The classic sounds and MIDI groove content from the first generation of EZdrummer. Timeless drums spanning the whole range of pop and rock – captured in perfect sonic detail in one of the world's top studios!
When EZdrummer was upgraded to EZdrummer 2, the sound and MIDI groove content from the original version was converted into this stunning EZX expansion. It includes the full sound and MIDI groove library that’s been a staple in the creative toolboxes of top songwriters and heard daily in countless major label productions, TV shows and commercials ever since it was first released.
The Pop/Rock EZX is based around a classic GMS kit including several options for snares, bass drums and cymbals. The sounds were recorded in New York’s legendary Avatar Studios by engineer duo Neil Dorfsman (Bruce Springsteen, Dire Straits) and Pat Thrall (Beyoncé, Katy Perry) together with renowned session drummer Nir Z (Chris Cornell, Genesis). Avatar Studios is known for having one of the world’s finest acoustic environments and has won several industry awards. Since its inception in the 1970s, it’s hosted bands and artists like Aerosmith, Bon Jovi, Journey, Kings of Leon and The Clash. Timeless drums spanning the whole range of pop and rock – captured in perfect sonic detail in one of the world’s top studios.
INSTRUMENT LIST
Kick drums:
• 18”x22” GMS with felt and plastic beater
• 14”x24“ GMS double headed coated
• 14”x24” GMS with felt and plastic beater
Snare drums:
• 4,5“x14” Rogers Wood
• 6,5“x14” Slingerland 70s
• 13” GMS Picollo
Toms:
• 10×12″ GMS
• 14×14″ GMS
• 16×16″ GMS
• 16×18″ GMS
Hats:
• 14″ Sabian HHX Manhattan
• 16″ Zildjian Crash Hats
Cymbals position 1:
• 19″ Sabian AA Medium Thin
• 16″ Sabian HHX Evolution
• 18″ Sabian Jack DeJonette Encore
• 13″ Sabian Jack DeJonette Encore
Cymbals position 2:
• 18″ Sabian HHX Evolution
• 17″ Sabian HHX Evolution
• 16″ Sabian HHX Evolution Ozone
• 18″ Sabian Jack DeJonette Encore
Rides:
• 21″ Sabian Handhammered Vintage
• 22″ Sabian Handhammered Raw Dry DOWNLOAD Toontrack EZDrummer EZX Pop/Rock - PART 1 - PART 2
This is what happens when you put a massive, all-new drum recording in the hands of three of modern metal's most in demand producers.
What happens when you put a massive, all-new drum recording in the hands of three of the most in demand producers in modern metal, let them bring it to their own studio environments and equip them with an unparalleled set of audio shaping tools? You not only get a collection of nine custom drum kits – you get a rampant battery armed for complete audio destruction. A nine-headed behemoth that leaves nothing but rubble behind. Nothing.
The Metal! EZX is based on a new drum recording engineered by Daniel Bergstrand in Norway’s highly unique Tanken Studio. The raw material was then individually remixed by Mark Lewis, Jason Suecof and Daniel Bergstrand himself into nine drum kits tailor-made for metal. Between them, these three producers have worked with some of modern metal’s most influential acts as well as those pioneering today’s multifaceted scene: Meshuggah, In Flames, Trivium, Whitechapel, DevilDriver, The Black Dahlia Murder, God Forbid and Dimmu Borgir, to name a few. The Metal! EZX also comes with a versatile collection of grooves and fills performed by Soilwork and metal drummer extraordinaire Dirk Verbeuren.
Sometimes the word metal just isn’t enough, it needs an exclamation mark!
FEATURE SPOTLIGHT
• All-new recording featuring DW Collector X-shell and Ludwig Quadra Plus drums
• Recorded by Daniel Bergstrand at Tanken Studio, Oslo, Norway.
• A total of nine (9) custom kits, remixed and layered with additional as well as personal samples by Mark Lewis, Jason Suecof and Daniel Bergstrand
• Included MIDI library performed by Dirk Verbeuren
An impressive collection of drums recorded by one of the most in demand metal producers of the last decade: Andy Sneap.
Testament, Megadeth, Arch Enemy, Exodus, Killswitch Engage and Devildriver all call the same man to lay the final hand on their albums: Britain’s Andy Sneap. This highly in demand producer/engineer has worked on numerous Grammy® Award-nominated albums, is known worldwide for having produced some of the heaviest releases this last decade and has had an instrumental role in shaping the sound of metal music as we know it in the new millennium. Now Toontrack is proud to present the first ever drum sample library to bear his unmistakable seal; Metal Machine EZX.
Recorded by powerhouse drummer John Tempesta (White Zombie, Testament, Helmet) in Los Angeles’ Henson Recording Studios, formerly known as the A&M Studios, the Metal Machine EZX lacks none of the metal traits you’d expect: the thunderous bass-drums, the ferocious in-your-face snares and the toms that will cut through your mixes with a crystal clear tone to die for.
FEATURE SPOTLIGHT
• Three kits (2 x Tama Starclassic Bubinga, Ludwig Stainless Steel) as well as a large selection of snare drums and cymbals
• Produced and engineered by one of the most successful and in demand metal producers of the decade: Andy Sneap
• Recorded at Henson Recording Studios in Los Angeles, USA
• Mixed at Andy Sneap’s own Backstage Studios, Derbyshire, UK Included MIDI played by John Tempesta
INSTRUMENT LIST / GEAR
Studio Recorded April 2011 at Henson Studios, Studio B
Console SSL 6000 E
Mics :
Kick R in – SM91
Kick R in 2 – Audix D6 / AKGD12 on Stainless Steel
Kick R out – Yamaha Sub Kick
Kick L in – SM91
Kick L in 2 – Audix D6 / AKGD12 on Stainless Steel
Kick L out – Yamaha Sub Kick
Snare top – SM57
Snare bottom – SM57
Snare top 2: Beyer M-201
Hat: Shure SM7B
Toms: Sennheiser 421
Cymbals/ride closed: Neumann KM184 OH’s: AKG 414
Room mono: Neumann CMV3
Room mid: ribbon RCA77
Room far: Neumann U67
Kicks (left & right):
Tama Starclassic Quillted Sapele Bubinga 18×22″
Tama Starclassic Bubinga 18×24″
Ludwig Stainless Steel 14×26″
Snares:
14×7″ Tama John Tempesta Signature Series snare drum
A cornerstone in rock through the ages and one of the most classic, timeless and famed drum kits ever: the legendary Ludwig Keystone.
