Now again, we're using pro tools I'm a big fan of pro tools, used all the time. I love it, and I love all my brothers and sisters, an avid big shout out to them. Thanks for making great software that works with are so wonderfully when you open the program, however, just some notes for folks.
And again, this is going to apply to almost any dog. You'll notice that because this is now functioning as a plug in, there's a lot of things that are added that would be unique to your dog that weren't there in solo and, most importantly, your opening this as a virtual instrument, and it's going to be subject to the tempo you set in your DOS.
So right now, the temple for this project, the defaults 1 20 We can change that if we want to. I just click on it and I can make it 1 10 just because I want to do that, and then I can actually change the grade. All the things that you're doing, your dog But for now, we wanted to open in Superior because one of the questions we get a lot about working with superior in a dog is how does the balance feature work?
And how does multi channel routing work? So it seems fairly simple, but I want to walk you through it anyway, If that's okay, since we're here, what I want to do now and again, we've been using the same kit for the same examples for the whole thing. If you're playing along at home, we're in the avatar Library, the stock library with the default kit. And I want to show you how you can multi out of superior drummer into this doll, which is pro tools. Everyone with me.
Okay, so the first thing we've got is we've got our kit loaded. We're not going to change anything. We're not gonna add any extras were not going to do anything.
This is just the stock. It the way that it comes up is the default. And if you go into the mixer, there's a couple of things you can dio um, put that back up. First of all, any time you want to zero out or bring a fader or control, you could just hit command and you can click it and it's gonna go right back to zero. That that works obviously, is a command for some functions in your doll, but also still within our software inside your dog.
As you know, we have the option to hide the bus in the output channels in our mixer so that all we see are the instrument channels. Okay, these are all the channels that correspond to the instruments in the drum kit. We're looking at Everyone's with me. Everyone knows this makes total sense.
So the first thing we want to do is notice that right now everything has got an output that's been selected. It's going to output one and two and what's take that? And let's actually get a little groove playing here so that we can see what we've got going on.
And what we're going to do is change it up just a little bit. So we've been playing the groove in Superior Drummer. We're gonna just drag a group out to the timeline because we can. So let's just take this verse variation, drag our midi out here or not, I mean, maybe we can Maybe we can't There, this move it over, and then we've got that loop.
Okay, we've got a loop point set, so everything's great. Let me make sure that in my options, I've got looped playback. So we're good. Okay, So one of the things we want to do, and I'm going to just turn down here just a scootch, and I'm going to turn down my master volume as well. Because as we're routing, we have three levels of gain or volume that we're gonna be dealing with that can adversely affect sort of how the final result of the final signal works.
So I'm gonna pull back here on my master volume, right? And this is different. Just so you know, you're actually in the program. This is different than pulling back the master fader in your channel. There's a little bit different. Okay, so let's work here. And right now we've got this groove. It's gonna loop.
So I want to go to my mixer window because it's going to make things a little bit easier when we add tracks. So before I even look at the mixer I know as a producer or as an artist that there's at least three tracks I'm very interested in getting out of superior into their own tracks in pro tools. So a lot of times you need to look at the mixture to sort of configure how maney stereo versus mono traction need.
I know that I only want one kick drum track Amano kick drum track. I only want one mano snare track and I only want one mano high hat track coming out of superior to find in my dog. So how do I do that? Well, the first thing I'm gonna do is new tracks, right? Like we talked about. We can add model tracks and pro tools. You have the option. Add multiple tracks time, so I'm gonna add three mono tracks, their audio tracks. I'm gonna create those simple enough right now I'm going to go into superior drummer And again we started with this.
Don't you love it when I do that? Quit doing that. We started. Obviously everything is routed toe outputs one and two. It's a stereo output feed right now, but right here, if you click on the outputs, you can have no outputs you could individually change the way that you have everything routed. Or you can simply go to this option multi channel and the many you goto multi channel. If you look across the bottom of the mixer, all of these for lack of a better term sort of auto routes.
Now here is where I want to make sure there's no confusion because there's a couple of things we need to keep in effect here. First and foremost, these all route out, as you can see in stereo pairs. Does that make sense? And now listen to me. So basically to audio signals are being routed per output.
So how do you only get the mono version of the signal you're looking for? So not to confuse anyone. But, for instance, this particular kick drumming is a mono channel. We see it's got one signal. It's mano, but it's out toe one and two. That's two channels coming out. It's really simple.
Everything you want routed to one channel, you pan right. So Channel One everything you want routed to the other channel, you pan to Channel two. Now, in this instance, I always shift down one channel because I'm superstitious. There's really no good reason to do it, other than it's just my habit.
