Composition and Production Workflow using your own Drum Kit with DrumGizmo

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Video in TIB AV-Portal: Composition and Production Workflow using your own Drum Kit with DrumGizmo

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Title
Composition and Production Workflow using your own Drum Kit with DrumGizmo
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CC Attribution 4.0 International:
You are free to use, adapt and copy, distribute and transmit the work or content in adapted or unchanged form for any legal purpose as long as the work is attributed to the author in the manner specified by the author or licensor.
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Release Date
2018
Language
English
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Chaos Computer Club e.V.

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Subject Area
Revision control Drum memory Software developer Ideal (ethics) Bit Whiteboard Drum memory
File format File format MIDI Sampling (statistics) Maxima and minima Client (computing) Sequence Latent heat Process (computing) Sample (statistics) Velocity Drum memory Quicksort MiniDisc Text editor Drum memory
MIDI Projective plane File format Sampling (statistics) Streaming media Velocity Sample (statistics) Drum memory Velocity MiniDisc Text editor MiniDisc Drum memory Text editor Library (computing)
Point (geometry) Trail Random number Connectivity (graph theory) Real number MIDI Set (mathematics) Function (mathematics) Shape (magazine) Mereology Product (business) Fluid statics Different (Kate Ryan album) Energy level Row (database) Plug-in (computing) Position operator Software development kit MIDI Execution unit Trail Continuous track Sampling (statistics) Sound card Arithmetic mean Process (computing) Sample (statistics) Fluid statics Drum memory Mixed reality Text editor Smartphone Energy level Musical ensemble Resultant Row (database)
Point (geometry) Trail Multiplication sign Sampling (statistics) Function (mathematics) Sound card Process (computing) Sample (statistics) Drum memory Computer hardware Musical ensemble output Text editor Energy level Row (database) Software development kit
Greatest element Process (computing) Drum memory Sampling (statistics) Software development kit Row (database)
NP-hard Multiplication sign Sampling (statistics) Bell and Howell Bit Function (mathematics) Distance Rule of inference Symbol table Number Power (physics) Ring (mathematics) Drum memory Reduction of order Energy level Text editor Musical ensemble Software development kit Row (database) Thumbnail
Structural load Text editor Gamma function
Drum memory Function (mathematics) Symbol table
Computer file Data storage device Sampling (statistics) Musical ensemble Text editor Row (database)
Point (geometry) Greatest element Game controller Pixel Nim-Spiel Overhead (computing) Mapping Computer file 1 (number) Sampling (statistics) Bit Function (mathematics) Thresholding (image processing) Different (Kate Ryan album) Order (biology) Text editor Figurate number Hacker (term) Software development kit Row (database)
Point (geometry) Game controller Wave Zoom lens Sampling (statistics) Energy level Boundary value problem Parameter (computer programming)
Laptop Point (geometry) Beat (acoustics) Greatest element Game controller Length Source code Gene cluster Parameter (computer programming) 2 (number) Power (physics) Number Frequency Mathematics Term (mathematics) Semiconductor memory Velocity Circle Position operator Area Dot product Algorithm Dreizehn Sampling (statistics) Physicalism Line (geometry) Symbol table Befehlsprozessor Film editing Ring (mathematics) Order (biology) Right angle Text editor Annihilator (ring theory)
Dataflow Length Projective plane Sampling (statistics) Quicksort Spacetime Library (computing)
Addition Computer file Drum memory Sampling (statistics) Hard disk drive MiniDisc Selectivity (electronic) Floppy disk
Order (biology) Text editor Software development kit
Point (geometry) Revision control Trail MIDI Graphical user interface Order (biology) Bus (computing) Sampling (statistics) output Function (mathematics) Software development kit Row (database)
Point (geometry) Shooting method Sampling (statistics)
Point (geometry) Goodness of fit Multiplication sign
MIDI Focus (optics) Link (knot theory) Key (cryptography) Drum memory Multiplication sign Order (biology) Text editor
Transport Layer Security 1 (number)
Laptop Group action Multiplication sign Real number Content (media) Bit Mereology Neuroinformatik Power (physics) Arithmetic mean Drum memory output Musical ensemble Quicksort
Software development kit Mixed reality Mereology Resolvent formalism Power (physics) Row (database)
Revision control Buffer solution Musical ensemble Mereology
MIDI Musical ensemble
Revision control Drum memory 1 (number) Sampling (statistics) Set (mathematics) E-learning Bit Musical ensemble Mereology
Point (geometry) Group action Beat (acoustics) Context awareness Open source Code Multiplication sign Function (mathematics) Mereology Neuroinformatik Different (Kate Ryan album) Computer programming Musical ensemble Drum memory Monster group Plug-in (computing) Task (computing) Software development kit Area MIDI Algorithm File format Interface (computing) Sampling (statistics) Planning Line (geometry) Symbol table Film editing Drum memory Data storage device Website Moving average Text editor Musical ensemble Resultant Window Row (database) Library (computing)
Area Channel capacity Personal digital assistant Drum memory Software developer Moment (mathematics) Order (biology) Sampling (statistics) Shared memory Website Software development kit
