Manual - Kontakt Hub

Drumdrops
Vintage Folk Rock Kit
The NI Kontakt Pack Manual
1
The information in this document is subject to
change without notice and does not represent a
commitment on the part of Drumdrops. The software
described by this document is subject to a License
Agreement and may not be copied to other media. No
part of this publication may be copied, reproduced or
otherwise transmitted or recorded, for any purpose,
without prior written permission by Drumdrops.
“Native Instruments”, “NI” and associated logos are
(registered) trademarks of Native Instruments GmbH.
Mac, Mac OS, GarageBand, Logic, iTunes and iPod are
registered trademarks of Apple Inc., registered in the
U.S. and other countries.
Windows, Windows Vista and DirectSound are
registered trademarks of Microsoft Corporation in the
United States and/or other countries.
All other trade marks are the property of their
respective owners and use of them does not imply
any affiliation with or endorsement by them.
Contact Us
Drumdrops
36 Leroy Street
London
SE1 4SP
United Kingdom
www.drumdrops.com
2
Table of Contents
1. Introduction
2. About the Vintage Folk Kit
2.1
The Drum Kit
2.2
The People
2.3
The Recording Studio - Livingston Studios
2.4
The Recording Equipment
3. Quick Start
3.1
3.2 3.3
3.4
Installing The Pack
Loading The Pack
Basic Navigation
Editing The Drums
3.4.1 Controlling the drums and articulations
3.4.2 Creating a mix
4. Using the instrument
4.1
The Drumkit Page
3
4.1.1 Drum voice
4.1.2 Humanise
4.1.3 Velocity curves
4.1.4 Changing stick-type
The Mixer Page
4.2 4.2.1 The channel strip
4.2.2 Insert routing
4.2.3 Outputs
4.2.4 Mixer presets
4.2.5 Snapshots
The Master Section
4.3
4.3.1
Crush
4.3.2
Compressor
4.3.3
EQ
4.3.4
Stereo
4.3.5
Limiter
Channel Inserts
4.4
4.4.1
EQ
4.4.2
Compressor
4.4.3
Shape
4.4.4
Tape Emulator
4.5 Sends
4.6 Returns
4.6.1 Delay
4.6.2 Reverb
4.7 Mic Mix
4.8 Mapping
4.8.1 Articulations
4.8.2 Selecting a preset MIDI map
4.8.3 Editing MIDI maps
4.8.4 Saving MIDI maps
4.8.5 Loading MIDI maps
4.8.6 Edit CC Section
MIDI Grooves
4.9 4.9.1 Selecting a MIDI groove
4.9.2 Exporting a MIDI Groove
Kit Selection
4.10
5. Support and Account Notes
5.1Support
5.2
Account Notes
5.2.1
Use of the Packs
5.2.2
The Drumdrops Account
4
5.2.3
A Note on File Sharing
1. Introduction
Drumdrops is the one-stop shop live drum sampling company, begun in
the year 2000 by head honcho engineer Mike Pelanconi. Over
more than 10 years it has built up a catalogue of some of the most
respected live drum tracks in the business. Drumdrops became known
as the company to buy the highest quality multi-track drums, firstly
specializing in Reggae but now covering most genres including Ska,
Disco, Funk, Hip Hop, Rock, Blues and Pop.
Each of the drum tracks can be bought in three different formats. Drum
multi-tracks for those who want control over the individual drum’s
sound, drum stems for completed mixes of the drums, and drum loops.
What makes Drumdrops’ catalogue stand out from the crowd is the
detail that goes into recording it. We have used some of the finest
studios around the world including Olympic Studios, Tuff Gong and
Hollywood Sound Recorders, which have great recording rooms. We find
studios that have a great collection of vintage gear using old consoles
such as Neves and APIs. The microphone collections are top-of-therange and we record all of the drum tracks to 2” tape adding another
level of depth to the sound. All of the kits we use are tuned to perfection
and we always find the right kits for the job; Gretsch, Ludwig, Hayman,
Rogers and Slingerland amongst others. Finally, the professionals
we use are amongst the very best; incredible drummers and great
recording engineers. All of this combined creates the formidable
Drumdrops sound.
In 2011 Drumdrops teamed up with Miloco Studios to work together to
push the catalogue to the next level. First up was the new Drumdrops
website, which was built to sell the catalogue direct to Drumdrops’
fans. The website allows all the catalogue to be previewed on a trackby-track basis and allows clients to purchase by track or by the full
album. We then began recording new catalogue using a lot of Miloco’s
studios, which offered new recording rooms and new equipment. This
has helped make our catalogue even more varied but at the same time
sound great.
In 2013 Drumdrops began a brand new phase releasing the best
sounding live drums as sample packs. We decided that we had to
do this right and that our samples had to stand up against the best
catalogues out there. So, we built a Drumdrops Kontakt Instrument
to give maximum control to the user. With the guidance of Channel
Robot’s incredible programming skills, we worked on producing an
Instrument that would do justice to the drum sounds we record.
5
The Drumdrops Kontakt Instrument gives full fader control over each
drum, offers reverbs and effects, has a randomization feature for added
realism and allows the user to adjust the velocity curves on each drum.
The latest version also includes a Step Sequencer and MIDI groove
player. Most importantly each instrument has an incredible amount
of samples. Usually in the range of 5000 to 7000 samples (although
some have 17000 samples) which help make the kit sound completely
realistic.
However, Drumdrops is of course a drum sample company, so we have
not limited our kits solely to Kontakt. We are currently building our kits
for BFD and will soon have BFD packs available for every kit. We also
offer the Multi-Sample Pack that has sixteen velocities per articulation.
These two packs can be loaded into any sampler or drum machine that
supports 24 bit WAVs although we include patches for many different
types of software. The latest packs include patches for Kontakt, Battery,
EXS24, Ableton Drum Racks, Studio One’s Impact Soundsets, Reason
Refills, Maschine, iDrum, Geist and Renoise. We also sell our kits as a
Drum Replacement pack which comes with patches for Slate Trigger
V2, Drumagog V5 and DrumXchanger. Finally we have just introduced
a one shot sample pack. It basically includes one sample from each
articulation. It is the cheapest way of hearing our samples and checking
the kits out.
6
2. About The Vintage Folk Rock Kit
The Vintage Folk Rock Kit is a great kit for a 60s / 70s Folk Rock or Indie
rock sound. We used the engineering skills of the legendary engineer
/ producer Phill Brown (Laura Marling / John Martyn / Rolling Stones)
whose in depth knowledge of recording bands during these years helped
mould the sound of the kit.
The Kit used is a beautiful old 1966 Ludwig Hollywood kit setup by
legendary drumtech Martin Oldham. To direct us on the sound of the
kit we used Folk specialist drummer Martyn Barker (Rufus Wainwright,
Richard Hawley, Katherine Williams) who sampled the kit using sticks,
hotrods and brushes - nice !
For the sound Phill used his years of accumulated knowledge and went
back to the time of the 60s when he was based at Olympic Studios.
