Recording - October 2009 - 46
Last month we looked at Beat Detective, the tried and true drum replacement method in Pro Tools. This month, we look forward to newer technologies and then we go old-school. EDITING DRUMS IN PRO TOOLS— By Mark Hornsby A C O M P A R IS O N O F T E C H NI Q U E S ultimately act as flexible trigger points for each drum hit. Editing a drum performance is now just like editing MIDI data. Under the Event menu we can select Event Operations > Quantize and use the same tools as we would to edit or conform a MIDI performance to the timeline. After quantizing a performance to a certain note value, we can flip over to the Warp view of the selected tracks and manually move the markers much like we would in Beat Detective. This is rather handy for tweaking or undoing an unwanted edit. Once everything is in order, we can highlight and copy the audio, make a new playlist, consolidate the edited performance into new audio regions, and turn the Elastic Time feature off to conserve the CPU. By copying this onto a new playlist, we still have our unedited performance on a unused playlist as a backup. Now, one might ask: How does it do all that? Good question. Once the tracks are analyzed, any changes to the timeline (like tempo) or any shifting of the event markers—be it manually or through Quantize features—will make Pro Tools process the audio using its new time compression and expansion (TCE) algorithm. So the end result is audio that has been processed, compressed, expanded and so on. How does it sound? It really depends on the source material. Try it out for yourself. This, like any tool, can be a great thing or can be used in excess. Think of an inexpensive import microphone, for example. Typically, the top end has been hyped so the material you’re recording sounds like it’s cutting through in a mix. There are times where something like this is exactly what we’re looking for. But what happens if everything in a song is recorded/overdubbed with that same microphone? The tracks now all sound thin and harsh. The same analogy can be applied here. Although it can be done tastefully, if every track in a song has undergone some type of TCE processing, we run the risk of diminishing returns. Getting our hands dirty Lastly, let’s talk about editing drums the old-fashioned way: by hand. Editing drums by hand is probably the easiest method to explain and the hardest to teach. Since we’ve been focused on editing against a timeline, let’s start there. Part 2: From Elastic Time to Editing by Hand Elastic Time Introduced in Pro Tools 7.4, Elastic Time allows audio to be manipulated like MIDI data. It has four algorithms that can be used for various results in real time or a rendered mode. Once a track(s) has been analyzed by Pro Tools, it can then be made to do different things based on the session timeline. The quantize feature in MIDI sequencers is historically known as a correction tool for performance timing issues. Now, with Elastic Time, we can quantize audio just like we would MIDI data. Here’s how we do it with drums. Before we can quantize any audio, we have to tell Pro Tools to analyze the drum tracks. At the bottom of each track in the edit window, there is a dropdown menu listing the four elastic modes. Once one of these modes is selected, Pro Tools will then begin to analyze the audio in that track. The results of this can be seen by switching from Waveform to Analysis view. After the file has been processed, you can see that each transient has been given an event marker. It’s important to note that, at this point, the audio file has only been analyzed—its sound and performance have not been adjusted. For drums, we’ll want to choose the Rhythmic mode for each one of our drum tracks. At this point you’ll need to decide whether or not Pro Tools is going to continue to process the tracks in real time or in rendered mode. This decision should be based on how much CPU power your system has. If you’re running a fairly powerful system with a dual processor and a lot of RAM (for example), leaving the tracks set to real time probably won’t be a problem. If you have an older machine, selecting the rendered mode might not be a bad idea. This selection can also be made in the same dropdown list where the elastic mode is selected. Now that the drum tracks are analyzed and ready to go, we’ll need to change each track from Sample based to Tick based. This will allow the event markers (that are on each transient) to fluctuate with the timeline and 46 RECORDING OCTOBER 2009
Recording - October 2009
Table of Contents for the Digital Edition of Recording - October 2009
Recording - October 2009
Fade In
Contents
Talkback
Fast Forward
Joe Chiccarelli And The Perfect Mix
Zoom R16
The Mixing Workshop
Lauten ST-221 Torch Microphones
Mastering Engineer Bob Katz—The Voice of Experience
Benchmark MPA1 Preamplifier
What The Heck IS Mastering?
Reviewed and Revisited: M-Audio ProFire 610
Universal Audio 710 Twin-Finity
Recording’s Drum Column
Plug-In Outlet
Readers' Tapes
Chameleon Labs 7802 Tube Compressor
Recording’s Showcase of Sounds
Advertiser Index
Fade Out
Recording - October 2009 - Recording - October 2009
Recording - October 2009 - Cover2
Recording - October 2009 - 1
Recording - October 2009 - Fade In
Recording - October 2009 - 3
Recording - October 2009 - Contents
Recording - October 2009 - 5
Recording - October 2009 - Talkback
Recording - October 2009 - 7
Recording - October 2009 - Fast Forward
Recording - October 2009 - 9
Recording - October 2009 - 10
Recording - October 2009 - 11
Recording - October 2009 - Joe Chiccarelli And The Perfect Mix
Recording - October 2009 - 13
Recording - October 2009 - Zoom R16
Recording - October 2009 - 15
Recording - October 2009 - 16
Recording - October 2009 - 17
Recording - October 2009 - The Mixing Workshop
Recording - October 2009 - 19
Recording - October 2009 - 20
Recording - October 2009 - 21
Recording - October 2009 - Lauten ST-221 Torch Microphones
Recording - October 2009 - 23
Recording - October 2009 - Mastering Engineer Bob Katz—The Voice of Experience
Recording - October 2009 - 25
Recording - October 2009 - 26
Recording - October 2009 - 27
Recording - October 2009 - Benchmark MPA1 Preamplifier
Recording - October 2009 - 29
Recording - October 2009 - 30
Recording - October 2009 - 31
Recording - October 2009 - What The Heck IS Mastering?
Recording - October 2009 - 33
Recording - October 2009 - 34
Recording - October 2009 - 35
Recording - October 2009 - Reviewed and Revisited: M-Audio ProFire 610
Recording - October 2009 - 37
Recording - October 2009 - Universal Audio 710 Twin-Finity
Recording - October 2009 - 39
Recording - October 2009 - 40
Recording - October 2009 - 41
Recording - October 2009 - 42
Recording - October 2009 - 43
Recording - October 2009 - 44
Recording - October 2009 - 45
Recording - October 2009 - Recording’s Drum Column
Recording - October 2009 - 47
Recording - October 2009 - Plug-In Outlet
Recording - October 2009 - 49
Recording - October 2009 - 50
Recording - October 2009 - 51
Recording - October 2009 - Readers' Tapes
Recording - October 2009 - 53
Recording - October 2009 - Chameleon Labs 7802 Tube Compressor
Recording - October 2009 - 55
Recording - October 2009 - Recording’s Showcase of Sounds
Recording - October 2009 - Advertiser Index
Recording - October 2009 - 58
Recording - October 2009 - 59
Recording - October 2009 - 60
Recording - October 2009 - 61
Recording - October 2009 - 62
Recording - October 2009 - 63
Recording - October 2009 - Fade Out
Recording - October 2009 - Cover3
Recording - October 2009 - Cover4
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