If you spend ten minutes on a random radio station anywhere in the world, the likelihood that you catch one of Hugh Padgham<\/strong>\u2019s productions is strikingly high. From some of the most iconic songs by Phil Collins, Genesis, The Police and Sting to seminal tracks by the likes of Kate Bush, Peter Gabriel, David Bowie, The Human League, Paul Young, Melissa Etheridge and Paul McCartney, Hugh has had a hand in all. At that, not only did he help sonically package some truly timeless pieces of music, he also single-handedly pioneered the sound of an era. Ever wondered who the mastermind behind the iconic gated reverb snare drum was? That\u2019s Hugh. Or who the pioneering engineers behind blending acoustic and electronic drums were? Hugh was definitely one of them. Needless to say, his footprint in music history, and especially so when it comes to retooling the role of the drums in a production, couldn\u2019t be more obvious.<\/p>\n

In this SDX, Hugh set out to create an all-encompassing source of acoustic and electronic drums inspired by not only the \u201980s and \u201990s eras, but also one designed to reflect some of the most known drummers and album mileposts in his body of work. All in all, six unique acoustic kits were sourced as well as a massive collection of classic vintage hardware drum machines \u2013 all captured in the breathtaking ambience of the immaculate sonic marvel that is the British Grove Studios in London, UK. To add an ever more organic and period-correct flavor, all drums and machines were recorded to tape before converted digitally. On top of that, the machines were amped through a PA system in the same ambience as the acoustic drums and captured using a similar microphone setup. This gives you an awe-inspiring canvas of acoustic and electronic sounds that you seamlessly can blend, mix, match and surgically modify using the broad set of onboard design tools available in Superior Drummer 3. Of course, should you want Hugh\u2019s mixes right off the bat, there is a hefty amount of his custom presets included<\/strong>.<\/p>\n

This SDX gives you some of the greatest kits ever played and some of the most iconic drum machines ever created, all sonically inspired by some of the greatest music ever recorded by the very man who once put it down on tape. Simply put: If you\u2019re looking for a source of drums that you can use to produce hits right out of the gate with, this SDX is it.<\/p>\n<\/p><\/div>\n

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Six (6) acoustic drum kits and upwards of 400 classic drum machine sounds<\/li>\n
Recorded to analog tape making use of four legendary vintage consoles<\/li>\n
Extra selections of acoustic kicks, snares and cymbals<\/li>\n
Recorded by four-time Grammy Award-winning producer\/mixer\/engineer Hugh Padgham (Phil Collins, Genesis, Sting, The Police)<\/li>\n
Inspired by some of the most defining works in Hugh\u2019s discography<\/li>\n
Captured at British Grove Studios in London, England<\/li>\n
A generous selection of mix-ready presets by Hugh Padgham<\/li>\n
Includes a bespoke MIDI library of drum grooves and fills inspired by Padgham\u2019s discography<\/li>\n<\/ul><\/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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KITS & PRESETS<\/p>\n<\/p><\/div>\n<\/p><\/div>\n<\/p><\/div>\n
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INSTRUMENTS &
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A MARRIAGE OF
ACOUSTIC & ELECTRONIC.<\/strong><\/h1>\n
A MARRIAGE OF
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6 KITS | 11 MACHINES | MORE THAN
400 ELECTRONIC SOUNDS<\/h4>\n
Acoustic drum kits and re-amped machines, captured in the same ambience.<\/strong><\/p>\n<\/p><\/div>\n
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Much like the groundbreaking works Hugh Padgham<\/span><\/strong> was involved in making in the \u201980s and \u201990s, this SDX is a marriage of acoustic<\/span><\/strong> and electronic<\/span><\/strong>. What makes this collection even more unique is that both elements were recorded to tape and, on top of that, each electronic sound re-amped through a PA system and captured with several ambience microphones in the same room as the drums. This, in fact, was one of the tricks Hugh frequently employed back in the day to give the sometimes lifeless machines a needed boost of power, punch, grit and energy.<\/p>\n<\/p><\/div>\n<\/p><\/div>\n<\/div>\n
