Please provide a valid slug.Please provide a valid slug.Please provide a valid slug.Please provide a valid slug.Please provide a valid slug.{"id":2884826,"date":"2022-06-07T16:02:39","date_gmt":"2022-06-07T14:02:39","guid":{"rendered":"https:\/\/www.toontrack.com\/?post_type=product&p=2884826"},"modified":"2025-05-06T09:05:05","modified_gmt":"2025-05-06T07:05:05","slug":"big-stage-ezx","status":"publish","type":"product","link":"https:\/\/www.toontrack.com\/product\/big-stage-ezx\/","title":{"rendered":"Big Stage EZX"},"content":{"rendered":"

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The Big Stage EZX<\/strong> is an expansion for EZdrummer 3<\/strong> captured in arguably the most unique and iconic setting in Toontrack EZX history: an empty stage facing a massive mid-1800s theater auditorium. Masterfully recorded by engineer\/producer\/mixer Jakob Herrmann<\/strong> and designed to provide the broadest possible sonic palette, it features four contrasting kits as well as ambience microphones positioned on the far ends of the stage, the balconies and other key positions in the theater\u2019s breathtaking room.<\/p>\n

Regardless of whether you\u2019re looking to write a massive rock track, an ambient pop song or if you\u2019re simply after a massive collection of genre-neutral drums with an audio-visual scope beyond the convention, this EZX is your new go-to.<\/p>\n

Ready to write some songs? The stage is yours<\/strong>.<\/p>\n<\/p><\/div>\n

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Recorded at Stora Teatern, a classic Gothenburg theater dating back to 1859<\/li>\n
Engineered by Jakob Herrmann at Top Floor Studios in Gothenburg, Sweden<\/li>\n
Four complete kits, handpicked for maximum versatility<\/li>\n
Features a set of concert toms as well as several extra kicks, snares and cymbals<\/li>\n
Sounds ideal for anything from thunderous rock and metal to modern ambient pop, soul and more<\/li>\n
Features several ambience microphones (far sides of the stage, ceiling, balcony and more)<\/li>\n
Comes with mix-ready presets for a wide range of microphone setup variations and styles<\/li>\n
Includes a collection of unique MIDI grooves and fills tailored for the kits<\/li>\n<\/ul><\/div>\n<\/p><\/div>\n<\/div>\n
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This EZX expansion requires EZdrummer 3<\/strong><\/a> or Superior Drummer 3<\/strong><\/a>.<\/p>\n<\/p><\/div>\n<\/p><\/div>\n<\/div>\n
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FULL PRODUCTIONS<\/p>\n<\/p><\/div>\n<\/p><\/div>\n<\/p><\/div>\n
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DRUMS & PRESETS<\/p>\n<\/p><\/div>\n<\/p><\/div>\n<\/p><\/div>\n<\/div>\n
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THE MAKING OF.<\/strong><\/h1>\n
Meet the team behind the Big Stage EZX and get a glimpse of what happened behind the scenes during the session.<\/strong><\/p>\n<\/p><\/div>\n<\/div>\n
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THE THEATER
& THE STUDIO.<\/strong><\/h1>\n
At the end of Gothenburg\u2019s bustling main boulevard, wedged in between lush park greenery and busy cable car traffic, one of the city\u2019s most iconic buildings paints its imposing silhouette on the cityscape: Stora Teatern<\/strong><\/span>. Originally designed for dramatic theater, this now mid-1800s marvel of renaissance-inspired architecture acts as a stage for arts and culture across the board. Located inside the building itself is Top Floor Studios<\/span>, one of Gothenburg\u2019s linchpin studios and go-to hubs for not only the city\u2019s elite of bands and artists, but also internationally. The studio is managed and run by Jakob Herrmann<\/strong><\/span>, producer and creative mind behind this EZX.<\/strong><\/p>\n<\/p><\/div>\n<\/div>\n
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MEET YOUR NEW DRUMMER<\/strong><\/h1>\n
MEET YOUR NEW DRUMMER<\/strong><\/h4>\n
The next chapter has officially begun. EZdrummer 3 is available now.<\/strong><\/p>\n
The next chapter has officially begun. EZdrummer 3 is available now.<\/strong><\/p>\n
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\nLEARN MORE<\/a>\n<\/p>\n