Phill’s idea was to create a 1960s drum sound with a modern twist.
Instead of positioning the microphones close to the kit he wanted to
capture a natural drum sound and record the ‘dead’ room. He used
only five microphones on the kit: one on the kick, the snare, two kit
microphones placed around the kit which provide a surprisingly good
stereo picture, and a mono overhead. All of the mics were recorded
through API mic pre’s.
The kit was recorded in the drier sounding room at Livingston (we saved
the liver room for the Modern Folk Rock Kit). Although the sound is
controlled it has a great ambience around it. Livingston has been used
to record a multitude of hit records over the years and is well known for
being one of London’s top drum rooms.
The kit we used for this was a beautiful vintage 1966 Ludwig Hollywood
Kit. It is almost identical to the Super Classic kit which Ringo Starr once
used, except it has two rack toms rather than just the one. These are
beautiful sounding kits. The snare used was a 1960s wooden Ludwig
Snare owned by Martyn. We also include some tambourine and shaker
articulations.
7
2.1 The Drum Kit
Most people will know the reputation of Ludwig drums, famously used
by Ringo Starr from a little known 60s Liverpudlian band, and later
by John Bonham of Led Zeppelin. They sound fantastic, warm and
responsive with a lovely dark tone from the thin three ply mahogany,
§poplar and maple shells with maple reinforcing hoops.
Made before music became really amplified and loud, these drums
were designed to sound good rather than generate loads of volume and
as such they are wonderfully full and tonal, especially when recorded
and mic’d up. Although obviously a 1960s kit, drummers continued to
use this model though the 70s, and do so to this very day in fact... they
just record so well. The drums are shallower than many modern drums
which helps focus their sound and control their decay.
This vintage 1966 Ludwig Hollywood kit is finished with a red
champagne sparkle (can’t you hear it) and consists of a 22” x 14” kick
drum, 13” x 9” and 12” x 8” rack toms and a 16” x 16” floor tom. The
snare used was a 1967 wooden Ludwig 14” x 5”. Cymbals used were
Zildjian Constantinople 14” hi-hats, a 20” flat top ride, a 17” medium
thin crash and an 18” K Custom Dark crash. The kit comes played with
sticks, brushes and hotrods and we have also included a shaker and
tambourine.
8
2.2 The People
The Drummer – Martyn Barker
Originally heralding from Ellesmere Port, Merseyside, Martyn has been
a professional drummer for 30 years, starting his career with the band
Shriekback and recently playing with Billy Bragg and Marianne Faithfull.
His touring, recording and composing experience has covered many
genres from Folk, Soul, Rock, Pop, African Blues, Jazz, Indie and Ambient.
He is a busy session drummer on an ongoing basis both in the U.K and
France and has recently been working, composing and producing for his
own projects (most notably ‘Big World Blue’) and for other artists.
His recent folk rock projects have been Joe Boyd’s Way To Blue - Tour
and Live Album, Hal Wilner’s Rogue’s Gallery - Tour and Album, and
The Winterson’s Bright Phoebus - Tour. Other artists Martyn has been
working with include Martin, Eliza and Norma Carthy, Martha and
Rufus Wainwright, Nick Cave, Chris Difford, Emmylou Harris, Peggy
Seeger, Richard Hawley, Jarvis Cocker, Mary Winterson, Lou Reed, Shane
McGowan and Katherine Williams.
http://www.bigworldblue.com
The Engineer – Phil Brown
9
Phill Brown is a legend who needs little introduction. In fact so prolific is
his career that he has written a rather good book about it called ‘Are We
Still Rolling ?’ Phill began his career in the 60s as a Tape-Op at the now
closed Olympic Studios. Working with Artists such as Dusty Springfield,
The Rolling Stones, Traffic and Jimi Hendrix he learned under engineers
and producers such as Jimmy Miller, Glyn Johns and Eddie Kramer.
From there he progressed to in house engineer at Island Records studios
in the 70s. Some of the artists he engineered for during this time were
Led Zeppelin, Jeff Beck, Joni Mitchell, Cat Stevens, John Martyn and Bob
Marley.
From 1976 Phill became a freelancer and his CV continued to grow –
Talk Talk, Roxy Music and Dido to name a few. From the Stones’ Beggars
Banquet to Led Zeppelin’s ‘Stairway To heaven’ to Steve Winwood’s first
solo album to Roxy Music’s Manifesto and on to a pair of multi-million
selling Dido records and the much-adored final two Talk Talk records,
Phill Brown has been at the creation of some of the most treasured
music of the past 40 years.
http://www.phillbrown.net
2.3 Livingston Studio Recording Studio
Miloco’s Livingston Studio 1 is located in North London. The studio has
been recently completely overhauled and has a great range of gear to
complement it’s varied recording rooms. With a history spanning many
decades the studio has welcomed artists such as The Clash, Buena Vista
Social Club, Bjork, Depeche Mode and Jesus and Mary Chain.
The control room is based around an SSL G-Series console but there
is plenty of great outboard equipment. The mic pre’s consist of API,
Neve’s and a lot of other great brands. The room has a great collection
of microphones and recording is usually done on the Pro Tools HDX rig
with HD I/O convertors.
https://milocostudios.com/studios/livingston-studio-1/
10
2.4 The Recording Equipment
The equipment used was minimal. Phil used five microphones on this
kit to get a great vintage earthy sound.
“Most of the drum sound is achieved from the two U87’s and the Sony
C48. The U87’s are positioned left-front of kit and right-rear of kit, at equal
distance from the Snare drum. The Sony C48 is directly overhead, center of the
kit, at the same distance – forming an equilateral triangle.
The bass drum mic was positioned dead center, about 4 inches from the skin
and angled at 45 degrees. The bass drum and snare mic’s are there for ‘finetuning’ levels – especially as the bass drum can get a little lost with just the
main three mic’s.
My idea was to create a 1960’s drum sound with a modern twist. Instead of
positioning microphones close to the kit I wanted to capture a natural drum
sound and record the space of the ‘dead’ room at Livingston Studio 1. You get
a surprisingly good stereo picture of the kit with the front and back U87’s and
the Sony C48 gives added control over ‘top-end’.” Phil Brown
Kick - AKG D12 –
An AKG D12 Microphone was placed 1-2 inches away from the front
skin, angled towards the centre of the drum. The D12 ran through an
API 3124 mic pre and a Cartec EQP-1A.
“A dynamic microphone from the 1960’s. In my opinion still the best bass
drum mic. Has punch but also openness.” - PB
Snare – Shure SM57 –
Phil used one Shure SM57 microphone on the snare. This mic was
placed 2 inches above the snare at the side, angled towards the centre.
This mic ran though an API 3124.
“Although I have tried other microphones on the snare, I always come back to
the 57. Mainly because it is tight and directional.” – PB
11
Kit 1 – Neumann U87 –
This mic was placed behind and to the left of the kit, aiming towards
the snare. This mic is measured so that it is equidistant to the centre of
the snare with the kick drum mic. This mic also went through an API
3124.
