Good video but you forgot to talk about something very important : if you only print samples of the close mic of each element (and OH for your cymbals if you don't close mic them), then you're missing some of the drum tone information ... I advise you also print the OH and Ambience samples for each element of the kit. For snare (and especially for snare since a snare close mic doesn't really sound the full picture of a snare for a mix) for instance : - snare close - snare OH - snare room
@@robsco1249 Not "so that" ! OH are essential to the drum tone period, and it's a shame not to make samples of those as well. And yes reverb/ambiance can be added after the recordings (this is the common practice). A common trick is to add reverb to the room tracks, to make it sound bigger. Also using snare room samples is common to make live snares sound more explosive in a mix.
@@djabthrash Sadly I have already recorded my samples which have been made for a record. Thank you for the advices... Now the question is: the sound I achieved is great if I listen to each part of my kit separately but It doesn't work when I listen all together, especially with the other tracks of the songs (Guitar, bass, keyboard, voice)...why? It's just a matter of equalization? Pre-amp? Cymbals sound good, snare and tom/floor tom not so much, they have no punch, depth and clarity... Sorry for my english and my no knowledge. Thank you.
Nice video. 😀 I did this with the drummer of our band. But instead of one volume step we used three round robins and five velocity steps for the snare and 3/3 for bass drum and toms. While on snare we used a hard hit rim shot as the loudest step, we - like you - decided to not use the loudest possible hits on bass drum, because that would never be used in a song and would therefore sound unnatural. But we also recorded snare top + bottom, kick in + out, left + right overhead and a room mic. And I also left the samples unprocessed. This way the samples fit seamlessly in our production even if the drums are mixed differently in different songs. So 👍👍👍
Thank you for sharing this. I have been wanting to do this with trigger for some time. Back when we got trigger I never did get it.. best video yet!!!!!!!
I recorded samples of my drumskit because I wanted my signature sound and wanted to use them just like midi (placing everything perfectely on time)...the sound I achieved is great if I listen to each part of my kit separately but It doesn't work when I listen all together, especially with the other tracks of the songs (Guitar, bass, keyboard, voice)...why? It's just a matter of equalization? Pre-amp? Cymbals sound good, snare and tom/floor tom not so much, they have no punch and clarity... Sorry for my english and my no knowledge. Thank you.
Cool Trigger tutorial! Been using Trigger for years with my own .wav files for one shots and didn’t even realize I could create .tci drum samples. Gonna start doing that. By the way what is the keyboard shortcut in Pro Tools to move the transient away from the fade? Thanks!
So you would do the same thing in order to use GetGoodDrums and Superior Drummer in Trigger? Basically print the midi files from GetGoodDrums or Superior, then follow these same steps in order to open them up in trigger? I have been banging my head trying to figure out how to do this.
Yes, exactly. Unless you can export the samples directly from GetGood or Superior, the only way to do it is the way that you described. After all of the individual drums are printed to audio, you'd follow the exact same steps demonstrated in the video. Thanks for watching, Danny!
@@FrightboxRecordingWill do man! Here is a song from our first album, if you want to here some! I did not mix the first one tho. ruclips.net/video/g-ooH3fUN3k/видео.html
You didn’t cut the file down all the way. There’s still space at the front before the transient. Doesn’t that have to be cut real tight to transient so that it triggers on time? Or does trigger figure this out?
The only thing that confused me is, at the end when you were putting your kick and snare files in the instrument editor, you were doing a single row with 5 samples columns, but you were just getting a single TCI file at the end for each. So what was the point of having the columns? I know that to make a multi velocity file you can have a few rows of different velocity hits and it will spit out a single MV TCI, but I dont get the point of the whole multiple column thing. Thanks
Fantastic tutorial! It was easy to understand, had good directions and the pace was perfect to follow. Would have liked it if you mentioned the key commands you used when chopping and consolidating the files. Yes, I subscribed!