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THE DRUMS.<\/strong><\/h1>\n
Four kits and extras, handpicked to offer maximum versatility and tonal characteristics.<\/strong><\/p>\n<\/p><\/div>\n<\/div>\n
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STAGE KIT.<\/strong><\/h1>\n
STAGE KIT.<\/strong><\/h2>\n
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\u201cBeing able to handle anything from jazz to hard-hitting rock, this was the perfect choice for an allround kit. The resonating toms and the punchy kick came out great in this huge ambience.\u201d<\/em><\/strong><\/p>\n
Jakob Herrmann<\/p>\n<\/p><\/div>\n
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STAGE KIT.<\/strong><\/h1>\n
STAGE KIT.<\/strong><\/h2>\n
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\u201cBeing able to handle anything from jazz to hard-hitting rock, this was the perfect choice for an allround kit. The resonating toms and the punchy kick came out great in this huge ambience.\u201d<\/em><\/strong><\/p>\n
Jakob Herrmann<\/p>\n<\/p><\/div>\n<\/div>\n
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Brand:<\/span> Gretsch*<\/a> Model:<\/span> USA Custom Material:<\/span> Maple\/gum<\/p>\n
Finish:<\/span> Silver mist Era:<\/span> 2019<\/p>\n
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Brand:<\/span> Gretsch*<\/a> |<\/strong> Model:<\/span> USA Custom |<\/strong> Material:<\/span> Maple\/gum<\/p>\n
Finish:<\/span> Silver mist |<\/strong> Era:<\/span> 2019<\/p>\n<\/p><\/div>\n<\/p><\/div>\n
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\n *All other manufacturers\u2019 product names are trademarks of their respective owners, which are in no way associated or affiliated with Toontrack. See full notice here<\/a>.<\/p>\n <\/div>\n<\/div>\n<\/div>\n
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BIG KIT.<\/strong><\/h1>\n
BIG KIT.<\/strong><\/h2>\n
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\u201cThis was the first kit I decided just had to be recorded for this project. It’s simply a timeless classic. Tuned super low, it’s got power and rumble for days \u2013 especially in the context of this room.\u201d<\/em><\/strong><\/p>\n
Jakob Herrmann<\/p>\n<\/p><\/div>\n
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BIG KIT.<\/strong><\/h1>\n
BIG KIT.<\/strong><\/h2>\n
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\u201cThis was the first kit I decided just had to be recorded for this project. It’s simply a timeless classic. Tuned super low, it’s got power and rumble for days \u2013 especially in the context of this room.\u201d<\/em><\/strong><\/p>\n
Jakob Herrmann<\/p>\n<\/p><\/div>\n<\/div>\n
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Brand:<\/span> Ludwig*<\/a> |<\/strong> Model:<\/span> Vistalite |<\/strong> Material:<\/span> Acrylic<\/p>\n
Finish:<\/span> Clear Blue |<\/strong> Era:<\/span> 1970s<\/p>\n
Brand:<\/span> Ludwig*<\/a> Model:<\/span> Vistalite Material:<\/span> Acrylic<\/p>\n
Finish:<\/span> Clear Blue Era:<\/span> 1970s<\/p>\n<\/p><\/div>\n<\/p><\/div>\n
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SESSION KIT.<\/strong><\/h1>\n
SESSION KIT.<\/strong><\/h2>\n
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\u201cThe punchy and controlled opposite to the White and Blue kits. With small sizes but lots of low end, this kit made the room sing in a whole other way than the other kits.\u201d<\/em><\/strong><\/p>\n
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SESSION KIT.<\/strong><\/h1>\n
SESSION KIT.<\/strong><\/h2>\n
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\u201cThe punchy and controlled opposite to the White and Blue kits. With small sizes but lots of low end, this kit made the room sing in a whole other way than the other kits.\u201d<\/em><\/strong><\/p>\n
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Brand:<\/span> Yamaha*<\/a> |<\/strong> Model:<\/span> 8000 |<\/strong> Material:<\/span> Birch\/mahogany<\/p>\n
Finish:<\/span> Black Lacquer |<\/strong> Era:<\/span> 1980s<\/p>\n
Brand:<\/span> Yamaha*<\/a> Model:<\/span> 8000 Material:<\/span> Birch\/mahogany<\/p>\n
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CONCERT KIT.<\/strong><\/h1>\n
