SPL DrumXchanger User manual

SPL Analog Code
® Plug-in
Manual
DrumXchanger
Optimize and replace drum sounds

2DrumXchanger Analog Code® Plug-in
Manual
Content
DrumXchanger Analog Code Plug-in
Model number 1060
Manual version 2.0 – 12/2011
SPL electronics GmbH
Sohlweg 80, 41372 Niederkrüchten, Germany
Phone [phone],Fax [phone]
E-mail: [e-mail], Internet: spl.info
This user‘s guide contains a description of the product. It in no way represents a guar-
antee of particular characteristics or results of use. The information in this document
has been carefully compiled and verified and, unless otherwise stated or agreed upon,
correctly describes the product at the time of packaging with this document. Sound
Performance Lab (SPL) continuously strives to improve its products and reserves the
right to modify the product described in this manual at any time without prior notice.
This document is the property of SPL and may not be copied or reproduced in any way,
in part or fully, without authorization by SPL electronics GmbH.
© 2011 SPL electronics GmbH. All rights reserved.
The SPL logo, The Analog Code™,
Vitalizer™ and Atmos™ are trademarks of SPL electronics GmbH.
All other logos and
brand names are registered trademarks of their respective owners.
Installation 4
Plugin Alliance Activation 4
System Requirements and Compatibility 4
MAC and Windows Installation 4
Introduction 5
Glossary, SPL Analog Code® Plug-ins 5
The DrumXchanger, Better simply — simply better 6
Dual Threshold Technology, Two Transient Designers included 7
1 GB Sample Library included 7
Applications, Mouse wheel control for all rotary knobs 9
Keyboard Shortcuts, Mono, stereo or multi-channel operation 9

3
DrumXchanger Analog Code® Plug-in
Content
Operation 10
Editor, Settings & Input, Original 10
Trigger, Sample (two columns), Output 11
First Steps 12
Control Elements 13
EDITOR, SETTINGS & INPUT MODULE 13
Editor, Help, Settings A/B/C/D, Copy and Paste 13
Input Gain 14
ORIGINAL MODULE 15
High and low pass filters, Solo, Transient Designer Processor 15
Transient Designer Processor/Attack, Sustain; Trigg. 16
Ducking 17
TRIGGER MODULE 17
Frequency and bandwidth controls 17
Solo, Ext. SC, Gain controls 18
TRANS Gain control, LEVEL Gain control 19
Trigger Meter, TRANS Trigger Meter 20
LEVEL Trigger Meter 21
SAMPLE MODULE 22
The SPL Kits, SPL Kit Selectors 22
Visual SPL Kit, File Name Button 23
Load, Play, Prev and Next 24
Rim, Phase, Delay 25
Dynamics, High and low pass filters 26
Solo, Transient Designer Processor 27
Transient Designer Processor/Attack, Sustain 27
Tune 28
OUTPUT MODULE 28
High and low pass filters, Dry/Wet 28
Output 29
EDITOR, Variation 1-3, Slot 1-8 (loud ... soft) 30
Rim (optional), Slot Buttons, Export, Close 31

4DrumXchanger Analog Code® Plug-in
Plugin Alliance Activation
Your Analog Code plug-in must be activated in your Plugin Alliance
account. You can set it up and log into your account anytime at
http://www.plugin-alliance.com
For details about the activation process, read the Plugin Alliance
Activation Manual. The PDF file is stored in the same folder of your
computer like this product manual file.
Alternatively, the following web page provides the same informa-
tion: http://www.plugin-alliance.com/activation
System Requirements and Compatibility
For details about system requirements and supported platforms or
formats visit http://www.plugin-alliance.com/compatibility
MAC and Windows Installation
1. Check for the latest plug-in software version before installation:
http://software.spl.info/download
2. Execute the installer file and follow the instructions.
Installation

