The 3 kits that come with Sonar sound eh....plain for a lack of words.  Like they're on their way to sounding good...and maybe it's just the presets.  But I'd hope the presets would have been better.
Then the Fairfax seems like they started to get it right.  Also,....the OH mics seem like they're 6 inch from all the crash cymbals.
I only say that because creating beats with Toontrack Superior sets....and then playing the MIDI back with Addictive Drums...the OH volumes blow you out of your chair.
I'm trying hard to like AD, but dang, the new kits in EZD2 sound better to me. 
Btw...talking just contemporary pop/rock/classic, etc..

I was a bit underwhelmed by AD1, but in fairness I did upgrade to X3 around the same time as I got BFD3.
 
I would not put too much score on different kit piece volumes between applications. Thats what the mixer is for. Also when using Midi for one drum application in another you need to check the mapping to ensure you are getting the appropriate articulations.

The only AD kits I can use are the fairfax and velvet. I don't like any of the crashes though. The new AD2 engine isn't bad, but without the sounds to back it up BFD 3 and EZD2/SD2 are better overall choices IMHO as they have great engines and many great sounding expansions.

IMO, AD2 is far better soundwise then EZ2.  EZ2 uses the exact same samples
that EZ1 did, you just get updated MIDI and Graphics.  Where EZ2 excels is
in Song Writing...

What you have to remember is, with AD2 you are free to add or take away 
whatever effects are applied to the presets. In EZ2 you are not...nor are
you free to make adjustments across the board in EZ2.  However they processed
it is what you get, with minor adjustments on whatever effects THEY want you
to be able to adjust.

The Fairfax is quite nice...and ALL the samples in AD2 were updated.  


I use EZ2 for song writing...then switch out to the drum sampler that fits bests.

Nothing at the moment compares to BFD3....it is now in a league all on it's own.
We'll see if Superior 3 or Slate 5 can catch up or exceed it...

I find that the AD kits are not as "record ready" as some others. In a way, that leaves me more mixing options.
 
Regards,
Dan

I don't understand the comment about the OH mics making the cymbals to loud. That would be the case if you recorded real drums. You do realize you have complete control over every volume aspect, inside AD 1 and 2, for the individual pieces, the room mics and the overheads. I don't use the FX bus in AD but I'm pretty sure you can there as well.

Guitarpima
I don't understand the comment about the OH mics making the cymbals to loud. That would be the case if you recorded real drums. You do realize you have complete control over every volume aspect, inside AD 1 and 2, for the individual pieces, the room mics and the overheads. I don't use the FX bus in AD but I'm pretty sure you can there as well.

I was finding the OH channel almost needed to be taken out of the mix, because of the excessive cymbal volume.  Therefore, they weren't really *available* to pick up any of the rest of the kit...like the mics were right on the cymbals and THAT was the focus totally, unlike having a split pair up a couple of feet, as an example.
However, yes...pulling faders back is an easy task.  But the overall sound of AD was stopping me first, before small issues like this.

You can adjust the cymbal level for the OHs as well as the room.

"IMO, AD2 is far better soundwise then EZ2. EZ2 uses the exact same samples
that EZ1 did, you just get updated MIDI and Graphics. Where EZ2 excels is
in Song Writing..."

I would actually like to see a more detailed explanation of this from Toontrack. In the May issue of SOS it states that the sound files are now 18 bit instead of the original 16 bit, and that 24 bit was considered. "The Designers considered using 24 bit libraries, but found no advantage over using 18 bit samples, which are dithered by the natural noise floor."

The kits supplied with EZ2 are new.