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Home / Superior Line / SDX Sound Expansions / Orchestral Percussion SDX
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Orchestral Percussion SDX

THE IMMERSIVE SAGA CONTINUES.

Welcome to the Orchestral Percussion SDX for Superior Drummer 3.

USD279

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    SKU: TT432 Categories: Superior Line, SDX Sound Expansions

    Captured in the same room, with the same scrutiny for detail and the same 11.1 microphone positioning philosophy as the Superior Drummer 3 core library, the Orchestral Percussion SDX is not just the perfect complement to the Superior line of sounds, it’s a revelation in terms of flexibility and playability within the Superior Drummer 3 framework.

    This is not just a sound library, it’s arguably the most all-encompassing and carefully captured collection of handpicked orchestral percussion instruments on the market. Welcome to the Orchestral Percussion SDX for Superior Drummer 3.

    • More than 120 individual instruments
    • Recorded at the same studio as the Superior Drummer 3 core sound library
    • A complete immersive experience
    • Playback in stereo up to 11-channel surround systems
    • Sampled with extreme attention to detail and articulation
    • Optional tools available for selected instruments
    • A comprehensive collection of MIDI
    • Comes as a factory bundle including two SDX configurations

    FULL PRODUCTIONS

    PERCUSSION ONLY

    NEW TO SUPERIOR DRUMMER 3?

    Check out the Superior Drummer 3 Orchestral Edition featuring the full Superior Drummer 3 software and core library as well the the Orchestral Percussion SDX.

    TAKE ME THERE

    WELCOME TO THE
    ORCHESTRAL PERCUSSION SDX.

    Welcome to an an all-encompassing library for near infinite percussive creation,
    immersive sound design, scoring and composition.

    WELCOME TO THE
    ORCHESTRAL PERCUSSION SDX.

    Welcome to an an all-encompassing library for near infinite percussive creation,
    immersive sound design, scoring and composition.

    TWO LIBRARIES.
    TWO INTERFACES.

    TWO LIBRARIES.
    TWO INTERFACES.

    Given the range and sheer volume of content, the Orchestral Percussion SDX comes configured as a factory bundle of two separate SDX libraries, both available directly upon installation from the drop-down menu in Superior Drummer 3.

    Volume I includes the more fundamental or leading instruments, such as timpani, bass drums, taikos, snares and toms.

    Volume II covers the triangles, wood blocks, various shakers, chimes and other instruments often used as effects or to embellish or accentuate arrangements.

    Volume I includes the more fundamental or leading instruments, such as timpani, bass drums, taiko, snares and toms.

    Volume II covers the triangles, woodblocks, gongs, cymbals, bells and other instruments often used as effects or to embellish or accentuate arrangements.

    THE INSTRUMENTS.

    The Orchestral Percussion SDX covers the entire tonal range from majestic to subtle. You’ll find everything from the quintessential timpani, the thunderous bass drums, the traditional taikos and the classic marching snares to the subtle hand cymbals, triangles and wood blocks. In the Orchestral Percussion SDX, you’ll literally have all the options you need on both ends of the extremes.

    TAIKOS
    TIMPANI
    CONGAS
    TOMS
    BASS DRUM
    BOOBAMS
    ADDITIONAL INSTRUMENTS
    BONGOS
    SNARES
    TAMTAM

    UNCOMPROMISING INSTRUMENT DETAIL.

    UNCOMPROMISING INSTRUMENT DETAIL.

    To us, sampling sounds for an SDX is more than merely recording instruments. It is the craft of capturing the essence and every unique voice of each instrument to give you, the user, the ability to produce limitless and stunningly real performances.

    For the Orchestral Percussion SDX, we worked with a team of experienced percussionists to pinpoint exactly what variations, or ‘articulations’ as we like to call them, that needed to be captured for every single instrument. But articulations alone are not enough to express the dynamic range of a drum, cymbal or percussion piece. In order to accurately produce the raw nature of each instrument, every articulation must also be recorded in multiple layers throughout the entire dynamic range – from the softest nudges to the thunderous, room-filling strikes.

    GET CREATIVE
    WITH IT…

    GET CREATIVE
    WITH IT…

    GET CREATIVE
    WITH IT…

    Here are a number of videos showcasing different examples of how to get creative with the Orchestral Percussion SDX.