DrumXchanger Analog Code® Plug-in 5
Introduction
Glossary
Transient: first impulse of a waveform
Host Program: program on which the plug-in is running (Pro
Tools, Cubase, Logic, etc.).
Sample: portion of a sound recording, here: a drum sound
Trigger: module that controls sound recognition
Loudness: perceived volume as opposed to amplitude
SPL Analog Code® Plug-ins
While SPL hardware products have been fascinating audio pro-
fessionals from home studio owners to mastering engineers in
the world’s most renowned facilities for years, the need for this
technology in the form of plug-ins has also been an ever-growing
demand. With the Analog Code® plug-ins we have finally accom-
plished our much desired goal: to transfer to the digital domain the
high quality we have striven to achieve with our analog processors
throughout several decades.
The first time we ever heard a software that fulfilled our expecta-
tions, one of our hardware developers said to the programmers:
“you have cracked the Analog Code” — thus was coined the name
of our digital products.

6DrumXchanger Analog Code® Plug-in
The DrumXchanger
The name of the DrumXchanger is self-explanatory: it replaces
drum sounds. But when it comes to processing it relies on a unique
approach: it uses the Transient Designer technology for sound
recognition. That way the DrumXchanger can faithfully recognize
even the faintest ghost notes — regardless of their dynamic level.
To clearly understand the DrumXchanger’s true potential it is
important to understand that it is not merely a sound replacer. It is,
in fact, a powerful tool to optimize drums tracks. The processing
possibilities to improve and shape sound — without the need to
replace any sounds — are almost limitless, while the actual sound
replacement itself can be done gradually (0 to 100 percent) in order
to mix both the original and the sampled sound.
Better simply — simply better
If the DrumXchanger stands out due to its extremely reliable sound
recognition, its simplicity is nothing but surprising. The principle
behind the DrumXchanger concept was to focus on the essentials:
the snare, the toms and the bass drum.
All functions are clearly displayed and processing is done at the
highest standards of precision and quality. When you need to
create a quality sounding snare from a more than dubious drum
sound in a matter of seconds, the DrumXchanger offers lots of pos-
sibilities.
Introduction

DrumXchanger Analog Code® Plug-in 7
Introduction
Dual Threshold Technology
Sound replacement technologies are usually based on level rec-
ognition, so you can only set the threshold for a given level. This
results in softer sounds not being recognized due to the fact that,
with a threshold set too low, other instruments mask the drum
sounds, making an accurate recognition impossible.
On the DrumXchanger you can set two different thresholds for
a more accurate recognition of drum hits: a level threshold and
a transient threshold. The sample plays back as soon as both of
these values are reached. Simple operation — sound recognition.
Two Transient Designers included
The Transient Designer isn’t only active on the background. Apart
from the basic functions, the DrumXchanger also includes two
Transient Designer processors, one for the original and one for the
sampled sound.
1 GB Sample Library included
The DrumXchanger includes a 1 GB sound library with high qual-
ity 24 bit/96 kHz samples. The library, created exclusively with
SPL’s preamps and processors, consists of three drum kits with
one snare (including rim shots), one bass drum and up to four toms
per kit. Every multisample is made up of up to 80 sounds with six-
teen dynamic levels and five variations. With the SPLX File Editor
you can even create your own multisamples and import external
samples in WAV and AIFF format.

8DrumXchanger Analog Code® Plug-in
Introduction
Features
• Phase-accurate processing
• Free sample mixing
• Ducking function for the original signal
• High and low pass filter on each module
• Transient Designer on both the original and the sample module
• Dynamic control to adjust the sample’s loudness
• Real-time +/- one octave pitch sifting
• Delay control for precise replacement
Applications
The DrumXchanger can be used in mixing applications to process
single drum tracks. You can optimize drum elements that are
typically recorded with close microphone techniques: snare, bass
drum and toms.
The DrumXchanger was not conceived to replace hi-hats and cym-
bals, nor drum sounds in a finished mix down.

