Mixing Drums

Here are basic tips. Don't give me any jank about preset garbage and not all drums are the same or whatnot:
Compression for most individual drums
-15 Threshold
4:1 Ratio
15ms Attack
80ms Release (for metal IMHO)
Make up gain is up to you
EQ
Kick Boost 60, Cut 120, Cut 480, Boost 3khz, Boost 6khz
Snare HP@140 Boost 200, Cut 400, Boost 5k, Boost 8k
Toms HP@80 Boost 110, Cut 440, Boost 3k, Boost 6k (low shelving/low roll of helps a lot-frequencies
decrease with drum size)
Overheads HP@500, Cut 800, Boost 8-10k (shelf)
Room HP@120, Cut 500, LP@8k

Subtractive eq before compression, additive after.
Use reverb on toms/snare with nice pre-delay.
Send Kick/Snare/Toms/Cymbals/Rooms to different busses. Limit and clip there if needed.
Cut out silence between tom hits and fade nicely.
The most important thing is to close your eyes and raise and lower compression attack and release. You'll know
where you like it best with your ears. I just like those settings the most.



eq: subtraction is your friend
addition eq is ok for higher frequencies (in my opinion)
reach for harmonic-type plugins (like waves max bass) for controlling bass instead of reaching for an EQ, unless your
original tones are whack, then you'll need surgical eq



If you're using the Avatar library then you have some fantastic snares, toms and rooms right off the bat. Fight the
urge to over-process. That's your biggest enemy.

Ok here is your golden plug-in: Waves SSL E-channel
The in-line EQ and compressor on this thing works great on drums. Start minimalistic, don't go overboard, just tweak
the EQ, do some mid cuts, and some high and low boosts to give fidelity to the drums.

Kick and snare work great if you turn the shelf into a bell boost. You get more definition and cut from the
boosts. 300 to 500hz can be your problem areas if things are a little too muddy.
Suck 600 to 800 and 200 to 300hz on the toms, crank the highs with a shelf, and bell boost the lows at like
70hz. Fast attack on the compressor, ratio maybe 3 or 4. Take off around 3 to 6dB, to taste. Instant fatness.
Hit the overheads with fast attack compression, 4:1 ratio, but VERY LIGHTLY. I'm talking barely any
movement at all. Just something to add a bit of excitement.
With all of these settings, always have the compressor release at its fastest (100ms).
Slam the living shit out of the room. Like 10 to 20dB, all buttons in on an 1176 style plug-in if you have one.
This will effectively turn the room mics into reverb ambiance. Just a wash of awesomeness to fill out the
back and add air. Use the mid and far field room mics too. Throw the snare into them - no need for anything
else.
Consider cutting the cymbals and hats from the room mics a fair bit. Also consider cutting the hats from OHs
if you need. EQ to taste. Then slowly bring it up into the back of your drum mix. It will unify everything and
virtually negate the need for a reverb.
Kicks sometimes like a 50 or 60hz sinewave side-chain gated to them. Just enough to fill out the subs. If I'm
not mistaken, Randy is still fond of this. It's a similar thing to using Joey's harmonic enhancement suggestion.

SD2.0 is almost there for you. All you're doing is tailoring work. Getting it that little bit more punchy and clear.



The 'L1 trick' is best achieved by side-chaining the limiter or compressor on your overheads to your snare track. This
way you ensure reduction every time that thing is hit, and at a minimal cost to your cymbals (you can get serious
tearing/artifacts if you hammer them with a limiter).

But go easy on cymbal compression. They don't need much - if any. I just hit them up with an 1176 for some extra
sizzle and movement. Beyond that it's just a high pass and mid-cut if it's making the snare and toms sound
cardboard, and a high shelf to give as much air as needed.

And yeah, I love how many times Joey's repeated himself here. Waves Maxxbass is like a sub-harmonizer. It bumps
low harmonics relevant to the source, so you can achieve clearer, fatter low-end than just using a low-shelf or the
like. I've never done this myself, but I might experiment with it soon.



I need to try out a subharmonic enhancer. I've only heard great things.

I eq the Avatar kick so that a lot of the sub frequencies are gone and I sculpt a hump between 60 and 80 hz. I don't
boost any of the low end, the peak of the hump is around -5db. Then I boost around 3-6k with a high shelf so I can
hear it in the mix. The kick is then sent to a drum bus, which is sent to an fx channel for parallel compression, where I
boost 100hz by 6db or so. This boost makes up for a lot of the lows I subtracted on the kick track, but without the
mud.