Beat (acoustics) Randomization Length Multiplication sign Range (statistics) Mereology 2 (number) Neuroinformatik Different (Kate Ryan album) Velocity Robotics Address space Software development kit Assembly language Sampling (statistics) Sound effect Bit Wave Process (computing) Software Drum memory Order (biology) Video game Arithmetic progression Row (database)
Beat (acoustics) Computer file Function (mathematics) Disk read-and-write head Raw image format Proper map 2 (number) Number Product (business) Different (Kate Ryan album) Computer hardware Nichtlineares Gleichungssystem Plug-in (computing) Software development kit Vulnerability (computing) Area MIDI Projective plane Sampling (statistics) Sound effect Limit (category theory) Degree (graph theory) Inversion (music) Process (computing) Data storage device Drum memory Mixed reality Phase transition Order (biology) output Quicksort Identical particles Row (database)
MIDI Computer file Multiplication sign Electronic mailing list Planning Amsterdam Ordnance Datum Function (mathematics) Process (computing) Internet forum Website Right angle Figurate number Plug-in (computing) Software development kit
MIDI Dynamical system Computer file Suite (music) Correspondence (mathematics) Text editor Software development kit
I am the main from gizmo currently the sole developer appears all the others are too busy I tried to figure a smaller a shorter
title for this talk and this was actually the short version what I am about to to talk about today is not so much from gist milk because we already heard a bit about that board more the ideal workflow ideal workflow that I see and use myself as a musician with drum gizmo
because ten years ago when I made it I had a very specific workflow in mind because this was I needed that and I made drum gizmo to sort of supply that need so first of all just to recap what
drum drum gets more is strongest where as a drum sequencer or sample play thingy most of you have probably heard about it in its lv2 variant or VST but in fact you can also run drum gizmo as a jak client or directly connected to the soil either alsa OSS on FreeBSD so you can use it for playing live if you want to without having to set up all kinds of processes the main reason why I made it was because I wanted something that could be easy to use for playing samples on Linux which didn't really exist and I wanted to be able to make my own drum hits the sample formats that existed back then were too narrow for what I had
in mind so we made our own which is entirely XML based and as you just heard changing stuff in drum gizmo can be a bit hard if you're not really know your way around in the text editor and we try to remedy that in the UI and we will fix that eventually but other than that I wanted to be able to just plot in MIDI notes at velocity 64 everything velocity 64 and timing perfect and I wanted the plug-in to be able to rework that into something more realistic as a drummer will play it for real and so far we have managed to do a few of the ideas I have finally we have we have the possibility to be able to stream the samples directly from disk
because our sample libraries are huge I think the biggest one I have is about above 4 gigabyte finally which is started out as a side project or something from from the main project the Gigi edit from gizmo editor which was intended a dumb kid editor that was
certainly dumb but to be able to record the drum kit and have it automate the process of cutting up the recording into samples and and to make that into something that could be loaded by the plugin and actually what you're about to see here today is a world premiere of the new drum kit editor because I've been working on that for yeah thank you we had the editor already but it was one instrument only and you couldn't save your settings so it was one off you create the kit you've created the instrument and if you're happy with it you render it and you forget about it that wasn't really ideal so but we'll get to that okay this is
how a work fool could look for some people working on music and this is I don't know you maybe you do something different but this is just an example of what I what I see as a common workflow so the music I play is rock music actually it's death metal we'll come back to that later but compared to rock music compositional wise this is not very different because what we do is we create some riffs we try to stitch those riffs together to compose a song a verse and so on and we have to of course add some drums at some point to be able to figure out what would this sound like what drumbeat should be on it and classically you would do that in MIDI drums as we just saw in the last talk and you can rearrange the parts or add another chorus somewhere or perhaps guitar solo or whatever and then on some at some point you're satisfied with the shape of the song or the components but if you use for example hydrogen or something else then it's very hard at this point to get a really good idea about how will this song sound like when it's actually finished because the the the sound or the production of this composition is very rough and sometimes you can of course if you know your tools very well you can you can imagine what they will be like but still is very hard then you will go on to record some cue qatar and you will put the drummer behind his drum kit and press the record button using those cue guitars and then you record the rest of it and you mix it and you look you're done so but this this is part here is what i'm i'll be focusing on because this is what i want to change i want this i want something very specific and that's this still we compose riffs some way in my band we do it using a smartphone for recording riffs while we in the rehearsal room and when we got back home we perhaps cut up those pieces directly and use them or