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.Please provide a valid slug.Please provide a valid slug.Please provide a valid slug.{"id":3298102,"date":"2025-02-04T11:17:44","date_gmt":"2025-02-04T10:17:44","guid":{"rendered":"https:\/\/www.toontrack.com\/?post_type=product&p=3298102"},"modified":"2025-05-06T09:03:26","modified_gmt":"2025-05-06T07:03:26","slug":"fusion-ezx","status":"publish","type":"product","link":"https:\/\/www.toontrack.com\/product\/fusion-ezx\/","title":{"rendered":"Fusion EZX"},"content":{"rendered":"

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In fusion, where jazz, rock and funk seamlessly blend with an eclectic mix of other styles, the drums are, and have always been, the definitive heartbeat. This EZX for EZdrummer 3 and Superior Drummer 3 aims to unravel some of the defining mile markers in the genre\u2019s history and provide you with the ultimate collection of tailored drums. If you\u2019re looking for big, resonant kits that can handle the entire dynamic range from the subtle to the explosive and offer tones covering the bright, crisp, earthy and warm, this EZX is for you.<\/p>\n

The Fusion EZX was recorded by engineer Stefano Civetta (Nile Rodgers, Ed Sheeran, Earth, Wind and Fire) and drummer Pete Riley (Guthrie Govan, Keith Emerson, Richie Kotzen) at School Farm, a brand new state-of-the-art studio in Essex, England. With its SSL Duality console, stellar mic locker, 24 channels of Neve preamps and, most importantly, spacious but not overpoweringly reverberant live room, it was the perfect choice for capturing the vibrant energy of the drums in this EZX. In total, four unique kits are included, each handpicked, tuned and curated to offer its own niched tone and flair to the project. To add, one of the kits was recorded with two different drum head setups, essentially giving you a total of five completely different flavors of tone. Further, with the kits boasting seven toms each, extras such as side snares, octobans, cowbells, a gong bass drum, several extra kit pieces and a breadth of cymbals ranging from 6-inch splashes to 23-inch rides, stacks and chinas, this is an EZX that covers an enormous width.<\/p>\n

In addition to the kits, a wealth of mix-ready presets as well as a collection of drum grooves and fills are provided, allowing you to instantly get going producing drum parts that perfectly pair Pete\u2019s lock-tight drumming with Stefano\u2019s impeccable high-fidelity engineering.<\/p>\n

Beyond the scope of songwriting and music production, this EZX was also designed with the e-drummer in mind, offering tailored presets with balanced starting points and optimal settings for e-drum use.<\/p>\n

Featuring all the traits you\u2019d expect in an EZX labeled fusion but just as adaptable beyond any boundaries a genre may suggest, this is an expansion for limitless experimentation and exploration. In many ways, that\u2019s just like the genre itself. Ready to make some songs where the drums do way more than just keep time? Enter the fusion universe.<\/p>\n<\/p><\/div>\n

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Big, resonant and articulate kits ideal for anything from classic to modern fusion<\/li>\n
Four unique 7-tom kits (out of which one was recorded with two different drum head setups)<\/li>\n
Featuring extras such as side snares, octobans, cowbells and a gong bass drum <\/li>\n
A total of 20 cymbals, 10 bass drums and 14 snares<\/li>\n
Toms encompassing sizes from 8 to 18 inches<\/li>\n
Sampled by drummer Pete Riley (Guthrie Govan, Keith Emerson, Richie Kotzen)<\/li>\n
Engineered by Stefano Civetta (Nile Rodgers, Ed Sheeran, Earth, Wind and Fire)<\/li>\n
Recorded at School Farm Studios in Essex, England<\/li>\n
Features mix-ready presets for a broad range of sounds<\/li>\n
Offers tailored solutions for e-drummers with custom presets<\/li>\n<\/ul><\/div>\n<\/p><\/div>\n<\/div>\n
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This EZX expansion requires EZdrummer 3<\/strong><\/a> or Superior Drummer 3<\/strong><\/a>.<\/p>\n<\/p><\/div>\n<\/p><\/div>\n<\/div>\n
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FULL PRODUCTIONS<\/p>\n<\/p><\/div>\n<\/p><\/div>\n<\/p><\/div>\n
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PRESETS<\/p>\n<\/p><\/div>\n<\/p><\/div>\n<\/p><\/div>\n
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ARTICULATIONS<\/p>\n<\/p><\/div>\n<\/p><\/div>\n<\/p><\/div>\n<\/div>\n
