Impact Soundworks Groove Bias KONTAKT 节奏打击循环

Impact Soundworks Groove Bias KONTAKT EXS | 2.28 Gb
The goal of Groove Bias was to create a set of deeply sampled acoustic drum kits inspired by classic 50s, 60s and 70s records and the timeless breakbeats we all know and love. For decades, these sounds have been imitated and sampled over and over, but many producers have preferred to try and capture old kits with pristine, modern recording methods. Not so with this library. Our motto was “the more tubes, the better,” and we armed ourselves to the teeth with beat-up mics, analog gear, vintage drums and tape machines.

Groove Bias works in a wide range of genres thanks to the way we designed and recorded it. Sweeten it with some extra saturation (or pull up the appropriate preset) and it can provide the basis for a Chemical Brothers style big beat track. Tweak the low end and add a bit of vinyl buzz and you’ve got kit sound right out of “In a Gadda da Vida”. Set up your MPC and dial up the room mics and you’re creating classic drum breaks that are completely fresh. This is a library for people that love their drums.

We put over eight months of work into the meticulous recording and editing process, whole sessions going by before we were finally satisfied with a single snare sound. The result is what we think you’ll agree is the funkiest, “phattest” acoustic drum library around. We hope you enjoy Groove Bias! 

The library contains nearly 4,000 samples (4 gigabytes) across three custom drum kits and a set of percussion. The audio content includes five snares, four kicks, nine toms, three hats (closed, loose, open, pedal), two rides, two crashes, two splashes, two rims, handclaps, tambourine, shaker, agogo, bongos, woodblocks, cowbell and triangle. Unlike the various enormous drum libraries out there, Groove Bias simplifies mixing, combining mics into single patches (though you often have access to separate overhead/room mixing, for example, to control natural reverb.)

Despite the lo-fidelity recording method and old-school gear used, all the audio for this project was dumped and edited from Pro Tools at 24-bit, 96 kHz. The samples (WAV format) are a mix of mono and stereo, where appropriate. Every single patch has a minimum of five round robins and five velocities, all the way up to sixteen velocities and ten round robins for some patches, such as some of the snares.