Watch DnB legend Break in the studio in our PRODUCER MASTERCLASS video DnB stalwart Charlie ‘Break’ Bierman shows us how he crafts his warm, analogue-flavoured drum ‘n’ bass sound in this month’s Producer Masterclass video. Journey into the studio and see how Temptations came into being. Scrutinise Break’s finely-honed production chops and get a load of his luscious setup.
‘Complex Electro Tools Vol 3’ continues this smash-hit Electro series. These Complextro and Dubstep sounds designed by leading producers will add punch and drive to your dancefloor productions. Again, drops some of the heaviest basslines, amazing breakdown synths and smashing drum loops. If you need a new pack filled with inspiration for your next Complextro floorfiller, here it is. With more samples than its predessors, ‘Complex Electro Tools Vol 3’ will satisfy your needs. Although intended as a mini pack, this time the pack is filled with even more macrobits, special sounds, drums and FX than previous Volumes. All loops, macrobits and FX sounds fit to the master tempo of 130 BPM. Special sounds and macrobits are key-labelled.
The classy electro house writing and production duo take us on a guided tour of the single No Other Lover in this exclusive step-by-step tutorial.
Classic Breaks from the 1980s played by one of the most successful session drummers of all time! EIGHTIES DRUMS is a massive sample library from the drum legend that is Geoff Dugmore. It takes its inspiration from the great drum tracks of the 1980s. Geoff Dugmore is British professional musician who has played drums and percussion on over 150 hit records, including 44 no.1 albums. Over 13GB of material is arranged in two different ways. Firstly, we have the full kit loops in both dry and FX mixes. Secondly, we have given you all the separate tracks from the recording sessions, so you have complete control over how you want to use the kit. There are separate tracks for kick, snare, toms, and cymbals as well as room mics, Centre mic and each of the different effects that are used. Effects used include delays, reverbs, modulation, and compression etc. The drumkit used is a DW Jazz series set with Sabian cymbals recorded through an API 1608 desk to Pro Tools. The API desk is ideally suited to recording drums because it gives a very punchy and mid-forward sound. The library comes in Kontakt3, EXS24, Reason and HALion sampler formats as well as Acidized Wavs and Apple Loops.
Stage – a plugin that uses trailblazing stereo-spatial processing methods to take good mixes and masters, and make them great. And The Stage Is Set! Simply put, stage is here to give your mixes that final shine and depth you’ve heard on countless records, drawing out an inherent character you might not have even known your sounds possessed. By leveraging subtle delays, internal phase augmentation and modulation techniques, you can now effortlessly emphasize the natural depth and space of any natural recording or synthesized element. The result is an increase in overall definition and perceived size – all elusive qualities that in the end contribute to a type of sonic weight that will quickly become indispensable to your audio toolkit. And just how is this possible? Under stage’s hood are mighty psychoacoustic algorithms that power the innovative panning and stereo alteration controls, giving engineers, sound designers, and electronic musicians the ability to sculpt their stereo image with minimal effort and maximum precision. Arrange your tracks from left to right, front to back or even diagonally if you like; enhance the ambience of your masters or go for wildly modulated effects. stage can do it all!
SpectraLayers delivers audio empowerment by showing sounds as visual objects. You can explore, reach in, take and transform, working wonders on tasks ranging from repairing and restoring audio to freeform sound design. Unmatched selection tools developed over many years are now joined by new artificial intelligence-driven audio extraction and repair processes, making this the most significant version of SpectraLayers yet.
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