Yep,it’s an oxymoron 
Didn’t write that how I wanted. Just meant that if you put a tick on some checkbox under Quantize tool, one could have kind of an “automatical stretching”, but that “Get definition from tempo” thing you earlier explained, solved the issue for me. It’s only once per project I need to do that anyhow.
But thanks for your patience - and help. My meaning was not to waste your time.
Cheers, Tommy
Missed your last post…was writing my previous as you posted.
You’re still missing the difference between slicing/quantising & audio stretching…you seem to be trying to do a combination of the two which is probably why you have less than perfect results.
Instead of this:
- Detect Tempo
- Detect Hitpoints
- Slice (as drum tracks under same folder → group editing enabled)
- Select all drum events. Then go → AUDIO → ADVANCED → SET DEFINITION FROM TEMPO
- “Flatten” the tempo, ie. make it CONSTANT, however you want (remove additional tempo points, or disable the tempo track altogether…)
Try this:
Completely remove steps 2 & 3…do the other steps exactly the same.
Your track will still be tempo corrected but by stretching alone.
Is this better…less artifacts??
So that’s all you need to do to fix tempo fluctuations.
If you want to quantise then forget stretching & just slice the audio…any gaps opened up when changing the tempo can be closed by crossfading but may need some manual tweaking to make sure the xfades don’t intefere with hits.
Only joking re time wasting btw 
good post! Steinberg could implement a easy way of making a out of beat drum recording aligned to the beat in cubase 6. Not only a tempo map with different tempo. That is rarely something to work with. You want it in to the beat in musical mode without artifacts.
Hi !
Check these MP3’s out. I had this drum tracks that played along a constant tempo and I wanted the drums to slow down so that the are absolutely no artifacts. And done this with only changing the Tempo track’s curve.
The first one was done by Elastique audio stretching (explained earlier on this same thread) and the other one was done by exporting the MIDI notes out of every single drum sub-track and those MIDI tracks playing out the samples directly from those audio tracks. Hear the difference?
AUDIO stretch: http://www.pc-professor.fi/Cubase6/drums-audio.mp3
MIDI notes (the same acustic material): http://www.pc-professor.fi/Cubase6/drums-midi.mp3
If someone would like to know how to do this, I’d be happy to explain.
the other one was done by exporting the MIDI notes out of every single drum sub-track and those MIDI tracks playing out the samples directly from those audio tracks.
OK…so I’m intrigued as to what you are doing, though this is now drifting away from the original topic a bit
Are these real drum recordings…with spill??
If they are simple one shot samples then this is maybe not applicable to editing a real drummer
If they are real…how are you doing with this midi export & playing the audio from midi?
Maybe I’m wrong but I suspect you are overcomplicating this.
Yes, of course … by translating to MIDI you have the optimum flexibility, including drum-replacement (trivial) and timing tweaks … shuffle, swing, feel etc. This is one of the reasons I have been harping on about the importance of MIDI all these years.
I’d love to know!!
The main thing I notice is that the first set of drums sounds great until about 1/2 through the deceleration. The MIDI version sounds like poop all the way through.
“flower” … did you mean that in a derogatory sense? 
yes, as in “deathly allergic to…” hehehehe.
Gotta love the expletive filter.
I don’t understand – the “MIDI” version sounds way better! (strictly speaking it’s a “MIDI-triggered sliced audio” version).
The original drums sound like a good drum recording until they get to a certain point. The “slices” sound like they are being play by MIDI all the way through. Speeding them up or slowing them down doesn’t help, they are obviously MIDI drums.
It’s the same material, but the first one is louder and has reverb. In the first example, the sound of the individual drum hits change as it’s slowed down; in the second example, that doesn’t happen, which IMHO makes the second example infinitely better.
OK, I’m still not getting my point across 
You are comparing apples and oranges. If you want to do that comparison, don’t do the first pass with FX. Compare EXACTLY the same data. My sarcasm filter was totally broken during that exchange. My apologies 
So, what I was getting at in a completely ineffective round about way was that the first set of drums and the 2nd set, don’t compare to each other.
So how does triggering the drum slices from midi differ to just playing the slices?
I’m a little confuse d as to what is going on & how it might work when there are cymbals crashing away in the overheads…I’m guessing that you couldn’t do this 50% tempo in that case without the gaps being obvious…is this correct?
& is it actually playing all the slices or just one shot from each track…in effect turning it into a drum machine.
