Death & Darkness SDX
A MATTER OF DEATH AND DARKNESS.
A massive library of sounds recorded at two different studios by two of today’s most in-demand engineers: Mark Lewis and Tue Madsen.
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A massive library of sounds recorded at two different studios by two of today’s most in-demand engineers: Mark Lewis and Tue Madsen.
| ADD TO CART
A massive library of sounds recorded at two different studios by two of today’s most in-demand engineers: Mark Lewis and Tue Madsen.
| ADD TO CARTThe Death & Darkness SDX merges two world-class studios with two of today’s most in-demand modern metal producers: Mark Lewis (Cannibal Corpse, Whitechapel, Coal Chamber) and Tue Madsen (Meshuggah, Behemoth, Hatesphere). Combined, it gives you a truly diverse and all-encompassing collection of drums designed to cater to any facet of today’s fragmented scene – from the most brutal, blast beat-ridden and breakneck-speed death metal to hard-hitting metalcore, hardcore and all the fusion-inspired hybrids of progressive metal.
The SDX was configured as two separate libraries, one for each studio. The ‘Death’ portion of the SDX was recorded by Mark Lewis at his choice studio, the Sonic Ranch in Tornillo, Texas. The Ranch’s perfectly crafted Vincent van Haaff-designed main room offers second-to-none acoustics – pristine and distinct but still dense and with a warm, resonant and balanced natural reverb. To contrast, the ‘Darkness’ part of the SDX offers a completely different experience – a darker, less polished and more raw-natured tone of drums. It was recorded in the empty swimming pool in Tue’s longtime and much-legendary Antfarm Studio in Aarhus, Denmark. With the reflective surface of the hard tile walls and floor in the pool combined with the surrounding room’s brick structure and high ceiling, the ambience of this unique room heard on countless albums is unlike any other.
Welcome to two studios, two schools of modern engineering and an almost insurmountable amount of drums ready for you to hone, mold and shape to literally anything you can imagine sound-wise. Get ready to produce drum mixes that have the power to pierce and cut through any thick wall of guitars or extremely layered production.
From a blazing hot Tornillo, Texas, to a freezing cold Aarhus, Denmark! Meet the team and get a glimpse of what happened behind the scenes during the these two sessions at opposite sides of the Atlantic. Welcome to the making of the Death & Darkness SDX and the Sonic Ranch and Antfarm studios.
Welcome to two studios on opposite side of the Atlantic: the Sonic Ranch and Antfarm.
By the sheer look of this regular two-story house in the suburban outskirts of Aarhus, Denmark, you wouldn’t guess that behind its modest facade is a studio where countless metal classics have been immortalized. At the helm was and has always been the biggest mojo of the place – Tue Madsen. We were lucky to capture his unique room before he just recently moved to a new location.
NOTABLE METAL MOMENTS.
Here is a small selection of albums tinted by that unmistakable Tue Madsen and Antfarm mojo ever-so-present in the ‘Darkness’ sound library.
Heaven Shall Burn “Invictus” (2010)
Sick of It All “XXV Nonstop” (2011)
The Haunted “Unseen” (2011)
“The whole pool/studio thing started mostly by accident. I had a much smaller studio back then that I re-arranged so I didn’t have a drum room anymore and therefore nowhere to put my drum kit…and since the pool was empty I just put it there. One day I thought I would set it up for my son to play with and when I hit that bass drum the first time it was the most amazing feeling. It sounded like every Scorpions/Bon Jovi ’80s record played at the same time. Huge stadium sound! I started to talk about it to a few of my friends and did a short test recording for a local hardcore band, which was in theory a horrible idea, but turned out pretty awesome sounding. From there the idea was taking form. My friend Alex from Heaven Shall Burn liked the idea so much that he wanted to record the drums for the band’s next album “Invictus” in it, and the first album was recorded. The studio wasn’t even in the same building, so we had to open a window and run a multi cable down the stairs outside through the door to do the recording. It was a mess, but the sound was amazing. In fact. we also did the next album “Veto” there. Since then, many albums were recorded using the pool as a drum room: The Haunted, Moonspell, Sick of It All, HateSphere, Illdisposed, Ektomorf, Mnemic, Cataract, Born from Pain, Velvet Volume, The Boy That Got Away, I’ll Be Damned. The pool gives you a very hard and aggressive attack, but can also provide a much softer “wishy-washy” sound if you play with the room microphones. It has been a constant inspiration over the years. Due to the measurements of the room, some frequencies get crazy and can be used to get some extreme sounds. I always had a set of Røde NT 1000 mics in the corners behind the drum kit, and if you ever wanted 49 Hz on your drums – that was where to get it.”
Tue Madsen
In the midst of pecan orchards, grape vines and breathtaking panoramas, the Sonic Ranch has a truly a one-of-a-kind setting for a recording studio. Bordering the Rio Grande and Old Mexico, located on a a 2,300 acre secluded property, this is not just a place to record, it’s a place to create.
“Sonic Ranch has been one of my favorite places to work since I first did a record there. It’s one of the world’s premiere studios with the best gear, incredible rooms and the most focused and inspiring work environment I’ve ever been in. From the equipment to the people and the food to the vibe, it was a no-brainer to create this important project there. I am thrilled with the results,” commented Mark Lewis.
NOTABLE METAL MOMENTS.
Here are just some of the albums on which you can hear the sonic fingerprint of the Sonic Ranch.
Bullet for My Valentine “Scream Aim Fire” (2008)
DevilDriver “Beast” (2011)
Cannibal Corpse “Torture” (2012)
The Sonic Ranch is the world’s largest residential recording studio complex (the property is 2,300 acres!)
The ‘Neve Room’ (in which we recorded) has the largest Neve console in the world (80 channels of 31105 mic pre/EQs and flying faders). The left hand side of this vintage Neve 8078 was the original West Coast Motown console. It later found its home in Madonna’s “Brooklyn” studio. The console has since been combined with another 8078 and now permanently resides at the Sonic Ranch.
There are over 80 guitars available in the studios, all labeled by year. Some notable guitars include a 1951 Fender Nocaster as well as a Gibson Les Paul Goldtop (that was previously owned by G.E. Smith).
The drums for each session were handpicked respectively by Mark and Tue together with the Toontrack team. The aim was to supply the broadest possible palette of tones and difference in materials. In addition to the regular kits and cymbal collections, a large selection of additional instruments were recorded.
