Quantizing drums in pro tools

Editing warp markers is very similar to editing beat markers in beat detective. Use the hand tool to click and drag a marker into a new position, and option alt on a PC click a marker to delete it. A marker can be unlocked by double clicking with the hand tool.

A new marker can be created with a click from the pencil tool. Experiment with these different options to create the effect you are looking for. Now you have learned how to quantize audio using both beat detective and elastic audio. No more recording dozens of takes until you get it right. Have fun quantizing! Music, CA. Search this site. The Links Forum. Reason Tutorials.

Pro Tools Tutorials. Ableton Live Tutorials. Cubase Tutorials. My SoundCloud. Step 1 To become comfortable with the beat correcting process, it is best to a start off with a guitar track because it has many large transients and peaks within the waveform.

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Exploring the VDI Discuss and navigate aspects of a virtual drum instrument plug-in Steven Slate EX , explain multi-layer samples, changing drum kits and pieces, saving custom kits, and review the parameters of each instrument we can control in within the plug-in.

Setting Up a Guide Track Before we can start programming the drums we need to first determine the song tempo, set up a click track, and lay down a scratch guitar. Mixing within the Plug-In Now we explore mixing the drum performance using only the mixer section of the plug-in to save space in the session. Printing Drums to Individual Tracks In the final video we route the drum instruments from the plug-in into their own individual tracks within Pro Tools. Product Overview Are you just getting into writing and recording Rock music?

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We appreciate your support! Review Product. Watch out on tomgrooves. I don't phase align anything on the drum kit. As for timing adjustments, I usually go with a combination of Beat Detective and manually editing via tab to transient.

Elastic Audio can be OK for really complicated fixes, but it's generally easier and faster to just punch the take in. Don't use the Rhythmic setting, though. Polyphonic is the only mode that doesn't ruin the cymbals, IMO. And as mentioned, phase relationships can get a bit wonky.

One trick I use a lot to make Beat Detective work a bit better - use triggers. You've got to set up for this before tracking, however, so it won't do you much good if the drums you're working on are already recorded.

I generally work through a song in chunks, like 8 bars or so at a time - this lets you see and correct any weirdness that happens before moving on to the next section. The essence of the trick I'll describe below is having Beat Detective analyze the track by only looking at the triggers but correct all the drum tracks together. Here's how to do it: 1 - Use triggers such as d-drum Red Shot triggers on each drum ignore the cymbals.

These are small metal triggers that clamp on to the rims of the drums and have an XLR output. The triggers are essentially terrible-sounding microphones that are touching the drum head. Run those triggers into whatever you need in order to get a decent level to ProTools - you may be able to just go straight into your PT interface on the setting, or you might need to hit a mic preamp first.

You definitely want a healthy level, and they will sound like arse but will produce a nice, spiky, waveform with almost no bleed from other drums. DON'T hit the "Separate" button just yet. It's been a while since I've done it, so I can't remember if you'll need to click somewhere in the waveform area after un-clutching and before hitting the "Separate" button in order to re-select all the tracks in the drum group. Conform, Edit Smooth, and on to the next chunk. Since the trigger tracks are nice, spiky signals recorded from mics that are touching the drum heads, they come FIRST in time, before any of the actual mic signals which will be delayed based on the distance between the drum and the mic.

These trigger tracks are also VERY isolated, with almost no bleed from other drums leaking into open tom mics or whatever. If you need to, you can un-group the tracks and slip the trigger tracks a little bit to the left so they line up nicely and make Beat Detective react the way you want. I've used this technique a lot and it works great but does require some extra planning and recording a few more audio tracks than normal.

Another huge bonus of recording the triggers is that you can use them to open up the gates on the tom tracks, if you're using gates to clean up those tracks - route the trigger to the side chain input of the gate and, boom, clean gates that don't chatter when adjacent drums are hit. Of course, if you're using Slate Trigger or Drumagog then having the trigger tracks recorded as audio makes life much easier for that application as well - and, since you can un-group and slip the triggers to the left a tiny bit, you can get your gates and triggered samples to sit just how you want them.

Even in cases where we didn't record triggers as audio, I've had decent results by "making" my own trigger tracks from the acoustic drum mics by putting heavy processing on the close mics - massive surgical eq, sometimes even distortion, and heavy, short gating - to create new tracks alongside the drum mic tracks. These new tracks want to resemble what the trigger tracks would have sounded like if we'd been smart enough to record them in the first place - spiky, short, with no bleed.

These "after-the-fact" trigger tracks can be used just like the real trigger tracks, for opening gates, firing samples, and for the Beat Detective trick. I started recording the audio output of the d-drum triggers so I'd have clean signals to fire samples from this was long before software tools like Drumagog and Slate Trigger existed - back in the days when we used actual hardware samplers like d-drum modules and Akai samplers to fire drums.

I'd record the audio output of the clamp-on d-drum triggers, and when it came time to layer drum samples over the live kit I'd route the audio of the recorded trigger tracks back out to the d-drum brain, which would then trigger its internal sounds and send MIDI to the Akai samplers.