Glad you dug it! I opted not to include them simply because fewer and fewer people are using Pro Tools these days (most use Reaper, Studio One and Logic) and I didn't want to confuse anyone. If you have any specific questions on any of the commands in the vid, let me know and I'd be happy to share them with you!
Is phase ever an issue since you're nudging the audio to avoid the transient being cut off by the fade? Also, do you eq the samples with the drums on the performance or individually?
Phase is never an issue since Trigger automatically aligns the transients. That being said, I always check the phase of each sample against the original using midi notes before I print my samples to audio. Even though Trigger is near perfect, it'll always miss a few. The samples themselves are raw, but I EQ them individually just like I would any other drum. Thanks for watching!
Very nice! But how do you align the samples with the original tracks? I tried using Superior Drummer 3's sample replacement to reinforce my original drums, but I always get a flamming sound or an out of phase sound. Does the same happen with Trigger? Is it true that the best way to reinforce drums is creating a new track on your DAW and pasting one sample for each hit and aligning the phase by eye? Thanks for the attention!
Hey man! Yes, you are correct. I always phase align each individual hit by eye in order to make sure they're all phase accurate. The program comes close, but I always need to print the samples to audio tracks and then phase align each hit individually. I will do a video on this in the near future as well!
For sure man. I’ve always only done one shot samples because I didn’t know how to do this and always had to just load the single wav file into trigger. Now I can start doing this and helping the drums sound more realistic and dynamic.
I have searched hi and low for info on how to be able to have OH and room samples that I record along with the close mic to be all together in a .pst file (preset file) within Trigger to so that I can blend the room sound I recorded along with the close mic. I can only find what you just showed. How can I add room mics in there too and have them match up within Trigger 2. Even Slates' manual does not say... very frustrating. Can anyone help?
You can load multiple samples into trigger at once. For example: a close mic and stereo mics all being triggered at once. I prefer to have them separate so I can change the blend before printing them down.
I found Slate's Trigger editor doesn't open in the new Mac OS X (Catalina and later), I emailed Slate, but they said there isn't an update for it.. Have you had any experience with this? Thanks!
so are you printing the trigger to a seperate track instead of putting it as a plugin on the live snare itself, and then blending the tracks on the mixer?
Exactly! I always convert my kick/snare to midi. I then phase align all of the midi so that the hits are 100% in phase. I then print my samples from the midi. Trigger is great, but no triggering software is 100% perfect. Certain hits have to be phase aligned and mistriggers have to be fixed.
Nice video! What do you do to prevent the hits from "flamming" with the source material? So if you're nudging the audio back 10 ms you'd have to move the track in which you use the trigger on about -440/480 samples depending on the sample rate of the session, right? I've got my troubles with that issue at the moment.
The software analyzes the transient and places it where it should be when triggered. Both Slate Trigger and Drumagog do this, I just nudge it back just to ensure that I don't cut off the very beginning of the transient when making the samples.
@@FrightboxRecording Thanks, good to know. Then it may be some problem with the automatic delay compensation in Pro Tools 11. I struggled with it regularly lately. But the thing that confuses me is that when I choose a different sample instead, the timing is correct. No more flams. When I combine my samples with pre-existing ones in the same unit of Slate Trigger 2, they flam in relation to each other...
@@Metalmeyer666 I have all sorts of weird issues with that in Pro Tools. Changing the delay compensation (and even buffer settings) messes with the key input on my channel strip plugin. It's been doing it since version 10 and I'm on 2018.1 and it's still a problem. It's most likely a PT issue. I know the struggle!