*All other manufacturers’ product names are trademarks of their respective owners, which are in no way associated or affiliated with Toontrack. See full notice here.
Brand: Yamaha*
Model: Recording Custom 1980s
Shell construction: Six-ply birch
Finish: Stage White
Tool recorded: Vater 5B Hand Selected Hickory drumsticks
Size: 16x22″
Brand: Yamaha*
Model: Recording Custom
Tools: Pedal (Felt)
Size: 5.5x14″
Brand: Mapex*
Model: Black Panther Steel
Tools: Sticks
Size: 9x10″
Brand: Yamaha*
Model: Recording Custom
Tools: Sticks
Size: 10x12″
Brand: Yamaha*
Model: Recording Custom
Tools: Sticks
Size: 11x13″
Brand: Yamaha*
Model: Recording Custom
Tools: Sticks
Size: 14x14″
Brand: Yamaha*
Model: Recording Custom
Tools: Sticks
Size: 16x16″
Brand: Yamaha*
Model: Recording Custom
Tools: Sticks
Size: 15″
Brand: Paiste*
Model: Signature Traditional Medium Light
Tools: Sticks
Size: 16″
Brand: Paiste*
Model: 2002 Red Label
Tools: Sticks
Size: 17″
Brand: Paiste*
Model: 2002 Red Label
Tools: Sticks
Size: 17″
Brand: Zildjian*
Model: A Medium Thin Crash
Tools: Sticks
Size: 18″
Brand: Paiste*
Model: 2002 Red Label
Tools: Sticks
Size: 20″
Brand: Paiste*
Model: 2002 Red Label
Tools: Sticks
Size: 8″
Brand: StringSite
Model: Fire Series
Tools: Sticks
Size: 8″
Brand: StringSite
Model: Windhammered
Tools: Sticks
*All other manufacturers’ product names are trademarks of their respective owners, which are in no way associated or affiliated with Toontrack. See full notice here.
*All other manufacturers’ product names are trademarks of their respective owners, which are in no way associated or affiliated with Toontrack. See full notice here.
Brand: Slingerland (with additional rack toms from Pearl and Premier*)
Model: Chrome over Wood 1970s
Shell construction: Chrome over three-ply maple with reinforcement rings
Shell finish: Chrome
Tool recorded: Vater 5B Hand Selected Hickory drumsticks
Size: 14x26″
Brand: Slingerland*
Model: Chrome over Wood 70s
Tools: Pedal (Felt)
Size: 6.5x14″
Brand: Ludwig*
Model: Black Beauty Brass
Tools: Sticks
Size: 9x13″
Brand: Slingerland*
Model: Chrome over Wood 70s
Tools: Sticks
Size: 16x16″
Brand: Slingerland*
Model: Chrome over Wood 70s
Tools: Sticks
Size: 16x18″
Brand: Slingerland*
Model: Chrome over Wood 70s
Tools: Sticks
Size: 14″
Brand: StringSite
Model: Stringsite* Fire Series
Tools: Sticks
Size: 20″
Brand: StringSite
Model: Black Dust Medium Heavy
Tools: Sticks
Size: 16″
Brand: StringSite
Model: Windhammered
Tools: Sticks
Size: 17″
Brand: Istanbul*
Model: Agop Xist
Tools: Sticks
Size: 18″
Brand: Paiste*
Model: Giant Beat
Tools: Sticks
Size: 18″
Brand: Paiste*
Model: 2002 Red Label (chipped)
Tools: Sticks
Size: 18″
Brand: StringSite
Model: Medium Heavy Ride
Tools: Sticks
Size: 8″
Brand: StringSite
Model: Fire Series
Tools: Sticks
Size: 8″
Brand: StringSite
Model: Windhammered
Tools: Sticks
Size: 18″
Brand: Paiste*
Model: Signature Thin
Tools: Sticks
*All other manufacturers’ product names are trademarks of their respective owners, which are in no way associated or affiliated with Toontrack. See full notice here.
*All other manufacturers’ product names are trademarks of their respective owners, which are in no way associated or affiliated with Toontrack. See full notice here.
Brand: Pearl*
Model: Masters Premium Legend
Shell construction: Six-ply maple
Shell finish: Black
Tool recorded: Vater 5B Hand Selected Hickory drumsticks
Size: 18x22″
Brand: Pearl*
Model: Masters Premium Legend
Tools: Pedal (Felt)
Size: 6.5x14″
Brand: Pearl*
Model: SensiTone Custom Alloy Steel
Tools: Sticks
Size: 8x10″
Brand: Pearl*
Model: Masters Premium Legend
Tools: Sticks
Size: 9x12″
Brand: Pearl*
Model: Masters Premium Legend
Tools: Sticks
Size: 14x14″
Brand: Pearl*
Model: Masters Premium Legend
Tools: Sticks
Size: 16x16″
Brand: Pearl*
Model: Masters Premium Legend
Tools: Sticks
Size: 15″
Brand: Paiste*
Model: Signature Traditional Medium Light
Tools: Sticks
Size: 20″
Brand: Paiste*
Model: 2002 Red Label
Tools: Sticks
Size: 16″
Brand: Paiste*
Model: 2002 Red Label
Tools: Sticks
Size: 17″
Brand: Paiste*
Model: 2002 Red Label
Tools: Sticks
Size: 17″
Brand: Zildjian*
Model: A Medium Thin Crash
Tools: Sticks
Size: 18″
Brand: Paiste*
Model: 2002 Red Label
Tools: Sticks
Size: 8″
Brand: StringSite
Model: Fire Series
Tools: Sticks
Size: 8″
Brand: StringSite
Model: Windhammered
Tools: Sticks
Size: 18″
Brand: Paiste*
Model: Signature Thin
Tools: Sticks
*All other manufacturers’ product names are trademarks of their respective owners, which are in no way associated or affiliated with Toontrack. See full notice here.
*All other manufacturers’ product names are trademarks of their respective owners, which are in no way associated or affiliated with Toontrack. See full notice here.