    Making Eerie Sound FX.

    Learn how to create cinematic effects and risers by combining the sound design tools of Superior Drummer 3 with the Orchestral Percussion SDX bass drum, snares, gongs and plates.

    Make a “Cinematic” Orchestral Mix.

    Learn how to quickly create a massive-sounding orchestral mix for your cinematic productions.

    Mix MIDI Grooves to Create Orchestral Layers.

    Quickly create orchestral textures by combining multiple elements from the Orchestral Percussion SDX core MIDI library.

    Creating Rolls and Cymbal Swells.

    How to create dynamic cymbal swells and rolls using the Orchestral Percussion MIDI and the sound design tools of Superior Drummer.

    Maximizing Articulations and Tool Variations.

    Leverage the full potential of the Orchestral Percussion SDX by utilizing specific instrument selections, tool variations and articulation options.

    Controlling Room Mics Using Macros.

    Control the close mic, room and velocity parameters using the ‘Macros’ feature within Superior Drummer 3 to manipulate key characteristics of the Orchestral Percussion SDX on the fly.

    Creating Hybrid Orchestral Stacks.

    Stack various Orchestral Percussion SDX instruments to create unique hybrid instrument sounds within Superior Drummer 3.

    Make an “Extreme” Orchestral Mix.

    Utilize the built-in Superior Drummer 3 routing and FX capabilities to create a flexible yet extreme orchestral mix.

    MEET MARK WILLOTT.

    MEET MARK WILLOTT.

    MEET MARK WILLOTT.

    Meet Mark Willott, Emmy Award-winning composer, avid Superior Drummer 3 user and immediate Orchestral Percussion SDX adopter.

    THE STUDIO.

    THE STUDIO.

    THE STUDIO.

    AUDIO PERFECTION
    IN UTTER SILENCE.

    The Orchestral Percussion SDX was recorded in the same room as the Superior Drummer 3 core sound library, the main hall at Galaxy Studios in Belgium. With its 330-square-meter room measuring eight meters from floor to ceiling, it is the ideal location for capturing immersive audio of the utmost quality.

    In addition, the entire studio complex is built on springs to ensure that the outside interference is literally nonexistent. In fact, with only 14 dBA of environmental noise, the main hall at Galaxy Studio is the most quiet recording space of this size in the world. This in itself is a pivotal factor in making the extreme velocity detail translate to its full capacity.

    Perfect acoustics, balanced reverberation and second-to-none recording technology – Superior Drummer 3 and the Orchestral Percussion SDX called for a superior studio, and got exactly that.

    THE MICROPHONES
    & SIGNAL CHAINS.

    THE MICROPHONES
    & SIGNAL CHAINS.

    THE MICROPHONES
    & SIGNAL CHAINS.

    THE MICROPHONES
    & SIGNAL CHAINS.

    THE MICROPHONES
    & SIGNAL CHAINS.

    THE MICROPHONES
    & SIGNAL CHAINS.

    For the Orchestral Percussion SDX sessions, each instrument was carefully placed in the room as if it were to be recorded in its natural position in a full orchestral session setup. The microphones were handpicked, and after careful consideration ultimately whittled down to the selection that performed the best on each instrument. Finally, each chain was run through the state-of-the-art pre-amps of the resident Neve 88D console at Galaxy. No audio processing was performed before or after the recording stage, making all samples completely transparent and ready for mix in any session.

    Mains L
    Neumann U 87 (cardioid)
    Pan: front left

    Mains L
    Neumann U 87 (cardioid)
    Pan: front right

    Decca L
    Neumann M150 tube
    Pan: front left

    Decca C
    Neumann M150 tube
    Pan: front center

    Decca R
    Neumann M150 tube
    Pan: front right

    Height Front L
    Brüel & Kjær 4006 (silver near-field grid fitted)
    Pan: height front left

    Height Front R
    Brüel & Kjær 4006 (silver near-field grid fitted)
    Pan: height front right

    Height Rear L
    Brüel & Kjær 4006 (silver near-field grid fitted)
    Pan: height rear left

    Height Rear R
    Brüel & Kjær 4006 (silver near-field grid fitted)
    Pan: height rear right

    Rooms L
    Mic: Sonodore RCM-402 B
    Pan: rear left

    Rooms R
    Mic: Sonodore RCM-402 B
    Pan: rear right

    Outriggers L
    Mic: Sonodore RCM-402 B
    Pan: front left

    Outriggers R
    Sonodore RCM-402 B
    Pan: front right

    THE TONMEISTER.

