Augmenting and Replacing Real Drums with Samples in a Mix

Watch the Augmenting and Replacing Real Drums with Samples in a Mix from YouTube here

Augmenting and Replacing Real Drums with Samples in a Mix

Hey, folks.

Matthew Weiss here — weiss-sound.com, theproaudiofiles.com
and mixthru.co.

Welcome to the Ask Weiss series.

Today’s question comes to us from Sammy Sabbah
again from The Pro Audio Files’ Facebook page,

and Sammy asks, “When mixing a real drum
kit, if I want to use samples to augment or

change the close mic’d drums, how can I make
the samples not clash with the original drums

that are in the overheads and room mics?

I hope my question made sense.”Yup, your
question made perfect sense.

Unfortunately, part of the answer is it simply
comes from a sensibility that’s developed

over years of doing it again, and again, and
again.

I know, that’s sort of the cop-out answer,
but I’m not going to stop there.

I’m going to give you a little bit more food
for thought.

This all comes from knowing what to listen
for.

When you want to hear your final drum sound,
you want to make sure that the drums are all

well represented.

The attack, the tone, the weight, the body,
all of those kinds of things.

So if we don’t have those things, we need
to be listening out for them.

So I have this drum part here that was recorded
by a band and sent to me, and it sounds like

this.

[drum mix]

Now, this was recorded on a very minimal setup
in the band’s living room.

It was I believe a Presonus interface with
a couple of maybe KSM44s, a D112, and SM57

on the snare.

Very basic setup, and it sounds okay.

But obviously, it does not sound like perfection
quite yet.

We need to work on that.

So let’s break down, first, the snare drum.

Here is our close mic on the snare.

[snare drum]

Now, I think that snare has good amount of
texture and tone to it.

What it’s lacking is a little bit of fullness
and a little bit of punch on the attack, and

I don’t think that simple processing will
get us what we need in those regards.

If it’s a really good, full capture, then
I think that a better way to go instead of

doing augmentation is to just simply work
with what you have, and try and get the best

sound from the actual drum.

Sometimes, we don’t have that luxury.

So what I did is I took this into a program
called Trigger where every time it hits, it

causes another sound to trigger, as it’s called,
and I scrolled through a Rock library that

I have and I found a drum that didn’t have
too much in the way of tone, but it had a

good amount of punch to it, and it also had
a little bit of sizzle in the snare band,

and I thought that was a nice little thing
that this snare could use a little bit more

of as well, and it sounded like this.

[snare drum]

So you hear a lot of thwack coming off of
the top of that snare, and you don’t really

get too much else.

So when I blend these two snares together,
we’re still going to hear the tone and texture

of the original snare, but we’re going to
get a little bit more thwack.

[snare plays]

Right?

Still sounds like the same drum, and that’s
simply from selecting something that doesn’t

have a tone that’s going to then conflict
with the tone that I’m trying to preserve.

Now, the other thing I want to do is I want
to add a bit of weight, so I continued scrolling

through and auditioning, and I’m playing the
triggered version along with the original

version too to hear their blend as I go, and
I found this little weighted snare.

[snare plays]

And again, it’s a pretty muted snare too.

It’s not like there’s a whole ton of tone
jumping out of it.

It’s just got a good amount of weight in that
200-300 Hz range, which is about where this

felt a little bit thin, so I dubbed that in
as well and then did some phase alignment

to make sure everything was in the best sort
of phase alignment it could be, and it sounds

altogether like this.

[snare drum plays]

So, before…

[snare drum without triggers]

After.

[snare drum with triggers]

So just sounds like the same drum, except
for it’s got more attack and more body.

So there’s part one here, and here’s how it
now sounds with the rest of the kit.

[drum mix]

Super roomy overhead capture, so I’ll probably
want to do something with that later down

the line.

Now, let’s talk about this kick.

[kick drum]

Yikes.

So, there’s some kind of weird modulation
happening there where it sounds like the kick

is distorting against the preamp, like it’s
just going way into the red, and this is a

case where I don’t really want a kick that’s
going to sound like the original kick capture.

So, it’s more important to find a kick that
blends well with the overheads.

So what I did was this same process.

I put the kick into my trigger program and
I went into my Rock library, and I just scrolled

through a whole bunch, and I mean like a whole
bunch, like probably a good 70 different sounds,

and found one that I thought blended really
well with the kit, and I did some slight tuning

adjustment just to really lock it in, and
it sounds like this.

[drums]

So, original…

[drums without triggers]

New one.

[drums with triggers]

So basically, the idea was to go through to
find something that had a good sound to it,

and also sounded like it could conceivably
be part of the same kit, and another important

part of this is that I’m using a live trigger
program, which means that the sound is actually

reacting to the input of the original kick,
and then I have some settings here where the

velocity curve and the dynamic curve are adjusted
and controlled a little bit to make more sense,

but it’s basically reacting the way the drummer
played it.

It’s just a new sound now.

Alright, Sammy, thank you for a great question.

If you or anybody you know has a question
that you’d like me to answer, feel free to

leave it in the comments section below, or
on The Pro Audio Files’ Facebook page.

Don’t forget to like and subscribe to our
YouTube channel.

Until next time, guys.

Augmenting and Replacing Real Drums with Samples in a Mix

http://theproaudiofiles.com // http://mixthru.co // A new video in the Ask Weiss series on replacing and augmenting drums from Sammy Sabbah: “When mixing a real drum kit, I want to use samples to augment or change the close-miked drums. How can I make the samples not clash with the original drums that are in the overheads and room microphones?”