Neumann U87 –
This mic was placed in front and to the right of the kit, aiming towards
the centre of the snare. This mic is measured so that it is equidistant to
the centre of the snare with the kick drum mic.
“I watched Glyn Johns and Eddie Kramer use Neumann U67’s on drums back
in the 1960’s. I used U87’s on drums throughout most of the 1970’s. Very
natural sound, good for detail and ‘warm’.” – PB
Mono Overhead – Sony C48
This mic was placed 4-5 feet above the kit aiming towards the centre of
the snare. The mic went through an API 3124 Mic Pre.
“I originally bought this microphone as a vocal mic, but use it extensively
now on drum overheads, percussion, and acoustic guitars. It’s bright and
‘airy’.” - PB
12
3. Quick Start
3.1 Installing The Pack
The kit is supplied as a .zip file.
Mac: Double-click on the zip and Mac’s built in Archive Utility will
automatically unzip the file in the same location.
PC: Double-click on the zip file and then click on “Extract all files”.
Select a destination and then click “Extract”.
There is an activation process in place that you will have to complete
in
order to use your product. Simply email [email protected]
with your name and date of purchase. Please also make sure you have
filled out your details in your online account. We will need you to fill out
your real name, address, phone number and a valid email address (that
is not a temporary one). Once your details have been verified, a new
unique .nka file will be sent to you that will activate the product.
We apologize for this process however a couple of customers have
uploaded our products to file sharing sites. Now if we find the product
on a file-sharing site we will know which customer has given it away
and prosecute for damages. All details entered in the customers online
account need to be accurate. Any false details or temporary email
addresses may result in the closure of the customers account without
any refund on the purchase.
3.2 Loading The Pack
Once the files have been installed onto your hard-drive, simply click on
either of the .nki files or drag them into the main Kontakt window, to
load the interface. Alternatively you could find the .nki files using the
files tab of the Kontakt browser, and double-click or drag them from
there.
3.3 Basic Navigation
The interface itself has five pages where you can change certain
parameters to suit the way you want to work. You can switch between
these pages by clicking on the tabs at the bottom left-hand side of the
interface. The five pages are as follows:
13
The Mixer page: This is the page of the interface that is laid out to look
just like a traditional mixing console. This includes faders for changing
the levels, pan pots, solos and mutes. This page also contains the insert
fx such as EQ, compression and tape warmth.
Mic Mix: This page allows the user access to the individual microphones
that were used to record the kit. You can change the relative levels for
each drum individually so you can for example, reduce the amount of
room mics on the kick drum but not the snare.
Grooves: This page contains MIDI grooves in different styles for your
instrument that you can audition through and export into your session.
The MIDI files will export with whichever MIID map you have selected
at the time.
Mapping: This page includes MIDI map presets for better integration
with other drum software, and a MIDI Learn function which enables
you to create your own MIDI maps. You can create your own maps and
save and reload them with the save and load buttons on this page.
This page also gives access to MIDI CC so that you can select which CC
controls the opening and closing of the hi hat.
Drumkit: This page allows you to unload certain drums if you are not
using them to free up memory by switching off the drum voice. It also
houses our velocity curve section that allows louder or quieter playback
of each drum or the kit as a whole. In the Drum voice section you can
also change the envelope of the drums themselves and tune each drum
individually. The Humanize section allows you to subtly change the
volume, velocity, tuning and timing of the drums on playback to give a
more randomized, human-like feel. This kit also contains hotrod and
brush articulations as well as sticks and you can swap between these
stick-types in the Drumkit page.
3.4 Editing The Drums
3.4.1 Controlling The Drums And Articulation
Each drum has an associated MIDI note that when pressed, will play the
drum. Articulation refers to the type of hit. A snare being hit in the centre and a snare being hit at the edge are two articulations of the same
drum. Some drums have several articulations. Every articulation that
we have recorded will have its own MIDI note.
14
3.4.2 Creating A Mix
To create a mix of the kit you will need to click on the mixer tab at the
bottom left-hand corner of the interface. From there you can control the
drum sounds using the various tools available to you, just like on a real
mixing console. You can change levels, pan positions, mutes, solos, add
EQ, sculpt the sounds using the shape section or warm the drum using
the tape section that is available to you on each channel or add reverb
effects. Go to section 4.2 in this manual for more details of the mixer
page.
It is possible to remove certain drums that you are not using from the
interface that will save you memory. To do this you must:
• Go to the Drumkit page of the interface using the tabs at the bottom of
the interface screen
• Select which drum you want to remove from memory by clicking on
it on the drum kit itself or by activating the MIDI select function and
pressing the associated MIDI note for that drum on your MIDI controller.
• Turn the drum voice switch to the off position (you will see it turns
red). You’ll notice that the memory size drops in the memory window
at the top of the interface when the drum is unloaded. Also the selected
drum image greys out in the kit picture and the drum will read disabled.
You can unload and reload as many drums as you like. Note: If you save the instrument with a drum unloaded, that drum will
stay unloaded even if you close down and reload the instrument. Also
saving and loading presets will not affect the drum voice state.
15
4. Using The Interface
4.1 The Drumkit Page
4.1.1 Drum Voice
This section allows you to tune and change the envelope settings for
each drum. Turning this section off will disable the selected drum and
save on memory if you’re running low.
It’s easy to tune individual drums using the interface.
• Select the Drumkit page.
• Select which drum you want to remove from memory by clicking on
it on the drum kit itself or by activating the MIDI select function and
pressing the associated MIDI note for that drum on your MIDI controller.
• Use the tuning pot to tune your kit piece up or down. Tuning is allowed
up to a maximum or minimum of 1200 cents.
16
You can also change the envelope settings for each drum individually.
Adjusting the attack time will lessen the attack of the drum sound giving
a softer tone to the front of the sound.
Adjusting the hold and decay times in conjunction together will decrease
the length of the drum sound to make it sound more clipped.
4.1.2 Humanize
This section globally affects how the drum playback by adding subtle to
the sound of the drums.
Volume – This control randomly adjusts the volume of every drum hit.
The more you turn up the control, the greater the affect.
Velocity – This control randomly changes how hard the drum are being
hit. The more you turn up the control, the greater the affect.
Tune – This control adjust subtle tuning changes for every drum hit. The
more you turn up the control, the greater the affect.
Time – This control affects subtle timing changes for every drum hit
meaning that you can add random timing events to the playback of the
drums. The more you turn up the control, the greater the affect.
4.1.3 Velocity Curves
17
The velocity curves allow the user to change the velocity curve of any
individual kit piece. You can also apply your selected curve to the kit as
a whole. This is an incredibly useful feature if you want to make the kit,
or any individual drum, appear as if it is playing softer or louder. There
are three preset curves to choose from or you can draw your own curve
using the custom preset.
• Select the Drumkit page
• Select which kit piece you would like to apply the velocity curve to.
