When multi-Grammy-winning, 31-platinum- and nine-gold-album-certified producer\/engineer\/mixer Kevin Killen was asked where he\u2019d go to embody his vision of this SDX for Superior Drummer 3, there was no question: Real World Studios. Tucked away in the rolling hills and patchwork fields of Box, a small picturesque village just outside Bath, UK, the only thing that gives it away as not being the centuries-old water milling complex it started out as is the state-of-the-art steel and concrete addition that shoots out from the main building. This very space is the brainchild of pop stalwart Peter Gabriel, who in the late 1980s set out to build the studio of his dreams. Since then, it has housed some of the world\u2019s most iconic artists \u2013 and still does to this day.<\/p>\n

Featuring a total of eight complete kits, each handpicked to fit a certain role or sound, this SDX paints an expansive sonic scope. Additionally, three different rooms at the studio were recorded, giving you a width of different natural ambiences and contrasting flavors. In the massive 2,000-square-foot Big Room<\/em>, with its bare concrete surfaces, steel pillars and open-plan layout, you\u2019ll have huge-sounding drums. In the soaring two-story Wood Room<\/em> \u2013 where an interplay of hard stone walls, soft wood floors, ceiling beams and steel walkways shapes the sound \u2013 you\u2019ll have a naturally diffused and controlled reverb. Finally, as a striking contrast, in the Wood Booth<\/em>, you\u2019ll get those dry and tight but still singing drums only a cramped booth can produce. With the immediacy of the close mics and the many different ambience mic options recorded, you\u2019ll be able to dial in virtually any type of sound you can imagine.<\/p>\n

To add, all drum recording chains were channeled through a classic Studer A820 analog tape machine, making this SDX a seamless marriage between old and new that has a little bit of vintage, warm and tape-saturated magic in every last drum hit.<\/p>\n

Aside from the sounds, an extensive collection of MIDI grooves and fills tailored specifically for this SDX as well as a broad library of mix-ready presets are provided. These presets, available for each kit and configuration, will give you instant and balanced drum mixes by Kevin Killen himself. Use these just as they are or as starting points to venture off from for your very own custom presets.<\/p>\n

The Real World Studios truly is a creative haven designed for open-ended musical narratives. That, in short, perfectly encapsulates the stage needed for a drum sample library designed to transcend genres, bridge past and present and cater to unharnessed musical expression.<\/p>\n<\/p><\/div>\n