CONCERT KIT.<\/strong><\/h2>\n
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\u201cThis is the old-school concert tom kit. With no resonant heads on the toms, this is fast and snappy and a very cool alternative to the other three kits. The close mics on the toms in combination with the room mics give you a very unique sound and tons of options.\u201d<\/em><\/strong><\/p>\n
Jakob Herrmann<\/p>\n<\/p><\/div>\n
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CONCERT KIT.<\/strong><\/h1>\n
CONCERT KIT.<\/strong><\/h2>\n
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\u201cThis is the old-school concert tom kit. With no resonant heads on the toms, this is fast and snappy and a very cool alternative to the other three kits. The close mics on the toms in combination with the room mics give you a very unique sound and tons of options.\u201d<\/em><\/strong><\/p>\n
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Brand:<\/span> Tama*<\/a> |<\/strong> Model:<\/span> Imperialstar |<\/strong> Material:<\/span> 9-ply luan mahogany with zola coating<\/p>\n
Finish:<\/span> Metallic White |<\/strong> Era:<\/span> 1980s<\/p>\n
Brand:<\/span> Tama*<\/a> Model:<\/span> Imperialstar Material:<\/span> 9-ply luan mahogany with zola coating<\/p>\n
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THE EXTRAS.<\/strong><\/h1>\n
THE EXTRAS.<\/strong><\/h2>\n<\/p><\/div>\n
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MEET THE ENGINEER.<\/strong><\/h1>\n
Jakob Herrmann<\/span> runs his day-to-day operations from his own studio at the upper level of Stora Teatern. In here, you\u2019ll either find him recording, mixing or producing a new record, maintaining his arsenal of gear or touching up his collection of drums \u2013 if he\u2019s or not on the go to somewhere else in the world, that is, for another one of his many international audio missions.<\/strong><\/p>\n<\/p><\/div>\n<\/div>\n
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You started out playing music already at the age of five. How come you finally ended up behind the console as opposed to on the stage? Where does the interest for recording come from?
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\n I was always interested in recording and most of all producing. My first band did very DIY-type recordings in our jam space. After that I went to music school as a drummer, and there happened to be a studio where I spent every single moment I could spare for two years. After that it was basically \u201call systems go\u201d for sitting in the producer\u2019s chair instead of on the drum throne. I\u2019ve never been much into songwriting, but I\u2019ve always found it fascinating to record other people\u2019s music and make it the absolute best it can be, and that mindset hasn\u2019t changed one bit.<\/p>\n
You have a true passion for drums and particularly for recording them. What\u2019s so great about drums?<\/strong>
\n I love all instruments, and I actually started out as a piano player. But drums just makes my heart beat a little faster. Ever since I got my first drum kit, I\u2019ve been obsessed with understanding how to make certain sounds and what it is that makes drums sound the way they do. I know it\u2019s a bit excessive to have 30-40 snare drums in a studio (as opposed to my 10-15 guitar amps, haha!) but to me it makes perfect sense! The drum kit is the perfect instrument, and I think there is nothing more satisfying than a well-produced drum sound.<\/p>\n
About engineering and recording, you\u2019ve said that it\u2019s your job but also your passion. What is it like having a career in a field which is also your biggest passion?<\/strong>
\n Very life consuming. I\u2019m in my studio basically every day of the week, and I don\u2019t really have any other interests. I love my life, and my life is built around me being a producer, not the other way around. This is basically what I\u2019ve been working with my whole life, and with it being my not only biggest but really my only passion, there is really nothing else I can see myself doing.<\/p>\n
Walk us through a regular day \u201cin the life of Jakob Herrmann\u201d!