DrumXchanger Analog Code® Plug-in 9
Basics Introduction
Mouse wheel control for all rotary knobs
All SPL Analog Code plug-ins support mouse wheel control for
rotary controls and faders. Place the mouse cursor over a rotary
control and move the scroll wheel of your mouse to adjust the set-
ting. Hold the CTRL (Windows) or COMMAND (Apple) key while
moving the scroll wheel to make fine adjustments; the resolution
of the mouse wheel is increased, making fine-tuning easier.
Keyboard Shortcuts
All SPL Analog Code plug-ins support format and OS specific func-
tions for value reset, fine adjustment and mouse control. For more
detailed information please refer to the host program’s documen-
tation.
Mono, stereo or multi-channel operation
The DrumXchanger plug-in can be used either for mono or stereo
operation. All samples of the SPL library are mono. In stereo opera-
tion, each control element governs both channels simultaneously
and you can load your own stereo samples.

10 DrumXchanger Analog Code® Plug-in
Module Overview
Operation
The DrumXchanger is divided in five vertical sections: Editor, Set-
tings & Input, Original, Trigger, Sample, and Output. We call these
sections Modules. Here you will find a short overview of the differ-
ent Modules. To learn more about the functions refer to „Control
Elements“ on page 13 et seq.
Editor, Settings & Input
Here you can access the EDITOR to create and import samples, and
you can also open the quick HELP guide.
Use buttons A-D to save your settings in a preset. COPY and PASTE
allow you to copy the settings from one preset to another.
The INPUT GAIN control determines the input level.
Original
Here you can process the original signal with a high pass filter,
a low pass filter, a Transient Designer, and a ducker. The sound
changes you make in this module have no influence on the actual
sound recognition and replacement.
1 2
2
3 4 5
1

DrumXchanger Analog Code® Plug-in 11
Module Overview Operation
Trigger
The original signal is doubled in order to feed a second path lead-
ing to the Trigger module. It is at this point that sound recognition
takes place. You have different options to optimize recognition. As
soon as the recognition criteria are met, the sample is triggered.
Sample (two columns)
In the Sample module is where you choose the SPL Kit, i.e. a drum
set, whose samples are loaded in the plug-in. The dynamic and
frequency filters allow you to process the samples. Use the Delay
control to adjust the exact position of the sample, and the Tune
control to adjust the pitch.
Output
In the Output module is where everything merges. Here you set the
ratio between the original and the sample signals, as well as the
filter and volume settings for the output.
3
4
5

12 DrumXchanger Analog Code® Plug-in
First Steps
Operation
First Steps
1. Insert the DrumXchanger as an effect in a drum track.
2. Choose a sample.
3. Make any necessary fine adjustments in the Trigger module.
4. Get to know all other settings in the other modules.
On step 1.
There is no sample loaded in the DrumXchanger when you load the
plug-in in your host program. However, the Trigger is already work-
ing, as you can see in the corresponding meters. Insert the DrumX-
changer in a snare, tom or bass drum track. Loop a couple of bars
and play them back — you can also do it in solo listening mode.
On step 2.
Choose a sample from the SPL Kits or load an SPLX, WAV or AIFF
file. Click on LOAD to point out the folder in which you have saved
the SPL Kits (see “LOAD” on page 24).
On step 3.
In the Trigger module, adjust sound recognition with the meters’
green arrows. These arrows determine the signal’s level and tran-
sient thresholds. Set the arrows according to your needs. The sam-
ples are only played back when both arrows blink.
Rim shots: use the red arrow to set the level from which a snare or
tom hit ought to include a rim shot. Use the RIM control above the
meters to set the ratio between the rim shot and the sample.
On step 4.
The DRY/WET function in the Output module is of utmost impor-
tance: use it to determine how much of the sample signal is to be
mixed with the original signal.

