TUTORIAL DUPLICATE DETECTIVE PRO
TUTORIAL DUPLICATE DETECTIVE PLUS

So the first stage is to help it out by using the Duplicate Tracks command to create copies of the drum tracks from which you want to generate triggers. For some reason it never quite seems to get things right, even on a well recorded close‑miked drum track with minimal spill. After repeating the Hitpoint generation on my duplicate snare part, I now have markers corresponding to every kick and snare hit.Įven Cubase's biggest fans will, I think, have to acknowledge that its Hitpoint detection has always been a weakness.

Having generated Hitpoints on my duplicate kick part, I now hit 'Create Markers' to copy them to the Marker track.

I'm also assuming that your Project tempo (or tempo track) is set to the actual tempo of the song, so that your drum parts correspond at least roughly to Cubase's bars and beats grid. Some people also like the fact that Beat Detective doesn't use time‑stretching, as drums are very prone to generating audible artifacts when stretched.īefore we start, I should warn you that this method makes extensive use of Cubase's markers, so if your Project already contains markers, it would be a good idea to export the drum tracks to a fresh Project for editing. The consistency is crucial, because it avoids messing up the phase relationships between your carefully placed drum mics, as inevitably happens when you Audio Warp each track individually. This means that you can analyse, say, your kick and snare drum tracks to find out where the hits are, then use this information to apply exactly the same edits to overheads, toms and room mics too. In case you're not familiar with Beat Detective, its great advantage is that allows you to derive a single 'collected' set of triggers and apply this set to any number of tracks. In this workshop I'm going to share an alternative approach to recreating Beat Detective‑like functionality in Cubase. Surf the Web and you'll find workarounds, but most of them involve tricking Cubase's Sample Editor into believing your multitracked drums are actually a single multi‑channel file - which is messy, and as Cubase only officially supports surround up to 5.1, useless if you have too many drum tracks. We have Audio Warp, which can do amazing things to audio on a single track, but we still have no easy way to correct timing across a multitrack drum recording.

TUTORIAL DUPLICATE DETECTIVE PRO

Here, I've created copies of the kick and snare parts (purple), which will be hard gated to prevent false triggers in the Hitpoint detection.ĭespite all the features that Steinberg have added to Cubase over the years, it has always lacked a direct equivalent to Pro Tools' venerable Beat Detective.

TUTORIAL DUPLICATE DETECTIVE PLUS

One of the plus points of the method described in this article is that it will work with any number of drum tracks, but for this example I'm using a simple recording with kick and snare close mics and a mono overhead. But with a little imagination, it is possible.

Unlike other DAWs, Cubase has no dedicated support for phase‑locked timing correction of multitrack drums.

Tutorial duplicate detective