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.Please provide a valid slug.Please provide a valid slug.{"id":3144114,"date":"2024-05-07T10:29:24","date_gmt":"2024-05-07T08:29:24","guid":{"rendered":"https:\/\/www.toontrack.com\/?post_type=product&p=3144114"},"modified":"2025-10-01T09:02:32","modified_gmt":"2025-10-01T07:02:32","slug":"the-jazz-sessions-sdx","status":"publish","type":"product","link":"https:\/\/www.toontrack.com\/product\/the-jazz-sessions-sdx\/","title":{"rendered":"The Jazz Sessions SDX"},"content":{"rendered":"

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Recording and mixing jazz is an art in itself, especially when it comes to drums. It calls for balancing a dynamic range that spans the nuanced and feathery light to the vivid and utterly explosive. Someone who has an uncanny ability to capture exactly that and at the same time bring out the true acoustic voice in any instrument he puts a mic to is James Farber. With well over 1,000 albums to his name, more than 40 years of back-to-back work producing records of the highest echelon and a discography that reads like a who\u2019s who of jazz, he is nothing short of an industry icon. The seminal albums by the likes of Michael Brecker, John Scofield and Joshua Redman as well as, not least, his work with jazz drumming greats like Elvin Jones, Jack DeJohnette, Paul Motian, Bill Stewart, Brian Blade and Antonio Sanchez are \u2013 to say the least \u2013 a testament to that.<\/p>\n

This SDX for Superior Drummer 3 sets out to pinpoint the milestone sounds and eras of jazz drums from its early days until now. Where better to capture that than in the jazz capital of the world and at one of the most storied studios ever built: New York City\u2019s iconic Power Station. Aside from having housed arguably more legendary artists than any other studio on the planet, it is also the very spot where James spent his formative years, recorded some of his seminal work and still considers the be-all-end-all place to capture jazz drums.<\/p>\n

In total, seven kits were handpicked for the session, each selected to represent a distinct jazz era, sound or milestone record in James\u2019 career. Aside from every kit being sampled with drumsticks, selected kits and instruments were also captured with brushes, rods, mallets and even hands.<\/p>\n

In addition to the drums, an extensive collection of mix-ready presets for each kit and configuration are provided, allowing you instant access to fully fledged and balanced drum mixes by James himself. These mixes can be used as is or as starting points to venture off from in order to create sounds for virtually anything your imagination allows.<\/p>\n

To sum this SDX up, it\u2019s got the<\/em> engineer, the<\/em> kits and the<\/em> studio. If you\u2019re passionate about jazz and looking to add a bookend-type collection of drum sounds to your toolbox, straight from the world\u2019s jazz capital and one of the most influential jazz recording engineers of the past four decades \u2013 here you go<\/em>. Get ready for some jazz magic.<\/p>\n<\/p><\/div>\n