we we we caught them using the telephone recording as a reminder of what the river sound like and we compose the drums and drum gizmo the difference from me and most users I guess is that I actually have assemble a sample kit of the kit I have at home um so what I get here is something very close to a real thing and we rearrange stuff but we also start mixing now because what I have the outputs from drum gizmo is exactly the same as if I record the drums for real so I can start adding makes this two to each output channel and when you get to this point it's actually pretty easy to to hear what the sound what this song will sound like of course all the other components are still missing but provided that the guitars and so on actually sound somewhat like the end result as well then we can get a good idea with what this will end up sounding like then we can record the cue guitar and if use this cue guitar with the drum gizmo track somebody might actually be actually want to release it just then and not record the drums is all but of course that's cheating so we record the drum still but because the drum gives more outputs is exactly the same even the names of the channels we can replace the outputs with the recorded tracks and reuse the mix we way you made here as step 3 record the rest of the stuff and there makes the rest of the record this is this is my ideal scenario this was what I was able a mean out in 2008 this requires of course that you have a drum recording studio available with static microphone setup by that I mean you have a drum kit you have microphones put up you have a sound card where you do not have to turn it off and move it out you can leave it in place all the Microsoft are my microphone positions and their preamp levels that's very important stay the same because if you change that then the output once you record the real drum kit will change and then you cannot just replace the tracks and of course you need to sample that drum kit and that has please been an issue up until now
because it's kind of a tedious process and you really know to have to know your way around the tools which weren't really easy to use this is
my room home recording studio my cave well as you can see you have of course hardware running on the monitor 16 channel output input in / across to
Presonus sound cards firewire and all the microphones are static and a fair
warning beyond this point lies something you might not night like death metal is some some people might not like I promise you I won't play much of it so you'll be ok what I'm about to show you is now an example session of how this could work based on something we did we released in the summer of 2016 I'll walk through how to sample the drum kit of course I cannot record it here but have a pre recording with me we'll be cutting up that recording using the editor to create something that can be loaded into the drum gizmo and then depending on how much time we have left I'll try to show you how to actually start composing and replace the tracks at the end so first of all recording a
drum kit the recording process is of course you have to be you know you have
to know your way around in the studio you have to know your microphones and all that but this talk will not touch much in that subject because it's we can talk for hours about that at all alone but what you can see here we have 16 channels each channel is labeled we have two ambience microphones a hi-hat microphone I have to kick drums so one for each then I have a trigger channel which will just play a sample two overhead microphones right and two fierce one on the top and one on the bottom and then one for each of the Tom's and what we record when we record a set when we try to sample us or capture a single instrument is all 16 channels usually this is called bleat
because what what's in the kick drum microphone when I when I hit the snare that's not really the snare but still it adds something to to the overall reduction this is just a number of snare hits not really that interesting to hear I think but I can play one here anyway [Music] what we do when we want to sample the kit is simply hit it repeatedly and as you can see here I try to increase the power for the hits this doesn't have to be monotonically increasing the editor will figure it out on it on its own but doing it this way is simply a way to make sure that you didn't have a lot of soft notes and but a lot of hard notes and then a hole in the middle you want to have have hits on all levels from very soft very hard otherwise the output won't be very good the distance between each hit needs to be long enough for the ring out of the especially the cymbals are hard because it can take a minute if you hit a ride Bell it just keeps on ringing and you have to wait until it's done until you know until you do the next one it's particularly for before the ride can be very hard to sort of muscularly remember how hard did I he
did the last time now I have to hit it a little bit harder oh so that that's that's tricky and you have to do it right for snares and mainly for snares I recommend using at least 30 hits for the cymbals it can be much less because the cymbals are not that the timbre is not that easy to detect with the year so if you have two identical samples with the same symbol plate in a row you are less likely to notice it but the snare because we have fast snare fills and stuff like that often the snare is much easier to perceive as machine gun if it repeats the same sample so many many samples on the snare fewer on the cymbals that's the general rule of thumb so once we
have this we can fire up ladies and
gentlemen I give you the drum gives my editor what we see here is our load it's
a session I made earlier this one just
