Speaking of that, the mixer window allows you to control parts of the kit, room ambience, and other elements (e.g., bleed in the OH and bottom snare mics) for each kit, but you can also assign kick, snare, etc. Parts of the drum kit can be subbed out easily through the visual representation of the kit in the plug-in a feature I've found more than helpful while building a track or mixing. Chuck's an ace recording engineer, and the Neve 88R and EMI TG12345 and REDD.51 consoles at British Grove don't hurt either these sounds are pretty amazing, versatile, and most importantly are usable. Drum sounds feature variations on modern and vintage kits, plus percussion. First off, they commissioned new recordings from Chuck Ainlay, which were done at British Grove Studios in London. But the folks at Toontrack could not sit still, it seems, so they rebuilt their flagship product from the ground up. The original EZdrummer has been around since 2006 and is very popular and affordable. I installed SD, and it looked to be very professional and deep, but before I got to using it, I was given a copy of EZdrummer 2 to try out before its general release. After a few emails to Andy and Scott here at Tape Op, I soon was in touch with Toontrack and had a copy of Superior Drummer 2.0 ($349) and many expansion packs in my hands. I was also on the threshold of an album that I knew would need to originate from drum loops or such, so I started looking around for a solution. I downloaded a free "plug-in drum instrument" and started adding in kick and snare, and of course I saved the day with excellent mixes.
This is a world I'd long ignored, but in the middle of mixing a hip-hop album where I was stuck with a lack of multitracks, I decided I should learn MIDI and bolster up the beats. These days, it's unlikely to find anyone trying to pass off a drum machine beat as real, as we have many DAW-based choices, ranging from real, recorded drum loops, to MIDI- programmable drum production software, like EZdrummer 2. But back then, you'd also come across albums where a drum machine was attempting to take the place of real drums on some songwriter's album or such, and usually failing miserably.
They were rarely confused with real drums, but some had a quality that earned them time in the studio due to charm (e.g., Trio's Casio VL-1), intense sonic signatures (Cocteau Twins' E-MU Drumulator), or punchy abuse (Big Black's Roland TR-606, which they credited as "Roland"). Back in the '80s, when we needed a beat and didn't have a drummer present, we used to have analog and digital drum machines to keep time.
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