Toontrack Metal month 2014

Correct, but I want to keep the Hats out of the OH and Amb channels.

Even if I mute the main Hats track in the mixer, and drop the vol to -12 on the Hats in the main drum window, they are still audible on the OH and Amb channels.

Unless I'm missing something, which is entirely possible...

At -12, I can't really see it being a problem. You could also boost all the other pieces.In a real recording you don't even get the luxury of dropping it by 1db. Furthermore only direct signal for the hat sounds totally unnatural and weird.
But... If you really need to achieve this, I guess you could unload the hat completely and use a second instance of EZD just for that with the channel solo'ed.
Or you could buy Superior which isn't a bad investment at all.
 
Yeah, wav files in 96khz 64 bit FP are bullshit, soundcloud quality is the new standard for mixing. :rofl:

That being said, EZX samples are 44.1khz 16 bits
and SDX are 44.1Khz 24 bits. Am I right?


I think all EZXs made for EZdrummer 2 are in 18bit. There's a Toontrack video on YouTube where they discuss bit rites and it was a agreed that 18bit was a good compromise. Whether this is true of the end resulting product I cannot confirm as I do not own any of the recent post EZdrummer 2 EZX releases.
 
Checked the samples. Sounded good. A bit to much high bass? Snare sounded very natural and seems to have very good velocity layers.

But i guess Colin didn't want to give up his own samples haha!
 
It only doesn't make sense mathematically because it is not evenly divisible by 8, but other than that, computers really don't give a shit about that. 18-bit just uses a 3 Byte word where 16-bit can fit into a 2 Byte word. That just means that 18-bit takes up as much diskspace and memory space as 24-bit, however with the CPU strain almost identical to 16-bit, just with 12dB more dynamic range.

It is still weird the samples being 18-bit, when the playback engine is 16-bit, that dynamic is essentially lost unless they are using some state-of-the-art dithering process that I am unaware of.
 
It only doesn't make sense mathematically because it is not evenly divisible by 8, but other than that, computers really don't give a shit about that. 18-bit just uses a 3 Byte word where 16-bit can fit into a 2 Byte word. That just means that 18-bit takes up as much diskspace and memory space as 24-bit, however with the CPU strain almost identical to 16-bit, just with 12dB more dynamic range.

It is still weird the samples being 18-bit, when the playback engine is 16-bit, that dynamic is essentially lost unless they are using some state-of-the-art dithering process that I am unaware of.

the samples -> playback is what I was mostly getting at, it just seems odd. Like is it really worth not doing 16 or 24 and just calling it a day? Apparently to Toontrack it is, and they're better at this game than I am. :lol:
 
a REAL rimshot and the ride I think makes this worth purchasing for me (just got this).

Re: rimshots:

Toontrack has NEVER gotten these right. They always have a separate key (E1) as the rimshot, and it just sounds like the stick hitting the rim with a lot of ring. A rimshot is actually a really hard snare hit where the stick hits the rim; it's what Slate calls a 'crack' hit. This type of hit is 100% different from a normal snare hit, but Toontrack decided to put all of the hard-rimshots as the hardest velocity hit of the normal snare (D1) rather than give them their own note. Evil Drums did this correctly, and it looks like Made of Metal finally does, too.
 
From what I heard the whole kit sounds great (including kick and snare for once). I'm more concerned about velocities since I always have the feeling there's something missing especially at lower velocities.