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The electronic<\/span><\/strong> portion of the SDX was based on eleven of the most era-defining and now sought-after hardware drum machines of the 1980s: Roland*\u2019s TR series, Simmons*, Oberheim*, Linn* and more. The acoustic<\/span><\/strong> part is made up of six complete kits, of which four were directly modeled after the sound and the drummers on some of Hugh\u2019s most iconic productions: Vinnie Colaiuta, Manu Katch\u00e9, Stewart Copeland and, of course, Phil Collins.<\/p>\n<\/div>\n<\/div>\n
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ABOUT
HUGH PADGHAM<\/strong><\/h1>\n
Hugh is a British audio engineer, producer and mixer. He started his career in the 1970s as a tape operator at Advision Studios in London, UK, working on albums by the likes of Mott the Hoople, Gentle Giant and many more. From there he went on to work at the legendary The Townhouse, engineering for bands like XTC, Peter Gabriel and Phil Collins. The rest is, of course, history. <\/strong><\/p>\n
To date, Hugh has won four Grammy Awards along with many other industry accolades and nominations for his outstanding production work and contributions in the field music. He is considered one of the most influential producers in the industry.<\/strong><\/p>\n
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SELECTED DISCOGRAPHY<\/strong><\/h4>\n
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Peter Gabriel \u201c3: Melt\u201d<\/span> (1980)<\/h5>\n
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Phil Collins \u201cFace Value\u201d<\/span> (1981)<\/h5>\n
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The Police \u201cGhost in the Machine\u201d<\/span> (1981)<\/h5>\n
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Phil Collins \u201cHello, I must be going!\u201d<\/span> (1982)<\/h5>\n
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Genesis \u201cGenesis\u201d<\/span> (1983)<\/h5>\n
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The Police \u201cSynchronicity\u201d<\/span> (1984)<\/h5>\n
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Phil Collins \u201cNo Jacket Required\u201d<\/span> (1986)<\/h5>\n
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Genesis \u201cInvisible Touch\u201d<\/span> (1987)<\/h5>\n
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Sting \u201cNothing Like the Sun\u201d<\/span> (1987)<\/h5>\n
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Phil Collins \u201c\u2026But Seriously\u201d<\/span> (1989)<\/h5>\n
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Sting \u201cThe Soul Cages\u201d<\/span> (1991)<\/h5>\n
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Sting \u201cTen Summoner\u2019s Tales\u201d<\/span> (1994)<\/h5>\n
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Sting \u201cMercury Falling\u201d<\/span> (1996)
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BRITISH GROVE<\/h4>\n
THE STUDIO<\/strong><\/h1>\n
Situated right smack in the busy Chiswick area in West London, this somewhat modest yellow brick building, which used to serve as a dye works for a laundry in Victorian times, houses one of Europe\u2019s arguably most state-of-the-art recording facilities: British Grove Studios. Built to offer the best of both worlds in terms of vintage and modern, this uncompromising complex has become a go-to for productions where an organic and naturally ambient sound ideal is favored. In addition to owner Mark Knopfler\u2019s own projects, Nick Cave, U2, Roger Waters, Sting, Razorlight and Kaiser Chiefs are among the artists who have recorded here.<\/p>\n<\/p><\/div>\n<\/div>\n
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THE MAKING OF.<\/strong><\/h2>\n
Head behind the scenes of the studio and get a glimpse of what went on during the session!<\/strong><\/p>\n<\/p><\/div>\n<\/div>\n
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THE DRUMS.<\/strong><\/h1>\n<\/p><\/div>\n<\/div>\n
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CENTER STAGE KIT<\/strong><\/h2>\n
Sampled with snare wires on, using drumsticks and a felt kick drum beater.<\/p>\n
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\n Brand: Premier*<\/a>
\n Model: Elite Concert
\n Material: 3-ply birch (with reinforcement rings)
\n Era: 1970s<\/strong><\/p>\n
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\u201cThis kit setup is strongly inspired by Phil Collins, who Hugh worked closely together with for many of both Collins\u2019 and Genesis\u2019 most celebrated records. Just as unique and pioneering Phil\u2019s style of drumming was, so was his setup. Typically he would use a kit with so-called \u2018concert\u2019 toms which were missing the standard resonance heads, usually with a big selection of sizes ranging from 8\u2033 up to 18\u2033 floor toms as well as a smaller 20\u2033 kick drum, also without a front head. Who didn\u2019t react when they heard \u2018In the Air Tonight\u2019 for the first time? I get goosebumps to this day. Together with Hugh\u2019s period-correct engineering and with a kit setup as close to the original as possible, this set gives you that unique tone right off the bat.\u201d<\/em> Norman Garschke<\/p>\n<\/p><\/div>\n<\/p><\/div>\n<\/div>\n<\/div>\n<\/div>\n