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THE MAKING OF.<\/strong><\/h2>\n
Meet the team and get a glimpse of what happened behind the scenes during the session!<\/strong><\/p>\n<\/p><\/div>\n<\/p><\/div>\n
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ABOUT THE STUDIO.<\/strong><\/h3>\n
\n School Farm is a newly built studio located in a 17th century barn in Essex, England. Featuring an SSL Duality console, a stellar mic locker, 24 channels of Neve preamps and, most importantly, a spacious but not overpoweringly reverberant live room, it was the perfect choice for this EZX. The room has an exceptional frequency response that lends itself especially well to drums, offering that crisp, lush and crystal-clear high fidelity ambience that is one of the most identifying traits in a great drum sound for fusion.<\/p>\n<\/div>\n<\/div>\n
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MEET THE DRUMMER.<\/h6>\n
PETE RILEY.<\/strong><\/h3>\n
\n Aside for being known for working with luminaries such as Keith Emerson, Richie Kotzen and Guthrie Govan, Pete is also a published author with three drum books released, a prolific contributor to Rhythm Magazine as well as one of Britain\u2019s foremost drum educators.<\/p>\n<\/div>\n
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You\u2019ve been playing drums, writing about drums and teaching drums for pretty much all your adult life. Looking back on your journey so far, what are some of your personal stand-out moments, gigs or events?<\/strong>
\n I guess the first stand-out moment was my first show with the band Republica at the T In The Park festival where singer Saffron asked the thirty-thousand capacity crowd to say hello to their new drummer! Since then I\u2019ve played so many shows, all around the world, that searching for individual moments is like flicking through a photo album in my mind. However, in doing that, the two-month US tour with Keith Emerson in the mid 2000s holds many great memories. Playing interesting and demanding music, including a drum solo feature, and touring the US with my friends makes that time pretty special.\n <\/p>\n
To you, why was the School Farm the perfect choice for this session?<\/strong>
\n I had no idea we had this calibre of studio out here in rural Essex! As an original Essex barn, the building itself is aesthetically stunning with its old oak beams, but also as the studio was designed and built so recently the equipment and facilities are fantastic. And the house engineer Stefano did a wonderful job of capturing everything so well and making it all such an enjoyable experience.<\/p>\n
When it came down to selecting the kits and cymbals, what was your and the team\u2019s overall idea?<\/strong>
\n We wanted kits that featured the whole range of tom sizes and which are iconic in their sounds, from modern, bright and resonant through to older, shorter and more subdued tones. We also wanted to emphasize these qualities with head choices and tuning, so using higher tunings combined with single-ply heads to lower tunings with double-ply heads. As for cymbals, I brought along my main choices for music falling under the \u201cfusion\u201d heading. So, they tended to be larger crashes and rides, with what I perceive as an ideal balance of complex overtones and high-end cut. These were chosen in conjunction with splashes, hi-hats and stack sounds I\u2019ve used for many years. In fact on that note, the stacked cymbal sound was one of the many unique \u201cfusion drum kit\u201d elements which we were keen to include along with the gong drum, octobans, cowbells and alternative snare sizes.<\/p>\n<\/div>\n
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To you, what defines a great drum sound?<\/strong>
\n I love to hear well tuned drums sounding like drums! In other words, with overtones, dynamics and character. Obviously, the musical situation will influence whether this is appropriate; there are times when very dry and dead drums work perfectly. However, in a mix, drums that are well tuned, with minimal or no dampening, tend to sound better and more natural to me. On this note, it\u2019s often the case that whilst a kit might sound too lively in isolation, once in a mix those overtones tend to be much less apparent. In fact, they tend to be the qualities that make the kit sound more natural and dynamic.<\/p>\n
Listening back to the finished result and having used the sounds when recording MIDI for the product, what are your thoughts?<\/strong>
