WIXLIB

AnalogDrumssample pack

Table of ContentsOne shots.3Kicks.3Snares.4Hats .5Cymbals Open hats.5Toms.6Woodblocks.6Cowbells.7Claves.7Hand Drums.7Sound FXs.7Racks.8Static Racks.8Hottest Tubes.8Analogulated Racks.9Usage.9Loops.10As a track nucleation point. 10As slicing fodder. 10As midi drum templates. 10One Shots Manifest. 11Information.12pATCHES Analog Drums 2

Unpredictable, textured, alive. Analogcircuits are wiggly creatures, the electricorganisms of modern music.They’ve inspired us to make this pack hundreds of odd drums and drummishsounds made with electricity and love, patchcables and good old fashioned hardwareanalog synthesis. The pack includes losslesssamples, loops, and three paradigms ofAbleton racks.We hope you take the sounds in thiscollection and explore, repurpose, mangle,and destroy them in the spirit of analog.KicksAn pitch envelope is the basis of most electronickicks, creating a punchy transient in the attack.Most of these kick samples were made usingthis technique in combinstion with other formsof envelope shaping. Remember that youcan always add more “punch” to any sound(including kicks) by using this trick. In Ableton’sSimpler, click “pitch” in the controls tab thenincrease the amount and play with the decayuntil you find a sound you like.One shotsSo that you can spend more time making musicand less time sample-digging, all of the 693one shots have been grouped into folders ofsimilar sounding samples. This was something ofa futile task, of course, as each sound is its ownlittle snowflake which eludes straightforwardclassification and often overlap with manydifferent categories. Despite the fuzziness of it all,we’ve included descriptions of each groupingand a few ideas for using them below to helpfind your way.Every 24 bit WAV sample in this pack has beennormalized and cropped to the first transient,beginning at a zero crossing to avoid unwantedclicks. An Ableton .asd analysis file is includedfor each sample and by default warping isturned off.The pitch envelope section in Ableton Live’s Simpler instrument.Many of these sounds work best when stackedup in several layers. Use kick drum layeringrhythmically to emphasize more importantbeats and create more movement in your tracks.Quieter copies of the same sample pitched oneoctave up can be one of many techniques youuse to keep kick parts from feeling stale.BelowThese aggressive kicks haveplenty of bottom and occasionally dip intolaser gun territory with descending highfrequencies directing the listener’s attentiontoward a fat low end. These dueling qualitiescan be isolated with simple hi and lo passfilters, making it easy to layer them withanother kick sound that might be lackingthose features.pATCHES Analog Drums 3

BeneathThese sounds have a crispy,crackly decay phase, making them perfectfor layering some presence and interest.Play with the decay/release parameter toadd a bit of this sizzle to a drum’s off beats.BesideThese sounds have a growlybeginning and often a longer tonal decayphase, allowing them to cut throughand “be heard” while still having overalltransparency. You may find it useful toanalyze the fundamental and harmonics ofthese sounds so you can adjust the pitch tofit your track accordingly.BetweenThese sounds tend to besmoother and rounder with an emphasison sine waves and fewer overtones. Ofthe kick groups, these are the most like thetraditional 808/909 style, but also haveshades of acoustic and electronic toms.Beyond These sounds have a noisy butmuffled high end, similar to a lo-fi recordingof real kick drums. You might even find theserecall the distorted sound of chopped vinylbreakbeats!SnaresWhile many producers emphasize tuning bassdrums, don’t forget that snares often have a tonalcore that should be adjusted to fit the track aswell. Tuning snares doesn’t have to stop at simplymatching the song’s root note, though. Drasticshifts of /- 5 octaves can draw out artifactsand aspects of the original sample that wouldgo completely unnoticed if the pitch was notaltered. Experiment with different warp modesand you might find what was once a snare isnow the perfect auxiliary percussion sound.Snares love to be layered. Try mixing our sampleswith tried and true snares and claps from theRoland x0x drum machines to create your ownpersonal frankensnares. If you get into the habitof setting these up, bounce them down at theend of your session - it won’t be long before youhave a massive folder of unique snare shots.Layering can also be used to add width:combining multiple distinct snares with slightvariations in panning can create a moreinteresting wider stereo image than simplertechniques like delaying the left from the rightsignal slightly. Good thing this pack gives you somany options to experiment with!DoofusThese sounds emphasize thepitched tonal qualities that are generated bythe vibrating drum skin. Great for choppingup into smaller slivers of texture andarranging them in a beat as appropriate.HymenThese are all-arounders withgood decay. You can tighten up the hitwith an envelope, or you can add loads ofreverb to let the tail for huge caverness hits.LokiThese are the wacked out oddballsof the bunch with a bit-crushed, ringmodulated feel. Great for experimental useor layered in any other sound -- remember,just because we’re calling them snaresdoesn’t mean you have to use them thatway!pATCHES Analog Drums 4