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Recorded at Power Station in New York City by legendary engineer\/mixer James Farber<\/li>\n
Seven complete kits, each representing its own jazz era, style or sound<\/li>\n
Features kits sampled with sticks, brushes, rods, mallets and hands<\/li>\n
Four different ambiences (Studio A and C main rooms with respective adjacent booths)<\/li>\n
Selected kits recorded with a 5.0 surround mic setup<\/li>\n
Drum and tuning technician: Artie Smith<\/li>\n
Comes with an extensive library of MIDI featuring material tailored for different jazz styles, the different tools recorded and more<\/li>\n
Includes a broad collection of mix-ready presets for each kit and configuration<\/li>\n
Assistant engineering by Ben Miller<\/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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THE MAKING OF.<\/strong><\/h2>\n
Meet James and get a glimpse from behind the scenes of the session!<\/strong><\/p>\n<\/p><\/div>\n<\/div>\n
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ABOUT JAMES FARBER.<\/strong><\/h3>\n
A master of the jazz craft.<\/strong><\/p>\n
James Farber\u2019s career got off to a rolling start in 1978 when he was hired as a full-time assistant engineer at the then just-launched Power Station Studio in the Hell’s Kitchen neighborhood of Midtown Manhattan. Here, he acted under the tutelage of studio owner Tony Bongiovi as well as now-iconic engineers like Bob Clearmountain, Neil Dorfsman, Scott Litt and, of course, Al Schmitt. With his minimalistic approach to engineering, the latter would become a pivotal influence on James\u2019 work moving forward when finding his specialty niche in jazz.<\/p>\n
Since then, James has recorded well over 1,000 albums, worked with some of the world\u2019s premier artists and is widely considered one of the best jazz recording and mixing engineers ever. His footprint in the genre is indelible.<\/p>\n<\/p><\/div>\n<\/div>\n
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ABOUT JAMES FARBER.<\/strong><\/h3>\n
A master of the jazz craft.<\/strong><\/p>\n
James Farber\u2019s career got off to a rolling start in 1978 when he was hired as a full-time assistant engineer at the then just-launched Power Station Studio in the Hell’s Kitchen neighborhood of Midtown Manhattan. Here, he acted under the tutelage of studio owner Tony Bongiovi as well as now-iconic engineers like Bob Clearmountain, Neil Dorfsman, Scott Litt and, of course, Al Schmitt. With his minimalistic approach to engineering, the latter would become a pivotal influence on James\u2019 work moving forward when finding his specialty niche in jazz.<\/p>\n
Since then, James has recorded well over 1,000 albums, worked with some of the world\u2019s premier artists and is widely considered one of the best jazz recording and mixing engineers ever. His footprint in the genre is indelible.<\/p>\n
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SELECTED
DISCOGRAPHY.<\/strong><\/h2>\n

\n Michael Brecker \u201cs\/t\u201d (1987)
\n Peter Erskine \u201cTransition\u201d (1987)
\n Steps Ahead \u201cModern Times\u201d (1984)
\n James Taylor \u201cNever Die Young\u201d (1988)
\n Don Grolnick \u201cWeaver of Dreams\u201d (1990)
\n James Taylor \u201cNew Moon Shine\u201d (1991)
\n Peter Erskine \u201cSweet Soul\u201d (1991)
\n John Scofield \u201cGrace Under Pressure\u201d (1992)
\n Joe Lovano \u201cFrom the Soul\u201d (1992)
\n Joshua Redman \u201cs\/t\u201d (1993)
\n Joe Lovano \u201cUniversal Language\u201d (1993)
\n Joshua Redman \u201cWish\u201d (1993)
\n Larry Goldings \u201cCaminhos Cruzados\u201d (1994)
\n Joshua Redman \u201cMood Swing\u201d (1994)
\n Yellowjackets \u201cRun for Your Life\u201d (1994)
\n Pat Metheny\/John Scofield \u201cI Can See Your House from Here\u201d (1994)
\n John Scofield \u201cHand Jive\u201d (1994)
\n Steve Kahn \u201cCrossings\u201d (1994)
\n Larry Goldings \u201cBig Stuff\u201d (1994)
\n Michael Brecker \u201cTwo Blocks from the Edge\u201d (1998)
\n Joshua Redman \u201cTimeless Tales for Changing Times\u201d (1998)
\n Count Basie \u201cLive at the Sands\u201d (1998)
\n Dave Holland \u201cPrime Directive\u201d (1999)
\n Joe Lovano Nonet \u201c52 Street Themes\u201d (2000)
\n Larry Goldings \u201cAs One\u201d (2001)
\n Dave Holland \u201cExtended Play: Live at Birdland\u201d (2003)
\n Brad Mehldau \u201cAnything Goes\u201d (2004)
\n Paul Motion Trio \u201cI Have the Room Above Her\u201d (2005)
\n Bill Frisell, Ron Carter, Paul Motian \u201cs\/t\u201d (2006)
\n Chris Potter \u201cSong for Anyone\u201d (2007)
\n John Scofield \u201cPiety Street\u201d (2009)
\n Billy Hart \u201cOne Is the Other\u201d (2014)
\n Chris Potter \u201cImaginary Cities\u201d (2015)
\n Jack DeJohnette \u201cMade in Chicago\u201d (2015)
\n Brad Mehldau \u201cBlues and Ballads\u201d (2016)
\n Fred Hersch \u201cSunday at the Vanguard\u201d (2016)
\n Lee Konitz \u201cFrescalalto\u201d (2017)
\n Bill Stewart \u201cBand Menu\u201d (2018)
\n Bill Charlap \u201cStreet of Dreams\u201d (2021)
\n Bill Frisell \u201cFour\u201d (2022)
\n Kendrick Scott \u201cCorridors\u201d (2023)<\/strong><\/p>\n
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SELECTED DISCOGRAPHY.<\/strong><\/h4>\n