Ben Sharp of Cloudkicker does something similar if I'm not mistaken. Listen to "]]][[[" or "Beacons" to hear a nice and
fat Avatar kick drum.



every snare i record goes through the same thing, because im cool like that

SSL E-Channel
TOP SNARE
threshold : -20 db
attack (leave fast attack off)
release : .100
ratio : 3 or 4

+9db at 8 no bell
+9db at 200 no bell

use expander to cut a little ambience if you need to, gate if its a live kit

BOTTOM SNARE
turn this one up 6 decibels LOUDER than the top snare
threshold: 0
attack (fast attack on!)
release: .100
ratio: 8:1

+3 at 8 no bell (bell if you want a rock sound)
+6 at 200 no bell

then just use Q1 mono on each track to cut the particular head's "ringtone", a Q of 50 or 100 will do it, -18db of cut
wherever the ring is (there might be many, find the one that sticks out in the track while its left flat eq, find it, and
cut it)

i usually use RVERB for drum verb, but i've been toying with plate 140 from UAD to save my cpu's ass

the RVERB gives the snare body in the mix, because it produces a wide tail

the UAD can do the same, and it will be wider, but you'll need to know how to compress the reverb so it doesnt stick
out like a sore thumb

this is just what i do to my actual snare tracks, much of the snare sound comes from the room mic's, and the
agressive compression applied to them

p.s.
a trick for kick drums that dont pack enough low end punch waves transx multi mono load that on a kick track, load
the preset "bass amp" change the first gain to 6, the second to -6, the third to -6, and leave the 4th alone dont adjust
volume or total make up gain or you'll lose your power pump that sucker into your master bus compressor for
thump



Tutorial: Processing extreme metal kick and making samples
Alright, I was talking to lolzgreg the other night on AIM and we were talking about EQ and stuff, and on the side I
made some processing on this one kick file I recorded last year at uni. I decided to make it into a tutorial, hope it
helps someone... I won't put the exact frequencies I cut, because it varies by the incoming sound. And do note that
this tutorial is for processing recorded material, this doesn't work well with pre-cut and pre-processed samples.

PHASE 1: Recording the source
The thing starts with getting the sound good at source. No way around that. If your source tone sounds like shit, your
sample will sound like shit too. And record the samples separately from the actual sessions (listen to the recorded
clips below)

When choosing microphones and especially if you are doing metal and hard rock music, forget AKG D112. Eventho
they are ok kick mics, but they just don't have the snap in them that is needed in metal music. Even Shure Beta52 is a
"maybe" as the snap sounds like shit (but it is there), but it can be used if nothing else is available. Audix D6 works
nicely, as do PZM mics like Shure beta91 and Sennheiser e901. Here is an example where we compared 4 different
mics on the kick (The last one is a subkick so it sounds kinda bad by itself):
http://dl.dropbox.com/u/1338211/kicktest-01.wav (groups of 8 hits)

PHASE 2: Choosing source and goal
I chose to go with the first clip, which was Sennheiser e901. It already has a well defined snap to it so it was easiest
to start with as I don't have to actually boost the snap to actually get it there. The aim is to scoop the shit out
between the timbre and the attack, because those mask especially the low end a lot, and if you see clear spikes (like
the ~200 and 470 in the picture below) you really want to use a spectrum analyzer to find those exact frequencies
and kill them. The result should look like two equally high mountains and a deep valley in between.
PHASE 3: Subtractive EQ
Then what I did was that I added just EQ. I only did cuts on the 200-1000Hz region, highpass filter at 31hz and a slight
low shelf boost to compensate for the lost low end. I also added a highshelf boost just to bring out the air just a bit.
As you can hear the "beachball" character went away quiete efficiently. I think I used something like 6 bands of cuts
+ 3 more (highpass, low shelf, high shelf)
http://dl.dropbox.com/u/1338211/kicktest-03.wav
(pink is original and orange is after)

