This is something we get asked all the time, something we see people fail at all the time and something we think we're both pretty good at:
Using drum samples in a way that sounds organic and not like we're actually using samples, while still adding all the punch, control, size, vibe and consistency that the raw tracks might be lacking.
In this episode you'll learn the process and specific techniques we use to do that, including:
- Creating MIDI notes or key spikes to trigger samples
- Adjusting velocities
- Phase / time-alignment
- Picking the right sample(s)
- Tuning your samples
- Shaping the attack and sustain of the samples
- Fine-adjusting the velocities and articulations, based on the samples you chose
- Creating busses and getting the routing right (using multi output instruments or triggering close mics and kit/room mics separately)
- Committing and printing samples
- Why we like to treat original tracks and corresponding samples together as one new drum, if possible
- Avoiding over-processing of samples - they often are already processed
- Adding glue, vibe and “kit energy” on the drum bus and/or parallel busses
- Using automation or multiple sample tracks to get rolls and ghost notes right
And even more ideas on how to use drum samples without sucking the life out of the performance.
Let's dive in!
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This episode was edited by Thomas Krottenthaler.
Benedikt's voice on this episode has been recorded with the Antelope Axino Synergy Core.
TSRB 111 - Automatic Episode Transcript — Please excuse any errors, not reviewed for accuracy
[00:00:00] Benedikt: I see people make the same sort of mistakes that lead to a very unnatural over-processed or. You know, there's this drum tone where you hear a song and you immediately, you can tell that there's simplest being used and you, if you don't necessarily want that for your genre, then this episode is for you. Hello, and welcome to the self recording band podcast. I am your host Benedict tine, and I'm here with my friend and cohost Malcolm Owen flood. How are you Malcolm?
[00:00:36] Malcom: Hello? I'm great. Benny, how are you, sir?
[00:00:39] Benedikt: I'm doing great. As I said to you before we have wonderful summer weather in March, which is not the way it's supposed to be, but it feels great. So yeah. All good.
[00:00:49] Malcom: I'm going to jump right into what I think we need to both talk about, because I'm very excited about it, but we also need to remind our listeners about it. So it's pertinent information as well. Uh, We are [00:01:00] about two days and 10 hours away from the end of our early bird pricing on our mixing course mixes unpacked. Hopefully if you are listening to this podcast and in part of our Facebook community on any of our email lists, you already should be well aware about this mixing course, but just in case you're not. It is Benny and I each going through our own separate mixes that we've done with bands. And the coolest part is that these bands recorded the tracks DIY themselves, and then sent them to us for mixing. So it's not us mixing like perfect high budget. Perfectly engineered studio tracks. This is like they made it in their jam space and we took it to a professional level from there. So I think it's super relatable and, and valuable for our audience. Um, that, that, and that's you listeners. So please check that out. The early bird pricing is a no brainer. There's a bunch of bonus like modules and other stuff that you get. If you do go for the early bird pricing and that is actually worth more than what we're selling the entire course. So it's kind of like [00:02:00] a w we just wanted to over-deliver and make it a complete no-brainer. And I think we really did that. Plus there's a 30 day money back guarantee. No questions asked. So just like, just try it. There's no reason not to. And again, you have a very little time actually. And I said that there's two days and 10 hours left, but that was when we're recording it. That's right now for you, it's like 10 hours. You have 10 hours.
[00:02:22] Benedikt: If you're listening, the second, this podcast comes out, you have 10 hours or so left.
[00:02:26] Malcom: Yeah,
[00:02:26] Benedikt: And if you're listening, yes, exactly. If you're listening after Wednesday, after the day, this episode airs, then you can still get it. But the early bird pricing will be gone. And so be quick, go to the sort of recording, bent.com/mixes, unpacked, and then you have all the details, all the info, and you can just buy it. And if you, for whatever reason, think it's not as valuable as we say it is, then you get your money back. It's as simple as that.
[00:02:49] Malcom: absolutely.
[00:02:50] Benedikt: Also, I have to add one thing that one part of the bonuses is something I'm really excited about. And that is that we do. The live session, the Q and a session, [00:03:00] a video meetup with everybody who's in the course. And we do that because we don't want you to have any sort of questions or anything you're wondering about or anything you don't fully get from the course. So we try to leave no question unanswered, and that's why we do this. So the way it works. You go through this course, you leave comments below, you'd make notes and you leave comments below the videos, telling us what you find most valuable, and also telling us what you didn't quite understand or what you need help with or where you need further explanation or anything like that. And then you can jump on a call with us on a group call and we'll address all of those questions. And if you can't make it live, there will be a replay also. So we really like, there's serious, like handholding with this course, and we make sure that you really get something out of this and you can actually apply it and not just consume content. So again, go to the self recording, band.com/mixes, unpacked, and watch Malcolm. And I do what we always talk about now. Can you can, you can actually watch us do it. So.
[00:03:58] Malcom: Yeah. And I [00:04:00] know there's a lot of musicians in the self recording bank community that are interested in mixing and want to learn more about that. So it's perfect for those people, but even if you don't plan to mix, um, and, and that is honestly something we, we often suggest it on this platform is to focus on engineering because that's much more accessible and, and possible to get right in A DIY setup without tons and years and years of experience. But by learning about the mixing side of things, you will become a better engineer. So this is still for the people that don't plan to become mixers. You'll learn so much about what we're looking for to make good tracks and what we do to get it there. And then you can handle that while you're recording it.
[00:04:39] Benedikt: A hundred percent. All right, one more time. The surf recording, bent.com/mixes, unpacked. And then yeah, go get it.
[00:04:47] Malcom: Yeah, the clock is ticking.
[00:04:49] Benedikt: Exactly. Super exciting man. Especially because it's the first thing that Malcolm and I do together. So this is, this is something special for us because I've launched a couple of things before, but this time we're doing it together [00:05:00] and it's just fun and we love you. We hope that you get something out of it. We'd love to do this. So
[00:05:05] Malcom: This is the first thing we've done together, aside from 111 episodes of a podcast.
[00:05:11] Benedikt: yeah. The first product we created together, the first like in-depth thing that like, yeah, totally. So.
[00:05:17] Malcom: totally pumped on it.