\n
\n
<\/div>\n
\n
Recorded by Kevin Killen, multi-Grammy-winning, 31-platinum- and nine-gold-album-certified producer\/engineer\/mixer <\/li>\n
A total of eight complete drum kits as well as several extra snares, kicks and cymbals<\/li>\n
Captured in three different rooms at Real World Studios in the UK<\/li>\n
Selected kits recorded with additional ambience and surround mics<\/li>\n
Comes with an extensive library of MIDI featuring material tailored specifically for the kits in this SDX<\/li>\n
Includes a broad collection of mix-ready presets for each kit and configuration<\/li>\n<\/ul><\/div>\n<\/p><\/div>\n<\/div>\n
<\/div>\n
<\/div>\n
\n <\/div> <\/div>
\n<\/p>\n
\n
<\/p>\n
\n
\n
\n
\n
\n
\n
Open player<\/span>\"\n >\n
\n
FULL PRODUCTIONS<\/p>\n<\/p><\/div>\n<\/p><\/div>\n<\/p><\/div>\n
\n
\n
\n
\n
\n
Open player<\/span>\"\n >\n
\n
KITS & PRESET
SELECTION<\/p>\n<\/p><\/div>\n<\/p><\/div>\n<\/p><\/div>\n
\n
\n
\n
\n
\n
Open player<\/span>\"\n >\n
\n
INSTRUMENTS &
ARTICULATIONS<\/p>\n<\/p><\/div>\n<\/p><\/div>\n<\/p><\/div>\n<\/div>\n
\n <\/div> <\/div>\n
\n
\n
<\/p>\n
<\/div>\n
<\/div>\n
<\/div>\n
\n
\n \n <\/div>\n
\n
<\/div>\n
<\/div>\n
<\/div>\n
\n
\n <\/p>\n
Meet Kevin and get a behind-the-scenes glimpse
from the session!<\/strong><\/p>\n<\/p><\/div>\n<\/div>\n
\n
\n
Meet Kevin and get a behind-the-scenes glimpse from the session!<\/strong><\/p>\n<\/p><\/div>\n<\/div>\n
<\/div>\n
<\/div>\n
<\/div>\n
\n <\/div> <\/div>
\n<\/section>\n
\n
\n
<\/p>\n
<\/div>\n
\n <\/div> <\/div>\n<\/p><\/div>\n
\n
<\/p>\n
<\/div>\n
<\/div>\n
\n
\n
\n
MEET THE ENGINEER.<\/h4>\n
KEVIN KILLEN<\/strong><\/h1>\n
KEVIN KILLEN<\/strong><\/h1>\n
Multi-Grammy-winning, 31-platinum- and nine-gold-album-certified producer\/engineer\/mixer.<\/strong><\/p>\n
Within six months of his first trainee gig at a studio, Kevin Killen had already advanced to engineering. Only a few years later, he was assisting Stephen Lillywhite on U2\u2019s \u201cWar\u201d album and by the time the band\u2019s \u201cUnforgettable Fire\u201d came around, he was part of the production\/engineering team of Brian Eno and Daniel Lanois, who Killen would again work with on Peter Gabriel\u2019s seminal record \u201cSo.\u201d From there, the rest he has lent his ears and talents to is, quite literally, music history.<\/p>\n<\/p><\/div>\n<\/p><\/div>\n
<\/div>\n
<\/div>\n
\n
\n
SELECTED AWARDS<\/strong><\/h3>\n
Shakira<\/span><\/strong> “Oral Fixation, Vol. 1” (2005)<\/strong>
\nFive Grammy Awards<\/p>\n
Allen Toussaint<\/span><\/strong> “The Bright Mississippi” (2009)<\/strong>
Grammy nomination for Best Jazz Instrumental<\/em><\/p>\n
Seth Glier<\/span><\/strong> “The Trouble With People” (2012)<\/strong>
Grammy nomination for Best Engineered Album, Non-Classical<\/em><\/p>\n
Johnny Reid<\/span><\/strong> “Fire It Up” (2013)<\/strong>
Juno Award for Best Country Album<\/em><\/p>\n
David Bowie<\/span><\/strong> “Blackstar” (2016)<\/strong>
Grammy Awards for Best Engineered Album, Non-Classical and
Best Alternative Music Album<\/em><\/p>\n
Yo-Yo Ma & the Silk Road Ensemble<\/span><\/strong> “Sing Me Home” (2017)<\/strong>
Grammy Award for Best World Music Album<\/em><\/p>\n<\/p><\/div>\n<\/p><\/div>\n<\/p><\/div>\n
<\/div>\n
<\/div>\n
\n <\/div> <\/div>\n
\n
<\/p>\n
<\/div>\n
\n
\n
FIVE QUESTIONS
TO KEVIN KILLEN.<\/strong><\/h2>\n<\/p><\/div>\n<\/p><\/div>\n
\n
\n
Take us back to the very beginning and let us know more about how you found your fascination for sound and recording!<\/strong>
\nThere were a number of pivotal moments, the first being as an 11-year-old when my older brother Declan brought home Led Zeppelin II. I was totally fascinated by the sound of that album and that sparked my interest in The Beatles, Bowie and a lot of British glam rock\/pop. My eldest brother Dermot was into Motown, Stax, Burt Bacharach and The Beach Boys, so all of these were sonic environments that thrilled me. As a teen I began to dabble in playing guitar and I had a Premier Royal Blue drum set. Having one at home, where I lived with my parents, seven siblings and my grandmother, that was somewhat impractical! The second moment was watching a documentary about the making of an \u201cXTC\u201d album that Steve Lillywhite and Hugh Padgham were making at The Manor Studios in Oxfordshire, UK. It had never occurred to me that there was a formal and creative process in recording and producing music. That led to the last \u201cEureka\u201d moment. I was studying science in Trinity College, Dublin \u2013 which was one of the subjects that interested me, including engineering, aeronautics and architecture \u2013 and I needed a summer job. I pulled the \u201cYellow Pages\u201d phone directory and looked up \u201cRecording Studios\u201d in Dublin. There were eight of various sizes, from 8- to 24-track. I went to all of them, dropping off a CV and a request for a summer internship. Fortunately for me, the studio manager at Lombard Sound agreed to interview me and a few weeks later I started. I knew the instant that I stepped into that control room that this was for me. My first session was with an Irish folk artist, Mick Hanley, who was overdubbing some acoustic guitar and vocals on some previously recorded tracks. The engineer Philip Begley and producer Bill Whelan were incredibly kind and instrumental in my development over the years, but that day was beyond my wildest dreams.<\/p>\n
You\u2019re an engineer, a producer and a mixer \u2013 sometimes juggling them all! Do you prefer any of the roles more? Which is the favorite part of a production for you \u2013 the actual arranging and recording or the final mixing process?<\/strong>
\nI actually love the discipline of engineering, capturing a sound that exceeds the expectations of the artist and musician. In the beginning, I was intent on becoming a really good recordist, so that still really fascinates me. But as I grew more curious, production and mixing became more of a focus. I love all three equally and since I believe that making music is truly a collaborative endeavor, I will often move between the roles even if I was just hired as an engineer. But of course, I am always conscious of being respectful to whatever hierarchy that exists for that project.<\/p>\n
$\"\"$ <\/p>\n
Why was Real World Studios the perfect place for this project?<\/strong>
\nIt is perhaps the most unique recording environment not just from a sonic perspective, but also from a collaborative and creative point of view. I have had great success there over the years, and I love all the supportive staff there, so it was a perfect environment to record the library. It is also visually stunning, which is incredibly inspirational.<\/p>\n<\/p><\/div>\n
\n
To you, what defines a great drum sound?<\/strong>
\nIt should be musical, unique and elevate the song. On top of that, it should \u201csound\u201d fantastic and have a really strong sonic identity. I often listen to drum performances in isolation and it should totally embody the intention of the song.<\/p>\n
$\"\"$ <\/p>\n
Having had the chance to work with the sounds when making presets and really digging into the product, how do you feel about the final result?<\/strong>
\nI am thrilled with the results! It\u2019s the perfect blend of the approach we discussed at the outset, combining analog and digital processes. The kits have a lot of personality, which is part of what I try to embed in my drum recordings, but the library also reflect some of the capabilities of the rooms at Real World. I am very proud of this collaboration and I hope users have as much fun utilizing the myriad of choices available and creating some memorable productions moving forward.<\/p>\n
SELECTED DISCOGRAPHY<\/strong><\/h4>\n
U2<\/span><\/strong> \u201cThe Unforgettable Fire\u201d (1984)<\/strong><\/p>\n
Peter Gabriel<\/span><\/strong> \u201cSo\u201d (1986)<\/strong><\/p>\n
Elvis Costello<\/span><\/strong> \u201cSpike\u201d (1989)<\/strong><\/p>\n
Kate Bush<\/span><\/strong> \u201cThe Sensual World\u201d (1989)<\/strong><\/p>\n
The Commitments<\/span><\/strong> (Original Motion Picture Soundtrack) (1991)<\/strong><\/p>\n
