4 year old Dell XPS 410 Intel® Core™2 E6700 4GB XP SP 2
Sony Vaio Core Duo 2 P7450 6GB Windows 7 64 bit
Roland Td20KX/SPD30
Superior 2-all SDX /Ezdrummer couple of packs
BFD2/BFD ECO/Addictive Drums
I honestly think that’s why many people don’t do it.
It’s anti musical. A guy who can get well paid for expressing themselves with the planet’s top songwriters is not going to be enthusiastic about hitting single drums for hours for less money.
I’m amazed someone persuaded Neil Peart, although I’m not sure he hit every drum that ended up in the product.
Most of the people doing it are in it because they believe in the technology or have uses for it themselves – Nir-Z and Peter Erskine would be prime examples.
Keltner has certainly embraced new technology over the years, so there’s a chance there.
ORIGINAL: Whitten
I’m amazed someone persuaded Neil Peart, although I’m not sure he hit every drum that ended up in the product.
The Peart kit and all the other from Sonic Reality just suck quite a bit. The Ken Scott collection is really a buy I regret
Maybe the basic recordings are good, but the instrument you get out of it really is a joke compared to S2.0 standard.
I had Keltner play on something back in ’90…and he played on pads with a sampler…plus real cymbals and hat, so maybe he would be excited about doing a library. (and he might even use it himself)
Maybe he’s already an enthusiastic S2.0 user
Pro Tools 10 HD3 MacPro Quad 2.66 OSX 6.8 DTXtreme III special All S2.0 packs iMac 27 3.4 i7 OSX 8.2 Pro Tools 10 HD
Signature Midi files, sure, because they can bring a really good drummer’s playing/timing/groove/feel straight into your song.
But i fail to see the real reason for requesting a top name drummer for an SDX. Of course i don’t mean to diminish the work of Whitten, Nir Z or any other drummer that spent hours and hours tuning and hitting drums but to me it’s the rooms and the actual drums and HOW they got recorded that matters.
In comparison: If i were to buy a sample library of a grand piano i couldn’t care less of who pressed the keys.
Yeah, I agree on all of your factors, however I feel the player is an equal major factor.
In my humble opinion, all of the virtual drum products have improved markedly since drummers with a sound and vision have been employed.
I don’t get why a machine can’t be used for hitting the drums. I fail to see what a human offers to just record different velocities. I suspect it is just less expensive to hire someone than to build a machine. Certainly any number of manufacturers could build something for a price.
ORIGINAL: Whitten
Yeah, I agree on all of your factors, however I feel the player is an equal major factor.
In my humble opinion, all of the virtual drum products have improved markedly since drummers with a sound and vision have been employed.
Yeah, +1 on Chris’s comments.
I really do believe that different drummers get different sounds when hitting the same drum. I’ve heard it happen a lot. Whether it’s the particular stick angle, or the way a particular strike leaves the head, or whatever, different drummers just sound different. Even on the same instruments.
But yes, in terms of the MIDI performances, the drummer in question is obviously paramount. And I’d love to anything and everything from any of the drummers mentioned above. MIDI performances? Definitely. Sample packs with them playing the hits? Sure. Sounds great. Sounds like a dream, in fact.
These two particular drummers we’re talking about, are both renowned for their special sounds.
Of course it comes both from their choice of drums, tuning, hitting and groove.
But also the type of player they are…their taste and approach to the styles they play. It all reflects a lot in the sounds as a whole.
That is very evident in the packs Chris has done and MF too.
The big difference in sampling a piano vs drums, is that you can’t hit the keys on a piano elsewhere than on them.
And pianists don’t assemble and tune their piano themselves…it’s just a totally different thing.
Most drummers will have their favorite engineer/producer…or vice versa, because they get a particular sound together.
A perfect SDX is when the recording is captured with that magic…but still with flexibility for the user to mix and manipulate to taste.
To me the best SDX so far, is Metal Foundry…not so much that I like the aesthetics (I’m not into metal), but because it’s extremely flexible and well recorded.
The number of hits for any velocity makes it sound very natural, and the sounds are raw enough to be sculpted just like a great recording should be.
A Keltner or Chamberlain recorded like that, would just be awesome
Pro Tools 10 HD3 MacPro Quad 2.66 OSX 6.8 DTXtreme III special All S2.0 packs iMac 27 3.4 i7 OSX 8.2 Pro Tools 10 HD
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