    THE TONMEISTER.

    THE TONMEISTER.

    MEET PATRICK LEMMENS.

    The Orchestral Percussion SDX was produced by Patrick Lemmens, a classically trained engineer/mixer/producer whose credits include countless motion picture scores, classical projects and orchestral arrangements – many of them immortalized within the four walls of the Galaxy main hall.

    Tell us a little about your background and how your interest in music began.
    I am a classically trained french horn player. At the age of nine, I started playing in the local wind band of my village, which was performing on a remarkable level – that way I was “forced” to become a good musician, too, being their principal horn player. I studied at the two biggest Academies of Music of Eastern Belgium for about ten years and got diplomas in french horn, solfeggio and chamber music. I also got basic education in playing snare drum and double bass. Still today I am performing with my own brass quartet, which the four of us founded as students 25 years ago…

    How come you ended up behind the console and what drew you towards engineering/mixing?
    Towards the end of my school career, when I had to decide what to do with my further life, I wanted to continue making music professionally, but not as a musician or teacher (since there weren’t a lot of job opportunities in Belgium at that time). A good friend of mine then told me about the Sound Engineering degree in Düsseldorf, Germany. It was or a five-year Tonmeister education which didn’t exist in Belgium at that time. I managed to get a place in the program and eventually became one of Germany’s youngest Tonmeisters. After finishing my studies, I wanted to return to my home country to work there, and got a job at Galaxy Studios. Here I worked my way up during more than 17 years, from assistant engineer to Chief Scoring Engineer and now Head of Music Department.

    You’ve come to specialize in engineering and mixing of classical music and scores. Have you always been into this type of music?
    Due to my background as an orchestra musician, I’ve always been into acoustic and orchestral music. Our wind band often played arrangements of symphonic music, amongst which a lot of film music as well. This way I already got a lot of experience during my teen years, realizing how an orchestra or acoustic music in general should sound. And I also understood the emotional impact of 60 people making music together, which is invaluable.

    What is the most common challenge mixing a full orchestra? Do you have any general tips, tricks or workarounds to share?
    That’s hard to describe in one or two sentences… It always depends on the purpose of the recording. If it is for a classical record, you want to reproduce the original sound as naturally as possible, which is quite difficult considering the size and depth of an orchestra – and the huge dynamic range between a very soft flute solo and a massive tutti-fortissimo. In stereo, all these parameters have to be squeezed into just two channels, so a realistic sound is quite hard to realize. 5.1 surround makes that a little easier. With 3D, it’s a revelation in making stuff sound realistic, just as if you were there in the room… If you record and mix music for a film, there are different rules to apply; you don’t really want the orchestra to sound very realistic, but you want to create certain emotions supporting the action on the screen. Sometimes you need to make a solo instrument sound unnaturally loud, and precise localization is not necessary. In fact, the orchestra should not even be recognized as such, but the music has to be an integral part of the movie, steering the audience’s emotions the way the film director intended it.

    You often work in surround and many times up to 3D. Once used to working with this type of immersive landscapes of sound, do you sometimes feel restrained working in stereo?
    Clearly yes! 5.1 and especially 3D give both your creativity and your striving for naturalness so many more possibilities that returning to stereo is like having lived in a villa and having to move back into a student’s apartment… Your freedom in placing sounds and immersing the listener in the world of music is exponentially bigger in those multichannel formats, and certain things are just not possible in stereo, where only two speakers have to reproduce the complete musical and sonic information. This does not only apply to the technical aspects of the music, but also to the content itself, since 5.1 and 3D offer huge creative opportunities for composers and producers as well.

