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TOONTRACK

Toontrack Modern Metal EZX Audio Library VST Plugins 2022

€ 20,00 € 10,00

Toontrack Modern Metal EZX Audio Library VST Plugins 2022

 

The Modern Metal EZX was recorded by engineer/mixer/producer Will Putney at his own Graphic Nature Audio studios in New Jersey. Featuring five carefully captured kits, each handpicked for their unique tonal qualities, paired with Will Putney’s raw but still sonically immaculate production style, this EZX paints a unique document of hard-hitting, aggressive-sounding drums with a tangible edge, nerve and energy.

In addition to the kits and the large assortment of cymbals, extra kicks and snares, the Modern Metal EZX also includes a comprehensive library of presets as well as a selection of MIDI grooves and fills designed for anything from heavy rock to death metal, hardcore and progressive metal.

Ultimately, the Modern Metal EZX presents the embodiment of modern metal drums at their finest – fit for anything from hardcore to metal and any subgenre descriptor that may be wedged in between.

 

 

FEATURE SPOTLIGHT

  • Recorded and produced by Will Putney at his Graphic Nature Audio studios in New Jersey
  • Sampled by Billy Rymer (Dillinger Escape Plan)
  • Includes five individual kits
  • Several extra kicks and snares as well as a wide range of cymbals
  • Kits and tones designed for every facet of modern metal
  • Features custom presets engineered by Will Putney
  • Includes a collection of MIDI for anything from heavy rock to brutal death metal

 

 

ABOUT WILL PUTNEY.

Name: Will Putney
Profession: Engineer/mixer/producer/artist
Location: New Jersey, USA

For more than a decade and counting, Will Putney has been making records back to back with the elite of the modern metal and hardcore world. Known for his bold audio landscapes, visionary ideas and raw but sonically immaculate productions, he has undoubtedly become one of the most in-demand and prolific engineers, producers and mixers in today’s heavy music scene. In addition to his production work, Will is also an established artist, guitarist and songwriter with his bands Fit for an Autopsy and END.

 

SELECTED DISCOGRAPHY.

 

EVERY TIME I DIE “LOW TEENS”

 

KNOCKED LOOSE “A DIFFERENT SHADE OF BLUE”

 

THY ART IS MURDER “HUMAN TARGET”

 

THE AMITY AFFLICTION “LET THE OCEAN TAKE ME”

 

AFTER THE BURIAL “EVERGREEN”

 

BODY COUNT “CARNIVORE”

 

FOUR YEAR STRONG “BRAIN PAIN”

 

COUNTERPARTS “NOTHING LEFT TO LOVE”

 

VEIN “ERRORZONE”

 

 

Q&A.

Q: You grew up playing instruments and being in bands. How did you fall into making records and making a career out of it?
A:
 I had always been involved in the NJ metal and hardcore music scene in one form or another, whether it was playing in bands, trying to start a record label, booking shows, etc., but had never really thought of a music career, it was just a hobby I was obviously passionate about. While in college, I was taking music electives and interning at a radio promotion company for fun, which happened to share the same building with a record producer named Machine. My internship had run its course and Machine was looking for a new assistant, so the stars aligned and I wound up getting that gig and went in to work at a recording studio completely unexperienced. From there I really never looked back, and just dove head on into the world of audio production.

Q: As you mentioned, you began your career under the tutelage of producer/engineer/mixer Machine. Since then you have started your own shop and gone solo for quite some time. What would you say were the biggest takeaways from this early era?
A:
 The first-hand experience of watching records being made is unparalleled to any other form of education in this field. There’s just endless tips, tricks, and methodologies you sponge up and then translate into your own process. The real takeaway is learning not just “how things work” but “why it’s cool.”

Q: Since, you have made records back to back with literally the who’s who of the scene. Looking at your discography, some years you’ve been involved in making upwards of ten records. Seeing as you always strive to reinvent yourself and evolve your sound, how do you cope with this massive workload while still always making sure each record has its own identity?
A:
 I typically produce about 10-12 records a year with another 10-20 outside mixes on top of that, so learning how to multitask became very critical. Having a great staff of engineers and assistants also really help us push things forward at the studio. Trying to exercise, eating healthy, prioritizing sleep and maintaining some kind of daily schedule to complete tasks all factor in to the ability to fire on all cylinders when the workload is intense.