[00:05:19] Benedikt: Yeah, totally. So about today's episode, this is something that we actually also you'll see that also in the, in this course, by the way. So you'll see us use drum samples. And, um, one thing that I think both of us really like if like, for most genres, not every genre, but from us, Chandra's in the rock and guitar music world sort of, I think Malcolm and I both. Drums that sound like drums, even though there might be samples blended with the original drums. So there are ways to do that and make the drum samples invisible so that all you're hearing is a cool drum kit. That just sounded, sounds better than what has been recorded originally. And in this episode [00:06:00] today, we're going to walk you through how to make sample enhancement or replacement on drums. Invisible. This is something I get asked quite a lot and, um, I've, I've worked on with Michael. Students a lot also because I see similar mistakes over and over again. So people are aware of the concept of like triggering samples and blending them with the original cadence that, so that's nothing new, but there is different approaches to that. And some of them sound more natural to me than others. And I see people make the same sort of mistakes that lead to a very unnatural over-processed or. You know, there's this drum tone where you hear a song and you immediately, you can tell that there's simplest being used and you, if you don't necessarily want that for your genre, then this episode is for you.
[00:06:46] Malcom: Absolutely. Yeah. this, uh, I love this topic. There, there is this weird rift in the pro audio community of mixers between people that. Drum samples and people [00:07:00] that don't like drum samples. And in my experience, people that don't like drum samples generally have no idea how to use drum samples properly, which is a harsh blow. If you're one of those people and you're listening, I'm sorry, but I'm being honest. I don't think you know how to do it, right.
[00:07:15] Benedikt: Yeah, I totally agree. I don't think it's a question of whether or not you should use drum samples. It's just how you use it. Like how it sounds. What's the result. That's the only thing that matters. So I don't think there should even be a debate about whether or not you should use drum samples. All that matters is what comes out of the speakers and, um, Yeah, exactly. I agree. All right. So I'm curious to see as always with these kinds of episodes, I'm curious to see, um, if your process is similar to mine, Malcolm or if we do things differently, because even though we say there's a right and a wrong approach, there's typically more than one right. Approach to things like that. So again, all that matters is the result, but there will be, I think there will be some common things that we both recommend or don't recommend if you want natural sounding drums with samples. And yeah, let's [00:08:00] go through this. Um, so the first thing is, is already something that is different. I think between the two of us, because like, I think you use a key spikes, right. To trigger samples and I use middy. Um, what that means is real quick, we don't have to, we can go through all the details in one podcast episode, but just real quick, the way you, in case you're not aware of the way you trigger drum samples. There's three ways. Actually, the first is you could just put a trigger plugin on a drum track, like a snare track or a kick track, and the trigger plugin detects the hits, and then it fires a sample and you can blend within the plugin and that's like the simplest quickest way to do it. But there's problems with
[00:08:39] Malcom: There's a, there's a little hint. That's the people that are doing it wrong.
[00:08:42] Benedikt: Yeah, mostly. Yeah, exactly. I mean, there are people doing it that way, who are doing it right. But there's always the exception. Right. We don't recommend that. So. Then there's two more options. When those, with those, you have much more control, which is what we want in this case. So the first option is you could do word Malcolm does, and you could create key spikes. [00:09:00] These are, and you can explain that probably better, but these are small, like audio blips, like it's actual audio material. So for every scenario or every kick drum hit, or every time hit there, you have to generate a small, short burst of audio. Just very quick, like a click sound or something. I don't know how exactly you do it, Malcolm, but you use that. To an incen date, into a trigger plugin or into whatever. And th th the trigger plug-in detects the hits with a lot more precision from these key spikes. And also, um, you have a separate track that you can control that shows you exactly when the samples are going to be fired, and you don't have Ms. Triggers and we are slams and stuff like that. So basically you're using you creating these short blips of. And those triggers the samples. My approach is I do the same thing just with MIDI notes. I generate middy from the original audio and I use the mini notes to fire up the samples. It's the same, the same reason. Basically. I want control over what I use to trigger the samples. I want to be able [00:10:00] to have exactly the amount of hits that I need. I want to be able to exact the exact like intensity velocity. I want to be able to make them phase aligned and all that. So we're both. Using sort of a, um, yeah, some sort of signal that we, that we trigger the samples off and we don't do it from the original bra snare track or kick track. Right.
[00:10:21] Malcom: Yes. Yep. Absolutely. So, you are probably already deeply confused.
[00:10:27] Benedikt: yes, I I'm pretty sure.
[00:10:29] Malcom: And that's Perfect. because I've got yet another pitch for you. If you jump on that early bird pricing that we talked about at the start of the episode for mixes unpacked or mixing course, that you have just a matter of hours to still get in on for the early bird pricing, there is going to be a bonus module I'm making for you. That is exactly about creating key spikes and mini spikes, um, to, to do exactly this. So if you want to learn this, you can. Porphyry included with the mixing course and its own. It's like this opens up a little mini course. That's just going to be given to you for free. [00:11:00] So if you're confused, that's for you.
[00:11:02] Benedikt: Perfect. All right. okay, so that's the first step you generate many or key spikes, just because you have more control over what you're doing with, uh, with the samples and, um, The step one, if you want to have like um, yeah. Organic sounding samples that, that blend well with the
[00:11:18] original drum kit,
[00:11:20] Malcom: Now, hold on. I think maybe we briefly should say why we do that. Opposed to just slapping it on the track. And, uh, this will, again, be more thoroughly explained in, in the video course I was just talking about, but, uh, more or less, we are now placing these middy or audio blips directly at the transient of the drum and we're checking every one. Um, so that we know when the drum trigger, like the drum sample gets played, it is getting played. Perfectly phase aligned with our actual live Durham as well. And that's really the key here where if we just slap it on the track, it might hear a high hat. That's just been hit a split second before the snare or [00:12:00] something and fire then, and now your sample is playing early and it creates some phasing issues between your, your actual drum. You need it to be a consistent phase relationship in order for it to have a consistent sound. And to actually help what you're doing. So that's why we're spending all this time to create this little mini or a audio clips.
[00:12:18] Benedikt: Yes, exactly which which, um, leads us to step two here. After you create those you've time, align them, faze, align them. You make sure they are simple aligned with the original hits. And you also adjust, I don't know what the process is with the key spikes, but with the mini, I also do a first round of. Velocity adjustments. So it's not like fine adjustment because that depends on the samples that I'm using. And we're going to get to that later, but like, Before I choose my samples and do all that I do. I make sure that the velocities meaning the intensity or the volume or whatever you want to call it. It's called velocity. When, when we're talking media that this mirrors, the, the performance of the drummer, basically I might compensate for some flaws in the performance. So if the drummer is really inconsistent and I want it [00:13:00] to be more consistent than my MIDI will be less dynamic than the original performance, but for the most part, I want to be, I want, I wanted to be close to the original performance if the drummer has been good. So. Two yeah. Two so that I don't get any weird articulations or like dynamics that I, that I don't want the performance. Right. So I just make sure that uh, room shots. Uh, so it's also articulations. I make sure that a rim shot is a rim shot. I make sure that, uh, allowed him, it's allowed him to quiet it as a quiet hit. It goes note as it goes note, and that is all in time. So that's the first part of it. I don't go into too much detail here because the re the fine adjustment. It totally depends on the drum instrument that I'm using, like the virtual drums or the trigger or whatever, because they all react differently to different velocities and all that, and they have different articulations. So at this point, I'm just making sure that it's in the ballpark. Right. So I don't know if there's a similar process to that with the key spikes or if they are all the same volume or.