    In some compositions, percussion is the driving force and has a dominant role – right center of attention. In other compositions, it may have a secondary role and be use very subtly for transitions and builds. Still, it plays a tremendous role. What is your relationship to percussion in general and its importance in a composition?
    Percussion is tremendously important in orchestral compositions, especially the right use of it. Action scenes in a movie are unthinkable without timpani, toms, snares and/or taikos. And the subtle use of cymbal rolls in love scenes can make the little but important difference. On the other hand, if you use it incorrectly, too much or at the wrong moments, it can disturb the global atmosphere of a piece of music, whether in a film or on a record. But a well-used percussion definitely is the cherry on the cake of any orchestral recording.

    For the presets you engineered for the Orchestral Percussion SDX, you chose to mix them in three different positions. What was the thought process behind this?
    The idea was to make the software easy and ready to use for many different purposes. Since it is a product that exclusively provides orchestral percussion sounds, it is almost certain that the user will combine it with other (orchestral) material, either samples or real recordings. These other sounds have a certain amount of reverb or a given perceived distance of the listener to the sound source, and by mixing the presets of the Orchestral Percussion SDX into three different listening positions (call it close, mid and far), I wanted to show the huge possibilities and the big flexibility of this sample library (every single instrument has been sampled using 13 main mics), including far away room mics, height microphones, Decca Tree, a closer pair of main microphones and outriggers for a bigger width, and on the other hand enough close mics to get a very dry, intimate sound, it makes sense to provide presets of both extreme close sound and super distant sound, and a medium distance which might be the ideal compromise to match the Toontrack Orchestral Percussion samples with the other elements of the mix – be it strings, woodwinds, brass or any other kind of sampled or recorded instruments.

    Listening back to the finished product, what are your thoughts?
    Just one: Wow, what a sound!

    THE PERCUSSIONISTS.

    THE PERCUSSIONISTS.

    THE PERCUSSIONISTS.

    MEET THE FAMILY.

    All instruments were captured by two generations of the Ouderits family: Leo, Tim and Tom – all three of them skilled percussionists with a deep understanding for instrument selection, composition, performance and above all, love for the craft.

    In your family, father and two sons are passionately into percussion. Leo, we guess it all started with you? Where did your musical interest come from and how did it translate into percussion?
    Leo: My grandfather was an accordion player and a few of my uncles were snare drum players in the local drum corps. Before I turned two, I was already vocalizing and beatboxing the rhythms of the songs. My very first drum kit was made of a wooden chair with pots and pans, but at the age of six I could finally join a drum corps. At the age of 12, I started performing as a drummer with local bands in cafes and later on I did mostly gigs as a drummer with a pop band and doing many recording sessions. When I went to the Antwerp Conservatory, the whole world of percussion opened up and I started playing the other percussion instruments like timpani, vibraphone, xylophone…

    Tim and Tom, when and how did your musical interest start?
    Tim: It also started very early, around the age of 5. I played the instruments which were available in our study room at home (vibraphone, drums, orchestral snare drum and piano). Later on I worked with a few synthesizers, keyboard modules and MIDI sequencers (not yet general MIDI)
    Tom: My musical interest started with exploring my father’s extensive record collection. We used to have this Fisher Price vinyl record player, so it was easy enough for me to start listening to records at a very young age. It was a varied collection – from Mahler to the Police and the Modern Jazz Quartet. Because of the many instruments in our house, I already picked up the drumsticks and mallets when I was about two years old. My dad used to host a show on the local radio in Mol and he brought me to recording sessions at the the Galaxy Studios in its early days somewhere in the ‘80s. From the comfy couch there I could look at and listen to the magic happening over there.

    Do you play any other instruments or has always been “just” percussion?
    Leo: I also play the piano. At a young age I also studied clarinet, saxophone and flute.
    Tim: I started my career as a pupil in music school taking piano and solfège lessons. Recently I started playing the bass guitar, which I enjoy very much.
    Tom: Piano, electric guitar… but drop D only

    For the Orchestral Percussion SDX library that you recorded with us, what was your aim with the instrument selection?
    Leo: The most important thing was selecting great sounding instruments of the best possible quality. The combination of instruments and sticks produces a beautiful orchestral sound which can be used in any genre of music.
    Tim: I picked the instruments from the perspective of experience of playing with symphony orchestras.
    Tom: My dad, Tim & I did quite a lot of scoring sessions for soundtracks and pop music, so I made these choices by remembering which instruments were both great sounding and versatile for many genres.

