Ajustar la batería con Sound Replacer
Lesson time: (5min 14sec)
Course preview
This lesson is part of the course Mezclar música pop comercial
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:
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Duplicate the Kick Drum Track:
- I'm going to do it on a little section here.
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Select the Audio:
- Highlight the audio section you want to use.
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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

A principios de los años noventa, Goetz Botzenhardt se formó en los Swanyard Recording Studios, asistiendo a productores de primer nivel como Flood, Alan Moulder y Tom Lord-Alge, y se curtió grabando y mezclando a las bandas de dance y acid jazz de los 90: Incognito, Galliano, Soul II Soul y muchas otras.En Swanyard conoció a Rollo Armstrong y ambos formaron rápidamente una asociación creativa que dio lugar a muchos grandes discos de dance y remezclas y, poco después, a la grabación y mezcla de los dos primeros y aclamados álbumes de Faithless y del multiplatino 'No Angel' de Dido.Moviéndose entre géneros, grabó y mezcló el álbum debut de las Sugababes, 'One Touch', incluido su primer éxito 'Overload', y ha mezclado para The Cardigans, Bjork, The Cinematic Orchestra, Craig David, los Pet Shop Boys e Hikaru Utada, una de las artistas de más éxito de Japón.Más recientemente ha ampliado su trabajo al cine y la televisión, colaborando ampliamente con los compositores Christian Henson, Martin Phipps y Anne Nikitin, y mezclando la banda sonora de Daniel Pemberton, nominada a los Globos de Oro, para 'Steve Jobs', dirigida por Danny Boyle. Al margen del cine, produjo 'Closer to the People' de Tanita Tikaram, mezcló temas para Sigala, Ella Eyre, Breton, Planet Funk y Tito Jackson, y en 2016 mezcló el álbum de Peabo Bryson con Jimmy Jam y Terry Lewis. Una lista completa de su trabajo está en sus páginas de discografía y filmografía en goetz-botzenhardt.com.Goetz trabaja desde su propio estudio y sala de mezcla, construidos en torno a una consola SSL E4044, monitorización surround Adam 5.1, un sistema Pro Tools HDX de 48 canales y equipo outboard selecto. En sus cursos te lleva al interior de esa sala para mostrar cómo mezcla en dos mundos muy distintos: en Mixing for Film & TV Score, cómo equilibra y da forma a bandas sonoras orquestales e híbridas al servicio de la imagen; y en Mixing Commercial Pop Music, cómo construye mezclas de pop contundentes y listas para la radio desde la multipista. read more




