drumediting - not midi

i57dwun4yb1pt8

Any one willing to advise on best practise on drum editing ?

I know protools has a handy edit process, but any overall tips ?

do you quantise shells only or hi hats / overheads ? i find hi hats suffer time wise in keeping them tight and find it very difficult to edit and quantise them smoothly .

Neurojazz

Can you post a snippet with what you are having issues with at all?

DamagedTrax

pro tools multitrack beat detective will pull everything into place together. id never edit a drumkit track by track. group everything so you dont mess with phase relationships.

i57dwun4yb1pt8

hmm, cymbals are miced, shells are midi samples - i can render the midi tracks to wav tracks

i have two over head mic cymbal tracks , plus one hihat close mic , and one ride close mic
no shells in any of these - only tiny clicks of roland pad hits


snare midi track
same for kick and toms
i also have a midi stero shell only overhead track and midi stereo shell only room track


there would be no phase relationship between the mic'd and the rendered midi tracks .
but would be to each others format


jeez , maybe i should go back to all midi tracks and forget live cymbals .

fitz

Convert everything to audio, then try doing the multitrack editing with everything in.
Not sure how well it'll work, but only one way to find out.
Otherwise, quantize your cymbal tracks first.
Then just move your midi notes around to lock in with the quantized cymbals.

Logic's phase-locked swipe comping and Flex Editing is brilliant for editing live drums, and the groove template feature is handy for stuff like locking the bass into the kick too. Sample re-enforcement is also very easy.

Always better to just get a tight take mind you.

i57dwun4yb1pt8

fitz wrote: »

Always better to just get a tight take mind you.

steady on , there's no need for that :pac::pac:

studiorat

I generally just quantize the kick drums. Cutting across the whole kit on each kick.

PaulBrewer

Pocketing as the Nashville boys call it is pushing or pulling a kit closer to the beat in a musical fashion.

Broad Rules of thumb in my experience is don't have anything ahead of the beat - I personally don't like the feel of anything landing early.

Keep things within about 12 miliseconds window from grid - that is anything later than that may benefit from a pull or push.

Sometimes flams between snares and kicks can be hidden by just moving the kick after having moved the kit as good as possible .

Less than ideal - but can be a track saver.

I also find that when I feel I'm playing bass well with a good drum track I'm actually behind that beat . Another thing to look at in search of groove .

i57dwun4yb1pt8

i noticed my bass playing sits behind the drum track timing as well , funny that

what im finding is cleaning up the hi hats is near impossible .

so , i made the click in the cans louder and the hats mics loudder , , this seems to help get a tighter take .

Neurojazz

DaDumTish wrote: »

i noticed my bass playing sits behind the drum track timing as well , funny that

what im finding is cleaning up the hi hats is near impossible .

so , i made the click in the cans louder and the hats mics loudder , , this seems to help get a tighter take .

Really would be great to get a loop/section of the stems to help here!

What about this... if you have a gate on the snare.... take it off and allow the bleed from OH/Hats etc.. Then start moving the snare track out of phase very slowly. You might find the hats and snare both become more present (at the cost of maybe some punch / definition) - but then you can just add a snare over the top via midi/audio trigger?

Really hard to help though without some examples!