More Ask Weiss videos: http://bit.ly/askweiss

Transcript Excerpt:

Hey, folks. Matthew Weiss here — weiss-sound.com, theproaudiofiles.com and mixthru.co.

Welcome to the Ask Weiss series. Today’s question comes to us from Sammy Sabbah again from The Pro Audio Files’ Facebook page, and Sammy asks, “When mixing a real drum kit, if I want to use samples to augment or change the close mic’d drums, how can I make the samples not clash with the original drums that are in the overheads and room mics? I hope my question made sense.”Yup, your question made perfect sense. Unfortunately, part of the answer is it simply comes from a sensibility that’s developed over years of doing it again, and again, and again.

I know, that’s sort of the cop-out answer, but I’m not going to stop there. I’m going to give you a little bit more food for thought. This all comes from knowing what to listen for. When you want to hear your final drum sound, you want to make sure that the drums are all well represented. The attack, the tone, the weight, the body, all of those kinds of things.

So if we don’t have those things, we need to be listening out for them. So I have this drum part here that was recorded by a band and sent to me, and it sounds like this.

[drum mix]

Now, this was recorded on a very minimal setup in the band’s living room. It was I believe a Presonus interface with a couple of maybe KSM44s, a D112, and SM57 on the snare. Very basic setup, and it sounds okay. But obviously, it does not sound like perfection quite yet. We need to work on that.

So let’s break down, first, the snare drum. Here is our close mic on the snare.

[snare drum]

Now, I think that snare has good amount of texture and tone to it. What it’s lacking is a little bit of fullness and a little bit of punch on the attack, and I don’t think that simple processing will get us what we need in those regards. If it’s a really good, full capture, then I think that a better way to go instead of doing augmentation is to just simply work with what you have, and try and get the best sound from the actual drum.

Sometimes, we don’t have that luxury. So what I did is I took this into a program called Trigger where every time it hits, it causes another sound to trigger, as it’s called, and I scrolled through a Rock library that I have and I found a drum that didn’t have too much in the way of tone, but it had a good amount of punch to it, and it also had a little bit of sizzle in the snare band, and I thought that was a nice little thing that this snare could use a little bit more of as well, and it sounded like this.

[snare drum]

So you hear a lot of thwack coming off of the top of that snare, and you don’t really get too much else. So when I blend these two snares together, we’re still going to hear the tone and texture of the original snare, but we’re going to get a little bit more thwack.

[snare plays]

Right? Still sounds like the same drum, and that’s simply from selecting something that doesn’t have a tone that’s going to then conflict with the tone that I’m trying to preserve.

Now, the other thing I want to do is I want to add a bit of weight, so I continued scrolling through and auditioning, and I’m playing the triggered version along with the original version too to hear their blend as I go, and I found this little weighted snare.

[snare plays]

And again, it’s a pretty muted snare too. It’s not like there’s a whole ton of tone jumping out of it. It’s just got a good amount of weight in that 200-300 Hz range, which is about where this felt a little bit thin, so I dubbed that in as well and then did some phase alignment to make sure everything was in the best sort of phase alignment it could be, and it sounds altogether like this.

[snare drum plays]

So, before…

[snare drum without triggers]

After.

[snare drum with triggers]

So just sounds like the same drum, except for it’s got more attack and more body. So there’s part one here, and here’s how it now sounds with the rest of the kit.

[drum mix]

Super roomy overhead capture, so I’ll probably want to do something with that later down the line.

Now, let’s talk about this kick.

[kick drum]

Yikes. So, there’s some kind of weird modulation happening there where it sounds like the kick is distorting against the preamp, like it’s just going way into the red, and this is a case where I don’t really want a kick that’s going to sound like the original kick capture. So, it’s more important to find a kick that blends well with the overheads.

About The Pro Audio Files

Tutorials on mixing, mastering and producing music in Pro Tools with plugins from Waves, FabFilter, SoundToys, Softube, Sonnox, PSP, Slate Digital and more. Learn how to mix using EQ, compression and effects like reverb, delay, saturation and distortion on vocals, drums, guitar, bass and more.

Augmenting and Replacing Real Drums with Samples in a Mix

The amount of plays  for the Augmenting and Replacing Real Drums with Samples in a Mix video is 5111

Embedded from the The Pro Audio Files youtube channel

Duration of the “Augmenting and Replacing Real Drums with Samples in a Mix” video is 06:44 hh:mm:ss

It also has already 63 likes and 3 dislikes on Youtube

Used tags for this video are plugins,theproaudiofiles.com,augmentation,overheads,Drums (Musical Instrument),room mics,sample replacement,mixing drums,drums,mix,drum samples,trigger 2,drum replacement,drum,drum mixing techniques,room,pro tools,layer,samples,mixing,live drums,the pro audio files,in,close-miked drums,mics,tools,how to mix drums,microphones

The rating for this video is 0 stars at the moment

Augmenting and Replacing Real Drums with Samples in a Mix

AudiobyRay is collecting usefull videos from youtube to present trending and up to date content for music producers.

Therefore this video “Augmenting and Replacing Real Drums with Samples in a Mix” has been embedded from youtube.

The owner of this  video has already given permission to use their video by accepting the Terms and Conditions from youtube here