"Any synth with a noise generator can be used for basic drum design": How to synthesize drums using noise

Arturia Pigments 4 Plugin.

Today, we're showing you how to create your own drum sounds using white noise. Almost any synth with a noise generator can be used for basic drum design - it helps if your synth houses a multimode filter and drive stage though.

While a low-pass filter is fine for ‘standard’ hi-hat and clap synthesis, other filter variants can add a modern twist to traditional noise-based percussion – we’ll demonstrate this with a comb filter and drive, but feel free to experiment with other external effects too. Also, remember that drums are usually heard in a realistic space, so use reverb treatments to take off that dry edge.

(Image credit: Arturia)

Begin with a synth that features a noise oscillator, filter and flexible modulation options. After disabling the synth’s ‘regular’ oscillators, we engage a white noise oscillator source. The synth is now only outputting white noise.

(Image credit: Ableton)

A 16th-note MIDI pattern is sequenced on the synth’s channel. Velocity is an ideal modulation source when programming hi-hat accents, so we adjust our notes’ velocity values first. Note lengths are also tweaked, giving the pattern subtle variation and groove.

(Image credit: Arturia)

Tight amplitude envelope settings are dialled in and a low-pass filter – also with short envelope settings – clamps down on the notes, reducing them to plucky closed hi-hats. Velocity is assigned to both envelopes’ decay, slightly opening out the notes with higher velocity values.

(Image credit: Arturia)

A second instance of our synth is loaded, playing offbeat notes of white noise. A high-pass filter, with plenty of resonance applied, thins out the noise. This creates a weedy open hi-hat layer that sits nicely over our closed hats.

(Image credit: Arturia)

(Image credit: Arturia)

Another synth instance plays notes on beats two and four. A fast envelope modulates the pitch of the synth’s comb filter, which we use in band-pass mode. A heavy dose of tape-style drive then crunches up the snare.

(Image credit: Ableton)

EQ, panning and subtle saturation effects add character to the separate elements. Synthesised drums often sound dry and unnatural, so we’ll add realism with two reverb returns – a shorter room setting for the hi-hats, and a longer reverb for the snare.