You are on the Desktop website, Click here to go back to our mobile website
ARTICLE
But just what are re-grids and why are they such a useful addition to the working collections of professional DJs? Mastermix Label Manager, Richard Lee, caught up with Paul during a studio session break to explain more…
QWhere did the idea for ‘Re-Grids’ first appear?
AIt was purely a selfish desire that pulled the idea together. I thought it would be great to build a collection of classic tracks that were previously either difficult or nigh on impossible to accurately mix, adjusted to a static, quantize-locked beatgrid. The other emphasis was that it would be the original mix or version, not a re-edit or remix (the former being commonplace these days).
Many tracks from earlier decades, and indeed some more modern and contemporary tracks, are ‘hand-drummed’ by a real drummer. Or, in the case of earlier studio tech, tape speeds/edits or ‘drifting’ drum machine timings may account for an overall variation in BPM/tempo. On a finer-analysis basis, even though a reasonably stable tempo may be present in a track (band playing to a click-track, perhaps), some drum and timing elements may need micro-adjustments within that timeline.
The studio technology to go into a music file and adjust beats and bars individually, locking them to a non-variable tempo beatgrid, has been available for some years now. However, some DJ-producers who’ve experimented with this concept have found it could be a long, time-consuming process. Certain tracks may have left them feeling somewhat deflated, after poor end results with inaccuracies, artifacts or phasing issues.
Ableton Live, ProTools, Cubase and Logic Pro X (my weapon of choice) are all capable DAWs (digital audio workstations) to attempt this. But more recently with extensive research and using emerging methodology and AI technology, I’ve personally been able to not only speed up the ‘re-gridding’ process, but gain more sonically improved and tempo-accurate results.
QBut you fine-tuned the concept even more, right?
...
To read the full article, you’ll need to have a physical copy of the magazine which you can sign up for here for 6 issues delivered to your door from just £16!
https://store.promobile.online/products/pro-mobile-magazine-6-issue-1-year-subscription
You’ll also get full interactive access to this and the last year of magazines via the Pro Mobile Magazine App which is available from both the Apple App Store and Android PlayStore
QWhere did the idea for ‘Re-Grids’ first appear?
AIt was purely a selfish desire that pulled the idea together. I thought it would be great to build a collection of classic tracks that were previously either difficult or nigh on impossible to accurately mix, adjusted to a static, quantize-locked beatgrid. The other emphasis was that it would be the original mix or version, not a re-edit or remix (the former being commonplace these days).
Many tracks from earlier decades, and indeed some more modern and contemporary tracks, are ‘hand-drummed’ by a real drummer. Or, in the case of earlier studio tech, tape speeds/edits or ‘drifting’ drum machine timings may account for an overall variation in BPM/tempo. On a finer-analysis basis, even though a reasonably stable tempo may be present in a track (band playing to a click-track, perhaps), some drum and timing elements may need micro-adjustments within that timeline.
The studio technology to go into a music file and adjust beats and bars individually, locking them to a non-variable tempo beatgrid, has been available for some years now. However, some DJ-producers who’ve experimented with this concept have found it could be a long, time-consuming process. Certain tracks may have left them feeling somewhat deflated, after poor end results with inaccuracies, artifacts or phasing issues.
Ableton Live, ProTools, Cubase and Logic Pro X (my weapon of choice) are all capable DAWs (digital audio workstations) to attempt this. But more recently with extensive research and using emerging methodology and AI technology, I’ve personally been able to not only speed up the ‘re-gridding’ process, but gain more sonically improved and tempo-accurate results.
QBut you fine-tuned the concept even more, right?
...
To read the full article, you’ll need to have a physical copy of the magazine which you can sign up for here for 6 issues delivered to your door from just £16!
https://store.promobile.online/products/pro-mobile-magazine-6-issue-1-year-subscription
You’ll also get full interactive access to this and the last year of magazines via the Pro Mobile Magazine App which is available from both the Apple App Store and Android PlayStore
The full review can be found in Pro Mobile Issue 117, Pages 40-42.
