Seven kits for Superior Drummer 3 recorded by a true master of the craft: James Farber.
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Seven kits for Superior Drummer 3 recorded by a true master of the craft: James Farber.
| ADD TO CARTRecording and mixing jazz is an art in itself, especially when it comes to drums. It calls for balancing a dynamic range that spans the nuanced and feathery light to the vivid and utterly explosive. Someone who has an uncanny ability to capture exactly that and at the same time bring out the true acoustic voice in any instrument he puts a mic to is James Farber. With well over 1,000 albums to his name, more than 40 years of back-to-back work producing records of the highest echelon and a discography that reads like a who’s who of jazz, he is nothing short of an industry icon. The seminal albums by the likes of Michael Brecker, John Scofield and Joshua Redman as well as, not least, his work with jazz drumming greats like Elvin Jones, Jack DeJohnette, Paul Motian, Bill Stewart, Brian Blade and Antonio Sanchez are – to say the least – a testament to that.
This SDX for Superior Drummer 3 sets out to pinpoint the milestone sounds and eras of jazz drums from its early days until now. Where better to capture that than in the jazz capital of the world and at one of the most storied studios ever built: New York City’s iconic Power Station. Aside from having housed arguably more legendary artists than any other studio on the planet, it is also the very spot where James spent his formative years, recorded some of his seminal work and still considers the be-all-end-all place to capture jazz drums.
In total, seven kits were handpicked for the session, each selected to represent a distinct jazz era, sound or milestone record in James’ career. Aside from every kit being sampled with drumsticks, selected kits and instruments were also captured with brushes, rods, mallets and even hands.
In addition to the drums, an extensive collection of mix-ready presets for each kit and configuration are provided, allowing you instant access to fully fledged and balanced drum mixes by James himself. These mixes can be used as is or as starting points to venture off from in order to create sounds for virtually anything your imagination allows.
To sum this SDX up, it’s got the engineer, the kits and the studio. If you’re passionate about jazz and looking to add a bookend-type collection of drum sounds to your toolbox, straight from the world’s jazz capital and one of the most influential jazz recording engineers of the past four decades – here you go. Get ready for some jazz magic.
A master of the jazz craft.
James Farber’s career got off to a rolling start in 1978 when he was hired as a full-time assistant engineer at the then just-launched Power Station Studio in the Hell’s Kitchen neighborhood of Midtown Manhattan. Here, he acted under the tutelage of studio owner Tony Bongiovi as well as now-iconic engineers like Bob Clearmountain, Neil Dorfsman, Scott Litt and, of course, Al Schmitt. With his minimalistic approach to engineering, the latter would become a pivotal influence on James’ work moving forward when finding his specialty niche in jazz.
Since then, James has recorded well over 1,000 albums, worked with some of the world’s premier artists and is widely considered one of the best jazz recording and mixing engineers ever. His footprint in the genre is indelible.
A master of the jazz craft.
James Farber’s career got off to a rolling start in 1978 when he was hired as a full-time assistant engineer at the then just-launched Power Station Studio in the Hell’s Kitchen neighborhood of Midtown Manhattan. Here, he acted under the tutelage of studio owner Tony Bongiovi as well as now-iconic engineers like Bob Clearmountain, Neil Dorfsman, Scott Litt and, of course, Al Schmitt. With his minimalistic approach to engineering, the latter would become a pivotal influence on James’ work moving forward when finding his specialty niche in jazz.
Since then, James has recorded well over 1,000 albums, worked with some of the world’s premier artists and is widely considered one of the best jazz recording and mixing engineers ever. His footprint in the genre is indelible.
