How to Get Monster Metal Tones From GetGood Drums Benny Greb

When you think of Benny Greb, you probably think of insane groove, impeccable feel, and ghost notes so slick they defy physics. You probably don’t think of double-kick patterns at 220 bpm or blast beats that could level a building. So, is the GetGood Drums Benny Greb Signature Pack—a library built around one of the world’s funkiest drummers—even a contender for modern metal production?

Absolutely. In fact, its versatility is precisely why it’s a secret weapon for producers who want control.

Unlike many hyper-processed, “mix-ready” metal drum libraries, the GGD Benny Greb kit gives you beautifully recorded, relatively raw samples. This is your blank canvas. For a metal producer, that means you have the power to shape and mutilate the sounds into the exact kind of punchy, aggressive force your mix demands, without fighting against baked-in processing.

Let’s break down how to take this masterpiece of a groove kit and turn it into a metal monster.

Why a “Non-Metal” Kit is Perfect for Metal

The biggest advantage of the Benny Greb library is its raw, organic starting point. Modern metal drum production, as we know, often involves heavy editing and sample replacement to get that inhumanly tight and punchy sound.

Starting with a clean, dynamic, and expertly captured kit like this one gives you a much better foundation for that processing. The dynamics are all there, the velocities are nuanced, and the shells have a rich, full character. You’re not starting with something that already sounds like every other modern metal record; you’re starting with a world-class drum recording that you can tailor to your track.

Making GGD Benny Greb Heavy: A Practical Guide

Okay, let’s get into the nitty-gritty. You’ve loaded up the kit, programmed a killer drum part, and it sounds… well, like awesome rock drums. Here’s how to add the steel.

Start with the Shells: Transient Shaping and Saturation

The core of a metal drum sound is the punch and attack of the kick and snare. This is where we’ll do some serious tone-shaping.

The Kick Drum: Building the Foundation

Benny’s kick drums sound fantastic out of the box—deep and resonant. For metal, we need to add that sharp, clicky attack that cuts through low-tuned, eight-string guitars.

1. Transient Shaping: The first stop is a transient shaper. Use something like the SPL Transient Designer Plus or Native Instruments Transient Master. Boost the “Attack” knob significantly—don’t be shy here—to accentuate the beater’s initial impact. This will help it slice through the mix without just adding mud.
2. Layering for Attack: For that extra modern metal “tick,” layer a heavily processed sample. Load up Slate Trigger 2 on your kick track and blend in a super-clicky sample. Find a sample like the one from the Periphery or Meshuggah drum libraries. You don’t need a lot; blend it in just enough (maybe 20-30%) to give the GGD kick that defined, surgical front-end.
3. EQ and Saturation: Now, carve out the sound. Use a parametric EQ like the FabFilter Pro-Q 3. Cut out some boxy low-mids (around 300-500Hz) to make room for bass and guitars. Add a tight boost somewhere between 4-8kHz for the click. Follow it up with a saturation plugin like Soundtoys Decapitator or FabFilter Saturn 2 to add some harmonic grit and perceived low-end weight without actually making it muddy.

Snare Punch and Explosive Crack

The snares in this pack are a highlight. They are fat, woody, and full of character. We just need to make them more aggressive.

1. Top Snare Processing: This is where you can get heavy-handed. On the top snare mic, use a fast, aggressive compressor. A VCA-style compressor like the SSL G-Comp or a Distressor emulation like Slate Digital’s FG-Stress works wonders. Aim for 6-10dB of gain reduction with a fast attack to let the initial transient through, and a medium release to bring up the body of the drum. Follow it with an EQ to boost the high-end “crack” around 5-10kHz.
2. Bottom Snare Sizzle: Don’t neglect the bottom mic. High-pass it aggressively (up to 200-300Hz) to remove shell tone and focus entirely on the sizzle of the wires. Boost the top end with a high shelf to make it really bright and airy.
3. Parallel Compression: Send both your top and bottom snare tracks to a separate bus for parallel compression. On this bus, use something like an 1176 emulation in “all buttons in” mode (or “Brit” mode on many plugins) to absolutely nuke the signal. Blend this crushed track back in underneath your main snare faders. This adds immense body and sustain without sacrificing the initial transient. This is a classic move in modern metal compression that gives you both punch and size.

Turning Toms into Thunder

Toms in modern metal need to be powerful, deep, and quick. The GGD toms have a beautiful, long sustain which we need to control.

1. Gating is Key: Use a gate like the FabFilter Pro-G or your DAW’s stock gate on each tom. Set a fast attack and adjust the hold and release so you get the initial punch and a bit of body, but the sustain is cut off before the next hit. This keeps the low-end of your mix clean and tight during fast fills.
2. EQ for Impact: Carve out the mids to prevent them from clashing with the guitars. A wide cut around 400-800Hz is a good starting point. Boost the low-end “thump” (around 80-150Hz) and the high-end stick attack (5kHz and up). This classic scoop is a staple of EQing metal guitars and drums to ensure everything has its own space.

Room Mics: The Secret to an Epic Sound

This is where the GGD Benny Greb library truly shines. The room and overhead mics sound incredible, and they are your key to making the kit sound massive. Don’t process them for clarity; process them for vibe.

1. Crush The Room: Send your room mics to a stereo bus and absolutely destroy them with compression. Again, an 1176 in “all buttons in” mode or a dbx 160 emulation is perfect for this. Aim for 15-20dB of gain reduction so the signal is pumping and breathing.
2. EQ for Vibe: EQ the crushed rooms after the compressor. Roll off some of the low-end to prevent mud, and maybe cut some of the harsh cymbal frequencies in the upper mids.
3. Blend to Taste: Blend this heavily processed room signal underneath your clean, punchy close mics. This technique gives you the best of both worlds: the direct, tight, and articulate sound from the close mics, plus the massive size and energy from the crushed rooms.

Bringing it All Together (And Learning From The Pros)

So, can the GetGood Drums Benny Greb pack create a monstrous metal drum sound? Without a doubt. By leveraging its clean, dynamic foundation and applying aggressive metal-centric processing—transient shaping, sample layering, parallel compression, and room mic crushing— you can sculpt a unique drum tone that stands tall in the densest of mixes.

These techniques are powerful tools you can apply right now. But seeing how they fit into a full mix is a different ballgame. Imagine watching a top-tier producer like Will Putney, Nolly Getgood, or Joey Sturgis build a drum sound like this from scratch and make it work with blistering guitars and a thunderous bass.

In the Nail The Mix catalog of sessions, you can do exactly that. We give you the raw multitracks from bands like Gojira, Lamb of God, and Architects, and let you watch the original producer mix the song from start to finish, explaining every single decision. It’s the ultimate way to see how these concepts are applied in a real-world, professional setting.