Brand: Tama*
Model: Starclassic Performer EFX
Shell construction: Birch ply
Shell finish: Champagne sparkle
Tool recorded: Vater 5B Hand Selected Hickory drumsticks
Size: 18x22″
Brand: Tama*
Model: Starclassic Performer EFX
Tools: Pedal (Felt)
Size: 5.5x14″
Brand: Tama*
Model: Swingstar Steel
Tools: Sticks
Size: 8x10″
Brand: Tama*
Model: Starclassic Performer EFX
Tools: Sticks
Size: 9x12″
Brand: Tama*
Model: Starclassic Performer EFX
Tools: Sticks
Size: 16x16″
Brand: Tama*
Model: Starclassic Performer EFX
Tools: Sticks
Size: 16x18″
Brand: Tama*
Model: Starclassic Performer EFX
Tools: Sticks
Size: 14″
Brand: StringSite
Model: Stringsite* Fire Series
Tools: Sticks
Size: 17″
Brand: Istanbul*
Model: Agop Xist
Tools: Sticks
Size: 17″
Brand: Zildjian*
Model: A Medium Thin Crash
Tools: Sticks
Size: 18″
Brand: Paiste*
Model: Giant Beat
Tools: Sticks
Size: 18″
Brand: Paiste*
Model: 2002 Red Label (chipped)
Tools: Sticks
Size: 10″
Brand: StringSite
Model: Fire Series
Tools: Sticks
Size: 10″
Brand: StringSite
Model: Black Dust
Tools: Sticks
Size: 20″
Brand: Paiste*
Model: 2002 Red Label
Tools: Sticks
*All other manufacturers’ product names are trademarks of their respective owners, which are in no way associated or affiliated with Toontrack. See full notice here.
*All other manufacturers’ product names are trademarks of their respective owners, which are in no way associated or affiliated with Toontrack. See full notice here.
Brand: DW
Model: Collectors Maple Standard
Shell construction: Six-ply maple
Shell finish: Black
Tool recorded: Vater 5B Hand Selected Hickory drumsticks
Size: 16x24″
Brand: DW
Model: Collectors Maple Standard
Tools: Pedal (Felt)
Size: 6.5x14″
Brand: DW
Model: Collectors Brass
Tools: Sticks
Size: 8x10″
Brand: DW
Model: Collectors Maple Standard
Tools: Sticks
Size: 9x12″
Brand: DW
Model: Collectors Maple Standard
Tools: Sticks
Size: 14x14″
Brand: DW
Model: Collectors Maple Standard
Tools: Sticks
Size: 16x16″
Brand: DW
Model: Collectors Maple Standard
Tools: Sticks
Size: 14″
Brand: Paiste*
Model: 2002 Medium Red Label
Tools: Sticks
Size: 16″
Brand: Paiste*
Model: 2002 Red Label
Tools: Sticks
Size: 17″
Brand: Paiste*
Model: 2002 Red Label
Tools: Sticks
Size: 17″
Brand: Zildjian*
Model: A Medium Thin Crash
Tools: Sticks
Size: 18″
Brand: Paiste*
Model: 2002 Red Label
Tools: Sticks
Size: 8″
Brand: StringSite
Model: Fire Series
Tools: Sticks
Size: 8″
Brand: StringSite
Model: Windhammered
Tools: Sticks
Size: 20″
Brand: Paiste*
Model: 2002 Red Label
Tools: Sticks
*All other manufacturers’ product names are trademarks of their respective owners, which are in no way associated or affiliated with Toontrack. See full notice here.
*All other manufacturers’ product names are trademarks of their respective owners, which are in no way associated or affiliated with Toontrack. See full notice here.
Brand: Ludwig
Model: Classic maple
Shell construction: Six-ply maple
Shell finish: Black sparkle
Size: 16×22”
Batter head: Remo Powerstroke P3
Front head: Ludwig Factory w/ 6” hole
Beater: Felt
Also available as a separately recorded ’Damped’ option
Brand: Ludwig
Model: Classic maple
Shell construction: Six-ply maple
Shell finish: Black sparkle
Size: 14×26”
Batter head: Remo Ambassador
Front head: Generic Clear w/ 11” hole
Beater: Felt
Brand: Ludwig
Model: Stainless Steel 1970s
Shell construction: Stainless steel
Shell finish: Stainless steel
Size: 14×24”
Batter head: Remo Ambassador
Front head: Generic Clear w/ 11” hole
Beater: Felt
Also available with a separately recorded ‘Alt. Miking’ version
Brand: Premier
Model: Olympic
Shell construction: Three-ply mahogany with reinforcement rings
Shell finish: Checker plate wrap
Size: 16×22”
Batter head: Remo Powerstroke P3
Front head: Generic w/ 8” hole
Beater: Felt
Brand: Yamaha
Model: Recording Custom Brass
Shell construction: Brass
Shell finish: Lacquered brass
Size: 6.5×13”
Batter head: Evans Hybrid Coated
Resonance head: Remo Ambassador Hazy
Brand: Yamaha
Model: Piccolo Brass
Shell construction: Brass
Shell finish: Lacquered brass
Size: 3.5×14”
Batter head: Remo Emperor X Coated
Resonance head: Evans 300 SNARE Side
Brand: Pearl
Model: Sensitone Custom Alloy Steel
Shell construction: Chrome over steel
Shell finish: Chrome
Size: 6.5×14”
Batter head: Remo Emperor X Coated
Resonance head: Remo Ambassador Hazy
Brand: Pearl
Model: Free Floating Piccolo Steel
Shell construction: Steel
Shell finish: Matt black lacquer
Size: 3.5×14”
Batter head: Evans Genera Dry
Resonance head: Remo Ambassador Hazy
Brand: Ludwig
Model: LM400 Supraphonic
Shell construction: Chrome over Ludalloy
Shell finish: Chrome
Size: 5×14”
Batter head: Remo Ambassador Coated
Resonance head: Remo Ambassador Hazy
Brand: Paiste
Model: Signature Traditionals Medium Light
Size: 15”
Brand: Zildjian
Model: A Medium Thin
Size: 17”
*All other manufacturers’ product names are trademarks of their respective owners, which are in no way associated or affiliated with Toontrack. See full notice here.
*All other manufacturers’ product names are trademarks of their respective owners, which are in no way associated or affiliated with Toontrack. See full notice here.