DrumXchanger Analog Code® Plug-in 13
EDITOR, SETTINGS & INPUT Module
EDITOR, SETTINGS & INPUT MODULE
Editor
Click on this button to access the EDITOR window to create your
own multisamples in SPLX format. For more information refer to
“EDITOR” on page 30.
Help
Click on HELP if you want to recall the “First Steps” section on page
12 of this manual. To close the HELP window simply click on it.
Settings A/B/C/D, Copy and Paste
The four settings buttons (A-D) allow you to save all
your settings with a simple mouse click (settings = pre-
sets. We use the term “settings” here to avoid confusion
with host presets). The DrumXchanger saves the current settings
permanently. As soon as you click on another settings button, the
current settings are saved under the previously active setting. For
example: if setting B is on and you were to click on another settings
button, all parameter settings would be saved under setting B.
Any previously saved setting can be recalled with a simple mouse
click on the corresponding button; you can then use or edit the set-
tings.
Right above the settings buttons (A to D) are the COPY and PASTE
buttons. Use them to copy your adjustments in one of the settings
(“A”, for example) into another one (“B”, for example). Select set-
ting A and make any necessary adjustments; if you wish to transfer
those adjustments to another setting click on COPY. Select set-
ting B and click on PASTE. The COPY and PASTE functions make it
easier to compare settings that differ just slightly. To do so, COPY
the adjustments in one of the settings (C, for example), change to
another setting (D, for example), PASTE the previously copied set-
tings, and then modify the adjustments in that setting (D). Now you
can do a simple and direct comparison between the adjustments
saved in settings C and D. >
Control Elements

14 DrumXchanger Analog Code® Plug-in
EDITOR, SETTINGS & INPUT Module
Control Elements
If the host program allows it, the settings can also be automated so
you can use different settings at different points. The automation
parameters in the host program’s list is called “Settings”.
As long as you work within a single session of the host program and
the plug-in is installed, the settings are saved and can be recalled
afterwards. When opened, the plug-in loads the active setting
adjustments instead of the default settings. If you remove the plug-
in from the host program all settings are lost.
There is an exception though: when you save all settings of a plug-
in instance as a preset in your host program. A host preset includes
all internal settings.
To erase all settings at once you can reinstall the plug-in or reset it
in the Preset Manager of your host program.
Input Gain
Use the INPUT GAIN control to determine the input level of
the original sound and adjust the signal’s volume. The level
meters in your host program ought to give you a good idea of
the original signal’s input level. You can use the INPUT GAIN
control to compensate low and high level signals.
These adjustments have no influence whatsoever on the recogni-
tion and trigger level. The level ranges from -15 dB to +15 dB.
The OVL LED left of the INPUT GAIN control indicates if the proces-
sor is overloading. The OVL LED is post-INPUT GAIN, so it indicates
if an input signal is too hot, but also if the overloading is taking
place after the INPUT GAIN, which means that the adjustment of
the latter might be too high.

DrumXchanger Analog Code® Plug-in 15
ORIGINAL Module Control Elements
ORIGINAL MODULE
High and low pass filters
The first controls are the high and low pass filters. A high pass
filter (HPF) only allows frequencies above a certain frequency to
pass through, while a low pass filter (LPF) only allows frequencies
below a certain frequency to pass through. These filters allow you
to cut the low or high end of the original signal to focus on a nar-
rower frequency range. Typical uses of these filters include the
filtering of rumble and low frequency interferences with an HPF,
and the suppression of hi-hat crosstalk with an LPF. These settings
have no influence whatsoever on the sound recognition or the trig-
ger module, nor do they affect the sound of the sample.
The high pass filter goes from 20 Hz to 11 kHz. The low pass filter
goes from 20 Hz to 22 kHz.
Solo
When you activate SOLO on the Original module you will listen only
to the original signal. This will allow you to concentrate on that
specific signal and make all necessary adjustments.
Do note that the DUCKING function works independently from the
SOLO button. To avoid any influence on solo listening, deactivate
the ON button next to the DUCKING control.
Transient Designer Processor
A transient can be defined as the first impulse of a waveform. What
the Transient Designer does is shape the waveform according to the
transient, and it only needs two controls to achieve that, either by
amplifying or attenuating the ATTACK and/or SUSTAIN. Processing
is not level dependent so it acts equally on all transients, regardless
of whether they are loud or soft. Among its most common uses are
the sound shaping of percussion instruments. >

