Raw Series Vol.2: XBASE 09

Sounds ----- Tech Specs ----- More Info----- Installation ----- Free Demo
Tech Specs
  • More than 2300 painstakingly handcut samples. About 300 different sounds (x 6 round robin hits), organized by type and descriptively labelled. (WAV and ABLETON versions)
  • 45 ready to use Machine Group kits. (27 Kits & 18 Instrument)
  • 31 ready to use MPC kits (1000/2500) (23 Kits & 8 Category Kits)
  • A Total of 307 Ableton Live Instruments. Including advanced features like Reverb, Saturation, Delay, Freq Shifting, Bit reduction etc.. and an automatic Round Robin management. (Up to six round robin layers).
  • -251 Ableton Sampler patches
    -7 Sampler XL Instruments
    -30 Drum Racks Kits
    -19 Impulse Kits
    Everything was run through an SS MP573 (improved Neve 1073), short cables and, last but not least, mastering grade converters (Universal Audio 2192).
    About this library
    After the warm reception of our first installment in the analog percussion world (the acclaimed RAW Series Vol.1) we decided to make a library built on the same honorable principles -realism, dynamics and usability- but with a more agressive and punchy sound that complemented the organic, creamy and percussive nature of the previous collection.
    Of all the drum machines in our arsenal we felt that the 09 was the box that best represented this idea, and thus our next victim was chosen!
    The 09 is a 909 inspired drum machine with a twist. The great thing about it it’s that, although you can use it to emulate a convincing 909, it can also go WAY beyond it’s limits. The bass drum and snare circuits have much wider range and the sound is a bit more modern and over-the-top. It’s like a 909 on steroids! This is specially nice since you can end up with something that sounds “familiar” yet not dated like the overused original 909.
    A clever way of sounding different.
    COMPLETE BUNDLE for 18€ (-35% Discount)
    ⋆⋆⋆⋆ BUY ALL & PAY LESS ⋆⋆⋆⋆
    (WAV Files + Akai MPC + NI Maschine + Ableton Live)


    Compatible with most samplers
    24 Bits Format
    Minimum of 6 Round Robin samples per sounds

    (most are 8 sample layers per sounds)

    + Than 2300 Sample files!


    Compatible with MPC1000 & 2500
    16 Bits Format
    A total of 45 PGMS

    27 PGM Kits

    18 PGM Category Kits

    + Than 300 Sample files


    Compatible with Maschine 2.3
    24 Bits Format
    A total of 45 Groups

    27 Drum Group Kits

    18 Category Group Kits

    + Than 300 Sample files


    Compatible with Ableton Live 9
    24 Bits Format
    A Total of 307 Ableton Patches

    30 Drum Racks Kits (round robin)

    19 Impulse Kits

    251 Sampler Instruments (RR)

    7 Sampler XL Instruments (RR)

    + Than 1900 Sample files!
    How to install the kits
    Additional Info
    Why should you care about dynamic range in sample libraries?

    1 - Well, for a start, compression and normalization are a process that is almost impossible to counter. Of course you can use expanders to regain some dynamic range, but the negative artifacts of compression and volume normalization will still be there. So if you want to use dynamic sounds in say, a more “laid back” production, you just can’t do it with regular libraries.

    2 - When dealing with synthetic analog sounds, dynamics are key. Unlike real drum and instrument samples, synthetic sounds are already very undynamic, so having the option to “let them breathe” a bit is certainly a good idea.

    3 - It’s as close as having the machine yourself. The “real deal” doesn’t sound compressed, it sounds RAW.

    4 - Most producers have their own set of preferred tools and dynamic processors. Some like the sound of a certain optical compressor, while others love “brand X” digital brickwall limiter. Producers and artists -like yourself- are very idiosyncratic, everybody has their preferences. However, most libraries are already compressed and maximized to hell with “brand Y” compressors and limiters.This leaves no headroom for the producer to apply his own set of tools, his “sound”, and he ends up with a production sounding timeworn, plain and ordinary.


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