UVI’s Drum Replacer plugin promises a smarter way to hone your beats

UVI is getting into the drum replacement game with… Drum Replacer. This promises to do everything from removing bleed from drum recordings to replacing specific drum sounds - with samples or plugin instruments - adding sub-bass, layering existing drum sounds and more.

Drum Replacer works by analysing incoming audio and creating spectral models of each discrete component it ‘hears’ (up to six, it seems). It then feeds the desired ones through to a customisable trigger detection circuit.

Each trigger enables you to host up to eight audio samples or a virtual instrument, so you have complete flexibility in terms of the replacement sounds that you can use.

This means that, as well as choosing replacement drums, you can also reinforce a hit with sub-bass and even extract specific sounds to sidechain other processors. There are various trigger modes, too - sequential and random options, for example, enable you to introduce variety into your drum hits.

UVI says that the whole process is made easy thanks to the integrated browser. This enables you to quickly locate files and plugins, tag them as favourites and then configure the plugins using their standard interfaces. There are several built-in sample editing options and you can easily tweak your new sounds to match perfectly with your source material.

Other highlights include the option to fine-tune the detection algorithm, comprehensive metering and preset saving of individual tracks and all eight tracks.

Drum Replacer is available now for PC and Mac in VST/AU/AAX formats (you can also download a 15-day free trial). It’s currently available for the introductory price of $59/€59 (regular price is $99/€99).

Find out more on the UVI website.

Ben Rogerson

I’m the Deputy Editor of MusicRadar, having worked on the site since its launch in 2007. I previously spent eight years working on our sister magazine, Computer Music. I’ve been playing the piano, gigging in bands and failing to finish tracks at home for more than 30 years, 24 of which I’ve also spent writing about music and the ever-changing technology used to make it. 

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