Our second epic percussion loop library for the film, TV, and game composer featuring 40 brand new dynamic and adaptable grooves. From deep beds that sit nice in a mix, to high-impact action grooves that pound through a track. For the composer on a deadline. (For Kontakt FULL 5.3.1+)
These 40 all-new loops feature 2 additional variations each for a total of 120 different grooves that are all separated into low, mid, and high layers to allow for easy isolation, mixing and matching of the parts, making your work with percussion loops a more creative process.
THE INDIVIDUAL PATCHES
Each of the 40 loops are mapped onto individual patches. These patches include single hits at the bottom and the loops at the top. The loops include the Full Mixes (low mid and high layers played all at once, with 3 variations and 3 corresponding codas), then the low, mid and high layers laid our individually above that.
The All Patches allow users to preview the loops in a single patch and find out which one(s) work best for them. They are split into two groups – 4/4 and Non-4/4.
THE 4/4 ALL PATCHES
The 4/4 loops are laid our chromatically over almost the entirety of the keyboard.
THE NON-4/4 ALL PATCHES
The Non-4/4 loops are separated by time signature- 12/8, 3/4, 5/4 and 7/8.
The Mod Wheel for the Full Mix All Patches controls the mix of the layers.
Additionally, the All Patches are split into two main groups of patches: the 4/4 Time Signature loops, and the Non-4/4 Time Signature loops. Each group is split into four different patches: the Full Mix loops, the Low layer loops, the Mid layer loops, and the High layer loops. As you play through an All Patch, the name of the loop is displayed in the GUI, making it easy for you to navigate to the corresponding patch.
Each DPB2 patch contains various settings for tweaking the sound of the loops to fit just right in any production.
The Mix options allow you to attenuate the levels of each layer of the loops individually.
We’ve also included an EQ to generally boost or bring down certain frequency bands in the loops.
The built-in compressor includes all the typical parameters you need to control dynamics.
Finally, there’s a built-in reverb to add space to your loops.
The 40 loops are broken down as such:
27 different 4/4 patches
5 different 12/8 patches
4 different 3/4 patches
2 different 5/4 patches
2 different 7/8 patches
Thats a total of 81 variations of 4/4 loops, 15 variations of 12/8 loops, 12 variations of 3/4, 6 variations of 5/4 loops, and 6 variations of 7/8 loops. Additionally, each patch contains 3 codas (one for each variation) and single hits that you can use to tailor these grooves to your original compositions.
CONCEPTS OF THE LIBRARY
The problem with most percussion loops is that they sound… well… loopy. Usually, epic orchestral percussion loops have the habit of drawing attention to themselves. They contain so much dynamic thumping that they place themselves in front of the mix whether the composer wants them there or not. The concept of this particular library was to create loops that are devised to be the foundation of a cue, as opposed to the gleaming facade. These loops are specially designed to act as supporting structures in your music, acting as a bed from which to enhance – but not dominate – your cue.
We have taken great lengths to create concrete musical variations. This allows your cue to grow organically, as it would with live percussionists. Each loop is constructed with five major parts: VARIATION A, VARIATION B, VARIATION C, Codas/Endings for each variation, and the individual hits used in the loops. With these different variations, along with the single hits, you can give your percussive beds more character and flexibility, breaking the monotony of a typical drum loop.
Each variation is presented as a full mix and as grouped stems, allowing for maximum proficiency.