![]() ![]() ![]() When you record drums, signals may arrive at some mics significantly later than it arrives at others, such as the close mics (see screen above, which shows a drum recording where the ambient mics, in purple, are lagging the close mics, in red and yellow). It will then be 'moved back in time' by the same number of samples, using the Sample Delay plug‑in, to line up with the close‑mic tracks. The ambient mic recording is about to have 1288 samples trimmed from its start. ![]() I can't emphasise too strongly that the key to successful quantisation of multitracked drums is good preparation and having realistic expectations of what can be achieved with Flex Time. Rather than simply rehashing that, I'm going to try to augment it with my personal experience of using Flex Time for drum editing. Apple produced an excellent document on this, called 'Tips for phase‑locked drum edits' ( ), which you should read. Now let's move on to multitrack drum quantisation. Get to know the Q‑range and Q‑strength controls, as they let you use quantising to subtly tighten a performance, rather than slamming it robotically to a grid. This is a great way to quantise only the most wayward events. With negative values, the quantise setting works only on notes a distance greater than or equal to the Q‑range away from the grid. Negative Q‑range values are useful if the majority of a performance is bang‑on, except for the odd note. This is useful for busy parts, preventing events outside the Q‑range from being wrongly quantised. For example, with quantise set to eighth notes and a Q‑range set to a 32nd note, the only notes that would be quantised are those within a 32nd note of the eighth‑note grid. Positive Q‑range values force the quantise setting to only affect notes within the Q‑range of the quantise grid setting. Careful use of quantisation strength tightens a performance while preserving some of the original feel. The Q‑strength controls how much quantisation takes place, with 100 percent resulting in full quantisation and, for example, 50 percent moving an audio event at a Transient marker 50 percent of the distance to the nearest grid position. You can make the process of quantisation more subtle if you adjust the Q‑Strength and more targeted if you adjust the Q‑range parameters found in the Advanced Quantization section of the Region Parameter box. Multitrack quantising will work better if the distant‑miked tracks are moved properly into sync with the close‑miked ones. The ambient mics (top) have picked up the drum signals slightly later than the close mics. Logic moves the audio so that the nearest Transient markers line up with the quantisation grid. Now go to the Quantize menu and choose your desired note division. Select the bass guitar region, go to the inspector and open the Region Parameter box to display Logic's quantise options.ģ. ![]() You only need markers on your main drum hits, such as kick or snare.Ģ. The detection process is very sensitive and will pick up all sorts of things like spill from other parts of the kit, placing markers that may be superfluous. To adjust the number of markers, open the Sample Editor, click the Transient Editing Mode button to the right of the View menu, and use the +/‑ buttons next to the Transient Editing Mode button to tweak the sensitivity of detection until there are no unnecessary markers. Typically, it adds more Transient markers than needed. Logic will now automatically detect the transients in the audio you've chosen and insert a Transient marker at each. From the Flex Mode menu in the track header, choose Monophonic. Let's first look at a simple example, using a recording of a bass guitar. The audio quantise engine works by snapping the detected Transient markers of an audio file to Logic's timing grid. Logic has had excellent MIDI quantisation for a long time, but its audio quantisation facilities have lagged significantly behind Pro Tools - until now, and the introduction of Flex Time, which gives us the freedom to non‑destructively quantise the audio events within a region. Part 2: Use the magic of Flex Time for easier quantising of multitracked drums.Ī quantised (top) and unquantised drum part. ![]()
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