[00:13:54] Malcom: Yeah, for me, I I kind of have the option as I make them to mimic the velocity of [00:14:00] the drums, um, which is what I do. I usually leave it to follow the, the, the detected velocity of what's the live drum is doing. Um, and then I can tweak from there, with just using clip gain, essentially and then if it hears a loud, like big audio blip, it's going to hit like give you a big rim shot. So you do want to be careful with that. Um, I actually do use a lot of one shots, so it's more so just volume that, uh,
[00:14:24] Benedikt: Yeah. So, all right, then the next step is to, um, pick the right samples, which is probably the biggest one, like the most important one, right? You have to pick samples intentionally and you have to pick the right ones that could be could mean you pick something. I do that pretty often. So there's two scenarios. So that could mean that you pick one that is similar to the original. So in that case, you just what'd, you want to do is you want to increase the difference between the bleed and the actual drums. So you want to get. Yeah, less bleed. You want to have louder hits more consistency, but you don't necessarily want to change the sound of the drum. If you like, [00:15:00] what's been recorded in this case, I would pick something that's similar to what I've recorded, just more consistent. And it gives me more, more distance to the bleed and all that. So I can compress harder. I have less issues with that later. So that's the first scenario. The second one would be, I there's, there's something about the raw sound that I don't really like, or that I think is missing. And. It's it's better to add that with a simple then to ACU the raw thing to make it work. So this could mean that there's a kick drum. That sounds cool, but like it has not enough attack or not a hard enough attack or not enough low end. So instead of trying to cue that, I could just pick a kick sample that's only low end or only beat her attack or only even some weird click sound. That's not even a kick drum. Um, same as with the snare drum, right. You, if you want a rimshot, when it's not actually a room shot, you can just find a sound that gives you the, the crack and the attack of the room shot. Um, you could do all sorts of things like as you also something you see in the mixing course makes mixes unpacked. In my mix. [00:16:00] I use a sample. I wouldn't say what I use, but I use in one part and you'll see it in this course. I use a sample on a snap drum. That's not even a snare drum and it's pretty obvious it's not as net run, but it's cool for that part.
[00:16:12] Malcom: Yeah. Yeah. there's the, sky's the limit with picking it, but you do need to choose something that makes sense. I have so many drum samples. I make them a lot of the time and I have, I also like purchase packs. I just love, I love having these options. Um, but often what I like the most on its own, like when I'm this listening through like a new pack, I kind of go and audition them all. Just have a listen. What I think is like, oh, that is an amazing sounding. Isn't often what I'll get to use in the mix, because I don't need a big, full picture. I just need like the complete one job that's missing in the raw tracks. Sometimes, you know, like, like you said, maybe it's just the attack of the drum that I need to augment and that giant snares, just not going to work there. Um, you know, or maybe it's like, you know, they recorded this in a stadium. That's not going to really fly with the rest of the drums kit sounding like it's in a room, [00:17:00] stuff like that. So you really got to choose what's right.
[00:17:03] Benedikt: Yeah, totally. Also picking the right samples also means being intentional with what's actually in the sample. So at this that's one of the most common mistakes that I see people make. Sometimes you have, all you want to do is augment the close mic. So you don't need a sample that has overheads and rooms and all that baked into the sample. You need a mano sample of a single snare drum hit, and you want to blend that sometimes though you might want. The the, the sample because of the room or because of something else. So just be intentional. There's no right or wrong here, but I see people use some sample for whatever reason, and they don't even realize that there is room and maybe even reverb and whatever baked into the sample. And then they blended with their close mic and then they have other room sounds and it gets this, it becomes this mess. That's not sounding natural anymore. So just do it with intention and think about what, what it is that it's, that is missing, what you want to automate, what you want. Blend with your rod rums and only use that. So for [00:18:00] trigger samples, for example, if you use slay trigger, most of the, the ones that come with trigger and most expansion packs, also, if you load up a preset, you'll see four or five sometimes tracks in there and one will be used near top. Then maybe there's a second snare top. Then there's this near bottom. Then there is an overhead and maybe there's a room or two rooms. You can mute all of those and just keep one, or you can use all of them or you can create your own blend, or you can use multiple instances once one for close mikes, one for overheads, one for rooms, whatever, just be intentional about it and know that this is the case because you might not be aware and let's load one. And, and, uh, don't think about this. So.
[00:18:39] Malcom: Yeah. Yeah, definitely be very intentional. The next thing on our list is just a, and you kind of touched on it, um, but it is checking polarity of the sample against your live drums. So. we talked about the phase alignment and making sure that's just perfectly likely. But you're, you can't trust that all your samples are gonna all be like face positive, [00:19:00] polarity, positive. Like, so the transition goes up essentially on the way for them first. You just can't know that. So you have to make sure and just, you know, I just auditioned throw it in, click the polarity button to see if it sounds better or worse, move on. But, um, especially if you're using multiple samples, you got to re really careful with this.
[00:19:18] Benedikt: Yes. Agreed. Also it depends on, you know, the way you'd create a drum sample as you record an actual drum hit. Right? So there's one factor there that you have no control over. If it's somebody else's drum sound. You can cut a drum sample, right at the beginning of the first, like actual sample of the hit, or you can leave a little gap in front of it. And some people do it different than, than others. So it could be that your, so the trigger detects when the actual scenario starts, but the sample could be a little late because they left a gap in the sample that they printed. And so that is also the reason why you have to check. Phase and all that, but in this first step, just check the polarity and there's going to be another step later, at least in my case [00:20:00] where I, again, check that. But for now, just to addition to the samples and to get a blend of first thing, um, just hit the polarity button and you use the one that's better. The
[00:20:09] position of.
[00:20:10] Malcom: I will say that sometimes the phase phase relationship just doesn't seem to work either way. It's just kind of like weird to spite. If you flip the polarity and what Ben is talking about probably would solve that if you just like moved it. But I usually just like that samples out, not considering it at anymore.
