![]() ![]() As for the actual point where your approach fails, the drummer switches from a steady halftime backbeat to double time (or more like a 'pretty woman' beat), the straight quarter notes go to the snare and there are no such hits on the kick track which you're using to Beat Map. In reality, you're adapting to the drummer just playing a laid back second kick in half time, and this will be gone once you 'fix' the tempo. If you look closely at your picture, many times you're lowering the tempo on the 1, and speed it up on the 3. You are essentially quantizing the drums (actually you're quantizing everything to the drums, but that will turn around once you begin to straighten out that Tempo Map later). If you want to keep the feel of the drummer and just correct the tempo drift, you' re using way too many Beat Markers. I'd also not combine automatic Smart Tempo and manual Beat Mapping, as invariably one gets in the way of the other. It is (sometimes frighteningly) good at guessing the right tempo, but just as stubborn when it insists on things it got wrong. ![]() As mentioned, I'd stay away from Smart Tempo. Indeed having the grid follow your performance's natural, human tempo map can really ease the editing and arranging process. It's often insightful to hear about other people's workflow. One thing I love about Logic's workflow for beat-mapping (and flex pitch) is that it leads me to do less messing around and get more natural, pleasing results than I might in other DAWs. Other styles might need more rigidity, but I would suggest starting very lightly with quantizing if you aren't playing to loops/samples/tracks/etc. This works well for our style of music, which is indie-dad rock. On the occasion there's an errant hit (usually my bass playing, ha!), the beat-mapped grid is helpful for quickly nudging things into place. I typically start beat-mapping the first downbeat of each section, maybe going down to every bar or two depending on the tune. ![]() When I start mixing, I beat-map as described here - not to align everything to a grid, but more of convenience when setting delay times, selecting bars/beats for automation, etc. Just wanted to chime in as an anti-click guy: the basic tracks for most of my current band's records are recorded in our basement during practices, all playing together, without a click. Is this something I should have engaged as we recorded? Would this have made life a lot easier regarding these edits? I've looked at the smart tempo thing, and I guess I just don't understand it. Is there an easy way to even out a drummers tempo performance? I don't need to be right on the grid, though I'd like to be close and still keep a "feel." I have tried grouping the tracks, and setting some target tracks for quantizing, and using the slicing flex mode and even manually dragging some of the transients. So we did our best (we all played along with scratch tracks into a separate mixer feeding 2 of those 10 channels and through a headphone amp to not make a sound on the drum recordings) however with all songs there is tempo drift, say from 120 to 126 by the end of the track (sometimes even more drastic). Our drummer does not (and cannot) play to a click. We have now done the drums for 6 or 7 songs, and before we begin tracking everything else, I'd like to edit the drums to have a consistent tempo. I only have 10 tracks to work with, so we are doing drums first, then over dubbing bass, guitars, keys, vocals, etc I have learned a lot from reading and experimenting, trying micing techniques, and using 3rd party plugins, etc. 1.I have decided to challenge myself to get a good sounding recording of my band in my basement that sounds like a record and not a recording in my basement. As you might turn to a ‘kick insert’ preset in a compressor plugin as a starting point, a smart plugin’s AI-powered compressor settings for your kick will likely provide a rough, convenient approximation of what’s needed that the user can adjust to taste. ![]() In the case of mixing tools, the tech is best thought of as a modern take on the usual stock presets found in many plugins. Probably the most controversial is LANDR, the AI-based online mastering service that claims to be able to provide a service traditionally seen as a ‘dark art’ requiring years of training and a studio full of vintage gear.Īt their best, AI-powered plugins tend to support the creative decisions of the music maker, rather than attempt to overrule them. It’s easy to write off smart plugins as ‘automated’ music-making tools – ones that take the human skill out of music production. To some, these kinds of technologies hold a lot of negative connotations. 10 ‘intelligent’ mixing plugins that will make your life easier and save you time ![]()
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