\n Michael Brecker \u201cs\/t\u201d (1987)
\n Peter Erskine \u201cTransition\u201d (1987)
\n Steps Ahead \u201cModern Times\u201d (1984)
\n James Taylor \u201cNever Die Young\u201d (1988)
\n Don Grolnick \u201cWeaver of Dreams\u201d (1990)
\n James Taylor \u201cNew Moon Shine\u201d (1991)
\n Peter Erskine \u201cSweet Soul\u201d (1991)
\n John Scofield \u201cGrace Under Pressure\u201d (1992)
\n Joe Lovano \u201cFrom the Soul\u201d (1992)
\n Joshua Redman \u201cs\/t\u201d (1993)
\n Joe Lovano \u201cUniversal Language\u201d (1993)
\n Joshua Redman \u201cWish\u201d (1993)
\n Larry Goldings \u201cCaminhos Cruzados\u201d (1994)
\n Joshua Redman \u201cMood Swing\u201d (1994)
\n Yellowjackets \u201cRun for Your Life\u201d (1994)
\n Pat Metheny\/John Scofield \u201cI Can See Your House from Here\u201d (1994)
\n John Scofield \u201cHand Jive\u201d (1994)
\n Steve Kahn \u201cCrossings\u201d (1994)
\n Larry Goldings \u201cBig Stuff\u201d (1994)
\n Michael Brecker \u201cTwo Blocks from the Edge\u201d (1998)
\n Joshua Redman \u201cTimeless Tales for Changing Times\u201d (1998)
\n Count Basie \u201cLive at the Sands\u201d (1998)
\n Dave Holland \u201cPrime Directive\u201d (1999)
\n Joe Lovano Nonet \u201c52 Street Themes\u201d (2000)
\n Larry Goldings \u201cAs One\u201d (2001)
\n Dave Holland \u201cExtended Play: Live at Birdland\u201d (2003)
\n Brad Mehldau \u201cAnything Goes\u201d (2004)
\n Paul Motion Trio \u201cI Have the Room Above Her\u201d (2005)
\n Bill Frisell, Ron Carter, Paul Motian \u201cs\/t\u201d (2006)
\n Chris Potter \u201cSong for Anyone\u201d (2007)
\n John Scofield \u201cPiety Street\u201d (2009)
\n Billy Hart \u201cOne Is the Other\u201d (2014)
\n Chris Potter \u201cImaginary Cities\u201d (2015)
\n Jack DeJohnette \u201cMade in Chicago\u201d (2015)
\n Brad Mehldau \u201cBlues and Ballads\u201d (2016)
\n Fred Hersch \u201cSunday at the Vanguard\u201d (2016)
\n Lee Konitz \u201cFrescalalto\u201d (2017)
\n Bill Stewart \u201cBand Menu\u201d (2018)
\n Bill Charlap \u201cStreet of Dreams\u201d (2021)
\n Bill Frisell \u201cFour\u201d (2022)
\n Kendrick Scott \u201cCorridors\u201d (2023)<\/strong><\/p>\n<\/div>\n<\/div>\n
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FIVE QUESTIONS
TO JAMES FARBER.<\/strong><\/h2>\n<\/p><\/div>\n
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Leaving performance aside, when recording jazz drums \u2013 what is the number one most important factor to you?<\/strong>
\n When close miking all the elements of a drum kit, the most important thing is to mix those individual elements to reflect the drummer\u2019s groove. If you counteract the drummer\u2019s intention, the music will suffer.<\/p>\n
You have recorded at Power Station since the 1980s. Why has this studio stayed your go-to and, particularly, why does it work so well for jazz sessions?<\/strong>
\n Power Station was created for musicians. Musicians love playing in the various acoustically designed spaces, which inspire them. As we know, the better the playing, the better the recording. The control room acoustics can be trusted so what you hear in there sounds the same when you take it home. And Neve consoles are the best. Since I spent my early career on staff at Power Station, it will always feel like home to me and, since I know the rooms and mics so well, I can be instinctive when working there.<\/p>\n
You have recorded many styles over the years but found your niche in jazz. How come?<\/strong>
\n I was a jazz piano player during my college years and that\u2019s the music I listen to at home. So, naturally, I gravitated toward recording jazz. I dig working with the best musicians on the planet who make my job easy \u2013 and almost never having to do any overdubs!<\/p>\n<\/p><\/div>\n
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Looking back on well over 1,000 albums and sessions with some of the greatest artists and drummers like John Scofield, James Taylor, Elvin Jones, Jack DeJohnette, Paul Motian, Bill Stewart, Brian Blade and many, many more \u2013 are there any sessions, songs, takes or even moments that really stand out?<\/strong>
\n Getting to work with legends like Elvin, Roy Haynes, Billy Higgins, Jack DeJohnette and Paul Motian, plus contemporary masters like Brian Blade and Bill Stewart, is the dream of a lifetime. When working with the legends, I always dug the chance to sit and talk with them about their classic recordings by Miles, Ornette, Eric Dolphy, Mingus, and Lennie Tristano.<\/p>\n