    There are literally hundreds of instruments that are considered orchestral percussion. If you could pick only one, which one is your favorite, both in terms of its sound and to play in general?
    Leo: Snare drum
    Tim: Snare drum
    Tom: Snare drum

    (It’s obvious we are family)…

    THE PRESETS.

    For each preset included with the Orchestral Percussion SDX, there are three variations of mixes all based on the listener’s perceived distance to the percussion section: ‘Close Position’, ‘Conductor’s Position’ and ‘Audience Position.’ In addition, there are presets engineered specifically for use with optional tools.

    Close position.

    Very close and intimate. The intent is to make you feel like you’re right there – on stage or in the hall.

    Conductor’s position.

    This is intended as the general, “go-to” mix option that would likely be the default choice for most engineers mixing an orchestral piece. It offers a natural amount of room and was engineered to how the conductor would perceive the distance to the percussion section in a full orchestra.

    Audience position.

    Lots of ambience and range, perceived as if you were listening to the percussion from an audience perspective.

    STEREO, SURROUND
    AND HEIGHT.

    All three main preset options are also engineered and optimized for use in three levels, from traditional stereo to surround (5.1) and all the way up to an immersive ‘Height Surround’ (3D) option.

    Note that the wide range of additional ambience channels that the Orchestral Percussion SDX offers can be used in many creative ways, although you may be mixing or composing on a traditional stereo setup.

    THE MIDI.

    The Orchestral Percussion SDX does not only provide the sounds, it also comes with the performance. With the included MIDI library, you’ll have the essentials in terms of patterns, rudiments, rolls, crescendos and diminuendos.

    INSTRUMENT PATTERNS.

    In this section, you’ll find patterns and combination grooves for all instruments commonly associated with playing steady, rhythmic roles in an arrangement.

    ORCHESTRAL PERCUSSION I

    Straight 3/4
    Bass drum and toms

    Straight 4/4
    Bass drum and snare
    Gongs
    Piatti cymbals
    Taiko
    Timpani

    Straight 5/4
    Bass drum and toms
    Taikos

    ORCHESTRAL PERCUSSION II

    Straight 3/4
    Castanets

    Straight 4/4
    Bongos
    Congas
    Agogo
    Cowbell
    Wood blocks
    Temple blocks
    Castanets
    Guiro
    Cabasa
    Maracas
    Tambourine
    Sleigh bells
    Misc. instruments

    Cabasa
    Maracas
    Tambourine
    Sleigh bells
    Misc. instruments

    Straight 6/8
    Castanets

    Straight 7/8
    Boobam

    ROLLS & RUDIMENTS.

    In this section of the MIDI library, you’ll find the essential snare drum patterns as well as rolls, crescendos and diminuendos.

    4/4
    Fundamental snare drum patterns.

    4/4 and 6/8
    Plain rolls, accentuated start rolls, accentuated end rolls as well as long and short crescendos/diminuendos.

    INSTRUMENT LIST

    VOLUME I.

    BASS DRUM

    36″ Bergerault

    Tools: Standard Beater, Soft Beater, Wooden Beater, Drumsticks, Three Players

    SNARE DRUMS

    14×5″ Lazer Classical Concert
    14×6.5″ Ludwig* Black Beauty
    14×12″ WFL Field Drum
    14×13″ Stingray Marching Snare
    14×5″ Asba Stainless Steel
    14×3.5″ Dixon Maple Piccolo
    13×5″ DW* Collector’s Maple
    14×3.5″ Pearl* Free Floating Steel

    Tools: Drumsticks, Mallets, Brushes

    TOMS

    8×10″ Yamaha* Maple Custom
    10×12″ Yamaha* Maple Custom
    12×14″ Yamaha* Maple Custom
    14×16″ Yamaha* Maple Custom

    Tools: Drumsticks, Mallets, Brushes

    TIMPANI

    32″ Yamaha* Timpani
    29″ Yamaha* Timpani
    26″ Yamaha* Timpani
    23″ Yamaha* Timpani
    20″ Yamaha* Timpani
    (Tonal) Range: Eb1-Bb2

