What do you guys think sounds better?
When i say better i mean realistic and which is easier to edit?
When i say better i mean realistic and which is easier to edit?
Midi triggering vs Sound Replacing
- Thread starter topsoul182
- Start date
Seth Munson
How do Amber Lamps?
fuck no! midi wins by light years for me!
velocity control is what does it. you can make snare rolls sound amazing and not fake like if it was perfectly recorded.
but in sound replacing it just sounds like an automated techno roll
velocity control is what does it. you can make snare rolls sound amazing and not fake like if it was perfectly recorded.
but in sound replacing it just sounds like an automated techno roll
Lasse Lammert
HCAF Blitzkrieg
Sinister Mephisto
1337
- Sep 20, 2005
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Same. Something creepy about it.
Lasse Lammert
HCAF Blitzkrieg
plus....I never founs mid to be as phase-consistent as aptrigga, and since I'm usually not replacing 100% but just augmenting aptrigga wins every time
Skaldir
formerly known as Unicorn
But you could also feed aptrigga with Midi. You can just route the midi out to it
Seth Munson
How do Amber Lamps?
now i see where lasse is coming from, but most bands that i record dont have the funds to pay for the appropriate time needed to properly record drums. so usually end up midi everything. also all the bands i do want that really modern (or as they call it "produced") sound, meaning sample everything and make it perfect and midi is the best way for that.
(as a phase note, Midi has always won over any replacement plugin for me in PT8)
(as a phase note, Midi has always won over any replacement plugin for me in PT8)
JeffTD
Senhor Testiculo
Lasse Lammert
HCAF Blitzkrieg
yeah, but then you have a second plugin to generate the midi from the audio...another plugin to fuck the phase up.
Ermz
¯\(°_o)/¯
I've hopped onto the MIDI train. More consistency and flexibility. You also reduce CPU overhead since your sample replacers aren't detecting anything.
My only beef with this approach is the need to align samples manually, since they obviously all have different start points. It's actually astounding how much you can change the tone of your drums just by playing with the phase interactions.
My only beef with this approach is the need to align samples manually, since they obviously all have different start points. It's actually astounding how much you can change the tone of your drums just by playing with the phase interactions.
Trevoire520
Member
would be very handy.
Z3R0
Member
Quick question...
Coming from either mics or triggers, are you guys throwing it most commonly in to a program like DrumTracker? Because that seems to almost take longer, and seems more unreliable to me than just sound replacing and triggering with Drumagog. And my clients are all after that "produced" sound as Seth said earlier, and yes, don't have the money to make drums sound perfect.
Coming from either mics or triggers, are you guys throwing it most commonly in to a program like DrumTracker? Because that seems to almost take longer, and seems more unreliable to me than just sound replacing and triggering with Drumagog. And my clients are all after that "produced" sound as Seth said earlier, and yes, don't have the money to make drums sound perfect.
AdamWathan
Member
pipaguapique
Remember Me
darthjujuu
Member
having both, drumtracker is an acceptable substitute to DTM. just a wee tad slower.
If i have a frustratingly shitty metal drummer, and i can get a kick dampened enough to stay out of the other mics, the kick track ALWAYS ends up MIDI . i'll tell the kid "just focus on your hands, as long as i can tell what you're TRYING to play on the kick is all that matters."
i think MIDI vs. drumagog (or comparable) depends on the style of music going on. if you're shooting for the faceless....definitely MIDI. the velocity control, in addition to obviously the limitless quantizability, is invaluable. something like a 16th note straight fill around the kit at 200bpm is where you really start to appreciate it. the transients end up so vague that it becomes difficult to accurately trigger them all on the fly, especially when your only means of editing is grouped slipping. and when you just get it as "close as you can" in the rooms/OH, it sounds beautiful with a fast programmed fill on top. IME/O, anyway.
the first time you get in there and set the velocity on every other hit slightly harder (to simulate a stronger right hand for a righty drummer) anyone will appreciate the control. sample accurate is critical for rimshots and slower parts but there's been many situations where i couldn't live without programming a fill on top of grouped mic tracks that i simply slipped as "best i could".
i guess the point is if the drummer isn't superhuman (which they rarely are for me, anyway) you reach a certain "speed" where midi becomes invaluable...if ya ask me.
If i have a frustratingly shitty metal drummer, and i can get a kick dampened enough to stay out of the other mics, the kick track ALWAYS ends up MIDI . i'll tell the kid "just focus on your hands, as long as i can tell what you're TRYING to play on the kick is all that matters."
i think MIDI vs. drumagog (or comparable) depends on the style of music going on. if you're shooting for the faceless....definitely MIDI. the velocity control, in addition to obviously the limitless quantizability, is invaluable. something like a 16th note straight fill around the kit at 200bpm is where you really start to appreciate it. the transients end up so vague that it becomes difficult to accurately trigger them all on the fly, especially when your only means of editing is grouped slipping. and when you just get it as "close as you can" in the rooms/OH, it sounds beautiful with a fast programmed fill on top. IME/O, anyway.
the first time you get in there and set the velocity on every other hit slightly harder (to simulate a stronger right hand for a righty drummer) anyone will appreciate the control. sample accurate is critical for rimshots and slower parts but there's been many situations where i couldn't live without programming a fill on top of grouped mic tracks that i simply slipped as "best i could".
i guess the point is if the drummer isn't superhuman (which they rarely are for me, anyway) you reach a certain "speed" where midi becomes invaluable...if ya ask me.
Erkan
mr-walker.bandcamp
This. I remember talking about this in some thread a looong time ago and now I got reminded about it again and how important this is. I use phase between real tracks / samples to create a different sound. You can really shape the kick drum just by toying around with the phase back and forth, same for any other drum for that matter.