Elvis Costello & The Brodsky Quartet<\/span><\/strong> “The Juliet Letters” (1993)<\/strong><\/p>\n
Paula Cole<\/span><\/strong> \u201cHarbinger\u201d (1994)<\/strong><\/p>\n
Tori Amos<\/span><\/strong> \u201cUnder the Pink\u201d (1994)<\/strong><\/p>\n
Donna Lewis<\/span><\/strong> \u201cNow in a Minute\u201d (1996)<\/strong><\/p>\n
Elvis Costello with Burt Bacharach<\/span><\/strong> \u201cPainted from Memory\u201d (1998)<\/strong><\/p>\n
Shakira<\/span><\/strong> \u201cOral Fixation, Vol. 1\u201d (2005) and \u201cOral Fixation, Vol. 2\u201d (2005\/2006)<\/strong><\/p>\n
Sugarland<\/span><\/strong> \u201cLove on the Inside\u201d (2008)<\/strong><\/p>\n
David Bowie<\/span><\/strong> \u201cBlackstar\u201d (2016)<\/strong><\/p>\n
Yo-Yo Ma & the Silk Road Ensemble<\/span><\/strong> \u201cSing Me Home\u201d (2017)<\/strong><\/p>\n
Patrick Leonard<\/span><\/strong> \u201cIt All Comes Down to Mood\u201d (2024)<\/strong><\/p>\n<\/p><\/div>\n<\/p><\/div>\n
<\/div>\n
\n <\/div> <\/div>\n
\n
<\/p>\n
<\/div>\n
<\/div>\n
<\/div>\n
\n
\n
\n
THE STUDIO.<\/strong><\/h1>\n
THE STUDIO.<\/strong><\/h1>\n<\/p><\/div>\n<\/p><\/div>\n<\/p><\/div>\n
\n <\/div> <\/div>\n
\n
<\/p>\n
<\/div>\n
\n
\n
Nestled among the rolling hills and sheep-grazed pastures in Box, a small village just outside Bath, UK, a 200-year-old water mill is home to one of the most awe-inspiring recording facilities ever conceived: Peter Gabriel\u2019s Real World Studios. Fueled by a vision of creating an open-flow recording space where no divisive walls would separate musicians from engineers and producers, Gabriel started visualizing his dream studio. In 1989, it was finally a reality. The centerpiece that was added, a 2,000-square-foot steel and concrete futuristic-looking colossus that houses the main recording space, shoots out in bold contrast to the original rustic structure. Yet, with its sheet metal skin slowly weathered by the elements, it creates a surprising sense of balance between old and new \u2013 very much like the technology in the studio itself.<\/p>\n
During its more than 35 years in operation, artists of all styles and magnitudes have come here to capture their work. When Kevin Killen was asked where to go to embody his vision of this SDX, there was no question.<\/p>\n<\/p><\/div>\n
\n
\n $\"\"$ \n <\/div>\n<\/p><\/div>\n
<\/div>\n
<\/div>\n
\n <\/div> <\/div>\n
\n
\n
<\/p>\n
<\/div>\n
\n <\/div> <\/div>\n<\/p><\/div>\n
\n
<\/p>\n
<\/div>\n
<\/div>\n
\n
\n
\n
NOTABLE REAL
WORLD PRODUCTIONS<\/strong><\/h3>\n
Peter Gabriel<\/span><\/strong> \u201cPassion\u201d (1989)<\/strong><\/p>\n
Van Morrison<\/span><\/strong> \u201cDays Like This\u201d (1995)<\/strong><\/p>\n
Muse<\/span><\/strong> \u201cOrigin of Symmetry\u201d (2001)<\/strong><\/p>\n
Bj\u00f6rk<\/span><\/strong> \u201cMed\u00falla\u201d (2004)<\/strong><\/p>\n
Peter Gabriel<\/span><\/strong> \u201cScratch My Back\u201d (2010)<\/strong><\/p>\n
Tom Jones<\/span><\/strong> \u201cPraise and Blame\u201d (2010)<\/strong><\/p>\n
Beyonc\u00e9 <\/span><\/strong> \u201c4\u201d (2011)<\/strong><\/p>\n
Jay-Z and Kanye West<\/span><\/strong> \u201cWatch the Throne\u201d (2011)<\/strong><\/p>\n
Harry Styles<\/span><\/strong> \u201cFine Line\u201d (2019)<\/strong><\/p>\n<\/p><\/div>\n<\/p><\/div>\n<\/p><\/div>\n
<\/div>\n
<\/div>\n
\n <\/div> <\/div>\n
\n
<\/p>\n
<\/div>\n
<\/div>\n
\n
\n
\n
THE ROOMS.<\/strong><\/h1>\n
To cover kit timbres tailored for each specific era or sound, all
three rooms at Real World were captured.<\/strong><\/p>\n<\/p><\/div>\n<\/p><\/div>\n
\n
\n $\"\"$ <\/p>\n
<\/div>\n<\/p><\/div>\n
\n $\"\"$ \n <\/div>\n
\n
<\/div>\n
BIG ROOM.<\/strong><\/h2>\n
Bathed in natural light pouring in from towering windows, this 2,000-square-foot steel and concrete space is the crown jewel of Real World Studios. Conceived with the idea of contradicting the standard of separating musicians from those who record them, it was designed as an all-in-one live space and control room. True to that idea, the drums were placed on a narrow landing only a short distance from the 72-channel Solid State Logic 9000K console. The sound? Big, bold and raw at the same time as it\u2019s intoxicatingly brimming with unique energy. Of course, mics were placed across the space, giving you a multitude of characterful options.<\/p>\n
\u201cA truly awe-inspiring and transformative performance space.\u201d<\/strong><\/em>
\nKevin Killen<\/p>\n<\/p><\/div>\n<\/p><\/div>\n
<\/div>\n
<\/div>\n
<\/div>\n
\n
\n $\"\"$ <\/p>\n
<\/div>\n<\/p><\/div>\n
\n $\"\"$ \n <\/div>\n
\n
<\/div>\n
WOOD ROOM.<\/strong><\/h2>\n
With its mix of hard stone walls and soft wooden floors with rustic ceiling beams and steel walkways breaking up the diffusion, this two-story room is a dream for rich drum acoustics. To make use of the full ceiling height and the unique reflections of this space, the kits were placed in the center of the room. Mics were positioned in several areas of the space, giving you a broad palette of ambiences to work with.<\/p>\n
\u201cResonant with a bright sound, this room is ideal for classic 1980s-type drum sounds.”<\/strong><\/em>
\nKevin Killen<\/p>\n<\/p><\/div>\n<\/p><\/div>\n
<\/div>\n
<\/div>\n
<\/div>\n
\n
\n $\"\"$ <\/p>\n
<\/div>\n<\/p><\/div>\n
\n $\"\"$ \n <\/div>\n
\n
<\/div>\n
WOOD BOOTH.<\/strong><\/h2>\n
Located under one of the second-level walkways of the Wood Room, this sealed-off space offers a completely contrasting character compared to the other two. The glass doors leading into the room were left open, allowing the drums to breathe and giving the overall ambience a hint of reverberation while still retaining that up-close and intimate booth-like feel. If you\u2019re looking for dry drums that still sing, you\u2019ll find them here.<\/p>\n
\u201cTighter, more intimate room with the option adding in the stairwell tone for extra resonance.\u201d<\/strong><\/em>
\nKevin Killen<\/p>\n<\/p><\/div>\n
<\/div>\n<\/p><\/div>\n<\/p><\/div>\n
<\/div>\n
\n <\/div> <\/div>\n
\n
<\/p>\n
<\/div>\n
<\/div>\n
\n
<\/div>\n
<\/div>\n
\n
\n
REEL-TO-REEL<\/strong><\/h1>\n
The magic of recording to tape.<\/strong><\/p>\n<\/p><\/div>\n<\/p><\/div>\n
<\/div>\n
\n
\n $\"\"$ \n <\/div>\n<\/div>\n
\n
<\/div>\n
\n
When audio signals hit magnetic tape, the bottom end resonates differently, high frequencies are rolled off, subtle pitch variations occur and natural compression smooths out peaks and adds an inexplicable warmth and character that can\u2019t be replicated. With its entire drum recording chain channeled through a classic Studer A820 analog tape machine, this SDX has a touch of reel-to-reel magic in every last drum hit.<\/p>\n<\/p><\/div>\n
\n $\"\"$ \n<\/div>\n
\n $\"\"$ <\/p><\/div>\n<\/p><\/div>\n<\/p><\/div>\n
<\/div>\n
<\/div>\n
\n <\/div> <\/div>\n
\n
<\/p>\n
<\/div>\n
<\/div>\n
<\/div>\n
\n
\n
\n
THE KITS.<\/strong><\/h1>\n
A handpicked collection of drums, covering the entire range from
vintage to modern and thunderously big- to tight-sounding.<\/strong><\/p>\n<\/p><\/div>\n<\/p><\/div>\n
<\/div>\n
<\/div>\n
<\/div>\n<\/p><\/div>\n
\n <\/div> <\/div>\n
<\/div>\n
\n
<\/p>\n
<\/div>\n
<\/div>\n
<\/div>\n
\n
\n
\n
CLEAR VIEW KIT.<\/strong><\/h1>\n
CLEAR VIEW KIT.<\/strong><\/h1>\n<\/p><\/div>\n<\/p><\/div>\n<\/p><\/div>\n
\n <\/div> <\/div>\n
\n
<\/p>\n
<\/div>\n
\n
\n
Recorded in:<\/strong> Big Room
\n Configurations\/tool(s) recorded:<\/strong> Snare wires on with drumsticks<\/p>\n
Brand:<\/strong> Ludwig*<\/a>
\n Model:<\/strong> Vistalite
\n Material:<\/strong> Acrylic
\n Finish:<\/strong> Clear
\n Era:<\/strong> 2020s<\/p>\n<\/p><\/div>\n
\n
\u201cA classic rock kit with transparency, punch and resonance. The close microphones can provide a more nuanced 1970s\/1980s dry drum sound, while the room ambience allows for greater depth and explosiveness.\u201d<\/strong><\/em>
\n
Kevin Killen<\/p>\n
<\/div>\n
\n
\n
Open player<\/span>\"\n >\n
\n <\/div> <\/div>\n
\n
<\/p>\n
<\/div>\n
\n
\n $\"\"$ \n <\/div>\n
\n $\"\"$ \n <\/div>\n<\/p><\/div>\n
\n <\/div> <\/div>\n
\n
<\/p>\n
\n
\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
<\/div>\n
See full instrument list & details<\/h5>\n
<\/div>\n

