In an unpretentious brick building on Sunset Boulevard, right smack in the hustle and bustle of one of the most busy and iconic streets of LA, some 60 years of music history has transpired. Saying that the inside of its walls is hallowed ground where legends have roamed simply doesn\u2019t cut it: Sunset Sound<\/strong> is a shrine. When asked where multi-Grammy Award-winning producer\/mixer\/engineer and EZdrummer 3 core sound library engineer Michael Ilbert<\/strong> would bring a handpicked collection of some of the most amazing, unique and sough-after kits on the LA studio scene, the answer was simple \u2013 it was here.<\/p>\n

Michael Ilbert\u2019s series of Signature EZXs<\/strong> comprises two separate titles: Part 1<\/a><\/strong> and Part 2<\/strong>. To offer maximum versatility and width, both volumes were recorded in separate studios of the Sunset Sound complex and includes its own unique set of kits, MIDI and presets. Part 2, which you are looking at now, was recorded in Studio 3 and covers four kits, three of which were recorded in its main live room and one in its famed isolation booth. This gives you two completely contrasting ambiences and a selection of rare and unique kits for anything from the warm, mellow and round to the tight, edgy and beat-oriented. Just like with Part 1<\/a>, the kits were sourced from the vaults of the Drum Doctors and curated, tuned and prepped by someone just as notable on the LA studio circuit as the Sunset Sound studio itself: Ross Garfield<\/strong>. To add, a comprehensive selection of percussion instruments were recorded, making this EZX a definitive go-to package for full creative leverage.<\/p>\n

If you\u2019re in the market for drums, expertly captured by one of today\u2019s most in-demand engineers in rooms that the likes of Prince, Beck, Fleetwood Mac and many more trusted to grace their albums, here you go.<\/p>\n<\/p><\/div>\n

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Recorded in Studio 3 at Sunset Sound by multi-Grammy Award-winning engineer\/producer\/mixer Michael Ilbert<\/li>\n
Features two ambiences: Main Room and Booth<\/li>\n
Four (4) rare and unique kits<\/li>\n
A total of seven (7) kick configurations, 11 snare configurations, three (3) full cymbal sets<\/li>\n
One kit recorded with rods, one with snare wires off and one with brushes<\/li>\n
Extensive percussion library feat. tambourines, shakers, maracas, castagnets, claves, claps, snaps and more<\/li>\n
Comes with mix-ready presets engineered by Michael Ilbert<\/li>\n
Includes a collection of MIDI grooves and fills tailored for the library<\/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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THE MAKING OF.<\/strong><\/h2>\n
Meet Michael Ilbert with team and get a glimpse of what happened behind the scenes at Sunset Sound.<\/strong><\/p>\n<\/p><\/div>\n<\/div>\n
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GET THEM AS
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Even though both volumes of these EZXs stand perfectly fine on their own, combined they\u2019re nothing short of a powerhouse of sound. If you\u2019re looking for full creative leverage, go for both! Or even better \u2013 get them as part of a bundle!<\/strong><\/p>\n<\/p><\/div>\n<\/div>\n
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New to EZdrummer 3?<\/strong><\/p>\n
Get the full core product bundled with both of
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Already a happy owner?<\/strong><\/p>\n
Get an EZX Value Pack with three EZXs of your choice here<\/a><\/strong>.<\/p>\n<\/p><\/div>\n<\/div>\n
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Michael Ilbert’s<\/strong><\/p>\n
SELECTED
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\n Scorpions \u201dRock Believer\u201d (2022)
\n Coldplay \u201dMusic of the Spheres\u201d (2021)
\n Adele \u201d30\u201d (2021)
\nThe Weeknd \u201cAfter Hours\u201d (2020)
\n Ed Sheeran \u201cNo. 6 Collaborations Project\u201d (2019)
\n Muse \u201cSimulation Theory\u201d (2018)
\n Pink \u201cBeautiful Trauma\u201d (2017)
\n Alphaville \u201cStrange Attractor\u201d (2017)
\n Travis \u201cWhere You Stand\u201d (2016)
\n Adele \u201c25\u201d (2015)
\n Taylor Swift \u201c1989\u201d (2014)
\n Tove Lo \u201cQueen of the Clouds\u201d (2014)
\n Katy Perry \u201cPrism\u201d (2013)
\nThe Hives \u201cLex Hives\u201d (2012)
\n A-ha \u201cAnalogue\u201d (2006)
\n Robyn \u201cRobyn\u201d (2005)
