Even though the Area 33 SDX<\/strong> arguably is the most all-encompassing metal-related drum library ever recorded, the Thordendal\/Bergstrand\/Margarit team felt they had barely scratched the surface. They needed to get back to the roots \u2013 back to the beginning. In this continuation, they catapult themselves to formative years when heavy metal as we know it still was in its cradle. From there, they work their way up until where the first SDX picks up. Welcome to the continuation that begins before the first one started: the Area 33 \u2013 Origin SDX<\/strong>.<\/p>\n

For this SDX, the team returned to Fredrik Thordendal\u2019s personal studio 33 in Stockholm, Sweden. In total, five kits were recorded, each representing a pivotal branch in the bloodline of classic hard rock and heavy metal from the late 1960s through to the 1980s. But, that\u2019s not all. With two tom configurations recorded of each kit \u2013 one open and one damped \u2013 this SDX covers all the blindspots in between, giving you the raw material to shape genre-transcending drum mixes for anything from earth-shattering and thunderous down to muffled, tight and snappy drums for any style. On top of that, the kits were captured using what is far beyond traditional in terms of microphones. Each setup was recorded using the classic close-mic technique but, in addition, with an extra set of microphones on each position. This means that each drum and cymbal is represented by both a mono mic as well as a stereo pair of microphones, allowing you to sculpt tones beyond what you thought possible. Additionally, to capture the stellar character of the 33 drum room, 11 ambience microphones (of which seven in stereo) were recorded. Finally, the kits picked for this project aren\u2019t just any run-of-the-mill drum sets \u2013 they are all rare and vintage gems, virtually jaw-dropping in every sense of the word. All combined, this SDX is unique in all facets \u2013 from drum selection to microphone channels, ambience flexibility and overall sound.<\/p>\n

This project is the culmination of when a group of self-confessed drum geeks get a carte blanche on studio time, an \u00e1 la carte menu of drum choices and a chance to virtually run rampant sampling. Welcome to an SDX rooted in classic rock and heavy metal but that transcends any limitations of a genre. This is a library chock-full of nothing but pure, unadulterated love for drums and the sound they make.<\/p>\n<\/p><\/div>\n

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Engineered and produced by Fredrik Thordendal and Daniel Bergstrand<\/li>\n
Recorded at 33, Fredrik Thordendal\u2019s personal studio in Stockholm, Sweden<\/li>\n
Featuring five (5) unique drum kits<\/li>\n
Toms for each kit recorded in two different configurations: open and damped<\/li>\n
A total of 12 snares, 11 bass drums, 76 toms, 3 hi-hats and 24 cymbals<\/li>\n
Recorded using 11 ambience microphone positions (of which seven in stereo)<\/li>\n
More than of 130 GB of sampled drums and cymbals<\/li>\n
Sampled by drummer Leo Margarit (Pain of Salvation)<\/li>\n
Drum tech and tuning by Urban N\u00e4svall and Rickard Gustafsson<\/li>\n
Includes a wealth of mix-ready presets inspired by classic hard rock, heavy metal and more from the late 1960s through to the 1980s<\/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 & SELECTED
PRESETS<\/p>\n<\/p><\/div>\n<\/p><\/div>\n<\/p><\/div>\n
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INSTRUMENTS &
ARTICULATIONS<\/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 and get some behind-the-scenes shots from the session.<\/strong><\/p>\n<\/p><\/div>\n<\/p><\/div>\n
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New to Superior Drummer 3?<\/strong><\/p>\n
Get the full core product bundled with both of the Area 33 SDXs here<\/a>.<\/strong><\/p>\n<\/p><\/div>\n
\n <\/a><\/p>\n
Already a happy owner?<\/strong><\/p>\n
Get both of the Area 33 SDXs along with a third title of your choice here<\/a>.<\/strong><\/p>\n<\/p><\/div>\n<\/div>\n
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ENTER THE STUDIO.<\/strong><\/h2>\n
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33 is Fredrik Thordendal\u2019s personally designed state-of-the-art studio facility, located in the outskirts of Stockholm, Sweden. The studio features one main live space as well as two individual control rooms. From here, Fredrik and in-house producer\/engineer\/mixer Daniel Bergstrand work on a variety of projects and with clients from all over the world.<\/strong><\/p>\n<\/p><\/div>\n<\/div>\n
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THE KITS.<\/strong><\/h1>\n<\/p><\/div>\n<\/div>\n
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BIG KIT.<\/strong><\/h2>\n
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Brand:<\/strong> Ludwig*<\/a>
Model:<\/strong> Classic\/Concert\/Timp-Tom
Material:<\/strong> Three-ply maple<\/p>\n<\/p><\/div>\n
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BIG KIT.<\/strong><\/h4>\n<\/p><\/div>\n<\/div>\n<\/div>\n