16 DrumXchanger Analog Code® Plug-in
The Transient Designer in the DrumXchanger’s Original module
allows you to process the original signal. You have a fully opera-
tional Transient Designer at your disposal to shape the sound of the
signal as you wish. The processing of the original signal will depend
on whether you plan to mix it or replace it with the sample.
You can either process it so that it fits better with the sampled
signal when mixed together, or you can optimize it so the Trigger
module can recognize it better. Do note that these adjustments
only influence the original signal. The Trigger module is always fed
the same signal as the Original module, except when you depress
the TRIGG. button on the Original module. In which case, the pro-
cessing you carry out with the Transient Designer on the Original
module also affects the Trigger module’s signal.
Transient Designer Processor/Attack
The ATTACK control cuts or boosts a transient attack up to
15 dB. Positive values enhance the attack while negative values
reduce the attack.
Transient Designer Processor/Sustain
The SUSTAIN control cuts or boosts a transient sustain up to
24 dB. Positive values extend the sustain while negative values
shorten the decay.
Trigg.
When the TRIGG. button is activated, the Transient Designer pro-
cessor of the Original module also affects the Trigger module.
This can be very useful when drum sounds are too resonant and
therefore not easily recognizable or distinguishable. This usually
affects toms and bass drums rather than snares. If that were the
case, activate the Transient Designer in the Trigger module for a
more precise processing. If the sound is sharper, recognition can
be more easily achieved. This processing has no influence on the
sound of the sample.
ORIGINAL Module
Control Elements

DrumXchanger Analog Code® Plug-in 17
Ducking
The DUCKING function reduces the level of the original signal
momentarily. It can be set from 0 dB to -40 dB. Time con-
stants are preset and cannot be modified: attack is set to 1
ms and release to 10 ms, so level reduction takes place for a
very short time.
The higher the DUCKING value, the more the original signal is over-
shadowed by the sample. The short time constants guarantee that
all room acoustics information in the original signal is kept intact.
Thus, sample replacement is seamless and sounds more natural.
Use the ON button next to the DUCKING button to activate or deac-
tivate this function. This way you can also compare the DUCKING
processing easily. Do note that the DUCKING function works inde-
pendently from the SOLO button in the Original module. To avoid
any problems with the DUCKING function, deactivate it with the
corresponding ON button.
TRIGGER MODULE
Frequency and bandwidth controls
The first two controls on the Trigger module are the fre-
quency and bandwidth (Q) controls. Sound recognition
can thus be focused on a more specific frequency or band-
width. You can actually set these controls by ear most of
the time. The values are displayed underneath the control
so that you can relate to these values when processing the signal.
The frequency control ranges from 20 Hz to 22 kHz. The bandwidth
(Q) control ranges from 0.5 to 50. High Q values result in a narrow
bandwidth and viceversa. The maximum Q value defines a very
narrow and therefore more precise processing range.
IMPORTANT: The precision and speed at which sound is recog-
nized depends a lot on these two controls. Set the frequency as
close as possible to the drum’s fundamental frequency and define
the bandwidth as precisely as possible. To make fine adjustments
use the SOLO function.
Control Elements
ORIGINAL Module/TRIGGER Module