\n
<\/div>\n
<\/div>\n

\n<\/div>\n
<\/div>\n <\/p><\/div>\n
<\/div>\n
<\/div>\n<\/p><\/div>\n
<\/div>\n
\n <\/div> <\/div>\n
\n
<\/p>\n
<\/div>\n
<\/div>\n
<\/div>\n
\n
\n
\n
HILLSIDE KIT.<\/strong><\/h1>\n
HILLSIDE KIT.<\/strong><\/h1>\n<\/p><\/div>\n<\/p><\/div>\n<\/p><\/div>\n
\n <\/div> <\/div>\n
\n
<\/p>\n
<\/div>\n
\n
\n
Recorded in:<\/strong> Big Room
\n Configurations\/tool(s) recorded:<\/strong> Snare wires on with drumsticks<\/p>\n
Brand:<\/strong> Ludwig*<\/a>
\n Model:<\/strong> Legacy Mahogany
\n Material:<\/strong> Mahogany (with maple reinforcement rings)
\n Finish:<\/strong> Silver Sparkle
\n Era:<\/strong> 2020s<\/p>\n<\/p><\/div>\n
\n
\u201cA classic kit with coated heads for a more textured sound. Want to twist up your grooves? Use the side snares, rototoms and concert toms!\u201d<\/strong><\/em>
Kevin Killen<\/p>\n
<\/div>\n
\n
\n
Open player<\/span>\"\n >\n
\n <\/div> <\/div>\n
\n
<\/p>\n
<\/div>\n
\n
\n $\"\"$ \n <\/div>\n
\n $\"\"$ \n <\/div>\n
\n $\"\"$ \n <\/div>\n<\/p><\/div>\n
\n <\/div> <\/div>\n
\n
<\/p>\n
\n
\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
<\/div>\n
See full instrument list & details<\/h5>\n
<\/div>\n

\n
<\/div>\n
<\/div>\n

\n<\/div>\n
<\/div>\n <\/p><\/div>\n
<\/div>\n
<\/div>\n<\/p><\/div>\n
<\/div>\n
\n <\/div> <\/div>\n
\n
<\/p>\n
<\/div>\n
<\/div>\n
<\/div>\n
\n
\n
\n
MILLPOND KIT.<\/strong><\/h1>\n
MILLPOND KIT.<\/strong><\/h1>\n<\/p><\/div>\n<\/p><\/div>\n<\/p><\/div>\n
\n <\/div> <\/div>\n
\n
<\/p>\n
<\/div>\n
\n
\n
Recorded in:<\/strong> Big Room
\n Configurations\/tool(s) recorded:<\/strong> Snare wires on with drumsticks<\/p>\n
Brand:<\/strong> Hayman*<\/a>
\n Model:<\/strong> Vibrasonic Showman
\n Material:<\/strong> Beech
\n Finish:<\/strong> Green Sparkle (with painted shell interiors)
\n Era:<\/strong> 1970s<\/p>\n<\/p><\/div>\n
\n
\u201cAnother vintage kit with coated heads and three toms, great for stylized and punchy sounds!\u201d<\/strong><\/em>
Kevin Killen<\/p>\n
<\/div>\n
\n
\n
Open player<\/span>\"\n >\n
\n <\/div> <\/div>\n
\n
<\/p>\n
<\/div>\n
\n
\n $\"\"$ \n <\/div>\n
\n $\"\"$ \n <\/div>\n<\/p><\/div>\n
\n <\/div> <\/div>\n
\n
<\/p>\n
\n
\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
<\/div>\n
See full instrument list & details<\/h5>\n
<\/div>\n

\n
<\/div>\n
<\/div>\n

\n<\/div>\n
<\/div>\n <\/p><\/div>\n
<\/div>\n
<\/div>\n<\/p><\/div>\n
<\/div>\n
\n <\/div> <\/div>\n
\n
<\/p>\n
<\/div>\n
<\/div>\n
<\/div>\n
\n
\n
\n
STONEWOOD KIT.<\/strong><\/h1>\n
STONEWOOD KIT.<\/strong><\/h1>\n<\/p><\/div>\n<\/p><\/div>\n<\/p><\/div>\n
\n <\/div> <\/div>\n
\n
<\/p>\n
<\/div>\n
\n
\n
Recorded in:<\/strong> Wood Room
\n Configurations\/tool(s) recorded:<\/strong> Snare wires on with drumsticks<\/p>\n
Brand:<\/strong> Yamaha*<\/a>
\n Model:<\/strong> Maple Custom
\n Material:<\/strong> Maple
\n Finish:<\/strong> Purple
\n Era:<\/strong> 1990s<\/p>\n<\/p><\/div>\n
\n
\u201cInspired by the kit of the legendary Manu Katch\u00e9, who is synonymous with some of the greatest grooves and artists over the past four decades. A drum library recorded here would not be complete without a powerhouse kit like this.\u201d<\/strong><\/em>
Kevin Killen<\/p>\n
<\/div>\n
\n
\n
Open player<\/span>\"\n >\n
\n <\/div> <\/div>\n
\n
<\/p>\n
<\/div>\n
\n
\n $\"\"$ \n <\/div>\n
\n $\"\"$ \n <\/div>\n<\/p><\/div>\n
\n <\/div> <\/div>\n
\n
<\/p>\n
\n
\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
<\/div>\n
See full instrument list & details<\/h5>\n
<\/div>\n

\n
<\/div>\n
<\/div>\n

\n<\/div>\n
<\/div>\n <\/p><\/div>\n
<\/div>\n
<\/div>\n<\/p><\/div>\n
<\/div>\n
\n <\/div> <\/div>\n
\n
<\/p>\n
<\/div>\n
<\/div>\n
<\/div>\n
\n
\n
\n
BUMBLEBEE KIT.<\/strong><\/h1>\n
BUMBLEBEE KIT.<\/strong><\/h1>\n<\/p><\/div>\n<\/p><\/div>\n<\/p><\/div>\n
\n <\/div> <\/div>\n
\n
<\/p>\n
<\/div>\n
\n
\n
Recorded in:<\/strong> Wood Room
\n Configurations\/tool(s) recorded:<\/strong> Snare wires on with drumsticks<\/p>\n
Brand:<\/strong> Eddie Ryan*<\/a>
\n Model:<\/strong> Concert Tom
\n Material:<\/strong> Mahogany
\n Finish:<\/strong> Yellow & Black Wrap
\n Era:<\/strong> 1980s<\/p>\n<\/p><\/div>\n
\n
\u201cThis harkens back to a lot of kits I saw being used by British glam rock bands in the 1970s. This is a timeless classic that packs punch and drive utilizing clear heads. Add in the room decay and you will be rocking in no time.\u201d<\/strong><\/em>
\n
Kevin Killen<\/p>\n
<\/div>\n
\n
\n
Open player<\/span>\"\n >\n
\n <\/div> <\/div>\n
\n
<\/p>\n
<\/div>\n
\n
\n $\"\"$ \n <\/div>\n
\n $\"\"$ \n <\/div>\n
\n $\"\"$ \n <\/div>\n<\/p><\/div>\n
\n <\/div> <\/div>\n
\n
<\/p>\n
\n
\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
<\/div>\n
See full instrument list & details<\/h5>\n
<\/div>\n

