If you\u2019re chasing the soul of drumming, all roads lead to New Orleans. This is the city where the drum kit as we know it was born, where jazz and funk first took shape and where rhythm has never been just a musical element \u2013 it\u2019s the living pulse woven over centuries by African, Caribbean, French and Creole traditions, merging into that magical heartbeat we call groove<\/em>. For this EZX, we traveled there to capture an all-encompassing drum library under the supervision of one of the city\u2019s foremost experts on drumming, gear and groove: Terence Higgins (Dr. John, Allen Toussaint, Dirty Dozen Brass Band).<\/p>\n

The New Orleans EZX was sampled by Terence Higgins himself and recorded by multi-award-winning engineer, producer and mixer Misha Kachkachishvili at his Esplanade Studios, one of the absolute hubs of today\u2019s New Orleans recording circuit. Located in the vibrant Trem\u00e9 neighborhood and housed in a completely remodeled 14,000-square-foot early 1900s church, it\u2019s the largest recording studio in Louisiana. The main recording room in Studio A alone boasts a staggering 3,400-square-foot space with ceilings up to 26 feet high. Naturally, the ambience is awe-inspiring. For this recording, however, the drums were partially sectioned off using gobos to create a lively yet viscerally close feel.<\/p>\n

The EZX includes two separate libraries, Traditional<\/em> and Artist<\/em>, each featuring a range of instruments sourced and carefully selected by Terence. The first fully hones in on the historical and includes a turn-of-the-century kit straight from the archives of the New Orleans Jazz Museum, complete with a unique set of crashes as well as a pair of rare \u201csock\u201d foot cymbals \u2013 an early 20th century precursor to the modern-day hi-hat. In addition, two extra bass drums \u2013 one of which came straight off stage at Preservation Hall<\/em> \u2013 two rare snares \u2013 one of which is an antique parade drum<\/em> \u2013 and a carefully selected set of percussion pieces pivotal to the New Orleans lineage are included. These cover a washboard, two cowbells, a bottle, a pandeiro drum as well as a handmade wood-and-metal \u201cjunk\u201d hi-hat providing a characteristically swampy sound. Conversely, the Artist portion of the library features kits that are modern in comparison, all inspired by the sounds from the 1950s onward. All in all, this will give you five authentic-sounding kits, each representing its own defining mile marker in the evolution of the inimitable New Orleans sound. Aside from the drums and percussion, a versatile library of mix-ready presets engineered by Misha as well as a drum MIDI library of grooves and fills performed by Terence is provided, making sure you\u2019re off to a flying start producing anything from the traditionally jazz-tinged to the slinky street beats and second-line-inspired grooves that all scream New Orleans.<\/p>\n

Timeworn, thunderous open-sounding bass drums, antique snares with that dark, subdued and papery snap to their tone, museum-like percussion pieces and kits that\u2019ll faithfully serve any vintage or modern soul, funk or roots-inspired tune, this EZX has it all. If you\u2019re looking for a palette of the percussive colors that helped paint the intricate mosaic of sound that is the basis of the inimitable New Orleans groove, this EZX is as authentic as it gets.<\/p>\n<\/p><\/div>\n

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Five kits for anything from traditional and modern jazz to soul and R&B to \u201870s funk<\/li>\n
Kits spanning early 1900s pieces to modern-day, including rare historical percussion<\/li>\n
Sampled by session drummer and award-winning recording artist Terence Higgins (Dr. John, Allen Toussaint, Dirty Dozen Brass Band)<\/li>\n
Recorded by multi-award-winning engineer\/producer\/mixer Misha Kachkachishvili<\/li>\n
Features two setups of kits configured as separate libraries: Traditional<\/em> and Artist<\/em><\/li>\n