\n Supergrass \u201cRoad to Rouen\u201d (2005)
\n The Hives \u201cTyrannosaurus Hives\u201d (2004)
\n The Cardigans \u201cLong Gone before Daylight\u201d (2003)<\/strong>\n<\/p>\n<\/div>\n<\/div>\n
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\n Having worked with the likes of Coldplay, Adele, The Weeknd, P!nk, Katy Perry, Ed Sheeran and countless more, multi-Grammy Award-winning Swedish producer\/mixer\/engineer Michael Ilbert<\/strong><\/span> has been a cogwheel in shaping the sound of modern music history through his now-30-plus-year career.<\/p>\n
Since 2007, Michael works out of his own room at the Hansa Studios in Berlin, Germany, delivering mixes for the absolute top tier of the industry. That is, if he\u2019s not traveling the world \u2013 recording or producing in a studio somewhere else in the world.<\/p>\n<\/p><\/div>\n<\/p><\/div>\n
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Why is Sunset Sound so special to you? And how come drums just sound like magic when recorded there?<\/strong>
\n Well, It goes back to 2007. I had the good fortune of recording in Studio 2 with a band and I was immediately impressed by the room. Acoustically, the drums sounded like they were already miked up. The room is very warm sounding, cymbals not a problem. So, from that day I had a dream to come back\u2026and here we are. Also, the studio has great and very well maintained gear for tracking plus helpful staff. You just feel welcomed and relaxed here.\n <\/p>\n
Q: To source these kits, you worked with an LA icon in his own right: Ross Garfield from the Drum Doctors. How did your paths first cross and why is he so amazing at curating and tuning drums?<\/strong>
\n It goes back to the same session. I knew of his name, of course. I had seen \u201cDrum tech Ross Garfield\u201d on every record I had. I asked the label to set us up. I called him and he understood what sound I was after, came over with a great kit, two snares\u2026and in 30 minutes or less we had a great sound! Why he is so good, well, you must ask him! To me he is like Gandalf when it comes to drums. He just has \u201cit.\u201c<\/p>\n
For this project, you chose to record in Studio 2 and Studio 3. In the latter you also captured the famed iso booth. To you, why was it important to have all these ambiences, what sets these rooms apart and how do they complement each other?<\/strong>
\n Well, this was something I proposed already for my Rooms of Hansa SDX. Instead of recording in only one room, why not give the users more options? You know, tailor kits for the spaces you record in and not vice versa. For these EZXs, Studio 2 that we captured for Part 1 offers a larger space compared to the two ambiences we captured in Studio 3 for the second part. Combined, you\u2019ll have everything from big and loud down to mid-sized and tight. On that note, I love drum and vocal booths. You always need some dry and direct drums, I think<\/p>\n<\/p><\/div>\n
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This is your third big project with Toontrack. How do these EZXs differ from the EZdrummer 3 core sound library and the Rooms of Hansa SDX?<\/strong>
\n I pretty much recorded, miked and processed in the same fashion, so you can really hear how much the acoustics and the drums themselves speak. They are just unique.<\/p>\n
Undoubtedly, drums play a major role in the overall sound of a song. To you, what makes a great drum sound?<\/strong>
\n Sounds and parts that fit the context. To me, it\u2019s all about the song and performance.<\/p>\n
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ABOUT THE STUDIO.<\/strong><\/h3>\n
Having been in business for over 60 years and with more than 300 gold albums under its belt, there is arguably no studio in the world more apt for \u201cicon\u201d status than Sunset Sound<\/strong><\/span>. Located on the bustling Sunset Boulevard, an icon in and of itself, this sizzling LA hotspot has been the definitive creative haven for bands, artists and musicians across any and all thinkable genres. Still to this day, Sunset Sound keeps churning out hit records back to back and remains a go-to studio for top acts from around the world.<\/strong><\/p>\n<\/p><\/div>\n
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NOTABLE SUNSET
SOUND ALBUMS.<\/strong><\/h3>\n
\n The Beach Boys<\/span> \u201cPet Sounds\u201d (1966)
\n The Doors<\/span> \u201cThe Doors\u201d (1967)