• Click on your chosen velocity curve preset
• If you would like to apply a velocity to the whole kit, then highlight the
All button before selecting your chosen velocity curve
The custom preset:
You may find that you’re not quite getting the desired affect that you’re
after just by using the preset curves. In that case you can use the custom
curve option.
• Click on the custom curve pane.
• Draw your desired curve by holding down the mouse button and
scrolling across the graph.
• You can save your curve by clicking the SAVE button.
• You can reload your saved curve by clicking the LOAD button.
• You can revert back to the preset curves by clicking on one of preset
curve buttons. When you save a curve it creates a saved file, which can
then be used by the interface in other sessions. If you are working within
the same session, then you do not need to save the curve as it will be
saved as part of the session.
18
Please note that the velocity curves are not saved as part of the mixer
presets. It is now possible to save your velocity curve settings separately
to the mixer presets. Use the SAVE button in the velocity curve section to
save your velocity curves settings and use the LOAD button to reload any
saved velocity maps.
4.1.3 Changing Stick Types
You can swap between sticks, brushes and hotrod in the Drumkit page
that effectively gives you three different kits. You can swap between the
different stick-types by clicking on the drumstick icon and selecting
which one you would like to use from the pop up menu. This can
be done either on a drum-by-drum basis or for the kit as a whole by
highlighting the sticks bundle icon before you select your stick-type.
19
4.2 The Mixer Page
4.2.1 The Channel Strip
The channel strip on our mixer is set out to look like any other console
strip. Each strip contains a fader, a mute and solo button and a pan
control. There is also an output selector for routing each channel via
Kontakt’s multiple outs (see section 4.2.5). Each channel has a dedicated
EQ, compressor, transient master and tape warmer effect. You can switch
between channels 1-8 and 9-16 by clicking on the arrow that points to
the right by the panpots. You can also change the routing of the insert fx.
• The fader is used to control the levels of that particular channel.
• The mute button is used to mute that particular channel.
• The solo button is used to solo that particular channel.
• The pan control is used to pan the channel’s signal between the left
and right speakers.
If you solo a channel and then try to mute it, the mute will override the
The interface comes pre-loaded with some presets for you to try that can
be accessed by the LOAD PRESET button on the mixer page.
20
You can use the mouse in combination with your keyboard to add
functionality to the controls.
Mouse-click – Moves a pot or slider to change its setting.
Mouse cmd-click – Sets the control to its predefined value i.e. sets faders
back to zero.
Mouse ctrl-click – Allows the assignment of MIDI controller data so that
the pot or slider can be control by an external MIDI controller.
4.2.2 Insert Routing
You can change the order in the inserted fx are placed in the channel.
Click on the insert routing window in the Mixer page to access four
preset routing orders. Select the order that works best for your sound.
4.2.3 Outputs
The output selector pull-down is located at the top of the channel strip.
You can use this to route your drums to multiple outputs. Please note
that you will have to set up the outputs in Kontakt before you will be
able to route them. The output menus will only be displayed if you have
already configured Kontakt to have additional outputs and you have
a multiple output version of Kontakt loaded. If you add outputs using
Kontakt’s outputs control, you will need to press the (!) button in the
Kontakt window that will reset Kontakt and the outputs will appear in
the menu.
4.2.4 Mixer Presets
21
It’s possible to save mixer presets using the Save button at the bottom
of the instrument mixer page. This will save the mixer settings ONLY
and will not save additional options such as tuning, envelope changes,
stick selection etc. It’s a quick and easy way to save your and recall your
mixer settings to save you time setting up the mixer again in the future.
To save a mixer preset, click on the save button, give your preset a name
and save it in the Mixer Presets folder supplied within the Data folder for
this kit.
To recall the mixer preset, simply click on the Recall button at the
bottom of the mixer page, navigate your way to the Mixer Presets folder
and click on the mixer preset that you would like to recall.
4.2.5 Snapshots
There is another way to save your mix settings and that is by using
Kontakt’s built in snapshots. Snapshots will store the position of every
control in the instrument upon saving. They can be instantly recalled by
selecting your saved snapshot in the snapshot pull-down menu.
To save a snapshot, click on the small camera icon in the Kontakt
window and then click on the disk icon. Give your snapshot a name
and click on Save as. Your snapshot has now been saved. To recall your
snapshot ensure that the camera icon is highlighted and then select
your snapshot from the pull-down menu in the snapshot window.
We’ve supplied some snapshots with the kit to get you started. You can
find them in the Snapshots folder within the Data folder supplied with
your kit download. In order to use the pre-made snapshots you must
place them in Kontakt’s user content folder which can be found here:
\Users\[Your Name]\Documents\Native Instruments\User Content\
Kontakt
Alternatively you can locate the folder from with Kontakt itself.
Click on the small gear icon at the top left hands corner of the interface:
22
Then click Instrument Options:
Then click Snapshots and ‘Show’ – This will open the location so that can
easily copy the factory snapshots into this folder. When you save your
own snapshots, they will be added to this folder as well.
23
To load the factory snapshots, just select them from the snapshots pulldown menu as usual, once you have added them to the User Content
folder.
The snapshots supplied with this kit are:
Ben Thackeray - 8 Bit Kit
Ben Thackeray - Glitch Kit
Ben Thackeray - Glitch Spring Kit
Greg Montano - Preset
Joe Hartwell-Jones - Hyper-Ballad
Joe Hartwell-Jones - Roomy Zener
Joe Hartwell-Jones - Toms Attack
Joe Hartwell-Jones - Trippy Spring
Joe Hirst - Tame Gazzelle
Kike Paglia - Girl From The Crowd
Kike Paglia - Summer Breeze
Matt Foster - Sgt Dekker
Matt Foster - Toned Again
Matt Foster - Toned and Dirty
Pendle Poucher – Cardboard Folk
Pendle Poucher – Folky Folk
Pendle Poucher – Foxed Folk
Pendle Poucher – Next Room Folk
Pendle Poucher – Tea Towel Folk
Pendle Poucher – Toy Folk
Phill Brown – Brushes Preset
Phill Brown – Hotrods Preset
Phill Brown – Sticks Preset
24
4.3 The Master Section
Just like any other mixing console, the mixer page includes a master section. This section can be accessed by clicking on the MASTER button at
the top right-hand corner of the mixer page. The Master fader is used for
controlling the overall level of your drum mix and there is also a dedicated crush section, buss compressor, EQ, stereo enhancer and limiter.
Each section can be switched in and out by clicking on the on/off button
in the top right-hand corner of each module.
You will find an overall pan control for the whole kit above the master
fader that allows the user to pan the entire kit to the left or right hand
side of the stereo image. To the right of the pan control is the left/right
swap button. When activated, this will swap the entire stereo image of
the drum kit.
Above the pan control you will see the fx routing window which gives
you access to four different fx routing orders of the master section fx.
