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I know taking the concept to the extreme would be totally  impractical.  Not every kit could have all stick/mallets/rods/brushes.  All possible muffling, heads types etc, but chosen appropriately with the choice of drums recorded.  ps.  a set recorded with muffling rings would be grand 😉

It was you Wolfgang saying if required for your band to change your sound up for a song, you’d sooner change tools than whole kits that struck a chord with me…. or a rhythm if you will…  As much as I love playing along to covers and getting as close to the original sound as possible, it’s what fuels my SDX addiction, but with playing with friends let alone originals a sounds that fits in with them is more important.

Wolfgang wrote:

Examples being the Songwriter Kit from Stories

Ahh man, not the biggest fan of Stories but absolutely love that kit and agree.

drumjack52 wrote:

Yeah you could pull cymbals from the different SDX’s one owns but they’d all sound different because of where and how they were sampled. Would be nice to have a uniform sound.

Yeah, it could be lack of ability on my behalf but I’m never happy with the sound from mixing and matching SDX’s.  I also want to drum first and foremost (this mixing business is fascinating but harder than I thought).  That idea of gear based pack’s may be getting as close to what I’m thinking.  But they would all have to be recorded in the same space with same gear etc.  Something for SD4’s core perhaps?

drumjack52 wrote:

does anyone know how many levels are used in a typical SDX?

I have no idea but I guesstimate by install size divided by number of drums/mics kind of thing that they gone up somewhat over time.  As much as I praise RtR for being flawless snare sampling low to high velocity wise, since D&D it has been pretty much perfect.  It’s more of a “I can’t point to any faults previously, but RtR just sounds real”.  Only Rock Foundry has a really obvious transition at like 95-96 velocity iirc.  I think it’s the range they’ve really nailed with it.  Some packs lightest notes seem way too loud/hard.  Area 33 makes some sense, but even Stockholm iirc (not at drums).  And Core for me not being hit hard enough.  I’m sure it must have been but I don’t feel the energy.

pumpkinking wrote:

when an SDX is recorded with a “corridor”, “stairwell” or other remotely-located mic, I like bringing a little bit in – it is a colorful room sound that sounds better and is easier to use than complex reverb effects

That has to be my favourite mixing trick/thing to do.  A touch of devil-loc is my choice.  I would always want a far mic like that include in any SDX.

pumpkinking wrote:

any SDX that was aimed at showcasing the e-drum dynamics of a single kit would have to make concessions that would be good for some but not for others, IMO.

yeah, I’m kind of coming around to it being infeasible.  I know I’d buy some, but may not be worth it for TT.  But I also would have thought that with how SD3/SDX’s are made, but here we are!

Cheers.

jord

• Tone matching to a reference track – I’d like to be able to import either individual drum tracks (snare, kick, hi tom, etc) or an entire stereo drum mix and have SD analyze it and then find for me kit pieces from any available TT library that most closely matches the tone. Then I’d like to have the option to match that sound nearly exactly with applied eq and compression. This could all be done in the cloud so that it’s able to reference every single TT drum in existence when trying to find the closest match. This is would also be a great way to sell more SDX’s because if the closest matches are in a kit I don’t own, I may be more inclined to buy it.
• I’d also love if it were possible to manipulate the DAW hosts playback marker when using the Grid editor. As it stands I find it very tedious to have to constantly move my attention from the Drum Editor back to the host each time I want to change the playback point in the timeline when I’m editing drums. It feels very disconnected and so I won’t even use the Drum Editor because of this. May not be possible for each DAW but one can hope! (Pro Tools :fingers crossed:)

The rides still don’t have close mics routed to the OH channels. I guess this is the “new way” to go? So, rather than splitting the rides from the OH channels (like all the other cymbals) we’ll just use the individual ride (bounced) file?

This seems a little unusual.

Graphics – All 4 rooms – the snare shows rim graphics for everything (incl off center) except center. Off center and probably edge should light up the center of the snare – shouldn’t they?

Also the toms (all 4 rooms) show center graphics for all 3 articulations. Shouldn’t rimshot and rim only show the rim light up?

Cymbals

Arcades, Dark Room and Mill – ride bell shank is OK but not bell tip. None of the other bells are right

Library is OK