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BIG KIT DAMPED.<\/strong><\/h4>\n<\/p><\/div>\n<\/div>\n
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FIREGLASS KIT.<\/strong><\/h2>\n
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Brand:<\/strong> Pearl*<\/a>
Model:<\/strong> Fiberglass Shell
Material:<\/strong> Fiberglass<\/p>\n<\/p><\/div>\n
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FIREGLASS KIT.<\/strong><\/h4>\n<\/p><\/div>\n<\/div>\n<\/div>\n

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FIREGLASS KIT DAMPED.<\/strong><\/h4>\n<\/p><\/div>\n<\/div>\n
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UNDERCOVER KIT.<\/strong><\/h2>\n
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Brand:<\/strong> Camco*<\/a>
Model:<\/strong> Chanute
Material:<\/strong> 6-ply maple\/gumwood<\/p>\n<\/p><\/div>\n
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UNDERCOVER KIT.<\/strong><\/h4>\n<\/p><\/div>\n<\/div>\n<\/div>\n

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UNDERCOVER KIT DAMPED.<\/strong><\/h4>\n<\/p><\/div>\n<\/div>\n
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VINTAGE VANTAGE KIT.<\/strong><\/h2>\n
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Brand:<\/strong> Gretsch*<\/a>
Model:<\/strong> USA Custom
Material:<\/strong> 6-ply maple\/gumwood<\/p>\n<\/p><\/div>\n
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VINTAGE VANTAGE KIT.<\/strong><\/h4>\n<\/p><\/div>\n<\/div>\n<\/div>\n

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VINTAGE VANTAGE KIT DAMPED.<\/strong><\/h4>\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<\/div>\n<\/div>\n
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CHAMELEON KIT.<\/strong><\/h2>\n
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Brand:<\/strong> Rogers*<\/a>
Model:<\/strong> Big R
Material:<\/strong> 5-ply maple\/birch<\/p>\n<\/p><\/div>\n
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CHAMELEON KIT.<\/strong><\/h4>\n<\/p><\/div>\n<\/div>\n<\/div>\n