18 DrumXchanger Analog Code® Plug-in
Control Elements TRIGGER Module
Solo
When you activate SOLO on the Trigger module you will listen only
to the trigger signal. This will allow you to set the frequency and
bandwidth parameters as precisely as possible, but also to check
all other module parameters and optimize them.
Ext. SC
Ext SC. stands for “External Side Chain“. The EXT. SC button acti-
vates the plug-in’s side chain in order to feed it with, for example,
the signal of a microphoned drum trigger.
To learn how to feed the side chain of a plug-in, please refer to your
host program’s documentation. Not every host program offers this
function.
Gain controls
Use the the two gain controls above the trigger meters to
adjust the level for the dual threshold recognition. Fre-
quency and bandwidth settings in the Trigger module can often
result in signal level changes. If this were the case, adjust the level
with the GAIN control.

DrumXchanger Analog Code® Plug-in 19
Control Elements
TRIGGER Module
TRANS Gain control
The left-hand GAIN control determines the level for transients. If
the signal does not have a wide dynamic range, you can improve
the resolution of the parameter by increasing the GAIN value for
transients. That way you will be able to make a better reading of
the TRANS trigger meters and set the green arrows more precisely.
Always try to keep a balance between the GAIN control and the
position of the green arrows in the TRANS trigger meters to guar-
antee a better sound recognition. As a general rule, it is recom-
mended to take the highest transient as a reference in order to take
full advantage of the meters, and set the green arrows just under-
neath the faintest transient. The meters display peak values with
horizontal lines that are held for a short period of time(peak hold).
See also TRANS trigger meter on page 20.
LEVEL Gain control
The Trigger module’s right GAIN control determines the level for
signal recognition by the trigger. If the signals are too low, increase
the level; if the signals are too high, reduce the level.
The trigger reacts to volume changes with the corresponding
selection of louder or softer samples. If you want to be sure that
the sample played back is always the loudest, increase the GAIN
value until the peak signal reaches the upper region of the trigger
meters and the red mark lights up.
Always try to keep a balance between the GAIN control and the
position of the green arrows on the LEVEL trigger meters to guar-
antee a better sound recognition. For a better sound replacement,
it is recommended to take the highest level as a reference in order
to take full advantage of the meters, and set the green arrows just
underneath the lowest level. The meters display peak values with
horizontal lines that are held for a short period of time (peak hold).
See also “LEVEL Trigger Meter” on page 21.

20 DrumXchanger Analog Code® Plug-in
Control Elements TRIGGER Module
Trigger Meter
In contrast to common sound replacement tools, the DrumX-
changer’s Trigger module processes signals at two different
levels. The Dual-Threshold technique takes transient and
level values in consideration and therefore guarantees an
extremely effective recognition.
This recognition method relies on the Trigger module’s cen-
tral tools for graphic visualization and control, i.e. the trigger
meters, which give information about the replacement activ-
ity. The left-hand TRANS trigger meter indicates the signal’s
transient level, while the right-hand LEVEL trigger meter dis-
plays the level of the trigger signals.
The green arrows indicate the threshold for samples to be played
back. Both thresholds must be reached at the same time (both
arrows blink) in order for the sample to be played back. The blue
LED in the PLAY button illuminates when a sample is triggered.
The red arrow on the right, next to the LEVEL trigger meter, deter-
mines the threshold for RIM shots to be triggered. If the red arrow
is set accordingly, the rim shot will also be played back when
reached.
TRANS Trigger Meter
The left-hand trigger meter indicates the transients’ level. Use the
GAIN control directly above it to set the amplitude level (see Tran-
sient GAIN Control on page 19).
The green arrow corresponds to the threshold, in other words, it
determines when a sample is to be played back (arrow blinks).
Given that recognition relies on both parameters (TRANS and
LEVEL), both arrows must blink at the same time in order for the
sample to be played back.
Normally, it is recommended to take the highest transient as a ref-
erence in order to take full advantage of the meters, and set the
green arrows just underneath the faintest transient. The meters
display peak values with horizontal lines that are held for a short
period of time (peak hold).