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Maybe it's the bare feet, but I think it is really that she plays along, got herself in the game, with world class artists. If you have midi files, you can edit with abandon. With the computer, you can always come back a year from now when your chops are more developed. It is easy to place in the mix to help intuit a nice balance. Not better, not worse, just different.Ī basic beat provides an easy foundation to work up a lot of music to.
#Logic pro 8 drum program how to
We both need to understand how to think and express in rhythmic phrases,Ĭounting, tapping the foot, and clapping, still work. They invested thousands of dollars in skins, cymbals, and microphones. gee, I really hope I start a flame war with that.ĭrummers can do stuff that I can't with my computer. I can achieve it by performing (a form of programming) or by programming (a form of performance). Because I know that three years from now I will look back on a lot of growth, if I simply trust the work now. I feel like I have had a good session if I was satisfied artistically, or I was productive, or I learned something. With me it isn't so much about efficiency. It's a back and forth kinda deal: listen - do - listen more - do more - etc. And the more you hear when you listen to drums, the more precise you can become in your drum programming. The more you do that, the more you'll hear when you listen to drums. and later try to reproduce that in your programming. What matters the most is that you listen to drum programming you like (or better if that suits your genres: listen to real drummers playing the genre you're trying to emulate) and start really analyzing everything you hear: timing, tone, dynamic, consistency, flamming, note length, reverb, etc etc. In the end it doesn't matter so much what techniques or work flow you use to program your drums. I sometimes use my mouse to program, and sometimes use the pads on my Axiom Pro to record live performance. That created a cool effect: "ts, ts, ts, ts-tssssss, ts, ts, ts-tsss." For example I remember producing a track where the length of the sound of the hi-hat was different pretty much for every single hit of the hi-hat. While kicks and snares are usually pretty consistent in sound and volume throughout a track, I like to play a lot with the timing, velocity, loudness and color of the hi-hat, even its length and/or opening. and keep adding (or removing) from the drum tracks. Come up with the main beat, loop it, remove or add here and there, build the song, and as the song is being built (adding guitars, vocals, keys.) I feel the need for a fill here or there, an open hat right there, a syncopated snare right before the last chorus, a crash right at the beginning of the outro, etc. I start in Logic's piano roll and come up with a "main beat." From there, I'll create variations and fills but this takes me a long time.