You can cycle through these to find the one that best suits your sound
25
.4.3.1
Crush
This section contains many controls that allow you to completely decimate the sound of your drums (if that’s the sort of thing you’re after).
• Shatter - Adds a glitch gating effect to your overall drum sound.
• Redux - This allows you to mess around with yet more glitch sample
rate sounds to really mess up your kit.
• Noise - This adds white noise to your kit. Between these three controls
alone, you can total create something completely different to the original
sound of your kit.
• Peak – This control allows you to globally turn up or reduce the sound
of the attack of your drums that allow more aggressive or softer sounding drums.
26
• Smash – This control turns up an amazing compression/distortion set-
ting which will definitely give your drums some edge!
• Saturation – This adds extra distortion should you need it.
• Low pass filter – This filters out the top end of your overall kit sound.
The more you move the control, the more top end will be filtered out.
• Resonance – This control works in conjunction with the Low pass
filter control. Turning up this control adds a resonant sound to the filter
which increases to aggressiveness on the filtered sound
4.3.2 Compressor
27
The mix buss compressor is a recreation of a well-known studio outboard compressor. You can use thus compressor separately to the com-
pressor that are inserted on each channel to compress the overall sound
of the kit.
• Threshold – This control is used to change the level at which compression begins to affect the inputted signal.
• Ratio – This control is used to increase the ratio at which compression happens relative to the input signal and the output signal. In other
words the higher the ratio, the more the signal will be reduced as it
passes the threshold point.
• Attack – This control is used to set the attack time, in milliseconds,
that compression starts to have an effect on the incoming signal.
• Release – This control is used to change the release time, in milliseconds, that compression continues to affect the incoming signal.
• Make Up – This control is used to increase, or make up, any gain that
has been lost on the output stage, by the signal passing through the
compressor.
• Mix – This control is used to set how much of the compressed signal is
heard compared to the original. 0 % is just the “dry” original signal and
100 % is the “wet” compressed signal.
4.3.3 EQ
28
This is four-band parametric EQ that you can use to affect the overall
sound of the kit. The HF and LF controls are shelf EQs while the midrange EQ are set to a bell-type curve. There are controls for each band to
change the frequency affected and the gain of the EQ cut or boost.
4.3.4 Stereo
This control allows you to adjust the overall stereo image of the kit. You
can make the kit sound wider by turning the control clockwise or mono
the kit by turning it anti-clockwise.
4.3.5 Limiter
29
The last module in the MASTER page houses a peak limiter. There is a
control to increase the input gain into the limiter that will increase the
limiting effect as well as a release control that allow you to adjust how
quickly the release is working on limiting the sound. There are output
gain controls for each section in the MASTER page so that you can always adjust your levels so that they remain comfortable.
30
4.4 Channel Inserts
As mentioned before each channel strip comes loaded with a dedicated
EQ, a compressor, a Transient Master in the Shape section and a Tape
Warmer. You can cycle through the inserted fx by continuously clicking
on the INSERTS button at the top of the mixer page or by clicking the fx
name in the pane just below the Insert window.
4.4.1 Equaliser
Each channel on the mixer page has an EQ dedicated to it. You can
access the EQ by clicking on the channel tab below the fader on each
channel. The EQ, which is modeled on a studio console EQ, will then be
shown in the space below the mixer as the default effect. The EQ is a
4-band parametric EQ meaning that you can affect four frequencies of
your signal at the same time.
Clicking the on/off button in the top right-hand corner of the EQ window
turns on the EQ. The switch will light up blue when the EQ is on.
• LF Freq/LMF Freq/HMF Freq/HF Freq – These controls are used to select
the frequency that you wish to effect.
• LF Gain/LMF Gain/HMF Gain/HF Gain – These controls are used to cut
or boost the frequency selected by the Freq controls.
• LMF Q/HMF Q – These controls choose how wide an area you can affect around the selected frequency. There are also a couple of switches
that swap between a shelf EQ and a bell EQ for the HF and LF. When the
switch is highlighted then the bell is selected. There is also an output
pot for controlling the output level of the EQ.
There are also a couple of switches that swap between a shelf EQ and a
bell EQ for the HF and LF. When the switch is highlighted then the bell is
selected.
There is also an output slider to the left of the window for controlling the
output level of the EQ.
31
4.4.2 Compressor
There is a compressor available for every channel on the mixer that allows you to compress the signal in each channel separately if you wish.
The compressor has the same controls as the compressor in the master
section. These are as follows:
• Threshold – This control is used to change the level at which compression begins to affect the inputted signal.
• Ratio – This control is used to increase the ratio at which compression happens relative to the input signal and the output signal. In other
words the higher the ratio, the more the signal will be reduced as it
passes the threshold point.
• Attack – This control is used to set the attack time, in milliseconds, that
compression starts to have an effect on the incoming signal.
• Release – This control is used to change the release time, in mil
liseconds, that compression continues to affect the incoming signal.
• Make Up – This control is used to increase, or make up, any gain that
has been lost on the output stage, by the signal passing through the
compressor.
• Mix – This control is used to set how much of the compressed signal is
heard compared to the original. 0 % is just the “dry” original signal and
100 % is the “wet” compressed signal.
32
4.4.3 Shape
The shape section contains a Transient Master effect. The Transient Master can be used to really sculpt your drums sounds by adding compression to the front or tail of your selected kit piece. You can access it by
clicking on the TM button at the bottom of the mixer page that is next to
the EQ button. There are four controls that are as follows:
• Input – This is used to control the input level of the signal to the
Transint Master
• Attack – This control is used to increase or decrease the level of attack
of your sounds
• Sustain – This control is used to increase or decrease the level of release of your sounds. This can have a dramatic effect on how the size of
your drums sound
• Output – This is used to control the output level of the signal leaving
the Transient Master
4.4.4 Tape Emulator
There is also a tape warmer effect available for every channel on the
mixer. There are two controls for each individual channel (and input and
an output) and two global sliders that affect every channel at once. Turning on this effect will turn it on globally for every channel.
• Input – Increasing this control increases the level going into the tape
warmer and so increases the effect. Increasing this control by too much
will lead to the drums distorting – this may be exactly what you want!
33
• Output – Increasing the input will increase the overall level of that
channel. You can use the output control to help counteract this.
• Bias – This control mimics the bias settings of old tape machine which
determined how much level was sending to tape. Increasing this control
will add more distortion to the signal in the channel.
• Style – This control changes the style of tape warmth to give either
more or less low end to the signal.
34
4.5Sends
There are four effect sends included with the instrument that comprise
of two convolution reverbs and two delays. The send levels are accessed
by clicking on the SENDS button at the top of the mixer page. The send
levels to the reverbs can be found above the faders at the top of the
channel strips. They are labeled as R1, R2, D1 and D2. There is also a
dedicated returns section associated with the effect sends.
The send effects can be switched on and off in the returns section. To
use them, ensure that you have the effects turned on and then turn up
the level of whichever effect you want to utilize. Please note that you
can turn up the effects from whichever channel you like.