\n It\u2019s strange hearing my actual drums triggered when playing the e-drum kit! There\u2019s almost a disconnect whereby I\u2019m hearing my drums but I\u2019m playing the e-kit! And all of the kits are recorded so well that I think we achieved something special capturing this contrasting selection of kits, especially the tuning and relationship between the toms.<\/p>\n
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MEET THE ENGINEER.<\/h6>\n
STEFANO CIVETTA.<\/strong><\/h3>\n
\n Stefano is a sound and mix engineer, composer, orchestrator and musician whose work can be heard on anything from major label albums by the likes of will.i.am, Earth, Wind and Fire, Ed Sheeran and Nile Rodgers\u2019 recordings with Bruno Mars to blockbuster soundtracks like Solo: A Star Wars Story, Rocketman and The Hobbit.\n <\/p>\n<\/p><\/div>\n
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Before joining the team at School Farm, you spent six years engineering at Abbey Road. What lead you to branch out on your own and help in building School Farm? And, in your opinion, what makes this studio so special?<\/strong>
\n Since I was a kid, I always had the dream to work at Abbey Road, and I feel incredibly lucky (and privileged!) to have spent a few years working in what, to me, is still one of the best studios in the world. It’s an amazing place to work, you see huge talents across all the musical genres walking in on a daily basis, and you never get tired of it. I guess I just wanted to try a new adventure, and probably the desire of leaving London kicked in too back then. I started speaking to a few people, mostly clients who during those years became friends, and Andrew (Andrew Sunnucks, who built and owns School Farm Studios) was the first person I spoke to. He suggested we could build a studio out in the countryside, and he was silly enough to put me in charge of choosing equipment, microphones, etc. So, we (luckily not literally) started building the studio during Covid, with all the fun that a lockdown and supplies shortages bring along, but despite everything here we are.
\n What makes the studio special, and of course I am biased, is the environment, the atmosphere. I find that it doesn’t matter (or it does up to a point) what microphones you have, what compressors you use, how much predelay you put on your reverb. If the atmosphere and, as they call it, the vibe isn’t great, making music is just not as fun. I am INCREDIBLY lucky to be around Andrew and Hester, our wonderful assistant, every day. They make everything such a joy, and the musicians who come here feel the same way – we hope!
\n Yes, it is a special studio also for more “studio-related” reasons: great acoustics, amazing equipment, fantastic pianos, stunning views with alpacas and lakes, and (something that Pete appreciated when bringing all the drumkits here) you can park on the doorstep!\n <\/p>\n
You\u2019ve worked in pretty much any and all fields in the recording industry, from engineering, mixing and producing to playing, composing and orchestrating. Is there one field you prefer and if so, why?<\/strong>
\n I must confess I would struggle to pick my favorite. Covering several aspects of the music making process is something that always fascinated me, I knew I always want to be as varied as possible. I think that the more musical aspects of the engineering job are as important as the technical knowledge. Having seen some of the best film scoring engineers at work, it’s amazing to notice how “musical” they are. Reading a score, spotting mistakes, general musical knowledge is something I consider being absolutely important for our job – especially if working in film scoring or orchestral music. One of the reasons why I try to do as many different things as I can, it’s also to keep the mind stimulated and never get bored. I always want to learn new instruments and to experiment with whatever makes a sound. I guess that what brought me to approach different fields of the music industry is curiosity, something we should always feed!<\/p>\n<\/p><\/div>\n
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To you, what defines a great drum sound?<\/strong>
\n A great drum sound is good only if it serves the track it plays on. If you think about how many different drum sounds there have been over the last 100 years, they all served the purpose for a particular genre. I love all sorts of drum sounds, as long as they serve the track in the best possible way. It would be silly to have a huge kick drum on a Dixieland track, for example. So, whatever the sound is, as long as it’s true and faithful to the genre and the track, that is the best. On a more technical point of view, and personally, I like the drums to breathe, I don’t like to compress them too much (or anything at all!).<\/p>\n