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\n I wake up, I pet my dog, I go for a workout and then I\u2019m off to the studio. At the end of the day I go home, and at night I usually look at my calendar to see when I have a small gap between projects so I can travel somewhere. Then it\u2019s all rinse and repeat.<\/p>\n
What\u2019s the one project you haven\u2019t yet done that you absolutely love to do? What\u2019s at the top of your bucket list?<\/strong>
\n Oh, I don\u2019t know, I\u2019ve been fortunate enough to work with some artists and fellow producers and mixing engineers that the younger me would have never thought possible. And having recorded with everything from international superstars like Anthrax and Machine Head, to big local pioneers like Dark Tranquillity, Evergrey and In Flames, as well as working with some of my personal childhood heroes, I\u2019d say for me it\u2019s already hard to top that. At the same time, I enjoy working with bands and artists on all levels. I\u2019ll just keep doing what I\u2019ve been doing, and be thankful as long as I\u2019m able to do it.<\/p>\n<\/p><\/div>\n
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Walk us through the idea behind this project.<\/strong>
\n After making the Duality I and II EZX packs, I was toying with the idea of what it would be like to do the same thing on the theater stage. Recording an EZX requires a dead-silent room and lots of time, so when the theatre was closed and empty for some weeks during the summer, Toontrack and I decided it was time. I contacted my close friend Darby and asked if he wanted to be my drummer for the project, as he is the perfect match for a projekt like this. He also brought some of his cymbals and snares that I was curious to use. We both felt that this would be a very unique sounding EZX, as there is nothing out there like this \u2013 and we proved ourselves right. I knew from the start what I wanted this to be: An EZX featuring a big, unique room with a lot of ambience mics sounding very different from each other and that could be combined in different ways for a mind-blowing variety of sounds. When I made the Duality EZXs, I wanted one kit with a lot of options. This time, I wanted more kits with different sounds. And four cowbells.<\/p>\n
Your studio is located in the same building as the theater and in fact directly connected to the stage. Have you recorded here for albums before?<\/strong>
\n The studio being hardwired to the stage is pretty unique and gives me the same level of control as when I record in my regular live room. I\u2019ve used the stage for recording many times, everything from grand piano and strings to sound effects, drums and overdubs.\u00a0<\/p>\n
Finally, listening back to the finished sounds and working with the products \u2013 what\u2019s that like? Did they come out as you had envisioned?<\/strong>
\n Even better! Working with the presets made me realize how close to my original vision it sounded and how versatile it is, even though the room can be a wild beast to tame. Darby\u2019s playing as well as being able to bounce my ideas with him in the creative process made it even better. We talked a lot about what a stage drum sound really is, as opposed to a big studio sound, and I guess you could call this the best of two worlds. It sounds like nothing I\u2019ve ever heard, except my own recordings here, and I can\u2019t wait to both use it myself \u2013 as well as hear it being used by others!<\/p>\n<\/p><\/div>\n<\/div>\n
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THE MIC SETUP.<\/strong><\/h1>\n
With ambience microphones positioned on anything from the far sides of the stage to the ceiling and the balconies, the audio-visual scope of this recording presents an amazing width.<\/strong><\/p>\n<\/p><\/div>\n<\/div>\n
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MICROPHONE & SIGNAL CHAIN OVERVIEW.<\/h5>\n
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MICROPHONE & SIGNAL CHAIN OVERVIEW.<\/strong><\/h3>\n
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Channel<\/b><\/td>\n Mic<\/b><\/td>\n Type<\/b><\/td>\n Console<\/b><\/td>\n<\/tr>\n
Kick In<\/td>\n Milab BDM-01<\/td>\n Condenser<\/td>\n SSL 6000 G<\/td>\n<\/tr>\n
Kick Out<\/td>\n Rode K2<\/td>\n Tube Condenser<\/td>\n SSL 6000 G<\/td>\n<\/tr>\n
