Creating great-sounding, grooving drum tracks in a personal studio
can be a difficult undertaking. Hiring a professional session drummer
is expensive and therefore impractical for projects on a tight budget.
Drum machines, samplers, and sound modules offer wonderful potential,
but without a drummer's skills, using them to convey the proper feel
is a major task. However, a crop of innovative drum libraries can help
you create authentic drum tracks without setting up a single microphone
or even pressing the record button.
The majority of these libraries are very reasonably priced . costs
range from about $40 for disks of MIDI data to $300 for multitrack audio
libraries. A few also feature famous players whose talent, creativity,
and time would otherwise be prohibitively expensive. Purchasing these
libraries is your licensing fee to use their performances, so no additional
fees are required (although crediting the musician is encouraged).
Before I list the available products, I will examine the file formats and
their respective applications. Remember that composing and arranging needs
differ. Consequently, the format, sounds, and feel of one library might be
perfect for one person but wrong for the next.
STYLES AND FILES
Drum libraries come in a number of file formats; some libraries offer a
combination of formats. Whatever the variety, the files are always one of
two basic types: audio and MIDI. CD-ROM collections most commonly offer
WAV-format files, because Mac and Windows computers easily recognize them.
Furthermore, a good number of portable digital studios, including units
from Korg, Yamaha, Roland, and Fostex, can import WAV files, letting you
assemble grooves without a computer. Of course, different bit-depths,
sampling rates, recording resolutions, and file types (such as 24-bit AIFF
and SDII files) are also offered.
Some libraries use proprietary sampler formats such as Akai, E-mu, Giga-
Studio, Kurzweil, and Roland. The Akai format appears to be emerging as
the lingua franca of sampler formats; most samplers can read Akai-format
samples at least up to a point. Of the various Akai sample formats, the
S3000 seems to be the current standard, and with the version 4 operating
system, the S1000 can load its successor's samples. Naturally, proprietary
parameters such as envelope, filter, and effects settings are difficult to
carry over to samplers with divergent architectures.
MIDI data is most often offered as Standard MIDI Files (SMFs). Type 1 SMFs
provide data on multiple tracks and MIDI channels. However, some libraries
also provide Type 0 SMFs; in those files, all the parts and MIDI channels
are contained on one track. Many older hardware sequencers support only
Type 0 Standard MIDI Files.
LOOP GURU
The obvious problem with audio files is that their tempos are not easy to
adjust. Audio tracks (unlike MIDI tracks) do not automatically follow your
sequencer's tempo. There are several digital audio sequencers that have
built-in bpm-based time-compression and expansion algorithms that are ideal
for working with looped grooves. For example, MOTU's Digital Performer
allows you to adjust a loop's tempo to the sequencer's tempo or to adjust
the sequencer to match the loop. Digidesign's Pro Tools employs a time-
stretching function that can snap a loop's length to the sequencer's tempo
grid. Emagic's Logic Audio even provides options for changing the feel of
a loop.
Although programs such as Ableton Live, BitHeadz Phraser, and Sonic Foundry
Acid aren't specifically designed for traditional songwriting, they excel at
processing audio files to suit new tempos and arranging files into song
sections (for more information, see .Loop-a-palooza. in the June 2002 issue
of EM). You can then import the processed drum files back into to your digital
audio sequencer for further production. Just remember that no matter how good
your time compression and expansion algorithm is, excessive compression or
stretching can lead to nasty sounding artifacts. In general, you are safe with
changes of as many as 5 bpm in either direction. Sometimes you can go as far
as 10 bpm without bad side effects, depending on the complexity of the loop
waveforms. Third party plug-ins such as Pitch 'n Time by Serato Audio Research
do an excellent job of changing tempos without altering the original loop's
sound quality.
Propellerhead Software's ReCycle can separate the audio file into discrete
hits; by identifying the waveform's amplitude peaks and troughs, it can
determine where hits occur and then slice a drum loop into its individual
components (see Fig. 1). Recycle sends the keymapped slices to your sampler
and provides a MIDI file that preserves the timing of each slice as a Note On
event. With each hit stored as a distinct element, you can then change the
sequencer's tempo and trigger each slice separately. The Strip Silence feature
in Logic Audio can split up a region and keep each beat locked to its relative
position on the tempo grid. Steinberg's Cubase VST has a similar feature called
Match Points, and the TDM version of Pro Tools has a beat splitter called Beat
Detective.