Apart from being able to slow something to half speed without stretch artifacts …is this a technique that offers any real benefit over the multitrack slice & shift (for sloppy timing) or tempo warping (for tweaking the odd slow/fast section a few bpm)
Hi, maaa freend Grim and the rest of you here:) I finally got some time to explain on what I did. So here it is:
And first off, the drum material in both cases are EXACTLY the same! There are no any effects used afterwards. I just first “recorded” a plain simple drum track with Groove Agent 3 and thus, got as MIDI track with GA3 playing along the MIDI. By just doing MIDI changes with TEMPO editing (with the MIDI track in Musical Mode) would be easy, but I didn’t want to try out just that, since when I’ll be in the studio someday with a live drummer, we will be of course getting Audio data, and I wanted to experiment on how to maneuver EXCELLENT quality tempo changes with the original audio drum material.
So I downmixed the GA3 drums into Audio files (one for snare, one for bassdrum etc.) and started experimenting. The regular Elastique time-stretching, as you noticed, sounds good only to a certain point, but when you time-stretch or time-compress the material a bit more, you’ll get artifacts; When streching very much, the single drum instruments get a kind of a “reverby effect”. That’s pretty easy to understand since the audio material really IS stretched and, let’s say, the snare will not of course be sounding exactly the same at all; All the natural “ringing” of that snare will be stretched so it will start to sound as there were Reverb effect on it, when there ISN’T.
And when time-compressing the Snare would “ring” for a much shorter time, so it will not sound natural anymore. And think about the symbals!!! It’s like they are muted or something since they don’t ring but only a very short time. And when time-streching, they would ring like forever
However when you export the single drums’ audio tracks to MIDI notes, those notes will play the, let’s say again for example, the snare drum exactly the same way, and it’s now not depending on the tempo at all! The same goes for symbals + the rest.
So here’s what I did:
Voilá: The Groove Agent One will now be playing the exact material as MIDI notes, that the drum audio tracks played. You can play with the tempo how much you like - the MIDI will ALWAYS play it properly. No matter if you “time-stretch” or “time-compress” the material (the brackets because this will not be time-stretching anymore in a traditional sense).
Of course when you use a live drummer, all the snare hits etc. will sound a bit different from each other, so if you want a really realistic result, you should use several MIDI-notes for a different drum instrument; like for a Snare, you can assign maybe 3 or 5 or whatever amount of MIDI-notes and import a different sample from the Snare track to each note. The downside to this is, that you’d have to use a Logical Editor to randomize the Snare MIDI-notes for different samples, or do it by hand, but that’s not a huge problem. Groove Agent One does NOT support the layering so that it would randomize the samples; it only supports playing the different sample based on the note’s velocity value. Hope Steiny will fix that some day…
The amazing thing however is, that the Velocity WILL be retained, so even that will make the MIDI-triggered drums sound very realistic alone.
I hope you got at least something out of my explanation
Hi Mindastray.
Thanks for the explanation.
I still don’t really get why you would want to do this though.
If you split the audio in multitrack drum edit then it is playing back slices in the same order they were recorded…all you are doing by exporting the midi is making it play the same slice on every beat…try introducing some real overheads & spill & see what happens.
What you have actually created is a very basic sampled drum kit…not even multisampled…if you want this effect you might as well play the whole thing using a midi kit.
I’ll be sticking with the slice & crossfade for any real world drum editing & perhaps using some warping for correcting minor tempo deviation!
If you do need a gradual slow to half speed on the drums, give your drummer a bottle of jack & watch the magic unfold
Cheers
Grim
Damn, Grim! You know, Tony (drummer) IS on the Jack and he plays like a mad-man 
I’d have to try a good-old facekick every now and then
Yeah, there’s actually no good reason for me to use this what I’ve been explaining so much about, but I merely wanted to try out and explore the possibilities of Cubase and MIDI altogether. And at the same time learn something cool & new in Cubase. And I did.
Of course I prefer original drum playing to any MIDI-crap, and if and WHEN I will have to use this tempo qúantizing, the regular tempo detection / splitting / quantizing / crossfading is very well enough. I mean not EVEN TONY drinks that Jack Daniel’s THAT much Meaning that the drums will probably not be that much out of tempo, but I’m sure they will be to some extent at least.
But with Cubase 6 in my hands, there’s nothing to worry about. Except for saving one bottle of Jack for myself also