ORIGINAL: Lord Tim

Funkybot, I noticed that your post was in reply to mine (or was it this forum software that did that automatically?) and it seems to suggest that my method doesn't work and/or I haven't worked with multitracked drums with Audiosnap before. Definitely not the case for either point there.

I previously did a lot of work with a program called Beat Quantizer by Zero-X, and it worked very much along the same lines as how I'm doing it in SONAR: bounce down the tracks with core timing of what you want to do to a master track, set your markers up on that, add them to the pool and apply them to the other tracks so everything moves in sync, quantize the master and then make sure the pool gets quantized too (which will mover every track at exactly the same distance so no timing discrepancies occur).

I don't understand why you can't use the ProTools method you mentioned as the easier alternative with SONAR. Just going through the method step-by-step:

1. Group the clips that make up the drum track

Check, can be done in SONAR.

2. Select the overheads track and enable AS

Check, but I'd prefer to do a master timing track personally because where AS falls down is its detection routine for complex material like overheads - I'll get to that in a bit.

3. An option should appear that asks, "Apply Transients for Parent Track to All Grouped Tracks? Yes or No?"

OK, this is where you do it differently in SONAR. You right-click all of the other tracks at that point and do Audiosnap -> Apply AudioSnap Pool Transient Markers. That will copy those markers from your overheads to your other tracks in exactly the same place. Bear in mind that this will be slightly different timing to the close mics because of the distance, etc. but it'll all be exactly in the same place on all of the tracks, ie: keeping the phase relationships consistent.

4. Clicking yes should apply the transients from the overheads to all the grouped drum tracks. Those transients will now be linked/grouped so that any change I make to one, will apply for all tracks in the group (unless I manually indicate otherwise).

This is an extra step in SONAR, you need to Quantize To Pool for those tracks whenever you make a change to whatever your master timing track was, and in the case of this example, that was the overheads track.

5. Manually adjust the transient start times so that you're not cutting off any hits in their direct channels and add them where needed. Once done...
6. Split At Transient Markers
7. Quantize the Audio Clip Start Time

And for this part, I'd quantize just the master timing track (overheads in this example), and then go to all of the other tracks and quantize to pool so they align with the markers that moved when you quantized the master timing track.

Then when you're done, bounce to clips to apply the changes and use the offline stretching algorithm.

That's not a lot different, really, and just one more step you have to take into consideration - quantizing to the pool every time you make any timing changes to the master track. No splitting necessary either if you let it stretch the audio rather than cutting and cross fading.

EDIT: spelling

Get your transients how you want on the overheads track, copy them to all of your other tracks, align your overheads in time how you want, quantize the others to the pool. That's it.

ORIGINAL: DH123

Holy crap - this works but this is the first time I've done something like this with multi-tracked drums. 14 tracks is KILLING my Q6600.

Just built a new I7 daw but haven't moved to it yet. PLEASE tell me the CPU speed increase helps!!!!