Recording - October 2009 - 47

On the most detailed of levels, editing by hand can be considered a beat-by-beat evaluation of where each drum hit lays in accordance with the timeline and the other tracks. It is important to remember that real drummers do not place every hit right up against the grid. Whereas that sounds like common sense, I’ve seen so many tracks where someone went through a section of a song, separated each beat, and then went back and lined every note up to the nearest grid line. Not a realistic way of editing, is it? If it’s a good performance, most of the hits played by a real drummer are going to lay consistently between four and twelve milliseconds after each respective grid line. Therefore, we can quickly clean up a section of a performance by zooming in, tabbing through each transient and adjusting each note as need be. While the drums are grouped, we can separate the beginning and end of a hit using the Separate Region command (Command + E) and then nudge it over to where it needs to be. If there’s some empty space left over after moving it, we can use the TCE tool to stretch just that one hit as needed to avoid a pop or to have enough room to crossfade the edit. It’s also important to note that the range of what sounds “natural” (in terms of milliseconds) will vary on the genre of music. Avant garde jazz will surely have a wider range of acceptable feel than straight ahead pop music. At the end of the day (and the article) Even the mention of editing drum tracks by hand makes me cringe if I know that there is a lot of work to be done. That being said, there really is no replacing the human touch if you want things to really sound their best. Consider the idea that if a human being actually played a performance, all the while interacting with what someone else was playing at the same time, can we then get away with having a piece of software pick each of these things apart independently and against a grid? I would suggest not. But that doesn’t mean that all these tools don’t have their place. A lot of music production being done these days is based on overdubs, loops, samples, and so on. The origin of the first recorded track is usually someone playing to a loop or a click. If this is the case, using software-based tools can be an easy and effective way to work. Please remember, though: If you are recording a group of musicians that are basing their performance on the nuances of other musicians, then I suggest being very careful. It’s not uncommon to have an entire rhythm section of seasoned players that aren’t actually “on” the click but instead are all dancing around it. Sometimes that whole “feel” thing may or may not gel with editing tools. So fix what you need to fix and not just for the sake of fixing it and see what happens. Then if it’s not working, cut a little deeper. If it is working treasure it! Mark Hornsby is an educator, engineer, and producer living and working in Nashville. You can read about his work at markhornsby.org or write to him at hornsby@recordingmag.com.
http://www.markhornsby.org http://www.audiorecordingschool.com/recording.html http://www.audiorecordingschool.com/recording.html

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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