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[Korken]

???????

[Korken]

Hello: that buzz is characteristic for high velocities. I don’t know where is the frontier so that you don’t get any of them. About your issue hearing same note sometimes with buzz and sometimes not, I would think (not 100% sure, just guessing) that velocity 100 is still kind of high, so that some sounds have buzz and some not. Why the very same note behaves differently in different occasions, I think you have the answer with the round robin.

When I don’t want that buzz at all I play with the velocity until I am happy.

[Korken]

So much I like different Toontrack products, but I must say this is very annoying. I don’t play e-drums, but when I am writing something in the grid and then I want to hear some piece in the kit view I must temporarily lower the volume of my interface.

[Korken]

That’s why asking a mixer for help is VERY difficult to me. It’s like giving away your baby to someone you don’t know.
After spending years selecting the drum sound, guitar tone etc. I like it is difficult to send dry files…and not do everything on my own..but it is not possible to release songs without changing my approach.

Well, take into account that a lot of pro musicians give their babies to someone and they get their desired sound if they are involved in the process. But I understand what you say. In my case, I am learning to mix since years not because I don’t want to give my tracks to a stranger, but because I like and enjoy that process. Regardless what you say, I think to give the mixer processed files will make his life very difficult. He won’t be able to solve problems that you have caused in some tracks, for example. I think a good solution is what I said here as answer:

and exporting a wav file with compressed stuff is not ideal and a bad idea according to the mixer.

I don’t see the problem that you render that track anyway and send it together with the rest, if it doesn’t affect other drum channels. Then the mixer will decide how to mix it with the rest and even can decide to add other parallel channels. For example, some SD3 libraries include channels that were recorded with hardware compressors. If I wanted to render a kit I would include that channel into the individual wavs and then would decide how to mix it during my mixing stage.

or what Jack says in his last post:

always provide more tracks than you think is needed at mixing stage. Tracks both with and without any effects whether it be eq, compression, reverb and the worst effect – limiting

If you manage so that all your beloved processing, that you want in your sound, lives in separated channels that you can export, then the sound can be (ideally) reconstructed in the mixing stage.

And take into account too, that sometimes some of that super sounds we achieve and are very happy with, get pretty buried in the context of the mix, so being extremely meticulous can be counterproductive in many cases.

• This post was modified 1 month ago by Korken.

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Thanked by: drumjack52

[Korken]

I can add another thing to the soup, that I forgot to mention: I participate in a mixing community, leaded by a professional. I learned there that it is not rare that the pros discard some drum tracks in the mixing stage. For example, the one who lead us said that he rarely uses the hihat mic track and he works only with the hihat sound already in the overheads. That doesn’t mean it is a rule: he will use the hihat track if needed. Or that he uses the bottom snare track only when he sees he will need it. Or that not all songs need parallel compression or a lot of punch in snare and/or kick.

In some posts, LeanderL, I read you were worried about levels of different kit pieces, to be able to export with perfect balance. I would just forget about it. To achieve that level balance is a job for the mixer, guided by your instructions, ideally. It is a good idea, though, that you give instructions about the panning you want for every piece, as many of the tracks you will be providing will be in mono, unless you decide to export all in stereo, what I wouldn’t do, by the way.

What I want to say in short is that all these are things that are decided in the mixing stage.

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Thanked by: drumjack52

[Korken]

Hello LeanderL,

I understand now what you want, but I must tell you I don’t understand why you work this way. I am just an amateur mixer, but in some years I learned some things. I can tell you my opinion about workflow: I don’t think it is a good idea you try to get the PERFECT drum sound before the files go to the person who will mix them. I wouldn’t bother creating and automating channels with compression in the composition stage. Those are tasks that are part of the mixing stage and even after a static mix stage (a mixing stage without effects, where you set levels and pannings, taking into account the whole song and not only the drums). Only when you are in the mixing stage you can try parallel channels with what you want (whole kit parallel compression, snare+kick parallel compression, snare+kick parallel distortion, toms parallel distortion and all what you want). But all this serving the whole mix. It can happen that you must lower a parallel channel or even eliminate it, because it doesn’t serve the song. It can happen too, that you solo the snare and it sounds like crap, but it sounds perfect in the context of the mix. Same applies to a voice, too: maybe, in order to a voice sounds good in a song, you must sacrifice some frequencies in it, what makes that it sounds not so good in solo.

I am afraid that, if you finally manage to send the mixer the files with your perfect sound, that person must decide to change it, in order that your whole song sounds perfect, or at least good.

In a few words: let the mixer do the job with the parallel automated channels, only after all composition is done. You can maybe give instructions regarding what kind of sound you are after.

EDIT:

and regarding this

and exporting a wav file with compressed stuff is not ideal and a bad idea according to the mixer.

I don’t see the problem that you render that track anyway and send it together with the rest, if it doesn’t affect other drum channels. Then the mixer will decide how to mix it with the rest and even can decide to add other parallel channels. For example, some SD3 libraries include channels that were recorded with hardware compressors. If I wanted to render a kit I would include that channel into the individual wavs and then would decide how to mix it during my mixing stage.

• The post has been modified 2 times, last modified 1 month ago by Korken.

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Thanked by: Scott Eshleman, drumjack52 and Brad

[Korken]

I too understood (assumed, actually) that your mixer didn’t want the bleeds, and because of this you were muting all channels but one and rendered one by one. If your mixer do want the bleeds, then I would say the best method is to use multioutput with a normal render of all at once. I don’t get the issue with that, sorry.

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Thanked by: drumjack52

[Korken]

Actually you could disable bleeds on all channels if that is what you truly want.

I think doing this would be 1000000 times more straightforward than muting different pieces and bouncing each channel at a time.

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Thanked by: Scott Eshleman, Brad and drumjack52

[Korken]

In general there are several packs including some loops with odd meter, so it is not easy to tell which one would fit your needs. I don’t know a pack that comes only with odd meter.

[Korken]

Everyone has his own workflow, but I can tell from my side that after I began working with SD3 I have never again programmed drum midi outside SD3. You have all there, not only kit pieces in order, but also all articulations in perfect order. You need to place your notes in pedal closed or pedal open and end of the story.

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Thanked by: LeanderL

[Korken]

I investigated and found following:

1. All bow tip 2 samples have an overtone that rings for several seconds at all velocities, that is not present in bow tip 1. So I guess that is not the sound you are referring.
2. There are apparently some samples that additionally have a very high pitch sound with less volume, less evident, that last for less time. But for me this high pitch sound should be something normal.

 

 

[Korken]

Also it is worth mentioning that, under a same velocity number specification, one can hear different samples playing at more or less noticeable differences in velocity. The same happens when I ask my drummer friend that he plays at a specific velocity. So, imo one should adjust the slider simply in the ballpark.

[Korken]

Right, that is from drumjack52. I posted the link two posts above.

[Korken]

I read it the other day. Thank you very much for sharing your thoughts, it can help others to decide.

[Korken]

Alban_3 wrote:

Fully agree. How ignorant can you (EZD) be not to include Brazilian Rhythms and Percussion. This is a huge genre of global interest. I love the Latin Percussion pack and the high flexibility provided in the grid editor to trim the grooves to your needs. This is also urgently needed for Brazilian styles. And please do not add any further variants of stuff that is already available like e.g. metal etc.

There is no need to be calling the people “ignorant” in this regard. There is no need, really.

[Author]

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