Brand: Sonor*
Model: Designer Series
Shell construction: Birch (9-12-ply depending on drum size)
Shell finish: Gloss yellow lacquer
Tools recorded: Regal Tip Naked 5A X Series by Calato drumsticks (hi-hat and ride)
and Vic Firth American Classic 5B drumsticks (the rest)
Size: 16x24″
Brand: Sonor*
Model: Designer Series Birch
Tools: Pedal (Wood)
Size: 6.5x14″
Brand: Tama*
Model: Bell Brass
Tools: Sticks
Size: 8x8″
Brand: Sonor*
Model: Designer Series Birch
Tools: Sticks
Size: 9x10″
Brand: Sonor*
Model: Designer Series Birch
Tools: Sticks
Size: 10x12″
Brand: Sonor*
Model: Designer Series Birch
Tools: Sticks
Size: 16x14″
Brand: Sonor*
Model: Designer Series Birch
Tools: Sticks
Size: 16x16″
Brand: Sonor*
Model: Designer Series Birch
Tools: Sticks
Size: 15″
Brand: Zildjian*
Model: K Custom Special Dry
Tools: Sticks
Size: 22″
Brand: Zildjian*
Model: K Dark Medium Ride
Tools: Sticks
Size: 18″
Brand: Zildjian*
Model: A Custom Crash
Tools: Sticks
Size: 18″
Brand: Zildjian*
Model: A Custom Fast Crash
Tools: Sticks
Size: 19″
Brand: Zildjian*
Model: A Custom Crash
Tools: Sticks
Size: 8″
Brand: Zildjian*
Model: A Custom Splash
Tools: Sticks
Size: 10″
Brand: Zildjian*
Model: A Custom Splash
Tools: Sticks
Size: 18″
Brand: Meinl*
Model: Byzance China
Tools: Sticks
Size: 19″
Brand: Zildjian*
Model: A Ultra Hammered China
Tools: Sticks
*All other manufacturers’ product names are trademarks of their respective owners, which are in no way associated or affiliated with Toontrack. See full notice here.
*All other manufacturers’ product names are trademarks of their respective owners, which are in no way associated or affiliated with Toontrack. See full notice here.
Brand: Gretsch*
Model: USA Custom 1980s Square Badge
Shell construction: Six-ply maple/gumwood (Jasper shells)
Shell finish: Burnt orange
Tool recorded: Vic Firth American Classic 5B Drumsticks
Size: 16x24″
Brand: Gretsch*
Model: Square Badge 1980s
Tools: Pedal (Wood)
Size: 6.5x14″
Brand: Tama*
Model: Bell Brass 1980s
Tools: Sticks
Size: 8x10″
Brand: Gretsch*
Model: Square Badge 1980s
Tools: Sticks
Size: 10x12″
Brand: Gretsch*
Model: Square Badge 1980s
Tools: Sticks
Size: 12x14″
Brand: Gretsch*
Model: Square Badge 1980s
Tools: Sticks
Size: 14x16″
Brand: Gretsch*
Model: Square Badge 1980s
Tools: Sticks
Size: 16x18″
Brand: Gretsch*
Model: Stop Sign Badge 1981
Tools: Sticks
Size: 14″
Brand: Zildjian*
Model: K Custom Session
Tools: Sticks
Size: 22″
Brand: Zildjian*
Model: K Dark Medium Ride
Tools: Sticks
Size: 18″
Brand: Zildjian*
Model: A Custom Crash
Tools: Sticks
Size: 18″
Brand: Zildjian*
Model: A Custom Fast Crash
Tools: Sticks
Size: 19″
Brand: Zildjian*
Model: A Custom Crash
Tools: Sticks
Size: 8″
Brand: Zildjian*
Model: A Custom Splash
Tools: Sticks
Size: 10″
Brand: Zildjian*
Model: A Custom Splash
Tools: Sticks
Size: 17″
Brand: Zildjian*
Model: K Custom Dark China
Tools: Sticks
Size: 19″
Brand: Zildjian*
Model: A Ultra Hammered China
Tools: Sticks
*All other manufacturers’ product names are trademarks of their respective owners, which are in no way associated or affiliated with Toontrack. See full notice here.
*All other manufacturers’ product names are trademarks of their respective owners, which are in no way associated or affiliated with Toontrack. See full notice here.
Size: 18x22″
Brand: Yamaha*
Model: Recording Custom 1990s
Tools: Pedal (Wood)
Size: 6.5x14″
Brand: DrumCraft
Model: Drumcraft* Bell Brass
Tools: Sticks
Size: 9x10″
Brand: Yamaha*
Model: Recording Custom 1990s
Tools: Sticks
Size: 10x12″
Brand: Yamaha*
Model: Recording Custom 1990s
Tools: Sticks
Size: 12x14″
Brand: Yamaha*
Model: Recording Custom 1990s
Tools: Sticks
Size: 14x16″
Brand: Yamaha*
Model: Recording Custom 1990s
Tools: Sticks
Size: 16x18″
Brand: Yamaha*
Model: Recording Custom 1990s
Tools: Sticks
Size: 15″
Brand: Meinl*
Model: Byzance Medium
Tools: Sticks
Size: 20″
Brand: Zildjian*
Model: K Custom Ride
Tools: Sticks
Size: 17″
Brand: Zildjian*
Model: K Dark Thin Crash
Tools: Sticks
Size: 18″
Brand: Meinl*
Model: Byzance Medium Thin Crash
Tools: Sticks
Size: 19″
Brand: Meinl*
Model: Byzance Medium Thin Crash
Tools: Sticks
Size: 8″
Brand: Paiste*
Model: Signature Splash
Tools: Sticks
Size: 12″
Brand: Zildjian*
Model: K Custom Dark Splash
Tools: Sticks
Size: 18″
Brand: Meinl*
Model: Byzance China
Tools: Sticks
Size: 18″
Brand: Paiste*
Model: Signature Heavy China
Tools: Sticks
*All other manufacturers’ product names are trademarks of their respective owners, which are in no way associated or affiliated with Toontrack. See full notice here.
*All other manufacturers’ product names are trademarks of their respective owners, which are in no way associated or affiliated with Toontrack. See full notice here.