PHASE 4: Compressing the snap
The next step I did was that I used the Waves Renessaince Vox, aka RVox. The cool thing about that compressor is
that it is super easy to use and it has a chacrater to it and it is specially designed to make the vocals cut thru the mix,
so I abused it to make the snap of the kick cut thru all the other shit. The bad thing about that compressor is that it
also brings out all the shit back, so I had to re-cut some of the mids down and I ended up with this:
http://dl.dropbox.com/u/1338211/kicktest-04.wav
(pink is original and orange is after)

PHASE 5: Limiting the peaks
As you might've noticed, the kicks are at varying velocities, but since I didn't want that, I jut put a limiter to shave off
2-3dB from each hit so that they are more equal in volume and ended up with this:
http://dl.dropbox.com/u/1338211/kicktest-05.wav
(pink is original and orange is after)

PHASE 6: Cutting the sample
Then what I did was that I listened thru all the clips and if you listen closely, you can hear the squeeking of the pedal
between the songs, so when you are making the sample, you need to (or actually no; you don't NEED to, but I highly
recommend it) crop the sample as tight as possible but so that you have as long tail as possible without any squeeks.
Crop the start of the clip as close to the beginning of the hit as possible and add a really short fade in (I think I had
something like 10 samples or so) and a fade out that starts from the end of the hit. I ended up with a sample like
this:
http://dl.dropbox.com/u/1338211/kicktest-05_single.wav

PHASE 7: Try the sample on a song
The next step that I did was that I tried the sample I just made on my older song. Atleast it doesn't get buried in the
chorus like the old sample, but it needed some minor tweaking. I used the Majken Grizzly sampler and I used the
distortion effect to slightly shape the sound and cut ~10dB from 200hz that it boosted, but otherwise it was
untouched:

song with old sample: http://dl.dropbox.com/u/1338211/ahjt...lehead_v05.mp3
song with new sample from this tutorial: http://dl.dropbox.com/u/1338211/ahjt...lehead_v06.mp3

the sample after fitting: http://dl.dropbox.com/u/1338211/kicktest-06_single.wav

Pink is 05_single and orange is 06_single

edit: Sample 05 used in metal context: http://dl.dropbox.com/u/1338211/tut/loop_v7.mp3

PHASE 8: Summa Summarum
So what did we learn? You can get heavy metal sounding kick sample with just 3 plugins in 10 minutes, if it is well
recorded. Compare different mics, choose the best sounding as staring point, get rid of the mud in the mids,
compress, limit the peaks and cut the sample.

Hope it helped someone.



how to get a BIG tom sound
I'd cut around 300hz on all the toms, otherwise they just stick out too much.
And if you want super huge toms with not much attack (so you 'feel' them more than they punch you in the face, I
really like this, huge lowend).. EQ everything below 1khz with a lowshelf at -18db, then clip and limit all the attack
out, then put the lowend back in with another lowshelf at 1khz with like +15db. But not for everyone's taste.

but also add some parallel compression and use the joey trick (adding a harmonic enhancer to the low end of the
toms).



Acoustic Drums for Metal: A Guide
PART 5: MIXING

"This is art, not mathematics. There is no "wrong." Jazz session drummer, Kevin Schmidt.

The best way to teach is by example. I can ramble on for days about things, but to help you truly understand, I've put
together a very short demonstration.
Here's some tracks, first raw, then mixed, then with accompanying instruments:
You can grab the file HERE

"Just Do It. ...Later." --T-Shirt I saw earlier today.

Ok, I know this installment is seriously overdue. When I started this thing I was starting five week layoff from my day
job & I had a grand total of one project on the go, and it was only a 2 song deal. Here we are some eight(!) months
later... I've got 2 albums on the go & one more to start before year's end... not to mention I'm back full time at my
day job.
Not only that, but I've seriously been wrestling with the notion of how to write this segment. Mixing can be a difficult
task, and how to put my ideas into words can be quite challenging. Chalk it up to writer's block. I know what I want
to say, but it's been difficult to say it. So, I'm gonna take Strongbad's advice here: "Hold out your hand like you're
holding a giant mystical orb and let the evil flow...."

