Mark KingI’m considering one of these. What matters (apart from the sound) is how well they play with edrums and how do they compare to newer sdx’s? Has anyone had these a few years and still really enjoys playing them? For the music I play I’m more inclined to go for Fields of rock but haven’t made my mind up yet.
SD3 with older sdx,s plus Rooms of Hansa and Death & Darkness. Cubase and wavelab current versions. Roland TD50x using all trigger inputs for triggering SD3 only. Windows 11 computer. Various keyboards and outboard gear as well as VST instruments. Acoustic drums: Yamaha 9000 natural wood and Pearl masters. Various snare drums. RME BabyFace Pro FS and Adam A7X monitors
MartThat’s a tough call – they both play great (TD27) and hold their own against newer SDX. My only complaint about Stockholm is that the sidestick for some reason is always super low and has to be boosted. It also has a limited selection of cymbals comparatively speaking. Fields of Rock is my go to for anything in the genre (and sometimes outside of it) – I’ve finished two albums for clients this year using this one exclusively and they were so happy with the outcome. The kits go from tight to boisterous with everything in between and is almost like a core library in its depth. It gets my vote.
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Thanked by: Mark KingMark KingThanks. I think the conga and bongo additions sell it to me also. I already have octobahns and roto toms with Hansa.
SD3 with older sdx,s plus Rooms of Hansa and Death & Darkness. Cubase and wavelab current versions. Roland TD50x using all trigger inputs for triggering SD3 only. Windows 11 computer. Various keyboards and outboard gear as well as VST instruments. Acoustic drums: Yamaha 9000 natural wood and Pearl masters. Various snare drums. RME BabyFace Pro FS and Adam A7X monitors
MartYep, there’s some fun stuff in the percussion library that lends itself to stacking
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Thanked by: Mark King
Tom ConnerI don’t have Stockholm – yet – but really like Fields of Rock. And out of the eight libraries I have I believe I kept and use the most presets from it.
DWe six piece kit, Roland BT-1s w/WT-10s, RME Fireface interface, JH Audio IEMs w/Fiio Amp, Porter & Davies transducer, Razer 16 laptop, SD3 (State of the Art, Stockholm, Hitmaker, Legacy of Rock, Decades, Death & Darkness, Fields of Rock, Stories)
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Thanked by: Mark King
Bear-Faced CowI have both and they are both good. The real question is more about the sound and energy you want to impart on a song. The best way I can describe Stockholm is tight and intimate. Fields of Rock can give you that sound but Stockholm would take a lot of work to give you a huge energetic sound where Fields has that range. I’ve use FoR in a number of mixes and has enjoyed it so far. It’s one I reach for when it comes to getting a big in your face drums. That’s as far as I can elaborate on my experiences with FoR since I am not an eDrummer. However, I have my beliefs that you wouldn’t have a problem using your eDrums playing it.
Even the found sounds in the percussion have a sort of playability to them
jord
Jordan L. Chilcott
Web Site: https://jordanchilcottmusic.com/
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Thanked by: Mark King
Shen G+1 for FoR 😉
I concur with everything said so far. The versatility of FoR puts it near the top for me. From the Dry room to the Live room, with the Stone room in between, it covers all the size/ambience of rooms I would like. Despite the differences I find mixing and matching pieces from the rooms sounds good/cohesive. Plus I can find a use for all of the kits, unlike some other SDX’s. And with the percussion that is included and one of my favourite selections of cymbals make this a must have IMO. I’m probably only ranking Drum Factory higher at the moment because it’s my newest baby 😀
Stockholm I find a bit boring with not much variety in drum or cymbals sounds.
Cheers.
SD3 with Real to Reel, Fields of Rock, Drum Factory, Death and Darkness, Legacy of Rock, Hitmaker, Stories, State of the Art, Decades, Stockholm, Jazz Sessions, Hansa, Rock Foundry, Area 33 (in order of preference). Plus a few older SDX's and EZX's.
Into: Reaper with Ryzen 5700x, 32GB RAM and assorted SSD's.
Through: Focusrite Scarlett 6i6 Gen2 USB Audio Interface
From: eDRUMin 10 + eDRUMin 8 with assorted Roland and Yamaha pads.
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Thanked by: Mark KingBear-Faced CowDespite the differences I find mixing and matching pieces from the rooms sounds good/cohesive.
