– 700 different sounds*
– 8000 WAV samples
– Minimum 4 Round Robin samples per sound
– 24 bits audio files
– 1 Gb
* The difference between a sound and a sample is that a sound exists conceptually. For example, this library contains 164 different snare sounds but (because of the round robin) we include +2000 snare samples.
– 815 Instruments including
– 38 drum rack devices
– 27 impulse devices
– 19 Sampler devices with selectable sounds (all sounds included in a patch + 700‘s Sampler individual devices )
– 321 clips
– 65 groups
– 63 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)
Kontakt 5.8.1 (or newer)
Akai MPC 1000/2500
RAW SERIES 003
Raw Series Vol.3 “Analog Tempest” is here!
Based on the hybrid analog/digital drum machine of the same name, this huge and versatile library will overdose your poor sampler.
We have maintained our “raw” philosophy, carefully sampling the drum machine with top class preamps without further compression or processing. You already know that dynamic range is key! But… We decided to make a twist and give you the opportunity to use layered kits and add further processing to the Kits with the onboard FX available in your DAWs.
The result is an incredible versatile and organic sounding library!
Are you prepared for the Tempest?
TEMPEST Analog Drums
Get the flavour of the original machine
8000 samples / 700 different sounds
Kicks, snares, toms, hi-hats and lots of percussions & FX
Round robin technique x4 samples for extra realness
Tuned and arranged for instant fun
38 Ableton drum racks / 27 Impulse devices
65 Maschine groups
63 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