Q: Out of the all the roles a music project covers on your end of things – producing, engineering, mixing, mastering – is there one you prefer over the other?
A:
 I really enjoy the early stages of pre-production, when the songs initially start to take shape. It’s very rewarding to work with a great band and find ways to enhance what’s special about them. Over the years, engineering undoubtedly has a tendency to get monotonous, but that initial stage always remains exciting. I also really enjoy sound design, whether in the tracking or mixing stages. It’s the never ending quest to achieve something new and exciting that keeps me interested in this profession.

Q: You’re often involved in every step of making a record. Songs, sound and overall approach is usually something very dear to a lot of bands. How do you deal with situations when wills and visions collide?
A:
 Fortunately for me, I haven’t really been in many difficult situations like that where I’m in conflict with the band. I think I’ve done a good job of aligning myself with like-minded people who can easily check their egos at the door and just let the best idea win. When situations like this occasionally arise, I try to just remember that everyone has the same goal in mind, to create the best record possible, and we always find a solution or compromise that solves the problem.

Q: How would you describe your personal sound? What is the most obvious “Will Putney″ identifying factor of a production (if any)?
A:
Honestly I have no idea, I try to design records with a unique approach that is always tailored for the aesthetic of the band I’m working with. What I would hope is that listeners hear something a little different than what they’re used to with each record. But I do commonly live in the zone of raw approaches to modern production, where I try to keep the organics of the band intact while living in competitively hi-fi sonics.

Q: Assuming the music is great, what would you say is the most pivotal part of a production?
A:
I think good performances make or break a record. When you get great takes it solves a lot of other problems, and even an objectively “bad” production can still have the magic it needs for songs to translate.

Q: In a mix, where do you usually start: the drums, guitars, vocals or something else?
A:
It’s a little of everything at once. I typically like to find a great balance between all the instruments before the fine tuning starts – you can do a lot with volume before you start to prevent a mix from being overworked.

Q: Is there any instrument you generally struggle with more than any other in a mix?
A:
This will always change from record to record, but there’s always those tricky spots with the low-end, balancing your bass guitar, dialing in the right amount of guitars for the wall of sound without the harshness, etc.

Q: Do you have any mix “trick″ you generally fall back on?
A:
If anything I’d say my routing and analog setup for mixes is one of my only real “template” style starting points. I’ve acquired specific gear I like for certain instruments over the years I’ll generally start a mix with, and I’m pretty comfortable working efficiently with that starting point setup now.

Q: If you produced a record but couldn’t mix it yourself – who would be your first pick for the gig?
A:
There are a ton of great mixers out there nowadays. I’ve always been a huge Eric Valentine fan, would love to see what that pairing turns up. Always loved Kurt Ballou’s approach to aggressive music, he’s definitely a peer I respect and would love to work together with one day. Josh Wilbur is great for the modern hard rock/metal mix. We could do this all day, haha!

Q: As for the sounds you recorded for this library, what do you hope users take away from them and how do you see yourself using them in your work?
A:
It’s taken me years and years to work up to the methods and process we used to capture the drums in this library. The ability to have all of my drum sounds a fewmouse clicks away is something I never thought I’d have access to. It’s going to be a ton of fun using these samples on productions, particularly the ability to control the room mics is going to really be enjoyable. It’s definitely a tool I would have killed for as a producer earlier in life, so I hope it inspires people to take these sounds and enhance their own visions. There’s a little something for everyone in this, so I’m looking forward to hearing some awesome records!

THE DRUMS.

From big and beefy to short and snappy – the Modern Metal EZX covers
the entire scope of metal drum tones.

 
AUDIO DEMO
 

*All other manufacturers’ product names are trademarks of their respective owners, which are in no way associated or affiliated with Toontrack. See full notice here.