35
4.6Returns
You can access the effect returns by clicking on the RETURNS button at
the top of the mixer page. This page gives you access to the effect parameters that you can then tweak to your liking. Each module has four
controls that you can change.
4.6.1 Delay
The delay controls are as follows:
Time – This adjusts the timing of the delay making it quicker or shorter.
The delay will work in time with your selected tempo no matter how
quick or short you select the delay to be.
Feed – This is short for feedback or in other words, how many times your
delay repeats. Turning this control up will increase the delay feeding
back on itself.
Hicut – This control cuts the high frequencies of the delay itself which
may be handy if you are hearing too much of the top end when the delay is turned up.
Spread – This control spreads the delay out in the stereo image that may
help in to sit in the mix better, or you may just like the effect of it.
4.6.2 Reverb
There are also four controls to help you sculpt your reverb sounds that
are as follows:
• Pre – This control is used to add a delay to the reverb sound which is
adjustable in milliseconds
• Size – This control affects the length of the reflections of the reverb.
• Low Pass – This is a low pass filter that only effects the reflections of
the reverb.
• High Pass – This is a high pass filter that only effects the reflections of
the reverb Late Reflections.
36
There is also a switch that allows the Size, Low Pass and High Pass
controls to be associated with either the Early or Late reflections of the
reverb.
Finally you can change which convolution reverb you like to use by clicking on the reverb name in the pane below the reverb controls. Clicking
on this will bring up a pull-down menu where you select whichever
reverb you would like from the list.
There are various plates, springs, digital and room convolutions contained in the list. Just choose whichever one suits your drum sound – feel
free to experiment!
37
4.7 Mic Mix
The Mic Mix section allows you to have even more control over the levels
of the kit but this time you adjust the individual microphone levels
themselves. Clicking on the MIC MIX tab will bring up the Mic Mix controls for the channels.
You then have a set of controls available to you where you can adjust
the separate levels of the close mic, overhead mics or room mics for
each individual drum. In the case of this particular kit you have controls
for each of the five microphones that were used in the recording for each
drum. There is a separate control for the kick drum mic, the snare, the
mono O/H mic and the two kit mics.
Changing these levels allows you to change the relative levels of each
microphone for each drum so that you have an amazing amount of control over the sound just in this section alone. You can change the levels
for each microphone globally by alt-clicking the controls.
38
4.8Mapping
4.8.1 Articulations
The mapping page is a comprehensive section that gives you access to
all the articulations recorded with the kit, which you can map to certain notes, and also allows you use either preset MIDI maps or to create your own if you have some ready made MIDI files that you would
like to use with the interface. The mapping page is quite complex and
you may want to read this section through before creating your own
MIDI maps.
At the top of the window is a keyboard. Each coloured note has an
articulation mapped to it. Each drum is colour coded in the mapping
page to make it easier to identify which drum is mapped to which note.
For example the kick drum is coloured in red and so we know that the
red notes in the keyboard have a kick drum articulation mapped to it.
39
Just below the keyboard is an indicator that shows you which octave of
the keyboard is in the centre of the keyboard display.
Clicking on an articulation in the list below the keyboard will play the
drum articulation so that you can hear it and it will also display a small
arrow above the keyboard to show which note (or notes) that articulation
is mapped to. For example if you load the default map and click on the
Kick Hard Beater articulation, you will see that it is mapped to note C1.
Changing the Playback Velocity slider at the bottom of the window will
cha change how hard the articulation is played back when you select it
in the window.
4.8.2 Selecting a preset MIDI map
You can easily change between preset MIDI maps by clicking on the pulldown menu in the bottom left-hand corner of the mapping page. There
are ten preset maps to choose from.
40
You can easily change between preset MIDI maps by clicking on the pulldown menu in the bottom left-hand corner of the mapping page. There
are ten preset maps to choose from.
The maps included in this release are:
Addictive Drums
BFD
Drumdrops Default
DrumIt Five
General MIDI
iMap
Slate SSD4
Superior Drummer
Roland V-Drums
Yamaha DTX-900
Drum
Articulation
Kick Drum
Felt Beater
Plastic Beater
Centre*
Edge
Rimshot
Sidestick
Centre Fully Closed*
Centre Closed
Centre Open Quarter
Centre Open Half
Centre Open Three Quarters
Centre Open Full*
Edge Fully Closed
Edge Closed
Edge Quarter
Edge Open Half
Edge Open Three Quarters
Edge Open Full
Pedal Shut
Pedal Open
Hihat CC
Hihat Edge CC
Centre*
Centre*
Snare Drum
Hi Hat
Floor Tom
Low Rack
Tom
High Rack
Tom
Ride
Crash 1
Crash 2
Tambourine
Shaker
Centre*
Centre*
Edge
Centre
Edge*
Centre
Edge*
Shake
Hit
Soft
Hard
Default
Map
C1/36
C3/60
D1/38
E1/40
D#1/39
C#1/37
F#1/42
G#3/68
A#3/70
B3/71
C4/72
A#1/46
D#4/75
F#4/78
G#4/80
A#4/82
C#5/85
D#5/87
G#1/44
A3/69
Addictive
Map
C1/36
C0/24
D1/38
E1/40
C#1/37
F#1/42
C#2/49
D#2/51
E2/52
F#2/54
G2/55
A2/57
D2/50
F2/53
A#2/58
D#3/63
E3/64
G#2/56
C2/48
B2/59
BFD
Map
C1/36
B0/35
D1/38
A3/69
E1/40
C#1/37
F#1/42
A0/33
F#0/30
E2/52
D2/50
A#1/46
C2/48
E4/76
F4/77
F#4/78
G4/79
G#4/80
G#1/44
A4/81
DrumIt
Five Map
C1/36
B0/35
F1/41
D1/38
F#1/42
C#1/37
A1/45
D0/26
E0/28
F0/29
F#0/30
A#-1/22
C2/48
C#2/49
F5/89
G5/91
A#5/94
C6/96
B1/47
D#0/27
G1/43
A1/45
F3/65
G3/67
G1/43
A1/45
A2/57
F2/53
D#2/51
E2/52
F#2/54
G2/55
C2/48
C#2/49
G#0/32
G0/31
F#0/30
F0/29
C3/60
D3/62
F4/77
A#1/46
A4/81
G4/79
G#0/32
G0/31
E0/28
D#0/27
D#2/51
E3/64
F#3/66
G2/55
D#3/63
C#2/49
