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Hey , I'm Gianni Bini and welcome to my tutorial episode 3
from House of Glass studios
our website is this , just to remind you
Lindemann will put it in underlay,
I never understood if I had to say under or overlay... anyways...
We've seen
in the previous episode how to obtain a basic rhythmic (how I called it)
made of Bass Drumm, snares and Hi-hat . I transferred
and wanted to avoid you the transformation from
midi to audio doing three bounces and now I have
the equivalent of our session in audio, which we have seen in episode 2
You will notice that I have added some grooves taken from
some libraries just dragging them on the range without checking if
they are or not in grid with our groove. Let's listen to them
one at a time
this is a basic rhythmic
Let's listen to another one
which has no bass drum or snare, only
percussions and Hi-hat , and then a third one
which is
based on the tom accent
very common in the dance
music nowadays
As I said, if you put it with the groove that I
previously created at 126bpm you will hear that they are not in grid.
So what should we do in order to level these groove inside
our session at the speed but most important the "groove" that we want
to give at your production that we are creating . There are many techniques in
Pro Tools, from version 7.4 we have elastic audio which
in Ableton Live is native,
in Cubase it's called Warp Mode and in Logic is called Flex mode
where the Transients are analyzed and you can work
inside the transient
so we can manipolate the audio more or less as if it were a midi
channel
You have seen in this configuration that Pro Tools
takes the transients of this groove which we can,
putting a warp, change
in time and even it's tone. At the moment let's say that
Pro Tools analyzed correctly and with our
Trim
in the TCE version (time compression expansion) , we drag it until
it covers both measures
and magically our groove is in grid. Let's open l'Elastic audio
even on the next channels
Let's repeat the same thing and our three grooves are
leveled to the speed of our session
Let's listen to it
one thing is putting 3 grooves in grid and one thing is ensure that this groove
"has a groove" ;)
In my opinion, it's not that I hear a Hit groove
and probably neither do you
there are some things you can do
to improve it. Obviously I chose the first 3 grooves i found
so, maybe the result I would like to reach isn't
really the one of a final production. We are only using it to see you
we can work and manipulate into audio the grooves inside a session. If we take
the first groove with the the one we have already separate
we can see that there are not big problems
if not that that the bass drum of the groove is added to ours. To take it off
you only have to
cut the lower frequencies
Let's say that the frequency that has to be cut
in this case can be
from 120 hertz and lower
Let's try the volume
let's say this one
and imagine that at the moment we like the groove like it is
and we'll keep it here
The second groove is the one without bass drum and snare
Let's listen to it
It has it's own cadence and quantization . Just to be sure I go and check the analysis
done by Pro Tools and see that the transients have been disclosed correctly
So now I only have to open the quantization window , the one
we have seen for the midi
and we quantize like if it were audio in sixteenths
You will see that quantizing it our grooves has another form
and even another sound. Let's take off the solo
and now the groove already
starts changing. Now I can start playing
with the swing
To go from a quantization like this, let me put it in solo,
to a quantization a little more swing, or shuffle,
according to the genre of our production could be more or less useful,
the differences are visible but
lthe last decision is yours if you want to use a quantization instead of
another
The thing
that I can suggest is to keep the same
quantity of swing inside all the quantizations that you will be doing
in order to have homogeneous grooves even in the joint and not
ony in the basic part of bass drum and snares
let's try a 21%
which I use a lot
Let's take the solo off
and
for now it's ok like this
Let's see the last groove
the Toms
As well as the toms
there is the base drum and the snares. It is a clappy snare that in this
case , I'm not interested in adding all the things we have together, so there are some
techniques to take the bass drum and snare off in an easy way. One of
them is using the Sidechain .
The Sidechain is a technique used a lot in the last years in the
dance productions
on the rhythmic and on the base sound, lately I hear it even on the voices
It's a technique that uses
the compressor piloted from a pilot signal, but Vengeance
produced a plug-in called Multiband Sidechain that actually
does
this without the need of routing
inside our session
I will
"bypass" it a second, I'll make you listen to the original groove
with bass drum and snare
and adjusting it in octaves
let's say our grid, activating the Multiband Sidechain
You can hear that bass drum and snares disappear
There is a little decise for those that already
bought this plug-in that should cost 99 Euro
there is a parameter called Host Trigger Shift
that is a kind of regulation of the latency comparing to the Host
we are using
I always put a -4%
because it seems to me that it sounds better and that the plug in "behaves" correctly
Exactly
You can hear that it's still there but just a little, or maybe you don't even hear it from this
tutorial, just a little bit of frequency that
in this case we should avoid, if we pass it on 60 hertz
everything should eliminated.
So now we took off the bass drum and snares from a groove without penalizing
the part of the Toms
I'm sure some of you are already looking for the
cracked file. Just so you know
it doesn't exist
You should buy it, 99 euro , all worth it
I'm a little hungry now! So see you on the 4th episode!