contains three instruments to kick drums in the riot a right cymbal I have predefined a lot of channels and this is very tedious work I plan to automate this in the future or have it done so yet but the idea is to simply click the plus symbol and then it will ask you for a name and you can add it these are the channels as seen on the output side of drum gizmo so all instruments should play into these somehow you can consider them output channels from Jack for example whereas the instruments they live on the inside and have to be connected so these so let's make a new instrument
we make a snare so first of all the add
some files and this is the recording we
just store in our door so these are the
channels ranging up ranging from
ambience to Tom for let me just close this and so we see here this capital M
here is the master channel this will be the channel that the editor uses for analyzing where the sample hits are and
because this is a snare I want to use a snare top microphone so this is the channel you also saw before in other work also I want to map these names here are the names we describe as instrument channels and these are the outputs from the instrument and we need to feed those into the output channels for the drum kit so here on here is a kit channel I can select the corresponding ones and this is also very tedious but you just carry on downwards and once you've done that the engine will know how to map each of the instrument channels to the output from gizmo this will be reflected in the XML file and if you imagine you import samples for a completely different recording session with a different setup different drum kit different microphones so something like that you might want to figure out how do I want to do these mappings but you can map them yourself one of the newer features we have in drum gizmo is bleed control you can actually pull the lever and reduce the bleeding and in order to be able to achieve this and we define for each of the instruments which channels are to be considered the main channels for the instrument and for the snare for example that would be the snare bottom snare top microphones and also the ambience microphones everything else is considered non main channels or bleed channels and so the idea is once I load in this instrument it's a drum gizmo I can reduce the bleeding and the snare sample itself will be reduced in all the other channels so it won't turn down the drum in the main channels but it will sound less in the overhead channels for example which some people have been having trouble with mixing in search because the bleed can be very hard to control so the next step is to have the editor figure out where all the hits are we have two bars one at the top and one at the bottom it's basically the same one you can see if I move it I move both and what I do with Mouse now is I simply drag it until I hit have each of the peaks in all the hits and if i zoom in a bit that's a bit easier to see what's going on what it does then is that it detects the point where the peak goes above the threshold I just said which is probably at this point is very hard to see like
four pixels you yeah you assuming it's very hard to
controller this zoom level okay maybe
you can see it here it detects the hit
that the the peak here and then it reverses backwards in the sample until he finds a serial crossing a servo crossing is very the sine wave crosses the zero boundary and the idea is if we cut if you imagine we cut it here where the sample value is very high when the sample is in plate back from silence a point where it sounds the speaker will pop you can actually heal this rise in sample value but if we cut where the the sample has the zero crossing you cannot hear this pop it doesn't exist so it does this for each of the hits and then I can click the generate button and it will it will collect all these areas but before that we have few other parameters we can tune first of all yeah in Douma purely coincidental you may find the
number 42 in the source code now and again also we can you can tune the faith length you can see the blue lines here this fate is applied after the cutting and it is intended because if you if you just use very long samples and this is again this is particular truthful for the symbols if you just allow the the symbol to ring on forever you'll get a twenty thirty second right symbol ringing and if you then have a beat birth whether a simple is playing fast you will have accumulating right symbols over these thirteen seconds or 30 seconds and that's yeah you'll run out of CPU power at some point so the idea is to reduce it we have this fall off parameter and fall off is it tries to detect the power initially and it we do until some percentage so it goes beyond 80% I think of the original signal so you see by increasing the fall-off I can reduce the sample length but if I intend to do a very short sample because I want to preserve memory or preserve CPU power and I can put it up too high if I do this and play it it will sound cut off and so in order to prevent it from actually be caught off we add this this possibility to actually do a fade out at the sample at the end so you can control that as well exactly what these values mean in terms of physics or math or powers or whatever I have no clue just play around with them for some reason I cannot make the editor play back on my laptop I think it has something to do with pulseaudio so I cannot play it but what we can can do if you can manage to get it working you can click this play samples button and down here all these blue circles they are the
