I could also defeat that last stage and use my own 678 plug-ins without losing any of the stereo image or balance of Al's presets. Certainly this saves time, and with his excellent yet subtle settings, the kit seems glued together and manageable, as the miking is so good that one doesn't really need post-processing.Īl's subtle application of room reverb to the top snare and the overhead pair is just enough, along with light Fairchild 678 compression/limiting on the output buss. I feel like I'm missing something by not taking advantage of his presets, so it may be time to switch to "mixing in the drum VI" and having just one stereo drum track in the host DAW. Al's presets are the best I've ever heard for ANY drum library, as they sound very realistic and well-balanced, and probably would be OK in any song context, give or take some tweaks to the individual levels of some top kit pieces in the main drum view (vs. I just spent another 90 minutes reviewing the mono "no-mix" one-at-a-time approach vs.
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