 

THE BIG AND BEEFY KIT.

“This particular kit was one I had sought out for a LONG time. I really love the depth of the drums on this one, especially the deep toms. It’s a studio staple that has been used on countless of my favorite records and one of my favorite workhorse kits. Really shines for hard rock and groove-based hardcore and metal.” Will Putney

 

SEE FULL INSTRUMENT LIST AND DETAILS.

Brand: Yamaha
Model: Recording Custom 9000
Year: 1990s
Shell construction: Birch w/ Yess mounts
Shell finish: Reversed Starburst
Tool(s) recorded: Drumsticks

KICK

Size: 16×22″
Batter head: Remo Powerstroke 3 Clear
Resonance head: Remo Powerstroke 3 Ebony
Beater: Wood

SNARE

Brand: TAMA
Model: Bell Brass
Year: 2016
Shell construction: Cast Brass
Shell finish: Brass
Size: 6.5×14″
Batter head: Remo Powerstroke 77 Coated Clear Dot
Resonance head: Remo Ambassador Hazy Snare Side

RACK TOM 1

Size:9×10″
Batter head: Remo Emperor Coated w/ Moongel
Resonance head: Remo Ambassador Clear

 
RACK TOM 2

Size: 10×12″
Batter head: Remo Emperor Coated w/ Moongel
Resonance head: Remo Ambassador Clear

FLOOR TOM 1

Size: 12×14″
Batter head: Remo Emperor Coated w/ Moongel
Resonance head: Remo Ambassador Clear

 
FLOOR TOM 2

Size: 16×16″
Batter head: Remo Emperor Coated w/ Moongel
Resonance head: Remo Ambassador Clear

*All other manufacturers’ product names are trademarks of their respective owners, which are in no way associated or affiliated with Toontrack. See full notice here.

 

THE DENSE AND DEEP KIT.

“This kit really surprised me, the thickness and smooth low-end projection is quite impressive. The longer depth of the kick drum gives it a presence unlike the other drums I own. t was initially the underdog at the studio, but in the past few years this one’s won a LOT of shootouts.” Will Putney

SEE FULL INSTRUMENT LIST AND DETAILS.

 

Brand: Drumcraft
Model: Series 8
Year: 2010s
Shell construction: Maple
Shell finish: Electric Black
Tool(s) recorded: Drumsticks

KICK

Size: 20×22″
Batter head: Remo Powerstroke 3 Coated
Resonance head: Remo Powerstroke 3 Ebony
Beater: Wood

SNARE

Brand: Drumcraft
Model: Series 8
Year: 2010s
Shell construction: Maple
Shell finish: Natural Maple
Size: 6×14″
Batter head: Remo Powerstroke 77 Coated Clear Dot w/ Snareweight brass damper and Moongel
Resonance head: Remo Ambassador Hazy Snare Side

RACK TOM 1

Size: 9×12″
Batter head: Remo Pinstripe Coated
Resonance head: Remo Ambassador Clear

FLOOR TOM 1

Size: 16×16″
Batter head: Remo Pinstripe Coated
Resonance head: Remo Ambassador Clear

 

 

THE PUNCHY AND
BALANCED KIT.

“This is an interesting take on studio standard using metal instead of go-to tone woods. Steel makes for unique overtones, and this kit’s definitely helped me create some surprisingly fat yet punchy drums, almost as if some space has been created with different resonance points to let the attack shine. It sits really well in a mix, and with the right drummer behind this thing, it’s incredibly even-sounding.” Will Putney

 

Brand: TAMA
Model: Sound Lab Project
Year: 2010s
Shell construction: Steel
Shell finish: Matte Black
Tool(s) recorded: Drumsticks

 

 

 

 

KICK

Size: 16×22″
Batter head: Remo Powerstroke 3 Clear
Resonance head: Remo Powerstroke 3 Ebony
Beater: Wood

SNARE

Brand: Ludwig
Model: Acrolite
Year: 1970’s
Shell construction: Ludalloy
Shell finish: Brushed Aluminium
Size: 5×14″
Batter head: Remo Controlled Sound X Coated
Resonance head: Remo Ambassador Hazy Snare Side

RACK TOM 1

Size: 9×13″
Batter head: Remo Emperor Coated
Resonance head: Remo Ambassador Clear

FLOOR TOM 1

Size: 16×16″
Batter head: Remo Emperor Coated
Resonance head: Remo Ambassador Clear

THE SHORT AND SNAPPY KIT.

