In online discussions about electronic drums, one recurring theme keeps surfacing: many virtual drum instruments still struggle to deliver flawless e-drum performance straight out of the box. German e-drummer software guru Martin Trommler recently summed up the issue in a detailed post to the community, arguing that DAW (Digital Audio Workstation) integration is essential for serious players.
With the exception of Toontrack’s Superior Drummer 3, Trommler says that most drum samplers “need improvement in order to deliver flawless electronic drum performance”. For many libraries, the standalone version simply doesn’t provide enough control to adapt perfectly to the player and the hardware. Instead, a DAW such as Reaper becomes the essential link in the chain.
Below are the three main problem areas Trommler believes require DAW involvement.
Missing Articulation Control
The first major shortcoming Trommler highlights is the lack of per-articulation level control in many drum libraries. As he explains: “adjusting the volume of individual articulations even within a kit piece is one of the most important features.”
Yet this capability is missing entirely from some major products, including MixWave and EZdrummer. Without it, rimshots might overpower centre hits, tom edge samples may sit strangely in the mix, and intricate dynamic playing can feel inconsistent.
A DAW makes it possible to rebalance these articulations one by one — something Trommler sees as essential for natural, expressive performance.
Velocity Curves That Don’t Go Far Enough
Velocity handling is another area where many samplers fall short. Trommler is blunt in his assessment: “The standard velocity tools are completely inadequate for more demanding requirements.”
Many Kontakt-based drum libraries, he argues, still rely on single-curve velocity mapping with little to no configurability. For nuanced, dynamic playing, this is simply not enough.
Hardware solutions, such as the AudioFront eDRUMin, help bridge the gap by offering separate velocity curves for different trigger zones “even within a pad”. However, Trommler notes that even this falls short of what a DAW can offer in terms of fine control, flexibility and detailed shaping.
Players relying solely on module-based velocity curves, particularly Roland users, are especially limited: “Anyone who only has Roland module curves at their disposal is completely lost … the few rough and uneditable curve presets are simply inadequate.”
Flaws and Bugs in Sample Libraries
Trommler also points to a more uncomfortable reality: even high-end drum libraries sometimes ship with mapping errors, inconsistent layers or poorly edited samples. He describes “sloppiness in drum sample production” as a common frustration, adding that even Superior Drummer 3 is no exception.
For advanced users who notice these inconsistencies, the DAW once again becomes the tool to correct, re-route, replace or rebalance problem samples.
No Perfect Library – and that’s OK
Trommler’s conclusion is not that drum libraries are flawed beyond redemption — far from it. Instead, he argues that no drum sampler is perfect in its default state, and expecting otherwise misses how sophisticated modern e-drumming has become.
“Anyone who thinks it would be possible to do without DAW integration has, in my opinion, failed to understand that the flawless drum library for electronic drumming most likely does not exist.”
Some libraries come close, he says, citing RS Drums’ Simen Sandnes library as an example. But eventually, every product reveals a quirk or compromise.
The solution is not to abandon these instruments but to refine them: “Despite all their flaws, these libraries offer the ultimate drum sound that I wouldn’t want to do without.”
Beyond Fixing Problems – Unlocking Creative Possibilities
Trommler goes further, arguing that DAW use shouldn’t just be seen as damage control. Even the most capable library, Superior Drummer 3 included, can be expanded greatly with DAW processing, scripting, routing and layering, “simply to expand the range of functions and create your personal dream kit”.
From modelling acoustic response more accurately to building advanced e-drum engines, the DAW becomes a playground for experimentation and personalisation.
The Takeaway
Whether your goal is maximum realism, glitch-free hi-hat response, deeper dynamics or creative hybrid kits, Trommler’s message is clear: serious e-drummers should think of their DAW as an essential part of the instrument.
Until the “perfect” standalone drum sampler arrives, and Trommler doubts it ever will, the combination of a powerful library plus a flexible DAW remains the path to truly dialled-in e-drum performance.
See the original post and comments here.