Michael Brecker “s/t” (1987)
Peter Erskine “Transition” (1987)
Steps Ahead “Modern Times” (1984)
James Taylor “Never Die Young” (1988)
Don Grolnick “Weaver of Dreams” (1990)
James Taylor “New Moon Shine” (1991)
Peter Erskine “Sweet Soul” (1991)
John Scofield “Grace Under Pressure” (1992)
Joe Lovano “From the Soul” (1992)
Joshua Redman “s/t” (1993)
Joe Lovano “Universal Language” (1993)
Joshua Redman “Wish” (1993)
Larry Goldings “Caminhos Cruzados” (1994)
Joshua Redman “Mood Swing” (1994)
Yellowjackets “Run for Your Life” (1994)
Pat Metheny/John Scofield “I Can See Your House from Here” (1994)
John Scofield “Hand Jive” (1994)
Steve Kahn “Crossings” (1994)
Larry Goldings “Big Stuff” (1994)
Michael Brecker “Two Blocks from the Edge” (1998)
Joshua Redman “Timeless Tales for Changing Times” (1998)
Count Basie “Live at the Sands” (1998)
Dave Holland “Prime Directive” (1999)
Joe Lovano Nonet “52 Street Themes” (2000)
Larry Goldings “As One” (2001)
Dave Holland “Extended Play: Live at Birdland” (2003)
Brad Mehldau “Anything Goes” (2004)
Paul Motion Trio “I Have the Room Above Her” (2005)
Bill Frisell, Ron Carter, Paul Motian “s/t” (2006)
Chris Potter “Song for Anyone” (2007)
John Scofield “Piety Street” (2009)
Billy Hart “One Is the Other” (2014)
Chris Potter “Imaginary Cities” (2015)
Jack DeJohnette “Made in Chicago” (2015)
Brad Mehldau “Blues and Ballads” (2016)
Fred Hersch “Sunday at the Vanguard” (2016)
Lee Konitz “Frescalalto” (2017)
Bill Stewart “Band Menu” (2018)
Bill Charlap “Street of Dreams” (2021)
Bill Frisell “Four” (2022)
Kendrick Scott “Corridors” (2023)
Michael Brecker “s/t” (1987)
Peter Erskine “Transition” (1987)
Steps Ahead “Modern Times” (1984)
James Taylor “Never Die Young” (1988)
Don Grolnick “Weaver of Dreams” (1990)
James Taylor “New Moon Shine” (1991)
Peter Erskine “Sweet Soul” (1991)
John Scofield “Grace Under Pressure” (1992)
Joe Lovano “From the Soul” (1992)
Joshua Redman “s/t” (1993)
Joe Lovano “Universal Language” (1993)
Joshua Redman “Wish” (1993)
Larry Goldings “Caminhos Cruzados” (1994)
Joshua Redman “Mood Swing” (1994)
Yellowjackets “Run for Your Life” (1994)
Pat Metheny/John Scofield “I Can See Your House from Here” (1994)
John Scofield “Hand Jive” (1994)
Steve Kahn “Crossings” (1994)
Larry Goldings “Big Stuff” (1994)
Michael Brecker “Two Blocks from the Edge” (1998)
Joshua Redman “Timeless Tales for Changing Times” (1998)
Count Basie “Live at the Sands” (1998)
Dave Holland “Prime Directive” (1999)
Joe Lovano Nonet “52 Street Themes” (2000)
Larry Goldings “As One” (2001)
Dave Holland “Extended Play: Live at Birdland” (2003)
Brad Mehldau “Anything Goes” (2004)
Paul Motion Trio “I Have the Room Above Her” (2005)
Bill Frisell, Ron Carter, Paul Motian “s/t” (2006)
Chris Potter “Song for Anyone” (2007)
John Scofield “Piety Street” (2009)
Billy Hart “One Is the Other” (2014)
Chris Potter “Imaginary Cities” (2015)
Jack DeJohnette “Made in Chicago” (2015)
Brad Mehldau “Blues and Ballads” (2016)
Fred Hersch “Sunday at the Vanguard” (2016)
Lee Konitz “Frescalalto” (2017)
Bill Stewart “Band Menu” (2018)
Bill Charlap “Street of Dreams” (2021)
Bill Frisell “Four” (2022)
Kendrick Scott “Corridors” (2023)
Leaving performance aside, when recording jazz drums – what is the number one most important factor to you?
When close miking all the elements of a drum kit, the most important thing is to mix those individual elements to reflect the drummer’s groove. If you counteract the drummer’s intention, the music will suffer.