    Tool: Beater

    TAIKOS

    Large Taiko
    Medium Taiko
    Small Taiko

    Tools: Very Hard Beater, Hard Beater, Medium Beater, Soft Beater

    CLASH CYMBALS (Piatti)

    16″ Meinl* Symphonic Heavy Piatti
    19″ Sabian* HH Viennese Piatti
    20″ Meinl* Symphonic Thin Piatti
    20″ Meinl* Symphonic Heavy Piatti
    22″ Meinl* Symphonic Heavy Piatti

    Tool: Hands

    CRASH CYMBALS (Suspended)

    22″ Wuhan Chinese
    18″ Ufip* Class Medium Crash
    17″ Zildjian* A Custom Medium Crash

    Tools: Thick Sticks, Thin Sticks, Mallets, Brushes

    TUBULAR BELLS

    (Tonal) Range: C1-F2

    Tool: Beater

    THUNDER PLATE

    Thunder Plate

    Tools: Felt Beater, Wood Beater

    TAMTAM

    36″ Paiste* Custom-Made

    Tool: Beater

    CHINESE GONG

    Chinese Gong

    Tool: Sticks

    SPINNING MOON GONG

    Spinning Moon Gong

    Tool: Sticks

    LEAF GONG

    Leaf Gong

    Tool: Sticks

    INDONESIAN GONGS

    Big Gong
    Low Medium Gong
    High Medium Gong
    Small Gong

    Tool: Sticks

    VOLUME II.

    CONGAS

    11 3/4″ MEINL* Bigger Artist Series Luis Conte
    12 1/2″ MEINL* Bigger Artist Series Luis Conte
    8” MEINL* Conguitas
    9″ MEINL* Conguitas

    Tool: Hands

    BONGOS

    7″ MEINL* Free Rde Series
    8,5″ MEINL* Free Rde Series

    Tools: Hands, Drumsticks

    BAR CHIMES

    Double Row Chimes
    LP* Folding Chimes

    Tools: Sticks, Finger

    WIND CHIMES

    Metal Wind Chimes
    Bamboo Wind Chimes

    Tools: Hands

    BELL TREE

    Bell Tree

    Tools:, Metal Sticks, Mallets, Wood Sticks

    TRIANGLES

    Grover
    Grover Copper
    Vintage

    Tools: Soft Beater, Hard Beater

    WOOD BLOCKS

    Grover Large
    Grover Small

    Tools: Soft Sticks, Hard Sticks

    COWBELLS

    LP* City
    LP* Black Beauty
    LP* Salsa Downtown

    Tool: Wood Sticks

    TEMPLE BLOCKS

    Grover Temple Blocks

    Tools: Soft Sticks, Hard Sticks

    CASTANETS

    Large Castanets
    Small Castanets

    Tool: Hands

    GUIROS

    LP* Metal Guiro
    Meinl* Wooden Guiro

    Tool: Wood Stick

    SLEIGH BELLS

    Small Sleigh Bells
    Large Sleigh Bells

    Tool: Hands

    SHELLS

    Chajchas
    Seed Shaker Medium
    Seed Shaker Low

    Tool: Hands

    SHAKERS

    Dadi SS1 Softshake
    LP* Torpedo Small
    Remo FX Frog Muted
    Remo FX Frog Open
    LP* One Shot
    Animal Hide Small

    Tool: Hands

    CABASAS

    Metal Afuche Cabasa
    Small Wooden Cabasa
    Small Shekere
    Large Wooden Cabasa

    Tool: Hands

    GROUPS

    Stomps
    Claps
    Snaps

    HANDS

    Claps
    Snaps

    STOMPS

    Soft Shoes
    Hard Shoes

    WHIPS

    Small Custom Whip
    Small Concorde Whip
    Large Concorde Whip
    Flam Whip
    Danmar Whip

    Tool: Hands

    BOOBAMS

    Kolberg G1
    Kolberg G#1
    Kolberg A#1
    Kolberg C2
    Kolberg C#2

    Tool: Sticks

    TAMBOURINES

    Meinl* Traditional Brass
    Meinl* Recording Dual Alloy
    Grover Silver/Bronze