The Vintage Rock EZX is based around one of the world’s most classic, timeless and famed drum kits, the legendary Ludwig Keystone. Starting in the mid 1960s, this classic and forever timeless set of drums was immortalized by a long string of influential artists and drummers like The Beatles’ Ringo Starr and John Bonham of Led Zeppelin.
It was recorded in London’s noted 2 Khz Studio by engineer Peter Henderson and drummer Chris Whitten. Peter started his career training exclusively with legend Geoff Emerick (The Beatles), worked alongside producer Sir George Martin for numerous sessions, went on to record multiple million-selling albums and won a Grammy for Supertramp’s “Breakfast in America”. Chris Whitten is an acclaimed drummer that has recorded and toured with some of the biggest artists of all time, such as Dire Straits and Paul MacCartney.
Aside from the main kit, that was sampled with both sticks and brushes, the Vintage Rock EZX includes an additional Ludwig Black Beauty and Slingerland Radio King snare as well as a number of extra cymbals. The included MIDI was performed by drummer Morgan Ågren.
FEATURE SPOTLIGHT
• A classic Ludwig Keystone kit with additional instrument choices
• Recorded by Peter Henderson (Supertramp, Paul McCartney) and Chris Whitten (Dire Straits, The Waterboys)
• Recorded at 2 Khz Studio, London, England
• Includes samples recorded with both sticks and brushes
• MIDI library included
INSTRUMENT LIST :
Kick drum:
• Ludwig Keystone (1960s) 14×24″ (felt and plastic beater)
Snare drums:
• Black Beauty 20s 5×14″ (sticks & brushes)
• Ludwig B/O Supraphonic (1970s) 6,5×14″ (sticks & brushes)
• Ludwig B/O Supraphonic Low Tuning 6,5×14″ (sticks)
• Slingerland Radioking 1940s 7×14″ (sticks)
Toms:
• Racktom, Ludwig Keystone (1960s) 9×13″ (sticks & brushes)
• Floortom, Ludwig Keystone (1960s) 16×16″ (sticks & brushes)
Hats:
• 13″ K Zildjian Istanbul (1960s) (sticks)
• 15″ Paiste Formula 602 Medium (sticks & brushes)
Cymbals position 1:
• 17″ Zildjian Dark Crash (sticks & brushes)
• 18″ Paiste Signature Fast Crash (sticks & brushes)
• 16″ Paiste Signature Fast Crash (sticks & brushes)
Cymbals position 2:
• 17″ K Zildjian Dark Crash (sticks & brushes)
• 22″ Zildjian Swish Knocker (sticks & brushes)
• 17″ Paiste Signature Fast Crash (sticks & brushes)
The Rock Solid EZX features a collection of modern drums perfectly suited for anything from classic rock to modern metal. It was recorded at the renowned Warehouse Studio in Vancouver, Canada by one of the most prolific engineers of the last two decades, Randy Staub. Randy has worked with A-list clients back to back for the past plus 20 years, mixed groundbreaking works like Metallica’s “Black Album”, Mötley Crüe’s “Dr Feelgood” and honed the sound for artists like Nickelback, Bon Jovi and Alice in Chains. Randy is beyond just an award-winning mix engineer, he’s helped define the sound of a generation.
With its three complete kits, the extra snares, bass drums and its large collection of cymbals, it’s painfully obvious how the Rock Solid EZX is every bit as leveled, in your face and bold as its title sets it out to be. When you hear the almost unreal sonic qualities in this recording, you will know why there’s no understatement in saying that these drums add a new dimension to the word heavy. Now, let there be rock.
FEATURE SPOTLIGHT
• Three complete kits, a large collection of cymbals, extra snares & kicks • Recorded at the Warehouse Studio, Vancouver, BC, Canada • Engineered by Randy Staub (Metallica, Mötley Crüe, Nickelback) • Sampled by Ryan Vikedal (ex-Nickelback) • Included MIDI library
INSTRUMENT LIST :
Kicks:
• Ayotte Custom 18×22″, fitted with Powerstroke 3 Clear (batter) and Powerstroke 3 Ebony Resonant (front)
• Ayotte Custom 18×24″, fitted with Clear Powerstroke 3 (batter) and Ebony Ambassador (front)
• Gretsch USA Custom 18×22″, fitted with Clear Powerstroke 3 (batter) and Powerstroke 3 Ebony (front)
• Ludwig 1960s 14×20″, fitted with Powerstroke 3 Clear (batter), no front head
Snares:
• Ayotte Keplinger 6.5×14″, fitted with Coated CS Black Dot (batter) and Hazy Ambassador (bottom)
• Ayotte Custom 4×13 Maple, fitted with Coated Emperor (batter) and Ambassador (bottom)
• Gretsch USA Custom 5×14″, fitted with Coated Black CS Dot (batter) and Hazy Ambassador (bottom)
• Ludwig Black Magic 8×14″, fitted with two Coated CS Black Dot (batter) and Hazy Ambassador (bottom)
• Jeff Ocheltree Spirit of 2002, 5.5×14″, fitted with CS Clear Dot (batter) and Ambassador (bottom)
Toms:
• Ayotte Custom: 8×12″, 9×13″, 16×16″, 16×18″. All fitted with Emperor Clear (batter) and Ambassador Clear (bottom)
• Gretsch USA Custom: 7×10″, 8×12″, 14×14″, 16×16″. All fitted with Emperor Clear (batter) and Ambassador Clear (bottom)
• Dunnett Titanium: 8×12″, 16×16″. Both fitted with Coated Emperor (batter) and Coated Ambassador (bottom)
Hi hats:
• Zildjian New Beat 14″
• Zildjian Mastersound 15″ (top)/ New Beat 15″ (bottom)
Crashes:
• Zildjian A Custom 19″
• Zildjian A Custom 18″
• Zildjian K Dark Crash 18″
• Zildjian Medium Crash 20″
Rides:
• Zildjian K Constantinople 22″
• Zildjian Avedis 22″
Others:
• Zildjian Oriental China Trash 14″ / Zildjian K Medium Dark Crash 18″
One world-renowned drummer, Tomas Haake, member of the extreme metal band Meshuggah. One in demand producer, Daniel Bergstrand, whose mixing and producing credits include the likes of In Flames, Strapping Young Lad, Soilwork and Meshuggah, just to name a few.