@@FrightboxRecording Okay, I tried to investigate my problem a bit further. Unlike you, I didn't consolidate the files but I bounced them because I mixed different microphones and applied some basic EQ. Yesterday I ran a few tests and realized that the bounces in Pro Tools have some serious latency in comparison to the original bassdrum sample, even with all plugins disabled so that the automatic delay compansation of Pro Tools should'nt mess with it. By the way I phase alligned all used microphones to one bassdrum track via manual delay compansation so the flams are not due to the latencies between the mics. As I said, when I combined one of my samples with one that came with the software, they flam with each other. So it seems that the plugin doesn't analyze the samples waveform and allignes it to the transient, at least in my case. As I don't have Pro Tools 12, I can't use the commit function to really look for the real latency between the original hit and the triggered sample and it seems that I can't print the triggered samples via Audio Suite, so the only option I see at the moment is to bounce the triggered samples and phase allign the manually afterwards. Do you or does anybody have an idea for a more convenient approach? This whole thing really gives me a headache. :-D
@@Metalmeyer666 I always convert my kick/snare to midi. I then check each hit and make sure that they're all phase accurate one note at a time. After I check the phase of the midi notes, I use the midi to trigger Slate Trigger. I then print slate trigger as audio. It's time consuming, but that's how they did it at The House Of Loud when I interned there. It saves time in the long run. Let me know if that makes sense!
Can you overlay the keyboard shortcuts for different daws as you use them? You consolidated with a keyboard shortcut but I don’t know what you pressed or where it would be in the menu.
Leroy! Fewer and fewer people are using Pro Tools these days, so I avoid using specific shortcuts to avoid confusion. Luckily everything demonstrated can be done in any DAW.
Frightbox Recording : I’m hoping they just haven’t gotten around to it because I did use this app. Slate is usually pretty good at staying on top of their stuff don’t know why this one slipped through the cracks.
Hello Adam! On Mac, hold control (pretty sure it's the windows key on windows) and use the + and - keys on your numeric keypad to move the audio within a clip. Just make sure your nudge value is set to something very small. I set my nudge to 10ms.
@@adamhardy8656 Unfortunately not as far as I know..that's why I'm stuck using a full-sized keyboard with my MacBook Pro. I've seen some guys use a wireless numeric keypad for when they're editing on a laptop for this very reason.
►►Download your FREE Impulse Response by clicking HERE: frightboxrecordingacademy.com/free-impulse-response/
Good video but you forgot to talk about something very important :
if you only print samples of the close mic of each element (and OH for your cymbals if you don't close mic them), then you're missing some of the drum tone information ...
I advise you also print the OH and Ambience samples for each element of the kit.
For snare (and especially for snare since a snare close mic doesn't really sound the full picture of a snare for a mix) for instance :
- snare close
- snare OH
- snare room
What do you mean with OH. Isn't enough to add the ambience, reverber after the recordings? Thank you
@@robsco1249 OH = overheads.
Why did i mention OH ? Because they also contribute to the overall drum tone a lot (not only cymbals but also shells).
So reverber/ambience could be added after the recordings?
@@robsco1249 Not "so that" !
OH are essential to the drum tone period, and it's a shame not to make samples of those as well.
And yes reverb/ambiance can be added after the recordings (this is the common practice).
A common trick is to add reverb to the room tracks, to make it sound bigger.
Also using snare room samples is common to make live snares sound more explosive in a mix.
@@djabthrash Sadly I have already recorded my samples which have been made for a record. Thank you for the advices...
Now the question is: the sound I achieved is great if I listen to each part of my kit separately but It doesn't work when I listen all together, especially with the other tracks of the songs (Guitar, bass, keyboard, voice)...why? It's just a matter of equalization? Pre-amp? Cymbals sound good, snare and tom/floor tom not so much, they have no punch, depth and clarity...
Sorry for my english and my no knowledge. Thank you.
Great video! Simple explanation. Thank you!👌
Happy to help!
Nice video. 😀 I did this with the drummer of our band. But instead of one volume step we used three round robins and five velocity steps for the snare and 3/3 for bass drum and toms. While on snare we used a hard hit rim shot as the loudest step, we - like you - decided to not use the loudest possible hits on bass drum, because that would never be used in a song and would therefore sound unnatural. But we also recorded snare top + bottom, kick in + out, left + right overhead and a room mic. And I also left the samples unprocessed. This way the samples fit seamlessly in our production even if the drums are mixed differently in different songs. So 👍👍👍
Hell yeah dude! Love the sound of that approach and I'm all about that unprocessed life as well. Thanks for watching!
