Why has DRUMAGOG been the industry standard for more than a decade?
Accuracy of Replacement, depth of Control, and powerful Enhancement.
Advanced Triggering Engine Catches All, Even Hi-hat Articulations
Drumagog's already powerful triggering engine has been improved to precisely track the most demanding drum tracks. Complicated rolls and flams are no match for Drumagog 5's new triggering engine, which can even calculate and distinguish between right and left hand hits. What’s more, Drumagog 5 is the only replacer that can actually track hi-hats’ open, half-open, and closed articulations. And for helping isolate tracks from unwanted drum bleed, Drumagog 5 offers two different options. First, Automatic Bleed Reduction will prevent bleed from causing unwanted false triggers. Second, Drumagog is the only product that offers a full-featured trigger filter section, giving you high-pass, lowpass, band, and band-reject filters, each with adjustable frequency, level, and Q.
Drumagog 5 easily lets you dial in detection by simply raising or lowering the sensitivity threshold (as the waveform travels across the screen in real time) to include hits and exclude leakage. Fine-tune the Transient Detail slider, then slide the Resolution control to eliminate double-triggering if needed.
When a drum hit and its replacement sample are aligned using the leading or peak transient, as in other replacers, phase issues within the body of the waveforms can cause comb filtering or other artifacts. To avoid this, only Drumagog 5 uses Full-Wave Alignment, a feature of its exclusive Auto-Align 2.0 algorithm. Developed by WaveMachine Labs in collaboration with the Fraunhofer Institute (one of the world’s leading audio research centers and developers of the MP3, ACC, and MPEG formats) this “smart” algorithm phase-aligns for overall sound rather than simply aligning transients. The result is phase coherence across all originally recorded drum hits and all samples, thereby retaining the original fidelity of both. When traditional transient alignment is needed, it is available by simply switching off the Auto-Align 2.0 button.
Triggering, Dynamic Tracking, Stealth Mode and Auto-Ducking
Replacement is further refined with Drumagog’s deep control of samples and triggering. Complete information on every sample is displayed (down to whether it is a left or right-hand hit). You can solo, mute, play, delete, and reorganize samples; change and automate pitch, level, articulation, and other parameters for each level; change the triggering amplitude for each or all the samples. Using Dynamic Tracking, you can force samples to be all soft or all loud—or anywhere in between. Stealth Mode lets the original audio pass through until an adjustable trigger threshold is reached, allowing you to replace only the louder hits, or to allow leakage from the track through between the replaced hits. Using Auto Ducking you can even get a snare out of an overhead track, leaving the rest of the track’s sounds intact.
Matched Room & Overhead Samples From One Hit
Another Drumagog exclusive is its handling of multiple samples triggered from one drum hit, typically overhead and room samples. Instead of pairing direct samples with a generic room sample, as is typical, Drumagog 5 matches each direct sample with its exact room sample—the one recorded in the same room at the same time. The original timbre and dynamics are absolutely reproduced in the room sound, and because of Auto-Align 2.0, maintain perfect phase coherence as well.
Synthesizers have long been used by top engineers to add sizzle, depth and power to recorded drums, and Drumagog 5 includes a synth specifically designed for the purpose. As with any quality synth, the oscillator can generate sine, square or saw-tooth waves in a given frequency which can then be modified by attack and decay controls, a low-pass filter, and a true resonance filter.
What makes the Drumagog 5 synth unique is its noise generator. Because noise is particularly useful in drum processing, Drumagog 5’s synthesizer offers control of both the amount of noise added to the signal and its fundamental frequency, which can be set to complement or contrast with the fundamental frequency of the oscillator’s wave. This allows you to dial in everything from simple harmonic overtones to a highly complex sound perfect for augmenting the subtle to extreme combination of frequencies typical of acoustic drums.