[00:20:28] Benedikt: Yeah, exactly. Exactly. Exactly. Totally. All right. The next one, you put that on our list and I completely forgot about it, but it's, I do it all the time. Like it's totally necessary
[00:20:39] Malcom: Yeah. So it is tuning your drum samples and a guitarist mine's just blew up tuning drums. What actually I think drummers brains just blew up. They don't seem to tune their drums either. Yes, you can tune drums. You should do it before you record. You should hire a drum tech. Everybody should hire a drum tech. They're the best they're so, so [00:21:00] valuable. If you can have a great job check drum tech, come in before you start a session and during the session. Uh, but anyways, When you choose a sample, uh, you can, most, I would say, maybe even all samplers, I use slate trigger, and that has a little knob where I can just lower or tighten the drum essentially and change the pitch of it to get it to more closely match the live drum. And now why we're doing that is that the live drum of course is going to have a fundamental note, but that is also bleeding into our overheads and our rooms and stuff like that. So even if you are fully replacing the close mic you would still want to try and do this to get it to sound like it fits with the bleed into the rest of the mics on the kit. It's super helpful to do this. It'll like just fit in the mix so much better if you tune it correctly.
[00:21:48] Benedikt: Yeah. quick tip. If you don't know how to start doing that, or if you have a hard time hearing it. Like I use an analyzer, just open up some, analyze a fat filter, procure something, um, solo the scenario, for [00:22:00] example, I just used this name for this because there's, it's, it's easy to see it with a snare drum solo, the scenario, the original one hit play, and then watch the analyzer and like, look for that around 200. Bump where the fundamental is. It could be 180 could be 220, whatever, like around 200 somewhere should be this near fundamental. And, um, you should see it's it's most often it's the loudest part of the spectrum that you see there on the analyzer or, yeah, you you'll find that, um, that what I mean. Do the same with your sample and that might be below or above your original snare, then just turn that knob that Malcolm described on the trigger plug-in until the two are at the same frequency and then listen again, if it's better or not, it's not always what you have to do. Sometimes it works with different pitches. I have to say that as
[00:22:45] well, but, but a lot of times if you want it to be really invisible and blend, well, that's a good starting point. And it's also a good exercise to just get a feel for what we actually mean and what that sounds like. So just do it. Listen to the pitch, but also watch it [00:23:00] on the analyzer and then tune it up and down until the two match. And then just find a thing that you like basically. So there's that. And also I want to recommend one thing. There's an amazing plugin by, I don't usually like waves plugins a lot. We use them a lot, but there is an amazing plugin called torque. That lets you retune drums in a way. So it can be used as a simple tuning thing. Just like the one in trigger, we tune it up or down. But the cool thing about it is you can tune the fundamental and the harmonics and the ring of it like separately. So if there's some sort of dissonant ring or something annoying about the sample, so the fundamental might be right, but like some something else it's this and then it doesn't work. You can grab that. And only tuned that part of it sort of and make it really close. So this torque thing is, is amazing. It's really cool. I grabbed it once on sale for 19 bucks or something, and it's a really, really cool plugin.
[00:23:49] Malcom: Well, okay. That's very interesting. I've always like seen it and kind of just thought snake oil.
[00:23:54] Benedikt: No, it's actually really good. It's actually really, really good.
[00:23:56] Malcom: Cool. I'll have to give it a shot.
[00:23:58] Benedikt: because you can also retune [00:24:00] the original drums without making the bleed sound weird, which is very cool. You can so.
[00:24:06] Malcom: awesome. Awesome.
[00:24:07] Benedikt: All right. So two new samples then yeah, shape, attack, and sustained, uh, sustained to match the kit if necessary. I don't do that a lot with the exception of shortening. Oftentimes I will shorten Tom sustained. Sometimes these, the Tom samples ring out forever and I don't want that. So I will just shorten them. And if you use the trigger, you can also do that in the plugin itself. You don't even have to use a transcendent.
[00:24:32] Malcom: Yeah. For, for me, the case is usually shortening the sustain of the drums as well. Like the room mikes might go on too long or something. Um, so I manipulate that and sometimes. I will choose which sample is my kick attack, and then try to remove the attack more or less from the rest of them, just to like clear up that spot. Um, so that the click happens. But not always, this is like, uh, uh, less that's important step, [00:25:00] but just something to be aware of, that you can manipulate the attack and sustain of your drum samples to further fit the mold of your live drum kit,
[00:25:07] Benedikt: Totally
[00:25:08] Malcom: or you can change your live drum kit to fit your yourself.
[00:25:12] Benedikt: Yeah. Yeah. Could also be the case. Yeah, totally.
[00:25:15] Malcom: Yeah.
[00:25:16] Benedikt: All right. Yeah. Could actually a good point. It could be that the attack is weak anyways, in the live drums and not consistent enough, but you like the ring or the sound of the shell or something, and you can trigger an attack like sample and just tame the attack on the original scenario to not conflict with that. So, yeah, that's actually. I think. Yep. All right. Then the next step would be for me to find, adjust the velocity. So I'm going back after I've chosen my samples after I've tuned them and shape them and all that. I go back to the middy and sort of do some fine adjustments there because as I said, if I use slate, trigger, every single single sample set that I load in there will react differently to the middy that I'm sending into the plugin. And if I don't use the trigger, which is, I don't use it a lot anymore, actually. So [00:26:00] most of the time I'm using contact instruct. Or I'm using something like superior drummers, you know, some, some sort of instrument, virtual drums thing that I trigger and that I, yeah, that I sent the multitude to trigger a drum samples and all of them react differently to different velocities. So there are some libraries where 1 27 is really like full on. Like so now, like with some samples, if you use a 1 27 sample, no drummer would ever hit a drum like that. It's just, it just explodes. And then with other laboratories, it's just a allowed hit, and you can use it, you know, and same with ghost notes. So with some libraries you can go down to 50 or something and trigger really quiet notes, and it will sound like a ghost notes and with other. It's like either even lower or like, you don't hear anything at 50 or it's still sounds loud for some reason, you're all these just react differently. So I go in Alison and I adjust my, my muddy velocities again, based on the samples that I chose, same with the articulation. So I might use an instrument that gives me rim shots and [00:27:00] normal snare shots, for example. So then I can go, okay. On these lines. Hits in this breakdown, whatever I use the rim shots, but on the other parts, I will use normal hits or, you know, like these things or it is a flam articulation or something. So I have to drag committee notes around to hit the right articulations. And I can only do that after I know which samples I'm going to use.