Now that the project is done and you\u2019ve had a chance to sit down and work with the sounds, what are your thoughts?<\/strong>
\n I wasn\u2019t initially sure about getting involved with a drum sampling project, but I\u2019m so glad I did it. I got to record some classic kits I would never see in real life. Plus, the Toontrack team was just the best to work with in every respect. I\u2019m sure we came up with a library of drums sounds that adds to the already impressive Toontrack catalog. I\u2019m most curious to see how these sounds will eventually be used in the field.<\/p>\n<\/p><\/div>\n<\/div>\n
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ABOUT THE STUDIO.<\/strong><\/h3>\n
A New York City landmark<\/strong><\/p>\n
The historic Con-Edison power relay station on West 53rd Street isn\u2019t only a New York City landmark, it\u2019s also the birthplace of modern studio acoustics as we know them. In the early days, recording studios were generally \u201cdead\u201d spaces. Power Station founder Tony Bongiovi, however, realized that materials, floors, walls and ultimately the room<\/em> mattered. Since opening its doors in 1977, the majestic acoustics of the dome-like Studio A room and the other tailored spaces in the complex have graced countless iconic albums and played a pivotal role in how studio acoustics are designed. Topping out on the maximum amount permitted of TEC Awards, boasting the first-ever Mix Magazine Les Paul Award and continuing to be a go-to for top engineers and artists alike, Power Station is as vibrant and vital today as it ever was.<\/p>\n<\/p><\/div>\n<\/div>\n
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\u201cPower Station was created for musicians.\u201d<\/em><\/strong><\/p>\n
James Farber<\/p>\n
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THE ROOMS.<\/strong><\/h2>\n
To cover kit timbres tailored for each specific era or sound, four of the different rooms at Power Station were recorded for this SDX.<\/p>\n<\/p><\/div>\n<\/div>\n
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Two kits out of which both were sampled with drumsticks and brushes and one also with mallets. Captured with 11 close mics, several ambience options as well as a 5.0 surround setup.<\/p>\n
Two kits, captured with 13 close mics as well as a classic Decca tree formation.<\/p>\n
One kit sampled with drumsticks and brushes and one kit sampled with drumsticks, captured with ten close mics, several ambience options, a 5.0 surround setup and an additional classic two-microphone mono configuration.<\/p>\n
One kit sampled in two main configurations (coated and clear heads), recorded with drumsticks, rods and hands and captured with 13 close mics as well as a classic Decca tree formation.<\/p>\n <\/div>\n <\/div>\n <\/div>\n
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THE DRUMS.<\/strong><\/h2>\n
The seven kits for this SDX were handpicked by James and team to each represent a certain era, standout sound in jazz history or as a nod to some of the many milestone records in James\u2019 discography. Expect kits that cover anything from the 1920s big band era, the bebop of the 1940s, the lively and free-spirited sound of the 1950s and the Latin-inspired 1960s to the amalgam of jazz and fusion that dominated in the 1970s.<\/p>\n
In addition, legendary drum technician Artie Smith<\/strong> was present throughout the entire session to oversee tuning and treatments. The imprint Artie has left through his several-decade-long tenure in the world of drums can\u2019t be overlooked. Since the early 1980s and through to now, first-call session drummers and engineers alike have trusted his bottomless drum knowledge during recordings. When it comes to drums, he is nothing short of a legend.<\/p>\n<\/p><\/div>\n<\/div>\n
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THE BOP KIT.<\/strong><\/h2>\n
Recorded in: Studio C (main)
\n Tool(s) recorded: Drumsticks (wires on and wires off), brushes, mallets<\/p>\n
Around the turn of the 20th century, drum kits featured massive bass drums in order to compete with the horn sections of big bands. Small bass drums didn\u2019t became popular until well into the 1940s. Whether it was to fit better sonically with the upright bass or to make it easier for musicians to haul their gear across the New York City streets and subways, the small bop kit has remained a centerpiece in any jazz context. This is the absolute allround, go-to and staple set you can never go wrong with.<\/strong><\/p>\n

