* From [EMAIL PROTECTED]
In a message dated 9/8/99 3:44:32 PM Eastern Daylight Time,
[EMAIL PROTECTED] writes:
> But this isn't down to A3k defects or probably even sampler defects. I
think
> it's usually just down to the limitations of MIDI (which is very
> underspecified for modern musical purposes).
> The basic fact is that
> MIDI doesn't cope well with complex, synchronous rhythm parts (I've been
> using complex MIDI setups myself for over 15 years, and have pulled my hair
> out on many occasions trying to prevent the drum/percussion beats
> deteriorating as other parts are added to the sequence).
> well is this guy a sound surgeon, or are you guys ears not good enuff
> to notice what he's talking about??
he's a sound surgeon. i know exactly what he is talking about
and i use a similar technique for recording if i need it..definitely
not bs but more of an opinion and a stylistic thing.. i don't
often have more than one or two sounds on the same 16th
note at a given time (excluding sustaining samples and pads)
so it usually isn't a problem for me. there is a definite issue
there but like he says, all midi gear will do this, and there
are many tricks to get around it. just using the groove timing
mode in the rm1x to 'push' parts around by a tick or two can
often solve any problems you are having..
the other solution which i like to use is to sample my various
parts into loops, then trigger them all at the same time and
adjust the start points of the loops to make up for the few ms
delay between when they actually start. this is easy to do
for like tracks where you have a 4 on the floor kick and
claps on the 2 and 4 - the claps can be adjusted to pop
right on when the kick goes instead of a few ms late. it can
be tedious to do this though which is one reason i like messing
around with acid from sonic foundry. impeccable timing is easy
when you work that way but it doesn't have the real time control
and stuff needed for a live show or for doing intuitive arrangments
by feel instead of by planning..
when it comes to analyzing microtiming of drum parts,
it takes a loong time to develop the sensitivity to tell the
difference... one tidbit of info i learned once is that
world class drummers can play with an accuracy of within
about 4-5ms.. so you have to imagine that to learn to hear
that difference takes a lot of messing around with it..
ultimately i got the rm1x for doing live work so it doesn't
matter so much to me. to reproduce the music conceptually
perfect, with all timing accurate to the sample, well thats
what the records are for ! :)
andyc
infocalypse recordings
http://members.aol.com/infcalypse
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