Two Incredible drum sets, assembled and recorded to metal perfection, ready to bring your metal productions to the next level. And, for the first time in Toontrack history, we’ve included Separate mix channels in the EZdrummer mixer, containing kick and snare drum samples designed by Daniel Bergstrand, that augment these already amazingly recorded drums.
Twelve classic Meshuggah songs, captured flawlessly via MIDI by Tomas Haake himself, organized both as full songs as well as song parts so you can customize, dissect and use his grooves and drumming brilliance to inspire or create your next grand metal composition. This is the next step in the evolution of Metal drum production tools.
Metalheads EZX® - product details :
Kickdrums:
• 14x26" Ludwig Amber VistaLite
• 18x22" Sonor Tomas Haake Custom SQ2
Snaredrums:
• 6.5x14" Ludwig Supraphonic 402
• 6.5x14" Pearl Reference
Hats:
• 14" Sabian HHX Power Hats
Racktom 1:
• 9x12" DW Collectors Series
• 8x10" Sonor Tomas Haake Custom Designer Series 1
Racktom 2:
• 10x13" DW Collectors Series
• 9x12" Sonor Tomas Haake Custom Designer Series 1
Racktom 3:
• 11x14" DW Collectors Series
• 10x14" Sonor Tomas Haake Custom Designer Series 1
Floortom 1:
• 13x16" DW Collectors Series
• 16x16" Sonor Tomas Haake Custom Designer Series 1
Floortom 2:
• 14x18" DW Collectors Series
• 17x18" Sonor Tomas Haake Custom Designer Series 1
In the beginning, Drum Kit From Hell (DFH) was only a drum library created to address Toontrack’s own needs for better and heavier drums in music production. Achieving enormous success after its release (being awarded 5 out of 5 in Sound on Sound and an EQ Magazine Exceptional Quality), the DFH was responsible for making Toontrack a known brand in the sample business. After developing EZdrummer and Superior Drummer, Toontrack decided to bring back the DFH as an EZX expansion pack to celebrate its importance in the company’s success. And thank God they did. Or should I be thanking the Devil? The Drum Kit from Hell was actually how I personally found out about Toontrack. I’ve been a huge fan of the Swedish metal band Meshuggah and its drummer Thomas Haake for some time now and Haake is one of the Scandinavian drummers who contributed in the creation the DFH. It was used in the production of Meshuggah’s 2005 studio album, Catch Thirtythree.
Stories aside, let’s get down to business.
Once you load the DFH on your EZdrummer you will see an 8-piece Sonor drum kit with a flame shell finish and a 12-piece cymbal set that includes hats, splashes, crashes, rides and the cymbal that couldn’t be missed -- trashes! (Note: A detailed list of the sampled drums and cymbals that comes with this EZX can be found at the end of this article.) As far as drum kit presets go, the DFH comes with 5 (Default, Metal, Death, Thrash and Basic) helping you select the best samples combinations for each metal genre you are going to work on and, as you may have guessed, EZdrummer lets you save your own drum kit presets and also build your own library of drum samples, so originality is not a issue here.
What really thrilled me on this EZX pack, besides its perfectly metal-oriented drum recording, is its awesome MIDI Groove library content. You are going to see not just one, but TWO huge libraries with a enormous amount of beats and fills. The second library features exclusive grooves of each drummer involved in the drum sample recordings (Tomas Haake from Meshuggah, Owe Lingvall from Nocturnal Rites, Mattias Grahn from Naglfar and Efraim Juntunen from Persuader) giving you the power to use their own drum signature beats on your production. I don’t have to say that Haake’s one is my favorite do I? Each library comes featuring straight, odd signature, double kick, grind, blast and triplets beats along with drum fills and even choked cymbal hits. This vast amount of grooves will make you think twice when you are in need of a metal drummer for your music production (and you know how hard it can be to find a good one). Rearranging, mixing and matching grooves from the libraries to your main production application is easy and makes the job intuitive, inspirational and especially creative.
The Drum Kit From Hell EXZ pack is a perfect tool for all the metalhead producers and musicians out there in search of a perfect sounding kit with the skillfulness and drum quality of a few of the best metal drummers in the world.
