Click and hold on the Trim Tool with your mouse, in the pop up menu, select "Loop" to active the Trim Loop Tool. You can also use the feature with the Trim Tools, by selecting the "Trim Loop" sub tool. The Clip Loop function is found in the "Clip" menu, or can be accessed with the keyboard shortcut: Option + Command + L (mac) / Alt + Cntrl + L (pc). Pro Tools has a very innovative feature that allows you to quickly create, and edit, audio loops. In this video we show you how easy it is to create audio loops in Pro Tools. Whether it's in a song with drum loops, or in post production with soundfx, you will have a need to quickly create loops. Going all the way back to tape based recording, we have had to take a section of audio and repeat it. We recorded our modular bass drums, snares, hi hats and claps into the scooper, and added odd harmonic bit crushing (that sounds a lot like the SP1200). These overtones really help certain sounds cut through the mix and offer more of a "sampled" sound.Creating audio loops is one of the most fundamental editing features used in production. For this we turned to the Scooper (used heavily in Modern Oddities). In this way we were able to sample a nice collection of our favorite 808, 909, and even CR78 - style drum sounds - all with a dirty modular twist:Ībout 95% of the work for this pack was done within the confines of the modular environment before hitting the converters, but some sounds needed some extra crunch. We also ran VCAs into overdrive and bit crushed claps. We modulated 909 sounding hats with pitch envelopes and pink noise FM modulation, for example. These modules offer a bit more control than their vintage counterparts, and allowed us to freak out the otherwise more traditional drum machine sounds. Modular drums isn't all blips and beeps - there are a host of companies making great modules inspired by classic drum machines - but with a gritty, modular twist. By modulating a complex VCO with a sine and sawtooth wave from another oscillator (with a little envelope modulation on the FM input) and then gating the sine and sawtooth outputs with our QMMG lowpass gate (with a super tight envelope triggering its VCAs) we were able to replicate those cool artificial bongos, as well as rim shots, bass drums, and pitched toms. We're huge fans of west coast synth percussion, but since we didn't have a Buchla on hand (maybe someday!) we set out to create those weird synth bongos and lowpass blips from scratch. The CS-8's beautiful harmonic distortion gave some much needed "Ummfff" to many sounds - especially sub kicks: With 121 different filter modes, it can sculpt just about any sound to perfection. Inspired by its older brother, the Ebb Und Flut (Villalobos fans gear alert!), the CS-8 stands out in the modular world because its quality and performance can compete directly with any of the world's top analog filters. To add more excitement, we used filters - with our favorite being the CS-8 VCF-02 Multimode Filter. The magic of the modular is that (once you know what you're doing) you can really create any sound you're looking for from scratch, and this process starts at the source. For our modular sound sources, we used everything from classic VCOs (Cwejman VCO-6 Doepfer A-110 VCO), to digital oscillators, noise generators, and deeply complex wavetable modules like the Intelijel shapeshifter, which features audio rate frequency modulation, phase modulation, and a 64 band vocoder. With this in mind, we sat down with our favorite modules, a nice preamp and tape machine, and synthesized everything from analog bassdrums, to sinewave subs, synthetic impulses, complex stabs, melodic congas, syn-toms, lasers, obscure snares, bells and whistles, analog lasers, wavetable bongos and even classic TR sounds (with a modular twist). With such unique and seemingly endless modulation possibilities, it's no wonder the sonic properties of the Eurorack lend themselves perfectly to creating unique drum and percussive one shots - sounds that transcend what any single drum machine can offer.
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