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CHAMELEON KIT DAMPED.<\/strong><\/h4>\n<\/p><\/div>\n<\/div>\n
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ADDITIONAL INSTRUMENTS.<\/strong><\/h2>\n<\/p><\/div>\n<\/div>\n
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5 questions to\u2026<\/strong><\/p>\n
DANIEL BERGSTRAND.<\/strong><\/h2>\n
AREA 33 \u2013 ORIGIN SDX PRODUCER & ENGINEER.<\/h5>\n
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While the first SDX had a more general approach, the \u201cOrigin\u201d volume looks to the past. What is your connection to the hard rock and heavy metal bands of the late 1960s through to the 1980s?<\/strong>
\n Like so many others, I was also fed with Beatles, Sabbath and Purple at young age, which lead me to Kiss, Maiden, M\u00f6tley and so on.<\/p>\n
Aside from recording these SDXs, you have completed tons of album sessions in the 33 studio. To you, what makes the room so stand-out for drums?
\n <\/strong>
\n It includes pretty much all you need \u2013 a quick response at the same time as it’s big and has balanced frequencies. You can really get a lot out of this live room, all different kind of flavors. That is partly why we included so many options in terms of room mics in both SDX projects.<\/p>\n
Before making this library, you spent a ton of time researching and picking apart old records for traces of how they recorded back in the day. What did you learn in the process?<\/strong>
\n I\u2019ve learned a lot while making both of the libraries, but especially during the latest one. Instead of just listing to these old records I\u2019d heard a thousand times, I focused completely on technical aspects \u2013 how the records were recorded, mixed, saturated, etc. One of the key things I found out is the high midrange and where the low end is cut \u2013 and cymbals are there for a reason! Back then, drums were presented as one instrument, not 25 separate pieces eq:ed to something beyond their original tone. Seeing as we recorded a gazillion channels, I know I might sound like a hypocrite \u2013 but having all of these options don\u2019t mean you have to use them all at once. They are there to give you creative freedom.<\/p>\n
You truly did an amazing library of presets covering a staggering wealth of different drum mixes. What was your thought going in? <\/strong>
\n The whole idea was to make users\u2019 lives easier (including my own). It\u2019s pretty amazing to just hit a button and you have the sound of one of your favorite albums, right? I mean it doesn\u2019t stop there \u2013 imagine starting with the sound of an older AC\/DC album and modernize that one with a hair more low end and compression and it\u2019ll fit any modern metal if that\u2019s what you\u2019re into. This library is so versatile, you could truly dig into ANY style of music with this SDX. <\/p>\n
Looking back on both of these SDX projects, which kit out of the bunch is your favorite and why?<\/strong>
\n Such a boring answer, but I love them all! If I really have to pick one, I\u2019d say the Vintage Vantage Kit because it has such a broad range.<\/p>\n<\/div>\n<\/div>\n
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5 questions to\u2026<\/strong><\/p>\n
DANIEL BERGSTRAND.<\/strong><\/h2>\n
AREA 33 \u2013 ORIGIN SDX PRODUCER & ENGINEER.<\/h5>\n
<\/div>\n
While the first SDX had a more general approach, the \u201cOrigin\u201d volume looks to the past. What is your connection to the hard rock and heavy metal bands of the late 1960s through to the 1980s?<\/strong>
\n Like so many others, I was also fed with Beatles, Sabbath and Purple at young age, which lead me to Kiss, Maiden, M\u00f6tely and so on.<\/p>\n
Aside from recording these SDXs, you have completed tons of album sessions in the 33 studio. To you, what makes the room so stand-out for drums?
\n <\/strong>
\n It includes pretty much all you need \u2013 a quick response at the same time at its big and has balanced frequencies. You can really get a lot out of this live room, all different kind of flavors. That is partly why we included so many options in terms of room mics in both SDX projects.<\/p>\n
Before making this library, you spent a ton of time researching and picking apart old records for traces of how they recorded back in the day. What did you learn in the process?<\/strong>
\n I\u2019ve learned a lot while making both of the libraries, but especially during the latest one. Instead of just listing to these old records I\u2019d head a thousand times, I focused completely on technical aspects \u2013 how the records were recorded, mixed, saturated, etc. One of the key things I found out is the high midrange and where the low end is cut \u2013 and cymbals are there for a reason! Back then, drums were presented as one instrument, not 25 separate pieces eq:ed to something beyond their original tone. Seeing as we recorded a gazillion channels, I know I might sound like a hypocrite \u2013 but having all of these options don\u2019t mean you have to use them all at once. They are there to give you creative freedom.<\/p>\n<\/div>\n