[00:27:19] Malcom: Yeah. Yeah. My process is very much the same. It's just, I've got a separate track for each different sound. Um, so I might audition like something and it's like, oh, that sounds giant, but it's not going to work for the song, but then I'll think, well, maybe it'll work somewhere in the song. And then I kind of make a guess. I just. Delete the audio from the rest of the track, except for that one spot. And then it lives there for a while until I make a decision. I usually, I don't know if you're the same as Benny, but I moved pretty quick with this. I'm just like, I like it. It's there it's live for the whole thing all, when I'm jumping around the mix, I'm going to be like, Ooh, delete that one spot. You know, like I just kind of start with them all there and then clean it up as I go. And then sometimes add more.
[00:27:59] Benedikt: Yeah. [00:28:00] Yep. Sort of, I can't do that. Like, I, I, I use them, I use middy, but then we get to that step. I print my sample. So what I do is like, I have to commit, so I, I go through it all. I get the velocities ride for each part. I might, I might, I'm not deleting the mini track so we can always go back and add more or trigger another layer or whatever. So not the leading that, but for my main samples, that the song I go through. The whole track and really make sure that every part has the right articulation, the right velocity and all of that. Uh, just because then I, uh, I never keep trigger plugins on or like virtual instruments on, I always print them before I start the mix. So, and then I might add some, some extra flavor in a partner. So in that might be off of a trigger plugin, but even that it's going to be printed in the end
[00:28:45] Malcom: Right. Yeah. So that requires you to kind of take care of the step earlier in the process.
[00:28:49] Benedikt: Yeah. Yeah. I'm not saying that I'm never doing anything later in the process. I quite often do, but even, but then I just go back to the MIDI and trigger something else, layer it where I want it to be, and then I just print [00:29:00] it again and then I move on. But yeah, I do this first pass of going through the whole media thing, making sure everything's correct. And, uh, and then that's really like a drum kit basically. So yeah, so that's, so to be able to do that, I need to do the next step, which is. And that might be different for you as well, because if you leave the trigger plugins on, for example, this is, this is different or you don't have to do what I do. So I'm need to make sure that the routing is correct. And what that means is when I have an instrument, like the room sound, drum, symbols that I love, um, it's a company called rooms. That I really, really, really, really love. And you'll find an affiliate link to those in the show notes, if you want that. So it's same price for you, but I get a little commission if you buy through that link. Thank you. Um, these are really amazing samples. No, I really liked them. I bought all of them myself, and I really love them and use them all the time. Yep. And, um, these are ones that I, that I use often. So with, with, uh, a drum library like that, it's an instrument, it's a virtual instrument inside your door. And the [00:30:00] default is that it spits out the stereo mix of the drum kit. And you don't want that. You want, usually you want to enable multi output routing so that each of the elements of the. R like they land on a separate track on their own track in the dark, just like normal audio tracks. So you get one track for the kick one for the snare, one for the Toms, or even more if there's multiple mikes. So you need to enable that multi output routing and then get the routing. Correct. So that it shows up in your doll and then you can print the samples and then you can just hit export or commit or render or whatever your, um, calls that. And, um, this will then give you. WAV files off each individual piece of the kit and you have those in the session and it's like the same. It looks as if you had recorded a real drum kit. That's what I do basically. So I get the routing, right. I make sure that I do everything we've been talking about. And then I get separate tracks for close Mike's room. Mike's [00:31:00] overheads, snap, top snare, bottom, all of that. And they end up as way files in my session, which means if I started out with 16 drum tracks that somebody sent to me after that step, I might have. 40 or so, because I get an additional set of close mikes and then I have maybe three pairs of additional room mikes or whatnot, but that's it. And I might have to deal with like five snare drums, but I'm fine with that because I'm then busing them together into groups so that it's not overwhelming. So it might sound confusing now, but that's the way I do it. I just treated, I just always want to treat it as if somebody had recorded these tracks as microphones on a
[00:31:37] Malcom: That's a great, great method. I love this because this is so timely with, with the course, like again, Betty and I did different videos, so it's not both of us mixing a song. It's a student separately. So you'd get to see our different workflows around drum samples, um, and kind of visually understand what we're talking about here inside of mixes unpacked. That's great.
[00:31:59] Benedikt: [00:32:00] totally. So do you print samples at all or do you leave the trigger plugins?
[00:32:04] Malcom: I usually leave them open because it lets me, it's like an import session data thing for me. So would I do the next song? I want to start with those same triggers, uh, being loaded up as a starting point for the next song kind of thing. Um, so,
[00:32:18] Benedikt: you know, what the solution to that is. You have to, you have to start mixing whole records in one
[00:32:22] Malcom: uh, I think about this all the time. I really do I really do. I just feel like my computer would want to self-destruct.
[00:32:31] Benedikt: I don't mean in one sitting like in one go, but I mean, in one dot session, so I might have 10 songs in one session. It's uh, it's automation, hell and like CPU hell, but like so many other things are so much cooler and I, yeah, I often do it.
[00:32:47] Malcom: There's definitely some big perks, but that's an aside from this episode, but Yeah. usually I leave it open. Um, but it is not uncommon for me to check the phase, like, so it's really quick for me just to highlight a [00:33:00] section and print that it like takes like zero seconds with my fast computer. And then I can just look at it, zoom in, be like, oh Yeah. it's all good. And I honestly, I only do that. Slightly concerned that something just doesn't sound dead on. Um, so I'm pretty picky about it sounding like the phases really working before. If I'm going to use a sample period.