Brand: Gretsch
Model: USA Custom 1980s Square Badge
Shell construction: Six-ply maple/gumwood (Jasper shells)
Shell finish: Black
Size: 14×24”
Batter head: Remo Powerstroke 3
Front head: Gretsch Factory w/ 6” hole
Tuning: Medium
Beater: Wood
Brand: Gretsch
Model: USA Custom 1980s Square Badge
Shell construction: Six-ply maple/gumwood (Jasper shells)
Shell finish: Black
Size: 14×24”
Batter head: Remo Powerstroke 3
Front head: Gretsch Factory w/ 6” hole
Tuning: Medium (slightly higher than Kick 1)
Beater: Wood
Brand: DW
Model: Collectors Steel
Shell construction: Chrome over steel
Shell finish: Chrome
Size: 6.5×14”
Batter head: Remo Ambassador X14
Resonance head: Evans 300 Snare Side
Brand: Sonor
Model: Artist Series Cast Bronze
Shell construction: 3 mm cast bronze
Shell finish: Lacquered Bronze, black hardware
Size: 6×14”
Batter head: Remo Controlled Sound Coated Black Dot
Resonance head: Remo Ambassador Hazy
Brand: Dunnett
Model: Cast Iron
Shell construction: Cast iron
Shell finish: Aged iron
Size: 7×13”
Batter head: Remo Emperor Coated
Resonance head: Remo Ambassador Hazy
Brand: Ludwig
Model: Black Beauty
Shell construction: Black nickel over spun brass
Shell finish: Black nickel
Size: 6.5×14”
Batter head: Remo Controlled Sound Coated Black Dot
Resonance head: Remo Ambassador Hazy
Also available as a separately recorded ‘High Tuned’ option
Brand: Yamaha
Model: Brass Piccolo
Shell construction: Seamless brass
Shell finish: Lacquered brass
Size: 3.5×14”
Batter head: Remo Controlled Sound Coated Black Dot
Resonance head: Remo Diplomat Hazy
Brand: Zildjian
Model: K Custom Session
Size: 14”
Brand: Yamaha
Model: Recording Custom 1990s
Shell construction: Six-ply birch
Shell finish: Deep aqua
Size: 8×8”
Batter head: Remo Emperor Clear
Resonance head: Remo Ambassador Clear
Brand: Zildjian
Model: A Custom
Size: 20”
*All other manufacturers’ product names are trademarks of their respective owners, which are in no way associated or affiliated with Toontrack. See full notice here.
Tue produced his first record in 1997 and hasn’t looked back since. With a production style that is distinctly personal, organic and with a strong pathos for musical vision, he’s helped shape the sound on anything from seminal hardcore classics to modern metal masterpieces.
You have been making records for 20+ years and recorded anything from rock to punk, hardcore and extreme metal. Is there any genre you prefer over the other?
I prefer to make music over anything else, genre is not important to me. Electronic, hip-hop, metal, pop. I do think there should be more punk in everything. Some dirt in the machinery to make the whole picture we are painting more real and pretty. I am amazed at how real the drums sound here but also know it is because everything was played by humans and kept the way the humans played it.
In a mix, where do you usually start: the drums, guitars, vocals or something else?
I always start with the drums. Get the whole kit up and going, but I quickly move on to bass, then guitars and even vocals – because when a new instrument is introduced in the mix, it changes everything else and then I need to go back and change those I already worked on… It is kind of like trying to get balance while standing on small ice flakes in the water – maintain your cool so you don’t fall in…and when all the elements have been brought to their right place, I can finally stand securely and enjoy the view…. Am I making ANY sense here?
You are a big believer of bands actually playing live in the studio, which is somewhat rare in this day and age. What do you think it adds to a song or an album?
Even when it is not the whole band playing live, I try to keep the live feeling. Let people play rather than me programming and beat detecting and copy pasting… I believe all that dirt that occurs helps to build something unique and special that will never be the same for any other record. And making unique records is what it is all about. Bringing out something that only THIS band could do right now.
You recently moved out of your studio and one of the last sessions was actually capturing the drums for this Toontrack SDX. Why did you move and where do you currently work?
The Toontrack session was the very last one! I cut the multi-cable the day after they left, so no turning back. I wanted to move to the country for years now and we (family included) finally found the perfect house. This whole summer I have been building a new studio. I already did a few productions and I am very pleased with how it is sounding and now I still have the pool with me forever thanks to Toontrack. In fact those sounds are already on a few albums that are going to hit the charts very soon all around the world.
If you weren’t making albums, what do you think you’d do for a living?
Well the house we bought came with a huge garden, so I guess I would be cutting trees and mowing lawns… No actually I have no idea. I would feel completely useless if I couldn’t record drums and guitars anymore. I have to make music with good people.
The pool is your previous studio has a really unique ambience when it comes to drum tones. Listening back to the SDX sounds, what are your thoughts of how it translated to the “digital” realm?
I was really shocked at how much it sounded like the real thing when I got the first draft of the plugin. First hit on a cymbal or tom and I am right back there in the pool. It sounds exactly like I have gotten used to over the years. I hope people will enjoy getting sounds out of it too.
Best studio moments so far in your career?
Best studio moments…are simply too many. Being one of the first fans of Meshuggah, of course recording them at PUK studio was incredible not only for me as a fan boy, but also because those guys can play and are aware of so many things that influence the way the finals will sound. Mixing the Metal God (Rob Halford) was incredible. Working with the greatest Hardcore bands Sick of It All, Madball, BillyBio etc. and feeling that it is mutual. I think that is really the big moment for me – when the bands are as happy with me as I am with them, and we strive for the same goal AND reach it. I have some lifetime relationships with some bands such as Ektomorf, Heaven Shall Burn, Moonspell etc. where grow together, change together, explore together. That is really fulfilling for me.
Born from Pain “Sands of Time” (2003)
Sick of It All “Death to Tyrants” (2006)
Suicide Silence “The Cleasing” (2007)
Dark Tranquillity “We Are the Void” (2010)
Meshuggah “A Violent Sleep of Reason” (2016)
Mark Lewis is originally from the Southern Maryland area but spent a big portion of his recording career in Orlando, FL, working out of Audiohammer Studios. Today, he has relocated to Nashville, TN, and works in studios all over the world as well as from his own room.
How did you get started in the business and how come you ended up behind the console as opposed to on stage?
I was always fascinated with how things sounded once i started playing guitar. Growing up, my dad had a pretty amazing stereo system with some old JBL 4311 studio monitors as his main setup. I would listen to his records all the time and eventually, they started buying me my own at a pretty young age. Once I really started getting serious about guitar, I got deeper and deeper into how things sounded and how those things were achieved. Between my dad pointing things out to me and my guitar teachers really schooling me on production and tones, I really got deep into the audio world pretty early. I would spend hours tweaking my amps and trying all kinds of different things. I would probably have been a much better guitar player if I hadn’t been so fascinated with audio! In reality, I always wanted to be a performer, but when people started noticing how seriously I took sounds I sort of became the person they would go to about tones and recording advice. I figured out I could actually make a living doing this instead of relying on four or five other crazy people to keep a band together. So far it’s worked out OK, I think.