\n
<\/div>\n
<\/div>\n

\n<\/div>\n
<\/div>\n <\/p><\/div>\n
<\/div>\n
<\/div>\n<\/p><\/div>\n
<\/div>\n
\n <\/div> <\/div>\n
\n
<\/p>\n
<\/div>\n
<\/div>\n
<\/div>\n
\n
\n
\n
FLAGSHIP KIT.<\/strong><\/h1>\n
FLAGSHIP KIT.<\/strong><\/h1>\n<\/p><\/div>\n<\/p><\/div>\n<\/p><\/div>\n
\n <\/div> <\/div>\n
\n
<\/p>\n
<\/div>\n
\n
\n
Recorded in:<\/strong> Wood Booth
\n Configurations\/tool(s) recorded:<\/strong> Snare wires on with drumsticks<\/p>\n
Brand:<\/strong> Premier*<\/a>
\n Model:<\/strong> Ace
\n Material:<\/strong> Mahogany with maple reinforcement rings
\n Finish:<\/strong> Orange Sparkle with diamond detail (full dress)
\n Era:<\/strong> 1930s<\/p>\n<\/p><\/div>\n
\n
\u201cI particularly love resonant drums and this calfskin kit provides just that \u2013 classy yet cool\u2026 but not for the faint of heart when it comes to overtones.\u201d<\/strong><\/em>
\n
Kevin Killen<\/p>\n
<\/div>\n
\n
\n
Open player<\/span>\"\n >\n
\n <\/div> <\/div>\n
\n
<\/p>\n
<\/div>\n
\n
\n $\"\"$ \n <\/div>\n
\n $\"\"$ \n <\/div>\n<\/p><\/div>\n
\n <\/div> <\/div>\n
\n
<\/p>\n
\n
\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
<\/div>\n
See full instrument list & details<\/h5>\n
<\/div>\n

\n
<\/div>\n
<\/div>\n

\n<\/div>\n
<\/div>\n <\/p><\/div>\n
<\/div>\n
<\/div>\n<\/p><\/div>\n
<\/div>\n
\n <\/div> <\/div>\n
\n
<\/p>\n
<\/div>\n
<\/div>\n
<\/div>\n
\n
\n
\n
AVALON KIT.<\/strong><\/h1>\n
AVALON KIT.<\/strong><\/h1>\n<\/p><\/div>\n<\/p><\/div>\n<\/p><\/div>\n
\n <\/div> <\/div>\n
\n
<\/p>\n
<\/div>\n
\n
\n
Recorded in:<\/strong> Wood Booth
\n Configurations\/tool(s) recorded:<\/strong> Snare wires on with drumsticks<\/p>\n
Brand:<\/strong> Slingerland*<\/a>
\n Model:<\/strong> Radio King
\n Material:<\/strong> Mahogany with maple reinforcement rings
\n Finish:<\/strong> Black Marine Pearl
\n Era:<\/strong> 1950s<\/p>\n<\/p><\/div>\n
\n
\u201cThis kit has some unique saturation options to blend in with its dry but resonant tone. Combined with the natural decay of the larger room, it can provide a myriad of possibilities.\u201d<\/strong><\/em>
\n
Kevin Killen<\/p>\n
<\/div>\n
\n
\n
Open player<\/span>\"\n >\n
\n <\/div> <\/div>\n
\n
<\/p>\n
<\/div>\n
\n
\n $\"\"$ \n <\/div>\n
\n $\"\"$ \n <\/div>\n<\/p><\/div>\n
\n <\/div> <\/div>\n
\n
<\/p>\n
\n
\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
<\/div>\n
See full instrument list & details<\/h5>\n
<\/div>\n

\n
<\/div>\n
<\/div>\n

\n<\/div>\n
<\/div>\n <\/p><\/div>\n
<\/div>\n
<\/div>\n<\/p><\/div>\n
<\/div>\n
\n <\/div> <\/div>\n
\n
<\/p>\n
<\/div>\n
<\/div>\n
<\/div>\n
\n
\n
\n
WATERFALL KIT.<\/strong><\/h1>\n
WATERFALL KIT.<\/strong><\/h1>\n<\/p><\/div>\n<\/p><\/div>\n<\/p><\/div>\n
\n <\/div> <\/div>\n
\n
<\/p>\n
<\/div>\n
\n
\n
Recorded in:<\/strong> Wood Booth
\n Configurations\/tool(s) recorded:<\/strong> Snare wires on with drumsticks<\/p>\n
Brand:<\/strong> Various
\n Model:<\/strong> None
\n Material:<\/strong> All kinds!<\/p>\n<\/p><\/div>\n
\n
\u201cDesigned to inspire your creativity and curiosity, this think-outside-the-box kit is what to reach for when a \u2018normal\u2019 drum sound just doesn\u2019t cut it.\u201d<\/strong><\/em>
\n
Kevin Killen<\/p>\n
<\/div>\n
\n
\n
Open player<\/span>\"\n >\n
\n <\/div> <\/div>\n
\n
<\/p>\n
<\/div>\n
\n
\n $\"\"$ \n <\/div>\n<\/p><\/div>\n
\n <\/div> <\/div>\n
\n
<\/p>\n
\n
\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
<\/div>\n
See full instrument list & details<\/h5>\n
<\/div>\n

\n
<\/div>\n
<\/div>\n

\n<\/div>\n
<\/div>\n <\/p><\/div>\n
<\/div>\n
<\/div>\n<\/p><\/div>\n
<\/div>\n
\n <\/div> <\/div>\n
\n
<\/p>\n
<\/div>\n
<\/div>\n
<\/div>\n
\n
<\/div>\n
\n $\"\"$ \n <\/div>\n
\n $\"\"$ \n <\/div>\n
\n $\"\"$ <\/p><\/div>\n<\/p><\/div>\n
<\/div>\n
\n
\n
THE PERCUSSION
& THE EXTRAS.<\/strong><\/h1>\n
The kits feature several unique instruments and extras, giving you the chance to create intricately textured grooves. For example, a side snare position to the left-hand side of the hi-hat was added and four individual drums with different tunings and sizes were recorded specifically for this purpose.<\/p>\n
\u201cFrom a drummer\u2019s perspective, side snares are a great tool for adding accents that really stand out in a groove. Just a few hits here and there in a song part can create a completely different dynamic and narrative,\u201d<\/em><\/strong> Norman Garschke, sampling drummer for this project, said.<\/p>\n
Aside from that, a small but carefully curated selection of rototoms, octobans and concert toms were recorded. Adding a completely different flavor and tonality, they were envisioned to give you another set of tools for extra accentuated fills or accents.<\/p>\n
\u201cAll these instruments blend in perfectly with the main kits and add massively to the overall experience of working with them in a creative context.\u201d<\/em><\/strong><\/p>\n<\/p><\/div>\n
\n
In the Wood Booth<\/strong>, an assortment of some of the most go-to percussion pieces were also recorded. But, in the true experimental and creatively natured vibe of this session, Kevin wanted to push the limits a little more.<\/p>\n
\u201cDuring the process of recording the percussion, Kevin suggested we\u2019d try some of the techniques he used back in the day, so we opened up the main snare and filled it with ping-pong balls and loose mints that would bounce around as the drum was hit. This created a really unique and totally unpredictable sound, with a constantly changing decay and random rattle.\u201d<\/strong><\/em><\/p>\n
To add, the Waterfall Kit got somewhat of an extra special treatment, with snares for toms and odd stacks of instruments for cymbals.<\/p>\n
\u201cFor the rack tom, we decided to use a small-sized snare and tune it to fit. For the floor tom, we removed the rims of two regular snare drums and put the shells on top of each other to create a double-sized super-deep drum. On the top head of that stack, we then added a tambourine! We also went wild with the other kit pieces, attaching a tambourine to the resonance head of the kick and stacking another tambourine as well as a set of wooden shells on the ride, giving each hit a distinct rattle.\u201d<\/strong><\/em><\/p>\n<\/p><\/div>\n<\/p><\/div>\n
<\/div>\n
<\/div>\n
\n <\/div> <\/div>\n
\n
<\/p>\n
\n
\n
\n
\n
Open player<\/span>\"\n >\n
THE EXTRAS<\/strong><\/h4>\n<\/p><\/div>\n
\n
\n
\n
Open player<\/span>\"\n >\n
THE KIT PERCUSSION<\/strong><\/h4>\n<\/p><\/div>\n<\/div>\n
\n <\/div> <\/div>\n
<\/div>\n
<\/div>\n
\n
<\/p>\n
\n
\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
<\/div>\n
See full instrument list & details<\/h5>\n
<\/div>\n

