Drum Producer Pack

Drum Producer Pack by AIXDSP is the ultimate collection of plugins for recording engineers and drum producers. Drum Producer Pack is comprised of Multi Band Gate, DrumEQ and Intuition Compressor.

Version 2 now available!

$499.99  $149.99 Sale

* All plugins are 64 bit unless otherwise noted

Drum Producer Pack includes:

Multi Band Gate
Every part of every drum tells a story. Some parts are short and sweet, and if they overstay their welcome, you end up with a very different message than you originally meant to tell. Pure chatter. Some parts are very long winded, and you won’t really know what they’re talking about unless you give them a chance to speak their minds.
    Traditional gates treat all of these parts the same, requiring a compromise and never really letting you narrate the way you’d like to.
MGB allows you to set the timing of each frequency band of a drum separately, for instance letting the lows of a tom ring out gloriously, while shutting off the high end quickly, giving you all the attack and “splat” you want without letting the cymbals ruin your mix.
    The traditional way of doing this by chaining many gates and side chains is avoided in one, easy, convenient and informative package using MBG. In addition, each band can be mixed and processed separately so every band has its own particular enhancement(s) without messing up the others.
    Set the detector to the proper frequency range of the drum in question Set the crossover points to zero in on the parts of the frequency spectrum you want to behave in particular ways. Remember, there is a mute control per band, and since so often, mixing is about crating space, you may be lowering or muting entire bands to really clean up a mix. Set the hold and release controls long enough to let the tones you want thru and short enough in other frequency ranges to shut the unwanted bleed off before it makes trouble. 
    Why not just low pass(or high pass, or otherwise EQ) the offensive section out? Lets take the holy grail of all rejection problems, the tom tom, played by an inexperienced drummer, who also happens to have his cymbals only a few inches away from them, AND has to bash the cymbals before, during and after that tom fill.  An impossible task right? Time to just give up and trigger it… Wait, even THAT won’t work as there is far too much hash in all that noise. You’ll have to MIDI it in by hand or drop trigger pulses. Good thing you are being paid by the hour right? Oh wait, by song? Starting to rethink your poor career choices now? But wait, there’s MBG:
1. Set the detector to the resonant peak of that tom.
2. Set the threshold to just open on the actual hits.
3. Solo the low band and use the hold and release times to give you the nice, long decay of boooooooooom as the tom rings out naturally.
4. Un-solo the low band and set the high band just long enough to give you the wet “splat” of the stick hit and then quickly shut it down before the cymbals start to ruin that tom sound.
5. Set the mid band to taste depending on how much space is in the mix and what exactly you want to do with it (again, in dense mixes, you might just mute this band!)

6. If you want even more control, use the separate outputs to, for instance, send the high band out to an exciter, the mid band out to a reverb and the low band out to a sub-harmonic synth!

A noise gate where audio is divided into 3 frequency bands controlled by one trigger source. Solves the age old problems of cymbal bleed ( unwanted sounds from adjacent drums) into drums for instance.

Problem: Since the first days of close microphone techniques, one sound source “bleeding” into another sound source’s microphone has been a massive problem. It gets even worse when drums are involved. So many pages of forums, FAQ’s and chats are devoted to the problem of hi hats bleeding into the snare mic and cymbal mics leaking into toms.

Previous solutions: Regular single band noise gate. You must compromise between the drum cutting off way too early, or horrible cymbal bleed. Another attempted solution comes in the form of filtering plugins, but these don’t seem to have enough control.

Our Solution: Split the drum signal into separate paths by frequency. Hold each of these frequencies as long as, and only as long as you want. No compromise. Have the low end of a tom roll on for seconds while the hi end allows all the attack, but cuts off before the cymbals begin making trouble. One of the absolute standout features is the ability to see all the opening and closing points on an ARA 2 editor window, allowing you to manually modify the timing and fix any missed gates or false triggers.


Windows/OSX (VST2 VST3 AU AAX):

DrumQ is a static/dynamic EQ who’s frequency centers are set to octave multiples of the resonant frequency of the drum. A secondary, “Alternate Resonance” can also be added to subtly or drastically change the character of the drum as well.

How often when looking at old mixes, do you find that the cuts and boosts on your drum eq’s are centered around multiples of the drum’s resonant frequency? Perhaps this realization has led to you always keeping a calculator app open? At AIXDSP, we don’t just want to get rid of unnecessary mouse-clicks, but unnecessary calculators as well! Loop a section of the drum in question and turn the “Tune Frequency” knob until the blue vertical line on the spectrum window lines up with the fundamental resonant frequency of the drum. You will see that all of the EQ frequency centers have now changed to octaves of that new “Tune Frequency”. In many if not most cases, you will also see that the drum itself has some strong peaks or dips that those frequencies. Try cutting and boosting at these different octaves and rejoice in not having to fiddle around with calculators, fine tuning and direct entries just to get the frequencies right. Got it wrong? No problem, turning the “Tune Frequency” knob automatically adjusts all bands across all octaves! Set the “Alternate Resonance” knob above or below the fundamental frequency of the drum (think of this very much in terms of how you tune your tom’s bottom head compared to the top head). Turning up or down these band gains can have a very strong impact on the “harshness” or “smoothness” of the drum sound in total. You may have long ago noticed a phenomenon whereby turning up the gain on octaves above the fundamental often sounds extremely similar to turning up the fundamental itself. This has two enormous uses:

  1. You can definitely trick the ear into thinking that small speakers are putting out a LOT more lows because of this trick. Experiment with this sort of thing if you haven’t before. Its amazing just how much low bass it feels like the sound has even through an iPhone speaker\
  2. Because of the property above, you can carve out space in a mix by moving what seems to be the resonant octave up an octave or so, the classic case of making room for the bass guitar by moving the kick up.

And all this is before we get into the compressor/expander on every band, including a hold control! 

Drum specific EQ and dynamics processor with bands centered on the harmonics of the drum.

Problem: Often the frequencies that need to be addressed when mixing drums or harmonics related to the shells to the drum shells resonant frequency. An easy way to manipulate each of these harmonics can go a long way, you’re not just mixing but in altering the perceived base response of a song. Many times drums appear to have more bass than the phone speaker or headphone cadet ever pulled out through the illusion caused by turning up or down a harmonic that actually exists in that speaker’s band pass range.

Previous solutions: Google up a frequency response chart and a calculator and start entering in all your values and then type all of these values into a parametric equalizer plugin. No fun! Oops, you got the fundamental frequency wrong, now you have to do all of the calculations and typing in parameters again. Triple no fun!

Our Solution: with Drum EQ you first set the drums resonant frequency and all of the harmonics are calculated for you and mapped onto the other bands in addition there’s a secondary harmonic setting so that you can emulator effect of the bottom head some degree or are creating a more angry snare or a mellow snare. Also each band of DrumEQ features a set of dynamics so that you can have some control over the dynamic range of the queued signal a lot of times you’re gonna see that you’re gonna want to limit things after you boost them a little bit.


Windows/OSX (VST2 VST3 AU AAX):

Intuition Compressor

You have often seen an oscilloscope output showing an example of a snare drum waveform before and after a compressor. You’ve seen it in various academic papers, ads, articles, or even your recording school curriculum. It’s amazing to see what affect dynamics processing is having on your signal! Unfortunately, as you have also seen, it’s not so easy to use a virtual plugin O-scope to get this same information. It can have you questioning which calendar year you are in! AIXDSP brings you the Intuition Compressor – A compressor that peels back the layers of mystery surrounding dynamics processing. You will have a clear and intuitive visual display that shows exactly what is happening to your precious audio at all times.

A fully functioning compressor with an integrated oscilloscope. Very educational, actually lets you see the effect the compressor has on the source audio. Easy to compare before and after. Punch control. Hold control. The premise of this plugin is that the more you understand what your compressor is doing, the easier you will find it to make the sounds in your head come out of the speakers.

Problem: It is extremely difficult for students and even seasoned professionals to grasp exactly what a compressor is doing and consequently, exactly how to set it for the desired results. Also, in so many cases, it would be extremely advantageous to be able to set a specific time before the release curve begins. This is critical in Electronic Dance Music when ducking low frequency instruments via a bass drum sidechain for instance. Additionally, there is really no “one size fits all” attack or release curve, it would be very desirable to tailor the attack and release shapes to the source material. Finally, setting a minimum time before the attack curve begins would allow for some creative compressor functions as well as being much more predictable as to how to achieve a desired result. This is much more akin to what people think the “attack” control of  a compressor actually means.

Previous solutions: There are a number of plugin o-scopes out there at the moment, but they do not feel or behave the way traditional audio engineers would expect.

Our Solution: Intuition features an oscilloscope with time divisions set either to standard time or song tempo. This oscilloscope also allows independent control over the X and Y position of both the pre-and post processing signals. Measurement tools will allow you to really dissect what happens and when. Intuitions hold control allows a minimum time for gain reduction to hold or stay put before the release curve starts. In the life band world this allows for much better docking between the kick drum and the bass guitar and in the world of electronic dance music this control will allow the ultimate in the all critical ducking effect. Intuition allows the user to choose between and possibly draw attack and release curves. This will give you much more ability and versatility to create the dynamic range effects you desire. Intuition’s punch control allows a portion of the signal to pass through the compressor before the attack curve starts. This allows much easier emulation of modern compressor effects. This control will likely be added to other dynamic plug-ins in our product range. The punch control makes it very easy to decide just when the compressor is happening and by how much. One of the absolute standout features is the ability to see all the punch, attack, hold, release and ratio points on an ARA 2 editor window, allowing you to manually modify the timing of the compressor’s actions. Did a particular phrase get squashed too hard? Turn down the ratio on that point. Too much pumping or breathing in a phrase end, while the body is fine? Change the release time.


Windows/OSX (VST2 VST3 AU AAX):​