The downside is that you need to be on the money timing wise wil everything, or any drifts need to be intentionally planned. Being pinned to structure by tracked drums would be annoying, and I wouldn't want to edit big chunks of acoustic drums to change structure if I could avoid it. I would think that's pretty standard practice for this kind of thing. Scratch guitar then programmed drums, then when everything is fleshed out and recorded properly with the various structural changes etc, acoustic drums tracked last. This is exactly how my (2 man band) project works. I agree with all this, but for the newbie I'd say that is far more important to get the velocities right when programming drums than it is to shift things around in time.
I'm 78 going on 79 and I'm not sure how much more time I've got, but I hope I can do this till it's over. If you check out "Tod's Thunderbirds" in my signature, that's how I did that.Īlso here's a song I'm working on right now called "I Want to Fly Away", I wrote it and played all the instruments, mostly midi, and a lady I know in Hawaii is doing the singing. I find it easy to map the tempo of that recording in Reaper and go from there, and it usually works out quite well.īut for my self, I just find a BPM that works for a song I'm writing and go from there. I still do produce an artist now and then and sometimes they'll bring in a popular song they want to sing and they've usually got a recording of it. I've tried the old method of recording my guitar and then trying to make a tempo map out of it but that doesn't work at all for me. I've been recording music for many years since back in the 1960s and although I'm retired now, I've still got my studio and I'm enjoying it as much now as I ever did. That doesn't mean I wouldn't like to have my old buddies to play with, but most of them are no longer here. I've been a one man band for many years, and I've enjoyed it a lot. You can do this by getting grooves from people like groove monkey & than analysing their MIDI to see what subtle changes there are to support the groove & give it life. It has taken me years to get comfortable with drum programming stuff how I want it, but well worth the effort, even if (as in my case now) you are just making demo tracks to let the band know how you want the groove played. & any hihat accents can go forward slightly where you need a little lift in the feel. Once I "got" that the groove could be varied by simply pulling back on some drum parts, pushing others and of course doing most of them "in the pocket", I slowly but surely began to understand the mechanics of a tight, but feel-filled drum part.Įxample: If you want a "laid back" feel, pull the snare hits back by a few ms. Many years ago, my first experience with MIDI drums was via a well respected Nashville-based drummer, Larry Landin (Landon?) who programmed in the drums for every track my band recorded and this was what led me to learn HOW drummers make a particular groove work. The discussion was most interesting, although it tended to go off at a tangent at times.Īny thoughts on this issue from a Reaper-specific perspective?
He then asked for other people's thoughts on this subject, strategies for dealing with this and so on. Tempo drifts also, and you multiply this by 6 tracks or whatever, it gets ugly." When you have 4 downbeats landing in different scattered places it's torture on the ears, not really going to win any new fans.
WHO WROTE ONE MAN BAND FULL
There might be measures of playing that are a full quarter note beat off in timing, which becomes a train wreck. When I hear a lot of "amateur" productions, by people that are very skilled at one instrument, but dabble in others (typically, drums), the timing is what kills the track. I've been, pretty often, struggling with laying down drums, bass, keyboard instruments, guitar, voice, percussion, all by my lonesome self. I was reading a post in Gearspace under the heading: "The biggest problem with "One Man Band" production - Timing is Everything "
0 kommentar(er)