\n Brand:<\/strong> Gretsch*<\/a>
\n Model:<\/strong> USA Custom\/Round Badge
\n Material:<\/strong> 6-ply maple\/gum\/maple
\n Finish:<\/strong> Black Diamond Pearl
\n Era:<\/strong> 1960s<\/p>\n
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THE BOP KIT.<\/strong><\/h4>\n<\/p><\/div>\n<\/div>\n<\/div>\n
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\n Tool(s) recorded: Drumsticks (wires on), brushes<\/p>\n
THE CLUB KIT.<\/strong><\/h2>\n

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\n Brand:<\/strong> Gretsch*<\/a>
\n Model:<\/strong> Birdland
\n Material:<\/strong> 3-ply maple gum maple
\n Finish:<\/strong> Cadillac Green
\n Era:<\/strong> 1950s<\/p>\n<\/p><\/div>\n
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Finished in \u201cCadillac Green\u201d and equipped with gold-colored hardware, this rare kit is named after the legendary Birdland Jazz Club in New York. Rumor has it that there were only twelve ever made of this gem. Constructed in Brooklyn right smack in the city, this is the epitome of a traditional jazz kit and one that represents the utmost in drum craftsmanship at the time.<\/strong><\/p>\n<\/p><\/div>\n<\/div>\n
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THE CLUB KIT.<\/strong><\/h4>\n<\/p><\/div>\n<\/div>\n<\/div>\n
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THE MODERN KIT.<\/strong><\/h2>\n
Recorded in: Studio C (Booth)
\n Tool(s) recorded: Drumsticks (wires on)<\/p>\n
Being the Power Station \u201chouse kit,\u201d this amazing set has been used on numerous recordings over the years. Featuring a redesign of the quintessential studio kit with input from Steve Gadd, the six-ply shells come with a 30 degree bearing edge compared to the 45 degree of its predecessor. The result? A slightly warmer but still undoubtably more modern sound, perfect for any modern jazz or fusion recording. If you\u2019re looking for tones reminiscent of those James produced for drummer Peter Erskine on the \u201cSteps Ahead\u201d record, this is the kit to go for.<\/strong><\/p>\n

\n Brand:<\/strong> Yamaha*<\/a>
\n Model:<\/strong> Recording Custom
\n Material:<\/strong> 6-ply birch
\n Finish:<\/strong> Real Wood
\n Era:<\/strong> 2010s<\/p>\n
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*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 <\/p><\/div>\n
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THE MODERN KIT.<\/strong><\/h4>\n<\/p><\/div>\n<\/div>\n<\/div>\n
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*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>
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Recorded in: Studio C (booth)
\n Tool(s) recorded: Drumsticks (wires on)<\/p>\n
THE ARTIST KIT.<\/strong><\/h2>\n