Sampled instruments :
Kickdrums: • Sonor Designer Series 18x22" - damped and undamped neutral eq, extreme eq, • Ludwig Wood Fiber Glass 24"
Snaredrums: • Ayotte 4x14" Maple Shell • Ludwig 8x14" • Pearl Sensitone 6,5x14" Bronze Shell • Sonor Designer Series 6,5x14 Maple Light Shell • Sonor Designer Series 5x14" Maple Light Shell • Sonor Hilite 5x12" Maple Shell • Tomas Haake Engineering 7x14" Pockenholz Shell
Toms: • Sonor Designer Series 10x10", 12x12", 13x13", 16x16" and 18x18"
Hats: • 14" Sabian HH Rock HiHat
Cymbal 1: • 19" Sabian AAXtreme Chinese • 21" Sabian AAXtreme Chinese • 21" Sabian AAXtreme Chinese
BT Chorus v3.6.1 Fixed tempo sync problem. BT Phaser v3.6.1 Fixed tempo sync problem. BT Oilcan Echo v3.6.1 Fixed CPU problem when bypassing the plug-in on Windows machines. Liquid Mods v2.7.1 Fixed tempo sync problem. Liquid Phase v2.7.1 Fixed tempo sync problem. Echoes v1.1.0 Changed category to Delay for RTAS format. Fixed automation crash when using multiple controls in AU format. Magnetic v1.5.0 Fixed automation crash when using multiple controls in AU format. Fixed NaN output samples problem that were causing third party plug-ins chained after Magnetic to crash. DOWNLOAD Nomad Factory All Plugins Bundle v1.3 - PART 1
The Internet is filled with tutorials and all kinds of videos in which the uploaders record some activity on their desktop, leaving their viewers wondering about the tools they used to create the tutorials in the first place. The most powerful software solution that can do such a thing is called Camtasia Studio and works on any Windows version out there.
The application will take a while to download, since the setup kit has almost 200 MB, and to install, because there are a lot of files to be copied on your computer.
The interface seems overwhelming at first sight, since it throws all kinds of tools to the user, but this is precisely the way functions are typically organized in such a powerful application.
When starting a new recording, users get the chance to choose if they are interested in the desktop (either full screen, or a custom region) or PowerPoint. Once complete, the user can preview the recording and choose if they want to keep it or begin another one.
The recording process goes incredibly smooth and although one would expect such an application to be a bit heavy on computer resources, Camtasia Studio works fine. In fact, this is a mandatory thing because Camtasia thus leaves resources to other applications whose activity on the screen must be recorded.
Once the source video is captured, users can add callouts, audio effects, transitions, cursor effects and title clips along with voice narration and picture-in-picture functions. Each of these features might initially take some time getting used to, but the output is worth every minute spent experimenting.
The timeline is a handy tool that serves as an overview of the items added so far to the project, and adjusting the timing of each of them is as easy as moving a slider.
In order to finalize the project, one can export it to an archive, a SWF video or upload it directly to YouTube, depending on one's needs.
As a conclusion, the price tag Camtasia wears might not seem that exaggerated given its complex functions. Users simply need to give it a try and see how it works, and they just might end up being pleasantly surprised.
Ampeg SVX recreates the sounds, operation and feel of the world's most influential line of bass amplifiers and brings it to your desktop. You'll get the legendary sounds of the SVT-CL, the B-15, the 4Pro and BA500, all in a convenient lightweight and easy-to-use package.
When you think Ampeg, you think huge stadium bass tone… the Rolling Stones '69 tour with the wall of SVT Classic Heads and 810 cabinets. The sound of Rock & Roll — early Van Halen through AC/DC to Dave Matthews Band. You think the Motown sounds of James Jamerson and that fabulous "round" bass sound only a B-15 Flip Top can provide — the sounds that DEFINED, and DEFINE, bass.
So really you think "legendary". The sounds of Ampeg amplifiers are the sound of a bass revolution — the voice of generations of musical identity and groove definition that are synonymous with the fabric of our core as musicians. These are the tools we use to express our inner groove. These are our…
Get Legendary Tones. But what's behind a "Legend"?
You hear the term "legendary" and "legendary tone" thrown around a lot these days. Everyone is trying to "capture that legendary tone." But if you think about it, what does it really mean? What's behind "legendary" that makes it so?
If you dig deep, at the core of everything "legendary" you'll find one common thread — innovation. And at the heart of innovation is the challenge of the norm, a spirited approach that focuses thinking on not "what is" but "what if." Stadium Bass Tones, no Chiropractors
That's exactly what you get with the Ampeg SVX models. 100% pure Ampeg Bass Tone. Take 175lbs of "legendary" earth-shaking back-breaking roadie-killing bass gear and compress it into a mere 3-pound delicate instrument that can equally produce such raw power and emotion and you've got our "what if" thinking, and you've got the Ampeg SVX suite of Bass Amps and Bass effects. Innovative? Absolutely. Legendary? Hmmmm…
The SVT Classic. The B-15 "Flip Top". The SVT-4Pro.
Let's face it - We could say anything here. But fact the fact is, Ampeg chose us, IK Multimedia to create digital models of their most prized gear. Frankly, that should really say it all. However, if you're an Ampeg Fan, let us make you all warm and fuzzy inside. With the SVX package, you get the Ampeg "Greatest Hits" amps — the earth-shattering sound of Rock & Roll bass from the Grandaddy of them all – the SVT. The smooth groove making rolls of the B-15. The scooped "edgy-ness" of the 4Pro. All Tube, all legendary, all Ampeg.
BA-500 B-15R Portaflex "Flip Top"
SVT-Classic SVT-4 PRO
These amps and cabinets have a firm place in music history, but more importantly have the foresight and innovation that will drive the future of music. So accurate it even shut down
Actually, this is true. Funny story… during the first phase of testing with the Engineers at Ampeg, one particular software model was being driven so hard that it "shut down." Completely stopped working. Nada, nothing. Oh crap — we thought we were in trouble. But the lead engineer at Ampeg approved the model on the spot. You see, there was a slight design flaw in the actual amplifier being modeled that would cause a power fault shutdown if the amp was driven too hard for too long. The software model was in fact so accurate that it even replicated this design flaw… that's how accurate it is. If you think about it, it's the software engineer's equivalent of the "no brown M&Ms" rider clause in a performance contract — so it looks like we're playing tonight. But don't worry. We took took the "shutdown" feature out of our models so you can rock all night. Really. Life Below 250Hz (250Hz Under the Sea)
As Bass players, we live in a different, delightful world. Some would call it the "sub" world… the basement… the underground. We prefer "the Foundation." And Ampeg SVX delivers the foundation in spectacular form. You'll find the bass sound you need here to hold it down… the keep the drummer in check, and to guide the rest of the band through the complex musical journeys as only a true pro bass player can do.
