Bear-Faced Cow
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Bear-Faced CowThere’s a difference between “not having an issue“ and “the existence of an issue“.
I had the same pop up as everybody else. It just didn’t stop me from using this SDX. It’s a fantastic sounding pack for when you need drums recorded in a tight dry space. I believe it was also recorded on an REDD console, which to me is an added bonus. That is why I bought this SDX.
The main reason I bought New York Studios volume one (and two for that matter) was because I got volume 3 on an amazing no-brainer Black Friday deal (thank you Toontrack!) and loved both how Neil Dorfsman & Pat Thrall recorded the drums and how Nir Z played them. Having them on a couple of songs was like having Nir Z playing them.
jord
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Thanked by: music man and pawl kingBear-Faced CowIt’s not the first post regarding this particular situation, and I guarantee that it won’t be the last. 😀
like you, I bought NY Vol 1 on its own merits. However, the lack of it previously did not denigrate C&V in anyway.
jord
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Thanked by: music man and pawl kingBear-Faced CowThere’s no reason why it shouldn’t work.
“Best” is more a personal preference than anything else. I have been using my Maschine & Maschine Mikro controllers for 7+ years. They’re perfect for my setup since I will often use more than just SD3. YMMV
jord
Bear-Faced CowNew York Studios volume 1 is the core library for SD2, also known as Avatar, named after Avatar studio.
The only relation it has to the custom and vintage SDX is that a couple of the presets stack ambient channels from avatar. Avatar is only required if you wish to use those particular ambient stacked presets as is. However, it is not a direct requirement of the SDX itself. You are also able to replace the ambient channels with those of SD 3 core library or any SDX.
jord
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Thanked by: music man and pawl kingBear-Faced CowIn that case, you can go nuts with grooves. Create, modify, mix and match, etc.
I have found that the possibilities are only limited by our imagination in SD3.
jord
Bear-Faced CowFeatures like the grid editor and edit play styles were introduced in SD3. Not having been an SD2 owner, I am not sure if the other features, such as the the ability to mix and match grooves are available (some may have been introduced in EZD2 at the time). I believe that you will need to use a DAW in order to create/edit/extend grooves from SD2, however.
jord
Bear-Faced CowThanks Scott,
I don’t get that, that’s more advantages to just dragging a new groove into the same track I’m working with?
I want to set up a different drum kit for my song bridge and dont want to set up a new SD3 Track in Logic, as it would use up more CPU.
With a simple software change, TTracks engineers could make the different SD3 tracks play together??
- This post was modified 5 years, 1 month ago by Wozza_1.
It’s definitely not a simple software change. It might look simple on the outside. What you wish to do is definitely more in the realm of a DAW.
That being said, considering that you are wanting to use a ride instead of hi-hat articulation in a part of a song, why would you have to load two instances of SD3? There are many ways to do this in Logic Pro X. The easiest, and most visual way, is to assign multiple tracks to the same instrument. This will allow you to carry out the various midi possibilities without using any extra resources. Another way you can do this is by using Track alternatives. However, this is closer to SD3s behavior. or, you can go all else and use project alternatives. However, this would be more useful for testing different kits and presets. To use this simply for testing different articulations would probably be overkill… Similar to trying to light a barbeque with a jet engine.
or, if you really wanna roll the dice on possibilities, you can use the newly introduced live mode. You can set up a whole matrix of possibilities there.
There are many ways to skin a cat in Logic Pro X. It all really depends on how deep you want to go down the rabbit hole.
jord
Bear-Faced CowIt does have me wondering if that might be a bug. Perhaps, try exporting your MIDI and import it into something like reaper and read the data to see if there is any cc information for the hi-hat.
jord
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Thanked by: Ben CrookBear-Faced CowHard to tell without any real details. Perhaps post a video.