Even so, you can borrow room ambiences from a single room and bring all pieces of the library together giving a good cohesive mix.
jord
Jordan L. Chilcott
Web Site: https://jordanchilcottmusic.com/
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Thanked by: Mark KingShen Gyou can borrow room ambiences from a single room and bring all pieces of the library together giving a good cohesive mix.
Certainly is a great tip and helps, but I’m not sure I’m convinced in how real/authentic it sounds. Perhaps once in a full mix? But I’ve haven’t gotten that far tbh, and I’m sure you’re better at that side of things than I am.
SD3 with Real to Reel, Fields of Rock, Drum Factory, Death and Darkness, Legacy of Rock, Hitmaker, Stories, State of the Art, Decades, Stockholm, Jazz Sessions, Hansa, Rock Foundry, Area 33 (in order of preference). Plus a few older SDX's and EZX's.
Into: Reaper with Ryzen 5700x, 32GB RAM and assorted SSD's.
Through: Focusrite Scarlett 6i6 Gen2 USB Audio Interface
From: eDRUMin 10 + eDRUMin 8 with assorted Roland and Yamaha pads.
Bear-Faced CowWe’re talking about recorded drums. Reality is what you make it. I’ve been stacking all sorts of things on Superior Drummer for a long time. All that matters is how it all comes together in a mix.
jord
Jordan L. Chilcott
Web Site: https://jordanchilcottmusic.com/
Shen Ghehe, perhaps this is getting to philosophical but I’d like to consider the raw samples a capturing of reality. As in, good luck trying recreate everyting in a real recording artificially. If you can pluck a tone out of white noise, add some harmonics, a transients and a tail and make a drum sound you like, all the power to you!
I know you appreciate the realness of SD3 though 😉 also that there is a lot of augmentation/layering/artificial samples etc in modern productions. Just the you can’t undo that. So for a very natural sound it has to be there.
Cheers.
SD3 with Real to Reel, Fields of Rock, Drum Factory, Death and Darkness, Legacy of Rock, Hitmaker, Stories, State of the Art, Decades, Stockholm, Jazz Sessions, Hansa, Rock Foundry, Area 33 (in order of preference). Plus a few older SDX's and EZX's.
Into: Reaper with Ryzen 5700x, 32GB RAM and assorted SSD's.
Through: Focusrite Scarlett 6i6 Gen2 USB Audio Interface
From: eDRUMin 10 + eDRUMin 8 with assorted Roland and Yamaha pads.
Bear-Faced CowPhilosophy has zero to do with this. It’s all about the context of a song and a recording. There’s nothing artificial about exchanging ambiences, or any other type of stacking. I’m working on songs. The recorded drums have little to do with realism and everything to do with energy.
In fact, if you solo various instruments, you’d hear just how unnatural they sound and would blow a hole in all of the “realism” you think I’m missing.
Perhaps if you adopted the methodology of recording each track as a song going in, you’d realize just how little “realism” has to do with it.
jord
Jordan L. Chilcott
Web Site: https://jordanchilcottmusic.com/
Shen GPerhaps philosophical wasn’t the right word, but just differing points of view/ideologies.
I really don’t think you could convince me a drum track was real drums with a hodgepodge selection from vastly different rooms/mics etc unless it was run through so much production that it could have been any sound to begin with. I guess I’m just thinking a more stripped down, natural, “real” sound can always be produced in to something like you want, but it can’t be taken away.
I’m not sure what you mean exactly by “energy”. I’d like to think I make the energy with what and how I play. Soloed instruments sounding unnatural? I’ve heard enough to know things sound different to the ear in the room and to a close mic to a far mic of various types etc if thats what you mean. I’m not trying to blow a hole in anything. Don’t take it so personally. Or recording each track as a song going in? Recording as a band or each instrument? I can’t imagine what your point is. I think we are coming at the idea of music making from vary different angles.
Anyway, sorry Mark for taking this thread of topic. Jord’s just such an annoying mix of helpful and knowledgeable but also kinda of narrow minded and dismissive.
Peace.
SD3 with Real to Reel, Fields of Rock, Drum Factory, Death and Darkness, Legacy of Rock, Hitmaker, Stories, State of the Art, Decades, Stockholm, Jazz Sessions, Hansa, Rock Foundry, Area 33 (in order of preference). Plus a few older SDX's and EZX's.
Into: Reaper with Ryzen 5700x, 32GB RAM and assorted SSD's.