So, for instance, I would make all of these kick drums three and four. And what I will do is because I want all of these kick drums that are mono signals to come out on Channel three.
I'll adjust the panning to be hard left. Okay, so what happens here is I've got all these audio channels, right?
So me close this work with me, we're only talking about the kick drum. So let's label this kick. So we know. In my input section on the channel strip in my actual Daw, it's going to ask me where I want to get the signal from. And part of that option screen is now a plug in superior drummer and look low and behold. You have three and four left or three and four, right? Those air, two different splits. It's two different signals because we have a mono channel up.
If it was a stereo channel, it would just say three and four together because the two channels would need to come out in stereo. Now, a lot of this is basic routing If you're not familiar with how to use your dog or how toe work within these signal limits, you might want to go in and double check how your doll routes things when it's done. What approach was it's fairly simple. So, for instance, let's check three and four left.
That's what's going to be feeding the input of this. Now there's one last component and pro tools, and we need to input enable the channel so we can actually hear what's coming in, just like we would if we were recording a kick drum. So then when we go here and we play our groove, okay, we see that we're getting channel If we solo it. The reason we still hear everything else is because we haven't hardpan anything in any other way right now.
You see snare top. It's still paying center if we change the way the snares pants. Since that's also set up on Output three and four. Remember how I talked about one signal is gonna go all the way Hard left. One's gonna go hard right now. We know right here. Three and four left is just all of our kick drums, and we have all three kick drum feeds coming toe one channel.
Simple enough So we would do the same thing Go to plug in. Now, this one, we want three and four. And because I have hard panned all the snare sends from my mixer to the right, they'll show up in putting able.
Simple enough. Does everyone follow that? Because that is something that confuses a lot of folk. Is anyone asking questions about that routing yet? So far, Not yet. Okay, good. We'll give him a few minutes. So again, follow me on this. You could see that little clipping again. Right now, I'm in the mixer and you see that I have the outputs for the actual kick channels and the snare channels.
Let's go snare bottom three and four. Okay, All outputs three and four. However, I have one set of those mono signals Hard panned all the way to the left so that they're coming out Channel three. And in my Daw Channel three left, four would be the right. And you would know that because the three is on the left on the fours on the right.
Does that make sense. It's fairly simple. And again, I apologize. I'm not as familiar with logic. I'm not as familiar with how it routes enable Tin or in on Studio One or even Q base. But my presumption is going to be that there are very similar controls for those dogs as well. Once it's into the doll, how it's receiving things is going to be partially the responsibility of the DOS.
So, for instance, this menu that you see here where it says plug in Superior Drummer multiple outputs This is not a function of superior drummer, as it is a function of pro tools receiving what superior drummer to has to say. So if yours doesn't look exactly like this, you want to find the screen that gives you this information that showing you all of the available outputs from Superior Germer two point. Oh, so now let's do that again, because why not?
Let's label this snare okay, and then let's take this last one and we'll do our high hats in our mixer right now. They're going out on seven and eight.
We could have a go on five and six and because it's going to be the only hat coming in. Uhm, I'm going to go ahead and I'm going to just pan it all the way over, so it's gonna coming on five, so we'll go in. There's the plug in again, right? Five and six of five left. We should have our hats now. There they are now. That's the most basic component of routing you can have with superior drummer.
Now we can keep doing this. So, for instance, one of the things again I like to dio is take these guys and make them a little bit easier for me to just identified by color. I generally tend to do much better in my software or any project I'm working on when I have visual cues and it should be mentioned as soon as I have the rest of the channel set up, we're going to start talking about a couple of the gain stage options you have just so that we're clear about what's happening and what's not happening now.
This is where it gets interesting as well. So again we've got superior drummer. The instrument is on an instrument track, and then we have audio tracks with the different inputs allocated right now that match up with our outputs here. Has anyone lost us?
We do have a question, though. Is there a reason you're using audio channels and then putting them in input enable mode as opposed to just using mono ox channels?
Either way, it's so here's here would be the only difference. Yes, the import talks channel doesn't necessarily doesn't doesn't need in pro tools. You don't have to input enable anything. You could just use the auction so you could do it that way. If you do it this way, I'll show you later. I could actually hit record and record to these channels as well get the audio going.
So if I wanted to lay this down and record it like a session old school style, you could so there there's no right or wrong. You could do it either way.
Okay, now, I don't know that that's true again with all the other dollars. But to this, Who's this? Who's the person? That s question Zach. Zach to your point, um, it's really preference. You're gonna get the same result only with the oxen puts. You don't have to worry about capturing the input. Select button. It'll just go straight through. More questions. What if you have master settings in Superior Drummer set to mono on Lee. How that is going to be a function again. Then you'd have everything mono channels.
