Hi Toontrack Team, I was surprised to read in G&B...
Hi Toontrack Team,
I was surprised to read in G&B Forum that EZX Classic is comming on March. Is this so “top secret” that nothing is allude on our News ?
O.K. however, I’m looking forward to
Hi Toontrack Team,
I was surprised to read in G&B Forum that EZX Classic is comming on March. Is this so “top secret” that nothing is allude on our News ?
O.K. however, I’m looking forward to
Perhaps a good way to end these arguments and ultimately sell more product is to have some type of upgrade path from EZX –> SDX from the same session. This way no one feels slighted.
Intel 13900K, Windows 11 , Cubase Pro 12.0.50, Studio One 5.2.1.64495, 64GB RAM, UA Apollo x4 Thunderbolt, RME UFX – USB 96K, 64 sample buffer size, Radeon 570, 42″ 4k monitor
MIDI controller: Roland A-37, Jamstik Studio, MCU Pro + expander
Drum Brain: Yamaha DTX 900, RHH135 hihat, 2 crash and 1 ride cymbal, 4 toms.
ORIGINAL: Oli P
I don’t buy into the argument that the lowest denominator should be the standard…and I know you don’t do either
I can understand the argument that Toontrack needs to make money…thus making it a political decision.
I don’t accept for a minute this EZX represents ‘the lowest denominator’. You claim to know what I think, but actually I like the EZX expansions I have (Electronic, Jazz, Vintage).
I think the discussion is getting a little too crazy.
‘The Classic’ is an EZX and that’s about it for now.
ORIGINAL: gmontano
Perhaps a good way to end these arguments and ultimately sell more product is to have some type of upgrade path from EZX –> SDX from the same session. This way no one feels slighted.
ORIGINAL: Whitten
I don’t accept for a minute this EZX represents ‘the lowest denominator’. You claim to know what I think, but actually I like the EZX expansions I have (Electronic, Jazz, Vintage).
I think the discussion is getting a little too crazy.
‘The Classic’ is an EZX and that’s about it for now.
The lowest denominator as in the “non drum guys” setting the standard for what is excellence…and your attention to detail in sampling these drums clearly isn’t justified as just aiming for that target audience.
The EZX is to electronic drumming as X-factor is to the music industry….the tolerable version of something that could be excellent
And yes, I have produced for X-factor, and no I don’t watch it either.
In all honesty, I think it it’s a bit ironic to watch the nice video’s where you talk about the totally drum-nerdy details, and Helios console etc…and then release it to the audience that couldn’t care less…and just want an easy fix. While the guys who really appreciate the details get left behind.
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
Man, this is getting very rude. I ain´t no newbie, and I do apreciate those EZx line recordings.
The 24/16 bit thing is really dated in my book. First, you can work those 16 bit samples in a 24 bit project session in almost any DAW, no big deal. Second, none of my collection of CDs is in 24 bits, should I erase all the music I have listened in my life?
I would love to see some feedback on the actual library, not just the 24 bit thing. You can go to gearslutz and read any of the bazillion threats about that.
BTW: I have both the Nashville EZx and the Music City SDX and I get much better results with the Nashville. Why do all the processing in the box with plugins while Chuck Anlay has already done the job with the real thing in Sound Kitchen?
Hmmm hot in here isn’t it. For the sake of fairness I think its worth pointing out that Chris is essentially a session drummer who has been employed to play for the recording of these samples – he is not a permanent member of toontrack staff it just happens that he is passionate enough about the stuff that he is an active member of the forum (which personally I think is great to have such experience on tap). . The way the final product is released marketed and formatted is not in his hands and like he says he would love to see the hard work he has put in end up in an sdx as well but as a session player that’s not his call to make. Personally I’d love to see all recordings released in both formats at the same time so the punters decide what they need as suggested earlier but again this is not chris’ decision so it’s hardly his fault if he when interviewed talks about the drum nuances as he is after all a drummer.
Just thought it’s worth keeping things in perspective
Yes is in perspective i hope.
Sure TT should/will release EZ product,again we were accused as expecting them not to do so,rubbish.
