It's pretty close Blue (Blue you're my boy! - first person to name the movie gets... yep, 5 delish epointz!). Although it is more than just the room. It's each discrete mic in the multitrack such as the directs, the overhead, the rooms (can be more than one sometimes), the under-snare mic which pics up sympathetic snare rattling when you hit the kick and toms or adds "snap" to the snare, an optional "Sub Kick" which adds boom to the kick... Those are the kinds of things that are adjustable in the multitrack kits and they are not adjustable in the STm (Stereo/Multichannel) kits.blueman wrote:I may have it wrong but the way I understand this is...
Multitrack "MT" kits give you discrete control over each kit piece AND the room mics which carry the ambiance or room sounds that each kit piece is recorded in. With each room mic dedicated to its own channel you are able to dial in as little (dry) or as much (ambient) room as you want for EACH kit piece AND the entire kit.
Stereo/Multitrack "ST/m" kits give you discrete control over each kit piece but NOT the room mics so whatever room sound is dialed into the kit pieces stays there. If it's mixed ambient then, that's what you got. Vice-versa if it's dry. This means, dry kits are somewhat preferable because you can use convolutions of rooms to channel each kit piece into via send/receives and get a pseudo-representation of what it would be to have those mics on separate channels. However, the mixed ambient kits have a realism factor and act more like a preset for the drum kit if you know you want that big room sound.
Now, having the snares on/off thing channeled into the kick, tom and cymbal mics separately is something extra that the MT kits also seem to have. I don't go that crazy with it though. That's some serious control.
I like having the MT kits from DM1 and now, these ST/m kits because the ST/m kits are what I'll go for first to see if I can get my sound right away. Saving the MT kits for when I'm in the mood to lose 8 hours tweaking drum sounds or I just can't dial in the right room with the ST/m kits.
Pretty easy to understand if you simply think of the ST/m kits as having the room printed onto each channel.
That's how I understand it. Is that right Dave?
R
But, you're right in that with the STm (and even the previous ST versions) you have the room (and other mics) all burned into that kit piece (aka "mixed" - those discrete mics are mixed down to stereo for that kit piece). Then you have relative control of each kit piece (hence the "m" part of STm which is multichannel). That means you can still adjust the relative levels of each kit piece, just not the blend of mics that were their source.
You've got it right about how both STm and MT are good to have. Some people may only need or prefer one or the other. People that aren't going to tweak levels of mics should perhaps just stick with the STm type kits (such as the ones in this Group Buy). Benefits are faster loading and less strain on your computer. By the same token, people that like to craft their own drum sounds from the original mic sources may only prefer multitrack kits... and then there are most people who want their cake and eat it too (like me) and find uses for all of it both in production and in writing and live performance.
Helpful? How am I driving? Call 800-232-SQUIDS
I'll put those towards an abbey rodes upright piano when they are released 
But it brings up the point that we've picked up some people. Maybe those thread bumps helped. 