\n
You truly did an amazing library of presets covering a staggering wealth of different drum mixes. What was your thought going in? <\/strong>
\n The whole idea was to make users\u2019 lives easier (including my own). It\u2019s pretty amazing to just hit a button and you have the sound of one of your favorite albums, right? I mean it doesn\u2019t stop there \u2013 imagine starting with the sound of an older AC\/DC album and modernize that one with a hair more low end and compression and it\u2019ll fit any modern metal if that\u2019s what you\u2019re into. This library is so versatile, you could truly dig into ANY style of music with this SDX. <\/p>\n
Looking back on both of these SDX projects, which kit out of the bunch is your favorite and why?<\/strong>
\n Such a boring answer, but I love them all! If I really have to pick one, I\u2019d say the Vintage Vantage Kit because it has such a broad range.<\/p>\n<\/div>\n<\/div>\n
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MICROPHONE POSITIONING & OVERVIEW.<\/strong><\/h2>\n<\/p><\/div>\n<\/div>\n
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ROOM & AMBIENCE MICS.<\/strong><\/p>\n<\/div>\n
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1. Rear Mono<\/strong>
Soundelux U95<\/p>\n
2. Rear Close<\/strong>
Royer R-121<\/p>\n
3. Amb Mid<\/strong>
HUM Audio ARM-1<\/p>\n
4. Amb Mid Mono 1<\/strong>
Soyuz 017 Tube<\/p>\n
5. Amb Mid Mono 2<\/strong>
U47 FET<\/p>\n
6. Amb Far Mono<\/strong>
Brauner Valvet Tube<\/p>\n
7. Ceiling Close<\/strong>
Ehrlund EHR-M<\/p>\n
8. Ceiling Mid<\/strong>
Ehrlund EHR-T<\/p>\n
9. Ceiling Away<\/strong>
Ehrlund EHR-T<\/p>\n
10. Ceiling Far<\/strong>
Ehrlund EHR-M<\/p>\n
11. Garage<\/strong>
Ehrlund EHR-M<\/p>\n<\/p><\/div>\n
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CLOSE MICS.<\/strong><\/p>\n
Kick:<\/strong> AKG D12E
\n Snare Top:<\/strong> Sennheiser MD21-U
\nSnare Bottom:<\/strong> Ehrlund EHR-E
\n Toms:<\/strong> AKG D190E \/ DPA 4055
\n Hi-hat:<\/strong> Electro-Voice DS35
\n Cowbell:<\/strong> Audio-Technica AT802
\nTambourine:<\/strong> Audio-Technica AT802
\n OH:<\/strong> Coles 4038
\n OH Mono:<\/strong> Ehrlund EHR-M\n<\/p>\n
Additional stereo mic:<\/strong> Soyuz 013 FET<\/p>\n<\/p><\/div>\n<\/div>\n
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ROOM & AMBIENCE MICS.<\/strong><\/p>\n<\/div>\n
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1. Rear Mono<\/strong>
Soundelux U95<\/p>\n
2. Rear Close<\/strong>
Royer R-121<\/p>\n
3. Amb Mid<\/strong>
HUM Audio ARM-1<\/p>\n
4. Amb Mid Mono 1<\/strong>
Soyuz 017 Tube<\/p>\n<\/p><\/div>\n
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5. Amb Mid Mono 2<\/strong>
U47 FET<\/p>\n
6. Amb Far Mono<\/strong>
Brauner Valvet Tube<\/p>\n
7. Ceiling Close<\/strong>
Ehrlund EHR-M<\/p>\n
8. Ceiling Mid<\/strong>
Ehrlund EHR-T<\/p>\n<\/p><\/div>\n
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9. Ceiling Away<\/strong>
Ehrlund EHR-T<\/p>\n
10. Ceiling Far<\/strong>
Ehrlund EHR-M<\/p>\n
11. Garage<\/strong>
Ehrlund EHR-M<\/p>\n<\/p><\/div>\n
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CLOSE MICS.<\/strong><\/p>\n
Kick:<\/strong> AKG D12E
\n Snare Top:<\/strong> Sennheiser MD21-U
\nSnare Bottom:<\/strong> Ehrlund EHR-E
\n Toms:<\/strong> AKG D190E \/ DPA 4055
\n Hi-hat:<\/strong> Electro-Voice DS35
\n Cowbell:<\/strong> Audio-Technica AT802
\nTambourine:<\/strong> Audio-Technica AT802
\n OH:<\/strong> Coles 4038
\n OH Mono:<\/strong> Ehrlund EHR-M\n<\/p>\n
Addiional stereo mic:<\/strong> Soyuz 013 FET<\/p>\n<\/p><\/div>\n<\/p><\/div>\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<\/div>\n
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THE MIXER.<\/strong><\/h2>\n
A 52-channel powerhouse. In this video, we scratch the surface of the infinite possibilities that this SDX presents.<\/strong><\/p>\n<\/p><\/div>\n<\/div>\n
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Learn how to utilize the classic mono mics as well as the unique stereo mics channels available for each instrument. Unreal flexibility!<\/strong><\/p>\n<\/p><\/div>\n
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Get a complete overview of the open and the damped kit pieces in this SDX and how you can use the parts to create your own hybrid kits.<\/strong><\/p>\n<\/p><\/div>\n<\/div>\n
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Open player<\/span>\"\n >\n
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THE PRESETS.<\/strong><\/h1>\n
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To inspire and enable you to make music immediately, the Area 33 \u2013 Origin SDX<\/strong> includes a wide range of mix-ready presets engineered by the producers as well as by the Toontrack sound design team. Use the presets as go-settings for your songs or as great starting points for your own elaborate mixes.