And then when we balance, you're gonna get mono channels to. So that would ultimately just change the break out in the mixer. The routing would be the same. You'd still need to go in and around everything the way you wanted.
And you can actually, as I'm going to show you sort of combined channels into one channel and superior. I'm into your dollars. Well, so I mean, it will affect things, but not to the point where it's not manageable. It would just mean you'd have individual ever. There would be no stereo channels. Everything would be your own kind of live. So the next channel, what I'm going to do here is I'm gonna add a couple more tracks. I'm gonna add a couple of stereo audio tracks. I'm gonna add three of those just because okay.
And then I've got those guys. Let me move them over here and now one of the things that I dio. Not everybody does it, but I put all the toms on the same channel so I can go again into Superior. And I can say, OK, how many times do I have? Even if I'm not using them?
Eso rack Tom one is on 9 10 9 10 And what's kind of nice is it's got them already set up on a stereo channel for nine and 10 so I can simply go in, check my plug in see how again.
It's not asking me. It's just saying nine. Intended to stereo send. And ultimately, I have the individual panting, still intact in this mixer. As you can see, if you look at sort of the way these are gone, racked someone pan all the way over here. This is you've got a kind of this hardpan that's little bit a different sense, so you could set this up anyway. You want to, and it's going to be affected in the stereo image of the actual output track.
Right now, there's a couple of other things, too. So your overheads, right? So we can always take these 2 11 and It's kind of nice to stereo tracks Lineup. Quite nice. Move this over a little bit. Let's take this into 11 and That's input.
Enable all this stuff and then let's do it's kind of a combo track. So what's left after the overheads with 11 and 12 are some Ambien channels. You have ami in close ambient, mid ambient foreign ambient mono.
Now, you could take each one of these out individual if you wanted to. I always combine all of the ambient channels in the superior mixer into one ambient channel for me in my project, because that's easier for me again. Right or wrong. So all you would do is you've got 13 and 14 that we just go and make sure that we're on 13 and 14 so that all these guys are going to come out 13 and 14 including the mono if you want to. So then close this guy in putting able here, plug in Okay, and now when we play, we have our sessions now routed from superior drummer into our mixture.
We have obviously all the complete mixture controls. We have everything happening that you'd have in a normal session. Very cool stuff. Now, here's some of the really cool features. Um, we're just getting started, so we have a couple of levels of control of the sound. Obviously, we have the master volume. Obviously, every channel individual instrument recording channel has its own fader that you can work with to raise and lower appropriate to the mix.
Right now, we also know on the construct page we have a completely independent level control that will basically just take the performance prior to the mixer and level things out if we need to. If there's too much high hat, we could just bring the hats down in the MIDI performance and then still adjust the overall mix in the mixture that these two things are independent. So by the time we get here, we've already got two levels of great control. But then, if we enable our buses so we consume in our outputs, not only do you have busing going on in play, and again, if there's anything sent to a bus, you'd see it down here and the buses, you'd see that these would be enabled on audio would be coming out.
We don't have anything bust right now, but we have output. Fader Isas Well, so they say out. So as you're playing, you also have another level of attenuation through volume here at the output stage. So before you even get to your Daw mixer, you have the individual component volume.
You have the channel volume of the bus volume of the output volume. So you have a lot of control and there's there is a big benefit again to working within the mixer in Sapir Drummer to to sort of minimize any more work you might need to do in the Dawes Mixer. So again were in the mixer page. We can hide these any time we want to. If we flip this stereo field, that's gonna flip the stereo field.
There's a couple of things we should talk about, though, when making changes and one of the reasons you wait till sort of the end or you work in solo and you build your kid and you get everything squared.
When you bring all your mixer channels in is because once you've routed its appear to point. Oh, right now we have this drum set routed. This way everyone follows me, right? We know how we got here. If you see it again it's because something has changed so please set your preferences accordingly.
I created stereo instrument track in pro tools but i don't see superior drummer plugin, I updated to superior drummer to 2. Can you please help me. Digi Eleven Rack Pro tools 8. Did it give you an option when you were installing?
I'm assuming that that folder was the right folder for RTAS plugins m Don't know why when I install, they don't give me option to choose. I think on 8 it might be a. If it is re-boot your computer and re-start PT. Since my window is 64 bit, so I thought I need to install 64 bit superior drummer, but I was wrong. After install 32 bit superior drummer, now it's working fine. It's my first plugin ever, I will enjoy. Thank you guys. Yes, pro tools 8 is 32 bit. When I was trying to answer your question I actually looked at the specs for superior drummer and it said 32 and 64 bit, but I didn't think that it might give you the option of only selecting one.
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