So we're glad you're here. And hear. Welcome to the new worlds of legendary bass tones… Welcome to Ampeg SVX. How it works If you play, it makes sense. If not, it still makes sense.
If you're familiar with our other products, then you're right at home. Ampeg SVX works just like AmpliTube 3,AmpliTube Fender™, and our other guitar products. If you play bass through an amplifier instead, still, you're right at home. Signal Flow-er. Your Bass will bloom.
Ampeg SVX is extremely intuitive because it works just like your rig, only lighter. Make no mistake. The sounds from Ampeg SVX are authentic, true-to-the-original bass tones from the world's most respected line of bass amplifiers. What's different is the packaging.
Ampeg SVX starts with the ONE effect that makes every player sound great — the Tuner. Then your signal runs through a virtual dual pedal board. You daisy-chain pedals together, mix and match, drag and drop. Instantly reconfigure the order of pedals simply by grabbing one and dragging it to its new position in the signal chain. (Ampeg SVX has an automatic "unplug" and "plug in" feature in the pedalboards.)
Let it Go to your Head
The B-15 looks, acts and sounds like a B-15. The SVT-CL looks, acts and sounds like an SVT. The 4Pro looks, acts and sounds like a 4Pro. See a pattern here?
Then your signal travels to the Bass Head. Choose from four groove making machines… The SVT-CL Classic Head, the SVT-4Pro, The B-15R and the BA500 (combo, but the preamp and power sections have been digitally surgically "separated" from the cabinet). Here you can tweak your tone to perfection.
Next Stop: The Bass Cabinet
Some people argue that the cabinet is the single most important "tone" feature for a bass rig. With that in mind, we completely re-engineered the cabinet section, providing you with more realistic bass response than any other bass amp simulation package. The new section allows you to freely position two microphones in front of the speaker, plus add room ambience with a stereo pair of condenser mics that allows you to adjust the "spread" and depth of the room. The result? Ultra-accurate bass response plus the ability to mix in the perfect amount of room warmth. Boom.
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VirtualDJ is a DJ software for PC and MAC. It is used by DJs to replace their turntables and CD players, and use digital music instead of vinyl and CDs.
In the same way that the CD players used by DJs have more options than a regular Hi-Fi CD player, VirtualDJ has more options than a simple media player like iTunes. It lets you "mix" your songs, by playing two or more tracks at the same time, adjust their relative speed so that their tempo will match, apply effects like loops etc, and crossfade from one side to the other. It also lets you scratch your songs, set and recall cues, and all the other regular features DJs expect to find to be able to mix.
It will let you organize your collection of tracks and group them easily in a DJ-friendly way, using filter to find the hot songs, or find compatible bpm or key, access your previous playlists, etc. And if you're missing a track, VirtualDJ will automatically find it on the Internet and stream it directly (*requires an additional subscription). And, using the millions of automatic reports we get every day from other VirtualDJ users around the world, it will give you meaningful advices on which songs other DJs consider to go well after what you just played.
VirtualDJ can play not only audio tracks, but also video or karaoke, if you connect your computer to a projector or the club's screens.
It comes with a plethora of effects, ranging from traditional flanger, echo, etc, to more modern "beat-aware" effects like beatgrid, slicer, loop-roll. And if you mix videos, you'll also find a lot of video effects and transitions to play with. Its built-in sampler will let you spice up your mixes with a broad range of drops and loops, or you can go creative and merge live performance and production by creating remixes on-the-fly by using the sampler like a sequencer.
VirtualDJ is plug-and-play compatible with most of the DJ controllers that exist on the market. Just plug yours and you will be ready to go. And if you want to change any of the default behavior, VirtualDJ has a powerful "VDJScript" language that will let you easily tweak any functions exactly to your liking. Same for the interface. If you want to change it, our website hosts hundreds of user-made interfaces to replace the default one, or you could easily create your own.
VirtualDJ is used by tens of millions of people every day, ranging from bedroom DJs to international superstars. It is used to play live in clubs and big stadiums, at weddings, private parties, or just to train at home. And in addition to being used live, VirtualDJ can also be used to record mixtapes, podcast, or to broadcast to Internet radios.
AmpliTube Jimi Hendrix TM is based on the AmpliTube engine. As a package it promised far more than amp models, including cabinets, some rare classic effects, different microphones, and the ultimate in time savers – Hendrix presets. Performing the review I wanted to see just how it stacked up (forgive me), how versatile both the configuration and sound were and ultimately answer the question.. would I use it for more than just fun?
Performing The Review
I decided to try the stand alone version first, focusing on the sound and usability aspects of the review, moving onto running it as a VST plug in allowing me to focus on one aspect of functionality at a time.
I decided to approach my review without first reading the manual. My experience has taught me that by far the majority of users approach software this way, only turning to the manual when they hit a stumbling block. It relies on a fairly intuitive interface to be reasonably successful, so I jumped right in and noted the questions that occurred to me as a I browsed for later reference in the user manual.
Input / Output Interface
Located at the bottom of the AmpliTube window, here you can adjust your input gain, and perform basic signal conditioning using a noise gate (took me a while to find based on browsing the application before using the help system). This section also contains a selected parameter display for adjusting individual controls on selected stomp boxes or rack effects, and a preferences section.
Modules
There are 5 different sound modules: - Tuner - Stomp Boxes - Amplifier - Cabinets - Rack Effects
A full list is provided at the end of the review.
Signal Chain
Choice of 8 preset signal chains for connecting the modules together with 2 side by side rigs that you can configure as 1 large rig, 2 simultaneous rigs, or something between the two.
