Raw Series Vol.2: XBASE 09
How it sounds
- 251 Ableton Sampler patches
- 7 Sampler XL Instruments
- 30 Drum Racks Kits
- 19 Impulse Kits
Everything was run through a Great River MP-500 NV (improved Neve 1073), UA6176 Pre Amp, short cables and, last but not least, mastering grade converters (Universal Audio 2192).
Instruments: Jomox XBase 09.
Recording: Great River MP-500 NV (Neve Preamps) | UA 6176 Preamp | UA 2192 converter.
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.
How to install the kits
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.