You have recorded at Power Station since the 1980s. Why has this studio stayed your go-to and, particularly, why does it work so well for jazz sessions?
Power Station was created for musicians. Musicians love playing in the various acoustically designed spaces, which inspire them. As we know, the better the playing, the better the recording. The control room acoustics can be trusted so what you hear in there sounds the same when you take it home. And Neve consoles are the best. Since I spent my early career on staff at Power Station, it will always feel like home to me and, since I know the rooms and mics so well, I can be instinctive when working there.
You have recorded many styles over the years but found your niche in jazz. How come?
I was a jazz piano player during my college years and that’s the music I listen to at home. So, naturally, I gravitated toward recording jazz. I dig working with the best musicians on the planet who make my job easy – and almost never having to do any overdubs!
Looking back on well over 1,000 albums and sessions with some of the greatest artists and drummers like John Scofield, James Taylor, Elvin Jones, Jack DeJohnette, Paul Motian, Bill Stewart, Brian Blade and many, many more – are there any sessions, songs, takes or even moments that really stand out?
Getting to work with legends like Elvin, Roy Haynes, Billy Higgins, Jack DeJohnette and Paul Motian, plus contemporary masters like Brian Blade and Bill Stewart, is the dream of a lifetime. When working with the legends, I always dug the chance to sit and talk with them about their classic recordings by Miles, Ornette, Eric Dolphy, Mingus, and Lennie Tristano.
Now that the project is done and you’ve had a chance to sit down and work with the sounds, what are your thoughts?
I wasn’t initially sure about getting involved with a drum sampling project, but I’m so glad I did it. I got to record some classic kits I would never see in real life. Plus, the Toontrack team was just the best to work with in every respect. I’m sure we came up with a library of drums sounds that adds to the already impressive Toontrack catalog. I’m most curious to see how these sounds will eventually be used in the field.
A New York City landmark
The historic Con-Edison power relay station on West 53rd Street isn’t only a New York City landmark, it’s also the birthplace of modern studio acoustics as we know them. In the early days, recording studios were generally “dead” spaces. Power Station founder Tony Bongiovi, however, realized that materials, floors, walls and ultimately the room mattered. Since opening its doors in 1977, the majestic acoustics of the dome-like Studio A room and the other tailored spaces in the complex have graced countless iconic albums and played a pivotal role in how studio acoustics are designed. Topping out on the maximum amount permitted of TEC Awards, boasting the first-ever Mix Magazine Les Paul Award and continuing to be a go-to for top engineers and artists alike, Power Station is as vibrant and vital today as it ever was.
“Power Station was created for musicians.”
James Farber
To cover kit timbres tailored for each specific era or sound, four of the different rooms at Power Station were recorded for this SDX.
The seven kits for this SDX were handpicked by James and team to each represent a certain era, standout sound in jazz history or as a nod to some of the many milestone records in James’ discography. Expect kits that cover anything from the 1920s big band era, the bebop of the 1940s, the lively and free-spirited sound of the 1950s and the Latin-inspired 1960s to the amalgam of jazz and fusion that dominated in the 1970s.
In addition, legendary drum technician Artie Smith was present throughout the entire session to oversee tuning and treatments. The imprint Artie has left through his several-decade-long tenure in the world of drums can’t be overlooked. Since the early 1980s and through to now, first-call session drummers and engineers alike have trusted his bottomless drum knowledge during recordings. When it comes to drums, he is nothing short of a legend.
Recorded in: Studio C (main)
Tool(s) recorded: Drumsticks (wires on and wires off), brushes, mallets
Around the turn of the 20th century, drum kits featured massive bass drums in order to compete with the horn sections of big bands. Small bass drums didn’t became popular until well into the 1940s. Whether it was to fit better sonically with the upright bass or to make it easier for musicians to haul their gear across the New York City streets and subways, the small bop kit has remained a centerpiece in any jazz context. This is the absolute allround, go-to and staple set you can never go wrong with.
