How to Edit Drums in Reaper (Automated)

Drum Editing Techniques for Logic Users

Introduction to Drum Editing

• The video discusses drum editing techniques, particularly for users of DAWs like Logic, which may not excel in this area.

• The speaker emphasizes the importance of finding a cost-effective solution for efficient drum editing workflows without requiring expensive software.

Importance of Efficient Drum Editing

• Understanding drum editing is crucial; it allows producers to maintain the integrity of performances and avoid time-consuming edits later.

• Properly edited drums are essential before other instruments are recorded, as they influence how musicians perform together.

Choosing Reaper for Drum Editing

• The speaker shares their experience with various DAWs, concluding that Reaper offers a more accurate and effective solution than others like Luna.

• A fresh installation of Reaper is used in the demonstration, ensuring accessibility for all users without additional scripts or customizations.

Setting Up Drums in Reaper

• To begin, users should import their drum tracks into Reaper and arrange them on separate tracks for clarity.

• Activating group mode by selecting all tracks allows simultaneous movement and editing of multiple items within the session.

Preparing Tracks for Quantization

• It's important to set the correct BPM (175 in this case), as well as ensure that the time signature aligns with typical western music standards (4/4).

• Adjusting group mode settings can enhance workflow efficiency by allowing individual item selection while still moving grouped items collectively.

Initial Setup Steps

• Users should disable automatic selection linking so that they can select individual items while maintaining group functionality.

Dynamic Splitting in Audio Editing

Setting Up the Threshold for Transients

• The process begins with setting a threshold level to isolate specific drum sounds (snare, kick, tom) while minimizing bleed from other instruments.

• To select an entire track, double-clicking on it ensures all edits are included, which is crucial for accurate processing.

Configuring Dynamic Split Settings

• Important settings include unselecting "split selected items" and ensuring "split selected and grouped items" is chosen to maintain group integrity during editing.

• Adjusting the threshold and sensitivity is key; too low of a threshold may capture unwanted sounds like kick drums, while high sensitivity can lead to excessive splitting.

Visualizing Threshold Lines

• As the threshold is adjusted upwards, visual indicators show where Reaper will split audio tracks. This helps in fine-tuning the selection process.

• Enabling "display threshold in media items" allows users to see these lines clearly, aiding in achieving desired results.

Handling Flams in Drumming

• Flams—two closely spaced hits—should not be quantized independently; only the first hit should align with the grid.

• Reducing sensitivity helps eliminate unnecessary splits while retaining essential hits from flams.

Finalizing Selections and Splits

• Continuous adjustments ensure that only relevant transients are captured without losing important elements of performance.

• After confirming selections look correct through visual cues (dotted lines), users can proceed to split tracks based on established thresholds effectively.

Moving On to Kick Drum Processing

• The same method applies when selecting kick drums; double-clicking ensures all kicks are included for processing.

Kick and Snare Processing Techniques

Understanding Waveforms and Sensitivity Settings

• The kick beater to the kick head is generally a simpler waveform, which may require less adjustment for threshold and sensitivity settings compared to more complex sounds like snares.

• After adjusting settings for snares, similar adjustments are applied to kicks, ensuring consistency in dynamic window settings.

Adjusting Sensitivity for Accurate Splits

• The process involves selecting tracks and adjusting sensitivity to ensure accurate detection of audio elements, indicated by dotted lines on the waveform.

• Users are encouraged to zoom in on waveforms to verify that all necessary elements are highlighted correctly before proceeding with splits.

Managing Bleed and Threshold Adjustments

• Caution is advised when splitting tracks; bleed from other instruments (like snare drums) can affect accuracy.

• Increasing sensitivity while also raising the threshold helps capture desired sounds without interference from unwanted noise.

Finalizing Drum Splits

• The final split involves identifying specific hits (e.g., floms), ensuring they are captured accurately by adjusting thresholds as needed.

• All drum components (kicks, snares, racks, floms) should now be separated into individual regions through careful adjustments of threshold and sensitivity.

Quantizing Drums for Precision

• To quantize drums effectively, navigate to item processing options within the software. This allows precise alignment of drum hits on a grid.

• Recommended settings include quantizing to 16th notes with adjusted crossfade settings (ideally around 3 milliseconds), enhancing clarity in audio transitions.

Reviewing Quantized Audio for Artifacts

• Post-processing review is essential; users should scroll through quantized tracks looking for any imperfections or artifacts that could disrupt sound quality.

Drum Editing Techniques

Phase One: Shells Editing

• The speaker discusses the need for better editing solutions when crossfades are repeatedly problematic, suggesting a collective adjustment to all crossfades at once.

• By selecting all elements, adjustments can be made simultaneously, allowing for easier corrections of snare hits without needing to edit each one individually.

• This phase is referred to as "Phase One" of drum editing, focusing on shells and automating most processes while still requiring playback checks for errors.

Phase Two: Percussive Elements

• In this phase, attention shifts to percussive elements like tight hi-hats and bell rides that stand out in the mix; however, not every symbol hit needs editing.

• The speaker emphasizes that while some parts may take longer to edit due to complexity, the effort will enhance overall production quality.

• A manual workflow is introduced for adjusting hi-hat tracks by enlarging their visibility and correcting timing issues.

Adjusting Hi-Hat Timing

• To correct timing discrepancies in hi-hats, the speaker demonstrates splitting audio clips in Reaper but notes an issue with unwanted fade-ins/outs.

• Preferences are adjusted in Reaper's settings to enable overlapping crossfades instead of default fades when splitting items.

• After setting preferences correctly, splitting allows for easy movement of individual hi-hat pieces while maintaining group track integrity.

Manual Adjustment Process

• The process involves selecting segments before moving them into place using keyboard shortcuts (Alt on PC or Option on Mac), ensuring all related tracks move together seamlessly.

• The speaker reiterates that this manual adjustment is essential despite being time-consuming; it’s crucial for achieving precise edits across various songs.

Phase Three: Fixing Bad Flams

• Moving into "Phase Three," the focus shifts to addressing bad flams—unintentional overlaps between drum hits that should align perfectly but do not.

Kick and Snare Editing Techniques

Understanding Kick and Snare Placement

• The speaker discusses the importance of kick and snare placement during a buildup, emphasizing that the kick should be positioned on top of the snare for optimal sound.

• This is an exception to typical phase rules; moving the kick track over the snare can enhance tightness in sound, despite potential phase issues.

Adjusting Tracks for Better Alignment

• When adjusting tracks, turning off group mode allows for precise movement of highlighted elements without affecting other tracks.

• The speaker demonstrates how to align a kick drum with a grid line by using control clicks and dragging within region boundaries.

Managing Crossfades

• After aligning tracks, crossfades may appear. To resolve this, select all items and use the glue function to eliminate unwanted crossfades.

Phase Four: Replacing Hits

• Phase four involves replacing hits that do not sound right due to editing artifacts created during cut-and-drag methods.

• Gaps are more problematic than overlaps; filling gaps can lead to odd-sounding artifacts that detract from the overall quality.

Finding Suitable Replacements

• The speaker suggests listening through tracks to find similar hits as replacements when undesirable sounds occur.

• Utilizing nearby hits with similar dynamics can help maintain consistency in sound quality throughout the track.

Workflow Efficiency in Different DAWs