[00:33:19] Benedikt: Yeah. I mean, you can always trust your ears and even if it's not technically perfect, if it sounds good, it is good. It's good. So no need to print it because of that. I, yeah, that's this perfectionist weird. Over-engineering part of me and my brain that just likes to see that it's perfect. And so I like to have to wait for them, but the main reason actually, That I find that sometimes individual hits will still, I mean, you have the key spikes and you can correct there, but sometimes individual hits hits still don't sound quite right for whatever reason. And, um, I just want the actual final thing. I want to be able to grab that and align it. So that's one thing. And the other reason for me is with round Robin samples. No [00:34:00] print of the mix, no export. It's going to be the same. And I, again, that's something that my brain just doesn't like, I want one version, one performance, one recording. I don't want a different snare hit every single time I export the song, which happens if you don't use one shots, if you use one shots, it's not a problem. But if you don't use one shots, then it's, you know, I had situations where I kept the plugins. And then there was a snail roll and it sounded perfectly fine to me in this and sent it to the band. And then they were like, Hey, there's this weird one hit in this narrow that sort of sticks out. Why is that? We didn't play their way. And they listened to that. And indeed there was one hit that just wasn't a tiny bit louder than the rest. And it, it was the wrong feeling for that, for that role. And it was just because when I've listened to it, it sounded fine. And when I printed it a different sample get triggered and. You know, it sounds slightly different. And that that's enough for me to just want to print the final thing. And then that's, what's in the session. Then the final reason probably is just for archiving purposes. I always have this fear of that. Like someday trigger might not [00:35:00] load anymore or not is not compatible anymore with my system or whatever. And if I have a set of multitracks for the whole session, then I can theoretically. Yeah, I can always do a remix or like somebody else can work on this thing probably 20 years from now. But if I, you know, if there's only if only the plugins exist and the session with the plugins, who knows, if anybody can open that up
[00:35:23] Malcom: Yeah. Yeah. Yeah. The, the samples could easily be moved to a different folder and not be able to connect to them, stuff like that. Yeah. I do want to augment my answer to include that if I'm using like round Robin stuff as well, I usually do commit that as well. It's just one shot so that I'm more, more feel safe about. And if there is a weird hit, cause like you said, there's sometimes it just doesn't, it seems like one's just out and, uh, I can't explain it, but I'll just grab the key spike and move it to trigger earlier or
[00:35:48] Benedikt: Yeah. Yeah. And for archiving, I mean, you could also do it differently. You could just batch that step and after you're done, you just archive the sessions and printed and then, you know, you don't have to do it in the mix. Like there's always [00:36:00] a way.
[00:36:00] Malcom: Yeah. there's also like that is tactically told through the right way to go. But, uh, it's also one of those, like if you need your multi-track sessions five years from now, it's probably because you plan to do a remix and the new mixer is going to just choose new samples anyways.
[00:36:15] Benedikt: Yes. Yes. That also.
[00:36:17] Malcom: So I don't usually sweat the OCD stuff as much as maybe you do.
[00:36:22] Benedikt: Yeah. That's, that's a whole thing. That's uh, yeah. Oh man. All right. So like, there's the saying how you do one, like, what's this thing, like how you do one thing is how you do everything or something
[00:36:40] Malcom: No, no. Sounds like a good say and I'm
[00:36:42] not sure of
[00:36:42] Benedikt: Yeah. I think, I think it's similar to that. Like, so you can imagine I do everything like that and now it's like, life is not easy inside my brain sometimes.
[00:36:53] Malcom: It's a lot of jobs.
[00:36:54] Benedikt: Yeah, exactly. All right. So, um, okay. So then um, so [00:37:00] yeah, what I do is I treat the. Original and the corresponding sample together as one new drum, if possible, what that means is if I have a snare close mic and a snail close mic sample, then I will group those two together. As I said, after I've printed them. And then I treat them as one new drum. So just like you. With a snare top and a snare bottom. I might have a snow top of snare, bottom, a snare sample and another snow sample and all four of those go to my snare bus sort of, and they become my stamp from, I don't think of them as individual hits. I might tweak them individually if there's something I need to. Correct. But in general, I try to avoid that because I feel like I want to keep maximum like impact and face uh, w w w coherency exactly this. And The more you manipulate the individual sounds that you then sum together, the more you're going to smear the transients. You´d again introduce phase issues, so you might have very carefully made sure that the phase is perfect, but then you throw a bunch of filters on your [00:38:00] samples and individual drums and stuff, and those filters and stuff, things you do, change the phase again, but you don't see it visually. And all of a sudden the snare sounds weaker and you don't know really why. So I correct things if I have to, but if possible, I've just chosen the right samples so that they blend well. And then I treat them together as one new drum and that preserves the transients, that preserves the punch, the impact, the size of it. And the more you do to individual things that you sum together, the more you smearing that and the less impact you get, I feel like. So that's why I like to do that. And also it's just less overwhelming. I don't want to treat for snare drums. I want to drink one. So I create my blend and
[00:38:37] that's my set ramp.
[00:38:39] Malcom: hundred
[00:38:39] Benedikt: for Thompson kicks and all that. I always say net run, but I mean,
[00:38:43] Malcom: Yeah. Yeah, I feel like I am personally thinking more about the individuals than say you do, but I do the same thing and that they're all going to a boss. And that is like, when, you know, if the revision says snare up, I'm just grabbing that. Um, like I think that's my first step is assess it as a single, like, [00:39:00] um, single drum. And then if I need to go tweak under it, that the option is there. I can open up that folder.
[00:39:05] Benedikt: Yeah, totally. Then also the same thing is true by the way, not just for the close mic. If I, for example, if I use trigger that's something not. I see. I don't see a lot of people do, but it makes sense to me if I use trigger, I don't, I mean, I never say never, but in general, I don't use one instance of trigger that will have my snare close mic. My roommate and my overheads, what I will do is if I want overheads and rooms and all that, because I like the original, just wasn't tracked in a great room or whatever, if I want that, which I usually do. Then I create three instances of slate trigger like three different tracks with the trigger on it. I will send my middy track to all three of them. And one will have the close mics. One will have the, the overheads and one will have the room mix. And then the outputs of those or the printed tracks from those will go to. Nice near bus or, and like that, then the overheads will go to my kit bursts, [00:40:00] which has all the overheads and like symbol Nikes and stuff like that. And then my room samples would go to my room bus. So again, I treat them. Parts of the kit. And I will create three instances because otherwise I don't know where to send them, basically, because if I have a snare track that has the rooms and the overheads and the crust near close make in one trigger instance, if I sent that to my snare bus, chances are I'm going to over compress or over accused the room. It will sound bright maybe or harsh or weird in a way I don't want that. I maybe just want to treat the directs sample and not the room sample. And if I want to crush my rooms, for instance, I don't want the close mic in there. So I want to have them separate and I ended up case I would just create three instances. So I grouped together what belongs together and treat them as one you said of Mike's.
[00:40:46] Malcom: perfect. Perfect. It all makes sense to me.