Preset Manager
The preset manager allows you to load complete sound set ups covering the full Hendrix studio discography plus a variety of other common set ups and sounds. You can also create, save and load your own set ups.
Speed Trainer
Ideal for playing the original track at a reduced speed for learning a riff or entire song. You can set loop points and adjust the tempo and pitch variation.
Getting A Particular Sound
Armed with the trusty “Hey Joe” as a starting point my initial goal after connecting up my guitar was to see how easy it was to get that particular sound set up. I found the preset manager pretty quickly however my initial attempt was a bit confusing. Initially I was a bit daunted by the standard menu tree that popped up when I clicked “Preset Folder”. It was the only thing that said “preset” on the screen. A bit lost I closed that and clicked about. It took some minutes to find the interface based preset menus which was a mildly frustrating start.
Having found the menus I had no problem in finding “Hey Joe” with all the song set ups categorized by album, song and song part.
My instant reaction on playing was “Hey, that’s pretty damn good!”. Very evocative and convincing. No Fuss. I liked that.
I spent the next while navigating the presets, trying all the parts for all the songs, spending most of my time on my favorite tracks. Understandable, the sound truly is impressive. The ability to load each up with such ease somehow seemed like cheating but a most welcome cheat at that.
I didn’t have a midi wah-wah pedal to hand (or foot as the case may be) so I resorted to the auto-wah feature for tracks involving the wah-wah pedal and then to using an external wah-wah. The former provided less than spectacular results and the latter firmly place the tonal sweep at the beginning of the signal chain which was less than satisfactory. So I deferred the evaluation of these patches until I recorded in my chosen DAW.
I loaded the Hendrix CD tracks into the SpeedTrainer and played along for a more direct comparison with the tracks. There were discrepancies in the sound but considering variables outside the simulation such as the guitar used and its settings, the performer, the environment and the CD mixing/mastering it was hardly surprising. All in they were close enough to the sounds on original tracks.
After the Hendrix discography I also had a browse through a number of other typical amp set-ups provided by IK Multimedia. In general it was very easy to hear a use for these “out-the-box” presets.
Creating A Sound
I delved into dial twiddling trying out some settings of my own. I wasn’t disappointed. I could tell the difference between AmpliTube Jimi Hendrix and a real valve amp, but it is so close, some sounds particularly. A difference you are unlikely to notice in a mix. While I was more impressed with the dynamic changes in the sound than with previous amp simulators I did feel the amps still lacked some of the breadth of harmonics and the feel of the real amplifiers when they were being overdriven. It lacked that “untamed beast” quality.
I changed the amplifiers and cabinets, the signal chain, the stomp and rack effects and the microphone selection and position and saved and reloaded my customizations with no problems.
Using With A DAW
I used Sonar to perform the DAW perspective of AmpliTube Jimi Hendrix. I had no issues launching it from within Sonar. Each parameter of each effect or amp or any part of the interface can be controlled from within the DAW. In this I referred to the manual from the start.
My first port of call was to control the tone of the wah-wah pedal. I loaded the intro set up for Voodoo Chile (Slight Return) then recorded the intro as a raw unprocessed track while monitoring the sound from the amp simulator. After checking the midi assignments I drew in the wah-wah filter position in the controller window for an accompanying midi track. It did as expected sound wise and there were no real issues hooking the two together. Interface
It looks pretty good, and in general it’s not too hard to find anything. A more integrated help system would have been nice and perhaps more clearly defined sections gathered under headings such as “Presets” would have made navigation easier. I viewed the application at 1920 x 1200 resolution and I did find navigation menus such as the preset browsing a little awkward, having to repeatedly go back a step or two to pop up the right menu when an errant mouse move took me out with the zone for that menu. For me it was too sensitive.
Models
AmpliTube Jimi Hendrix includes a range of amps typical of the makes and models used by Jimi Hendrix.
I’m most familiar with the Marshall but each amp definitely has a realistic performance characteristic of the amps and cabinets they are modeling. Impressively the models behaved like the real amplifiers across the settings spectrum.
IK Multimedia’s DSM technology really does make a difference. The Marshall was accurately responsive to the nuance of my playing. When I played with a delicate touch on the Marshall I got that nice clean tone, more aggressive playing brought out the overdriven amp sound distinctive to Marshalls.
It’s a pretty flexible system. You can combine the pre-amps and power amps and cabinets any way that you like, and the ability to have dual signal chains was interesting.
Good range of stomp boxes appropriate to the time. You can easily assign each to a different place in the stomp box signal chain. The stomp boxes were good, although I was disappointed in the wah-wah when set to auto mode. Most were fuzz pedals of one kind or another, but as it is a Hendrix set up that is to be expected.
There is an online Preset XChange where users can swap presets with each other.
It did occur to me that it would have been nice to be able to expand AmpliTube by allowing the user to buy and install individual amp/cab/effects models without having to buy further full collections. XGear does provide the ability to use the amp/cab/effects from multiple AmpliTube packages via one interface.
Tuner
A pretty straight forward tuner. I tried a few different guitars and had no real problems with the exception of when I used a “noisy” guitar.
IK Multimedia's AmpliTube is one of the most acclaimed software amp simulators on the market. It's been rolled out in various forms, including AmpliTube 2, Jimi Hendrix, Ampeg SVX, Metal and now the officially endorsed Fender version.
All bear the 'Powered by AmpliTube' legend, and between them they cover an impressive 38 amps, 45 cabinets, 57 pedals and 30 rack effects.
AmpliTube Fender includes 12 amps, 12 cabinets, nine microphones, six pedals and six rack effects. Like all AmpliTube products, Fender comes in both plug-in and standalone formats, the latter intended for live performance (or practice, of course).
