Its 80% about mic placement, room choice, and drums tuning. Of course the more mics you have the better is the balance you can get afterwards. Once tracked, find a good balance, filter muddiness and harshness of each track with EQ. Use a gate plugin to reduce bleed. Compress what you think needs to be compressed, use slow attack and fast release times to get that punchy sound. Instead of use compression in the drum buss, a nice trick is to make is to create a parallel send of the entire drum, compress the hell out of it, and then boost about 10 db under 100 Hz and above 10 KHz, and finally increase the fader until it sounds perfect. Finally you can play with delays and reverb in the snare, in the entire drum I like to use room plugins.
@@ieduardo913 this - the crash is the most noticeable but they are actually over this drum track..in a disgusting smudgy way...the difference between Kevin and his imitators is that kevin spends hours making sure those effects are all sonic bliss
put flanger on the drum overheads..bus the snare and hat to another flanger...automate the intensity and the wet dry levels. Use subtractive EQ to lower the crap sounds...then warm up the nice ones just a little..Keep the kick separate from most of the effects and keep the knock of the mid range but fatten it out with a short club sub bass sample around 60Hz...bus a little bit of the kick in to the effects only if you have to..DO BETTER THAN THIS TRACK...THE KEY TO TAME IMPALA IS IN CRAFTING THAT FLANGY CRASH WASH...automate the levels by hand for many hours...smoke pot...make it sound like being stoned. The accents on the high hats make a big difference too..play different patterns of volume and intensity of your hats on different beats you also want to eq your snare drum to remove any rings then boost a little in the 500hz range or so...then you want to compress the crap out of this..play with attack times till its a solid but pleasing "THWACK" - bus this into a flanger or phaser unit and play with attack/release and wet/dry to taste
Probably using a compressor and saturation, or you could just add saturation but with a limiter for the rly high frequencies like the hh or the back sound of the snare/rimshot
@@narutoball_3556 its a fucking compressor, the hats and stuff have a FLANGER on them but beyond that the crunchiness comes from compressing the shit out of the drums and a bit of slapback
Thx for sharing. If you have a minute come check out our music videos - We're an independent rock band and think you may dig our tracks. Appreciate it.
yo this is actually sick
Ayo tame impala lagi. Saya menunggu video berikutnya
So good. I'm gonna make a song to this beat!
Def gonna use it
Anyway I can get the file now the Soundcloud is gone?
Dude you have got to make a tutorial for this , I’ve been trying to get this sound for ages 😩
Its 80% about mic placement, room choice, and drums tuning. Of course the more mics you have the better is the balance you can get afterwards. Once tracked, find a good balance, filter muddiness and harshness of each track with EQ. Use a gate plugin to reduce bleed. Compress what you think needs to be compressed, use slow attack and fast release times to get that punchy sound. Instead of use compression in the drum buss, a nice trick is to make is to create a parallel send of the entire drum, compress the hell out of it, and then boost about 10 db under 100 Hz and above 10 KHz, and finally increase the fader until it sounds perfect. Finally you can play with delays and reverb in the snare, in the entire drum I like to use room plugins.
I forgot to say that Kevin sometimes uses effects like phasers or flangers in the OH, and saturation.
@@ieduardo913 this - the crash is the most noticeable but they are actually over this drum track..in a disgusting smudgy way...the difference between Kevin and his imitators is that kevin spends hours making sure those effects are all sonic bliss
put flanger on the drum overheads..bus the snare and hat to another flanger...automate the intensity and the wet dry levels. Use subtractive EQ to lower the crap sounds...then warm up the nice ones just a little..Keep the kick separate from most of the effects and keep the knock of the mid range but fatten it out with a short club sub bass sample around 60Hz...bus a little bit of the kick in to the effects only if you have to..DO BETTER THAN THIS TRACK...THE KEY TO TAME IMPALA IS IN CRAFTING THAT FLANGY CRASH WASH...automate the levels by hand for many hours...smoke pot...make it sound like being stoned. The accents on the high hats make a big difference too..play different patterns of volume and intensity of your hats on different beats
you also want to eq your snare drum to remove any rings then boost a little in the 500hz range or so...then you want to compress the crap out of this..play with attack times till its a solid but pleasing "THWACK" - bus this into a flanger or phaser unit and play with attack/release and wet/dry to taste
@@ieduardo913 PFHHHH
Hey this is awesome d you got any more tracks
can you make a tutorial on how you got this sound?
would love to see this
Probably using a compressor and saturation, or you could just add saturation but with a limiter for the rly high frequencies like the hh or the back sound of the snare/rimshot
vulf compressor
@@narutoball_3556 its a fucking compressor, the hats and stuff have a FLANGER on them but beyond that the crunchiness comes from compressing the shit out of the drums and a bit of slapback
Dope!!
Love.it
Soundcloud link doesnt work anymore.. :(
Do you still the .wav file available?
moaaar
Nice job, are you able to quantize it in midi form? Having trouble looping the drums. Thanks!
Lol it’s 4/4 just count it out? Easier than you think
Where can I download this from? Thanks a mil!
Thx for sharing. If you have a minute come check out our music videos - We're an independent rock band and think you may dig our tracks. Appreciate it.