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[Whitten]

Yes, most of the time my EZmix delays are in time with the tempo of my DAW. This is happening automatically.
You can also adjust the subdivision of the delay on some of the EZmix presets. Some of the delays do not fit the groove I’m working in it’s true, but most do.

[Whitten]

The new version of Abelton Live (9) does this well – drum audio to midi.
Obviously, it’s a waste of money unless you would like a new DAW.
Drumtracker – as mentioned above.
A few of the other drum replacer plug-ins will translate audio to midi data. Definitely Slate’s Trigger, I think Drumagog too.
Again, none of them are particularly cheap or free.

[Whitten]

When you say ‘additional drum samples’ are they single sounds, or drum performances, grooves (like loops)?
If they are single sounds (kick, snare etc) then midi is irrelevant. You also can’t import your own drum sounds into EZdrummer.
If they are audio drum grooves, you could try and extract the groove from audio to midi (using some kind of plug-in) and import those midi drum grooves into your EZdrummer groove library.
Wav’s are audio (sound), midi is performance information (no sound).

[Whitten]

Yeah, I think there is already something for everyone.
I used to use Logic – which is very easy to use in an intuitive, default manner, which is what you are requesting.
Now I’m using Ableton Live, which is nothing if not COMPLETELY different to Logic.
I’ve regularly used Pro Tools, Logic and Live, and can’t say I agree that all three offer the same user experience.

[Whitten]

That’s a shame.
I was using it this week and the results were outstanding.

[Whitten]

And there are reputable EZdrummer dealers in the UK – like Time & Space.

[Whitten]

What we don’t need is another DAW (in my humble opinion).
There seriously isn’t enough varied choice out there for you – with Harrison Mixbus, Pro Tools, Reaper, Ableton Live, Logic and Reason all being wildly different?

[Whitten]

It’s been mentioned several times over the years that Toon will free up authorisations if you have problems with your computer, or buy a new computer.
The key is to let them know in good time, and not end up stressed with deadlines.
Regarding my Macs, they’ve just been a constant, no need to fiddle with the OS, or the hard drive. So I haven’t burned authorisations.

[Whitten]

They appear in mine.
Have you downloaded AU and VST?
You aren’t just looking in the Ableton’s own plug-in and instrument section are you? 3rd party plug-ins are in a different folder in the Ableton browser.

[Whitten]

Not enough people bought it in Superior format to support it.

[Whitten]

I don’t know exactly what ‘post rock’ is, but I have a feeling C&V hits that mark.
It isn’t a ‘vintage’ library as such, but an ‘alternative’ library – alternative to the mainstream rock sample packs.

[Whitten]

Drumagog and Slate Trigger haven’t cornered the market?

[Whitten]

I don’t play drums every week anyway, so it isn’t an issue for me. I’m just saying it’s mentally taxing and quite exhausting being behind the kit for these things.
On a personal note, we’ve ended up recording my SDX/EZX’s at lower budget studios, simply because they happened to be the places with the rare, vintage desks, and a drum room. These studios have more technical issues, sometimes because of the lower budget rates, but often because of the rare vintage gear.
So you sometimes get the dreaded – “that snare we just spent an hour sampling, we’ve just discovered a slight hum on one channel, we need to do it all again”.

Working at Blackbird or Allaire, and Hit factory has to be a little more fun.

[Whitten]

Juicy is right.
The major issue is great sounding studios struggling for income in the new economy, realising that their rooms are their best asset, and most of them not allowing sampling of the room.
I happen to know at least one major studio that isn’t happy to even allow drum sampling any more.
We’ve discussed this numerous times.

[Whitten]

I took my camera to The Classic sessions and didn’t snap a single picture.
I shot video, but I had to squeeze it in when someone was moving mics, or we were taking a tea break, which unfortunately meant I barely got a break over several days.

[Author]

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