You can choose from a number of preset routing configurations, to create, for example, dual amp setups. The standalone version also includes the rather useful SpeedTrainer audio player, which enables you to slow down tracks to aid in learning parts. Overview
As the name implies, AmpliTube Fender only emulates Fender guitar gear. With such headline amps as Twin Reverb and Vibro-King in the pack, this is patently obvious, but the rack effects (Pitch Shift, Tape Echo, Sine Flange, Triangle Chorus, Wah and Compressor) are sourced from Fender's more recent Cyber-Twin amp, while the pedals (Blender, Phaser, Fuzz Wah, Tape Echo, Volume and '63 Reverb) are from throughout the company's history.
There are cabinets to match their respective amps (although you can mix and match) and, with the exception of the Bassman 300 and Metalhead, these are all combos. Mic emulations vary from the commonplace SM57 and U87 to the more unusual Beyer M160 ribbon and Sennheiser MD441. On- and off-axis settings and near and far positioning allow for plenty of sonic variety from the mic options alone. IK is keen to point out that AmpliTube Fender is its most accurately modelled package to date, citing extensive use of their Dynamic Saturation Modelling (DSM) and the recreation of each and every stage of the amps and effects. The company has also developed something called Volumetric Response Modelling (VRM), which has enabled it to capture the sound of the Vibratone Rotary Speaker.
Of course, Fender has approved the sounds of the package, too. You'll also find options for activating oversampling for pedals or amps and a high-resolution mode – inevitably, these carry an accompanying CPU hit. Amps
Clearly, AmpliTube Fender's big draw is its amp emulations. Half of these stem from Fender's rock 'n' roll hey-day and include the '59 Bassman LTD, '57 Deluxe, '64 Vibroverb Custom and '65 Deluxe Reverb, as well as the '65 Twin Reverb and Vibro-King Custom already mentioned.
The other six amps are more recent: the Champion 600, Super-Sonic, MH-500 Metalhead, Pro Junior, Bassman 300 and TBP-1 Bass Preamp.
So, if you're after the full-scale classic valve-driven sound to couple with a Strat or Tele, you've got six great choices in the older units. The other models offer broader capabilities, such as bass-specific amps. The Bassman 300 is a modern rig with graphic EQ and compression, while the TBP-1 offers a classic tube preamp with modern overdrive and EQ.
For a more contained, 'studio' sound for electric guitar, you've got the Pro Junior and Champion 600 amps, while metal maniacs should try the MH-500 Metalhead rig, which has a solid-state power amp.
Finally, Fender's recent Super-Sonic valve amp gets a look-in, although only the Burn channel is included (the Vintage channel is absent). In use
Just dropping the plug-in onto pre-recorded guitars in a mix revealed plenty of recognisable Fender tones, from the thickness of the Bassman to the direct, punchy sound of the Champion 600 and on through the rich, creamy Twin Reverb.
Purely in amp terms, you're spoilt for choice, and while the pedal effects aren't very extensive, at least they're all good.
The fun really started for us when we used AmpliTube Fender in real time with a Stratocaster – it successfully sculpted that potentially weedy Strat tone into all manner of rich, solid and distinctive sounds.
Our favourite amp is definitely the '57 Deluxe, but each model offers something slightly different. Overall, the Metalhead impressed us the least, but by contrast, the recent Super-Sonic is brilliant.
Much like the pedals, the rack effects are only really the icing on the cake, but they're useful for certain effects, such as chorus and flanging. It is frustrating, though, that the effects are rigidly divided into pedal and rack categories – since there's no compression pedal, we'd love to be able to place the Compressor rack before the amps, but you just can't do it.
And you still can't reorder the effects, either, though if you use X-Gear (a free download for registered users) you can combine elements from different AmpliTube products to create monster rigs.
X-Gear lets you access presets for individual elements (amp, cab, pedal, rack) as well as the full rig presets, and they're all categorised by product (Jimi Hendrix, Metal, Fender, etc). There are also presets that combine modules from multiple AmpliTube titles, although you'll need to own the particular editions used in a patch to load them up.
X-Gear offers the same automation system as the regular AmpliTube: each module parameter (ie, knobs and switches of pedals/amps/effects) can be assigned to one of 16 host automation parameters.
There's also a MIDI implementation that's exclusive to X-Gear, but it only gives access to controls for preset next/ previous, stomp bypass, and volume/ wah/Wharmonator. This is pretty lacking compared to some of the competition, such as Overloud TH1, which lets you control almost any combination of parameters via MIDI CCs, and jump to specific patches. Summary
Gripes aside, AmpliTube Fender is IK's most convincing amp sim product to date, and it can produce so many new and old tones that you really are spoilt for choice.
On the downside, CPU usage can be considerable, particularly with the high resolution and oversampling modes activated. But all told, we're enormously impressed by this package, as all it's really lacking when compared to the real thing is that physical guitar-amp-player interaction.
Guitar Rig is one of the major components of the Komplete environment created by Native Instruments. Its an audio effect rack which is fully aimed at processing guitar (based) sounds. It contains several amplifier and cabinet devices and dozens of other audio effects. Apart from the audio effects it also provides a lot of specific tools which can be used to further expand on your sound.
Tools such as an LFO, step sequencer, envelope processor which can all be seen in this screenshot, but also tools like a ring modulator, a loop machine, or what to think of a splitter which allows you to treat the left and right channel in a different manner?
On the right you see an overview of all the module categories which are provided by Guitar Rig.
Apart from the standard collection of tools and effects the Guitar Rig engine as a whole also forms the basis for many other (separate) effects. From specific amplifiers such as Rammfire, “DJ Tools” like Traktor’s 12 to specific reverb effects such asReflector. There’s much more to Guitar Rig than guitar sounds alone. Sure; some effects maybe tailor made to process guitar (or string) sounds, but why would that stop you from using them in a totally different fashion?
