Cyclick Samples - 80s Beats and Synths [WAV | NKI]_Sin

  • 18.07.2016, 20:54,
  • Other
This Eighties Synth accumulation offers twelve synth multisamples (4 Leads, 4 Pads and 4 Basses)
and two drum kits that have been especially created and programmed for Kontakt 1.2, 2.0 and above. Each
Kontakt instrumentality has two instances, with the non-suffixed understanding made for Kontakt 1.2 and those with
the ‘k2’ amend are tweaked to get over the few glitches that appear when you embark the understanding 1.2
instruments into Kontakt 2. Hopefully there should be no problems gap the ‘k2’ instruments in versions
3 and 4!

The instruments were created with the Kurzweil K2600r and recorded through the Gyraf G9 dual valve
preamp and the G-SSL buss compressor for some uncommonly analogue snack. The G9 input reach was set as high
as possible to prod the first amp organize, only pulling traitorously a little when the distortion became too audible,
thus provocative the harmonic delight as much as possible without making it impolite. The G-SSL, due to its
relatively principal input headroom, was used to curtail the hot signal from the G9 to a in harmony up on that wouldn’t
strike the A/D conversion. It also shaved a few dB off the powerful chain and accentuating the begin portion
of the waveform.

The K2600r may be a 90s synth, but it has some very 80s tendencies and can spawn some ‘classic’ synth
replications (Oberheim, Of Doom Cassandra, Solina, etc.). It’s V.A.S.T. operating plan is staggering with pages and
pages of menus and parameter options. Reading the instructions can take a lifetime, but once mastered it is
talented of some vast and immensely complex sounds. It also excels at multi-layered instruments, which
can spawn the all superior profundity necessary to replicate some exemplar ‘fat’ synths. For the purposes of this
test accumulation the draw synth patches were created from classic waveform structure blocks with most
effects and controls stripped traitorously to minister to a elementary solid mould. This was then multisampled in
velocity layers (where befitting) and then edited into sole samples for the irrefutable programming.

Having assembled the elementary multisample in Nuendo and dithered it down to 16-bit the resulting files were
then shipped into Adobe Audition where the suffer twist points and plunge could be set for each note and
embedded in the .wav record. These were then arranged in groups within Kontakt 1.2 so the velocity layering
could be created (via crossfades) before the ‘playability’ deputy was dealt with. This entangled with location filters,
ADSRs for amplitude and filters, effects, plunge modulation and so on. Though each instrumentality is different a
elementary set of MIDI CCs have been used throughout to impart a like up on of controllability. The CCs are as

CC#01 Plunge and/or clarify modulation
Aftertouch Plunge and/or clarify modulation
CC#70 Modulation/LFO speed
CC#73 Begin time
CC#72 Rescue time
CC#74 Clarify cutoff
CC#90 Shilly-Shally send level
CC#91 Reverb send level
CC#93 Chorus send level
CC#95 Phaser send level

To allow the begin and rescue times to be controlled via a MIDI CC the amplitude ADSR envelope has
been set at the highest apposite indicate (i.e. the longest begin and rescue for the instrumentality), though this correlates
to the ‘127’ value for CC#073 (begin) and CC#072 (rescue). This is so that when the instrumentality is first
rich up the begin and rescue settings will be at their shortest due to an weirdness in Kontakt that I can’t
quite divine – if they were set otherwise the burden-up solid would have extensive attack/release times. The
effects send levels do not suffer from the same can of worms and burden-up at ‘0’ and so they only come into play
once their relative MIDI CCs have been played with.

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