14:17 ish is why you came here
All I can say is thank you, for a great step by step explanation
My pleasure Lionel!
Helpful, comprehensive video, thanks!
Glad it was helpful!
Thank you for sharing this. I have been wanting to do this with trigger for some time. Back when we got trigger I never did get it.. best video yet!!!!!!!
Thanks Booby this was really helpfully as I have just got Slate trigger
Hell yeah Tiddy!
VERY HELPFUL, CLEAR AND INFORMATIVE. CHEERS
Thanks for watching, Glynn!
I recorded samples of my drumskit because I wanted my signature sound and wanted to use them just like midi (placing everything perfectely on time)...the sound I achieved is great if I listen to each part of my kit separately but It doesn't work when I listen all together, especially with the other tracks of the songs (Guitar, bass, keyboard, voice)...why? It's just a matter of equalization? Pre-amp? Cymbals sound good, snare and tom/floor tom not so much, they have no punch and clarity...
Sorry for my english and my no knowledge. Thank you.
Cool Trigger tutorial! Been using Trigger for years with my own .wav files for one shots and didn’t even realize I could create .tci drum samples. Gonna start doing that.
By the way what is the keyboard shortcut in Pro Tools to move the transient away from the fade? Thanks!
So you would do the same thing in order to use GetGoodDrums and Superior Drummer in Trigger? Basically print the midi files from GetGoodDrums or Superior, then follow these same steps in order to open them up in trigger? I have been banging my head trying to figure out how to do this.
Yes, exactly. Unless you can export the samples directly from GetGood or Superior, the only way to do it is the way that you described. After all of the individual drums are printed to audio, you'd follow the exact same steps demonstrated in the video. Thanks for watching, Danny!
When you nudge your audio and bounce down, does that introduce 10ms of phase cancellation when you blend with your raw snare?
i also thought this! surely you'd want the sample to start right from the start to protect phase and any flamming with the original snare?
Your tips are very helpful bro! Keep it up with this amazing videos! I´m mixing my band´s second album right now. Cheers bro!
Glad you're digging the content! Send me a link to your album when it's done, I'd love to check it out.
@@FrightboxRecordingWill do man! Here is a song from our first album, if you want to here some! I did not mix the first one tho.
ruclips.net/video/g-ooH3fUN3k/видео.html
sick riffage!
Thanks!
Thanks for the video dude, the instrument editor didn't download automatically, so now I can use my fave samples in my fave sampler. Cheers :)
Thanks for watching!
You didn’t cut the file down all the way. There’s still space at the front before the transient. Doesn’t that have to be cut real tight to transient so that it triggers on time? Or does trigger figure this out?
Awesome info, this is exactly what I needed, thanks much!!!
The only thing that confused me is, at the end when you were putting your kick and snare files in the instrument editor, you were doing a single row with 5 samples columns, but you were just getting a single TCI file at the end for each. So what was the point of having the columns? I know that to make a multi velocity file you can have a few rows of different velocity hits and it will spit out a single MV TCI, but I dont get the point of the whole multiple column thing. Thanks
Fantastic tutorial! It was easy to understand, had good directions and the pace was perfect to follow.
Would have liked it if you mentioned the key commands you used when chopping and consolidating the files.
Yes, I subscribed!
Glad you dug it! I opted not to include them simply because fewer and fewer people are using Pro Tools these days (most use Reaper, Studio One and Logic) and I didn't want to confuse anyone.
If you have any specific questions on any of the commands in the vid, let me know and I'd be happy to share them with you!
I think he did, chopping and consolidating, just a heads up
Is phase ever an issue since you're nudging the audio to avoid the transient being cut off by the fade? Also, do you eq the samples with the drums on the performance or individually?