Includes a handpicked collection of traditional and rare percussion such as a washboard, bottle and more<\/li>\n
Features mix-ready presets for a broad range of sounds<\/li>\n
Includes a library of MIDI, performed by Terence and unique to the product<\/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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KIT & PRESET
SELECTION<\/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
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ABOUT THE STUDIO.<\/strong><\/h2>\n
ABOUT THE STUDIO.<\/strong><\/h2>\n
A cornerstone in the New Orleans recording community.<\/strong><\/p>\n
\n A tall brick building right off Esplanade Avenue, nestled in the historic Bayou St. John neighborhood in the Trem\u00e9 area of New Orleans, houses the largest recording studio in Louisiana, aptly named after the very street it\u2019s on. Formerly a church, it has been remodeled from the ground up into a state-of-the-art facility while preserving the character and spirit of its century-old walls. Today, Esplanade Studios stands as both a monument to the city\u2019s deep musical heritage and a creative hub where artists from around the world come to capture that unmistakable New Orleans sound and vibe.<\/strong><\/p>\n<\/p><\/div>\n<\/div>\n
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MEET THE DRUMMER.<\/h4>\n
TERENCE HIGGINS.<\/strong><\/h2>\n
Award-winning drummer, drum expert and gear aficionado!<\/strong><\/p>\n
Having drummed since an early age and steeped in the Southern school of groove through his great-grandfather, Terence carries the beat of New Orleans in his DNA. Drawing from a long line of drummers before him\u2014legends like Baby Dodds, Earl Palmer, Smokey Johnson, Charles “Hungry” Williams, Shannon Powell, James Black, Herlin Riley and Zigaboo, to name a few\u2014he carries the torch as one of the most versatile and vital figures in the second-line drumming tradition today. Busy touring and recording with artists like Warren Haynes, Dirty Dozen Brass Band, Ani DiFranco and his own Swampgrease project, Terence\u2019s signature swampy swagger can be heard around the world.<\/p>\n<\/p><\/div>\n<\/p><\/div>\n
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You were involved every step of the way selecting the kits and instruments for this session. What was your thought process like? What did you want to cover?<\/strong>
\n When this opportunity presented itself, the timing couldn\u2019t have been more perfect. I already had a few ideas and templates in mind so I began to gather my thoughts on the matter. I\u2019ve always wanted to dive into the history of the culture a bit more and lay out my interpretation of all of the styles that I have been exposed to growing up inside of the vibrant music scene of New Orleans. I wanted the kits to reflect certain timeframes in history but also cover some of the modern influences. This looks easy on paper but was no small feat\u2026 When you attempt to pour the DNA of a culture into a project like this, it\u2019s a huge undertaking and has to be done with great care, respect and trust. I wanted it to be as authentic as possible and make a great representation of the styles covered. We were lucky to have access to some kits and percussion that span over a few decades, some owned and some borrowed. Big thanks to Ben Jaffe over at Preservation Hall and also Greg Lambousy with the New Orleans Jazz Museum for trusting us with the use of some very rare artifacts.<\/p>\n
Why was Esplanade the perfect choice for this session?
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\n When it came down to selecting a suitable recording studio that could handle a project of this magnitude, the first and only place that came to mind was Esplanade. Nestled in the heart of the historic Trem\u00e9 neighborhood, home to a number of great New Orleans drummers and musicians and where a lot of the music of New Orleans happened, this old church-turned-studio is a special place with great acoustics and top-notch analog gear. We definitely captured the vibe. I had also worked with the house engineer, Misha, on other projects at Esplanade in the past so the home team was well represented. It was great to work with him again and I knew we were in good hands and ears on this project with him pushing the faders. Any excuse I get to work at home in New Orleans is a good one!<\/p>\n