\n
<\/div>\n
<\/div>\n
\n
\n
<\/div>\n
BIG ROOM<\/strong><\/h4>\n
BIG ROOM<\/strong><\/h2>\n
Side snares<\/h6>\n
5.5\u2033 x 14\u2033 Ludwig*<\/a> Vistalite
\n3.5\u2033 x 14\u2033 Sonor*<\/a> Horst Link Cast Bronze <\/p>\n
Rototoms<\/h6>\n
Remo*<\/a> 6\u2033 \/ 8\u2033 \/ 10\u2033<\/p>\n
Concert toms<\/h6>\n
6\u2033 \/ 8\u2033 \/ 10\u2033 Ludwig*<\/a> Concert Toms<\/p>\n<\/div>\n
\n
<\/div>\n
WOOD ROOM<\/strong><\/h4>\n
WOOD ROOM<\/strong><\/h2>\n
Side snares<\/h6>\n
3.5\u2033 x 14\u2033 Yamaha*<\/a> David Garibaldi Signature
\n4\u2033 x 10\u2033 Yamaha*<\/a> Peter Erskine Signature<\/p>\n
Octobans<\/h6>\n
17.5\u2033 x 6\u2033 \/ 18.5\u2033 x 6\u2033 \/ 21\u2033 x 6\u2033 \/ 23.5\u2033 x 6\u2033 Tama*<\/a><\/p>\n<\/div>\n
\n
<\/div>\n
WOOD BOOTH<\/strong><\/h4>\n
WOOD BOOTH<\/strong><\/h2>\n
Percussion<\/h6>\n
Studio Cowbell (all open and mute articulations)
\nStudio Agogo bell (all open and mute articulations)
\nStudio Tambourine
\nStudio Vibraslap
\nMeinl Liquid Triangle\n<\/p>\n
Waterfall Kit tweaks<\/h6>\n
14×18\u2033 Yamaha*<\/a> 11000 Maple Custom kick with tambourine attached to resonance head
\n21\u2033 Istanbul*<\/a> Agop Signature Ride with tambourine and shells attached
\n8×14\u2033 Gretsch*<\/a> Brooklyn snare with ping-pong balls and mints inside
\n12×14\u2033 British Drum Co.*<\/a> Big Softie\/Gretsch* Brooklyn\/tambourine snare combo as floor tom
\n4×10\u2033 Yamaha*<\/a> Peter Erskine Signature snare as high pitched timbale tom\n<\/p>\n<\/div>\n<\/div><\/div>\n
<\/div>\n
<\/div>\n<\/p><\/div>\n
<\/div>\n
\n <\/div> <\/div>\n
\n
<\/p>\n
<\/div>\n
<\/div>\n
<\/div>\n
\n
\n
\n
THE MICS AND THE AMBIENCES.<\/strong><\/h1>\n
THE MICS AND THE AMBIENCES.<\/strong><\/h1>\n<\/p><\/div>\n<\/p><\/div>\n
<\/div>\n
<\/div>\n
<\/div>\n<\/p><\/div>\n
\n <\/div> <\/div>\n
<\/div>\n
\n
\n
<\/p>\n
<\/div>\n
<\/div>\n
<\/div>\n
\n
\n
\n \n
MIC WALKTHROUGH.<\/strong><\/h1>\n
Let Kevin walk you through the elaborate setup of mics he used to capture
the drums and different ambiences in this SDX.<\/strong><\/p>\n<\/p><\/div>\n<\/p><\/div>\n
<\/div>\n<\/div>\n
<\/div>\n<\/p><\/div>\n
\n <\/div> <\/div>
\n<\/section>\n
\n
\n
<\/div>\n
\n
\n
THE ROOMS &
THE MIXER<\/strong><\/h2>\n
This SDX is configured as three different libraries, one for each room and presenting its own microphone channels and ambiences.<\/p>\n<\/p><\/div>\n<\/div>\n
\n <\/div> <\/div>
\n
\n
<\/p>\n
<\/div>\n
<\/div>\n
\n
\n
\n
\n
\n
\n \n \n <\/div>\n
\n \n \n <\/div>\n
\n \n \n <\/div>\n <\/div>\n <\/div>\n <\/div>\n <\/div>\n
\n
\n \n
\n <\/a>\n <\/a>\n <\/a>\n <\/div>\n
\n \n
<\/div>\n
<\/div>\n
\n <\/div> <\/div><\/p>\n
\n
<\/p>\n
<\/div>\n
\n
\n
MICROPHONE PLACEMENT
& ROOM OVERVIEW.<\/strong><\/h2>\n
Here\u2019s an overview of which mics Kevin used and roughly how they were
placed around the kits in each room.<\/p>\n<\/p><\/div>\n<\/div>\n
\n <\/div> <\/div>\n
\n
<\/p>\n
<\/div>\n
<\/div>\n
\n
\n $\"\"$ \n <\/div>\n
\n
BIG ROOM.<\/strong><\/h2>\n
\n
Kick In:<\/strong> Electro-Voice RE20<\/span><\/li>\n
Kick Out:<\/strong> Neumann U47 FET<\/span><\/li>\n
Kick Sub:<\/strong> Yamaha NS-10 Subkick<\/span><\/li>\n
Snare Top:<\/strong> Shure SM57<\/span><\/li>\n
Snare Bottom:<\/strong> Shure SM57<\/span><\/li>\n
Hi-Hat:<\/strong> AKG C451<\/span><\/li>\n
Toms:<\/strong> Sennheiser MD421<\/span><\/li>\n
Rototoms (High Toms):<\/strong> Sennheiser MD421<\/span><\/li>\n
Concert Toms (High Toms):<\/strong> Sennheiser MD421<\/span><\/li>\n
Side Snare Top:<\/strong> Shure SM57<\/span><\/li>\n
Side Snare Bottom:<\/strong> Shure SM57<\/span><\/li>\n<\/ol>\n
\n
Rear:<\/strong> Schoeps CMC5<\/span><\/li>\n
Crush:<\/strong> Shure SM7<\/span><\/li>\n
OH:<\/strong> Coles 4038<\/span><\/li>\n
Mono Room:<\/strong> Neumann U67<\/span><\/li>\n
Ambience Near:<\/strong> Neumann U87
<\/span><\/li>\n
Front:<\/strong> Schoeps CMC5<\/span><\/li>\n
Mid\/Side:<\/strong> Royer R-121 (pair)<\/span><\/li>\n<\/ol><\/div>\n<\/div>\n
\n <\/div> <\/div>\n
<\/div>\n
<\/div>\n
\n
<\/p>\n
\n
\n $\"\"$ \n <\/div>\n
\n
WOOD ROOM.<\/strong><\/h2>\n
\n
Kick In:<\/strong> Electro-Voice RE20<\/span><\/li>\n
Kick Out:<\/strong> Neumann U47 FET<\/span><\/li>\n
Kick Sub:<\/strong> Yamaha NS-10 Subkick<\/span><\/li>\n
Snare Top:<\/strong> Shure SM57<\/span><\/li>\n
Snare Bottom:<\/strong> Shure SM57<\/span><\/li>\n
Hi-Hat:<\/strong> AKG C451<\/span><\/li>\n
Toms:<\/strong> Sennheiser MD421<\/span><\/li>\n
Octobans (High Toms):<\/strong> Sennheiser MD421<\/span><\/li>\n
Side Snare Top:<\/strong> Shure SM57<\/span><\/li>\n
Side Snare Bottom:<\/strong> Shure SM57<\/span><\/li>\n<\/ol>\n
\n
OH:<\/strong> Coles 4038<\/span><\/li>\n
Mid\/Side:<\/strong> Royer R-121\/Telefunken 251<\/span><\/li>\n
Ambience Near:<\/strong> Neumann U87
<\/span><\/li>\n<\/ol>\n
BALCONY.<\/strong><\/h6>\n
\n
Front:<\/strong> Schoeps CMC5\/MK4<\/span><\/li>\n
Rear:<\/strong> Schoeps CMC5\/MK4<\/span><\/li>\n
Stairs:<\/strong> Neumann U67<\/span><\/li>\n<\/ol><\/div>\n
\n
WOOD BOOTH.<\/strong><\/h2>\n
\n
Kick In:<\/strong> Electro-Voice RE20<\/span><\/li>\n
Kick Sub:<\/strong> Yamaha NS-10 Subkick<\/span><\/li>\n
Snare Top:<\/strong> Shure SM57<\/span><\/li>\n
Snare Bottom:<\/strong> Shure SM57<\/span><\/li>\n
Hi-Hat:<\/strong> Neumann KM85<\/span><\/li>\n
Toms:<\/strong> AKG 414<\/span><\/li>\n<\/ol>\n
\n
Crush:<\/strong> Shure SM7<\/span><\/li>\n
OH:<\/strong> Neumann U87
<\/span><\/li>\n
Ambience Near:<\/strong> Neumann U87<\/span><\/li>\n
Distortion:<\/strong> Royer R-122V (through SansAmp)<\/span><\/li>\n
Baby Monitor:<\/strong> Shure SM57<\/span><\/li>\n<\/ol>\n
BALCONY.<\/strong><\/h6>\n
\n
Front:<\/strong> Schoeps CMC5\/MK4<\/span><\/li>\n
Rear:<\/strong> Schoeps CMC5\/MK4<\/span><\/li>\n
Mono Room:<\/strong> Neumann U67<\/span><\/li>\n<\/ol><\/div>\n
<\/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><\/p>\n
<\/div>\n
<\/div>\n
\n <\/div> <\/div>\n
\n
<\/p>\n
<\/div>\n
<\/div>\n
\n
\n
\n
\n
\n
\n \n \n <\/div>\n
\n \n \n <\/div>\n
\n \n \n <\/div>\n <\/div>\n <\/div>\n <\/div>\n <\/div>\n
\n
\n
\n
<\/p>\n
<\/p>\n
<\/p>\n <\/div>\n <\/div>\n <\/div>\n
\n
\n \n
\n <\/a>\n <\/a>\n <\/a>\n <\/div>\n
\n \n
<\/div>\n
<\/div>\n
\n <\/div> <\/div>\n
\n
<\/p>\n
<\/div>\n
<\/div>\n
\n
\n
\n
\n
Open player<\/span>\"\n >\n
THE PRESETS.<\/strong><\/h1>\n
Mix-ready drum sounds.<\/strong><\/p>\n
<\/div>\n
<\/div>\n<\/div>\n<\/div>\n