Philosophy
So, you've got your record tracked. Playback is pretty cool. Guitars are thrashing away & your vocalist sounds like
he's gargling razorblades. But the snare is a little dull. So, I guess you should reach over and crank up the 10K on the
snare mic to brighten it up, right? FUCK NO!!
Ok, repeat after me: "Boosting EQ sucks." Why? Well, that subject could be a book, but to simplify: When you boost
an EQ, you're adding noise. And on a snare mic, it's like a "turn up the hi-hat knob." Which is what we don't want....
that is unless you're doing disco. If you have a wood floor, you won't have to reach for a boosting EQ nearly as much,
either. Subtractive is the way to go here, folks. The end results will be cleaner.
Don't get me wrong, both have thier place. But a good rule of thumb should be "Cut first, boost later."
Some tools you'll need: A compressor plugin with a backend limiter on the makeup gain, & a DAW that can
sidechain. If your DAW can't sidechain, you can get a copy of SawBasic for $300 US, and it's faster than anything
you've ever seen.
That being said, I'm still very much an old school guy. I try to avoid drum replacement as much as possible. I'm into
capturing the sound of the band, as opposed to the band having my stamp on them, and having the mics work with
each other. So, where do I think drum replacement is appropriate? Well, let's start at the bottom:

Kick Drum
After you've spent so much time adding new skins, falam slam pads, changing out beater types, moving mic positions
& generally tweaking to perfection, this is the drum, for me anyway, that most likely winds up being replaced. Why?
Dynamics. Some drummers just naturally hit a little softer during fast double bass parts... and look out if he doesn't
hear it in the mix. Now, there's numerous ways to deal with this. Gating, compression, etc, etc, but the harder you
compress the kick mic, the more background noise you bring into the mix. That means cymbal wash, and more
importantly, bottom snare noise.
Generally, if the drummer has put in a very solid performance on the kicks, I'll stick with the natural mic. But if not,
I'll have him play some solo kicks at the end of the day & make up a custom .gog file for the record. It's really not
that hard to do, it just takes some patience as there's lots of cutting & pasting the hits into individual files. If you've
tuned your drum right, have a good mic & pre on it & the kick sounds wonderful, you'll have a pretty killer sample to
work with.
I find the kick is the easiest part of the kit to replace. Why? Because the beater only hits in one spot. The only
variable is dynamic strength... position doesn't matter. If the drummer is using two bass drums, you can sample each
one & run a pair of drumagogs for that authentic 2 bass drum sound. A little bit of variation from drum to drum is a
good thing. This avoids the "machine gun effect."
Replacing the kick also give you room for some boosting EQ to bring out that all important "click" sound. Since it's an
"after the fact" sound, you don't have to worry about a big boost fucking with the phase of the other mics.
Usually, I'll put a pretty wide scoop in around 500hz, and a boost around 8-10k depending on the sound I'm after.
That, and lots of compression. 15ms or so attack, and around 100ms release, with plenty of makeup gain. If you're
using drumagog, one critical point: Remember to click on the "advanced" tab & pull back the "dynamic tracking"
knob. This will really even out the kicks. Here's a shot:

Pull back the dynamic tracking knob to even out the kick hits

On the other side of the coin, with a natural kick, I'll sidechain thru Saw's channel strips. In the pic below, I've got the
key coming in from channel 2, which is the snare. Attack 0, release 20, a gentle ratio & a very low threshold. This will
step on any snare drum transients bleeding into the kick mic.


But if you'll notice, I've got 2 kick tracks. The top is using drumagaog, for the attack. The second track is a copy of the
first, but it's the live mic, with a lowpass filter set around 200hz, and a bass enhancement plugin. Mix the two
together & you get a pretty slammin' kick!


SNARE
This can vary greatly. Each drummer has his own style of hitting the snare, from strength to position, and it's your
job to make the dumb shit sound good. One HIGHLY, highly recommended tool is the Dominion plugin from digital
fishphones. It's free, so why don't you head on over to Dominion Download Site and grab a copy.
Now, if you've lambasted the drummer enough about the hats, hopefully he's backed off enough & you've got
something useable. Hopefully you've also put the mic in the right place & minimized bleed.
If not there's a few tricks to get around it. First, you can gate the snare. With an ultra-fast attack & a sensible release,
you can get away with a lot. The other idea might be to use an expander. This will drop the noise floor, i.e. the
goddamn hihat bleed, in relation to the snare. Dominion has one built right in, and it's great.
So, EQ is next. As you can see, I've violated my own rule & used a pretty healthy boost around 8k on this snare. I was
able to get away with this because the bleed on the snare mic was pretty minimal. If the hat was louder I'd have to
get a little more crafty. Physical separation, mic placement, and most importantly, a light touch on the hat make life
easier for the engineer.

