All the acoustic drums' power was lost, so I set about quantising the kick tracks to the human, not the other way around. I'm not a fan of kick flamming, so I locked them to the grid (hey, it's dance music), but then they conflicted with Morrow's drums, so I locked him to the grid too.īig mistake. The tracks I was supplied had two kicks, which suffered from slight timing issues with respect to each other. However, his parts lacked the heavy kick that's essential to much dance music. So I reached for the Discrete Drums loop library and grabbed some loops by Nashville drummer Greg Morrow (a powerhouse drummer whose drumming fit in well with the vibe of the vocals), as well as some individual hits. The female vocalist put major emotion into the song, and the contrast between her and the metronomic drums just didn't work for me. I recently took on a remix project with electronic drums that emphasised the four-on-the-floor kick drum we all know and, uh, love. ![]() But for most music - especially music with a great drummer - the ebb and flow of timing gives 'feel', and provides the rhythmic equivalent of dynamics. Of course, there are exceptions: electro's raison d'être is the metronomic beat, so quantising a human-played drum part makes it fit the music better. It's true: when you quantise drums played by a human to a grid, it sucks the life out of the part. The track of kicks immediately below it has been quantised to the upper track, while the lower track has not been snapped yet. ![]() The upper track is, again, the human-played track. If you'd like to make your quantised drums a little more human, dive into Sonar's AudioSnap pool.
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