\n
\n
\n
\n
\n
\n \n \n <\/div>\n
\n \n \n <\/div>\n
\n \n \n <\/div>\n
\n \n \n <\/div>\n
\n \n \n <\/div>\n
\n \n \n <\/div>\n
\n \n \n <\/div>\n
\n \n \n <\/div>\n <\/div>\n <\/div>\n <\/div>\n <\/div>\n
\n
\n \n
\n <\/a>\n <\/a>\n <\/a>\n <\/a>\n <\/a>\n <\/a>\n <\/a>\n <\/a>\n <\/div>\n
\n \n
<\/div>\n
<\/div>\n
\n <\/div> <\/div>\n
\n
<\/p>\n
<\/div>\n
\n
\n
The included library of presets covers drum mixes for all kits and configurations. Use these as full-fledged mixes for your productions or as starting points to venture off from for your own presets.<\/p>\n<\/div>\n
\n
\n
<\/div>\n
\n
Presets for every kit and configuration<\/li>\n
Approx. 50 meticulously crafted drum mixes engineered by Kevin Killen<\/li>\n
Use for a mix-ready sound or as a starting point for your own mixes<\/li>\n<\/ul>\n<\/div>\n<\/div>\n<\/div>\n
<\/div>\n
<\/div>\n
\n <\/div> <\/div>\n
<\/div>\n
\n
<\/p>\n
<\/div>\n
<\/div>\n
\n
\n
THE MIDI.<\/strong><\/h1>\n
Great grooves, at your fingertips.<\/strong><\/p>\n
<\/div>\n
<\/div>\n<\/div>\n<\/div>\n

\n
\n
\n
\n
\n
\n \n \n <\/div>\n
\n \n \n <\/div>\n
\n \n \n <\/div>\n <\/div>\n <\/div>\n <\/div>\n <\/div>\n
\n
\n \n
\n <\/a>\n <\/a>\n <\/a>\n <\/div>\n
\n \n
<\/div>\n
<\/div>\n
\n <\/div> <\/div>\n
\n
<\/p>\n
<\/div>\n
\n
\n
This SDX comes with an extensive collection of grooves and fills specifically curated for use with the included kits. It was loosely inspired by the breadth of genres and catalogue of music that Kevin has been involved in mixing, engineering or producing over the course of his career.<\/p>\n
Each drums-only audio demo presented on this page was created using the product\u2019s MIDI library.<\/strong><\/p>\n<\/div>\n
\n
\n
<\/div>\n
\n
Extensive library of grooves and fills unique to this product<\/li>\n
MIDI tailored specifically for the kits and articulations recorded for this SDX<\/li>\n
Inspired by the kits themselves as well as some of the milestone records in Kevin Killen’s discography<\/li>\n<\/ul>\n<\/div>\n<\/div>\n<\/div>\n
<\/div>\n
<\/div>\n
\n <\/div> <\/div>\n
\n
<\/p>\n
<\/div>\n
<\/div>\n
<\/div>\n
<\/div>\n
\n
\n
E-DRUMMER?<\/strong><\/h2>\n
This SDX includes 13 \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.<\/p>\n
To add, several exciting new articulations were recorded with both left and right hands at different positions on snare, toms and hi-hats, not only adding overall detail when programming MIDI, but also offering a more real-to-life experience for e-drummers.<\/p>\n<\/div>\n
<\/div>\n
\n <\/p>\n
To add, several exciting new articulations were recorded with both left and right hands at different positions on snare, toms and hi-hats, not only adding overall detail when programming MIDI, but also offering a more real-to-life experience for e-drummers.<\/p>\n<\/div>\n<\/div>\n
<\/div>\n
<\/div>\n
\n
\n <\/p>\n
The extra snare articulations can be used with the latest generation of e-drum modules that support positional sensing across the drum head. To set this up, create a multi-zone pad in Superior Drummer 3.<\/p>\n<\/div>\n
\n
<\/div>\n
<\/p>\n
If you want to take advantage of these articulations during regular MIDI playback, the Off Center<\/em> and Edge articulations<\/em> can be set to alternate in the Hit Variation<\/em> box in the Superior Drummer 3 Drums<\/em> tab.<\/p>\n<\/div>\n<\/div>\n
<\/div>\n
<\/div>\n
\n
\n <\/p>\n
The hi-hat also has both left and right hand samples for closed and tight articulations and can be set up in a similar way (for modules that support left\/right hand hi-hat positional sensing).<\/p>\n<\/div>\n
\n
<\/div>\n
<\/p>\n
Finally, toms have additional left and right hand Off Center articulations. These can also be set to alternate in the Hit Variation box and if you want to use these articulations by default or with e-drums you can unload the regular Center articulation.<\/p>\n
Jam away, drummers!<\/strong><\/p>\n<\/div>\n<\/div>\n
<\/div>\n
<\/div>\n
<\/div>\n
<\/div>\n
\n <\/div> <\/div>\n
\n
<\/p>\n
<\/div>\n
<\/div>\n
<\/div>\n
\n
\n
\n
SOFTWARE & SOUNDS
FOR E-DRUMMERS.<\/strong><\/h1>\n
SOFTWARE & SOUNDS
FOR E-DRUMMERS.<\/strong><\/h1>\n
E-drummer? Learn more and get inspired
on this section of our site!<\/strong><\/p>\n
LEARN MORE<\/a>\n <\/div>\n<\/p><\/div>\n<\/p><\/div>\n
<\/div>\n
<\/div>\n
<\/div>\n
\n <\/div> <\/div>\n
\n