EDIT US REX
The REX format was codeveloped by Steinberg and Propellerhead Software.
Any audio file can be turned into a REX file using Propellerhead's ReCycle.
Steinberg's Cubase and Emagic Logic 5 support REX files, and Mark of the
Unicorn (MOTU) has announced that Digital Performer will support REX files
as of version 3.2. REX libraries are mono, but the newer REX2 format supports
stereo files.
A REX file is a loop that has been beat mapped, sliced up, and saved with
a playback script as a single integrated file. You can change the tempo of
a REX file without affecting pitch and without using time compression or
expansion. Changes in tempo of as many as 5 bpm either way usually sound
decent, though that number may vary depending on how carefully the REX file
was created (the quality of REX libraries varies significantly).
Cubase VST lets you drag and drop REX files, which makes assembling REX tracks
a snap. You can mute individual REX file slices, and some programs (such as the
Dr. Rex player in Propellerhead's Reason) even allow level and tuning adjustments
for each slice. A groove template can be derived from a REX file because its
sliced-up beat can double as a MIDI event flowchart. You can use that MIDI
template to groove-quantize MIDI performances so they have a cohesive overall
feel. Unfortunately, however, MIDI templates derived from REX files do not
translate audio dynamics into Velocity, which is just as important as timing in
recreating a rhythmic feel. That is vital if you want to apply the template to
a MIDI sound source.
Groove quantizing is a feature that can superimpose the dynamics and timing from
one groove onto another. Unlike standard quantizing, groove quantizing provides
a grid based on realistic (and human) performance parameters, such as natural
variations in timing and Velocity. A word of caution: avoid the temptation to
groove quantize everything. Placing every event in lock-step with your groove
can ruin the dynamics and feel of the sequence at the worst and sound overly
contrived at best.
MIDI MACHINATIONS
Most MIDI drum tracks adhere to General MIDI (GM) drum maps, so if you want to
build your drum tracks with MIDI files, it's a good idea to use a GM-compatible
sound set. Presets that follow the GM map will save you from reassigning drum
sounds to note numbers. Most recent synthesizers have fallen in step with the
GM drum map, but if your device doesn't offer that convenience, there are a
good number of sequencers that provide the tools for convenient and quick
reassignments (see the sidebar .Remap Your Sounds.).
MIDI files are much smaller than audio and REX files; that's a big help if you
have limited drive space. It's far easier to change drum sounds and rearrange
individual notes in a MIDI file than in any audio file.
The downside to MIDI files is that even the funkiest performance can sound
canned and uninspiring, especially when the drum samples sound as if they were
recorded in an anechoic chamber. It is difficult for MIDI performances to
capture the ambience of a live drum kit because there is no interaction between
the drums and the recording environment . for example, the sympathetic rattle
of the snare when the toms are played.
Another problem is that samplers need to deploy tricks to emulate a real drum's
response to dynamics. Striking a drumhead doesn't simply change the instrument's
volume; it also causes changes in pitch and timbre. Filters and Pitch Bend can
help, but they tend to sound a bit synthetic. However, if the sound source has
good multisampled and Velocity-layered drum presets, it's amazing how realistic
a MIDI file can sound.
In a Velocity layer, you assign a different sample for each dynamic level. For
example, a Velocity-layered snare drum is made up of several distinct drum hits,
each recorded at a different dynamic level (very soft, soft, medium, hard, and
very hard). When set up correctly, higher Velocities will play the samples
recorded at higher dynamic levels. That helps to convey the dynamic
characteristics of a real drum. With enough RAM, samplers can easily accommodate
an adequate number of unique sample hits for each drum. Software drum machines,
such as Steinberg's LM-4 MarkII and Native Instruments' Battery, come with great-
sounding multisampled and Velocity-layered presets (see Fig. 2).
TRIGGER, MAN
If you don't like the way a drum sounds on a particular track, you can replace it
with a new sample. Trigger-to-MIDI devices measure the dynamics of an audio track
and convert them to MIDI note and Velocity information. Roland's new TMC-6 is
a dedicated trigger-to-MIDI converter designed to fire off MIDI events from drum
pads, acoustic drum triggers, or line-level audio signals. Threshold and sensitivity
adjustments tailor the TMC-6 response to dynamics, and you can select from a variety
of Velocity curves to tweak the dynamics of the MIDI output. Each trigger can be
assigned to a different MIDI channel, so you aren't limited to replacing drum tracks
from a single sound source. If you want to replace a multitrack performance,
the TMC-6 offers six inputs.