    Tool: Hands

    VIBRASLAPS

    Stagg Vibra Slap
    LP* Vibra Slap II

    Tool: Hands

    FLEXATONES

    LP* Standard
    LP* Deluxe

    Tools: Hands

    OCEAN DRUMS

    Large Ocean Drum
    Small Ocean Drum

    Tool: Hands

    MARACAS

    Regular Maraca
    Small Maraca
    Large Maraca
    Rattan Double Shaker
    Filipino Maraca

    Tool: Hands

    AGOGO BELLS

    Meinl* Triple A-Go-Go

    Tool: Hands

    KALIMBA

    Kalimba

    Tool: Hands

    FINGER CYMBAL

    Finger Cymbal

    Tool: Hands

    SPIRAL CYMBAL

    Spiral Cymbal

    Tool: Sticks

    SMALL CYMBAL

    Small Cymbal

    Tool: Sticks

    TRADITIONAL COWBELL

    Traditional Cowbell

    Tool: Sticks

    TABLE ANVIL

    Table Anvil

    Tool: Sticks

    HANDHELD ANVIL

    Handheld Anvil

    Tool: Sticks

    RAINSTICK

    Rainstick

    Tool: Hands

    BINZASARA

    Binzasara

    Tool: Hands

    RATCHETS

    High Ratchet
    Low Ratchet

    Tool: Hands

    INSTRUMENT LIST

    VOLUME I.

    BASS DRUM

    36″ Bergerault

    Tools: Standard Beater, Soft Beater, Wooden Beater, Drumsticks, Three Players

    SNARE DRUMS

    14×5″ Lazer Classical Concert
    14×6.5″ Ludwig* Black Beauty
    14×12″ WFL Field Drum
    14×13″ Stingray Marching Snare
    14×5″ Asba Stainless Steel
    14×3.5″ Dixon Maple Piccolo
    13×5″ DW* Collector’s Maple
    14×3.5″ Pearl* Free Floating Steel

    Tools: Drumsticks, Mallets, Brushes

    TOMS

    8×10″ Yamaha* Maple Custom
    10×12″ Yamaha* Maple Custom
    12×14″ Yamaha* Maple Custom
    14×16″ Yamaha* Maple Custom

    Tools: Drumsticks, Mallets, Brushes

    TIMPANI

    32″ Yamaha* Timpani
    29″ Yamaha* Timpani
    26″ Yamaha* Timpani
    23″ Yamaha* Timpani
    20″ Yamaha* Timpani
    (Tonal) Range: Eb1-Bb2

    Tool: Beater

    TAIKOS

    Large Taiko
    Medium Taiko
    Small Taiko

    Tools: Very Hard Beater, Hard Beater, Medium Beater, Soft Beater

    CLASH CYMBALS (Piatti)

    16″ Meinl* Symphonic Heavy Piatti
    19″ Sabian* HH Viennese Piatti
    20″ Meinl* Symphonic Thin Piatti
    20″ Meinl* Symphonic Heavy Piatti
    22″ Meinl* Symphonic Heavy Piatti

    Tool: Hands

    CRASH CYMBALS (Suspended)

    22″ Wuhan Chinese
    18″ Ufip* Class Medium Crash
    17″ Zildjian* A Custom Medium Crash

    Tools: Thick Sticks, Thin Sticks, Mallets, Brushes

    TUBULAR BELLS

    (Tonal) Range: C1-F2

    Tool: Beater

    THUNDER PLATE

    Thunder Plate

    Tools: Felt Beater, Wood Beater

    TAMTAM

    36″ Paiste* Custom-Made

    Tool: Beater

    CHINESE GONG

    Chinese Gong

    Tool: Sticks

    SPINNING MOON GONG

    Spinning Moon Gong

    Tool: Sticks

    LEAF GONG

    Leaf Gong

    Tool: Sticks

    INDONESIAN GONGS

    Big Gong
    Low Medium Gong
    High Medium Gong
    Small Gong

    Tool: Sticks

    VOLUME II.