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\u201cThis kit setup is strongly inspired by Phil Collins, who Hugh worked closely together with for many of both Collins\u2019 and Genesis\u2019 most celebrated records. Just as unique and pioneering Phil\u2019s style of drumming was, so was his setup. Typically he would use a kit with so-called \u2018concert\u2019 toms which were missing the standard resonance heads, usually with a big selection of sizes ranging from 8\u2033 down to 18\u2033 floor toms as well as a smaller 20\u2033 kick drum, also without a front head. Who didn\u2019t react when they heard \u2018In the Air Tonight\u2019 for the first time? I get goosebumps to this day. Together with Hugh\u2019s period-correct engineering and with a kit setup as close to the original as possible, this set gives you that unique tone right off the bat.\u201d<\/em> Norman Garschke<\/p>\n<\/p><\/div>\n<\/div>\n
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SEE FULL INSTRUMENT LIST AND DETAILS.<\/p>\n

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Brand:<\/strong> Premier*<\/a>
\n Model:<\/strong> Elite Concert
\n Material<\/strong> 3-ply birch (with reinforcement rings)
\n Era:<\/strong> 1970s<\/p>\n<\/p><\/div>\n<\/p><\/div>\n
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NEW WORLD KIT.<\/strong><\/h2>\n
Sampled with snare wires on, using drumsticks and a felt kick drum beater.<\/p>\n
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\n Brand: Yamaha*<\/a>
\n Model: 8000 Tour Custom
\n Material: Birch and mahogany ply
\n Era: 1980s<\/strong><\/p>\n
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\u201cThis kit configuration is inspired by Manu Katch\u00e9, another amazing drummer who Hugh had the privilege of recording during the \u2018Nothing Like the Sun\u2019 and \u2018The Soul Cages\u2019 sessions with Sting. We were lucky to find a kit in the original \u2018Cobalt Blue\u2019 finish and combine it with Manu\u2019s signature snare drum and a set of cymbals that matched what he used on these iconic records.\u201d<\/em> Norman Garschke<\/p>\n<\/p><\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n
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\u201cThis kit configuration is inspired by Manu Katch\u00e9, another amazing drummer who Hugh had the privilege of recording during the \u2018Nothing Like the Sun\u2019 and \u2018The Soul Cages\u2019 sessions with Sting. We were lucky to find a kit in the original \u2018Cobalt Blue\u2019 finish and combine it with Manu\u2019s signature snare drum and a set of cymbals that matched what he used on these iconic records.\u201d<\/em> Norman Garschke<\/p>\n<\/p><\/div>\n<\/div>\n
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Brand:<\/strong> Yamaha*<\/a>
\n Model:<\/strong> 8000 Tour Custom
\n Material<\/strong> Birch and mahogany ply
\n Era:<\/strong> 1980s<\/p>\n<\/p><\/div>\n<\/p><\/div>\n
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RED HOT SESSION KIT.<\/strong><\/h2>\n
Sampled with snare wires on, using drumsticks and a felt kick drum beater.<\/p>\n
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\n Brand: Yamaha*<\/a>
\n Model: 9000 Recording Custom
\n Material: 6-8-ply Hokkaido birch
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\u201cIf there ever was one kit to rule them all during the entire \u201980s and \u201990s, this is it. I\u2019d venture to say that this is one of the most played drum kits ever \u2013 live and in-session. Why? It just delivers every time and virtually sounds great in any scenario. Luckily enough, we were able to source an original from the era featuring a ridiculous selection of different sizes for toms and kick drums.\u201d<\/em> Norman Garschke<\/p>\n<\/p><\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n
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\u201cIf there ever was one kit to rule them all during the entire \u201980s and \u201990s, this is it. I\u2019d venture to say that this is one of the most played drum kits ever \u2013 live and in-session. Why? It just delivers every time and virtually sounds great in any scenario. Luckily enough, we were able to source an original from the era featuring a ridiculous selection of different sizes for toms and kick drums.\u201d<\/em> Norman Garschke<\/p>\n<\/p><\/div>\n<\/div>\n