“This is a go-to for the faster metal drummers. I really like this one for dryer and more in-your-face style productions, when the drums need to come and go as fast as possible while maintaining a dense character. The classic maple vibe works on other levels too, so don’t be afraid to rebalance the ambience for another extremely useable rock style production.” Will Putney

 

Brand: DW
Model: Collector’s
Year: 2000s
Shell construction: Maple
Shell finish: Satin Sunburst
Tool(s) recorded: Drumsticks

 

 

 

 

KICK

Size: 18×22″
Batter head: Remo Powerstroke 3 Clear
Resonance head: Remo Powerstroke 3 Ebony
Beater: Wood

SNARE

Brand: TAMA
Model: Bell Brass
Year: 2016
Shell construction: Cast Brass
Shell finish: Brass
Size: 6.5×14″
Batter head: Remo Powerstroke 77 Coated Clear Dot
Resonance head: Remo Ambassador Hazy Snare Side

RACK TOM 1

Size: 8×10″
Batter head: Remo Pinstripe Clear
Resonance head: Remo Ambassador Clear

 

RACK TOM 2

Size: 9×12″
Batter head: Remo Pinstripe Clear
Resonance head: Remo Ambassador Clear

FLOOR TOM 1

Size: 12×14″
Batter head: Remo Pinstripe Clear
Resonance head: Remo Ambassador Clear

 

FLOOR TOM 2

Size: 16×16″
Batter head: Remo Emperor Clear
Resonance head: Remo Ambassador Clear

THE WARM AND WOODEN KIT.

“This line of drums is probably one of the most recorded kits at the studio. A lot of drummers I’ve worked with choose this kit for their own setup, and rightfully so. It has great organic warmth and decay with a modern attack and punch, really the best of both worlds and a parallel to my favorite production style.”
Will Putney

 

 

Brand: TAMA
Model: Starclassic Performer
Year: 2010s
Shell construction: Birch / Bubinga
Shell finish: White Oyster Lacquer
Tool(s) recorded: Drumsticks

 

EXTRA INSTRUMENTS

 

SEE FULL INSTRUMENT LIST AND DETAILS.

 

KICKS

Brand: Pearl
Model: Session Custom
Year: 2000s
Shell construction: Maple
Shell finish: Tobacco Sunburst
Size: 18×22″
Batter head: Remo Powerstroke 3 Clear
Resonance head: Remo Powerstroke 3 Ebony
Beater: Wood

Brand: TAMA
Model: Starclassic Performer EFX
Year: 2000s
Shell construction: Birch
Shell finish: Red Sparkle Fade
Size: 16×24″
Batter head: Remo Powerstroke 4 Clear
Resonance head: Remo Powerstroke 3 Ebony
Beater: Wood

Brand: Mapex
Model: Saturn V MH Exotic Wood
Year: 2010s
Shell construction: Maple
Shell finish: Deep Water Maple Burl
Size: 18×20″
Batter head: Remo Powerstroke 3 Clear
Resonance head: Remo Powerstroke 3 Ebony
Beater: Wood

 

 

SNARES

Brand: DW
Model: Collector’s
Year: 2000s
Shell construction: Maple
Shell finish: Satin Sunburst
Size: 5.5×14″
Batter head: Remo Emperor X Coated w/ Snareweight brass damper and Moongel
Resonance head: Remo Ambassador Hazy Snare Side

Brand: Pearl
Model: Vinnie Paul Signature
Year: 2000s
Shell construction: 6-Ply Maple
Shell finish: Snakeskin Wrap
Size: 8×14″
Batter head: Remo Powerstroke 77 Coated Clear Dot
Resonance head: Remo Ambassador Hazy Snare Side