Brand: Gretsch*
Model: USA Custom/Round Badge
Material: 6-ply maple/gum/maple
Finish: Black Diamond Pearl
Era: 1960s
*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: 14x18″
Brand: Gretsch*
Model: Round Badge 1960s
Tools: Pedal (Felt)
Size: 5.5x14″
Brand: Gretsch*
Model: Round Badge 1960s
Tools: Brushes, Felt Mallets, Sticks
Size: 8x12″
Brand: Gretsch*
Model: Round Badge 1960s
Tools: Brushes, Felt Mallets, Sticks
Size: 14x14″
Brand: Gretsch*
Model: Round Badge 1960s
Tools: Brushes, Felt Mallets, Sticks
Size: 22″
Brand: Zildjian*
Model: A 1950s w/rivets
Tools: Brushes, Felt Mallets, 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.
Recorded in: Studio C (main)
Tool(s) recorded: Drumsticks (wires on), brushes
Brand: Gretsch*
Model: Birdland
Material: 3-ply maple gum maple
Finish: Cadillac Green
Era: 1950s
Finished in “Cadillac Green” and equipped with gold-colored hardware, this rare kit is named after the legendary Birdland Jazz Club in New York. Rumor has it that there were only twelve ever made of this gem. Constructed in Brooklyn right smack in the city, this is the epitome of a traditional jazz kit and one that represents the utmost in drum craftsmanship at the time.
*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: 14x22″
Brand: Gretsch*
Model: Round Badge
Tools: Pedal (Felt)
Size: 5x14″
Brand: Ludwig*
Model: All-around 1920s
Tools: Brushes, Sticks
Size: 9x13″
Brand: Gretsch*
Model: Round Badge
Tools: Brushes, Sticks
Size: 16x16″
Brand: Gretsch*
Model: Round Badge
Tools: Brushes, Sticks
Size: 22″
Brand: Zildjian*
Model: A 1950s w/rivets
Tools: Brushes, Felt Mallets, 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.
Recorded in: Studio C (Booth)
Tool(s) recorded: Drumsticks (wires on)
Being the Power Station “house kit,” this amazing set has been used on numerous recordings over the years. Featuring a redesign of the quintessential studio kit with input from Steve Gadd, the six-ply shells come with a 30 degree bearing edge compared to the 45 degree of its predecessor. The result? A slightly warmer but still undoubtably more modern sound, perfect for any modern jazz or fusion recording. If you’re looking for tones reminiscent of those James produced for drummer Peter Erskine on the “Steps Ahead” record, this is the kit to go for.
Brand: Yamaha*
Model: Recording Custom
Material: 6-ply birch
Finish: Real Wood
Era: 2010s
*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: 16x20″
Brand: Yamaha*
Model: Recording Custom
Tools: Pedal (Felt), Pedal (Fluffy), Pedal (Plastic)
Size: 6.5x14″
Brand: Yamaha*
Model: Recording Custom Brass
Tools: Sticks
Size: 7x10″
Brand: Yamaha*
Model: Recording Custom
Tools: Sticks
Size: 8x12″
Brand: Yamaha*
Model: Recording Custom
Tools: Sticks
Size: 13x14″
Brand: Yamaha*
Model: Recording Custom
Tools: Sticks
Size: 15x16″
Brand: Yamaha*
Model: Recording Custom
Tools: Sticks
Size: 20″
Brand: Zilco
Model: w/rivets
Tools: Sticks
Size: 16″
Brand: Zildjian*
Model: A Medium Thin Special Selection
Tools: Sticks
Size: 17″
Brand: Zildjian*
Model: A Paper Thin Brilliant
Tools: Sticks
Size: 22″
Brand: Zildjian*
Model: Swish
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.
Recorded in: Studio C (booth)
Tool(s) recorded: Drumsticks (wires on)
Brand: Camco*
Model: Oaklawn
Material: 4-ply maple/gum
Finish: Champagne Sparkle
Era: 1960s
Designed by iconic drum inventor George Way and considered by engineers and jazz drummer alike to be among be the best-sounding drums of their time, this is a must in a broad palette of jazz drums. Unusually for the period, the shells in this kit feature a four-ply construction with re-enforcement rings and painted internal shells. Pure, sparkling jazz magic.