Snare Top<\/td>\n Shure SM57<\/td>\n Dynamic<\/td>\n SSL 6000 G<\/td>\n<\/tr>\n
Snare Bottom<\/td>\n Shure SM57<\/td>\n Dynamic<\/td>\n SSL 6000 G<\/td>\n<\/tr>\n
Hi-Hat<\/td>\n Shure SM57<\/td>\n Dynamic<\/td>\n SSL 6000 G<\/td>\n<\/tr>\n
Racktom 1<\/td>\n Sennheiser MD421<\/td>\n Dynamic<\/td>\n SSL 6000 G<\/td>\n<\/tr>\n
Racktom 2<\/td>\n Sennheiser MD421<\/td>\n Dynamic<\/td>\n SSL 6000 G<\/td>\n<\/tr>\n
Racktom 3<\/td>\n Sennheiser MD421<\/td>\n Dynamic<\/td>\n SSL 6000 G<\/td>\n<\/tr>\n
Floortom 1<\/td>\n Sennheiser MD421<\/td>\n Dynamic<\/td>\n SSL 6000 G<\/td>\n<\/tr>\n
Floortom 2<\/td>\n Sennheiser MD421<\/td>\n Dynamic<\/td>\n SSL 6000 G<\/td>\n<\/tr>\n
Ride<\/td>\n AKG C451-B<\/td>\n Condenser<\/td>\n SSL 6000 G<\/td>\n<\/tr>\n
China<\/td>\n AKG C451-B<\/td>\n Condenser<\/td>\n SSL 6000 G<\/td>\n<\/tr>\n
Cowbell<\/td>\n Shure SM57<\/td>\n Condenser<\/td>\n SSL 6000 G<\/td>\n<\/tr>\n
OH-L<\/td>\n Neumann U87<\/td>\n Condenser<\/td>\n SSL 6000 G<\/td>\n<\/tr>\n
OH-R<\/td>\n Neumann U87<\/td>\n Condenser<\/td>\n SSL 6000 G<\/td>\n<\/tr>\n
Stage-L<\/td>\n Milab DC96C<\/td>\n Condenser<\/td>\n SSL 6000 G<\/td>\n<\/tr>\n
Stage-R<\/td>\n Milab DC96C<\/td>\n Condenser<\/td>\n SSL 6000 G<\/td>\n<\/tr>\n
Audience-L<\/td>\n Rode Classic<\/td>\n Tube Condenser<\/td>\n SSL 6000 G<\/td>\n<\/tr>\n
Audience-R<\/td>\n Rode Classic<\/td>\n Tube Condenser<\/td>\n SSL 6000 G<\/td>\n<\/tr>\n
Balcony-L<\/td>\n Milab VM-44<\/td>\n Condenser<\/td>\n SSL 6000 G<\/td>\n<\/tr>\n
Balcony-R<\/td>\n Milab VM-44<\/td>\n Condenser<\/td>\n SSL 6000 G<\/td>\n<\/tr>\n
Ceiling<\/td>\n AKG C460B<\/td>\n Condenser<\/td>\n SSL 6000 G<\/td>\n<\/tr>\n
Royal Box<\/td>\n Rode NTG2<\/td>\n Condenser<\/td>\n SSL 6000 G<\/td>\n<\/tr>\n<\/tbody>\n<\/table><\/div>\n<\/p><\/div>\n
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\n *All other manufacturers\u2019 product names are trademarks of their respective owners, which are in no way associated or affiliated with Toontrack. See full notice here<\/a>.<\/p>\n <\/div>\n<\/p><\/div>\n<\/div>\n
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MEET THE DRUMMER.<\/strong><\/h1>\n
For the past three decades and counting, the multi-genre wizardry of UK based drummer Darby Todd<\/span> has been blasting out of PAs on main stages and\/or graced records with bands like The Darkness, Devin Townsend, Gary Moore, Kee Marcello and many more.<\/strong><\/p>\n<\/p><\/div>\n<\/div>\n
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First of all, what sparked your interest in music?<\/strong>
\n I was always surrounded by music as long as I can remember. My dad was a bass player and coming from America he had a huge love of English rock bands (and we all know the UK bands were the best back in the day!), so I was always exposed to the vinyl he would play. I never really looked at drums and thought that I really wanted to be a drummer. At the age of six I came home from school with a letter saying I could choose to play violin or tuba. I wanted to play violin, but my dad said he had a better idea. A week later I had a pair of drumsticks and a practice pad and I was hooked!<\/p>\n
To you, what defines a great drummer? Name a few that you think stand out in today\u2019s scene (regardless of genre) and some that helped shape you as a drummer growing up and learning the instrument.<\/strong>
\n That\u2019s a difficult question and I am sure everyone has a differing opinion of the qualities of a great player of any instrument. For me it would have to be a musician who is well versed in multiple styles and genres. Not just someone that is good at one particular thing. I would say my playing style is a the result of five main drummers I loved growing up as a kid: Gregg Bissonette, Dennis Chambers, Dave Weckl, Simon Phillips and Alex Van Halen. I stole so many ideas of all of these guys. In recent years I would say that I\u2019m really into Virgil Donati and Vinnie Colaiuta. These are the two guys that are at the top of their game and I find hugely inspiring as players. To me they are among the best out there.<\/p>\n
You\u2019re a professional drummer by occupation and have jumped between bands and projects your entire career. Looking back on this journey, any stints or projects that particularly stand out?