\n
\n
\n
\n
\n
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
\n
\n
\n
<\/div>\n <\/div>\n <\/div>\n <\/div>\n <\/div>\n<\/div>
\n\n <\/div> <\/div>\n","protected":false},"excerpt":{"rendered":"","protected":false},"featured_media":3434628,"comment_status":"closed","ping_status":"closed","template":"","meta":{"_bbp_topic_count":0,"_bbp_reply_count":0,"_bbp_total_topic_count":0,"_bbp_total_reply_count":0,"_bbp_voice_count":0,"_bbp_anonymous_reply_count":0,"_bbp_topic_count_hidden":0,"_bbp_reply_count_hidden":0,"_bbp_forum_subforum_count":0},"product_brand":[],"product_cat":[49,35],"product_tag":[],"class_list":{"0":"post-3385582","1":"product","2":"type-product","3":"status-publish","4":"has-post-thumbnail","6":"product_cat-sdx","7":"product_cat-superiorline","8":"pa_delivery-pm-download","10":"first","11":"instock","12":"taxable","13":"shipping-taxable","14":"purchasable","15":"product-type-variable","16":"has-default-attributes"},"composite_virtual":false,"composite_layout":"","composite_add_to_cart_form_location":"","composite_editable_in_cart":false,"composite_sold_individually_context":"","composite_shop_price_calc":"","composite_components":[],"composite_scenarios":[],"bundled_by":[],"bundle_stock_status":"instock","bundle_stock_quantity":null,"bundle_virtual":false,"bundle_layout":"","bundle_add_to_cart_form_location":"","bundle_editable_in_cart":false,"bundle_sold_individually_context":"","bundle_item_grouping":"","bundle_min_size":"","bundle_max_size":"","bundle_price":[],"bundled_items":[],"bundle_sell_ids":[],"group_of_quantity":0,"min_quantity":0,"max_quantity":"","exclude_order_quantity_value_rules":"no","exclude_category_quantity_rules":"no","combine_variations":"no","tt_product_image":"https:\/\/www.toontrack.com\/app\/uploads\/product\/real-to-reel-sdx\/jpg\/TT717_RealtoReelSDX_product-image.jpg","_links":{"self":[{"href":"https:\/\/www.toontrack.com\/wp-json\/wp\/v2\/product\/3385582","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.toontrack.com\/wp-json\/wp\/v2\/product"}],"about":[{"href":"https:\/\/www.toontrack.com\/wp-json\/wp\/v2\/types\/product"}],"replies":[{"embeddable":true,"href":"https:\/\/www.toontrack.com\/wp-json\/wp\/v2\/comments?post=3385582"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.toontrack.com\/wp-json\/wp\/v2\/media\/3434628"}],"wp:attachment":[{"href":"https:\/\/www.toontrack.com\/wp-json\/wp\/v2\/media?parent=3385582"}],"wp:term":[{"taxonomy":"product_brand","embeddable":true,"href":"https:\/\/www.toontrack.com\/wp-json\/wp\/v2\/product_brand?post=3385582"},{"taxonomy":"product_cat","embeddable":true,"href":"https:\/\/www.toontrack.com\/wp-json\/wp\/v2\/product_cat?post=3385582"},{"taxonomy":"product_tag","embeddable":true,"href":"https:\/\/www.toontrack.com\/wp-json\/wp\/v2\/product_tag?post=3385582"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}

MEET THE ENGINEER.<\/h4>\n

Side snares<\/h6>\n
5.5\u2033 x 14\u2033 Ludwig<\/a> Vistalite
\n3.5\u2033 x 14\u2033 Sonor<\/a> Horst Link Cast Bronze <\/p>\n

Rototoms<\/h6>\n
Remo*<\/a> 6\u2033 \/ 8\u2033 \/ 10\u2033<\/p>\n

Side snares<\/h6>\n
3.5\u2033 x 14\u2033 Yamaha<\/a> David Garibaldi Signature
\n4\u2033 x 10\u2033 Yamaha<\/a> Peter Erskine Signature<\/p>\n

Percussion<\/h6>\n
Studio Cowbell (all open and mute articulations)
\nStudio Agogo bell (all open and mute articulations)
\nStudio Tambourine
\nStudio Vibraslap
\nMeinl Liquid Triangle\n<\/p>\n

MEET THE ENGINEER.<\/h4>\n

Side snares<\/h6>\n5.5\u2033 x 14\u2033 Ludwig*<\/a> Vistalite\n3.5\u2033 x 14\u2033 Sonor*<\/a> Horst Link Cast Bronze <\/p>\n

Rototoms<\/h6>\nRemo*<\/a> 6\u2033 \/ 8\u2033 \/ 10\u2033<\/p>\n

Side snares<\/h6>\n3.5\u2033 x 14\u2033 Yamaha*<\/a> David Garibaldi Signature\n4\u2033 x 10\u2033 Yamaha*<\/a> Peter Erskine Signature<\/p>\n

Percussion<\/h6>\nStudio Cowbell (all open and mute articulations)\nStudio Agogo bell (all open and mute articulations)\nStudio Tambourine\nStudio Vibraslap\nMeinl Liquid Triangle\n<\/p>\n

Side snares<\/h6>\n
5.5\u2033 x 14\u2033 Ludwig<\/a> Vistalite
\n3.5\u2033 x 14\u2033 Sonor<\/a> Horst Link Cast Bronze <\/p>\n

Rototoms<\/h6>\n
Remo*<\/a> 6\u2033 \/ 8\u2033 \/ 10\u2033<\/p>\n

Side snares<\/h6>\n
3.5\u2033 x 14\u2033 Yamaha<\/a> David Garibaldi Signature
\n4\u2033 x 10\u2033 Yamaha<\/a> Peter Erskine Signature<\/p>\n

Percussion<\/h6>\n
Studio Cowbell (all open and mute articulations)
\nStudio Agogo bell (all open and mute articulations)
\nStudio Tambourine
\nStudio Vibraslap
\nMeinl Liquid Triangle\n<\/p>\n