Through: Focusrite Scarlett 6i6 Gen2 USB Audio Interface
From: eDRUMin 10 + eDRUMin 8 with assorted Roland and Yamaha pads.
Mark KingI’m flabbergasted 🤣
SD3 with older sdx,s plus Rooms of Hansa and Death & Darkness. Cubase and wavelab current versions. Roland TD50x using all trigger inputs for triggering SD3 only. Windows 11 computer. Various keyboards and outboard gear as well as VST instruments. Acoustic drums: Yamaha 9000 natural wood and Pearl masters. Various snare drums. RME BabyFace Pro FS and Adam A7X monitors
WolfgangHaving both of them and loving them for what they are. Tbh if you can afford you should get both because they have two quite different characters. With my TD-27 they both play pretty godd, some tweaks needed as with every SDX but they definitely work. Stockholm has a somewhat limited selection of cymbals but I like the imtimate and rather dry sound. Fields has a nice and open rock sound you can’t get wrong with if you’re after that kind of sound.
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Thanked by: Mark KingBear-Faced CowAnyway, sorry Mark for taking this thread of topic. Jord’s just such an annoying mix of helpful and knowledgeable but also kinda of narrow minded and dismissive.
You know, Shen, I might have answered you with consideration of your lack of experience as you demonstrated in another thread, but since you decided to take a trollish stance, I will have my fun dancing all over it at your expense.
Let’s work backwards.
I’m not sure what you mean exactly by “energy”. I’d like to think I make the energy with what and how I play. Soloed instruments sounding unnatural? I’ve heard enough to know things sound different to the ear in the room and to a close mic to a far mic of various types etc if thats what you mean. I’m not trying to blow a hole in anything. Don’t take it so personally. Or recording each track as a song going in? Recording as a band or each instrument? I can’t imagine what your point is. I think we are coming at the idea of music making from vary different angles.
This is where your inexperience starts. Energy has nothing to do with you. It has everything to do with where the kit was recorded, how it was recorded, what it was recorded with, and who recorded it.
Let’s take a real life ToonTrack example and our favourite drummer: Norm Garschke
Norm has been on many of the ToonTrack SDXs that we know and enjoy, perhaps except for the two that Mark is enquiring about. He was on Real to Reel… you know, the one you’re gushing over. Well guess what: he’s on a number of other SDXs including Hansa, Hitmaker, Legacy of Rock, State of the Art, Decades, and a bunch of other equally great SDXs. I would bet my fretting hand that he is hitting the drums in each of those libraries with the same energy as he did in R2R. In many of these libraries, he’s also using similar if not identical kits (Hansa is an exception, but I’ve had other experiences working with libraries from Udo Masshoff).
Here’s the question: Do you think Decades has the same energy as State of the Art? Or Real to Real even? Say yes, and I would tell you that you don’t even know what you’re talking about. You hit a Ludwig Black Beauty snare in each of the libraries and you will get a different energy from it. I just finished mixing two song. Can you tell me exactly why did I use Legacy of Rock in one and Drum Factory in another? I auditioned numerous rock libraries, including my favourites. Guess what… they didn’t provide the energy I was looking for to make the song what I felt it needed to be. A lot of that energy comes from the room itself. Even the late great Neil Peart know that the energy behind his drumming on Rush’s albums were defined by the room. So if one of rock’s greatest drummers recognized this, what makes you convincing enough for anyone to believe otherwise. Your own p0sts demonstrate that you don’t have the ears to know the difference in a mix.
So…
I really don’t think you could convince me a drum track was real drums with a hodgepodge selection from vastly different rooms/mics etc unless it was run through so much production that it could have been any sound to begin with. I guess I’m just thinking a more stripped down, natural, “real” sound can always be produced in to something like you want, but it can’t be taken away.
I doubt you would have the ability to determine if I took a bare close mic’d kit and stacked a different ambience of a similar kit piece on it. You’re demonstrating that you don’t know where real comes from. I’ve done this many times long before I started using Superior Drummer. Everything from IRs to the UA Ocean Studios plug-in. I’ve used the latter to rescue various drum mixes and if they convinced some producers, you’d never know.
Still think I’m dismissive? I have stronger words for your lack of experience but I’ll refrain… for now.
As for the thread itself, I would agree that if you can get both, then get the bundle and we can then discuss the third SDX that you would be entitled to.
jord
Jordan L. Chilcott
Web Site: https://jordanchilcottmusic.com/
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