Since most drummers play the kick and snare the most, I always choose the Kick and Snare as my guides.īut don’t worry – Flex will analyze all your drum tracks. You get to tell Logic which drum tracks are the most important ones in the Group. Q-References are essentially your guide tracks for Flex. Once you’ve nailed those, there’s just one more step for locked in Grouping: Q-References In this case, Quantize-Locked (Audio) ensures your Flex edits are exactly the same across the kit.īy enabling both of these settings, you can commit Flex edits with confidence. So if you decide to chop a section out from the overheads, that same cut will occur for all other the drum tracks. When enabled, Editing (Selection) ensures any selection you make is applied to the whole group. Give your Group a convenient name such as Drums.įrom here it’s important to enable two Group Settings in particular: When you select a new Group, Logic will open the Group dialog in the Inspector. There should be a field on your Drum Mixer Strips for selecting Groups. To do this, navigate to the Mixer, and select all your Drum tracks: Want to easily edit 7 or 10 tracks at the same time? Grouping gives you an easy way to tie tracks together. And when you move a hit, that hit needs to be moved identically across all the drum tracks.Īnd we do this with Groups. That’s why it’s important to make sure you commit Flex edits at the same point on all the drum regions. Which means your kit will sound like it’s going through a phaser pedal. If you move a snare hit on only the snare track, you’ll disrupt the delicate phase relationship of your kit. When the drummer hits the snare, all the microphones catch some semblance of that hit. In this case I’ll assume you have a drum recording with several drum tracks:Īll these tracks are interwoven. Whenever you edit a multimic instrument, you have to edit all the tracks in the same way. There’s a tiny bit of set-up you’ll need to do to have your drums Flex-ready.īut once you get used to the workflow, you can blaze through Flex edits with quality results. So today I want to share my step-by-step workflow to successfully edit drums using Flex Time. The problem is not knowing the steps necessary to be successful with Flex. The confusion and myths about Flex doesn’t mean it’s broken. Then there’s a group of people who insist Flex isn’t accurate, doesn’t sound good, or just isn’t up to the task.
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But they can’t seem to sort out how to get the result they’re looking for.
There are folks who genuinely want to use Flex to fix their tracks. The great news is Logic delivers a brilliant system for editing drums! And that system is Flex Time.īut there seems to be a lot of confusion about how to achieve quality results with Flex. But when a drummer isn’t tight, it just doesn’t feel right. Drum editing has become par for the course in modern audio production.Īs listeners, we’re used to the sound of a drummer who’s locked in.
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