G#0/32
G0/31
E0/28
D#0/27
C4/72
C#4/73
F4/77
F#4/78
F3/65
F#3/66
A0/33 G0/31
B1/47
* Includes articulations for brushes and hotrods
41
A3/69
B1/47
D2/50
C0/24
B-1/23
Drum
Articulation
Kick Drum
Felt Beater
Plastic Beater
Centre*
Edge
Rimshot
Sidestick
Centre Fully Closed*
Centre Closed
Centre Open Quarter
Centre Open Half
Centre Open Three Quarters
Centre Open Full*
Edge Fully Closed
Edge Closed
Edge Quarter
Edge Open Half
Edge Open Three Quarters
Edge Open Full
Pedal Shut
Pedal Open
Hihat CC
Hihat Edge CC
Centre*
Centre*
Snare Drum
Hi Hat
Floor Tom
Low Rack
Tom
High Rack
Tom
Ride
Centre*
Centre*
Edge
Crash 1
Centre
Edge*
Crash 2
Centre
Edge*
Tambourine Shake
Hit
Shaker
Soft
Hard
* Includes articulations for brushes and hotrods
42
GM
Map
C1/36
B0/35
D1/38
A#4/82
C4/72
C#1/37
F#1/42
G#3/68
B3/71
C4/72
C#4/73
A#1/46
C#5/85
D#5/87
F#5/90
G#5/92
A#5/94
C#6/97
G#1/44
D#6/99
iMap
C2/48
A1/45
D2/50
E2/52
D#2/51
C#2/49
F#2/54
G#2/56
D0/26
C0/24
D#1/39
A#2/58
F#-1/18
G-1/19
C#6/97
D#6/99
F#6/102
G#6/104
F2/53
F1/41
Slate
Map
C1/36
B0/35
D1/38
D#1/39
E1/40
C#1/37
F#1/42
C#3/61
D3/62
D#3/63
E3/64
A#1/46
A#-1/22
F3/65
F#3/66
G3/67
G#3/68
A3/69
G#1/44
A#3/69
Superior
Map
C1/36
B0/35
D1/38
D#1/39
E1/40
C#1/37
F#1/42
G#-1/20
A-1/21
C0/24
C#0/25
A#1/46
C#3/61
D3/62
D#3/63
E3/64
F3/65
C3/60
G#1/44
B-1/23
G1/43
A1/45
B0/35
G0/31
F1/41
G1/43
F1/41
G1/43
D#2/51
E2/52
E3/64
A2/57
G4/79
C#2/49
G#0/32
G0/31
E0/28
D#0/27
D3/62
E4/76
G#4/80
G4/79
C#3/61
C3/60
G#0/32
G0/31
A#-1/22
A-1/21
D#2/51
B2/59
F#2/54
G2/55
C#2/49
E2/52
F0/29
G0/31
E0/28
D#0/27
D#2/51
B2/59
A2/57
E2/52
G2/55
C#2/49
F0/29 G0/31
B1/47
E0/28
A1/45
A1/45
E0/28
D#0/27
Drum
Articulation
Kick Drum
Felt Beater
Plastic Beater
Centre
Edge
Rimshot
Sidestick
Centre Fully Closed
Centre Closed
Centre Open Quarter
Centre Open Half
Centre Open Three Quarters
Centre Open Full
Edge Fully Closed
Edge Closed
Edge Quarter
Edge Open Half
Edge Open Three Quarters
Edge Open Full
Pedal Shut
Pedal Open
Hihat CC
Hihat Edge CC
Centre
Centre
Snare Drum
Hi Hat
Floor Tom
Low Rack
Tom
High Rack
Tom
Ride
Crash 1
Crash 2
Tambourine
Shaker
43
Centre
Centre
Edge
Bell
Centre
Edge
Centre
Edge
Shake
Hit
Soft
Hard
V-Drum
Map
C1/36
B0/35
D1/38
C#4/73
C#1/37
E1/40
Yamaha
Map
C1/36
B0/35
D1/38
C#4/73
E1/40
C#1/37
A#1/46
D0/26
F1/41
G1/43
F#1/A#1/42/46
F#4/G4/78/79
F1/G1/43/45
F#-1/B1/18/47
D#2/51
B2/59
F2/53
C#2/49
G2/55
A2/57
E2/52
G#2/56
A#2/58
D#2/51
E2/52
F2/53
B2/59
C#2/49
F-1/17
A2/57
G#2/56
A1/45
E0/28
D#0/27
A1/C2/48
D2/50
F#2/54
G2/55
4.8.3 Editing MIDI maps
You can edit existing maps or build new MIDI maps from scratch. It’s
possible to load up to five custom MIDI maps into the five custom slots
in the pull-down menu.
To edit a map you can either load up preset map that is close to the map
that you want to create or you can use the clear button to completely
clear any mapping and then map the articulations that you want oneby-one.
To move an articulation to a different note you can use one of two methods.
MIDI learn – if you have a MIDI controller set up to work with Kontakt
then you may want to use the MIDI learn function. In order to change an
articulation using this method just select the articulation you want to
move, hit the learn button and then hit either a note on your keyboard
or a pad on your E-Kit and the selected articulation will now trigger from
the key or pad that you hit. The learn function will automatically switch
itself off after the first hit so that no other incoming MIDI signals will affect your selection.
PLEASE NOTE that you can map the same articulation to more than one
note and so if you map an articulation using this method, the articulation will still trigger from it’s original note as well.
If you want to move an articulation completely from one note to another
then it may be easier to do this using the keyboard at the top of the mapping window.
To do this:
•
Select the articulation that you want to move
•
Click on the key that the articulation is currently mapped to. You will notice that the key turns white denoted that nothing is
mapped to it.
•
Click on the new key on the keyboard that you would like to map the articulation to.
PLEASE NOTE that if you click on a note that already has an articulation
mapped to it, you will overwrite that key’s mapping with the articulation
that you have currently selected.
You can reset any of the preset maps back to their default mapping at
any time by hitting the reset button next to the pull-down menu.
44
4.8.4 Saving MIDI maps
Once you made your changes, you can save you new map by clicking on
the SAVE button at the bottom of the window.
A save window will appear. Navigate your way into the Mapping Presets
folder. Give your new map a name and hit save.
4.8.5 Loading MIDI maps
Once you have a saved map you can reload it at any time by clicking on
the LOAD button at the bottom of the mapping page. Navigate your way
back to the Mapping Presets folder and double-click on your saved map
file to load it. You may find it easier to load your map into one of the
custom slots in the menu so that you can still access all of the preset
maps easily but it’s not necessary to have a custom slot selected in order to load a map.
4.8.6 Edit CC Section
Our mapping page now includes a section where you can edit the MIDI
controller data that is sent by your E-Kit to the instrument. There are
several parameters than you can change in this section that affect the
playback of the snare, hi hats and cymbals. You can access this section
by clicking on the Edit CC button in the Mappings window. You may find
that everything works ok for you but we are aware that E-Kit setups can
vary and so this section allows you to tailor the kit to your own individual setup.
When you have made your changes you can use the Copy button to save
your changes to an empty Custom Slot. To do this just click on the Copy
button and then select one of the Custom Slot in the pull-down menu.
The map you have created will now reside in the Custom Slot until you
decide to clear it.
45
In this new section you can change and edit various parameters that
affect the playback of the snare, hi-hat, and cymbals, depending on what
MIDI CC data is transmitted by your E-Kit.