power detected by the editor because the algorithm looks at the initial sample values this is control using the sample attack length if I move this you can see the blue dots they move around here at the bottom so that's because some floor tom for example has a very low rumbling frequency so had a lot of power but what you need to figure out is how this is in milliseconds by the way how many milliseconds should no that's not true I think it's simple I don't know but you can control the the amount of initial samples for the editor to look at in order to calculate the power of this single hit and this value of course changes if you increase the number of samples you observe and it does ask for all the his hits and positions them at that in the line and the bottom so you can see UK perhaps you have a large cluster of samples or India to each other in an area where you're not really interested in having many samples and other places like like this you might have holes and you generally don't want that because if you have a velocity when you play it back that hits exactly at this point it will jump to either this sample of this sample by some probability so holes is a bad thing clusters you don't really need them you cannot use them for anything interesting anyway so you probably want to get rid of them but let's generate it we can go to edit and here I can actually select one and it's very hard to see at this monitor but over here versus a yellow dot so I can see that this particular sample is mapped to this particular dot
I can also sell select one here um if i zoom back out again so the dot I clicked here or was it yeah is actually this hit and I can say okay you have to have a cluster of sample zeros I don't want them all so I can press delete and it will go away or at least it should there we go so you can samples from the library that way or from the from the pool of samples if you press the play samples button if we all only play the samples but it will try to position them with the same span between them so you get our sort of a flow will be that even though one of the hits are longer it won't prolong the spacing between those samples and that enables you to actually hear if something stands out perhaps if you put the attack length too high it might have calculated two samples so it they actually perceived the other way around then will be dead I did it I did it there's something wrong then you can go back and fix it so you should have a linear ramp up in intensity and once you're done with that the instrument is finished basically so we can save the
project which is new and then finally we can export so what it does now is it
looks at the master channel for additional instrument tries to use all the selections we made and cuts up all the samples on all sixteen WAV files and then puts these cut off samples into one WAV file with sixteen channels so we go from 16 mono samples to 116 channel sample containing only one hit we can have a look at that in the so this is
instrument and then the samples folder we have all the 31 snare hits that it detected these files are not immediately playable by you but most audio players because if you just feed this to something it won't say oh I don't know what to do with 16 channels but it is just WAV files there's nothing magical about them what is convenient for the drum gizmo engine is that because those 16 channels are layered in the same file they are also very close to each other on the hard drive which makes it easy to for us to to actually do disc streaming without having to move the diskette very more very far around on the hard drive
so that's it for the editor so now we
imagine we have a full drum kit assembled and luckily I have one already incidentally yes okay so what we want to do is we want to have a clean order
session we want to add a MIDI track and to this MIDI track we want for plugin then we want to load the where's your star oh sorry yes so now what I think is the most Oh
first is just a stereo output that's weird I have no idea I haven't worked with this version of order I don't usually do mm yeah okay great chrome Guzman has 16 outputs regardless of how many output samples horrible channels are in the actual drum kit so if you only have eight output channels in your drum kit the remaining eight challenge will simply be BMC and remain so what one would new normally do I think at this point is create busses for each of these outputs but because of the workflow way we want to replace the tracks later on instead of having it drop having drawn this will play into a bus will actually have it play to the input for an recording channel so we can
actually create 16 jars I really love this feature at this point
one would start renaming the now these channels to the same microphone names as we had before and because then you can later on start actually mixing from that shoot oh my you have to really like yes exactly well stall these samples this should play something one no I doesn't all
right here we go it's just a we have place to put it okay so that's the drunk yet and now we can start composing let's see what time was it how much time have you left half now okay I'm good time that's funny I
thought I had it here no okay what I will this point is import the guitar tracks or perhaps record them for for the cubit
R and then compose the drums using MIDI and I usually just use the mouse with the editor directly in order I know a lot of people give it a lot of heat but I've gotten used to it I think it's okay to work with and rearranging stuff is pretty easy has one cool feature and I would actually like to show you is I say we have some we need focus of notes here
if we imagine we have this piece and we want to copy it and use it multiple times after each other we can just hold down the ctrl key and drag it and this will not copy the section as such it will make links to it to the original one so if I just decide to add another note here BAM it shows up on the rest of them yes you can certainly do that you
