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[Nicholas DiFabbio]

Manos thanks for that, I don’t see why you wouldn’t be allowed to mention other brands but I’m not sure.
If what you say is true it’s another inexplicable example of poor planning and forethought by TT

[Nicholas DiFabbio]

It’s all cool Scott.
Much more important things to think about than fake drums.
They’ll sort it out eventually, and we’ll have fun speculating!
Cheers!

[Nicholas DiFabbio]

Not completely understanding the apologists.
Writing code and recording drums is what TT does all day everyday yes?
The six year time span from the the last SD2 IS an eon, that’s part of my point.
I do, unfortunately have the feeling that crossgrade $ are involved in the products being so different.
Maybe SD 3 in, I would hope a very timely manner, will end the discussion.

[Nicholas DiFabbio]

It must have taken a fair amount of time to develop the EZ 2 interface. Does it make sense that during that time it occurred to no one that this beautiful, user friendly song creating tool was not included in the upper tier product? I think it did occur to someone but for some inexplicable reason the idea was vetoed. The logical EZ2 rollout should have included an SD 2 with same new features, while of course still including the rest of the exclusive things that SD does. Again, really? To have newly created ‘essential’ features left off the ‘better’ product just doesn’t make sense.

[Nicholas DiFabbio]

Great post skiltrip!
What you’re experiencing is a well explained facet of my previous post re; making music.
As you build your song your ears have gotten used to the original EZ drum sound. Your playing has been affected by them, they have inspired instrument choices and the musical parts you add. When you reach the end, the tracks are blended and affected by each other. At this point 24 bit doesn’t matter, 16 individual outputs don’t matter, SDX doesn’t matter. Your creative process has already formed the sound of the recording. As you say, this is why it is so important that those initial steps be available in SD, then the true power of the features of SD can come to the fore. There’s an old adage from tape days called ‘chasing the demo’. So many great records are the demo because they couldn’t recreate the feel and sound of the original blend. This is your EZ vs SD experience. Whatever instruments we create on from the start is what we like to hear in the end. This idea of ‘replacing’ drums is counter intuitive and not musical, IMHO!

[Nicholas DiFabbio]

Thinking about how music really should be created; it involves interaction from the very beginning of the process among musicians. This so called ‘workflow’ of recording guitars etc, then deciding which drum beats to add to add to it, is counter productive to every musical creation process that I’ve ever been involved in. At east the search option in EZ at least allows you to establish the kick/snare feel for a song, and quickly search for a similar pattern that can be worked with at the very beginning of the song recording process. That this is not in SD shows a major weakness in it. The TT vid I just watched on how how to choose a feel for your song in SD is worthless and cumbersome. When you write a song, you can hear what the drum feel should be and you should be able to get to it fast, not blindly search for it. I have to say, every time I click on one of those tutorial videos, I’m disappointed a little more when hearing the drums. Sure it sounds great but I think we’ve forgotten what music is, and it isn’t searching through columns looking for a feel, then dropping them in a time line. No, it’s a lot more. And that’s where I lose it with all this. Get the drums as close to the beginning of the process as possible. make them as easily flexible as possible, and you’ll have something.

[Nicholas DiFabbio]

Yes but the EZXs all work in SD

[Author]

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