[00:40:49] Benedikt: Great. Great, great. Awesome. All right then the next one I think is also big don't overprocess samples. This is probably again, something that is a little different between you and Emma come, because you said [00:41:00] you. I re I mean, you use Mo what I want to say is, I think you use one shots more often than I do. And one shots typically are pretty processed and you just audition to them, I guess. And if they are a great fit, then you choose them and then you use them. I, most of the time use. Unprocessed samples or barely processed samples. I mix them with the original drums and then I treat them as a new drum. So I don't have to be careful with the processing because I'm all I'm using is unprocessed samples now, is that correct? Like, do you use process samples a lot because I don't, I
[00:41:32] Malcom: totally true. Told the truth. Yeah. I just say, when I'm making my own samples, I'm processing the heck out of them to kind of get them to a finished sound and then, and then yeah. Then I'm just really picky while choosing them. It's it's gotta be like, uh, oh, I love it. Otherwise like, because it's So. processed, it'll be like, this is weirdly weird. Sounded less like that's the wrong one out there. Just like keep going through But yeah. Yeah. I think that is a difference in our workflow is that I'm very looking for the finished [00:42:00] sound audition kind of thing. Like the job I wanted, it like that I'm hoping for it to be fill should be a very obvious thing for me. Um, so yeah, one shots are usually my go-to.
[00:42:12] Benedikt: So then you will have to apply less processing in the mix to your overall snare, right? Because you're blending in an already pretty decent sounding snare with the original one or entirely
[00:42:21] Malcom: Yeah. Yeah. It's, it's totally common for my one shots to not have anything on them. Like there, there might be a, like, like I said, I'll sometimes try and shorten the like sustains or my scenarios or something like that. Um, and there's usually an ACU that's open, but it. doesn't mean it's actually engaged or doing anything. Um, And it Clippers usually on them as well.
[00:42:42] Benedikt: Okay. That's interesting. I, I can totally see the value in that because it's like, it's quick and it's like an intuitive thing where you enter additional a couple of things and if it doesn't work, it's just out. So I totally get that. I don't know. Um, I don't even know why I do it the other way around. I just liked the idea. Of like, [00:43:00] uh, like this, I don't know. I just want to work with something that sounds like a real kid and then I want to make it fit the song sort of in a really, I mean, it's just also, I haven't used one shots enough to really have an opinion there. I have some, and I use them occasionally, but it's more of an effects thing for me. I just like to build my drum, sound myself from, from scratch, sort of when I mix, which is not better, but just the way I, I, I, I am used to
[00:43:23] Malcom: Yeah. Yeah. A hundred percent seen both methods, but be done effectively. There isn't really a right or wrong.
[00:43:30] Um, I would say there's definitely songs where I'm like rule out the use of one shots immediately. Um, where, if it's a very rootsy song, it's like I'm going to avoid the one shots, um, as my first choice, just because I think it. will be too kind of perfect sounding. So. in cases like that, I, I would probably start with a multilayered sample.
[00:43:52] Benedikt: Yeah, it's also totally a genre thing. So for most genres that I work on and the sound that people come to me for, [00:44:00] it's like the natural drum sound is what I want. So it's oftentimes not the. Absolute biggest, like larger than life sounds that you can get, because I don't want that. I want to sound like a kit, but like, if, if sometimes if I'm mixing like metal core or like any sort of modern metal, um, which I do also a lot, and I also enjoy, then I immediately go to one shots because that's just the sound. That's the consistency. That's the explosive sound that you want. So in this case, I don't even start with like very organic sounding samples. I immediately go for the most like blown out thing that I have basically, um, So it's still the genre thing too, but for like a punk rock song or an indie song or something, I usually reach for something that just fits in there, pretty invisibly. And I, it only gives me more options to treat the drum kit better, basically.
[00:44:47] Malcom: Told the, yeah, there they're just different tools for different jobs. So that's how you think.
[00:44:53] Benedikt: Yeah. Okay, cool. Awesome. Um, and the, the don't overprocess thing here is something that we wanted to [00:45:00] mention because that's also something we see people do all the time. When you get a library. I don't know any preset in any of these virtual drum kits that are, that are processed. Um, and I don't even want to say, I don't even want to name one here because they are all good. And so, but like, there are some out there that are heavily processed and all of them have presets that are pretty processed. And of course you want to use that when you're writing and it's quick and fast and you can also use it when you're mixing. But what people do a lot is they pick this sort of mixed. Preset that already sounds like a finished wrong kit. Then they treated it as if it was like raw samples because they see someone mix a song and then they think they have to compress and queue and do all these moves that these mixers make and the tutorials. And they ignore the fact that all this has already been done to their sample. So they do it twice sort of, and it ends up being overly bright is one of the symptoms that I see a lot. So sometimes you have this very weird sounding, super clicky snap prompts that are super annoying. Then you have this weird like attack. That's one, one part, and then [00:46:00] sometimes they just seem to get very thin or scooped because they, they, they push the fundamental, they push the top end. And so the mid-scale even less, and that might have already been done in the actual sample. So that's something. So, yeah. Um, just, just think about what you're using and whether or not it really needs treatment. It's totally okay to just blend something and then don't touch it anymore. Like it, it could be fine as it is, or it could need minimal adjustment to just fit the song, but you don't have to process it just because you, you know, these techniques that makes us use, if your sample already has that baked into it, you don't have to do it.
[00:46:34] Malcom: Yeah, that, that, again goes back to the importance of choosing the right sample. Like if it's going to take a bunch of processing, why are you using it? It doesn't seem like you chose the right tool for the job.
[00:46:44] Benedikt: Yes, absolutely. Okay. And then the last step here for me is I do that with a kid without samples as well. But I, I think it's part of the realism or part of what makes it sound like a kid. Again, to me is what I do on the drum bus. I like to add glue and, [00:47:00] and like sort of energy and vibe to it on the drum bus or on parallel buses that I blend with the kid. So what that does is it gives this pump to the drums and again, to I'm mixing course, I saw you do that on your. You, you, you mangled those drums on your
[00:47:14] mics there. Malcolm, and I loved it. Like the pump. They have a it's audibly pumping, but not in a way that's annoying. Like it's just right for the song. And I liked that a lot and it just sounds like a drummer who's playing with more excitement, more energy who is hitting harder, you know, it just, it just moves. And that's, that's what I want. Um, depending on the genre, of course, but that also gives me back the impression of just being in a room with a loud drummer, because what happens if you do that? If you. Been in a, in a jam space or a small club or something where somebody was playing the drums loudly, your ears will compress. Like it's loud. It's a lot of energy there's pumping. It's not sounding beautiful. Right. And you don't want that super clean, super polished separation that you often get when people use samples a lot. You oftentimes. The [00:48:00] cohesiveness and the energy and the slight pumping and the sense of being in a room with a loud drum kit. And I can create that on the drum bus and with like parallel buses and that glues all the individual pieces together for me really well. And so that's how I think about that. It's partly controlling the dynamics, but mostly to me, it's pump and energy and exciting.