To you, what defines a great drum sound and performance?<\/strong>
\n I think getting a great drum sound and performance has multiple layers to it. You need great gear, a great environment and being a great player is always a plus but in a lot of ways, I believe in New Orleans we can make anything sound good\u2014from cowbells and washboards to empty beer bottles and any piece of metal to add that clink factor to the mix. So it\u2019s all about the chef adding the right ingredients and tweaking as you go. On this project, we put together a great team and had all the ingredients for a comfortable work environment that made it a joy to be creative and inspired\u2026 and it didn\u2019t hurt that we had access to some naturally great-sounding gear that was perfect for the project!<\/p>\n
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You\u2019ve recorded and toured with tons of artists, shared stages with the greats and won awards. Name a few highlights so far in your career and some of the things still on your bucket list!<\/strong>
\n As I finally stop for a moment to take a look back at my career and some of the things I\u2019ve done\u2026 wow! It\u2019s been a great journey being in my situation, with so much versatility and musical diversity I never know where I will end up. Just in the last few years, I\u2019ve worked on some huge productions from the Rock & Roll Hall of Fame honors, the Kennedy Center Honors and Willie Nelson\u2019s 90th celebration. I\u2019ve also had the opportunity to work with some of the greatest and most legendary artists in the game. I feel there is so much more to be done, though. I would love to do more touring and to build on more sample libraries and to continue to build on my brand of swamp, funk, blues and rock music. I know New Orleans drummers have always been at the forefront of the first-call list. I am thankful and grateful to be a part of the lineage of New Orleans drummers.<\/p>\n
Listening back to the final result and what all work put into this project boiled down to, what are your thoughts?<\/strong>
\n First off, I am a huge fan of Toontrack and it was a dream of mine to one day work with this company on a project so that\u2019s a bucket list item checked off. As for the results, the layout is amazing\u2014it feels, looks and sounds just like the moment we captured it. It virtually pulls me deep into the swamps and humidity of being in New Orleans. I feel like we captured the essence and a small portion of a deep lineage in a big way. I think this will open up a pathway for a lot of creativity that may not have been as accessible in the past. Now it is! Welcome to New Orleans. Laissez les bons temps rouler.<\/p>\n
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SELECTED DISCOGRAPHY<\/strong><\/h4>\n
\n Terence Higgins & Swampgrease<\/strong>
“In the Bywater” (2004)<\/span>
\n Dirty Dozen Brass Band<\/strong>
“Funeral for a Friend” (2004)<\/span>
\n Jhelisa<\/strong> \u201cA Primitive Guide to Being There\u201d (2006)<\/span>
\n Terence Higgins’ Swampgrease II<\/strong>
“Rage til Sunrise” (2013)<\/span>
\n Jon Cleary<\/strong> “Go Go Juice” (2015)<\/span>
\nAni DiFranco<\/strong> \u201cBinary\u201d (2017)<\/span>
\nJohn Medeski<\/strong> “Mad Skillet” (2018)<\/span>
\nArne Skage<\/strong> “Procrastination Blues” (2021)<\/span>
\nTab Benoit<\/strong> \u201cI Hear Thunder\u201d (2024)<\/span>
\n Warren Haynes<\/strong> \u201cMillion Voices Whisper\u201d (2024)<\/span><\/p>\n
SELECTED AWARDS & NOMINATIONS<\/strong><\/h4>\n
\n Jon Cleary<\/strong> \u201cGo Go Juice\u201d (2015) Grammy Award for Best Regional Roots Album<\/em><\/span>