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\n Brand:<\/strong> Camco*<\/a>
\n Model:<\/strong> Oaklawn
\n Material:<\/strong> 4-ply maple\/gum
\n Finish:<\/strong> Champagne Sparkle
\n Era:<\/strong> 1960s<\/p>\n<\/p><\/div>\n
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Designed by iconic drum inventor George Way and considered by engineers and jazz drummer alike to be among be the best-sounding drums of their time, this is a must in a broad palette of jazz drums. Unusually for the period, the shells in this kit feature a four-ply construction with re-enforcement rings and painted internal shells. Pure, sparkling jazz magic.<\/strong><\/p>\n<\/p><\/div>\n<\/div>\n
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THE ARTIST KIT.<\/strong><\/h4>\n<\/p><\/div>\n<\/div>\n<\/div>\n
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THE SWING KIT.<\/strong><\/h2>\n
Recorded in: Studio A (main)
\n Tool(s) recorded: Drumsticks (wires on), brushes<\/p>\n
Finished in a classic pearl wrap, with white wooden lugs, calfskin heads and in sizes evoking the look and sound of the big band swing era, this is as traditional as it gets. Combine that with both a modern as well as a classic mono mic setup and you\u2019ll have the best of both words.<\/strong><\/p>\n

\n Brand:<\/strong> Ludwig & Ludwig*<\/a>
\n Model:<\/strong> Victory Outfit
\n Material:<\/strong> 3-ply mahogany\/poplar\/mahogany w\/ re-rings
\n Finish:<\/strong> Marine Pearl
\n Era:<\/strong> 1940s<\/p>\n
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*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 <\/p><\/div>\n
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THE SWING KIT.<\/strong><\/h4>\n<\/p><\/div>\n<\/div>\n<\/div>\n
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*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>
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Recorded in: Studio A (main)
\n Tool(s) recorded: Drumsticks (wires on)<\/p>\n
THE TRAPS KIT.<\/strong><\/h2>\n

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\n Brand:<\/strong> Ludwig*<\/a>
\n Model:<\/strong> Professional
\n Material:<\/strong> Mahogany
\n Finish:<\/strong> Gold Flake Pearl
\n Era:<\/strong> 1920s<\/p>\n<\/p><\/div>\n
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Although the drum set had been around for a few years, the 1920s heralded rapid development and change. This kit retains the percussion ensemble of cowbells and woodblock together with the Chinese tack-head toms of earlier years. The low boy or sock cymbals have been moved onto a stand however, more consistent with the \u201chi-hat\u201d cymbals of the era. Complimented by a range of vintage splash cymbals and an early Chinese cymbal, this kit encapsulates the sound of early jazz. Just like the Swing Kit, this set was also recorded with a mono mic setup.<\/strong><\/p>\n<\/p><\/div>\n<\/div>\n
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THE TRAPS KIT.<\/strong><\/h4>\n<\/p><\/div>\n<\/div>\n<\/div>\n
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*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>
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Recorded in: Studio A (booth)
\n Tool(s) recorded: Drumsticks (wires on), rods, hands<\/p>\n
THE NEW ERA KIT.<\/strong><\/h2>\n