*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: Camco*
Model: 14x22 Oaklawn Badge
Tools: Pedal (Felt)
Size: 5x14″
Brand: Ludwig*
Model: Professional Mahogany DeLuxe 1920s
Tools: Sticks
Size: 8x12″
Brand: Camco*
Model: Oaklawn Badge
Tools: Sticks
Size: 14x14″
Brand: Camco*
Model: Oaklawn Badge
Tools: Sticks
Size: 20″
Brand: Zilco
Model: w/rivets
Tools: Sticks
Size: 22″
Brand: Zildjian*
Model: Swish
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.
Recorded in: Studio A (main)
Tool(s) recorded: Drumsticks (wires on), brushes
Finished in a classic pearl wrap, with white wooden lugs, calfskin heads and in sizes evoking the look and sound of the big band swing era, this is as traditional as it gets. Combine that with both a modern as well as a classic mono mic setup and you’ll have the best of both words.
Brand: Ludwig & Ludwig*
Model: Victory Outfit
Material: 3-ply mahogany/poplar/mahogany w/ re-rings
Finish: Marine Pearl
Era: 1940s
*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: 14x26″
Brand: Ludwig*
Model: & Victory 1940s
Tools: Pedal (Felt)
Size: 5.5x14″
Brand: Ludwig*
Model: & Victory 1940s
Tools: Brushes, Sticks
Size: 7x11″
Brand: Ludwig*
Model: & Victory 1940s
Tools: Brushes, Sticks
Size: 12x14″
Brand: Ludwig*
Model: & Victory 1940s
Tools: Brushes, Sticks
Size: 22″
Brand: Zildjian*
Model: A 1940s w/rivets
Tools: Brushes, Sticks
Size: 24″
Brand: Zildjian*
Model: A 1950s
Tools: Brushes, Sticks
Size: 22″
Brand: Zildjian*
Model: A Pang 1950s
Tools: Brushes, 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.
Recorded in: Studio A (main)
Tool(s) recorded: Drumsticks (wires on)
Brand: Ludwig*
Model: Professional
Material: Mahogany
Finish: Gold Flake Pearl
Era: 1920s
Although the drum set had been around for a few years, the 1920s heralded rapid development and change. This kit retains the percussion ensemble of cowbells and woodblock together with the Chinese tack-head toms of earlier years. The low boy or sock cymbals have been moved onto a stand however, more consistent with the “hi-hat” cymbals of the era. Complimented by a range of vintage splash cymbals and an early Chinese cymbal, this kit encapsulates the sound of early jazz. Just like the Swing Kit, this set was also recorded with a mono mic setup.
*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: 14x28″
Brand: Ludwig*
Model: & Artists Special 1930s
Tools: Pedal (Felt), Pedal (Fluffy)
Size: 6.5x14″
Brand: Ludwig*
Model: & Super-1930s
Tools: Sticks
Size: 10″
Model: Chinese Tom
Tools: Sticks
Size: 10″
Brand: Wahlberg & Auge
Model: Sock 1920s
Tools: Sticks
Size: 24″
Brand: Zildjian*
Model: A 1950s
Tools: Brushes, Sticks
Size: 8″
Brand: Zilco
Model: 1950s
Tools: Sticks
Size: 10″
Brand: Zenjian*
Model: 1950s
Tools: Sticks
Size: 10″
Brand: Zildjian*
Model: A 1950s
Tools: Sticks
Size: 15″
Brand: Rui Ji*
Model: 1920s
Tools: Sticks
Brand: Ludwig*
Model: & Low Mid 1920s
Tools: Sticks
Brand: Ludwig*
Model: & High 1920s
Tools: Sticks
Brand: Leedy*
Model: Chinese Woodblock
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.
