– 235 different sounds*
– 1100 WAV samples
– 24 bits audio files
– 146 Mb
* The difference between a sound and a sample is that a sound exists conceptually. For example, this library contains 51 different snare sounds but (because of the round robin) we include +200 snare samples.
– 235 Instruments including
– 27 drum rack devices
– 19 impulse devices
– 6 Sampler devices with selectable sounds (all sounds included in a patch + 189 Sampler individual devices )
– 52 groups
– 30 pgms
* All samples are WAV format. This means they are virtually compatible with 99% of audio devices.
Feel free to use this sample pack with hardware samplers such as Elektron Octatrack, Digitakt, Roland SPs, or any software samplers.
REQUIRED FOR PRESETS:
Ableton 9.7.7 (or newer)
Maschine 2.5.2 (or newer)
Akai MPC 1000/2500
RAW SERIES 001
Raw Vermona inaugurates a new concept in our sample catalogue.
We are going to sample machine in it’s pure rawness.
And now it’s the turn of the Vermona DRM1 Analog Drum.
Most contemporary sample packs focus on highly undynamic samples. Audio-destructive processes like normalization and digital compression are the norm rather than the exception.
We are not saying this is a bad decision. We do this ourself on our Flavours series, and it’sa good way to imprint character of certain styles or eras to your sounds.
But being honest, 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 that there should be a market for more dynamic sounding samplepacks. And here is our little contribution.
Vermona DRM 1 Analog Drums
Get the flavour of the original machine
1100 samples / 235 different sounds
Punchy kicks & fat snares
Round robin technique x4 samples for extra realness
Tuned and arranged for instant fun
27 Ableton drum racks / 19 Impulse devices / 189 sampler devices
52 Maschine groups
30 MPC pgms
Why should you care about dynamic range in sample libraries?
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.
If you think twice, most serious producers have their own set of preferred tools and dynamic processors So if you want to use dynamic sounds in say, a more “laid back” production, you just can’t do it with regular libraries.
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.
It’s as close as having the machine yourself. The “real deal” doesn’t sound compressed, it breathes and it sounds RAW!
– P. COCA