I've also got a 1.5 dB cut at 460 & a 2.5 db cut at 100, and the mic is rolled off at 75hz. This will vary from drum to
drum & drummer to drummer, so don't take these numbers as concrete rules.

I'm also using Dominion, post channel EQ, to drop the bleed. Look at the "sustain" faders and you'll get what I mean.
Dominion also has a pretty cool high frequency exciter, under the "hf details" knob. This can be a very cool
alternative to boosting EQ. The attack faders are used for tuning the incoming transient. Overall, I've found this
plugin to be indispensible. You can tweak the attack & release of a drum, drop the bleed by several orders of
magnitude, and generally fuck with sounds till your hearts' content. On this particular track, I felt the snare didn't
need any more attack, just a little bleed management.

After dominion, I'll use a plugin comp to bring the level waaay up. If you've got one with a backend limiter, say, a
Sonditus comp, this will be your best friend. Set for about 15 ms attack, & crank it up till the output limiter light goes
off. Say, 8-10 dbs. Ba-Bang!

OVERHEADS
This has gotten a lot easier since I moved over to spaced pairs. Rolloff at around 600 hz, depending on the drummer,
(Mr. Sneap's idea. Just fn' brilliant!) and sidechain from the snare. Attack 0, release 20ms, ratio & threshold to taste.
This will take the snare transient out of the overheads & leave some of the sustain. If you've set your threshold right,
you can get a great effect with ghosting on snare rolls. It will leave the softer hits in the overheads & only step down
on the hard ones. The rolloff with clean your mix up big time as well. Cool!
The other nice thing about sidechaining from the snare is it turns off on the tom rolls. This is great at it adds some
pretty heavy attack to the toms in the full mix. Great stuff.
After the sidechain, I'll usually use a plugin comp to even out some of the cymbal hits. Theshold at around -15 to -18,
4:1 ratio & perhaps a bit of makeup gain. Put this up with the snare & things should be sounding pretty explosive.

Toms
Pretty much the same idea as the snare. Mid scoop, & smashed with a comp. Be sure to rolloff the lows though, so
your speakers don't puke on the floor. Dominion can be a great help for adding attack if your drummer can't hit toms
very hard. That & the 'hf details' knob can be a big help too.
I'll usually set up SAW to auto-remove silence for the tom tracks, & remove the bleed when the toms aren't being
played. Saw has a pretty cool feature to add a 'reverse' to the gate when removing silence. What this means, is that
if you set it for say, 5ms, it will open the gate 5ms BEFORE the tom strike, thereby letting the tom thru with all it's
attack. Man, what a timesaver. Generally, after silence has been stripped, I'll listen to every fill & make sure things
turned out correctly.

REVERB
Don't overdo it. Seriously. Pick ONE reverb you like and stick with it for the song. I set the verb's tail to the tempo of
the song, so it's not stepping over itself. Generally, I'll put the ver on a return buss & take a send from the snare &
toms to a verb plugin, & that's it. Kick? Almost never. Only in very special cases, when it's all out in front by itself.
Overheads? Even less. It just clouds up the mix.

One critical point: On your verb return buss, add an EQ plugin before the reverb & rolloff everything below 200hz.
That way, you're not reverberating the mud, only the mids & hi end stuff. This will clean up your mix bigtime.

If you listen to the mixed drums in the .rar file, you can hear the only thing with verb on it is the snare. Since it was
an old school tune, we used a fairly large verb. But, the key is to go with what works for the song. Talk to the band
you're working with and make sure you can get what they're after. These days, a big fat verb on the snare is usually
not what people want. It usually makes people cringe "Bon Jovi." The trick is to use 'just enough.' Because even a
short verb can greatly enhance a snare sound. Same with the toms. Make them sound like they're on the inside of an
oil tanker only when the song calls for it. The rest of the time, make sure there's 'just enough.'

BTW, here's a link to the full song:
Final Stage - In the Night

Well, that's it for now. It's a pretty basic mix guide, but hopefully someone will find something useful in here. Feel
free with the questions & comments.



