A slightly bizarre technique that I rather like, is to boost the tempo to the 800-900 range, make the time signature something odd (not even) and a large number like 17/8 or 23/8, then organize the piano roll so you have 2 groups that are as close to the same number of beats as possible. The larger the time signature, the more subtle the swing/naturalization effect (beat duration asymmetry). For example, if you are using 19/8 at 850 bpm and want to sound like 4/4, then your grouping will be an arrangement of 10 and 9 eighth notes (adds to 19). The 'magic' of using an odd number is that asymmetry is automatically included. The magic of a fast tempo (850 bpm) makes the duration difference in large groupings sound like swing rather than a mixed meter of 10+9 beats (under 80 milliseconds and listener hears a grace note rather than a beat - this is where swing lives). To be clear, the groups 10 9 are essentially your new "8th notes". Four bars at 850 bpm in 19/8 timeSig, will sound identical to a single bar of 4/4 at 90 bpm; the difference is the 19/8 will have a subtle "swung" feel. To add "16th notes" in this example, you might group the 19 beats as 5 5 5 4 (adds to 19). This takes some practice/experimenting to get used to but it is something special once you're comfortable with it. Honestly, I think it is the future. This has a similar affect as what you showed, shifting the notes off the grid, however the difference is in the method. Some individuals will like the 'mathy'/structured approach to adding feel that I described, others will not like it. If you were to supper impose the beats you write in these high tempo "substructure" meters, on top of the equivalent 4/4 beat at regular tempo ("superstructure"), what you will see is that the midi notes are all slightly shifted off the 4/4 grid, similar to human performance. The most potent element of this is the paradigm shift. By intentionally building your compositions on these high tempo meters, the producer has the opportunity to guide the listener from entrained common time "superstructure" of the music, into the micro-timing "substructure" of the composition. To be excessively philosophical for a moment, if it is true that human feeling in music is enhanced by small deviations from the grid, then possibly there is a higher resolution meter that 4/4 is approximating; this higher resolution meter I am calling the "substructure." What is the substructure, numerically? I do not know, but I do think high tempo meters are where the exploration needs to happen. Credit to Malcom Braff for providing a seed of inspiration into this idea. Also credit to the percussion instrument "asalato" for providing an analogue means into performing rhythms at the substructure level. Thanks for listening! Hugs!

What i have learned from this... is that i need to record more! thank you my friend! this is a very helpful video! Keep going!

really like the velocity feature, thank you Becky

I'm making my first beat right now and I'm so glad I found this tutorial! So helpful and informative! Great teacher.

I have to try this tip to humanize my tracks, this tip really makes the music come alive.👍🏻

The Hi hat concept is amazing! Thank you

i am in the beginner category, I'll come back to rewatch this (YOU)

This is one of my favorite things to do. I love when I've reached a point where I have the song parts in place and I can focus on adding microdetails and variations. One thing I like to do is put a tape simulation on a percussion bus and increase the wow/flutter for a subtle variation in the sound. Automating distortion is something I've never thought to try. Definitely going to use that tip!

Im learning so many stuff from you, glad I found your KZfaq channel last week😃

Thank you so much, Becky. So nice that someone is dedicated to helping us beginners and someone so stunningly Pretty. You're a great help to us all. 😊 Thanks.

I love how I have learned so much from your teachings, thank you so much Becky, keep up with your great videos

That LFO on saturation sounds interesting. Gonna have to play around with it. I'm also not a big fan of that robotic single-sample-straight-on-the-grid sound. I basically try to record everything live, even four-on-the-floor kicks. I do a couple of takes until I get it reasonably right, then I correct the bigger slip ups manually and, if needed, quantize with a percentage between 50 and 80. I usually prefer what I get from this over the fully quantized version. It's often subtle, but definitely noticeable, especially on things like hi-hats or ghost snares. And I kind of like the thought that it's not just some artificial human feel that I'm adding, but actually my own feel.

this is going to be very helpful to liven up my lifeless tracks.

Like the thumbnail 💯💯💯💯

I give you a secret.Add izotope trash and vertigo vsm -3 to your masterbus and Your mix will be explode !

You're just stumbled across a good idea there!!!! Someone will no doubt build/create a plugin that will humanize the arrangement of your song There is a plugin for most audio related stuff nowadays

This is super fun and helpful! I really enjoy creating faux phase issues in my drums. As if they weren’t mic’d perfectly. Just enough to add character, not enough to be a problem ya know… eg the human element hahaha Just found your channel, it’s awesome!

Is the groove pool something you use for this? Nice vid btw

Where SoundCloud 🐵

You are Awesome..Not just Gorgeous but you actually explained what I've been looking for..I hate that digital computer fake sound. Trying to stay as far away from it as I can thank you very much 💯❤️‍🩹❤️‍🔥