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Open player<\/span>\"\n >\n
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THE MIDI.<\/strong><\/h1>\n
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In the included MIDI library, drummer Leo Margarit delivers a basic collection of classic rock-, hard rock- and early heavy metal-inspired grooves and fills. To make it easy for you to find what you\u2019re looking for, each section in every \u201csong\u201d is organized by leading instrument (hats, ride, cymbals, toms, etc.).<\/strong><\/p>\n
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5 questions to\u2026<\/strong><\/p>\n
LEO MARGARIT.<\/strong><\/h2>\n
AREA 33 \u2013 ORIGIN SDX DRUMMER.<\/h5>\n
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While the first SDX had a more general approach, the \u201cOrigin\u201d volume looks to the past. What is your connection to the hard rock and heavy metal bands of the late 1960s through to the 1980s?<\/strong>
\n I was born in 1981, so unfortunately there\u2019s a lot of that era that I missed\u2026 But my parents, and more specifically my mom, was a prog rock fan and listened to a lot of Kansas and Deep Purple, so I\u2019m pretty sure this is what got me drawn to my music tastes later in life. I also had a period where I only listened to The Beatles for a while. I always loved the organic sounds of all these records, which is something that we lost a little bit nowadays, so hopefully a sample library like this one will help recreate these amazing atmospheres!<\/p>\n
The 33 drum room obviously sounds amazing. When recording drums, how much does the room factor into the sound, feedback and overall vibe to you as a drummer?
\n <\/strong>
\n It\u2019s actually hard to know exactly how the room sounds while playing the drums, without having some microphones feedback. I mean, obviously you hear the actual room while standing in it, but it doesn\u2019t mean that a microphone will \u201chear\u201d it the same way. However, for me at least, the sound I hear from the actual drum combined with the room will automatically push me to play a certain way, both in the attack and the weight I put in the instrument. It\u2019s hard to describe and it\u2019s mostly subconscious, but the feedback of the room will absolutely make me play one way or another!<\/p>\n
If the first volume had some massive kits, this one has two virtual behemoths with 13 toms! While we all love drum sets, how does a drummer even manage that many toms? Have you ever played kits that big in a real-life scenario?<\/strong>
\n This was absolutely amazing and almost intimidating! The 13 tom kits were way too big to play without spinning around on the drum chair, but man, I felt like being a spaceship pilot! I only got to play them while sound checking them before sampling unfortunately, but it felt incredible. Maybe I\u2019ll give a raise to my drum tech and I\u2019ll bring one of these on tour some day\u2026<\/p>\n
When sampling, many drummers say they learn a lot about the physics of drums, their own technique and overall how much the actual hitting of the drum plays into the final sound. What is your takeaway from sampling?<\/strong>
\n I learned a lot about focus, meditation and almost being in trance while sampling. It\u2019s all about getting the best possible sound out of an instrument, which is not something many drummers think about while playing nowadays. Sometimes you have to wait for a whole minute to play the next hit, especially on a ride that rings forever. When it\u2019s stopped ringing, you play again with the same attack, on the same spot and then repeat that for a bunch of times \u2013 until starting the entire process over again just slightly softer. And so you continue until you play the softest possible. I guess that after doing all this sampling, I got to learn even more how the drums respond to a certain way of hitting. I\u2019m trying to actively think about it while playing and recording.<\/p>\n
Having sampled 12 kits, countless snares, cymbals and more in completely outrageous detail, are you burnt out? Done? Never sampling a drum again?<\/strong>
\n I would say yes again in the blink of an eye! Working with Daniel and Fredrik is an incredible experience, I have been listening to both their work since I was a teenager and just the fact that they called me is extremely humbling and soul warming.\n <\/p>\n<\/div>\n<\/div>\n
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5 questions to\u2026<\/strong><\/p>\n
LEO MARGARIT.<\/strong><\/h2>\n
AREA 33 \u2013 ORIGIN SDX DRUMMER.<\/h5>\n
<\/div>\n
While the first SDX had a more general approach, the \u201cOrigin\u201d volume looks to the past. What is your connection to the hard rock and heavy metal bands of the late 1960s through to the 1980s?<\/strong>