can also if you later decide ok this is I need to change just this ones
you can unlink from other copies now this is its own own beast so if I do something here it won't be affected in the other ones and this particular feature I really like that I use that a lot because most of the songs I make have the same passage going over and over and repeating and if I change something at the beginning I wanted to be changed in all of them and don't want to have to copy in them all all over again
so if you imagine we have been working
on this for some time and here comes the death metal part fair warning
another disclaimer I took this session from my studio computer at home which is a pretty powerful Rick and put it onto this cheapo laptop so it's it's having a
bit of difficulty playing back what I'm trying to do and this is an example of a piece where I was a bit in doubt about how should the dumb drums be in this piece and how I had an idea sort of a vague feeling of what things should be like and I wanted to figure out how would this work for real before deciding in particular is this home part here as you can see is orange that's because drum gizmo didn't give me the reality of really hitting hard as I wanted it to so this is set to the input meaning that only this group is playing back what drum gizmo fits into it so what you're hearing now is the drum gizmo drums [Music] [Applause] [Music] [Applause] [Music] [Applause] [Music] so what I wanted to experiment with for the power of this content and I wanted it to be really really powerful and I thought this way of combining the Tom's work pretty well so then I went into the studio and recorded it and this is what it sounded like [Music] [Applause] [Music] [Music] so you can see this is good and this is
just a slow part but okay of course what you heard here will fall for the recordings of the guitars and basses the the actual recording this is not the cure guitars but still the the cue guitars were recorded with the same pedals and so on so they were pretty close to the real real resolve as well so already at the composition face I could do some mixing I had an idea of how much reverb I should put on those Tom's and so on and I also need knew how much power I should put into and when I actually had to play them for real so very early on as I originally intended I
have a good idea about what this would be like yeah that's basically it for for the for the walk through I don't know if you would want to hear more first part I don't know what did I do now I want to
go back to the beginning the buffer is already at 4096 okay so here goes the again the drunky small version [Music]
[Music] [Applause] [Music]
okay what's that fast enough and this is a recorded part
[Music] you can you can hear the rest of it
online everything is for free at seed of heresy calm creative comments if you like okay that's it [Applause] so are there any questions
[Music]
[Music] and then for the drunkest ones I should of course it have done it the other way around the scenario is much more powerful in the drum disco version so apparently I'm not hitting hard enough is a bit straining yes other questions
to pass around the microphone about the TGA sir did you get it that part about detecting sample on sets and cutting
samples up I imagine that would be very useful for other sampling tasks as well sampling since sampling real instruments if you develop that yourself or is it is that can that be used in other programs or how hard would that be well the technique is very simple exactly more or less like 20 lines of code or something like that so it could easily be extracted from the editor and used in some other context I have no immediate plans of making it as a library because it's too simple for that purpose but then again you never know well it's it's not about only about the algorithm but having an interface for it I think that's the difficult part because I haven't found any good tool on the next to cut up samples I'm still using Windows tools I which doesn't even run under wine which is very unfortunate you can use the editor for without having the onset detection but just for the cutting and you can mark the areas using your mouse but you don't want to do that for drums because you is very hard to be very precise and especially with the with the C record zero crossing stuff but you can certainly use that for it yes so you said that if you had a lot of cymbals playing off to each other if you didn't have the cut off work or the the how do you call it again the the bring out the bring out that you might have 20 or 30 samples playing at the same time and your computer imploding but I was wondering wouldn't it be more physically correct to actually stop playing the previous symbol sample as you hit the next one because the previous one would be dampened by the a that's a good question actually no because the symbols accumulate I do this for real also what do you do when you hit it the second time you probably also the timbre of the second note but you don't dampen the first one so this is actually how physically how assemble is working what we do do though is that we have we have also mute groups in the in the in format so if you have an open hi-hat playing and you use the foot to close it which is also a sample and a media note it will choke the first one you can also catch your cymbal if you hit it and snap it with the hand that's also note and you can do that also in the editor or in the with the plugin thank you but although that might just add it's not it's not playing 24 samples I don't on top of each other it's playing 10,000 because it's 16 channels for each hit and accumulating over if you take a piece like I just played