Raw Series Vol.1: Vermona DRM1
How it sounds
- 183 Ableton Sampler patches
- 6 Sampler XL Instruments
- 27 Drum Racks Kits
- 19 Impulse Kits
Everything was run through an Great River MP-500 NV, short cables and, last but not least, mastering grade converters (Universal Audio 2192).
About this library
Raw Vermona inaugurates a new concept in sample library development.
We have sampled a Vermona DRM1 Analog Drum in it's pure rawness.
Most contemporary sample packs focus on highly undynamic samples.nAudio-destructive processes like normalization and digital compression are the norm rather than the exception.
There is a loudness war going on in the sample world and everybody is on the same one-way-only train: my library has to sound louder than yours.
Here at HelloSamples we think the public (you) knows better, and that there should be a market for more dynamic sounding samplepacks.
That’s why we decided to start our “Raw” analog library series.
Instruments: Vermona DRM I MK2.
Recording: Great River MP-500 NV (Neve Preamps) | UA 2192 converter.
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.