Brand: DW
Model: Collector’s Exotic
Year: 2010s
Shell construction: Maple
Shell finish: Twisted Paldao
Size: 7.5×14″
Batter head: Remo Controlled Sound X Coated
Resonance head: Remo Ambassador Hazy Snare Side

Brand: Orange County
Model: Stainless Steel
Year: 2010s
Shell construction: Stainless Steel w/maple re-rings
Shell finish: Brushed Steel
Size: 6×14″
Batter head: Remo Controlled Sound X Coated
Resonance head: Remo Ambassador Hazy Snare Side

Brand: Ludwig
Model: Black Beauty 1928
Year: 1928
Shell construction: Seamless Brass
Shell finish: Nickel over Brass
Size: 5×14″
Batter head: Remo Emperor Coated
Resonance head: Remo Ambassador Clear Snare Side

Brand: Ludwig
Model: Black Beauty
Year: 2010s
Shell construction: Seamless Brass
Shell finish: Nickel over Brass
Size: 5×14″
Batter head: Remo Controlled Sound X Coated
Resonance head: Remo Ambassador Hazy Snare Side

Brand: Mapex
Model: Warbird Chris Adler Signature
Year: 2010s
Shell construction: Maple/Walnut
Shell finish: Natural
Size: 5.5×12″
Batter head: Remo Controlled Sound Coated
Resonance head: Remo Ambassador Hazy Snare Side

 

 

TOMS

Brand: TAMA
Model: Starclassic Performer EFX
Year: 2000s
Shell construction: Birch
Shell finish: Red Sparkle Fade
Size: 10×12″
Batter head: Remo Emperor Coated
Resonance head: Remo Ambassador Clear

Brand: TAMA
Model: Starclassic Performer EFX
Year: 2000s
Shell construction: Birch
Shell finish: Black Sparkle
Size: 8×8″
Batter head: Remo Pinstripe Clear
Resonance head: Remo Ambassador Clear

Brand: Yamaha
Model: Recording Custom 9000
Year: 1990s
Shell construction: Birch
Shell finish: Reversed Starburst
Size: 11×13″
Batter head: Remo Emperor Coated
Resonance head: Remo Ambassador Clear

Brand: TAMA
Model: Starclassic Performer EFX
Year: 2000s
Shell construction: Birch
Shell finish: Red Sparkle Fade
Size: 16×16″
Batter head: Remo Emperor Coated
Resonance head: Remo Ambassador Clear

Brand: Pearl
Model: Session Custom
Year: 2000s
Shell construction: Maple
Shell finish: Tobacco Sunburst
Size: 16×16″
Batter head: Remo Emperor Coated
Resonance head: Remo Ambassador Clear

 

 

KICK

Size: 16×22″
Batter head: Remo Powerstroke 3 Clear
Resonance head: Remo Powerstroke 3 Ebony
Beater: Wood

SNARE

Brand: DW
Model: Performance Steel
Year: 2010s
Shell construction: Chrome over Steel
Shell finish: Chrome
Size: 8×14″
Batter head: Remo Powerstroke 77 Coated Clear Dot
Resonance head: Remo Ambassador Hazy Snare Side

RACK TOM 1

Size: 9×12″
Batter head: Remo Pinstripe Clear
Resonance head: Remo Ambassador Clear

 

FLOOR TOM 1

Size: 16×16″
Batter head: Remo Pinstripe Clear
Resonance head: Remo Ambassador Clear

FLOOR TOM 2

Shell finish: Molten Satin Brown Burst
Size: 16×18″
Batter head: Remo Pinstripe Clear
Resonance head: Remo Ambassador Clear

 

Let op: Dit is geen 'Standalone' product. Het vereist ToonTrack Superior Drummer of EZDrummer. Dit is de  Library Uitbreiding Expansion met SoundPacks Presets en Library Uitbreidingen.

 

 


PRIJS IS 10 EURO