Once you've dropped the first loop into Groove Agent One, the double‑headed arrow icon in the Exchange section lights up. In this case, because it has four bars' worth of slices, it pretty much fills up all the pads in group two also. I find it easiest to place my first loop (the 'performance' loop) on the first pad of group one. The parts can be dragged and dropped to an empty pad in Groove Agent One, and when you let go of the mouse button, each slice is automatically mapped to consecutive pads, starting from the pad you dragged onto. We now need to map each slice from our two loops to individual Groove Agent One pads, which requires a quick visit to the Audio Part editor for each loop in turn.ĭouble‑click one of the audio parts to open it in the Audio Part editor, and select all the events (each slice) using Ctrl-A (PC) or Command-A (Mac). When you open a new instance of Groove Agent One, all 128 pads (16 pads in each of eight groups, with each pad triggered via a different MIDI note) are empty. Having sliced the loop in the Sample editor, opening the resulting audio part allows us to select all the slices and then drag and drop them into Groove Agent One. Once the hitpoints are sorted, pressing the Slice & Close button exits the Sample editor and creates an audio part (in the Project window) containing the sliced loop. Hitpoint positioning can also be adjusted, and holding the mouse button down over an individual slice auditions it, making it easy to hear where edits might be required. Once you have this about right, click the Edit Hitpoints button to manually add (by holding the Alt or Option key and clicking on the waveform display as I've done in the screenshot above) or delete hitpoints as required. Increasing the Sensitivity setting adds hitpoints: the aim is to get a hitpoint at each transient created by an individual drum hit. The first step is to slice the two loops into their individual beats, using the Hitpoint tool in the Sample editor. The red highlights around the Group 1 and 2 buttons show that pads within those groups are in use, while the green highlight indicates that we are viewing the pads in group two.Īudio can be dragged and dropped into Groove Agent One in several ways, which are described in the Plug‑in Reference PDF manual, but when working with loops rather than single hits, some preparatory work is required in the Sample and Audio Part editors. Here, the 'performance' loop has been mapped across almost all the pads in the first two groups. Initially, all Groove Agent One's 128 pads are empty but dragging and dropping sliced loops onto a pad automatically maps the slices across a series of pads. I'll work through this example using two loops: a four‑bar 'performance' loop and a two-bar 'sounds' loop, both of which you can download from the SOS web site ( /sos/dec09/articles/cubasetechmedia.htm). Having discovered suitable sounds in a second loop, your task is to keep the groove and timing of the first, but to replace some of the actual sounds with hits from the second. The first contains the performance that's required, and to which performances by other musicians have been overdubbed, but the specific drum sounds feel a little tame and need beefing up. Let's consider a simple, yet common scenario involving two drum loops. In SOS May 2007, Matt Houghton discussed drum-replacement tools for Cubase, but if you only have a few drum loops in which you want to replace some sounds, the Groove Agent One drum machine offers an alternative approach. In last month's workshop, I used VariAudio to obtain MIDI notes from audio parts, but this approach won't work for drum replacement. In slicing the 'performance' loop in the Sample editor, I used a relatively high sensitivity setting, but still needed to add a couple of extra hitpoints (the darker blue lines) manually.
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