Drum Mixing Part 1
by Sacha on Apr.02, 2009, under Drums, Recording

So we looked at a few ways to track drums on a budget and in less then ideal situations, now that we have the tracks
we need to mix them. This consists of applying the processing such as EQ, Compression, Reverb etc. to make the
drums sound killer in the mix. Theres quite a lot to it and I certainly am far from being an expert but hopefully you
can glean some tidbits from this primer. Im using these techniques on sampled drums but they are raw recordings
of a real acoustic kit so much of the process mirrors that of working with acoustic drums.

What you will need:
If you mix all in the box like I do this means you will use software plugins to process your sounds as opposed to
hardware units. The concepts however remain relatively the same between both methods just the workflow will be
different. I would need at a minimum the following processors to work with drums on my mixes:

EQ boost and cut the frequencies to tailor the sound. essentially you want to remove what you dont need and
possibly accentuate what you like
Compressor enhance the transient to give the sounds more attack and punch and even out the volume
between hits
Reverb give the impression of space and bigness to the sounds

Most recording software will come with basic but usable versions of these. You can of course buy additional plugins
and even download free ones on the net. By free I dont mean warez or cracked software, I believe in supporting the
developers of this software so they can continue making good shit so if you plan on using something BUY IT.

Ill give you some basic pointers on how to apply the processing, some examples and then some links to further
reading and resources.

Panning: For the n00bz out there panning is where you place the elements of the tracks in the stereo field, left to
right. For drums you will most likely match a real drumset, so kick and snare in the middle, toms panned around and
cymbals panned farthest. Some people mix from the audience perspective, I prefer the player perspective mostly.

Kick Drum chain:
Compressor enhance the attack and punch
EQ shape the click of the attach, scoop out some mids that arent needed and shape the low end to punch and fit
with the bass guitar

Snare chain:
Compressor this will give the snare that SMACK that you want for aggressive music.
EQ depends on the source but usually I will cut out some mids to remove mud and decrease the ringing, find the
frequency where the crack (the snare) lives and boost that a bit and sometimes boost some upper lows / lower mids
for beef and thud.
Reverb once youve enhanced the attack and the transient the sustain can suffer. Reverb helps bring back the
sustain and the larger then life sound. I like using a nice thick Plate reverb like the UAD Plate 140 and I put it on an
FX send.

Toms chain:
Compressor similar settings for snare but usually a little less aggressive
EQ scoop some mids to remove mud, boost some upper mids and treble to enhance the attack
Reverb add back some sustain and huge roomsound

Cymbals / Overhead Mics chain:
EQ high pass filter to remove uneeded frequencies and kick drum, then a high shelf around 1-2k to help give some
more shimmer and cut

Hi-hat mic chain:
EQ level wise I usually keep this one fairly low since the hats are coming through the other mics already and you
dont want them to become overpowering

Room mic / ambient mics chain:
Compressor - I like to crush the ambient mic pretty hard with compression and then keep it blended in relatively low
in level


EQ
Another popular technique to beef up drums is to group the drums together or buss them and then apply parallel
compression to them. Essentially you are mixing a heavily compressed and EQd drum signal with the original drum
signal to further emphasize the attack and increase the apparent size of the drumsound. You can read more about
how to apply that technique in Cubase here: http://www.faderwear.com/guides/parallel_compression.shtml - it
should be a similar process in most DAW programs.

Sample Replacement
If you end up with shitty recorded live drums you can still save the mix with the use of sample replacement. Many
Metal mixes these days are using at least partial sample replacement on augmentation to give that consistently huge
and polished sound. Essentially you are using the original performance to trigger a different drumsound that plays
instead of / in combination with the original sound. Some of the tools available that can help achieve this in your
DAW are:

Drumagog
Drumtracker
ApTrigga

This is just a primer and there are a lot of other things you can try including layering samples / sounds, other effects
such as distortion, things like transient designers which are like a cousin of compression and more. When recording
acoustic drums there is obviously a whole lot more to it such as mic techniques, tuning, editing, sidechain gating etc.
etc. Ill post some links at the end for further reading if you are interested in that. Make some good Metal!

Faderwear Guides
Guide to Acoustic Drums
Drum Samples FAQ
EQ Guide
Compressor Basics

Free or Cheap Plugins:
Variety of Sound http://varietyofsound.wordpress.com/downloads/
Audio Damage http://www.audiodamage.com/
Smart Electronix http://www.smartelectronix.com/
DDMF http://www.ddmf.eu/
KVR Audio http://www.kvraudio.com