Awesome Danny!! Thanks for making this so simple. Any ideas for isolating the hats when they are only in the OH's?

Rocky

bluzdog


Awesome Danny!! Thanks for making this so simple. Any ideas for isolating the hats when they are only in the OH's?

Rocky

You could probably just set the OH track's edit filter to Transients and manually disable the transient markers whenever there is a cymbal or tom hit before bouncing to MIDI or just leave all the transients in and delete/move the MIDI notes around in the PRV like Danny did in the vid. Or maybe you could use R-Mix to remove all the other kit pieces leaving the hats, bounce the clip then apply Danny's method. Not sure how well that would work though.

Hi Rocky,

Thanks and you're welcome. :) Well to be honest with ya man, I've never been in a situation (other than one time in all my years) where hats were not an entity, so to speak. In all the drum programs I've ever used as well as when I mic my own kits, there is ALWAYS an independent hat mic. I also like to mic my ride and would never just let it end up in the OH's.

But to answer your question, I would treat it like I would IF I was handed a track from someone that had all the hats and cymbals in one track.

For example, I had a client send me a track that had toms, hats and crashes/ride all in a two-track stereo file. This of course, was a nightmare but it was all he could do in his situation.

So what I did was, I cut the clip up in sections and then would slide it down into it's own track and label it. So if he was hitting the hats in a section, I'd split the clip on both ends and isolate the hats. Put it on it's own track and then use the Sonitus Gate (or PC gate or whatever else you want to use) to control the bleed of other instruments in that track IF I needed to. As you know, I'd need to eq the hat track here, so the instruments behind the hats might not sound too good. So I might have to gate them out or eq them out.

I'd do the rest of that track the same way until I cut up all the instruments in it and made them their own track. From there, if I wanted to Audio Snap them and turn them into midi files, at least it would be a bit easier to grab the transients, know what I mean? From there if some of the instrumentation did get through to where it was giving me ghosty notes via midi, we could literally use Audio Snap's threshold (which I didn't use in my vid and that's what Beeps and Zonno were talking about) which would allow or refuse the additional transients that might turn up. So that there is a good example on when you would use the threshold in AS.

So if you find you are in a position where your hats are in the OH track, split that baby up and isolate the hats before you do this trick. And of course if need be, you may have to mess with AS threshold to make sure only the notes you want are the notes you get. Hope this helps. :)

-Danny

Another option that might be faster is to grab a mic setup an audio track for recording and record the transients for the hats.  Just tap the mic with a finger (or however you want to do it)  in sync with the hats.  This will lay down the transients for the hats, and you can then use AS to convert to midi.

Doing it this way is only about 5 or so minutes worth of work.

Another option, is to plug in a guitar, or bass and play in sync with the hats.  Either way it works.  All you need are trasients that sync with the hats.  However you choose to do that is up to you.

Yanno... this got me thinking about some kind of Audio Snap frequency/stereo field based threshold setting. As far as I know we are limited to using that threshold control to only snag transients above a certain volume level. What would be cool is if you could have a max threshold too like in reverse so if something went ABOVE that level the transient wouldn't be enabled. Then to take it further make it detect things based on pan or frequency.

Wouldn't that be cool? Considering what that R-Mix and other similar plugs can do this should be possible. Maybe even have a similar graphical interface like R-Mix to hone in on stuff.

hmm...

Just rambling... as usual. ;-)

Nice video Danny. As always, very informative. I haven't seen one yours in a while and I have to say. I miss that joisey accent. Although, your better at hiding it. ;-)

Danny Danzi: "...what did you call it?..."

LOL!

Great video Danny. Thanks for posting.  I have some old recordings I will def be revisiting now.

 I browsed around a bit and found a video of you playing guitar....AMAZING !!! WOW!!!  Very cool!

Robert: thanks! Hahah yeah been a while eh? When I started doing those other videos we used to do on 6sh, I don't even think I had Camtasia. Hahaha! Hope all is well bro.

mmorgan: haha had a feeling you'd get a kick out of that...I soo had to share it. :)

Tracey: Thanks! Glad you liked it. And thanks for the guitar vid props. I don't do a whole lot of those, but there are a few floating around here and there. I appreciate the kind words. :)

-Danny

Danny Danzi


Hi Rocky,

Thanks and you're welcome. :) Well to be honest with ya man, I've never been in a situation (other than one time in all my years) where hats were not an entity, so to speak. In all the drum programs I've ever used as well as when I mic my own kits, there is ALWAYS an independent hat mic. I also like to mic my ride and would never just let it end up in the OH's.

But to answer your question, I would treat it like I would IF I was handed a track from someone that had all the hats and cymbals in one track.

For example, I had a client send me a track that had toms, hats and crashes/ride all in a two-track stereo file. This of course, was a nightmare but it was all he could do in his situation.

So what I did was, I cut the clip up in sections and then would slide it down into it's own track and label it. So if he was hitting the hats in a section, I'd split the clip on both ends and isolate the hats. Put it on it's own track and then use the Sonitus Gate (or PC gate or whatever else you want to use) to control the bleed of other instruments in that track IF I needed to. As you know, I'd need to eq the hat track here, so the instruments behind the hats might not sound too good. So I might have to gate them out or eq them out.

I'd do the rest of that track the same way until I cut up all the instruments in it and made them their own track. From there, if I wanted to Audio Snap them and turn them into midi files, at least it would be a bit easier to grab the transients, know what I mean? From there if some of the instrumentation did get through to where it was giving me ghosty notes via midi, we could literally use Audio Snap's threshold (which I didn't use in my vid and that's what Beeps and Zonno were talking about) which would allow or refuse the additional transients that might turn up. So that there is a good example on when you would use the threshold in AS.

So if you find you are in a position where your hats are in the OH track, split that baby up and isolate the hats before you do this trick. And of course if need be, you may have to mess with AS threshold to make sure only the notes you want are the notes you get. Hope this helps. :)

-Danny

Danny,
I will definitely give it a go. I've been using Slate Digital Trigger for kick, snare toms and living with my overheads. The room isn't too bad. It would be nice to supplement the hh and cymbals. I think AudioSnap is better at the midi thing than SDT. I should give Melodyne a spin too. It may be able to pull off the isolation. Thanks for all of the suggestions. I'm gonna remix something to check it out. Thanks again.
 
Rocky