[00:48:20] Malcom: Yeah. Yeah, totally. Um, I think for me, drum samples actually get a lot easier to mix in and make natural when you do have that, like pump going, because it seems to kind of round off transients on the, and then make things less pokey. So you just kind of have more space to play with. It almost feels like. But yeah, it's, it's just so much fun. I don't really have much more to say about that, but I'm a firm. I, for one love using drum samples, it's like a very creative process for me.
[00:48:49] Benedikt: Yes, totally. Yep, absolutely. And I think what the goal is, what you want to avoid at the end in the end of here is you want to avoid the drums in space thing. Um, [00:49:00] that we've talked about before, where it's like you listen to a drum kit or a song, and then. But there is a snare drum and then there is Tom and over there is another time, you know, you, you, you want to hear a kit if you want it to be invisible or realistic, if not, then totally fine. There are other aesthetics where you don't want that, but in this case, so you want to avoid that. And so I think the drum bus is one thing choosing the right samples is the other thing. And then one thing we forgot, I think it's very quick to explain. It's just panning. Um, I think you also have to match the panning of the original drums with the samples or you can, of course. You don't have to match it. Maybe there's a reason for making it wider or narrower than your original, but do it with intention. Do it intentionally, um, and avoid like weird things. Like if the rectum is on the left, then your rectum sample probably shouldn't be on the right. So if you use a stereo sample or something, then just flip it, you know, if it's the wrong side or whatever. So
[00:49:54] Malcom: A hundred percent. That, that is very wise. So you can. Like accidentally re cause some [00:50:00] serious damage to your kid. If you're not careful with that stuff.
[00:50:02] Benedikt: Exactly. All right. Any other things to say? I you already mentioned the thing where you said you, you use different things throughout the song, basically, and you, you print different one shots for different parts or. At extra things. I do that as well. Like that's something that during mixing, I might be like, you know what? This part just doesn't work. There's something lacking. I need something else. And then I will just, for these forest near hits, I will trigger something else, you know, or whatever. So you do
[00:50:29] that as well, probably, or.
[00:50:31] Malcom: And, and often it's a lot of subtracting. It's like, you know, I just want the verse to have a little bit like a tighter snare drum, so let's get rid of the room, Mike, on the verse and then it comes back on the course and kind of just seems to like, get bigger there, you know, stuff like that. And, and Yeah. sometimes it's like, I might use spikes to also just bring in other things. This isn't really making things visible, but you know, you can use like the snare spec to bring in claps. So you've got collapse happening on each snare, hit, you know, stuff like that. You could use it to [00:51:00] trigger a base drop if you want to just quickly delete the rest. And this one hits there that plays, uh, bass drop sample. You know, you can really do a lot of cool stuff with it and that's, we're not going to get into the side chains, possibilities of the stuff either yet, but Uh, Yeah. so it's a lot of fun. I think that this episode was actually really valuable. I think there's like a lot of little secret weapons in here that are crucial to making drum samples work.
[00:51:26] Benedikt: Absolutely agreed. One, the final thing I want to mention is something that I think is really important that you added there. My incumbent, we, um, yeah, we just quickly talked about that. Not even touched. It really is that it's sometimes important or necessary to entirely delete. Small fractions of your sample track or like automated down real low. If it just doesn't like, if you want to make it invisible because it doesn't work sometimes, no matter what you do. So this could be a fast drum roll. It could be like a crescendo thing that starts really quiet and then gets louder. Yeah. So you might be, you might want to [00:52:00] automate down the sample or deleted entirely for that. Sometimes I have, it looks really, really weird. Sometimes I entirely replaced the original sample, the snare, for example, but I will leave the ghost notes. And so I will use the original just for the ghost notes because, um, the triggered goes to those might not sound well. All right. Or I will, um, yeah, I just use for quick scenarios and stuff like that. Uh, it might be necessary to just automate it down or delete it entirely. And if you want to do that, it helps to pick the right sort of samples. Because if you've chosen a sample, that's not too different from what you, from what the original sounded like, then that's easy to do. If you pick something that's completely different, then it's going to be obvious when you switch back and forth. Right.
[00:52:41] Malcom: Totally. Totally. Yeah. Um, as with all things, audio, it's not right until it's Right. So just do what, you know, delete, add whatever you need to do to get it right.
[00:52:51] Benedikt: Yeah. And pro-tip, we mentioned it in another episode, if you want to make it absolutely invisible and get away with the [00:53:00] least amount of like samples or make it, make sure it sounds the most like your rocket, because. The way, it sounds so much always record samples of your kit because you can trigger those. Like you can, when you, when you set up before you attract the first song, when the kit is perfectly tuned in and all this, like the way it's supposed to be, just track samples and lots of them just track hundreds of samples of the whole kit, like have your drummer sit there for an hour and hit things and just record it in all different velocities and yeah. And stuff, and I'm just record that to the hard drive, keep it somewhere. And then if you need it, you have it. And it's a very, very cool thing to have. So you could be one shots that you create from that you could even create your own multi-layer samples. You could re replace the art snare hit in an otherwise. Perfect. Take a, you know, all of these things. So having the samples is a really good idea, I think. And it's also a tuning reference for the whole session. You can always go back and check if your drums are still sounding the way they're supposed to sound.
[00:53:57] Malcom: Totally. yeah. I usually just grab [00:54:00] like a few different philosophy hits, but make sure I have a really good, solid head of each drum. Um, I'll get little high hats as well, stuff like that. But, uh, and then, and then Yeah. it, it essentially gives your mixer the power to use, uh, the same drum kit. So just like I need the snare, but I don't want any bleed. Now you have it. It's
[00:54:20] Benedikt: Yeah. Yeah. I
[00:54:22] Malcom: That said don't use it
[00:54:23] Benedikt: it. Yeah, yeah, yeah. And you probably shouldn't make a drummer, hit it for an hour because then you need to change traffic
[00:54:29] Malcom: Yeah. You need new
[00:54:30] Benedikt: Yeah, exactly. Just grab a couple of those. All right. Perfect. I think that's it. Anything you want to add?
[00:54:38] Malcom: Uh, no, that that's a monster episode on drum samples. Um, and again, you know, you've got now like an hour, less time to grab the mixing course, mixes unpacked. Uh, so jump on it. You'll learn all about this with the bonus module, which I think is worth the price of admission alone. so. there you go.
[00:54:57] Benedikt: I would agree with the surfer coding [00:55:00] band.com/mixes unpacked. All right. Talk to you next week. Thank you for listening. Bye.
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