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Open player<\/span>\"\n >\n

\n Brand:<\/strong> Sonor*<\/a>
\n Model:<\/strong> Phonic
\n Material:<\/strong> 9-ply beech
\n Finish:<\/strong> Genuine Rosewood
\n Era:<\/strong> 1980s<\/p>\n<\/p><\/div>\n
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As jazz evolved and fused with rock music in the early 1970s, drum kits changed accordingly. Proponents such as Billy Cobham and many more started using larger multi-tom kits paired with brighter cymbals. This kit was influenced by Jack DeJohnette\u2019s setup of the 1980s \u2013 a larger kit with a more varied selection of cymbals but with the small bop-style bass drum intact. To add, it was recorded with both coated and clear heads, giving you two completely different tonal flavors.<\/strong><\/p>\n<\/p><\/div>\n<\/div>\n
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THE NEW ERA KIT.<\/strong><\/h4>\n<\/p><\/div>\n<\/div>\n<\/div>\n
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MIC WALKTHROUGH.<\/strong><\/h3>\n
Learn all about James\u2019 elaborate setup of mics used to capture the drums for this SDX.<\/strong><\/p>\n<\/p><\/div>\n<\/div>\n
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THE ROOMS & THE MIXER.<\/strong><\/h3>\n
This SDX is configured as four different libraries, one for each room. Maximum versatility!<\/p>\n<\/p><\/div>\n<\/div>\n
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Two kits sampled with drumsticks, brushes and mallets, captured with 11 close mics, several ambience options as well as a 5.0 surround setup.<\/p>\n
Two kits, captured with 13 close mics as well as a classic Decca Tree formation.<\/p>\n
One kit sampled with drumsticks and brushes and one kit sampled with drumsticks, captured with ten close mics, several ambience options as well as a 5.0 surround setup.<\/p>\n
One kit sampled with drumsticks, rods and hands and one kit sampled with drumsticks, captured with 13 close mics as well as a classic Decca Tree formation.<\/p>\n <\/div>\n <\/div>\n <\/div>\n
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MICROPHONE PLACEMENT.<\/strong><\/h2>\n
Here\u2019s an overview of which mics James used and roughly how they were placed around the kit in each room.<\/p>\n
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STUDIO C.<\/strong><\/h4>\n
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Studio C: Booth:<\/strong><\/p>\n
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Kick: Neumann TLM170
\n Kick Alt: Shure BETA 52<\/li>\n
Snare Top: Beyerdynamic M201TG
\n Snare Bottom: Shure SM57<\/li>\n
Hi-Hat: Beyerdynamic M160<\/li>\n
Racktom 1+2: AKG 414
\n Floortom 1+2: AKG 414<\/li>\n
Ride: Beyerdynamic M160<\/li>\n
OH: Schoeps CMC5\/MK5
\n OH Mono: Neumann KM86<\/li>\n
Front L: Schoeps CMC6\/MK5
\n Center: AKG C37A
\n Front R: Schoeps CMC6\/MK5<\/li>\n<\/ol>\n
Studio C: Main:<\/strong><\/p>\n
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Kick: Neumann TLM170
\n Kick Alt: Shure BETA 52<\/li>\n
Snare Top: Beyerdynamic M201TG
\n Snare Bottom: Shure SM57<\/li>\n
Hi-Hat: Beyerdynamic M160<\/li>\n
Racktom: AKG 414
\n Floortom: AKG 414<\/li>\n
Ride: Neumann KM84<\/li>\n
OH: Schoeps CMC5\/MK5
\n OH Mono: Neumann KM86<\/li>\n
Front L: Schoeps CMC6\/MK5
\n Center: AKG C37A
\n Front R: Schoeps CMC6\/MK5<\/li>\n
Surround L: Bruel&Kjaer 4006
\n Surround R: Bruel&Kjaer 4006<\/li>\n<\/ol>\n<\/div>\n
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All direct microphones use cardioid except for all AKG 414 on toms, these use hypercardioid.
\n All Overhead Center and Ambience microphones use omni.
\n A pad was used on the Neumann TLM170, and 20 dB pads were used on all AKG 414s.<\/p>\n<\/div>\n<\/div>\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
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STUDIO A.<\/strong><\/h4>\n
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Studio A: Booth:<\/strong><\/p>\n
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Kick: Neumann TLM170
\n Kick Alt: Shure BETA 52<\/li>\n
Snare Top: Beyerdynamic M201TG
\n Snare Bottom: Shure SM57<\/li>\n
Hi-hat: Beyerdynamic M160<\/li>\n
Racktom 1+2: AKG 414
\n Floortom 1+2: AKG 414<\/li>\n
Ride: Beyerdynamic M160<\/li>\n
OH: Schoeps CMC5\/MK5
\n OH Mono: Neumann U47<\/li>\n