for you fastball speed 230 beats per minute that's times four because it's six no six teen notes so that's yeah I think I measured 10,000 simultaneously playing sample in Rome gives me at once all the questions yes I want to say that I've been recording some drum kits and sampling them and regarding this up manually and the tool you showed us I think it's amazing and it like makes I think it made can make creating drunk it's just fun that there are like a few areas where it could be made better like assigning the the recorded samples of different mics to the instrument outputs of drum gizmo I I think that could be like somehow it can be automated automated to be like recognize the same names I would like to tell a short anecdote here because when I made the very first drum kit or I recorded the very first drum kit trombley's what didn't even exist because I did that for the a sea monster kit back when I recorded a record in 2010 I think strongly shmove wasn't didn't even exist back then Mali more or less and then when I got to a point where actually indeed the samples I had to cut them up and I had no tool for that tgd yet it didn't exist back then I had to do that manually it took me three months to cut up the entire kit and I had to do it manually do using audacity or something I can't remember yeah and the written the worst part the result was really bad because the precision was way off everything was all over the place now I can do the exact same work in like five minutes so yes it is tedious to assign the channels but doesn't really take that much time it's just something that it should be avoided and we will definitely work on finding a way to do that I also wanted to ask if if you're composing parts for your drummer but now I know you are your own but I wanted to ask if you could hand out your session to a different drummer and he could learn from that or maybe after some time even like play just watching your your piano roll just knowing what is what the median notes you mean yeah yeah certainly I have another band what we actually do the composition stuff creative comments or open source so we use get to compose stuff in and we put the MIDI files in there with your audio recessions and of course drum gizmo and we haven't gotten very far but that's another talk for another time I think thank you I was wondering about the kits that are hosted on the drum gizmo website and more specifically whether now so with the drum gizmo editor I guess it will become
easier and probably there will be more kids available so I was wondering about
whether maybe people already tried well reached which the drum gizmo team in order to share sample case and whatever drum gizmo will be interested in distributing more kids through the website definitely definitely we have been working on an idea of somehow making a community site for this so people can upload their own drum kits we have tons of capacity for this and would be cool for people to exchange kitchen boat for kids or do presets for them stuff like that but the downside is that I'm only I'm the only developer at the moment so if I had to do that also yeah well not really feasible if any of you guys would want to join and participate and how about in that area it would be really cool so these are the current
kits the our star kit which you just saw has not been uploaded yet I haven't
finished it
yes Bend you said that the actual recording of your kid one of these toughest jobs is still to evenly distribute your hit strengths across the full range from jealousy mood to fortissimo I was wondering did you consider even try using solenoids to mechanically increase the velocity I guess this is it to make Kenny because it's sitting on the same spot but exactly yeah but you're right with the same spot it would sound too close to each other so this the hey a big part of what randomization is is also how it adds to the humanization because you don't if you hit the snare twice in a row you don't hit the exact same spot so the timber from the snare itself will change and using a robot for that might be too precise I'm afraid but I think we're actually talked about this before precisely noise yeah great oh great software I'll probably use it you probably thought about this for said it but maybe I misunderstood but it pertains to what Yann asked about you know though you can't have things ringing forever I was thinking if you're doing a progressive rock song or something we have a lot of different drums well not styles but lengths of hit I was thinking if you actually want to have a thing ringing for 15 to 30 seconds and then later you want a more quickly kind of a ride thing or whatever how do you address that problem or is it even a problem we don't address it currently no um but if you have a computer which is just slightly more powerful than this one which I think most people have it won't be an issue okay how would you go about doing that you mean how what how would you go about doing that or solving that problem so that it doesn't accumulate over time oh but it but he will and and it should what we what we're aiming for is some things who sound as natural as possible and that's what the drums true physically in in real life so so we don't want to damper them of course you can do a effect wave perhaps put the stick on the symbol and and choke it partially or stuff like that but you have to do samples to focus for for that effect to be introduced okay I can t really see right now how to do that actually bit but it shouldn't be a problem in your mind should be possible yes yeah okay a bit similar it related to his question do you address different styles of for example are playing their hired usually you play the on beat is a bit played a bit differently than the offbeat for example say any way to address that strongest you would have to you would have to use varying velocities on the assemble note in order to achieve something like that I do that very often actually for accentuations and stuff like that but different playing styles we have I think the DRS kit for example this guy here very versatile kit where we try to not
