![]() ![]() You can use this to alter the beginning and the end of a sound. If you put a delay on your snare, it’s probably still possible to time it right, since you hear both the real snare hit and the delay that follows, but let’s say that it can cloud your judgement a little bit and confuse you from time to time.Īnother type of effect that’s used on drums a lot, but can have an impact on your timing is a transient shaper. Your software drum instrument itself can also process the sound in a way that will confuse your inner clock. That’s a nice feature for when you have to record some extra drums halfway through a project and there’s already a lot of plugins present in your mix. My DAW Cubase actually has a cool feature called ‘ constrain delay compensation‘ which actually temporarily cuts out all plugins out of the signal path of tracks that are record enabled at that time. Try and keep the signal path 100% clean and only use your software drum instrument while recording a finger drumming performance. Since it’s on the master bus that includes your drum track, you’ll end up with an audible delay and a shitty groove. If you smack a multi band compressor on the master bus for example, you can count on it that this plugin needs at least 20ms to process everything that goes through it. When you’re building a song inside a DAW (digital audio workstation, like Ableton, Logic, ProTools or Cubase), make sure you don’t use any plugins in the signal path while tracking your drum parts. ![]() Make sure your total output latency isn’t more than 6ms and you should be fine. Most DAW’s have a little information screen that tells you what the current latency is in ms. Another way to look at it is in terms of milliseconds. Therefore a 128 sample buffer size could actually be more than 128 samples because of this safety buffer. However, some sound card manufacturers mess with this setting and have you believe you can set a buffer size as low as 32 samples, when they actually include an extra ‘safety buffer’ of 64 samples that’s unchangeable. A general rule of thumb is to get your buffer size smaller than 128 samples. How to do this depends on the audio interface you’re using, but since it’s one of the most important settings for any dedicated audio interface it should not be a problem for you to figure out how to do this with your equipment. In order to achieve inaudible latency when playing a sampled instrument such as drums, you need a quality dedicated audio interface that allows you to set your audio buffer size very low. This is the most obvious one of the bunch. At the end I provide a golden tip on how to circumvent all latency confusion when working on your timing. Some of these are pretty obvious, some quite obscure. Latency is public enemy number one for us finger drummers. ![]()
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