Phase is never an issue since Trigger automatically aligns the transients.
That being said, I always check the phase of each sample against the original using midi notes before I print my samples to audio. Even though Trigger is near perfect, it'll always miss a few.
The samples themselves are raw, but I EQ them individually just like I would any other drum.
Thanks for watching!
@@FrightboxRecording thank you Bobby. You rule, man!
Thanks a ton. This was a great tutorial!
Very nice! But how do you align the samples with the original tracks? I tried using Superior Drummer 3's sample replacement to reinforce my original drums, but I always get a flamming sound or an out of phase sound. Does the same happen with Trigger? Is it true that the best way to reinforce drums is creating a new track on your DAW and pasting one sample for each hit and aligning the phase by eye?
Thanks for the attention!
Hey man! Yes, you are correct. I always phase align each individual hit by eye in order to make sure they're all phase accurate. The program comes close, but I always need to print the samples to audio tracks and then phase align each hit individually. I will do a video on this in the near future as well!
Awesome! Thank you for the video!
Glad to have been a help!
Did you use room mic as well.??
No, only the close mics and only one mic per sample. I like my samples 100% raw and unmixed.
This video is gold! Thank you
Glad you dug it dude!
For sure man. I’ve always only done one shot samples because I didn’t know how to do this and always had to just load the single wav file into trigger. Now I can start doing this and helping the drums sound more realistic and dynamic.
@@ryanschumann4529 Great stuff! Glad this helped you out.
can you do this with addictive trigger?
Great video! Thank you so much man!
Anytime. Thanks for watching!
Frightbox Recording 🤘😜
I have searched hi and low for info on how to be able to have OH and room samples that I record along with the close mic to be all together in a .pst file (preset file) within Trigger to so that I can blend the room sound I recorded along with the close mic. I can only find what you just showed. How can I add room mics in there too and have them match up within Trigger 2. Even Slates' manual does not say... very frustrating. Can anyone help?
You can load multiple samples into trigger at once. For example: a close mic and stereo mics all being triggered at once. I prefer to have them separate so I can change the blend before printing them down.
i just started trying the trigger editor from ssd and i cant make them work on st2 no sound
THANKS MAN!
I found Slate's Trigger editor doesn't open in the new Mac OS X (Catalina and later), I emailed Slate, but they said there isn't an update for it.. Have you had any experience with this? Thanks!
I'm using the new Trigger Editor for Trigger 2. It's working for me in Catalina and Big Sur. Maybe you're on an older version?
@@FrightboxRecording Badass! Yes you are right! I didn’t know there is a new Trigger editor. Thank you. 🤘🏼😎
so are you printing the trigger to a seperate track instead of putting it as a plugin on the live snare itself, and then blending the tracks on the mixer?
Exactly! I always convert my kick/snare to midi. I then phase align all of the midi so that the hits are 100% in phase. I then print my samples from the midi. Trigger is great, but no triggering software is 100% perfect. Certain hits have to be phase aligned and mistriggers have to be fixed.
What is that shortcut at 5:09!? That would be so useful!
Make sure you have quick shortcuts enabled and it's "s" on your keyboard.
@@FrightboxRecording Legend! Thank you!
Does anyone know where I can download a version of Trigger Instrument Editor that's compatible with Catalina without buying Trigger 2?
Nice video! What do you do to prevent the hits from "flamming" with the source material? So if you're nudging the audio back 10 ms you'd have to move the track in which you use the trigger on about -440/480 samples depending on the sample rate of the session, right? I've got my troubles with that issue at the moment.
The software analyzes the transient and places it where it should be when triggered. Both Slate Trigger and Drumagog do this, I just nudge it back just to ensure that I don't cut off the very beginning of the transient when making the samples.