Snare
If your snare drum has the ability to play two sets of samples from the
same pad i.e. center and edge, this function can turned off and on in this
section by activating the power button in the snare section. You can select any MIDI controller data number to affect this change in the “Snare
Number” slider should you wish. Likewise this will switch between the
Rimshot and Sidestick samples should your E-Kit support this function.
46
Hi-hat
There are two sections that you can edit for the hi-hat, one that relates
to the center hi hats and another for the edge hits.
Similar to the snare, you can change the MIDI CC number that causes
the hi-hats to open and close for both the center and edge hats, using
the Hihat CC Number Slider. This allows the hi hats to be controlled by
any MIDI CC data so you could for example set it to CC#01 for Modulation and open and close the hi-hats using the modulation control on
your MIDI controller.
Most importantly though this section allows you to change how much
the hi hats open and close by either using one of three presets curves
or by drawing in your own curve into the graph. This can be done separately for the center and the edge hats giving you as much control as
possible so that your hi hats play back perfectly according to your own,
individual setup. If you activate the link function, you can affect both
the centre and edge hi-hat sections simultaneously.
You can also invert the CC data that makes the section more compatible
with other MIDI controllers other than V-Kits. Click on the invert button
to invert the MIDI CC.
Cymbals
If your E-Kit cymbals support cymbal choking, this feature can be activated in this section. To activate cymbal choking, turn on the Power
button in the cymbal choking section.
The cymbal choking should work straight away but the instrument is
also capable of learning your cymbal chokes should you need to change
the cymbal choking notes for your setup.
47
To learn the cymbal choke, simply click on the icon to the left of your
chosen cymbal in the choking section. You will notice that the icon has
turned red and is in “Learn” mode. Perform a cymbal choke on your selected cymbal. The instrument will now know what MIDI note is causing
the choking and your cymbal choking will now work for that cymbal.
4.9 MIDI Grooves
Clicking on the Grooves tab at the bottom of the interface brings up the
Grooves page. This page contains four-bar MIDI loops that you can audition in a number of ways and then export into your project. The selected
MIDI loop will export using whichever MIDI map you have currently
loaded in the Mapping section. There are three button at the bottom of
the Grooves window – 1X which plays the groove back at the original
tempo, 0.5X which plays the groove back at half the speed of the original tempo and 2X which plays the groove back at twice the speed of the
original tempo.
48
4.9.1 Selecting a MIDI Groove
Click on the genre folder on the left hand side of the MIDI Grooves window. A
set of sub-folders will then be displayed showing different time
signatures. Click on your desired time signature and a range of folders
for Grooves in different tempos appears. Click on your desired tempo to
see the range of Grooves for that tempo in that time signature. Double
clicking on the groove file will select it and the name of the selected
groove will appear in the Groove Player window at the top of the instrument window. The Groove Player window appears in every page of the
interface except for the Drumkit page making it easy to play and stop
grooves whenever you like. To play/stop the groove simply hit the play
button in the Groove Player window. You can also toggle to the next/previous groove by using the two arrows in the player window.
4.9.2 Exporting a MIDI Groove
To export a MIDI file from the interface, just drag the file from the
Groove Player window directly onto a MIDI based track in your DAW. As
mentioned earlier, the file will export with whatever MIDI map settings
you have loaded in the instrument at the time.
49
4.10Kit Selection
There are two instrument .nki files included with the Vintage Folk Rock
Kit.
•
Vintage Folk Rock Kit Full
•
Vintage Folk Rock Kit Lite
The full version contains all the samples and all the variations of the
different articulations. This makes it the best sounding version of the kit
with the most variation, although it uses quite a lot of processor power
and RAM. The lite version uses the same samples as the full kit, with
the same amount of velocity steps, but it doesn’t contain the round robin
samples.
This version uses much less processor power and RAM, and it loads
much quicker than the full version. This makes the lite version perfect
for laptop users. You can load either of these versions by dragging the
nki files into the Kontakt window or by selecting and double-clicking on
the .nki files from the File menu within Kontakt itself. This is the only
way currently, to load the instrument.
50
5.0 Support and Account Notes
5.1
Support
It is important that we get the feedback to make our products better. If
you have any issues with the quality of the product or if you have any
questions please let us know and we shall to get back to you as soon as
possible. Email [email protected].
5.2
5.2.1
Account Notes
Use of the Packs
Once you have purchased a Drumdrops pack you are free to use the
contents on a commercial release. As long as you have proof of purchase
you can use the packs for your own music and you don’t need to get a
licence from us. Credits to Drumdrops are very much appreciated but
they are not essential.
However, you cannot create new sampler patches and share the samples.
If you create new sampler patches (without the samples) this is fine and
encouraged. If you make any new or exciting ones please let us know
and we may include them in future updates to the packs.
5.2.2
The Drumdrops Account
It is against our terms to create multiple accounts especially to take
advantage of offers. Any offending accounts may be deleted. Currently,
if you buy material from Drumdrops these products will remain in your
account meaning you can re-download them when you need to. See it
as a long-term back up policy. However, if this is abused we may delete
offending accounts without warning. It is also against our terms to
create accounts using temporary email addresses. We know a few people
do this to claim the free stuff. Come on guys, play fair.
5.2.3
A Note on File Sharing
We know file sharing happens and we know that some people seem
addicted to uploading stuff to torrents. We know people who upload to
the torrents can actually earn money from advertising on their pages,
probably earning more than us.
51
Drumdrops is a small company and spend a lot of money to make these
high quality products. If our customers file share we may
be forced
to stop updating that product, and ultimately, we may stop making
products altogether. For us to continue bringing out good, quality
product we need to sell it. We are not looking to be millionaires, we
are wanting to create great content and we want to make enough so
everyone involved makes something out of these products for the hard
work they put in. Remember, we cannot go on tour or sell merchandise
or stream our products to recoup costs in other ways. We rely on the
income from the sales to keep making new product.
A customer recently made use of one of our offers (which we stopped as
a result) to start systematically downloading the catalogue for free. His
argument was that the product cost too much. Firstly, we don’t believe
the product is too expensive for the work that goes in; and secondly,
would that guy go into a store and take an iPad because he thought it
was too expensive? We doubt it.
We fully understand that not everyone can afford everything we do,
but we start packs from £ 3.00 / pack and have a multitude of packs at
different price points. For those who register accounts with us, we will
continue to offer deals and if we want to give away product, then please,
out of respect for the work that we do, let us do the giveaways rather
than you.
If you play fairly then we will continue to deliver. It would be a huge
shame for a few individuals to ruin what we do for everyone else who
enjoys these products. What goes around comes around, and if you’re
giving other people’s work away for free, then the next time some fucker
breaks into your house and steals your laptop... well, maybe you had it
coming. Don’t forget that it works the other way, too.
Thanks for reading.
52
Purveyors of the finest live drum multi-tracks, stems,
drum loops, drum samples and single hit kits.
www.drumdrops.com
53