Groove Agent Tutorial

Groove Agent 5 Explained®

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29 Videos | Length: 2hr 18min 10sec
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Chapter 1 : Jump-Start

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    Learn about the layout of the Groove Agent interface, and see where all the important element are accessed.

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    Loading Kits

    See how the Kit Rack and Kit Slot functions are used to customize and control the loading of kits and patterns.

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    The Load Panel

    Discover how the various tabs are used as a searchable database for Kits, individual instrument sounds, patterns, and more.

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    Pre-Listening & Replacing Instruments & Patterns

    Watch as the basic functions we've looked at so far are used to start making music and customizing Groove Agent's instruments and patterns.

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    Introduction to Styles

    See how unassigned pads are used in conjunction with the Style Player to generate pattern variations with varying degrees of complexity and playback parameters for different song sections.

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    Converting Styles to MIDI Patterns

    Learn how to convert patterns in the Style Player to MIDI patterns, so that they can be edited in the Pattern Editor.

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    Creating the Different Sections of a Drum Part

    Discover how to copy and modify customized styles to multiple pads in order to create the different sections of a song; and then see two different ways of bringing the style patterns in to your DAW.

Chapter 2 : The Agents

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    Working with Multiple Agents

    Learn how to set up the kits for two different agents, one acoustic drums, the other percussion, to play styles that complement each other.

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    Layering Multiple Agents

    Explore the use of multiple agents to create fatter layered sounds, when triggering the same patterns.

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    Acoustic Agent

    Explore the sonic control and MIDI FX for these acoustic drum kits.

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    Percussion Agent

    Hear how the Edit page Sound Parameters effect the sound of the percussion agent instruments.

Chapter 3 : Instrument Pads

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    Beat Agent Pad Mapping

    Learn how to drag and drop, reorder, swap, exchange, move, copy and reassign instrument pad assignments and layouts.

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    Working in Mapping View

    See how this window is used to split or layer multiple samples assigned to the same pad, and adjust their volume, pan, tuning, filter settings, and more, individually.

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    Envelope Editing

    Discover the basics of editing pitch, filter, and amp envelopes, including how to control the display and movement of the existing as well as newly created envelope points.

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    Looping & Envelope Play Back Modes

    Discover how the sustain, loop, one shot, and sample loop envelope play back modes each sound differently when played back with the same looped filter envelope settings.

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    Pitch, Filter, & Amp Envelopes

    Explore the way these three envelopes are used to effect the sound of the triggered samples.

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    The Sample Editor Pt. 1

    Learn where all the basic tools, functions and zoom controls are accessed in this tab.

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    The Sample Editor Pt. 2

    Explore ways to control the way the sample is played back, including velocity based sample start, delayed sample start, various loop modes, and time/format shifting.

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    The Slice Tab

    Use this part of Groove Agent 5 to slice audio loops and automatically map the slices to instrument pads. A MIDI track is also created and is associated with the first empty pattern pad.

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    Explore how this function is used to separate the tonal and noise components of samples. They can be re-mixed together or recombined with other elements from other samples.

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    The Record Tab

    Learn how to record and map your own samples directly onto Groove Agent's Instrument pads.

Chapter 4 : Patterns

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    Working with Patterns

    See how to load patterns across multiple pads, and how Global pattern mode effects triggering patterns from multiple agents.

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    MIDI & Style Players

    Discover how the parameters in these windows effect playback of MIDI and Style patterns.

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    Note Repeat

    Hear how the Note Repeat functions allow you to generate repeated notes within a particular note range using various rhythmic subdivisions, that are switched on the fly in real time.

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    The Phrase Player

    See how this part of the Perform Window is used to generate phrases based on user defined rhythmic patters.

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    Capturing the Repeat Patterns

    Learn how to record the Phrase patterns onto pattern pads.

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    The Pattern Editor

    Explore how to modify and create MIDI note patterns and controller data in this window.

Chapter 5 : Mixing & Automation

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    See how the Agent page in the Mixer tab differs for Beat, Acoustic, and Percussion Agent, and then how the common Aux, Kit, and Master tabs work similarly in each.

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    Automation & Options

    Learn about automation and controller assignments, and global options to optimize your use of Groove Agent 5.

Product Overview

Eli Krantzberg presents in-depth Groove Agent tutorials! Learn all of Groove Agent 5's features and functions as well as how to make realistic drum beats and more. These Groove Agent video tutorials are perfect for those starting out with Groove Agent 5, or just want to know more about this powerful virtual drum instrument.

Eli gets you going fast with important foundational videos on Groove Agent 5 including a detailed overview of the user interface, how to load and customize kits, as well as replace individual drums. Styles is then explained and explored so you can create a wide variety of beats and grooves.