A small side step but if there’s one thing which using Reason over the years has taught me its that you shouldn’t take anything for granted. What do I mean by that? Just because a sound effect such as ‘Tape Echo’ is part of the Kong drum designer doesn’t mean you can only use it within Kong. Dare to experiment! Guitar Rig is no different.
Workflow
Using Guitar Rig is actually quite easy, although just like with Live you really want to experiment with it because there’s a lot more than meets the eye.
As mentioned earlier Guitar Rig (“GR5″) is an audio effects rack. You basically select the components which you want to use from the components or navigator section and drag them into the main window on the right. Here all the effects get stacked together, the sound basically travels from top to bottom.
Rack tools
Apart from the several audio components shown above there are also a few so called “rack tools”:
As you can see there’s much more to GR5 then ‘merely’ a bunch of audio effects. So what do we have here; from top to bottom:
Tapedeck PRE: You could consider this to be a sampling device of some sort. It allows you to record your pre-processed audio (so before it gets processed by the audio effects) but can also load wav, mp3 or aiff files. As can be expected you can transpose your sound, change the tempo (without affecting pitch), etc.
Tuner: GR5 is aimed at guitars and this proofs it once more. What good is a “Guitar Rig” without a tuner? Tune your guitar or other (string-based?) instrument; it can even optimize itself for specific use such as guitar or bass (and more).
Metronome: Should be pretty self explaining, no? Nope. Not only can the metronome be used to keep yourself on track, it can also synchronize some rack modules (like delay effects).
Preset volume: The input volume can heavily influence the way the several effects react. So to make sure that the input signal doesn’t get too high you can use this device to optimize the volume for your effects rack.
Tapedeck POST: Should be obvious enough by now I think; where the tapedeck PRE could record the incoming signal before it was being processed, the POSTdevice does the opposite. This can record the signal after it has been processed. And you can easily link this with the PRE device for even more control…
Master FX: Shouldn’t be too much of a mystery. This is a container which can hold several audio effects which will process the audio at the end of the chain. The several effects you drag onto the GR5 rack are basically insert effects; this device contains the so called “Sends” or “Global” effects.
And if you’re wondering which rack tool I didn’t show up there:
The Rig Kontrol tool is a section used to configure how the ‘Rig Kontrol’ should respond to GR5. Rig Kontrol is a foot pedal which contains an audio interface, 8 switches, and its fully meant to be used as MIDI controller to quickly control certain aspects of GR5 using your foot:
The Guitar Rig ‘Rig Kontrol’.
So as you can see GR5 is all about recording and processing sounds which you make with your guitar, the hardware controller is fully setup with this goal in mind too.
Even though I don’t play a guitar I can’t help think that GR5 is an ideal tool for using your computer as a bad ass amplifier.
Don’t forget that you can use GR5 both as a VST (inside a DAW) or stand alone!
The sound effects Apart from the amplifiers and cabinet devices there are quite a lot of other sound effects which you can use. Which is also why I think GR5 makes an excellent effects tool, even if you don’t play the guitar. In fact, there are simply so many available that I can’t address them all, but to give you a good impression I’ll pick out some of the tools I considered quite interesting and maybe somewhat special. I won’t address “obvious” tools such as delays, reverbs, distortion effects and limiters because quite frankly; I think it should be obvious that GR5 has its share of those too.
The Harmonic Synthesizer is a pitch effect which adds 3 synth voices to the incoming signal which can then be mixed using the controls seen above. This creates some very special synthetic effects to your sound which can really make it stand out.
Electric Lady is an LFO based effect which adds some wobbly as well as a very specific flanger effect. I think the combination of the two can really add that little bit of spice to your sound.
The stereo tune is an effect which gives a stereo effect to your sound by detuning your signal and spreading it across both channels, thus generating a somewhat ‘widening’ effect. It doesn’t sound very special if you apply this on regular tones (such as those produced by the default Operator settings) but on more “fuller” sound I think you’ll soon come to appreciate this one. Side-chain compression
Now, I know I said I wasn’t going to address any “common” effects but I still think this is special enough to mention…
This is one of the 3 compressors available in GR5. Notice the sidechain button up there?
If you have loaded a compressor in GR5 then you can actually use audio signals from within your DAW (Live in my case) to be used as a sidechain input which can then trigger the actual compression of the signal processed by the GR5 audio effects rack.
As you can see in this screenshot its quite easy too; just point “Audio To” to the track on which Guitar Rig 5 resides and Ableton Live will figure out the rest itself. Concluding
Although Guitar Rig is fully designed to be used as a signal processor for guitar (-like) sounds its also one heck of an audio effect rack which allows you to create some pretty unique and maybe plain out bizarre sound effects.
This is but a review so I’m keeping things a little broad to try and also keep this interesting for people who don’t own Guitar Rig (yet?); but rest assured that I’ll go over some specifics in a future blog post.
SO; if you’re interested to learn more then you should consider visiting the Guitar Rig 5 Pro product page on the Native Instruments website. More information about the Rig Kontrol device can be found on its own product page.
And if you simply would like to give this a test drive yourself then the free of charge available Guitar Rig player is all you need.
Small sidestep: It is free but you still need to register. I’m quite the critic when it comes to people or companies which claim to provide “free stuff” and “only” want your e-mail address, but in this case I can guarantee that this is different. The only reason Native Instruments wants you to register is because this is part of their copy protection. Although its free you actually get a license for the free player(s) as if you would have bought them. Don’t forget to keep the installer and copy it to somewhere safe; the download link which is provided will only work for a limited amount of time.
And as for me; I consider Guitar Rig to be a very special and specific tool. I like how it has a rather ‘easy’ look and feel to it but once you start experimenting with it a little more you’ll eventually discover that it can do soo much more (like the sidechain compression).
It maybe designed with guitar play in mind, but I also consider it to be a very valuable effects tool for other music genres which is something I really came to appreciate.
And there you have it.
DOWNLOAD Native Instruments Guitar Rig 5 Pro v5.1.1( 617Mb )