Nobody ever blames Chris or attacks his stellar work personally,or that of TT’s Musical process,
Seems some paint SD2 users as having a whine about EZ being inferior,were really asking for a slice of a current product pie in our Hi Res,beefy supposed Superior format at the same time.
This seems negative but its not meant in that way,
Mattius,Andreas and all concerned
In my experience this problem is about Strategic Planning in marketing terms.
It’s seems akward i am sorry to say,i don’t wish to be disrespectful as i always push TT and both EZ and SD to all my clients and friends as being the best and best value software ive ever known,thats why i too am passionate about it.
Perhaps a hidden power user only forum subject may dispel some of the un needed counter heat.
Yes, for the record I’d be happy to see EZdrummer go 24 bit. I’d also be happy to see ‘The Classic’ developed as an SDX.
But…….
ORIGINAL: Oli P
The lowest denominator as in the “non drum guys” setting the standard for what is excellence…and your attention to detail in sampling these drums clearly isn’t justified as just aiming for that target audience.
The EZX is to electronic drumming as X-factor is to the music industry….the tolerable version of something that could be excellent
I just think this is a real misrepresentation of the reality……
At the recording sessions we really pushed the EZX envelope in terms of detail and articulations.
We all slogged our guts out in post production. I personally toiled over three weeks editing midi over Christmas and New Year. There’s no way I’d do that at this stage in my career if I thought “this is one huge compromise”.
To be perfectly honest, as I was editing the midi, which replicates well known recordings I’ve done over 25 years, I never thought ‘The Classic’ was lowest denominator. In fact I specifically remember thinking it sounded as good, if not better than C&V. The cymbals and snare drums in particular sparkle. I didn’t have to make changes in my midi drumming to cater for lack of detail in ‘The Classic’. Quite the opposite, it just sounded right straight away. I just did not feel I was working on a sub-par product that could have been better.
Yes, it could be 24 bit and include more bleed options, but it’s a cheaper product than an SDX. In my view there is not compromise on the basic sound quality, just some flexibility.
Peter and I always aim high and ‘The Classic’ is no different.
I edited my own video a week ago, and had some control over the content in the official Toontrack video. The stuff I talk about – the amazing drums and the vintage Helios console relates specifically to the final product; EZX The Classic. The videos are based on the final product that I’ve signed off on, as has Peter and the Toontrack team. There is no truth that I’m raving about the gear, knowing the poor people who buy the end product are being short changed, or sold a compromised product which doesn’t reflect the quality of the studio, the drums and all the people involved.
If you actually haven’t sat down with the product you can’t say it’s not as good as it could be.
First of all Chris I think all of you go above and beyond to produce an end product that is the highest of quality and as affordable as TT can make it.
If you would really add in the time and labor (I’m sure it is much more tedious than it looks) the price would be much higher.
The criticism towards you is unbelievably unwarranted.
The fact that you guys involve yourselves in a product that offers the availability of samples made in studios that the vast majority will never see,with equipment that we’ll never see (let alone use),with producers and engineers we could never afford…
I don’t see EZD as a cheaper product,just a less expensive one. I do believe more people own EZD than own S2,correct me if I’m wrong,so making more EZXs makes perfect sense to me.
I have no issues with my 3 EZXs in S2 and I’m quite happy with them.
Thanks.
The only criticism towards me I’m feeling is this implied accusation I’m promoting something I don’t think is as good as it can be.
That’s guess work, and as it happens bolony.
Other than that, I do accept some Toontrack customers would prefer different products and different standards. That’s absolutely fine.
However some of the criticisms being made about ‘The Classic’ are extremely unfair. I would accept what I perceive to be unfair criticisms if they were coming from people who’d sat down and got to know the product. So far, around several forums, those people who have tried ‘The Classic’ in person are saying it’s one of the most usable EZX’s, one of the best in terms of v-drum playability and one of the best sounding.
I think if you’d given us that on day one of the recording sessions, we would have grabbed it with both hands.
It is NOT criticism of you or the EZX …which I could well believe is the best ever done. It’s only frustration that those of us that really would like to see it as an SDX can’t get it.
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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