\n Aaron Neville and the Dirty Dozen Brass Band<\/strong> \u201cStompin\u2019 Ground\u201d (2022) from the Take Me to the River: New Orleans soundtrack \u2013 Grammy Award for Best American Roots Performance<\/em><\/span>
\n Bobby Rush<\/strong> \u201cSitting on Top of the Blues\u201d (2019) \u2013 Grammy nomination for Best Traditional Blues, Blues Music Award Album of the Year 2020<\/em><\/span><\/p>\n<\/div>\n<\/div>\n
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MEET THE ENGINEER.<\/h4>\n
MISHA KACHKACHISHVILI.<\/strong><\/h2>\n
Multi-award-winning engineer, producer and mixer.<\/strong><\/p>\n
Known for his ability to capture both the raw authenticity and the polished brilliance of a performance, Misha Kachkachishvili has built a reputation as one of New Orleans\u2019 most trusted ears. His work across jazz, funk, soul and original movie soundtracks has garnered a shelf of awards to his name and solidified his standing as one of the world’s top craftsmen in sound.<\/p>\n<\/p><\/div>\n<\/p><\/div>\n
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You started music school already at the age of five. How did your interest transition from playing to recording?<\/strong>
\n Played music in the bands and did a lot of touring. In my early 30s, I started work in the studio as a session player and developed an interest and appreciation for the process. Around that time I started purchasing recording equipment and started my home recording studio. Soon I got so busy recording so my playing had to come second.<\/p>\n
Your background covers anything from film scores to pop, rock, jazz and everything in between. Is there any genre or type of project you prefer?<\/strong>
\n Recording jazz and fusion is my favorite genre. It’s something that I really enjoy to record or mix.<\/p>\n
It\u2019s often said that New Orleans music has a certain vibe, style and groove. To you, how does that shine through?<\/strong>
\n New Orleans music is like a \u201clanguage\u201d that we all learn here, not only how to speak but how to feel as well. Rich history, culture and tradition that been carried and past on for many decades through music and specificity drumming. It served as a foundation to the most or even all American music.<\/p>\n
You have won some of the most prestigious awards and worked with numerous top-tier artists and countless big projects. Looking back on your journey so far, what are some of your personal highlights?<\/strong>
\n There are many, but working with Dr. John and especially making his last two records. They were the most satisfying for me musically.<\/p>\n<\/p><\/div>\n
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SELECTED DISCOGRAPHY<\/strong><\/h4>\n
\n Ziggy Modeliste<\/strong> “New Life” (2011)<\/span>
\n Dr. John<\/strong> “Ske-Dat-De-Dat: The Spirit of Satch” (2014)<\/span>
\n Smokey Robinson<\/strong> “Smokey & Friends” (2014)<\/span>
\n Jon Batiste<\/strong> “The New Orleans Collection” (2015)<\/span>
\n Joe Jackson<\/strong> “Fast Forward” (2015)<\/span>
\nTroy “Trombone Shorty” Andrews<\/strong> “Parking Lot Symphony” (2017)<\/span>
\nJimmy Buffett<\/strong> “Equal Strain on All Parts” (2023)<\/span>
\n Buddy Guy<\/strong> “Ain’t Done With the Blues” (2025)<\/span><\/p>\n
SELECTED AWARDS & NOMINATIONS<\/strong><\/h4>\n
\n Jon Batiste<\/strong> “We Are” (2022) \u2013 Grammy Award for Album of the Year<\/em> (as engineer and mixer)<\/span>
\n Lost Bayou Ramblers & Louisiana Philharmonic Orchestra<\/strong> “Live at the Orpheum” (2023) \u2013 Grammy Award for Best Regional Roots Music Album<\/em><\/span>
\n Green Book<\/strong> (Original Motion Picture Soundtrack) (2018) \u2013 Oscar for Best Picture<\/em> (as engineer and mixer)<\/span>
\n BlacKkKlansman<\/strong> (Original Motion Picture Soundtrack) (2018) \u2013 Oscar nominee for Best Original Score in 2018 (as engineer and mixer)<\/span><\/p>\n<\/div>\n<\/div>\n
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THE DRUMS.<\/strong><\/h2>\n
