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[Oli Poulsen]

And a saturation device…tape and tube.
It really suits the SDX samples well…and would be really nice to be able to include that in your presets.

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[Oli Poulsen]

ORIGINAL: Martin

Yep, and Pro Tools is yet to be 64-bit. From what I hear, it’s because limitations in the RTAS format. With the new AAX plugin format they will finally cross over to fully support 64 bit and as a Pro Tools user myself, I can’t wait!

Vienna Pro is not officially supported, just thought I’d point that out as well.

And then we’ll have to wait for Toontrack to support AAX format…so it’s a year at least if we are a little realistisc

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[Oli Poulsen]

Right…and PT won’t likely be 64 bit within in a year or so

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[Oli Poulsen]

What I mean is that when you buy a Native Instruments item…like any new soft synth or library, it will be included in some “Komplete” package some time later…for a fraction of the price you paid.
So the way it works, is that you pay to get it first…and if you want it badly enough…you’ll pay.

The C&V was a special case…since it was exactly the same library that those of us that used the S1, already had paid the full SDX price for…and all we got was a version that runs smoother on the S2 platform.
The sounds are the same….and that’s not the case in the SDX/EZX scenario.

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[Oli Poulsen]

The delay between the newer EZX and SDX has been around two years….so you can’t expect anyone to refund the time you have had the product.
Just sit tight and relax for a couple of years after any EZX release…if nothing happens, then go buy the EZX

It’s not waste of money when you can use a product for two years…before it gets somewhat obsolete because you get a better version.

That’s the norm in the digital world…everything you buy will get obsolete within a number of years.

You might as well get used to it.

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[Oli Poulsen]

Nice drumming there Chris!

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[Oli Poulsen]

As scientific as any poll I suppose?

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[Oli Poulsen]

It’s a 3 year old piece of software…lots of things have happened in the sound processing department the last 3 years.
But the plug-ins were good for their time…and I use them all the time still.
Mostly miss having a saturator and a reverb inside the mixer.

I suppose they are working hard on S3.0 …and on implementing all their experience from the EZmix technology into the new superior mixer.

NI are coming with a “drummer” and Slate is as well…so I bet they are due with something exciting to stay ahead of the competition

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[Oli Poulsen]

Get the Massey DRT…it’s just perfect and takes no time.

And it’s only $ 69

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[Oli Poulsen]

It’s most likely the latency settings on your soundcard.
The Alesis triggers should be as fast as any.

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[Oli Poulsen]

A midi pack maybe with a few mixer presets, would easily make for a great Reggae pack.
The sounds are not very hard to sculpt from many of the existing kits.

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[Oli Poulsen]

Especially the tambourines from the old S1 get lots of use here.
Like always, the EZ version has less samples, and is pre processed…so the Superior version is preferable.

But in all fairness, they could easily come up with a better product now.
Just doubt that they can be bothered in these days of electronic stiff music…they seem to gravitate more towards that market, and nobody there would appreciate a percussion set in the standard of Metal Foundry.

But I sure would!

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[Oli Poulsen]

I agree…they aren’t exactly flooding us with SDX’s

But don’t expect Native Instruments to deliver packs to a competitors platform

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[Oli Poulsen]

These two particular drummers we’re talking about, are both renowned for their special sounds.
Of course it comes both from their choice of drums, tuning, hitting and groove.
But also the type of player they are…their taste and approach to the styles they play. It all reflects a lot in the sounds as a whole.
That is very evident in the packs Chris has done and MF too.

The big difference in sampling a piano vs drums, is that you can’t hit the keys on a piano elsewhere than on them.
And pianists don’t assemble and tune their piano themselves…it’s just a totally different thing.

Most drummers will have their favorite engineer/producer…or vice versa, because they get a particular sound together.

A perfect SDX is when the recording is captured with that magic…but still with flexibility for the user to mix and manipulate to taste.

To me the best SDX so far, is Metal Foundry…not so much that I like the aesthetics (I’m not into metal), but because it’s extremely flexible and well recorded.
The number of hits for any velocity makes it sound very natural, and the sounds are raw enough to be sculpted just like a great recording should be.

A Keltner or Chamberlain recorded like that, would just be awesome

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[Oli Poulsen]

ORIGINAL: Whitten
I’m amazed someone persuaded Neil Peart, although I’m not sure he hit every drum that ended up in the product.

The Peart kit and all the other from Sonic Reality just suck quite a bit. The Ken Scott collection is really a buy I regret
Maybe the basic recordings are good, but the instrument you get out of it really is a joke compared to S2.0 standard.

I had Keltner play on something back in ’90…and he played on pads with a sampler…plus real cymbals and hat, so maybe he would be excited about doing a library. (and he might even use it himself)
Maybe he’s already an enthusiastic S2.0 user

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