Groove agent tutorial Patch#
Groove agent tutorial software#

In these scenarios, you can split your rhythm part across multiple MIDI tracks, but this is cumbersome compared to working on a single part within a single Drum Editor window.ĭrum Maps provide a solution to this, too, as they allow each row to have its own independent MIDI routing, as defined by the Channel and Output columns of the map. There are times when you may wish to use multiple sound sources for the playback of a rhythm part – main kit parts from a sampler, say, with some analogue bleeps and bloops from a synth. Continuing our example, if the snare-drum instrument defines note A3 as its O-Note, then all the hits for the snare drum will be sent as A3 note messages, even though they’re stored in Cubase as E1 notes incoming F1 notes will be translated into outgoing A3 notes, too. Similarly, the O-Note – or Output Note – defines the outgoing MIDI note that will be sent by a Drum Editor row. So, for example, if you name pitch E1 as ‘Snare Drum’, but assign its I-Note as F1, then any incoming F1 notes will be translated internally to E1 and be recorded as a hit on the Snare Drum row. The I-Note – or Input Note – defines the incoming MIDI note that will create a drum-hit event on a given row of the Drum Editor. You can define these names directly from within the Drum Editor (just double-click on an instrument name to edit it), or you can do so from the Drum Map Setup panel. Input and output notesĪt their most basic, Drum Maps associate a drum-instrument name with a MIDI note, and it is these names that are displayed in the Drum Editor’s instrument list. Cubase solves both of these problems with Drum Maps. This can be a problem for producers when they want to experiment to hear how a rhythm part will sound through different drum-kit banks and/or instruments – the different sounds associated with each note can be comically different.Ī similar issue exists if you’re playing drum parts using a controller, because different instruments and sound banks may require you to learn different key layouts, or to reprogram your pad controller.

Groove agent tutorial Patch#

Where one drum patch or sample bank may assign a kick drum to note C1, another may have a tambourine assigned to that note. The problem is that there is no common template or specification that governs the specific mapping of drum sounds to note numbers. However, whether it’s external hardware, plug-in software, or synthesized or sampled drum sounds (or a mixture of the two), nearly all of these drum-sound sources have one thing in common: drum ‘kits’ are stored as patches in which each drum sound is assigned to, and therefore triggered by, a specific MIDI note. The following examples have been created with Cubase SX 2, but should be adapted easily to other sequencers featuring automation functions.T h ere are loads of ways to generate drum and percussion sounds in the studio these days – we’re spoilt for choice with all sorts of beat-making methods. And GA more than adequately fits this role, with the added benefit of modern, computer-based sequencers, allowing you to edit, automate etc.

Groove agent tutorial software#

If there’s indeed already a bunch of software drumsamplers like LM-4, Battery 1/2, DR-008, RM-IV, Ezdrummer, BFD and others, as far as I know, GROOVE AGENT was the first one trying to emulate the typical Drum-Machine paradigm : on the one hand, different drumkits at your disposal, and on the other hand, predefined patterns and fills in various styles and being able to put those patterns together to create a complete rhythm track/arrangement. And now of course we have access to fully equipped, DAW computers, and we’re slowly replacing the old‚ magic boxes with software programs such as Groove Agent. So it just seems normal that people are trying to create artificial drumtracks with synthesizers or replacing acoustic drums by drum-machines and samplers in the studio.

Whatever the kind of music you’re into, acoustic or electronic, drums are the driving force behind all musical styles and tendencies. In our so called Modern Music there’s one instrument which is really ubiquitous : introducing Drums ! It’s being published here with their very kind permission. This article was first written for the late MusicRun magazine.