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\n I have enjoyed working with virtually every project I have done. I find it extremely fulfilling to be able to work in different situations. In terms of one-off performances I have done with artists I would say playing \u201cThe Power of Love\u201d with Huey Lewis and also the entirety of \u201cWhole Lotta love\u201d and \u201cRock And Roll\u201d with Robert Plant were well up there on the top of my list! My time in The Darkness was definitely up there. I am currently touring with Martin Barre, the guitarist from Jethro Tull, playing his 50 Years of Jethro Tull tour. This has been an amazing experience playing some iconic prog songs that inspired so many of the modern prog bands. I\u2019m fortunate that this gig has been taking me around the world and we look like being busy for at least the next two years. We also have Clive Bunker, the original drummer from Tull in the band, so it\u2019s a ton of fun to play double drums with him. I also play with Swedish guitar legend Kee Marcello. I played on his last album \u201cScaling Up\u201d which I think is a fantastic record. It\u2019s kinda surreal that as a kid I used to play along to Europe albums and now I\u2019m Kee\u2019s first-call drummer! Also, I\u2019m currently playing drums on Devin Townsend\u2019s European tour. Having been a fan of his for years, its awesome to be being playing music with a rock icon that you were already a fan of. My solo album is definitely something that stands out in my career. I feel like it sums up my 30 plus years of drumming and what I have achieved. Also having amazing musicians on it like Don Airey, Bumblefoot, Per Nilsson, Martin Barre and Justin Hawkins, to name a few, definitely stands out as a highlight for me. <\/p>\n
Having played blues, rock, hard rock, funk and, well, literally any style of drums there is \u2013 is there any genre\/style you particularly prefer?<\/strong>
\n For me, I am a rock drummer at heart and that will never die, but I learned at a young age that it\u2019s not a good idea to ignore other genres hence why my CV is so varied! I also love my jazz and fusion. It\u2019s a genre that allows me to play to my full ability and fulfill my need to play millions of notes without getting fired!<\/p>\n<\/p><\/div>\n
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If you weren\u2019t playing for a living, what would you do for a career, you think?<\/strong>
\n I\u2019ve always thought I\u2019d be a fireman. Always thought that was a cool job!<\/p>\n
To you, what\u2019s unique about this EZX?<\/strong>
\n To start, you have four handpicked kits recorded to the highest possible standards. Add to this the option of five room ambience options in a huge acoustically amazing-sounding theatre and I believe you have one of the most unique EZXs to date. The room mics give so many varied options in terms of sound that the possibilities for sound are endless. From great close mics to the option to have the biggest drum sound ever, there has to be something for everyone in this pack.<\/p>\n
You\u2019ve been involved in many Toontrack products in the past, both as an audio demo creator and by providing MIDI material for expansions and MIDI packs, but this was your first time actually sampling drums. What\u2019s your takeaway from the process?<\/strong>
\n My takeaway is that I absolutely loved doing this. One of the key components to being good at drum sampling is to be accurate with every strike you make. This was a good opportunity to see that my years of practice had actually worked out in great consistency in my playing and strikes! I also realized that when you have the correct team of people working together striving for the same goal, you get a product beyond your already high expectations. I can\u2019t wait to record more with Toontrack.<\/p>\n
Listening back to the finished product, did it come out like you had envisioned?<\/strong>
\n This has completely surpassed my hopes for this pack. The scope of this pack for drum sounds is huge. There are so many room options available at you fingertips with this pack. From a touch of room to give your drums some space in the mix through to massive, dominating drums\u2026it\u2019s all there. It sounds immense and I will definitely be using it in my own recordings to get room sounds not possible in my studio. I think I speak for the whole team involved when I say this is a really special EZX. <\/p>\n<\/p><\/div>\n<\/div>\n
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THE PRESETS.<\/strong><\/h1>\n
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The included library of presets was engineered by Jakob Herrmann and designed to provide a broad collection of mix-ready settings incorporating a variety of sound ideals, mixing styles and microphone setups.
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THE MIDI.<\/strong><\/h1>\n
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The included MIDI was performed by Darby Todd and is unique to this EZX. In total, five songs are provided \u2013 each performed and tailored tailored specifically to suit the kits, the ambience of the room and to serve as perfect starting points for your next few tracks.<\/strong><\/p>\n
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WHEN TWO
WORLDS COLLIDE.<\/strong><\/h3>\n
Two EZXs. Equal, but worlds apart.<\/strong><\/p>\n
Want more from Jakob? Check out
his amazing Duality EZXs.<\/strong><\/p>\n
\nLEARN MORE<\/a>\n\n <\/p><\/div>\n<\/div>\n
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