Having had the chance to work with the sounds when making presets and really digging into the product, what are your thoughts?<\/strong>
\n I absolutely love it. It’s bizarre to have at my fingertips the sound of the room I’m so used to, and it sounds so faithful and realistic. I love the perspective you get from the room mics, the details of the spot mics. I really loved the whole process, and recording such an amazing drummer, so many wonderful kits, using stunning mics (thank you DPA!), made the whole thing so much fun. I can’t wait for your users to dig in and listen to what School Farm Studios sounds like!<\/p>\n
SELECTED DISCOGRAPHY<\/strong><\/h5>\n

\n The Beatles “White Album” (2018)
\nThe Beatles “Abbey Road” (2019)
\nAndrea Bocelli “Believe” (2020)
\nNik Kershaw “Oxymoron” (2020)
\nJason Rebello, Tim Garland “Life to Life” (2023)<\/strong><\/p>\n<\/p><\/div>\n<\/div>\n
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REALIZATION KIT.<\/strong><\/h4>\n
\n Brand:<\/strong><\/span> Yamaha*<\/a>
\n Model:<\/strong><\/span> Recording Custom 9000
\n Material:<\/strong><\/span> Birch
\n Finish:<\/strong><\/span> Solid Black
\n Era:<\/strong><\/span> 1990s<\/p>\n<\/p><\/div>\n
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This is the quintessential studio kit that was the choice of high profile fusion drummers throughout the 1990s. The 6-ply Birch shells range from 10\u201d to 18\u201d which combined with clear single-ply heads tuned high, create a bright, articulate and open tone, with plenty of attack and maximum resonance.<\/p>\n<\/p><\/div>\n<\/p><\/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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REALIZATION KIT<\/strong><\/h4>\n<\/p><\/div>\n<\/p><\/div>\n<\/div>\n

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CONVERGENCE KIT<\/strong><\/h4>\n
\n Brand:<\/strong><\/span> Sakae*<\/a>
\n Model:<\/strong><\/span> Almighty
\n Material:<\/strong><\/span> Birch
\n Finish:<\/strong><\/span> Real Black
\n Era:<\/strong><\/span> 2010s<\/p>\n<\/p><\/div>\n
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With ultra-precise 45-degree bearing edges, the highest quality hardware and the last iteration of Hokkaido Birch shells from the famed factory in Japan, these drums are the pinnacle of craftsmanship. Equipped with double-ply clear batter heads tuned lower than the single-ply clear resonant heads, this kit has a distinct and focussed yet vividly vibrant ring that can’t be desired as anything other than exquisitely lush.<\/p>\n<\/p><\/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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UNIFICATION KIT<\/strong><\/h4>\n
\n Brand:<\/strong><\/span> Tama*<\/a>
\n Model:<\/strong><\/span> Star
\n Material:<\/strong><\/span> Maple
\n Finish:<\/strong><\/span> Gloss Sycamore
\n Era:<\/strong><\/span> 2020s<\/p>\n<\/p><\/div>\n
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Inspired by Simon Phillips’ multi-tom setup complete with a gong drum and Octobans, this contemporary top-tier kit is constructed of a combination of 6-ply and 8-ply maple shells with a unique suspension system. With a warmer and rounder tone than the birch shells, this seven-tom kit was fitted with clear single-ply heads tuned for maximum resonance. The default bass drum was also recorded unported for that extra lively decay.<\/p>\n<\/p><\/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><\/p>\n
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ABSORPTION KIT<\/strong><\/h4>\n
\n Brand:<\/strong><\/span> Yamaha*<\/a>
\n Model:<\/strong><\/span> Recording Custom 9000
\n Material:<\/strong><\/span> Birch
\n Finish:<\/strong><\/span> Jade Green
\n Era:<\/strong><\/span> 1980s<\/p>\n<\/p><\/div>\n
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The first incarnation of the most famous birch kit in recording history. These original models had 60-degree bearing edges with a slight round-over compared to the sharper 45-degree of later models. These drums have become rare and highly desirable among players and collectors alike. Fitted with coated single-ply heads, expect a slightly more vintage tone that still retains plenty of attack and resonance. Pete tours with a smaller version of this kit.<\/p>\n<\/p><\/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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PROFUSION KIT<\/strong><\/h4>\n