Curated and handpicked by Terence Higgins, this EZX showcases kits and percussion that trace the drums\u2019 role in New Orleans music \u2013 from the early 1900s to the funk-, blues- and soul-soaked mid-century and the modern era\u2019s eclectic blend of influences.<\/p>\n<\/p><\/div>\n<\/div>\n
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TRADITIONAL KIT.<\/strong><\/h3>\n
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\n Brand:<\/strong><\/span> Slingerland*<\/a>\/Leedy & Strupe*<\/a>
\n Model:<\/strong><\/span> Artist bass drum\/single-tension snare
\n Material:<\/strong><\/span> Wood (various)
\n Finish:<\/strong><\/span> Natural
\n Era:<\/strong><\/span> 1900s-1930s<\/p>\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>
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ARTIST KIT.<\/strong><\/h3>\n
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\n Brand:<\/strong><\/span> Pearl*<\/a>
\n Model:<\/strong><\/span> Masters Music City Custom
\n Material:<\/strong><\/span> 6-ply maple\/gum
\n Finish:<\/strong><\/span> Pearl White Oyster
\n Era:<\/strong><\/span> 2010s<\/p>\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>
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\n Brand:<\/strong><\/span> Pearl*<\/a>
\n Model:<\/strong><\/span> Wood-Fiberglass
\n Material:<\/strong><\/span> 7-ply kapur (1 inner ply fiberglass)
\n Finish:<\/strong><\/span> Satin Cocoa Burst
\n Era:<\/strong><\/span> 2010s (reissue of the famous 1970s kits)<\/p>\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>
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1960s<\/span> FUNK KIT.<\/strong><\/h3>\n
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\n Brand:<\/strong><\/span> Rogers*<\/a>
\n Model:<\/strong><\/span> Holiday
\n Material:<\/strong><\/span> 5-ply maple\/birch
\n Finish:<\/strong><\/span> Red Onyx
\n Era:<\/strong><\/span> 1960s<\/p>\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>
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MODERN JAZZ KIT.<\/strong><\/h3>\n
<\/p>\n
\n Brand:<\/strong><\/span> Gretsch*<\/a>
\n Model:<\/strong><\/span> Broadkaster
\n Material:<\/strong><\/span> 6-ply maple\/gum (30-degree bearing edge)
\n Finish:<\/strong><\/span> Burnt Orange
\n Era:<\/strong><\/span> 1990s<\/p>\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>
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Open player<\/span>\"\n >\n
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See full instrument list & details<\/strong><\/p>\n
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MODERN JAZZ KIT.<\/strong><\/h4>\n<\/p><\/div>\n<\/p><\/div>\n<\/div>\n
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\n *All other manufacturers\u2019 product names are trademarks of their respective owners, which are in no way associated or affiliated with Toontrack. See full notice here<\/a>.<\/p>\n<\/div>\n<\/div>\n<\/div>\n
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THE PERCUSSION.<\/strong><\/h2>\n
The New Orleanian must-haves!<\/strong><\/p>\n
Half of the soul in a New Orleans-type beat is the percussion. For this EZX, Terence sourced just the right collection that\u2019ll add that extra vibe, grease and mojo to your grooves.<\/p>\n
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Open player<\/span>\"\n >\n
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\n <\/div> <\/div><\/p>\n<\/section>\n
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\n
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See full list of additional
instruments & extras<\/strong><\/p>\n
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PERCUSSION & ADDITIONAL INSTRUMENTS.<\/strong><\/h4>\n<\/p><\/div>\n<\/div>\n<\/div>\n
\n<\/div>\n
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\n*All other manufacturers\u2019 product names are trademarks of their respective owners, which are in no way associated or affiliated with Toontrack. See full notice here<\/a>.<\/p>\n<\/p><\/div>\n
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THE ROOMS
& THE MICS.<\/strong><\/h2>\n
