on the drum track
if ur using AD->goto the fx tab and work with the compression on each drum and cymbal and each mic and the master track

then
compress the whole mixdown yet again and then eq it , AGAIN!

If done properly u will hav an overall good sound and not jus a good drum sound....


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