@@FrightboxRecording Thanks, good to know. Then it may be some problem with the automatic delay compensation in Pro Tools 11. I struggled with it regularly lately. But the thing that confuses me is that when I choose a different sample instead, the timing is correct. No more flams. When I combine my samples with pre-existing ones in the same unit of Slate Trigger 2, they flam in relation to each other...
@@Metalmeyer666 I have all sorts of weird issues with that in Pro Tools. Changing the delay compensation (and even buffer settings) messes with the key input on my channel strip plugin. It's been doing it since version 10 and I'm on 2018.1 and it's still a problem.
It's most likely a PT issue. I know the struggle!
@@FrightboxRecording Okay, I tried to investigate my problem a bit further. Unlike you, I didn't consolidate the files but I bounced them because I mixed different microphones and applied some basic EQ. Yesterday I ran a few tests and realized that the bounces in Pro Tools have some serious latency in comparison to the original bassdrum sample, even with all plugins disabled so that the automatic delay compansation of Pro Tools should'nt mess with it. By the way I phase alligned all used microphones to one bassdrum track via manual delay compansation so the flams are not due to the latencies between the mics.
As I said, when I combined one of my samples with one that came with the software, they flam with each other. So it seems that the plugin doesn't analyze the samples waveform and allignes it to the transient, at least in my case. As I don't have Pro Tools 12, I can't use the commit function to really look for the real latency between the original hit and the triggered sample and it seems that I can't print the triggered samples via Audio Suite, so the only option I see at the moment is to bounce the triggered samples and phase allign the manually afterwards. Do you or does anybody have an idea for a more convenient approach?
This whole thing really gives me a headache. :-D
@@Metalmeyer666 I always convert my kick/snare to midi. I then check each hit and make sure that they're all phase accurate one note at a time.
After I check the phase of the midi notes, I use the midi to trigger Slate Trigger.
I then print slate trigger as audio.
It's time consuming, but that's how they did it at The House Of Loud when I interned there. It saves time in the long run.
Let me know if that makes sense!
Can you overlay the keyboard shortcuts for different daws as you use them? You consolidated with a keyboard shortcut but I don’t know what you pressed or where it would be in the menu.
Leroy! Fewer and fewer people are using Pro Tools these days, so I avoid using specific shortcuts to avoid confusion. Luckily everything demonstrated can be done in any DAW.
@@FrightboxRecording Yeah, I get it, but then I have to find another tutorial, and I'm super lazy! haha
Awesome thanks!
Thanks for watching!
Sadly no 64-bit/Catalina support for Trigger Instrument Editor; now to find an alternative.....
No way! Such a bummer. I'm gonna be upgrading this summer and I'm glad to have found this out now. Thanks man!
Frightbox Recording : I’m hoping they just haven’t gotten around to it because I did use this app. Slate is usually pretty good at staying on top of their stuff don’t know why this one slipped through the cracks.
Thank you!!
Thanks for watching Joshua!
So I followed everything here exactly and I'm still having a clicking sound in my samples. Any idea as to what could be causing that?
Whenever that happens to me it's because something's not faded properly. Make sure your files have your fades baked into them.
Thank you!
My pleasure!
How did you nudge the audio without moving the clips?
Hello Adam! On Mac, hold control (pretty sure it's the windows key on windows) and use the + and - keys on your numeric keypad to move the audio within a clip. Just make sure your nudge value is set to something very small. I set my nudge to 10ms.
@@FrightboxRecording
Thanks for the response! Is there any way to do it without the numeric keypad? I am working on my MacBook pro.
@@adamhardy8656 Unfortunately not as far as I know..that's why I'm stuck using a full-sized keyboard with my MacBook Pro. I've seen some guys use a wireless numeric keypad for when they're editing on a laptop for this very reason.
@@FrightboxRecording Okay. Thanks for getting back with me!
I use ESX24 in logic
Good stuff! I use Logic, but mainly for synth programming. Gotta check that out. Thanks for watching!
good explanation but god damn your kicks sound like a mouse click lol
yikes