There are tons of engineers and producers out there doing records with mid-sized bands, but only a handful of go-to, A-level guys producing the bulk of what’s topping the US modern metal scene. You’re definitely one of them. Is there a specific moment or project that helped push you on to the next level?
Well, I was lucky to start engineering under my super-talented best bud Jason Suecof, and from the moment I started at Audiohammer we were working on some really cool stuff. I would say the records that really put us on the map as a team sonically were Bury Your Dead’s “Beauty and the Breakdown” as well as Black Dahlia Murder’s “Nocturnal. Those were the early landmarks that sort of blazed my trail, I suppose.
If you weren’t producing records, what would you do?
Good question. I don’t really know anything else. I taught guitar before I did this, and I liked it. But I didn’t get the same satisfaction as I do from this. If I had to start over, I think maybe I would get into electronics of some sort. My knowledge now is so limited, but it really fascinates me.
In a mix, where do you usually start: the drums, guitars, vocals or something else?
I usually start with the drums, getting those right. The snare, overheads and toms usually take the longest to sit right. I have a very rough guitar and bass mix going that whole time too and once I feel good about the drums, I move onto the guitars and bass. I’ve been known to take days dialing in a guitar sound and EQ. It gets tedious beyond even what most people would think or tolerate.
Listening back to the drums now that they’re done and prepared for the software, how do you think it all turned out?
I couldn’t be happier with the raw tones. We have a huge variety of drums and mics that will allow you to achieve pretty much anything with these kits. The thing I can’t stress enough is the flexibility here. You have great presets in the EZX that are mix-ready and will sound killer dropped right into a mix and then on the SDX you get the presets and all the raw tones. There are four different kick mics, three snare mics, two different stereo overheads, three sets of stereo rooms at varying distances, four different mono room mics and a mic on every cymbal. Not to mention four different kits, nine kicks and loads of snares. The possibilities are endless and there is an infinite variety of incredible sounds within this library. Between Sean’s hands and Toontrack’s attention to detail, it feels like the most real of any library I’ve ever heard.
Whitechapel “This Is Exile” (2008)
DevilDriver “Winter Kills” (2013)
Six Feet Under “Undead” (2012)
Cannibal Corpse “A Skeletal Domain” (2014)
Coal Chamber “Rivals” (2015)
Watch and hear Mark and Tue go over their respective microphone positioning philosophies for the ‘Death’ and ‘Darkness’ libraries.
A thorough walkthrough of all the different channels available in the mixer for each library.
| CHANNEL | MICROPHONE | PRE-AMP(S) |
| Kick In | Sennheiser E602 II | Midas Golden age Pre 573, EQ 573 |
| Kick Out | Sennheiser E902 | Midas Golden age Pre 573, EQ 573 |
| Snare Top | Sure sm57 | Midas Golden age Pre 73DLX, EQ 81 |
| Snare Bottom | Sennheiser 421 | Midas Golden age Pre 573, EQ 573 |
| Tom 1 | SoundKing (SKED004) | Midas Golden age Pre 573, EQ 573 |
| Tom 2 | SoundKing (SKED004) | Midas Golden age Pre 573, EQ 573 |
| Tom 3 | SoundKing (SKED004) | Midas Golden age Pre 573, EQ 573 |
| Tom 4 | SoundKing (SKED004) | Midas Golden age Pre 573, EQ 573 |
| Tom 5 | SoundKing (SKED004) | Midas Golden age Pre 573, EQ 573 |
| Tom 6 | SoundKing (SKED004) | Midas Golden age Pre 573, EQ 573 |
| Ride | Oktava MC 012 | TL Audio M3 Tube tracker |
| Splash | Oktava MC 012 | TL Audio M3 Tube tracker |
| Hi-Hat | Oktava MC 012 | TL Audio M3 Tube tracker |
| OH Right | Ehrlund EHR-E | Focusrite ISA 828 |
| OH Center | Ehrlund EHR-E | Focusrite ISA 828 |
| OH Left | Ehrlund EHR-E | Focusrite ISA 828 |
| Amb Ribbon Front Right | T.Bone RB-500 | Focusrite ISA 828 |
| Amb Ribbon Front Left | t.bone RB-500 | Focusrite ISA 828 |
| Amb Ribbon Back Right | t.bone RB-100 | Focusrite ISA 828 |
| Amb Ribbon Back Left | Oktava MA-52 Modified | Focusrite ISA 828 |
| Amb C414 Right | AKG C414 XLII | TL Audio M3 Tube tracker |
| Amb C414 Left | AKG C414 XLII | TL Audio M3 Tube tracker |
| Amb Rode Right | Rode NT-1000 MKI | TL Audio M3 Tube tracker |
| Amb Rode Left | Rode NT-1000 MKI | TL Audio M3 Tube tracker |
| Amb Tube Right | SoundKing SKEA001 | Joemeek VC6Q Brittish Channel strip |
| Amb Tube Left | SoundKing SKEA001 | Joemeek VC6Q Brittish Channel strip |
| Amb Kik Mono | MXL 770 kondensator | TL Audio M3 Tube tracker |
| Amb Over Mono | Ehrlund EHR-M | Midas Golden age Pre 73 |
| CHANNEL | MICROPHONE | PRE-AMP | OUTBOARD |
| Kick 1 In 1 | Audix D6 | Neve 1081 | Pultech EQH-2 |
| Kick 1 In 2 | EU RE20 | Neve 8078 (31105) | |
| Kick 1 In 3 | Shure SM91 | Neve 8078 (31105) | |
| Kick 1 Out Sub | Yamaha Subkick | API-212L | |
| Kick 2 In 1 | Audix D6 | Neve 1081 | Pultech EQH-2 |
| Kick 2 In 2 | EU RE20 | Neve 8078 (31105) | |
| Kick 2 In 3 | Shure SM91 | Neve 8078 (31105) | |
| Kick 2 Out Sub | Yamaha Subkick | API-212L | |
| Snare Top | Telefunken M80 | API-212L | |
| Snare Top Alt | Neumann KM84 | API-212L | |
| Snare Bottom | Audix i5 | Neve 8078 (31105) | |
| Tom 1 Top | Sennheiser MD 421 | API-212L | API 550-A |
| Tom 1 Bottom | Sennheiser MD 421 | Neve 8078 (31105) | |
| Tom 2 Top | Sennheiser MD 421 | API-212L | API 550-B |
| Tom 2 Bottom | Sennheiser MD 421 | Neve 8078 (31105) | |
| Tom 3 Top | Sennheiser MD 421 | API-212L | API 550-B |
| Tom 3 Bottom | Sennheiser MD 421 | Neve 8078 (31105) | |
| Tom 4 Top | Sennheiser MD 421 | API-212L | API 550-B |
| Tom 4 Bottom | Sennheiser MD 421 | Neve 8078 (31105) | |
| Tom 5 Top | Sennheiser MD 421 | API-212L | API 550-B |
| Tom 5 Bottom | Sennheiser MD 421 | Neve 8078 (31105) | |
| Hi-Hat | AKG 451 KB | Neve 8078 (31105) | |
| Ride | AKG 451 KB | Neve 8078 (31105) | |
| Splash L | Audio Technica ATM 450 | Neve 8078 (31105) | |