StikThese are shorter and often thinnersounds like those you might hear whenhitting the rim of the snare. If you use themto bat out a playful rhythm, try using a fewof them - the interlocking layers will createa kind of dynamics all their own.Wired These sounds emphasize the soniccontribution of taught snare wires vibratingacross the bottom of a drum. In electronicdrum creation, this can be accomplishedby increasing the blend of white noise inthe mix, shaped by an envelope. You’ll finda good variety of sound in this folder, aswell as some that are repeated with slightvariation. Use these to replicate some of theunpredictable, constantly changing feel ofgenerating sound with a synthesizer.HatsA real hi-hat’s timbre changes drasticallyaccording to where it’s hit, how hard it’s hit, anda myriad of other variables. We’ve included lotsof hats to try to draw out the complexity of a realdrummer using only synthesis - try round-robinor random multisampling with similar sounds tocapture a bit of this.This pack’s hats were made primarily with acombination of ring modulation and whitenoise to form many variations on the traditionalsound. Treat these as starting points for yourfavorite warp stretching and envelope shapingtechniques for getting the most out of your hats.ClampThese short sounds emulate thetop and bottom high hats coming togetherand dampening as the pedal closes. A nice,versatile staccato blip.OddThese sounds have strange tonespeaking through, so pitch them up or downto fit the context of your song. You can eitherkeep them stable on the root note of the keyor use them in a sampler to create smallmicro-melodies in your high hat lines.Reg These sounds are less tonal and moreakin to a real high hat. Try using several in asingle track to keep the hats fresh, or simplyuse the included analogulated closed hatrack (explained on Page 10) to automatethis process. Another great candidate formultisample variations.Similar hats can contain wildly different frequency content.pATCHES Analog Drums 5

Cymbals Open hatsMuch like the hats but with longer decay stages.You should find these useful for traditionalcymbal roles, or interesting noise sources forother purposes.Quick and dirty - Distortion and saturation addharmonically-related overtones to whateverlow sounds you apply them to. Throw Ableton’sSaturator, Amp, Dynamic Tube, or Overdrive onthe toms to bring out these higher frequencies.Noi These smoother sounds lack a distinctpitch and have a heavier blend of resonantfiltered noise.Ribosome These wacked out cymbalshave a tonal component that is more“alive” with a faint pitch that is chaotic andunstable.Stain-paradeThese cymbals arealso tonal, but have a relatively stable pitchcomponent. Spend some time on the tuningto add pleasing harmonics or uneasydisharmony - the choice is yours.TomsRealistic tom sounds are best left to recordingsof physical drums, but that doesn’t meansynthesized toms don’t have a place in yourtracks with their unique quirky retro-charm. Andtrust us, they’re useful for something other than acheesy 80’s callback.Because they tend to be lower frequency andsine-heavy, you might find electronic toms getburried in the mix more easily. In these cases,add higher frequency information to them sothey can cut through the mix. There are manyways to do that but here are two options:Toms have strong fundamentals and need midrange to be heard.FM precision - Toss a tom sound into Ableton’sSampler and turn on the FM modulationoscillator in the Pitch/Osc tab and play withthe sine modulator’s volume, coarse tuning, andfine tuning parameters. This is great for creatingmodern “hollowed out” sounds.Over These sounds are the higher registertoms.UnderThese sounds are the lowerregister toms.WoodblocksBlocks can spice up a simple kick, snare, andhat line by adding them in triplets to create apolyrythm. Try adding blocks as half note triplets(three equally spaced notes that take up half abar) to a basic 4-on-the-floor beat and you willalready have a more interesting feel.Blocks can also be used as melodic instrumentsin themselves. Try layering 2 or 3 of the tonalblocks on different chains of an instrument rack(adjusting for pitch) and add a convolutionpATCHES Analog Drums 6

reverb to the rack for a quick, unique plucksound. In some ways, the more stacatto theinput, the more the instrument is defined by thereverb it is processed through.Also useful as a mellower alternative to harsherstock metronome or click track tones. Refer toyour DAW’s manual (or Google) for how toswap out the default metronome.BisqueThese sounds are more atonaland “woody” blocks. You can usually hearan audible “pluh” or “pluck” sound in themidrange.Tonal These sounds have a distinct pitch.Great candidates for building instrumentsout of - especially with generous reverb, asmentioned.CowbellsThese are variations on the polarizing but classic808 cowbell sound. Voxelated dairy farm vibes.ClavesYou can use these straight for the backbone ofsynthesized latin percussion or pitch them up anoctave or two to add a natural sounding anddefined transient to any sampled percussion orsynth stab in your collection.These make terrific sound design starting points,if only due to the challenge they present. Canyou make a kick from a clave? A bass? Howabout wavy pad? There is plenty of harmoniccontent in the short temporaral space to workfrom if you know how to use your tools right.Hand DrumsThese sounds evoke a wide variety of percussioninstruments from around the world with particularemphasis on conga, bongo, and tabla sounds.Like the toms, these sounds can often benefitfrom enhancing harmonic content through subtledistortion and saturation.Try processing these drums by chaining multipleAbleton saturators in series using low dry/wetsettings and slightly different parameters foreach. This should help bring out hidden detailsthat can be overwhelemed by the fundamentalin the dry signal.squish-hiHigher pitched percussionwithout a defined transient. These are kindof the “kid’s sampler” version of thosepercussion instruments.squish-loLower pitched percussionwithout a defined transient. A slightlymuffled, underwater video game.Ting-hiHigher pitched percussion witha defined transient. Sounds like a curiousdrummer was set loose in a kitchen.Ting-lo Lower pitched percussion with adefined transient. Semi robotic.pATCHES Analog Drums 7