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[Whitten]

You can download EZdrummer directly from your Toontrack account. Just use the serial number for the disc version you bought.

[Whitten]

Have you viewed the ‘How to register’ videos?

[Whitten]

audio-deluxe usually has good deals too.

[Whitten]

Oh and the Brooks Wackerman midi is great.

[Whitten]

ORIGINAL: juicy
I dont need a 101 on recording and dynamics and gain structure.
I will note all other EZx Midi does get up there ,i guess they are harder hitters,NirZ,Peter F ,Morgen .
Who cares anyway . It was only a small point.

Dude, you are still confusing midi numbers with the actual drum sounds recorded.
120 or 127, they only apply to a sample in a pool.
The sample is created based on the way I hit. In other words Lars Ulrich’s 127 is the same volume as my 127 in Superior or EZdrummer, EXCEPT, in the studio when the 127 hit was sampled, Lars might have been hitting twice as hard as me. So you hear that in the sound of the drum, not on the number in the midi file.
So my 120 sample doesn’t become a limp wristed jazz note, just because it isn’t 127.

[Whitten]

ORIGINAL: fizbin

I’m actually OK with this. That’s what the volume knob in Superior is for. If the MIDI drummer plays at 127 you’ve got flat dynamics. If you leave a little room you can have dynamics, plus the ability to max out the velocities with the volume knob if you so wish.

Now that doesn’t mean play like a wimp.

Yes, I think you are getting it.
The punk attitude is the drum sound recorded at source. If the drummer is too loud, the volume fader on the studio desk gets turned down, you DON’T ask the drummer to play quieter.

(By the way, the midi libraries take me weeks of work).
And I included some Julian Cope type midi songs in both C&V and The Classic.

[Whitten]

ORIGINAL: juicy

My turn sticking my neck out here so…
After checking,even your big fills never get to 127 in Classic not that its negative at all but if it is rightly reserved for climaxes why are they not really there somewhere ??.
I program my own but some peeps can’t .

Shame about Levon what grooves he gave us.

I think some of you are still misunderstanding me……
My products reflect the way I hit the drums.
Therefore a 120 velocity hit triggering one of my samples is just as smacked as if I was playing an acoustic kit on a session. It’s a question of sound, not volume.
The recording engineer records the sound, but turns the volume down so we don’t distort the channels in Pro Tools.
If Toontrack are sampling a quieter drummer, maybe the Pro Tools channels get turned up.
So a 120 hit in Superior is always the same volume, but it’s NEVER the same sound – the sound of a drummer whacking a kit.

[Whitten]

But the velocity in numeric form has no connection to the velocity that the drum was hit when sampled.
My 120 could be twice as loud as Futureman’s 120 on the actual session.
I purposely played the midi under 127 because 127 doesn’t sound good for all groove hits, it should be reserved for the song climaxes, the big fill etc…..

Anyway, I was jesting. I would love to do a punk EZX, and I appreciate you guys would like to see a punk/edgey EZX from some younger than me, well known drummer from that genre. If I could make it so, I would.

[Whitten]

ORIGINAL: fizbin
Seems like between Americana and The Classic (your sig) you should be able to coax some punk. Just because a punk drummer wasn’t sitting behind the kit when it was recorded doesn’t mean there isn’t a full velocity smack of every piece in there.

Hey?

[Whitten]

Ever heard of Noble & Cooley or Craviotto?

[Whitten]

Some of those EZX’s work really well in Superior, and offer more kit choices you don’t see in any SDX.

[Author]

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