| Splash R | Audio Technica ATM 450 | Neve 8078 (31105) | |
| OH L | AKG C451-E | Martech MSS-10 | Black Lion Audio White Sparrow ADC |
| OH R | AKG C451-E | Martech MSS-10 | Black Lion Audio White Sparrow ADC |
| OH Mono | AKG C451-E | Neve 8078 (31105) | |
| OH 2 L | Telefunken ELAM 251 | Neve 8078 (31105) | |
| OH 2 R | Telefunken ELAM 251 | Neve 8078 (31105) | |
| China L | Audio Technica ATM 450 | Neve 8078 (31105) | |
| China R | Audio Technica ATM 450 | Neve 8078 (31105) | |
| Room 1 L | Neumann M50 | Neve 8078 (31105) | |
| Room 1 R | Neumann M50 | Neve 8078 (31105) | |
| Room 2 L | Neumann U67 | Neve 8078 (31105) | |
| Room 2 R | Neumann U67 | Neve 8078 (31105) | |
| Room 3 L | AEA R88 | Neve 8078 (31105) | Maag Audio EQ4 |
| Room 3 R | AEA R88 | Neve 8078 (31105) | Maag Audio EQ4 |
| Mono 1 | Crown PZM | Neve 8078 (31105) | Empirical Labs EL7 Fatso Jr |
| Mono 2 | Crown PZM | Neve 8078 (31105) | Empirical Labs EL7 Fatso Jr |
To enable you to start making music right away, the Death & Darkness SDX includes in excess of 40 presets individually engineered by Mark Lewis, Tue Madsen and Toontrack.
In this video, you’ll get an overview of the preset content that comes with the product.
Mark’s collection of presets is based on the ‘Death’ part of the SDX and showcase an incredible width. “With the presets, I tried to give a good flavor of what I’ve done with drums throughout my career as well as deliver a variety of different sounds to cover needs from amateurs to pro. So the sounds may have been inspired by past albums, records I loved growing up, a certain subgene or something I was really feeling at the moment. The versatility of the product is almost indescribable, it’s so vast. I think everyone from rock to extreme metal will find this incredibly useful. There is everything from quick and tight to huge and roomy and everything in between,” commented Mark.
Tue’s presets are based on the ‘Darkness’ library and include anything from tight to more ambient-sounding mixes, all capturing the unique tone of the original Antfarm pool. “For the presets, I tried to get close to the original recordings and also did my best to make each one as different from the other as I could. For some, I got carried away with all the options and cool things I could change and mess around with, so sometimes I went off-road. What really amazed me was how recognizable the sound of the pool is. When I hear just one tom hit or cymbal, I instantly fly back in time to recording there. These presets are already a starting point and go-to for me now when I need to add something to mixes I am working on. Such a powerful tool, and I love that I now have my very own drums right at my fingertips,” commented Tue.
This selection of presets was produced by two of Toontrack’s most seasoned in-house engineers, Mattias Eklund (Toontrack co-founder and Head of Sound Design) and Martin Kristoffersson (Sound Design). In order to ensure that the preset content would work on the fly, all presets were engineered to stems of already mixed music. “We used a broad range of songs to mix to and came up with a very versatile selection. I’d say that there are presets that’ll cater to most walks of metal and heavy rock. The good thing about Superior Dummer 3, though, is that anyone can use these settings as a starting point and simply pick up where we left off,” commented Martin Kristoffersson.
Michel Svane is multi-genre drummer and an Aarhus local who was handpicked by Tue for this session.
“Michel is a drummer I have always been aware of. He’s a true powerhouse, mostly drumming for Danish hip-hop artist L.O.C., but also playing in various rock bands. He is also the most patient guy I know. Spending a week not breathing while waiting for the ride cymbal to die out is truly impressive!”
Tue Madsen
What’s your background and how come you ended up behind a drum kit?
I started playing the drums as 12 years old. Just a kid that did had no idea of what I wanted to do. Had no interests in sport or school. But one day I heard someone playing the drums in the music room at our school. And after that I spend every break running towards the music room and tried playing the drums. It was an amazing period! The feeling of finding out that you want to do with your life and going for it! A very special moment for me.
Ever since I’ve been focusing on music and drumming.
This is your first time sampling drums. Was it what you expected it to be like?
I was aware that it would be hardcore to record all the samples, but it was actually very meditative! 7 days, 12 hours a day in an empty swimming pool, just recording drums and cymbals and the art of being totally quiet while Tue was recoding. It was a bit crazy! But it had to be done and I’m very proud and happy about the result!
Tue handpicked you for this session…saying that he was always aware of you as a drummer and that you are a true powerhouse. How did your paths first cross and how are you familiar with Tue’s work?
I met Tue the first time, when I called him and asked him if he would be interested in mixing one of our songs (L.O.C.)
I have always been aware of him as one of the worlds best rock/heavy mixing engineers. Although I play in a hip-hop/rock act, I thought that it would be really cool to get Tue to do the mix! I think that Tue is an awesome guy and I’m looking forward to work with him again very soon!
To you, what defines a great drummer? Name a few that you think stand out in today’s scene (regardless of genre) and some that helped shape you as a drummer growing up and learning the instrument.
I think that the most important thing being a drummer in a band is that you have musical understanding – that the beats you play fit and help the song… A drummer should add energy and feeling and of course make some noise. Drummers I love and have inspired me getting into drumming and music are Dave Grohl (Nirvana), Philip Selway (Radiohead), Asger Techau (Kashmir) and Alan White (Oasis).