Next, Eli shows you all about Agents, and how to work with multiple Agents, layer them, and the different acoustic and percussion Agent options. Editing and mapping instrument pads is then shown and you'll see how to drag and drop, reorder, swap, exchange, move, copy and reassign instrument pad assignments and layouts and much, much more.

Now go deep into the Groove Agent 5 Sample Editor, the Slice Tab, using the Decompose feature and how to record and map your own samples directly onto Groove Agent’s Instrument pads. Eli then teaches you everything you need to know about working with and editing patterns, note repeat, the Phrase Player, Mixing tips and using Automation for creative effects.

To see what each Groove Agent 5 tutorial shows you and how they will help you use and make better drum tracks with Groove Agent, see the individual Groove Agent 5 tutorial descriptions on this page. If you're ready to start making beats with Groove Agent, this series of Groove Agent 5 videos will get you going fast... Make realistic drum parts today, watch “Groove Agent 5 Explained" now!

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1. When did you start dabbling in music?

I started playing drums in high school at age fourteen. Like most kids my age around then, I was into progressive rock. Genesis, Emerson Lake and Palmer, and Yes. They rocked my world. A few short years later though, my musical life changed. While studying music in college I discovered Charlie Parker, Milt Jackson, Sonny Stitt, and John Coltrane. Milt Jackson spoke to me in such a profound way that it left me no choice but to take up vibraphone.

These great players, along with  drummers like Philly Joe Jones, Max Roach, Art Blakey, and Elvin Jones changed not only the way I thought about drumming, but also music - and by extension, life - as a whole. I realized life was meant to be a creative endeavor. The idea of improvising based on a loose set of guidelines and rules permeated into my psyche even when I wasn't holding a pair of drumsticks or mallets. But if I am going to be perfectly truthful, I have to hold Henry Miller and Woody Allen equally responsible for shaping the way I view and experience the world around me. 

2. What training have you had?

I am currently an Apple certified Logic Pro. Young and cocky, and armed with only a partial University degree, I dropped out of school and  began playing steady commercial hotel engagements and jazz gigs when I could. This went on for many years until I decided it was time to complete my degree - which I ultimately did with a major in Political Science and a minor in music. 

It was at this point that I formed my current band Nightshift. We are going in to our twenty third year now - playing commercial one nighters like weddings, corporate events, etc. Don't turn your nose up at it though - it has allowed me a wonderful quality of life. It gave me the freedom to go back to school and complete a post graduate degree in Communications Studies - all the while supporting myself by playing weddings.

3. When did you get into recording?

It was in this graduate program - in the early nineties - that I found myself drawn to the fledgling emerging universe of hard disc recording and midi sequencing. Based on nothing more than the recommendation of one of my band mates who had an old Atari, I jumped in head first and bought a Mac LC ll, along with a version 1.1 of what was then Notator Logic. I had no idea what I was getting myself into. But, in hindsight, it was a decision of epic importance in my life - shaping my future as much as the music of Milt Jackson and Charlie Parker did fifteen years prior. 

I opened up my own commercial home studio in 1998 and began doing a variety of projects, working on radio jingles, artist CD projects, and whatever came my way. A couple of years later a colleague called me up - desperate. He was working at a post production house and one of the editors had just quit. They were doing audio post for a weekly TV series and needed a Pro Tools editor - and fast! And so, once again, I jumped in head first into what would ultimately open up my world even more - the world of Pro Tools. 

4. People you have worked with/for?

Focusing on Logic, I built up a small but loyal client base and my phone kept ringing for Logic tech support and instruction. Film composers and studio owners all over the city were calling me. Even the music stores were giving out my phone number at this point! This kind of stuff becomes a self fulfilling prophecy. The more of it you do, the more calls you get to keep doing it. At least that's the way it should be!

As my Logic chops kept growing, I was hired by an old buddy of mine, Len Sasso, who was then an associate editor at Electronic Musician magazine, and began writing some columns for them. I had a blast doing them - and really learned to focus and express my thoughts in a concise and clear manner. This lead to a collaboration with LA based composer Terry Michael Huud on the 2006 film called Civic Duty - which was certainly one of the highlights of my professional life as a composer. 

5. Why are you so good at training people?

I wake up every day excited to boot up, and create. Whether it's instructional videos, creating music, working with a studio client, performing with my band, or teaching at the schools - my days are filled with what I love doing. Enriched by the stimulation and creative freedom this modern music making software brings to my life. I bring that excitement and passion to each and every training product I create. My years of experience both using and teaching these programs has taught me the best way to make the user comfortable with these complex programs.

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