The Alesis DM5 and DM Pro drum modules offer built-in audio-to-MIDI trigger inputs
(12 on the DM5 and 15 on the DM Pro) that work wonderfully. Roland's TD-10 and TD-8
V-Drum brains also offer trigger inputs and can trigger external sounds. Digital
Performer's Trigger is a trigger-to-MIDI converter plug-in that first appeared in
version 3.0 of the program. Digidesign's Audio Suite plug-in Sound Replacer even
allows you to assign a different sample for each of three Velocity zones. That lets
you accurately follow the dynamics of the audio track with different sample hits for
realistic-sounding results.
MULTITRACK AUDIO
For the most part, modern drum-loop libraries are thoughtfully engineered for easy
song construction by section; entire song forms are sliced into components. You can
drop the appropriate sections into your digital audio sequencer and arrange verse,
chorus, fill 1, fill 2, and so forth.
In many cases, song sections are neatly trimmed multitrack loops containing
individually miked drums, including kick, snare, toms panned left to right, stereo
overheads left and right, room ambience, and additional percussion instruments.
Because drum-kit elements reside on discrete tracks, you can process, edit, and mix
the tracks independently.
The following is not a shoot-out. Rather, it describes the percussion programming
products that are currently on the market.
Discrete Drums
The professional edition of Series 1: Rock/Alternative, from Discrete Drums, is
a set of nine WAV-format CD-ROMs with more than 30 songs in tempos ranging from 124
to 300 bpm. Two audio discs containing mixes of all the songs come with the library,
making auditioning tracks a breeze. A separate sample disc contains AIFF files of
individual drum hits at different Velocities, with and without the room ambience.
The 24-bit, 44.1 kHz recording and archiving provide very high sound quality. Greg
Morrow, whose credits range from Bad Company to the Dixie Chicks, holds the drummer's
chair.
The songs have intro, verse, chorus, bridge, and end sections, and each section has
variations. Some songs even have special .crash and burn. endings. The multitrack
samples include kick, snare, stereo toms, stereo overheads, and stereo room.
The stereo room sound really adds to the big rock 'n' roll feel of these tracks.
However, as with some of the other libraries, an isolated hi-hat track would be
a nice addition.
APO Multimedia
APO Multimedia's Mix It features the drumming of David Jones, who has worked with
John Denver, Stevie Wonder, Seals and Croft, and Helen Reddy, among others. Over
this two-CD library he lays down a collection of grooves that include funk, country,
pop, and rock selections. Each genre contains intro, verse, chorus, and ending sections,
and there are five different groove variations for each section.
The song sections have ample overlapping beats, which are perfect for crossfading
ringing drum tones (like toms and cymbals). However, the overlapping beats make
assembling sections a bit more work than simple butt splicing. To get around that,
set your digital audio sequencer's tempo to match the sample and snap your cuts to
whole bars. If you do that, the overlapping beats won't be a big deal. The multitrack
samples include kick, snare, hi-hat, stereo toms, stereo overhead, and an occasional
ride.
Each Mix It multitrack title comes in stereo WAV or REX2 formats with six extra groove
variations to each song section. Jones's grooves, despite the different song genres,
all tend to have a rock flavor to them.
Multiloops
There are three titles in the Multiloops Naked Drums series: Rock, vol. 1, and Pop R&B
are both four-disc sets, and Odd-Time Grooves comes on nine discs. Songs are named simply
by their tempos, which range from 60 to 240 bpm. Odd-Time Grooves features a selection of
songs in different time signatures, including 6/8, 19/16, 5/8, 7/8, and 9/8.
All of the songs are offered as 24-bit, 44.1 kHz WAV files and as Pro Tools session
files that can be used with Pro Tools versions 4.x, 5.1.x, and Free-5.x (see Fig. 3).
The sessions are laid out on a tempo grid with markers to designate the different song
sections. Each song has a ton of sections cut into one- and two-bar lengths that can
easily be scooted about to arrange your song. That is very convenient for Pro Tools users.
You can import the WAV-format files into your digital audio sequencer with no trouble.
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