Tightening up the drums, using sound replacer
Lesson time: (5min 14sec)
Course preview
This lesson is part of the course Mixing Commercial Pop Music
Watch a preview of the full course below.
Lesson transcript:
Enhancing Your Drum Tracks
Okay, so following all those rules and bits of advice I've given you, our drum track should now be in time and it should groove.
Importance of Quality Drum Sounds
One more thing that's quite important:
- If you use live drums or a combination, ensure that the drum sounds are actually good.
- You might not have mic'd up the drum kit yourself, which means the person who did could have made some mistakes.
- Consequently, your bass drum might sound horrible, or your snare might have no impact.
Using Samples to Improve Your Mix
There's nothing stopping you from adding your own samples. Especially with a pop record:
- Every time the bass drum hits, you want it to be at the same level.
- You should be able to rely on it to carry your groove right through the song.
This is something mix engineers have done ever since the 80s:
- Triggering in their own kick drums, snare drums, toms, etc.
Building Your Drum Library
Consider gathering a nice selection of kicks and snares:
- Incorporate them into your mixes or add them in when you feel it's necessary.
Software Options for Drum Replacement
I'm just going to quickly mention different bits of software:
- Pro Tools has a feature called Sound Replacer.
- Slate Digital offers a product called Trigger.
- In Logic and Pro Tools, there's also some drum-to-MIDI software that can convert your kick and snare drum signals into MIDI notes to play off a sampler (like Kontakt or EXS).
My Practice with Sound Replacer
I do this quite often, so don't be scared to add your own drum sounds. It will really help keep your mix consistent.
Step-by-Step with Pro Tools Sound Replacer
Let's discuss how to use the Sound Replacer in Pro Tools:
-
Duplicate the Kick Drum Track:
- I'm going to do it on a little section here.
-
Select the Audio:
- Highlight the audio section you want to use.
-
Load the Plugin:
- In the audio suite, locate the Sound Replacer and load in a kick drum (here's one I prepared earlier).
-
Trigger Points:
- The Sound Replacer will recognize the trigger points.
- I usually turn off the dynamics and check the way it triggers.
-
Zoom In:
- Zoom in a little to ensure we can see the whole thing.
-
Render the New Kick Drum:
- You can see all the drum hits; as you bring this down, you catch all the kick drums, then hit Render.
Evaluating Your New Kick Drum
Now, let's take the plugins off quickly and see how that works:
- Blend that in and check for any doubles; it's worth going through and checking.
- On the whole, if you look at the waveform, you can see each kick drum triggers where the original is.
Final Thoughts
Let's have a listen to compare.
- Yes, we can hear the new kick drum adds quite a bit of attack, making it more solid.
- There are no variations in level on that kick drum, which is ideal to underpin the whole mix.
You can use a similar approach for the snare drum; it works the same way.
So, get yourself a good library of kick drums and snare drums, and don't be afraid to use them!
About the instructor

In the early nineties, Goetz Botzenhardt trained at Swanyard Recording Studios, assisting top producers like Flood, Alan Moulder and Tom Lord-Alge, and cut his teeth recording and mixing the dance and Acid Jazz bands of the 90s - Incognito, Galliano, Soul II Soul and many others.At Swanyard he met Rollo Armstrong and the two quickly formed a creative partnership, leading to many big dance records and remixes and, soon after, to recording and mixing the first two acclaimed Faithless albums and Dido's multi-platinum 'No Angel'.Ranging across genres, he recorded and mixed the Sugababes' debut album 'One Touch', including their first hit 'Overload', and has mixed for The Cardigans, Bjork, The Cinematic Orchestra, Craig David, the Pet Shop Boys and Hikaru Utada, one of Japan's most successful artists.More recently he expanded into film and TV, working extensively with composers Christian Henson, Martin Phipps and Anne Nikitin, and mixing Daniel Pemberton's Golden Globe-nominated score for 'Steve Jobs', directed by Danny Boyle. Away from film he produced Tanita Tikaram's 'Closer to the People', mixed tracks for Sigala, Ella Eyre, Breton, Planet Funk and Tito Jackson, and in 2016 mixed Peabo Bryson's album with Jimmy Jam and Terry Lewis. A full list of his work is on his discography and filmography pages at goetz-botzenhardt.com.Goetz works from his own studio and mix room, built around an SSL E4044 console, Adam 5.1 surround monitoring, a 48-channel Pro Tools HDX system and choice outboard gear. In his courses he takes you inside that room to show how he mixes across two very different worlds: in Mixing for Film & TV Score, how he balances and shapes orchestral and hybrid scores to serve the picture; and in Mixing Commercial Pop Music, how he builds punchy, radio-ready pop mixes from the multitrack up. read more