\n Brand:<\/strong><\/span> Yamaha*<\/a>
\n Model:<\/strong><\/span> Recording Custom 9000
\n Material:<\/strong><\/span> Birch
\n Finish:<\/strong><\/span> Jade Green
\n Era:<\/strong><\/span> 1980s<\/p>\n<\/p><\/div>\n
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In stark contrast to the other kits, this version of the Absorption kit was sampled with the resonant heads removed and classic 2-ply clear heads with in-built damping fitted to reduce resonance and overtones. Inspired by Steve Gadd’s legendary drum solo on the Steely Dan song “Aja,” this lower tuned kit gives a much tighter and more focussed sound compared the more resonant vibe of the other kits in the library.<\/p>\n<\/p><\/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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\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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ADDITIONAL INSTRUMENTS.<\/strong><\/h4>\n<\/p><\/div>\n<\/div>\n
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See full instrument list & details<\/strong><\/p>\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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MICROPHONE OVERVIEW.<\/strong><\/h3>\n
Here\u2019s an overview of the mics used and roughly how they were placed around the kits and in the studio room.<\/strong><\/p>\n<\/p><\/div>\n<\/div>\n
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Kick In:<\/strong> DPA 4055<\/span><\/li>\n
Kick Out:<\/strong> DPA 4055<\/span><\/li>\n
Snare Top:<\/strong> DPA 4099<\/span><\/li>\n
Snare Bottom:<\/strong> DPA 4099<\/span><\/li>\n
Side Snare Top:<\/strong> DPA 4099<\/span><\/li>\n
Side Snare Bottom:<\/strong> DPA 4099<\/span><\/li>\n
Hi-Hat:<\/strong> DPA 4011<\/span><\/li>\n
Hightom:<\/strong> DPA 4099<\/span><\/li>\n
Racktom 1:<\/strong> DPA 4099<\/span><\/li>\n<\/ol><\/div>\n
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Racktom 2:<\/strong> DPA 4099<\/span><\/li>\n
Racktom 3:<\/strong> DPA 4099<\/span><\/li>\n
Floortom 1:<\/strong> DPA 4099<\/span><\/li>\n
Floortom 2:<\/strong> DPA 4099<\/span><\/li>\n
Floortom 3:<\/strong> DPA 4099<\/span><\/li>\n
Octoban 1:<\/strong> DPA 4099<\/span><\/li>\n
Octoban 2:<\/strong> DPA 4099<\/span><\/li>\n
Octoban 3:<\/strong> DPA 4099<\/span><\/li>\n<\/ol><\/div>\n
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Octoban 4:<\/strong> DPA 4099<\/span><\/li>\n
Gong Drum:<\/strong> DPA 4099<\/span><\/li>\n
Overheads:<\/strong> DPA 4015<\/span><\/li>\n
Ride:<\/strong> DPA 4011<\/span><\/li>\n
Kick Snare:<\/strong> DPA 4006<\/span><\/li>\n
Ambience Low:<\/strong> DPA 4011<\/span><\/li>\n
Ambience Far:<\/strong> DPA 4006<\/span><\/li>\n
Ambience Rear:<\/strong> DPA 4011<\/span><\/li>\n<\/ol>\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 MIXER &
THE PRESETS.<\/strong><\/h3>\n
In addition to the preset library created by the Toontrack sound design team, a collection of presets engineered by Stefano Civetta is provided. Each preset features its unique set of channels and macro controls, allowing you to fine-tune individual instrument levels as well as adjust the effects used behind the scenes, the overall saturation amount and more.<\/p>\n<\/p><\/div>\n<\/div>\n
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THE MIDI.<\/strong><\/h3>\n
The included MIDI was performed by sampling drummer Pete Riley and designed to provide a palette of grooves and fills tailored specifically for the genre. The content in each \u201csong\u201d was inspired by the drummers, sounds and eras that correspond to the kits in the EZX, giving you great starting points to venture off from when creating your own material.<\/p>\n<\/p><\/div>\n<\/div>\n
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OPTIMAL FOR E-DRUMS.<\/strong><\/h2>\n
Just as much for the songwriter, this EZX was designed to provide a comprehensive experience for e-drummers. Offering \u201cclean\u201d preset alternatives designed specifically for use with e-drums, you\u2019ll be able to load balanced starting points of each kit as well as optimal settings for e-drum use (like extra hi-hat and cymbal articulations).<\/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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