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\n Model:<\/strong> 9000 Recording Custom
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\n Era:<\/strong> 1980s<\/p>\n<\/p><\/div>\n<\/p><\/div>\n
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RED HOT CONCERT KIT.<\/strong><\/h2>\n
Sampled with snare wires on, using drumsticks and a felt kick drum beater.<\/p>\n
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\n Brand: Yamaha*<\/a>
\n Model: 9000 Recording Custom Concert
\n Material: 6-8 ply Hokkaido Birch
\n Era: 1980s<\/strong><\/p>\n
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\u201cIt was a real stroke of luck that we got a hold of a \u20189000\u2019 kit with concert toms, which is a rather rare thing \u2013 especially one with tom sizes ranging from six inches and up. The dry but oddly ambient tone these toms produce just scream the eighties. Combined with Hugh\u2019s unique treatment of the kit, the finished result is really like throwing yourself back in time.\u201d<\/em> Norman Garschke<\/p>\n<\/p><\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n
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\u201cIt was a real stroke of luck that we got a hold of a \u20189000\u2019 kit with concert toms, which is a rather rare thing \u2013 especially one with tom sizes ranging from six inches and up. The dry but oddly ambient tone these toms produce just scream the eighties. Combined with Hugh\u2019s unique treatment of the kit, the finished result is really like throwing yourself back in time.\u201d<\/em> Norman Garschke<\/p>\n<\/p><\/div>\n<\/div>\n
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Brand:<\/strong> Yamaha*<\/a>
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STORYTELLER KIT.<\/strong><\/h2>\n
Sampled with snare wires on, using drumsticks and a felt kick drum beater.<\/p>\n
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\n Brand: Yamaha*<\/a>
\n Model: 11000 Maple Custom
\n Material: 7-10-ply maple
\n Era: 1990s<\/strong><\/p>\n
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\u201cIn the early \u201990s, this is the type of kit that drummer Vinnie Colaiuta played on the \u2018Ten Summoner\u2019s Tales\u2019 and \u2018Mercury Falling\u2019 records with Sting, which Hugh produced. We were able to source an early specimen of this set as well as a great selection of cymbals that Vinnie originally helped design, of course including the typical set of splashes and chinas that became synonymous with his sound. With its long singing sustain and perfect balance between low-end and attack shaped by the deep power toms, this kit sparked a new era in drum design. Still to this say, it\u2019s highly coveted by session drummers.\u201d<\/em> Norman Garschke<\/p>\n<\/p><\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n
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\u201cIn the early \u201990s, this is the type of kit that drummer Vinnie Colaiuta played on the \u2018Ten Summoner\u2019s Tales\u2019 and \u2018Mercury Falling\u2019 records with Sting, which Hugh produced. We were able to source an early specimen of this set as well as a great selection of cymbals that Vinnie originally helped design, of course including the typical set of splashes and chinas that became synonymous with his sound. With its long singing sustain and perfect balance between low-end and attack shaped by the deep power toms, this kit sparked a new era in drum design. Still to this say, it\u2019s highly coveted by session drummers.\u201d<\/em> Norman Garschke<\/p>\n<\/p><\/div>\n<\/div>\n
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SEE FULL INSTRUMENT LIST AND DETAILS.<\/p>\n
SEE FULL INSTRUMENT LIST AND DETAILS.<\/p>\n
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Brand:<\/strong> Yamaha*<\/a>
\n Model:<\/strong> 11000 Maple Custom
\n Material<\/strong> 7-10-ply maple
\n Era:<\/strong> 1990s<\/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<\/p><\/div>\n<\/div>\n
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REGGAE ROCK KIT.<\/strong><\/h2>\n
Sampled with snare wires on, using drumsticks and a felt kick drum beater.<\/p>\n
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\n Brand: Tama*<\/a>
\n Model: Imperialstar
\n Material: 9-ply Luan (with reinforcement rings)
\n Era: 1970s<\/strong><\/p>\n
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Open player<\/span>\"\n >\n