\n I was born in 1981, so unfortunately there\u2019s a lot of that era that I missed\u2026 But my parents, and more specifically my mom, was a prog rock fan and listened to a lot of Kansas and Deep Purple, so I\u2019m pretty sure this is what got me drawn to my music tastes later in life. I also had a period where I only listened to The Beatles for a while. I always loved the organic sounds of all these records, which is something that we lost a little bit nowadays, so hopefully a sample library like this one will help recreate these amazing atmospheres!<\/p>\n
The 33 drum room obviously sounds amazing. When recording drums, how much does the room factor into the sound, feedback and overall vibe to you as a drummer?
\n <\/strong>
\n It\u2019s actually hard to know exactly how the room sounds while playing the drums, without having some microphones feedback. I mean, obviously you hear the actual room while standing in it, but it doesn\u2019t mean that a microphone will \u201chear\u201d it the same way. However, for me at least, the sound I hear from the actual drum combined with the room will automatically push me to play a certain way, both in the attack and the weight I put in the instrument. It\u2019s hard to describe and it\u2019s mostly subconscious, but the feedback of the room will absolutely make me play one way or another!<\/p>\n
If the first volume had some massive kits, this one has a virtual behemoth. 13 toms! While we all love drum sets, how does a drummer even manage that many toms? Have you ever played a kit as big as this in a real-life scenario?<\/strong>
\n This was absolutely amazing and almost intimidating! The 13 tom kits were way too big to play without spinning around on the drum chair, but man, I felt like being a spaceship pilot! I only got to play them while sound checking them before sampling unfortunately, but it felt incredible. Maybe I\u2019ll give a raise to my drum tech and I\u2019ll bring one of these on tour some day\u2026<\/p>\n<\/div>\n
\n
When sampling, many drummers say they learn a lot about the physics of drums, their own technique and overall how much the actual hitting of the drum plays into the final sound. What is your takeaway from sampling?<\/strong>
\n I learned a lot about focus, meditation and almost being in trance while sampling. It\u2019s all about getting the best possible sound out of an instrument, which is not something many drummers think about while playing nowadays. Sometimes you have to wait for a whole minute to play the next hit, especially on a ride that rings forever. When it\u2019s stopped ringing, you play again with the same attack, on the same spot and then repeat that for a bunch of times \u2013 until starting the entire process over again just slightly softer. And so you continue until you play the softest possible. I guess that after doing all this sampling, I got to learn even more how the drums respond to a certain way of hitting. I\u2019m trying to actively think about it while playing and recording.<\/p>\n
Having sampled 12 kits, countless snares, cymbals and more in completely outrageous detail, are you burnt out? Done? Never sampling a drum again?<\/strong>
\n I would say yes again in the blink of an eye! Working with Daniel and Fredrik is an incredible experience, I have been listening to both their work since I was a teenager and just the fact that they called me is extremely humbling and soul warming.\n <\/p>\n<\/div>\n<\/div>\n
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\n <\/div> <\/div>\n
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\n <\/a><\/p>\n
New to Superior Drummer 3?<\/strong><\/p>\n
Get the full core product bundled with both of the Area 33 SDXs here<\/a>.<\/strong><\/p>\n<\/p><\/div>\n
\n <\/a><\/p>\n
Already a happy owner?<\/strong><\/p>\n
Get both of the Area 33 SDXs along with a third title of your choice here<\/a>.<\/strong><\/p>\n<\/p><\/div>\n<\/div>\n
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More for your songs.<\/span><\/strong><\/h3>\n
If you liked this, you might want to check out these as well:\n <\/div>\n <\/div>\n
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THE MAKING OF.<\/strong><\/h1>\nMeet the team and get some behind-the-scenes shots from the session.<\/strong><\/p>\n<\/p><\/div>\n<\/p><\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n \n <\/div> <\/div>\n<\/section>\n

BIG KIT.<\/strong><\/h4>\n<\/p><\/div>\n<\/div>\n<\/div>\n

FIREGLASS KIT.<\/strong><\/h4>\n<\/p><\/div>\n<\/div>\n<\/div>\n

UNDERCOVER KIT.<\/strong><\/h4>\n<\/p><\/div>\n<\/div>\n<\/div>\n

VINTAGE VANTAGE KIT.<\/strong><\/h4>\n<\/p><\/div>\n<\/div>\n<\/div>\n

CHAMELEON KIT.<\/strong><\/h4>\n<\/p><\/div>\n<\/div>\n<\/div>\n

THE MIXER.<\/strong><\/h2>\nA 52-channel powerhouse. In this video, we scratch the surface of the infinite possibilities that this SDX presents.<\/strong><\/p>\n<\/p><\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n\n <\/div> <\/div><\/p>\n