Layer for success…
Combining multiple sound layers is a tried and tested way to add character to drum hits, and a great way to combine the solid punchiness of traditional analogue beats with the weirder effects created with the approaches discussed here. For example, pairing more unpredictable, textural sounds created with granular synthesis with a rock-solid analogue or sampled drum hit is a great way to have the best of both worlds.
Some power synths/samplers, such as Pigments or Phase Plant, let you do this within the engine itself and process/save your sounds as a unified patch. Often though, the best way to approach drum layering is to work with good old-fashioned audio. Set up dedicated sound design sessions where you can layer up elements on your DAW’s timeline, group them and then bounce the result out as a new sample for later use.
There are various things to watch out for when building up drum sounds in this manner. Firstly, use EQs to help you consider what frequencies you really need from each element. Are you trying to combine two sounds with lots of low-end content, when really it’s just the high ‘attack’ you want from one and the sub from another? Cutting the unnecessary elements with high/low filters can help make the sound much cleaner. Be wary of phase issues too. If you find your combination of sounds is coming across weak or just wrong, try nudging parts back or forwards by milliseconds until your elements sound right.
A little group processing works wonders too. Saturation can be great for gelling sounds by adding subtle, musical harmonics. Plate or room reverb is great for adding a unified sense of space. Compression brings sounds together too – use a delayed attack to add punch or a slow release to emphasise body.
Be creative: try odd things, like resampling reverb or effect tails and stitching them to different sounds, or running simple samples through long effect chains to completely reinvent them.