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\u201cIn the late 1970s when The Police were at the absolute pinnacle of their intense career, Hugh worked with them on their two last records. These albums, one of which Hugh was awarded a Grammy for, produced a string of immortal hits like \u2018Every Breath You Take,\u2019 \u2018Every Little Thing She Does Is Magic\u2019 and many more. Of course, the drummer behind the kit on the records was the great Stewart Copeland. The set we sampled is the same model he brought to the recordings at AIR Studios Montserrat, complete with four octobans, a huge gong bass drum and the typical array of cymbals. It perfectly recreates the unique sound Stewart is known for: the high-pitched snare drums, the piercing hi-hat and the dry, short-decay toms.\u201d<\/em> Norman Garschke<\/p>\n<\/p><\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n
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\u201cIn the late 1970s when The Police were at the absolute pinnacle of their intense career, Hugh worked with them on their two last records. These albums, one of which Hugh was awarded a Grammy for, produced a string of immortal hits like \u2018Every Breath You Take,\u2019 \u2018Every Little Thing She Does Is Magic\u2019 and many more. Of course, the drummer behind the kit on the records was the great Stewart Copeland. The set we sampled is the same model he brought to the recordings at AIR Studios Montserrat, complete with four octobans, a huge gong bass drum and the typical array of cymbals. It perfectly recreates the unique sound Stewart is known for: the high-pitched snare drums, the piercing hi-hat and the dry, short-decay toms.\u201d<\/em> Norman Garschke<\/p>\n<\/p><\/div>\n<\/div>\n
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SEE FULL INSTRUMENT LIST AND DETAILS.<\/p>\n
SEE FULL INSTRUMENT LIST AND DETAILS.<\/p>\n
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Brand:<\/strong> Tama*<\/a>
\n Model:<\/strong> Imperialstar
\n Material<\/strong> 9-ply Luan (with reinforcement rings)
\n Era:<\/strong> 1970s<\/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<\/p><\/div>\n<\/div>\n
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ADDITIONAL INSTRUMENTS.<\/strong><\/h2>\n
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Sometimes, a lot isn\u2019t enough. Outside the scope of each kit, we sampled five additional kicks and five extra snares to give you even more options.<\/p>\n<\/div>\n<\/div>\n
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SEE FULL INSTRUMENT LIST AND DETAILS.<\/p>\n
SEE FULL INSTRUMENT LIST AND DETAILS.<\/p>\n

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MICROPHONE
\n POSITIONING OVERVIEW.<\/strong><\/h1>\n
MICROPHONE
\n POSITIONING OVERVIEW.<\/strong><\/h2>\n<\/p><\/div>\n
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THE MICS & THE MIXER.<\/strong><\/h2>\n
Learn all about how the microphones were positioned and how they can be utilized in the Superior Drummer 3 mixer.<\/strong><\/p>\n
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THE MACHINES.<\/strong><\/h1>\n
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From the classic TR-series to Linn*, Simmons* and more \u2013 this SDX includes a wealth of the most iconic sounds, all recorded to tape, re-amped and run through a PA. <\/strong><\/p>\n
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\u201cHugh was at the forefront when it came to adopting electronic drums. The production techniques he pioneered in many ways laid the groundwork for what now is known as the \u2018eighties sound.\u2019 Listening to what\u2019s topping the charts now, that very sound is still as alive and well today as it was almost 40 years ago. Having Hugh\u2019s insight and well of knowledge as we captured these sounds using all of the benefits of modern-day technology makes this product unique.\u201d
<\/em> Norman Garschke<\/strong><\/p>\n<\/p><\/div>\n
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Open player<\/span>\"\n >\n
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KICKS, SNARES & TOMS<\/strong><\/h3>\n
All the essentials you need to build your own all-electronic or hybrid kits.<\/p>\n
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CYMBALS<\/strong><\/h3>\n
In addition to the electronic sounds, several cymbal slots feature an acoustic instrument from the default library. Using acoustic cymbals in all-electronic kits was a technique Hugh, along with many other engineers, employed back in the day.<\/p>\n
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PERCUSSION<\/strong><\/h3>\n
Claps, sidesticks, cowbells, congas, shakers, tambourines and more \u2013 all from timeless machines!<\/p>\n
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SEE FULL INSTRUMENT LIST AND DETAILS.<\/p>\n

