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[Whitten]

ORIGINAL: MykillCox

2) the ability to easily “ride” the crash. You know…smashing the crash on every beat when the song picks up and needs powerful, repeated crashes.

It happens all the time in many rock/pop styles. When you try in SD, it cycles through articulations and doesn’t sound natural.

I don’t think that’s the problem.
All samples in all software drum products are sampled from a standing start so to speak, So a crash is silent, then it’s struck and is sampled.
When you are crash riding, the crash is already sounding, and importantly already vibrating quite a lot. This results in a different sound than starting with a silent, non vibrating cymbal.
I’m not sure what the basic recording workaround would be, but the playback workarounds that are typically suggested here seem to work ok.

[Whitten]

It’s an example of extreme processing.
A ton of eq has been used, plus lots of room ambience (also processed), but above all, single hard sounding samples triggered by the drums. This gives the machine, super consistent effect you are hearing.
It’s no longer really the sound of acoustic drums, which is the primary aim of EZdrummer and Superior.
You can get this sound using Metal Foundry I’m very sure.
But you need to process the basic sounds. It would also help if you added a single sample on bass drum and snare.

[Whitten]

+1 the above.
Lower the level of the bottom snare mic, and/or try the transient fx to shorten the release of the bottom snare mic channel.

[Whitten]

As a listener to music it doesn’t bother me one bit, in fact I can’t say it even registers with me.
I guess as an e-drummer it would feel odd to play a ride on my right and have it sound in my left ear.

[Whitten]

I also wouldn’t separate the two bass drum and snare mic options.
They are for flavour.
The outside kick mic adds low end chiefly. The bottom snare mic adds sizzle/buzz.
You have them as separate mic options so you can eq, compress, balance them to taste – almost always as the top snare mic and inside bass drum mic as the primary.
It would be very odd to pan them separately – – – but I guess there are no rules.

[Whitten]

Albini’s whole ethos seems to be opposite to drum sample products and producer pre-sets.
Although he did have a kit for BFD once did he not?
So “who knows” to quote…….

[Whitten]

ORIGINAL: Alan Young

I just know if it was me i would be reluctant to pass on years of experience and immense talent to a bunch of guys i’ll never meet.

Truth be told there are dozens of audio forums that prove the opposite.
For example, as we speak Alan Parsons is handing out detailed knowledge on the Gearslutz forum.

[Whitten]

ORIGINAL: tiari
If we take 20 seminal pop songs from different genres and the TT producers create ballpark snare-hh-kick presets for them, it would cover my needs.

Agreed.

[Whitten]

So we just rubber stamp everything now?

It’s a forum by the way, everyone has a view….. yes even you.

The only thing I shot down is the idea that Ludwig, Tama or Premier are genre specific.

In the meantime I agree with Markham.
In time hopefully the producer pre-sets will fill this need.
A certain producer known for ‘metal’, or another for RnB etc.
They’ll choose the drum sets they configure from the Toontrack library, then use eq and fx to create pre-sets.

[Whitten]

I think that’s where the producer pre-sets are heading.

[Whitten]

Hmm, but basic drum sounds (like those in Superior) are the starting point for all music.
Same with brands, there are no kits that are specific to a genre.

[Whitten]

I don’t think so.
Toontrack are by and large offering a real (acoustic) drum experience.
There are lots of other companies offering machine sounds.
Check the equipment list on the EZX Electronic product page, although I can’t remember a Linn Drum being listed.

[Author]

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