\n The Rolling Stones<\/span> \u201cBeggars Banquet\u201d (1968)
\n Led Zeppelin<\/span> \u201cII\u201d (1969)
\n The Rolling Stones<\/span> \u201cExile on Main St.\u201d (1972)
\n Van Halen<\/span> \u201cVan Halen\u201d (1978)
\n Toto<\/span> \u201cIV\u201d (1982)
\n Prince<\/span> \u201cPurple Rain\u201d (1984)
\n Beck<\/span> \u201cOdelay\u201d (1996)
\n Rage<\/span> Against the Machine \u201cThe Battle of Los Angeles\u201d (1999)
\n Maroon 5<\/span> \u201cIt Won\u2019t Be Soon before Long\u201d (2007)<\/p>\n
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STEP IN TO STUDIO 3.<\/strong><\/h3>\n
Located in a wing slightly off to the side of the centre courtyard that ties the complex together is Studio 3<\/strong><\/span>. Making your way through the studio with its narrow hallways, linoleum flooring and mix of faux wood and broadloom carpet-lined walls is much like being catapulted back in time. Needless to say, Studio 3 isn\u2019t fancy in any respect, but, quite frankly, doesn\u2019t opt to be \u2013 its track record speaks for itself. Maybe much thanks to the odd but tried-and-true acoustic treatments, the main room itself has a unique and almost uncanny quality to it. In here, drums sound tight, dampened and direct but at the same time outrageously vivid and organic. This makes it the perfect ambience for what Ilbert and team sought for this portion of the project: warm, subtle and expressive tones. To add, the famed Studio 3 booth was captured for one of the kits. With its thick carpets lining both the floors and walls, this space will give yet another dimension of tight drums.<\/strong><\/p>\n<\/p><\/div>\n<\/p><\/div>\n
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IN THE COMPANY OF LEGENDS.<\/strong><\/h3>\n
Since the 1960s, Studio 3 has been frequented by a who\u2019s-who of legends. Perhaps most notably, this is the very room that Prince hired to write and record \u201cPurple Rain\u201d and much more of his work in the 1980s. Before and beyond his tenures, acts like Beck, Fleetwood Mac, Earth, Wind & Fire, Lionel Richie and countless more have laid down seminal albums in these fantastic rooms.<\/strong><\/p>\n<\/p><\/div>\n<\/p><\/div>\n
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THE DRUMS.<\/strong><\/h2>\n
Handpicked kits covering tones for mellow singer-songwriter to cutting-edge!<\/strong><\/p>\n<\/p><\/div>\n<\/p><\/div>\n
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Natural
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\n Brand: George Way*<\/a>
\n Model: Aristocrat
\n Material: Jasper\/maple\/poplar
\n Finish: Natural Wood
\n Era: 1950s\n <\/p>\n
Sampled with drumsticks (snare wires on).<\/em><\/p>\n
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\u201cThis is a kit made by one of the godfathers of drum making. Through my talks with Ross, I mentioned this drum maker\u2026and his reply was: \u2018Sure I got a kit.\u2019 We got to record this in many sizes. The toms on this kit are mind-blowing.\u201d<\/em><\/strong><\/p>\n
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Mellow
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\n Brand: Camco*<\/a>
\n Model: Oaklawn
\n Material: Maple\/poplar
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\n Era: 1960s\n <\/p>\n
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\u201cGreat-sounding drums from almost the same era as the Natural Wood kit, but in smaller sizes. Very direct and punchy.\u201d<\/em><\/strong><\/p>\n
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MELLOW MAPLE KIT<\/strong><\/h4>\n<\/p><\/div>\n<\/p><\/div>\n<\/div>\n
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Black
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\n Brand: Leedy*<\/a> \/ Ludwig & Ludwig*<\/a>
\n Material: Mahogany
\n Finish: Black Diamond Pearl
\n Era: 1930s\n <\/p>\n
Sampled with drumsticks (snare wires on) as well as rods (snare wires on).<\/em><\/p>\n
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\u201cOooh\u2026 This is a magical kit from Ross. I wanted kind of a Jim Keltner vibe. Again, calfskins, darker cymbals. We also did this with rods.\u201d<\/em><\/strong><\/p>\n
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BLACK DIAMOND KIT<\/strong><\/h4>\n<\/p><\/div>\n<\/p><\/div>\n<\/div>\n
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CONCERT KIT.<\/strong><\/h3>\n
\n Brand: Ludwig*<\/a> \/ Pearl*<\/a>
\n Model: Classic\/Custom
\n Material: Mahogany\/fiberglass
