EQ Magazine - September 2007 - (Page 59)

Fig. 3:Trigger inputs can usually accommodate acoustic signals, typically from a high-output mic or piezo transducer, and use these to generate sounds and/or create MIDI triggers. down to $799 retail. And these aren’t exclusively studio tools, either. For those who need to rehearse in cramped quarters, or deal with noise-sensitive neighbors, electronic drum kit controllers are a simple way to solve acoustic problems. TRIGGERING SOUNDS Taking techno-realism even further, real drums can be MIDI-fied in a number of interesting ways that expand on what standard drums can do. While incorporating drum pads into an acoustic drum set can blend the power and sound of a traditional kit with the versatility, unique sounds, and sequence capabilities that MIDI has to offer, trigger technology can add sounds and textures to a traditional drum set that might not be possible otherwise. Triggering makes use of a transducer (such as a mic, contact pickup, or piezoelectric transducer) to change an instrument’s acoustic energy into an electrical voltage that gets translated into MIDI messages. These can then drive a MIDI instrument, thus triggering sounds or samples (Figure 3). As the trigger source is an electrical signal, the original audio source can be almost anything. For example, a miked snare could trigger a lower-pitched “monster” snare. Alternatively, you could replace or augment a previously-recorded snare track with a triggered sample that’s more appropriate. (If the tracks were recorded to a DAW, plug-ins such as WaveMachine Labs’ Drumagog are ideal for augmenting/replacing drum tracks in the software environment.) If you get the idea that these systems can be extremely flexible, you’re right — this type of production work definitely comes under the “use your imagination” category. However, taking full advantage of these setups can get fairly complicated, involving multiple setups that can be recalled using program changes to alter surface velocities, sensitivity controls, MIDI channels, and note mappings in a way that can completely change a system’s setup between songs. DON’T MISS A BEAT When using MIDI controllers, it’s a smart move to always be in record mode whenever someone is playing. After all, there’s no easier way to capture a performance. You don’t have to adjust levels, set up mics, or worry about hard drive space. MIDI is extremely compact, as you can record hours of MIDI data in a few megabytes of space. And, as you never know when you might play something that will become a riff in a hit tune, you’d better be prepared! DRUM PAD CONTROLLER TIPS tools such as Pro Tools’ Beat Detective or Sonar’s AudioSnap to create Integrating smaller pad controllers (like the ControlPad) into a standard a tempo map that follows the clave hits. drum setup allows drummers to trigger loops, play sound effects, trigger Also, don’t overlook the wealth of possible options when playing a sustaining background drones, and more. When used in conjunction with a good sampler, a control pad can also trigMIDI drum controller through MIDI processors ger drum sounds from instruments that are too (also called MIDI plug-ins or MFX, as found in promuch of a hassle to take to the gig, such as a tymgrams like Digital Performer, Cubase, Logic Pro, pani or world music percussion. And if you want Sonar, and others). For drums, delay effects can a really wild bass part, program a pad controller add syncopation and flams, and arpeggiation to play the notes of a scale in the bass range, and can, depending on how your kit is laid out, crelet the drummer flail away. The bass line you’ll ate highly unusual effects as a single note “riphear will almost certainly be very different comples” through a bunch of drum sounds. And for pared to what a bassist would play. melodic applications (such as tuned percussion), Another great application for pad controllers MIDI plug-ins that can derive chords from individis when you want a sequencer to follow the ual note inputs are quite common. MIDI effects can process the triggers drummer, rather than locking the drummer to Wannabe drummers can find other reasonablyfrom drum controllers, opening up even a click. priced, compact options, such as the Korg more possibilities.These effects are just some of the ones included in Cubase 4. Suppose you’ve recorded a song without a padKontrol, M-Audio Trigger Finger, and Akai click, and you really like the feel, but you’d also MPD24. All of these are designed more for finger like to overdub some loops. Have the drummer play a simple, obvious sound drumming than using drumsticks, although if you play with a light enough (like a clave sample) on the beat, into a separate track. You can then use touch, you can usually get away with sticks, as well. —Craig Anderton www.eqmag.com SEPTEMBER 2007 EQ 59 http://www.eqmag.com

Table of Contents Feed for the Digital Edition of EQ Magazine - September 2007

Contents Talk Box Sounding Board Get Cape. Wear Cape. Fly Ben and Vesper Kaiser Chiefs Toolbox Ozma Porcupine Tree Rush The Software Power User Guide Guitar Trax Bass Management Key Issues Drumheads Vocal Cords Mix Bus Cheat Sheet Chameleon Labs TS1 and TS2 Primera Bravo Se Disc Publisher Roland MC-808 Magix Samplitude Professional 9.1 Massey Tape-Head Big Fish Audio Revolucion Reggaeton Sonivox World Beats Sony Pocket Diva Adobe Audition 2.0 Cakewalk Sonar 6 Room with a VU: J Street Recorders, Sacramento, CA

EQ Magazine - September 2007

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