I was taken aback at how well this technique was able to translate the acoustic drum loop into Note data. Transposing the Event down an octave or so before applying the gate made the hits more Melodyne-friendly. A 48 dB/octave low-cut combined with a major high-frequency peak did a decent job of isolating the hi-hat, but the frequency was extremely high and Melodyne wasn’t too happy about that. Hi-hat was the most difficult to convert to Note data, because snare hits can produce transients that extend into the hi-hat range. Since the drums are multi-sampled at different velocities, I selected all the notes, and used Studio One’s Transpose function to set them to the same pitch as the kick samples. So, I could load the samples into Impact XT, and this way the sound would work with other loops from the same collection. Fortunately, the Discrete Drums library includes samples of the individual drums. You could assign these to a different sample of a kick hit softly. Note that Melodyne picked up on some low-velocity kick hits too (pretty cool). To tidy up the part, set all the drums to 16 th or 32 nd notes with Action > Length (fig.
The lower blobs are the result of choosing Edit with Melodyne.
The Event on the right is the same one after gating. Figure 3: The Event on the left is the drum loop after EQing the kick.
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