I was always taught to use a stereo track for overheads instead of 2 mono tracks specifically to avoid problems with beat detective/elastic audio. If you end up stretching audio PT will automatically keep the changes consistent across a stereo track but not 2 mono tracks.
You don't edit sounds just right on the bars just because it "should be" on the bar... that's not music man... To have a feel, a groove, or juste something expressive, well, you need to express ! #DATATRANSFERvsEMOTIONS Trying to make humans into robots and humanise robots hahahaaa Editing on grid is by far the saddest thing that could have happened to music and it did... STUPID
Hey Brett. Awesome video. So informative, thanks. Can I please ask you what happened to your SN MIDI track at 28:04? It's name changed from SN MIDI to SN MIDI2 and you were able to Insert Kontakt. Did you change or redo something that was edited? I have the same issue and cannot insert an instrument at this point.
Great catch! I did kind of gloss over that. So essentially when I first create the trigger I have that on a ‘MIDI’ track. The next step would be to create a new ‘INSTRUMENT’ track. Then we can duplicate the midi data on the instrument track and add inserts. So there is a distinction between MIDI and INSTRUMENT tracks in pro tools. I don’t have a good answer for why. But 90% of the time I use INSTRUMENT tracks. Hope this helps. 😊
Sorry, I’m so bad at looking at this stuff uhh ghost notes are very hard to deal with. I will usually try not to sample those or if I DO sample them I’ll keep the sample lower in the mix. Typically I’ll just clip gain the snare mics up for that particular part! But yeah I don’t think that ghost notes, snare rolls, or detailed fills should really be sampled too heavily in general unless it needs it
@@brett3724 awesome thanks so much. The process on your video is the exact method I use too, except that I just use a standard gate on the snare top mic and not side chained. But should give that a shot as well