Front L: Bruel&Kjaer 4006
\n Center: AKG C37A
\n Front R: Bruel&Kjaer 4006<\/li>\n<\/ol>\n
Studio A: Main:<\/strong><\/p>\n
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Kick: RCA 44-BX<\/li>\n
Snare Top: Beyerdynamic M201TG
\n Snare Bottom: Shure SM57<\/li>\n
Hi-Hat: Beyerdynamic M160<\/li>\n
Racktom: AKG 414
\n Floortom: AKG 414<\/li>\n
Ride: Beyerdynamic M160<\/li>\n
OH: Neumann KM54
\n OH Mono: Bruel&Kjaer 4006<\/li>\n
Front L: Schoeps CMC6\/MK5
\n Center: AKG C37A
\n Front R: Schoeps CMC6\/MK5<\/li>\n
Surround L: Schoeps CMC5\/MK5
\n Surround R: Schoeps CMC5\/MK5<\/li>\n
Mono Kit: Neumann U47<\/li>\n
Mono Low: RCA 44-BX<\/li>\n<\/ol><\/div>\n
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All direct microphones use cardioid except for all AKG 414 on toms, these use hypercardioid.
\n All Overhead Center and Ambience microphones use omni.
\n A pad was used on the Neumann TLM170, and 20 dB pads were used on all AKG 414s.<\/p>\n<\/div>\n<\/div>\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
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THE PRESETS.<\/strong><\/h3>\n
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Broadcast-ready drum mixes, at your fingertips.<\/strong><\/p>\n<\/p><\/div>\n<\/div>\n
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The included library of presets covers drum mixes for all kits and configurations. In keeping with the sound of jazz, expect delicately nuanced, balanced, organic, natural, dynamic and acoustically impeccable kits \u2013 tailored for all your jazz needs.<\/p>\n<\/p><\/div>\n<\/div>\n
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Presets for every kit and tool option<\/strong><\/p>\n<\/p><\/div>\n
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More than 60 meticulously crafted drum mixes<\/strong><\/p>\n<\/p><\/div>\n
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Engineered by James Farber as well as by the Toontrack sound design team<\/strong><\/p>\n<\/p><\/div>\n
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Inspired by jazz through the ages and some of the milestone albums in Farber\u2019s discography<\/strong><\/p>\n<\/p><\/div>\n
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Use for a mix-ready sound or as a starting point for your own mixes<\/strong><\/p>\n<\/p><\/div>\n<\/p><\/div>\n<\/p><\/div>\n<\/div>\n
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THE MIDI.<\/strong><\/h3>\n
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All the traits of jazz drumming as we know it.<\/strong><\/p>\n<\/p><\/div>\n<\/div>\n
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There is arguably no style of drumming more articulate, expressive and multifaceted than that of jazz. This SDX includes a masterfully performed collection of MIDI by Norman Garschke, traditionally trained drummer with a masters degree in jazz performance from the Conservatories of Hilversum and Amsterdam. Get ready to dive into a versatile library of flawless groove and comping material riddled with all the unmistakable traits of jazz drumming.<\/p>\n<\/p><\/div>\n<\/div>\n
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Extensive library of grooves and fills unique to this product and specifically tailored for use with its kits<\/strong><\/p>\n<\/p><\/div>\n
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Inspired by all main eras of jazz as well as some of the milestone records in James Farber’s career<\/strong><\/p>\n<\/p><\/div>\n
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Dedicated material for all tools (sticks, brushes, mallets, rods, hands)<\/strong><\/p>\n<\/p><\/div>\n<\/p><\/div>\n<\/p><\/div>\n<\/div>\n
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E-DRUMMER?<\/strong><\/h2>\n
This SDX includes more than 35 \u2018clean\u2019 presets designed specifically for use with e-drums. Loading balanced starting points of each kit as well as optimal settings for e-drum use (like extra hi-hat and cymbal articulations), these presets will be perfect for anyone looking to get a great starting point before making additional tweaks using the comprehensive e-drum features of Superior Drummer 3. Jam away, drummers!<\/p>\n<\/p><\/div>\n<\/div>\n
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