\n Finish: Black Oyster Pearl\/Black
\n Era: 1960s\/1970s\n <\/p>\n
Sampled with drumsticks (snare wires on) as well as brushes (snare wires on).<\/em><\/p>\n
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\u201cI told Ross I wanted to do a dry-sounding kit in the booth and he put together a special kit with concert toms. I could not be happier with the sound of this. We also did it with brushes.\u201d<\/em><\/strong><\/p>\n
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ADDITIONAL INSTRUMENTS & PERCUSSION.<\/strong><\/h3>\n<\/div>\n<\/p><\/div>\n<\/div>\n
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THE MICS & THE SIGNAL CHAINS.<\/strong><\/h2>\n<\/p><\/div>\n<\/div>\n
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AMBIENCE & ROOM MICS.<\/strong><\/h3>\n
You\u2019ll find these mics represented in the EZdrummer 3 or Superior Drummer 3 mixer depending on preset selected. For some presets, Michael Ilbert grouped and summed several mics to combined channels.<\/strong><\/p>\n<\/p><\/div>\n<\/div>\n
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CLOSE MICS.<\/strong><\/h3>\n
Here is an overview of the mics that were used to capture the kits up-close.<\/strong><\/p>\n<\/p><\/div>\n
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Studio 3 (Main)<\/strong><\/h5>\n<\/p><\/div>\n<\/p><\/div>\n
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<\/div>\n
KICK<\/strong><\/span><\/p>\n
Neumann U47 FET
\n AKG D45
\n Yamaha NS10 Subkick<\/p>\n
SNARE<\/strong><\/span><\/p>\n
Snare Top:<\/strong> Shure SM57\/AKG C452 eb<\/p>\n
Snare Bottom:<\/strong> Shure SM57<\/p>\n<\/p><\/div>\n
\n
TOMS<\/strong><\/span><\/p>\n
Toms Top:<\/strong> AKG C12A<\/p>\n
Toms Bottom:<\/strong> AKG C12A<\/p>\n
HI-HATS<\/strong><\/span><\/p>\n
Neumann KM 84<\/p>\n
RIDE<\/strong><\/span><\/p>\n
Neumann KM 84<\/p>\n<\/p><\/div>\n<\/div>\n
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Studio 3 (Booth)<\/strong><\/h5>\n<\/p><\/div>\n<\/div>\n
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<\/div>\n
KICK<\/strong><\/span><\/p>\n
Neumann U47 FET
\n Electro-Voice RE15
\n Yamaha NS10 Subkick<\/p>\n
SNARE<\/strong><\/span><\/p>\n
Snare Top:<\/strong> Shure SM57\/Neumann KM 84<\/p>\n
Snare Bottom:<\/strong> Shure SM57<\/p>\n<\/div>\n
\n
TOMS<\/strong><\/span><\/p>\n
AKG C12A<\/p>\n
HI-HATS<\/strong><\/span><\/p>\n
Neumann KM 84<\/p>\n
RIDE<\/strong><\/span><\/p>\n
Neumann KM 84<\/p>\n<\/div>\n<\/div>\n<\/div>\n
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\n <\/div> <\/div>\n
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Open player<\/span>\"\n >\n
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THE PRESETS.<\/strong><\/h3>\n
The included collection of presets was engineered by Michael Ilbert and designed to offer several mixes of each of the included kits.<\/strong><\/p>\n<\/p><\/div>\n<\/div>\n
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Open player<\/span>\"\n >\n
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THE MIDI.<\/strong><\/h3>\n
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The MIDI content included with this EZX was inspired by Michael Ilbert\u2019s and the team\u2019s musical references for each kit, meaning it covers anything from mellow singer-songwriter material to grooves for more edgy and beat-oriented styles. In addition, a collection of rhythmic foundations tailored for use with the percussion portion of this EZX was included. All in all, this means that you\u2019ll have the perfect canvas of custom MIDI material to start building your songs from.<\/strong><\/p>\n
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MORE FOR YOUR SONGS.<\/strong><\/h3>\n
If you fancied this, you might want to check out these as well:\n <\/p>\n<\/div>\n
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<\/div>\n <\/div>\n <\/div>\n <\/div>\n <\/div>\n<\/div><\/p>\n
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THE MAKING OF.<\/strong><\/h2>\nMeet Michael Ilbert with team and get a glimpse of what happened behind the scenes at Sunset Sound.<\/strong><\/p>\n<\/p><\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n\n <\/div> <\/div>\n

DRY CONCERT KIT<\/strong><\/h4>\n<\/p><\/div>\n<\/p><\/div>\n<\/div>\n

Percussion + Drums Combos<\/strong><\/h4>\n<\/p><\/div>\n<\/div>\n\n <\/div> <\/div>\n\n <\/p>\n<\/div>\n\n\nSee full instrument list & details<\/strong><\/p>\n<\/div>\n<\/use><\/svg><\/span><\/a><\/div>\n<\/div>\n\n<\/div>\n<\/div>\n