    CONGAS

    11 3/4″ MEINL* Bigger Artist Series Luis Conte
    12 1/2″ MEINL* Bigger Artist Series Luis Conte
    8” MEINL* Conguitas
    9″ MEINL* Conguitas

    Tool: Hands

    BONGOS

    7″ MEINL* Free Rde Series
    8,5″ MEINL* Free Rde Series

    Tools: Hands, Drumsticks

    BAR CHIMES

    Double Row Chimes
    LP* Folding Chimes

    Tools: Sticks, Finger

    WIND CHIMES

    Metal Wind Chimes
    Bamboo Wind Chimes

    Tools: Hands

    BELL TREE

    Bell Tree

    Tools:, Metal Sticks, Mallets, Wood Sticks

    TRIANGLES

    Grover
    Grover Copper
    Vintage

    Tools: Soft Beater, Hard Beater

    WOOD BLOCKS

    Grover Large
    Grover Small

    Tools: Soft Sticks, Hard Sticks

    COWBELLS

    LP* City
    LP* Black Beauty
    LP* Salsa Downtown

    Tool: Wood Sticks

    TEMPLE BLOCKS

    Grover Temple Blocks

    Tools: Soft Sticks, Hard Sticks

    CASTANETS

    Large Castanets
    Small Castanets

    Tool: Hands

    GUIROS

    LP* Metal Guiro
    Meinl* Wooden Guiro

    Tool: Wood Stick

    SLEIGH BELLS

    Small Sleigh Bells
    Large Sleigh Bells

    Tool: Hands

    SHELLS

    Chajchas
    Seed Shaker Medium
    Seed Shaker Low

    Tool: Hands

    SHAKERS

    Dadi SS1 Softshake
    LP* Torpedo Small
    Remo FX Frog Muted
    Remo FX Frog Open
    LP* One Shot
    Animal Hide Small

    Tool: Hands

    CABASAS

    Metal Afuche Cabasa
    Small Wooden Cabasa
    Small Shekere
    Large Wooden Cabasa

    Tool: Hands

    GROUPS

    Stomps
    Claps
    Snaps

    HANDS

    Claps
    Snaps

    STOMPS

    Soft Shoes
    Hard Shoes

    WHIPS

    Small Custom Whip
    Small Concorde Whip
    Large Concorde Whip
    Flam Whip
    Danmar Whip

    Tool: Hands

    BOOBAMS

    Kolberg G1
    Kolberg G#1
    Kolberg A#1
    Kolberg C2
    Kolberg C#2

    Tool: Sticks

    TAMBOURINES

    Meinl* Traditional Brass
    Meinl* Recording Dual Alloy
    Grover Silver/Bronze

    Tool: Hands

    VIBRASLAPS

    Stagg Vibra Slap
    LP* Vibra Slap II

    Tool: Hands

    FLEXATONES

    LP* Standard
    LP* Deluxe

    Tools: Hands

    OCEAN DRUMS

    Large Ocean Drum
    Small Ocean Drum

    Tool: Hands

    MARACAS

    Regular Maraca
    Small Maraca
    Large Maraca
    Rattan Double Shaker
    Filipino Maraca

    Tool: Hands

    AGOGO BELLS

    Meinl* Triple A-Go-Go

    Tool: Hands

    KALIMBA

    Kalimba

    Tool: Hands

    FINGER CYMBAL

    Finger Cymbal

    Tool: Hands

    SPIRAL CYMBAL

    Spiral Cymbal

    Tool: Sticks

    SMALL CYMBAL

    Small Cymbal

    Tool: Sticks

    TRADITIONAL COWBELL

    Traditional Cowbell

    Tool: Sticks

    TABLE ANVIL

    Table Anvil

    Tool: Sticks

    HANDHELD ANVIL

    Handheld Anvil

    Tool: Sticks

    RAINSTICK

    Rainstick

    Tool: Hands

    BINZASARA

    Binzasara

    Tool: Hands

    RATCHETS

    High Ratchet
    Low Ratchet

    Tool: Hands

    *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.

    SYSTEM REQUIREMENTS.

    For the full Installation of this product you will need approximately 65 GB of free hard drive space, plus an additional 65 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.

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    *All other manufacturers’ product names are trademarks of their respective owners, which are in no way associated or affiliated with Toontrack.
    These trademarks of other manufacturers are used solely to identify the products of those manufacturers whose tones and sounds were sampled for Toontrack sound library development.
    For a list of current owners of each of these trademarks click here.
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