Percussion kit of recorded and synthesized instruments on logic x pro
![percussion kit of recorded and synthesized instruments on logic x pro percussion kit of recorded and synthesized instruments on logic x pro](http://blog.dubspot.com/files/2016/12/ModeAudio-EXS24.png)
However, you’ll have a devil of a time with the snare, as any pitch modulation applied on the snare track will now “harmonize” with the snare in the overheads. In this scenario, pitch-play with the kick should be fine. Perhaps the programmer has sent lots of snare bleed to the overheads, but left the kick completely out of the picture. If the producer has given you an overhead track, you must pay heed, for the overhead track of a sample engine differs drastically from the real thing.Ĭonsider that drum bleed can be dialed in on a variable basis, drum by drum. Pay special attention to the overheads, if provided And small, incremental betterments are what we’re shooting for in achieving naturalness. This is a four-bar loop with quickly-triggered kicks and a paradiddle fill at the end.Ī mite better, I’d say. Here’s an example of a drum groove that sounds really fake, programmed with Logic’s internal drums. Both do sound natural if used within reason. I’ll use the Variable Pitch module for snares, for it seems to work better. The same philosophy holds true with a snare paradiddle.įor the pitch process, I often load up RX and use the Time and Pitch module for kicks. Here, you could grab the hit of shorter duration and pitch it down ever so slightly. Let’s say we’re looking at a quick kick drum pattern. It can help replicate the sound of individually-slapped skins. If you have drum head sounds that exhibit the machine gun effect (i.e., they sound obviously repeated with every hit) a little pitch-shifting is a good place to start. Start by editing the parts to feel more musical, and you’ll have an easier time achieving reality thereafter.ĭo check with the producer, though, to make sure this is okay-perhaps they want the unreal sound, in which case, you’re not after realistic drums anyway. It’s been quantized at 43% before I bounced the track to audio. Here’s a drum part programmed in Superior Drummer 3, played to a bass part that pulls ahead of the beat. You cannot edit them in a way that disrupts their natural decay. If you’re given any sort of overhead or cymbal track, take great care with your splicing. Be careful to edit all of them together so that no one region is left behind. If you’re presented with more than one drum stem (kick, snare, hi-hat, etc). Here drummers proudly display their humanity-many speed up in their fills, relaxing back into the tempo during the next measure.Įdit your sampled drums to fit the instruments at hand, keeping what we’ve just discussed in mind. Note the groove of the bass, the feel of the guitar, and every other aspect of the arrangement. So see if the parts need editing before they need mixing. You’ll notice problems when everything is quantized to an inhuman degree, or when the drums sound as though they're played with Vishnu’s many limbs. No, the programming is where it falls apart.
![percussion kit of recorded and synthesized instruments on logic x pro percussion kit of recorded and synthesized instruments on logic x pro](https://cdn.mos.cms.futurecdn.net/7n2Vpv4inHZnJjTCFwuL3a-320-80.jpg)
A sampled drum in isolation is exactly the same as a human drum hit in isolation: both are samples under the microscope. But they’ll never sound real if they don’t feel reel. We all want to make the drums sound more real. If you try to compress and EQ each drum, you may find it sounds worse more often than it sounds better. Yet EQ and compression have been salting and peppering the drums long before they got to you, so more of the same won’t help. You must make these drums-drums not recorded with your song in mind-fit the tune. Making matters worse, they can also arrive overly-processed from the artist or producer.Īs the mixer, you’re in an unenviable position here. But sometimes your producer has skipped the human element entirely, providing you with lifeless, stuck-to-the-grid stems. In other words, all that’s missing is the human element. Many products advertise a mix-ready sound, having utilized console preamps, outboard EQ, and compression on the way in. Most drum-sampling engines offer well-balanced, well-EQd, and well-compressed samples right out of the gate. Avoid heaps of EQ and compression on the drum tracks themselves We’ll cover these moves below so you’ve got a better shot at achieving a more lifelike drum sound in the mix. A lot of little moves add up to sampled drums that look and feel real. Perhaps they arrive with a directive attached: please make these drums sound as real as possible.
![percussion kit of recorded and synthesized instruments on logic x pro percussion kit of recorded and synthesized instruments on logic x pro](https://fidlarmusic.com/wp-content/uploads/2020/10/Rhodes-Piano-Bass-1.jpg)
![percussion kit of recorded and synthesized instruments on logic x pro percussion kit of recorded and synthesized instruments on logic x pro](https://i.pinimg.com/originals/c8/f3/8b/c8f38bf80337f4555d96e87262d6b14f.jpg)
But what about if some seriously fake drums come to you for mixing?
PERCUSSION KIT OF RECORDED AND SYNTHESIZED INSTRUMENTS ON LOGIC X PRO HOW TO
When it comes to programming drums, we’ve got some great tutorials on how to make them feel more human, and how to build a sampler drumkit from scratch.