Recorded in: Studio A (booth)
Tool(s) recorded: Drumsticks (wires on), rods, hands
Brand: Sonor*
Model: Phonic
Material: 9-ply beech
Finish: Genuine Rosewood
Era: 1980s
As jazz evolved and fused with rock music in the early 1970s, drum kits changed accordingly. Proponents such as Billy Cobham and many more started using larger multi-tom kits paired with brighter cymbals. This kit was influenced by Jack DeJohnette’s setup of the 1980s – a larger kit with a more varied selection of cymbals but with the small bop-style bass drum intact. To add, it was recorded with both coated and clear heads, giving you two completely different tonal flavors.
*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: 14x18″
Brand: Sonor*
Model: Phonic - Coated Batter
Tools: Pedal (Felt)
Size: 4.5x14″
Brand: Brady Jarrah
Model: Ply
Tools: Hands, Rods, Sticks
Size: 8x12″
Brand: Sonor*
Model: Phonic - Coated heads
Tools: Hands, Rods, Sticks
Size: 9x13″
Brand: Sonor*
Model: Phonic - Coated heads
Tools: Hands, Rods, Sticks
Size: 14x14″
Brand: Sonor*
Model: Phonic - Coated heads
Tools: Hands, Rods, Sticks
Size: 16x16″
Brand: Sonor*
Model: Phonic - Coated heads
Tools: Hands, Rods, Sticks
Size: 14″
Brand: Paiste*
Model: Formula 602
Tools: Hands, Rods, Sticks
Size: 20″
Brand: Paiste*
Model: Formula 602 Medium Ride
Tools: Hands, Rods, Sticks
Size: 20″
Brand: Paiste*
Model: Formula 602 Thin Flat Ride
Tools: Sticks
Size: 22″
Brand: Paiste*
Model: Formula 602 Heavy Flat Ride w/rivets
Tools: Sticks
Size: 18″
Brand: Paiste*
Model: Dark Energy Crash
Tools: Hands, Rods, Sticks
Size: 18″
Brand: Paiste*
Model: Signature Fast Crash
Tools: Hands, Rods, Sticks
Size: 22″
Brand: Paiste*
Model: Signature Thin 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.
This SDX is configured as four different libraries, one for each room. Maximum versatility!
Studio A: Booth:
Studio A: Main:
All direct microphones use cardioid except for all AKG 414 on toms, these use hypercardioid.
All Overhead Center and Ambience microphones use omni.
A pad was used on the Neumann TLM170, and 20 dB pads were used on all AKG 414s.
*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.
Broadcast-ready drum mixes, at your fingertips.
The included library of presets covers drum mixes for all kits and configurations. In keeping with the sound of jazz, expect delicately nuanced, balanced, organic, natural, dynamic and acoustically impeccable kits – tailored for all your jazz needs.
Presets for every kit and tool option
More than 60 meticulously crafted drum mixes
Engineered by James Farber as well as by the Toontrack sound design team
Inspired by jazz through the ages and some of the milestone albums in Farber’s discography
Use for a mix-ready sound or as a starting point for your own mixes
All the traits of jazz drumming as we know it.
There is arguably no style of drumming more articulate, expressive and multifaceted than that of jazz. This SDX includes a masterfully performed collection of MIDI by Norman Garschke, traditionally trained drummer with a masters degree in jazz performance from the Conservatories of Hilversum and Amsterdam. Get ready to dive into a versatile library of flawless groove and comping material riddled with all the unmistakable traits of jazz drumming.
Extensive library of grooves and fills unique to this product and specifically tailored for use with its kits
Inspired by all main eras of jazz as well as some of the milestone records in James Farber’s career
Dedicated material for all tools (sticks, brushes, mallets, rods, hands)
This SDX includes more than 35 ‘clean’ presets designed specifically for use with e-drums. Loading balanced starting points of each kit as well as optimal settings for e-drum use (like extra hi-hat and cymbal articulations), these presets will be perfect for anyone looking to get a great starting point before making additional tweaks using the comprehensive e-drum features of Superior Drummer 3. Jam away, drummers!
For the full installation of this product you will need approximately 161 GB of free hard drive space, plus an additional 161 GB is required for the installation process.
8 GB RAM (16 GB RAM or more recommended).
A working Superior Drummer 3.3.6 (or above) installation
