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Submit Review. Add a reply. Submit Reply. Flag this review. Your Email. Our experienced team of experts offers the highest level of before- and after-sale service. Our policies and services are designed to provide you with the ideal shopping experience. All Times are Eastern Daylight Time. Click here to see all locations. Sign In. A Fix button is used to render pitch-changed drums to ensure higher quality. Adjusting parameters for an individual drum via a Superpad also affects the way that that drum appears in the spill mics.
You can also change the velocity threshold between the loud, soft and graduated hits, vary the amount of spill feeding from one drum mic to another, and even phase-reverse individual mics. Individual mics can be adjusted without affecting the spill by going inside the Superpads and editing the Subpads instead. When it comes to bouncing down your drum track, you can select or bit resolution, whether to split the close-miked and bleed mic sounds, and whether to bounce each cymbal as a separate stereo track.
If clipping occurs during bouncing, you get an overload warning allowing you to lower the levels and try again. You might wonder whether 30GB of drive space can be justified for a handful of drum kits albeit immaculately sampled , and I suppose the answer to that depends on the level of realism and control you need. There's no arguing with the quality of the samples — the cymbals are allowed to ring for their full duration, and it sounds to me as though the drums were recorded in a particularly good drum room.
What's more, an intelligent polyphony mode allows the various hi-hat variants to interrupt each other in a very natural way.
If you want the sound of acoustic drums but the flexibility of being able to program your own parts, then this has to be the most meticulous solution yet devised. A couple of the operational aspects threw me at first, especially the business of having to select Enable Stereo Mixdown in the setup menu when using DFH Superior as a simple stereo plug-in, but once you know about it, it's not a problem.
However, to get the best out of DFH Superior, you really should use it in multi-output mode. DFH Superior's spill features are quite demanding of your computer, so you can opt to compose your tracks with the spill turned off, then switch it on when you bounce the files to disk.
I suppose comparisons with FXpansion's BFD are inevitable, and it's probably fair to say that these are the only two drum 'rompler' instruments that stand comparison with each other. However, there are key differences beyond the fact that the drum sounds were recorded from different kits in different studios, and I don't think it's possible to say that either one is 'the best'.
Personally, I find BFD 's visual approach more user-friendly, and though you can't adjust the spill to such a high degree with BFD, or modify the envelopes in the same way, I think it still gives the majority of users more than enough scope by allowing them to balance the close mics with room mics, overheads and PZMs using intuitive mix sliders.
With DFH Superior, once you've mixed the overheads and close mics, you're 99 percent of the way to getting a great drum sound, and back in the good old days, it was normal to employ gates to remove exactly the type of additional spill that DFH Superior now allows you to add.
Nevertheless, styles change with the times, and these days very live-sounding drums are in vogue, so having the ability to bring back all the spill artifacts, and to control them so precisely, will no doubt be welcomed by some. I also like the way you can bounce drum parts into multiple audio files for re-import into a sequencer, as this opens up a lot of possibilities for further EQing and processing. Of course the sound of the drums is what really matters, and I can't fault what Toontrack have come up with.
I would have preferred more kicks with wooden beaters, but the sounds cover most musical bases and the additional percussion section only adds to the flexibility, as does the cocktail kit. These drums seem to breathe life and they have bags of weight — it sounds just like having a real drummer on the other side of the glass, and I particularly like the way hard and soft hits are cycled to avoid 'machine gun' repetition.
By balancing the overheads and spill layers, you can have the drums as wet- or as dry-sounding as you like, and if you want the sound more 'damped', the release envelope controls function very effectively as virtual gaffer tape. The Percussion and Cocktail instruments don't have any preset kits, so you have to load in the sounds to create your own.
This is very straightforward, but some standard setups to get you going would have been appreciated. The percussion section is mainly Latin in theme and includes some wonderful tambourine rolls that switch off when followed by single hits to create a very natural effect. Cocktail is also wonderfully brash and is ideal for generating that carnival feel.
A kind of Ricky Martin meets Doc Martin!
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