SD3 as a multi instrument out is working without issue in logic here
jord
Bear-Faced CowI also recorded drums for the longest time. Despite not being a drummer (I am a guitarist), I have a lot of friends that are and I recorded their playing. I also had a kit here as well and know very well what unprocessed drums sound like. Enough chest beating…
This said it all to me right there:
and I’ve spent lots of fruitless time trying to compress these toms into something big and bad
As an engineer, you should know compression in an of itself doesn’t make things big and bad… well, actually they make things bad but not in the sense you’re trying to refer to. However, anyone who’s recorded drums knows you get your “bigness” from the room. Yes, you can apply compression to squash the room but if you listen to the track alone it won’t sound big. It only adds to the weight of everything else. But you already know this as an engineer.
As well, did you remove the energy eating lows? Nothing eats the attack and destroys a drum mix more than this. Not to mention adjusting your low and upper mids to bring out your attack. Again, this nothing new to any engineer, and there are plenty of videos from some of the notable engineers illustrating how they mix drums. Even as long as I have done it, I still watch them because I always have something new to learn.
Considering that the core library was recorded with all of its frequencies intact, with all of its headroom intact, that means that all of the stuff I mentioned above are present in the recording which don’t make a drum sound big no matter how hard you hit it. I’ve listened to enough raw captured drum recordings to know. As an engineer, you should be able to understand what was recorded in order to bring out what you need rather than trying to say that Massenburg made a mistake.
Doing any of the above doesn’t mean that Massenburg dropped the ball. And considering that the same drummer has done the Decades, Hansa and Legacy of Rock, along with the core library, I think it’s safe to say that Norm G. knows how to hit a drum. However, the SDXs mentioned are more indicative of the genres they serve. The core library has to serve every genre.
Considering you are the one calling us out saying it can’t be done, how about you post a preset showing us what you got first.
jord
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Thanked by: jjaannBear-Faced CowOf course I do! That’s what I stop mixing that song, and will come back to it a couple of days later when my mind is fresh. The worst thing you can do is mix a song when you are fatigued. It is far better to rest and come back to it when you are feeling in the game. Otherwise, you plague yourself with poor makes decisions which then show in the song. Even after I mix this song, I will try to wait a couple of days before I consider mastering it. That is when I will have another listen to the song and decide if certain things need to be tweaked. I don’t believe in fixing anything in the mastering, just as I don’t believe in fixing any recording in the mix.
And yes, our hearing changes daily because our feelings change daily.
jord
Bear-Faced CowAside from the fact that your other thread was not hijacked, the reason that your bounce is not sounding the same as the preset is because it lacks the cohesiveness of the bus processing at the end.
This would need to be re-created within your DAW, and even then it may differ because various software developers develop plug-ins that emulate hardware in their own way. You pretty much have to go by your ears in order to dial things in the way you wish.
Bouncing separate tracks through the bus is not the same by any stretch as adding bus processing to all of the tracks. It will be disjointed and somewhat unreal because everything is not working together.
jord
Bear-Faced CowI usually try not to ponder over things like that. It takes away from valuable guitar time. 😀
The first time I ever heard the term “yacht rock“ I was like WTF??
jord
Bear-Faced Cow“Yacht rock“ is more of a consumer term for AOR. It pretty much encapsulates that easy-going softer side of rock music. One might consider it colloquial or slang.
The problem with the ghost notes on the groove might have more to do with the kit choice or drum mix than anything else. Even still, it’s not really an issue within SD3 considering that you can mutate the groove any way you want with the edit play styles.
I, as well, like writing grooves and tools like SD3 and Logic make it easier today than it was 40 years ago. However, I don’t mind picking up some grooves when they are on sale, some of them are pretty standard which saves me a bit of time. Not to mention, being able to mix-and-match parts within SD3 to come up with totally new groove possibilities.
jord
Bear-Faced CowIf you are finding that it is overwhelming in the chorus, perhaps add a bit of automation uncertain channels.
I haven’t released any new songs lately, as I have been taking the time during COVID to sharpen some rhythm skills.I do have a couple of songs in the works, however.
Jord
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