Below is a plot that displays approximately where key mics
were placed around the kits in the massive Esplanade room.<\/strong><\/p>\n
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Traditional setup<\/strong><\/h3>\n
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Kick In:<\/strong> AKG D25<\/span><\/li>\n
Kick Out:<\/strong> AKG C12<\/span><\/li>\n
Kick Beater:<\/strong> AKG 414EB<\/span><\/li>\n
Kick Snare:<\/strong> AKG C414B-ULS<\/span><\/li>\n
Snare Top Dyn:<\/strong> Shure SM57<\/span><\/li>\n
Snare Top Cond:<\/strong> Groove Tubes AM40<\/span><\/li>\n
Snare Bottom:<\/strong> Shure SM7B<\/span><\/li>\n
Hi-Hat 1:<\/strong> Neumann KM85<\/span><\/li>\n
Hi-Hat 2:<\/strong> AKG C451<\/span><\/li>\n
Tom:<\/strong> Neumann KM84<\/span><\/li>\n
Various Perc 1:<\/strong> AKG D25<\/span><\/li>\n
Various Perc 2:<\/strong> AKG C12<\/span><\/li>\n<\/ol>\n
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Amb Front:<\/strong> Neumann M150<\/span><\/li>\n
Amb Ribbon:<\/strong> Coles 4038<\/span><\/li>\n
Mono Cond:<\/strong> Neumann U67<\/span><\/li>\n
Mono Ribbon:<\/strong> RCA 77-DX<\/span><\/li>\n
Mono Dyn:<\/strong> Shure SM7B<\/span><\/li>\n
OH:<\/strong> Neumann U67<\/span><\/li>\n
OH Mono:<\/strong> Neumann U67<\/span><\/li>\n
Amb Rear:<\/strong> Neumann M150<\/span><\/li>\n
Reflection:<\/strong> Neumann U67<\/span><\/li>\n
Chamber:<\/strong> Schoeps MK21<\/span><\/li>\n<\/ol><\/div>\n<\/p><\/div>\n
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Artist Setup<\/strong><\/h3>\n
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Kick In:<\/strong> AKG D112<\/span><\/li>\n
Kick Out:<\/strong> Bock Audio iFet<\/span><\/li>\n
Kick Sub:<\/strong> Yamaha SubKick<\/span><\/li>\n
Snare Top Dyn:<\/strong> Shure SM57<\/span><\/li>\n
Snare Top Cond:<\/strong> Groove Tube AM40<\/span><\/li>\n
Snare Bottom:<\/strong> Shure SM7B<\/span><\/li>\n
Side Snare Top:<\/strong> Shure SM57<\/span><\/li>\n
Side Snare Bottom:<\/strong> Shure SM7B<\/span><\/li>\n
Hi-Hat 1:<\/strong> Neumann KM85<\/span><\/li>\n
Hi-Hat 2:<\/strong> AKG C451<\/span><\/li>\n
Toms:<\/strong> AKG C414B-ULS<\/span><\/li>\n
Cymbals:<\/strong> Neumann KM84<\/span><\/li>\n<\/ol>\n
\n
Amb Front:<\/strong> Neumann M150<\/span><\/li>\n
Amb Ribbon:<\/strong> Coles 4038<\/span><\/li>\n
Mono Cond:<\/strong> Neumann U67<\/span><\/li>\n
Mono Ribbon:<\/strong> RCA 77-DX<\/span><\/li>\n
Mono Dyn:<\/strong> Shure SM7B<\/span><\/li>\n
OH:<\/strong> Neumann U67<\/span><\/li>\n
Amb Rear:<\/strong> Neumann M150<\/span><\/li>\n
Reflection:<\/strong> Neumann U67<\/span><\/li>\n
Chamber:<\/strong> Schoeps MK21<\/span><\/li>\n<\/ol><\/div>\n<\/p><\/div>\n
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Open player<\/span>\"\n >\n
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THE MIXER & THE PRESETS.<\/strong><\/h3>\n
The presets in this EZX were all engineered by Misha Kachkachishvili. 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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Open player<\/span>\"\n >\n
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THE MIDI.<\/strong><\/h3>\n
The included MIDI was performed by Terence and covers the basics of New Orleans-style grooves, from the traditionally jazzy to the funkier and second-line-type of grooves. Also covered is a selection of MIDI tailored specifically for the percussion part of this EZX, including some freakishly groovy ensemble-type beats involving all elements from the washboard to the cowbells, bottle and more.<\/p>\n<\/p><\/div>\n<\/div>\n
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\n <\/div> <\/div>
\n<\/section>\n
\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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<\/div>\n <\/div>\n <\/div>\n <\/div>\n <\/div>\n<\/div>
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MEET THE DRUMMER.<\/h4>\n

MEET THE ENGINEER.<\/h4>\n

1960s<\/span> FUNK KIT.<\/strong><\/h4>\n<\/p><\/div>\n<\/p><\/div>\n<\/div>\n

PERCUSSION & ADDITIONAL INSTRUMENTS.<\/strong><\/h4>\n<\/p><\/div>\n<\/div>\n<\/div>\n