What is your relationship to drum software and e-drums?
I use it all the time! In my work as a producer and songwriter, I find it very easy and fast to get that real drum sound using e-drums! It’s very inspiring and innovative and I always use it as an inspiration to create new drum beats and drum patterns. Superior Drummer 3 is for me, when I am producing and writing, the most important tool for creating music in the box.
Double-pedal or double bass drums?
Double bass drums! But I prefer try playing those double strokes with one pedal.
Click track or no click track in your headphones live?
Click track. I love playing with click and have done it for the last 20 years. But only if there’s backtrack.
You can only keep one cymbal on your kit – which one?
I would probably choose a 19” or 20” crash. It can be used both as a ride and crash.
Club gig or festival – what do you prefer?
I love both! But I would prefer club gigs. It’s more intimate and people are coming for you and your music.
Dream team band (with you on the drums!)
Thom Yorke (Radiohead), vocals and guitars
Chris Martin (Coldplay), piano and vocals
Krist Novoselic (Nirvana), bass
Richard Z Kruspe (Rammstein), guitar
Jon Hopkins (Jon Hopkins), keys
Sean Reinert is regarded as one of the most influential drummers of all time and a pioneer of the “technical death metal” genre.
“Sean is a legend – a true innovator of the genre in both musical output and sound. I knew he would be perfect for this because he’s a true musician, and his hands sound amazing. He understands the dynamics of the drum from 0 to 127 and I think we made the most realistic library because of it. Not to mention he’s played on a couple of my favorite albums of all time.”
Mark Lewis
What’s your background and how come you ended up behind a drum kit?
Ever since I can remember, I was always interested/engaged by music. I started out playing piano at age seven when my mom finally got me a piano. Soon after I began to feel the urge to branch out. At age ten I started playing drums. Drums just made sense to me – after all I had already been playing a percussion instrument (piano) for three years. When I was 15 I auditioned and was accepted into New World School of the Arts (NWSA) in Miami, which was a performing arts high school where I also graduated. From there on there was no turning back.
Your drumming with Death and Cynic is widely acknowledged as having established the “tech death metal” genre. Looking back, how did this all come about? It’s a pretty unique style that differed a lot from what was going on back then in the early 1990s.
This new hybrid style was basically the product of the different styles that I was exposed to throughout my musical studies. I was really into jazz/fusion, classical/20th century, electronic and world music. So I was naturally taking bits and pieces from those styles and incorporating them into my style. At the time, it just seemed obvious to me that there was plenty of room in the extreme metal drumming category for some technique upgrading. It was pretty unconscious to be honest.
What is your relation to death metal and the metal scene today?
I still get hired to play and record in my so called signature “Reinert” style. It’s kind of been the shadow I can’t escape (which is fine by me). It’s actually quite humbling to still get drummers asking about me and getting inspiration from some of the recordings and performances I have made over the years. It will always be a part of me and my legacy.
This is your first time sampling drums. Was it what you expected it to be like?
It was and was not. It was in the sense that I sort of knew the process and “theory” behind it, so I understood I was in for some long and repetitive days. It wasn’t in the sense of what I learned about the software and how innovative and versatile it was. Also, I didn’t expect EVERYONE involved in the project to be so professional and cool. It was demanding yet incredibly rewarding. We got some badass tones, if I do say so myself!
What is your relationship to e-drums?
I’ve been using electronic drums since the late ’80s, so I have a pretty good knowledge base of what the evolution and history of electronic drums and sampling. I’ve used them live and in the studio. I still use them to compose with. Regardless of trends and fold-backs to “real drums,” sampling and electronic drums are here to stay and the future is incredibly bright!
Double-pedal or double bass drums?
Double-pedal
Click track or no click track in your headphones live?
Click track (99% of the time)
You can only keep one cymbal on your kit – which one?
21″ SABIAN HHX Legacy Ride
Club gig or festival – what do you prefer?
Club gig
Dream team band (with you on the drums!)
Jaco Pastorius, bass
Igor Stravinsky, keys
Frank Zappa, guitar
John Zorn, sax
Trilok Gurtu, percussion, vocals
Sean Reinert, drums
Selected discography
Death “Human” (1991)
Cynic “Focus” (1993)
Aghora “Aghora” (2000)
Æon Spoke “Above the Buried City” (2004)
Cynic “Kindly Bent to Free Us” (2014)
The Death & Darkness SDX features two individual collections of MIDI, one optimized for each library and each exploring different musical directions.
This video will give you an overview of the included MIDI.
The ‘Darkness’ library was played by Jay Postones (TesseracT). Expect MIDI where the complexity of fusion, the subtlety of jazz and the raw power of metal intertwines to a form a polyrhythmic alloy of hard-hitting, ghost note-riddled sophistication.
The ‘Death’ portion of the MIDI was performed by Sean Reinert and loosely based around his own discography. Expect a diverse collection of grooves and fills that best can described as a melting pot of jazz, fusion and metal!
The Dark Matter EZX and Death Metal EZX features mix-ready sounds from the same kits included in Death & Darkness SDX. The EZX is best described as a slimmed down version of the SDX. EZdrummer 3 owner? Check out the EZX here and here.
Both considering its sheer size and to also let you, the user, decide in what capacity you ultimately want to utilize this massive sound source, the Death & Darkness SDX was configured in convenient parts designed for a specific use. At any time, you can add the parts you are missing by downloading and installing them via the Toontrack Product Manager.
These are the different download/install configurations available for both the ‘Death’ and ‘Darkness’ libraries.
“Close Mic Setup”
This is a basic install of the library featuring all close, primary overhead and ambience microphones.
Death: approx. 21 GB
Darkness: approx. 16 GB
“Default Mic Setup”
This is a partial install of the library featuring all close, primary overhead, ambience and all room microphones. This is the minimum install for presets to sound as intended.
Death: approx. 54 GB
Darkness: approx. 49 GB
“Full Mic Setup”
This is the full install of the library featuring all microphones and bleed.
Death: approx. 114 GB
Darkness: approx. 70 GB
For the full Installation of this product you will need approximately 184 GB of free hard drive space, plus an additional 184 GB is required for the installation process.
8 GB RAM (16 GB RAM or more recommended).
A working Superior Drummer 3.1.4 (or above) installation.