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Roland CR-78<\/strong><\/p>\n
Roland TR-707, TR-727, TR-808, TR-909<\/strong><\/p>\n
Linn LinnDrum<\/strong><\/p>\n<\/p><\/div>\n
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E-MU SP1200 (16 original sound floppy discs sampled)<\/strong><\/p>\n
Oberheim DX<\/strong><\/p>\n
Simmons SDS V (sampled using the original pads and five different kits\/settings)<\/strong><\/p>\n<\/p><\/div>\n
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Simmons Clap Trap<\/strong><\/p>\n
2 x Wendel Jr. (with ten of Hugh\u2019s privately owned sound cartridges)<\/strong><\/p>\n<\/p><\/div>\n<\/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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THE PRESETS<\/strong><\/h1>\n
This \u201cDefault\u201d part of this SDX, featuring all of the acoustic kits, comes with a wide range of presets engineered by Hugh Padgham as well as the Toontrack sound design team. All mixes were inspired by the different drummers and artists Hugh recorded, produced or mixed during his impressive career. In addition, the Toontrack sound design team included a collection of presets devoted solely to the \u201cMachines\u201d portion of the product. These are meant to stand on their own but also to be seen as the perfect complementing parts to use for layering in electronic-only percussion to the acoustic kits. In many cases, the acoustic and electronic combos were specifically designed to work together and to present a period-correct rendition of a certain sound or mix in Hugh\u2019s body of work.<\/p>\n
Got the perfect groove? Layer in a machine-like beat to fill in the gaps and, all of a sudden, you have a completely new feel!<\/p>\n
\n\u2022 Presets for each acoustic kit, engineered by Hugh Padgham
\n\u2022 Use for a mix-ready sound or as a starting point for your own mixes
\n\u2022 Includes electronic-only presets inspired by Padgham\u2019s discography
\n\u2022 Acoustic and electronic presets designed to work seamlessly together\n<\/p>\n
\u201cThe goal with the product was to make a complete package that had not only the sounds, but also the other essential building blocks: the grooves and the presets. By using two or three separate instances of the library \u2013 one laying down the drum machine loop, a second adding heavily saturated drums and a third providing all the cymbals, you can apply the same production technique that Hugh had to employ a complete recording studio for back in the day, but now all within your computer. All the tools you need are there, at your fingertips.\u201d<\/em> Norman Garschke\n<\/p>\n<\/p><\/div>\n<\/div>\n
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ACOUSTIC PRESETS<\/p>\n<\/p><\/div>\n<\/p><\/div>\n<\/p><\/div>\n
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HYBRID KIT PRESETS<\/p>\n<\/p><\/div>\n<\/p><\/div>\n<\/p><\/div>\n
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The product includes 13 \u2018clean\u2019 presets<\/strong> based on the acoustic kits and designed to serve as balanced starting points, just for you e-drummers! Each kit has a basic e-drum-centric preset as well as one that loads an alternative snare. These presets also by default load optimal settings for e-drum use, for example extra hi-hat and cymbal articulations. Jam away, drummers!<\/p>\n<\/div>\n<\/div>\n
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CREATING
LAYERED GROOVES.<\/strong><\/h2>\n
In this video, we guide you through how to create your own acoustic\/electronic groove hybrids using Superior Drummer 3.<\/strong><\/p>\n
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THE MIDI<\/strong><\/h1>\n
A hallmark in some of Hugh\u2019s most seminal works was the marriage of acoustic and electronic, both in terms of sound and groove. In fact, Hugh was one of the first engineers to embrace the then-new electronic percussion technology and bring it to the mainstream airwaves. The building blocks to produce those types of grooves \u2013 the ones that balance on the ledge between two worlds \u2013 is exactly what the included library of MIDI provides.<\/p>\n
Got the perfect groove? Layer in a machine-like beat to fill in the gaps and, all of a sudden, you have a completely new feel!<\/p>\n
\n\u2022 Drum MIDI inspired by some of the milestones in Hugh\u2019s discography
\n\u2022\u00a0One dedicated selection of grooves\/fills for each acoustic kit
\n\u2022 One section of MIDI devoted solely to the \u201cMachines\u201d portion of the sounds
\n\u2022 Acoustic and electronic grooves designed to work seamlessly together
\n\u2022 Mix and match to create your own variations\n<\/p>\n
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