only hitting each drum but also here hitting it with different spots for the kick drum a question I have heard a lot there are two kick drums in the MIDI input and people ask what are poor the death there's only one kick drum well they're two different nip notes that's because there are two different playing styles one were they with the mallet or a beater stays on the on the playing head on the drum head and one way snaps back and this gives suited to different sounds because the first one is actually damp and then the second isn't so that's that could be one a way of doing this simply have different samplings of the same drum but with different playing styles and we could also use brushes we have brushes on this kit same drum again but with a brush instead of a drum stick we do that for the whole kit you can use mallets or whatever it will increase the number of media notes you have to map into something of course which is kind of a problem when relating to to general MIDI for example because I don't think general me has brush on Tom one it doesn't exist so we cannot really we cannot really use that but yeah so you can do that with the
same number of channels so the sixteen channels and I may be small but using different instruments and suddenly suddenly yes and the limits to how many instruments you can have is actually only limited by the amount of media input notes so I guess that's one in twenty seven or something well okay I have some audio engineering questions how do you encounter those problems with phasing for example when you are using the ambient microphones there will be for sure some delay from the ambient microphones to the direct microphones how do you compensate this usually the way I use the ambience microphones is to at the room so what I do is I had a ton of reverb on top of those and then only slightly increase them in the mix so the effect the the face problem you were talking about should be very small but of course its present and I think there are tons of waste handling that I don't know I don't know much about it normally I have heard from the commercial products that the engineers are going to align all those ambience recordings to the attacks of all the other instruments well okay and the other thing you're using top and bottom microphones for the snare drum so one of the microphone has to be turned in phase by 180 to 180 degrees so that you get to no phasing problems how do you solve this hardware has a phase inversion but you have to do this in order then what we output from the drum plugin is exactly the same as you would get if you record the drum for real so you have all the same problems that's leading with phasing and everything there's no further processing nothing else of course you couldn't optionally you could do that it's nothing at preventing you from doing it but our first philosophy in the project is we want to output something as raw as possible oh yeah and actually that's one of the things that sort of distinguishes drum beats when compared to some of the propriety of Rockland plugins so they are many of those or as far as I know they are pre process so you have eq's you have reverbs we have tons of things so you cannot EQ it differently because you cannot undo that EQ it has already been applied so you can use this drum kit as raw and then you can give it your own sound you can design it the way you want it to so it gets gives the the it gives you more freedom with respect to to to how you want things to sound and that's of course both the weakness Center a benefit because some people maybe may not be skilled in this area and then you end up with shitty sounding drums okay now I get clear yeah thank you I've heard something about a thing called a mid Nam fail file written Amalia is that like the way to change the notes names to something meaningful for programming drums like it's actually what do you see here if when I hold the
mouse here this is a - yes yes if I make
a midline file for this particular kit and loaded in t'adore
it will say snare here oh nice so so drunk is what supports that right that has nothing to do with drawing ESMA that's something you put into our door so you would have to do midnight falls all the drunkest and actually we have one of our users who actually did that so you can download mid time falls I think it's on the Linux forum list somewhere and we are in the process of trying to figure out how to put those on the website and they may already be there I'm not sure but and also there is a plan for extending the OE 2 standard to be able to dynamically assign met them to a plugin the problem we have with our way to all the time is that when you load up the plugin it doesn't you haven't loaded a drum kit yet so it doesn't know anything about mid nap or output channels or anything it has to assign those at startup we've been working with Robin and David for example by figure
out could we do something dynamic so we can assign when you load the drum kit it will dynamically assign the mid Nam that corresponds to that drum kit generated from the rocket file because all the data is there but it's not it doesn't exist yet but the mid Nam you can do those already it does the trunk is more editor like can it generated Midna miles suddenly I could I can't but it may be able to do so thank you all right thank you again great talk [Applause]
you
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