Imagine having a hugely powerful, flexible and inspiring analogue drum synth in your studio: one that allows you to create classic tones from the past or sculpt entirely new contemporary sounds easily and seamlessly. Then imagine that it’s been wired in to a choice of classic, old-skool hardware samplers, so that you can record its output through their signature electronics, pushing their A-to-D converters just as far as you want, to get that meaty thud and crunch to the low end, and crackly sizzle to the high end that only vintage samplers can impart to a beat. Imagine doing away with their cryptic interfaces in favour of a single knob that allows you to dial in precisely how much of their character you want stamped on your sound.
This is what Grit Kit puts at the heart of your DAW. Inspired by the way that hardware samplers of the past just make beats sound better, Grit Kit is an analogue drum synthesiser’s brain surgically welded to a hardware sampler’s heart. It’s as easy to program and create with as any Vermona-style analogue drum synth, but can sound like an Akai, or a Mirage, or an EPS, just at the flick of a switch and the twist of a dial. It gives you an entire drum kit – kick, snare, open and closed hats, three toms, three cymbals, and two percussion pieces – all freely editable, and all ready to jump to life with the weight and power of yesterday’s sampler technology…
To see how that magic’s possible, let’s take a look at what makes Grit Kit pump. Creating a sound is dead simple. Say you want to roll your own killer kick drum. Start by selecting a basic Waveform to act as the core of the sound: let’s have a simple sine wave. Or a triangle, or pulse, or square,
or variations on these. Then add an attack Transient to give your sound some definition – one of a whole selection taken from revered classic analogue drum machines of the past. Tweak in just a little Noise – seven different flavours. Balance these components together to get the sound you want. Dial up some distortion if you like, and tailor the Attack and Decay to get something tight but with enough presence to hit your audience in the chest. Rope in the multi-mode resonant filter to sculpt the frequency response until it’s just how you want it. There, your kick is done, and it sounds pretty damn cool. You’ll find that the selection of Transients, Waveforms and so on changes intelligently depending on which kit piece you’re editing, so the Hats have plenty of hat, ride and crash cymbal Transients to choose from, whereas the Snare ditches these in favour of – you guessed it – snare (and kick, and tom) transients. Hats and Cymbals can access two kinds of Noise simultaneously; Toms have a Bend control but Cymbals don’t… basically, every kit piece is tailored from the start to allow you to dial up sounds that just work, quickly and powerfully.