HZ01 uses several larger patches that let you switch between multiple related sounds using the GUI: All in One, Bucket Hits, Exotic Hits, Low Hits, Metal Hits, Taiko Hits and Timpani Hits. You’ll find all of these in the root of whatever mix or mic folder you’ve chosen (more on that in the next section), along with an Individual Patches folder that let you load each patch individually (instead of using a GUI to switch) if you prefer and an “Other Patches” folder where you will find the Punch COG patch versions (also found in other Spitfire Audio libraries) that allow you to modify specific round robin samples at your discretion or omit them from the round robin chain entirely.
HZ02’s star is a single Jason Bonham kit recorded in different locations, so most of the patches are dedicated to that. However, the Bonus Instruments section contains one patch each for Bass Drum, Surdos and Toms (each of which has Close, Tree, Outrigger, St and Sr mics). There’s also the Hans Zimmer modular synth percussion patch (single position, for obvious reasons) that is found in the Hans Zimmer folder.
HZ03 has the most straightforward patch organization: Buckets, Crusher Solo, Darbucket, Darbuka, Dohl, Paper Djun, Snare Solo, Surdo Solo and Tombek. These patches provide a more detailed, individual take on some of the instruments covered in an ensemble fashion in HZ01 (where they were often only available layered with others). This time around there are no sub-folders for individual patches (since the main patches are already individual patches) or for Punch COG versions. There also no stereo mix folders – that makes a certain level of sense since those purchasing HZ03 are most likely looking for more hands-on control anyway.
You can read up on the instruments offered more specifically at SpitfireAudio.com where the manuals for each volume are also hosted, but there are many instruments you may not realize you need until you play them, so don’t just stick to the names you know.
Most of the patches (exempting the timpani, rock kit and a few others) are played entirely using the white keys, and the starting note for the overwhelming majority is the same, making it relatively easy to sequence a part for one percussion instrument and then bring it over to another track. I found this very useful when writing layered parts and quickly organized my template so that the handful of instruments that did not use the same starting note were put elsewhere.