Resserrer la batterie avec Sound Replacer
Lesson time: (5min 14sec)
Course preview
This lesson is part of the course Mixer la pop commerciale
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.
-
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

Au début des années quatre-vingt-dix, Goetz Botzenhardt s'est formé aux Swanyard Recording Studios, assistant des producteurs de premier plan comme Flood, Alan Moulder et Tom Lord-Alge, et a fait ses armes en enregistrant et en mixant les groupes de dance et d'acid jazz des années 90 : Incognito, Galliano, Soul II Soul et bien d'autres.À Swanyard, il rencontre Rollo Armstrong et tous deux nouent rapidement un partenariat créatif, à l'origine de nombreux grands disques de dance et remixes et, peu après, de l'enregistrement et du mixage des deux premiers albums acclamés de Faithless et du multi-platine 'No Angel' de Dido.Naviguant entre les genres, il a enregistré et mixé le premier album des Sugababes, 'One Touch', dont leur premier tube 'Overload', et a mixé pour The Cardigans, Bjork, The Cinematic Orchestra, Craig David, les Pet Shop Boys et Hikaru Utada, l'une des artistes les plus populaires du Japon.Plus récemment, il s'est étendu au cinéma et à la télévision, collaborant étroitement avec les compositeurs Christian Henson, Martin Phipps et Anne Nikitin, et mixant la musique de Daniel Pemberton, nommée aux Golden Globes, pour 'Steve Jobs', réalisé par Danny Boyle. En dehors du cinéma, il a produit 'Closer to the People' de Tanita Tikaram, mixé des titres pour Sigala, Ella Eyre, Breton, Planet Funk et Tito Jackson, et en 2016 il a mixé l'album de Peabo Bryson avec Jimmy Jam et Terry Lewis. La liste complète de ses travaux figure sur ses pages de discographie et de filmographie sur goetz-botzenhardt.com.Goetz travaille depuis son propre studio et sa salle de mixage, articulés autour d'une console SSL E4044, d'un monitoring surround Adam 5.1, d'un système Pro Tools HDX 48 canaux et d'un outboard de choix. Dans ses cours, il te fait entrer dans cette pièce pour montrer comment il mixe dans deux univers très différents : dans Mixing for Film & TV Score, comment il équilibre et façonne des musiques orchestrales et hybrides au service de l'image ; et dans Mixing Commercial Pop Music, comment il construit des mixes pop percutants et prêts pour la radio à partir du multipiste. read more




