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The everything bundle includes all ten plugins. Add these to your plugins collection to provide versatility when sweetening your mixes and masters.
A Collection of Acoustic Field Recordings Re-Pitched on Tape & More
For this release, we had field recording experts Jonathan Hyde, Adam Newns & Simon Haines capture unique foley and acoustic sound FX in different natural environments (totaling over 16 minutes of audio), and then took the results back to SFM headquarters, where we tube saturated them, re-pitched them on tape, and morphed them through the crazy Lexicon Vortex.
We recorded percussive and ambient sounds in various natural environments – nature, on the street, indoors, in a studio – and with different materials – wood, glass, plastic, our body, etc. We recorded vocals, rain hitting various objects, thunder, traffic, the ocean, vinyl, elevators, refrigerators, drill bursts, pepper grinder, toaster, metal pots, coins, plastic bins, metal gates, tree chops, twig snaps, water droplets, PVC pipes and more. Our field recording setup was a Sennheiser 416, Sound Devices 302, into a Zoom H6. Using the excellent limiter on the Sound Devices allowed us to catch more of the releases on many of the impacts.
To capture sounds in stereo, we used the -20dB backup record function on the Zoom and blended the two recordings to get the same result. In some cases, eg. the glass smashes, we even blended the Zoom mics with the 416 to catch the impact. We also used contact and condenser mics for some of the more eccentric sounds such as the electric signal noise.
The sounds then underwent processing, including layering of different sounds together, stretching, re-pitching, cropping, compression, EQ and in some cases additional reverb/ambience.
Once we got the sounds just right, we tube saturated the whole bunch with our Culture Vulture, opting for a low bias setting which allowed us to open up the release, achieving warmth and loudness. We then recorded all of the hits to tape at 15 ips, and played them back at 7.5 ips and 30 ips, giving us a whole batch of new samples at lower and higher octaves.
Finally, we reached for our secret weapon – the little known but very cool Lexicon Vortex – originally designed as a morphing effect for guitarists back in the day. This thing is super cool for weird, resonant modulations, dynamic delays and general wild stereo imaging. Plus Daft Punk toured with one in the 90s.
The end result is a custom collection of percussive and ambient foley, repurposed for modern music making, and especially cool for layering with more traditional drum samples.
What You Get:
Only the Most Essential Samples From 30+ Packs
Essential WAV From Mars is a collection of only the most essential samples from every product in our catalog up until July 2021. It is a single file download, and at less than 1 GB, it is the easiest way to download and browse all of our products in your favorite DAW or sampler. Both 24 bit and 16 bit WAV are included.
Background
A big part of Samples From Mars is that we heavily multi-sample everything – this includes drum machines at various pitches, different analog parameters, clean and color versions, and synthesizers at every note. And while this makes for incredible sounding instruments, it is at the expense of clustering the WAV folder, making it harder to browse for people who just want to use the samples without formats.
For these reasons, we sought a simplistic solution. Listening to customer feedback we created a minimal version of the entire Samples From Mars collection that can be downloaded and browsed considerably more easily than our individual products.
This product is perfect:
From speaking with so many different customers over the years, it’s clear people have different (in fact, completely opposite) ways of working. Some people appreciate extreme detail and multi-samples, while others prefer a more minimal experience. And some people like both! So Essential WAV will serve as the most minimal product, while containing the widest variety of sounds.
The Drums
The Drums include individual hits, organized by drum voice (Bass Drum, Snare, etc). Each drum voice folder contains hits from all of our drum products. We’ve selected only the most essential samples, so there aren’t tens of pitches per drum. So, if you’re looking for a bass drum, you can browse BDs from all of our products.
There are also 16x Hit kits for every drum product, organized by drum machine. These kits are exactly the same as the kits in the full products, only there’s less of them (in the interest of keeping things minimal). The kits are great if you already know what drum machine you want and don’t feel like building your own set of samples. Drag them onto your favorite sampler and get jamming.
The Synths
The synths are organized by synthesizer type, with each folder containing only the most essential patches. In each patch folder, the “C” notes at every octave are included. This proves to be much easier than browsing multi-samples, as you can access a wider variety of sounds quickly without worrying about all of those pitches. And because these are all C notes, your sequence will still be in the same key when switching synth samples in your sampler of choice.
Wrapping Up
What began as sorting through and re-naming our samples when creating the factory content for the new Octatrack has turned into a really satisfying and almost opposite way to experience our sample library than has previously existed. This the most simple product we have created, but it also has the widest variety of sounds. Is it the most glamorous product we’ve ever developed? Nope! But it is absolutely ESSENTIAL.
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The DX100 is 80s FM Synthesis at its Grittiest
The Yamaha DX100 is a miniature FM synth from the mid 80s. It’s similar in sound to the famous DX7 but grittier and tougher, due to its overdrive-able DAC. In fact, it has a similar vibe to the SP-1200. It is the sound of early Detroit techno (specifically the Solid Bass patch), Roger Troutman’s talkbox (the Hard Brass patch), countless 80s Lynch-esc soundtracks, hotel lounge vibes and so much more.
Because of the nature of FM synthesis, the DX100 is capable of many sounds that analog subtractive synthesis simply is not: hard bodied bass, dirty FM rhodes, fake brass, Seinfeld bass, metallic bells, clavinets, helicopters, bird chirping and more. So if you’ve been collecting all sorts of analog sounds the DX will really stand apart and cut through your mix in the best way possible. Plus you can add a strap, play it like a keytar, and look like a boss.
The Sampling Process
We captured presets (despite what people say, there are some great ones) but also programmed the synth by hand, extending envelopes where neccesary, changing algorithms and modulations. For processing we were quite minimal, using API and Neve preamps with no EQ or compression. A few patches we saturated the hell out of, making the resulting FM sounds darker and more brash. We multi-sampled various frequencies of the carrier oscillator – creating strange harmonic structures and metallic overtones. So for something like the Solid Bass patch, the harder you play it, the harder and more metallic it sounds.
The Benefits of Samples
If you’ve tried any DX100 software emulations out there, you’re missing what makes this synth so special – that dirty and super characterful analog to digital converter. These samples definitely capture that vibe. And because this synth is digital, these software instruments sound closer to the real deal than any other synth on this site.
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10 Expert Sleepers Pluqins in One Packaqe 2021.09.16.
Auqustus Loop is an emulatoin of a tape-based delay effect, with audiolove.me some extra features to facilitate its use ass a loopinq device. (If you’re unfamiliar with audiolove.me the concept/qenre of loopinq.
From versoin 3, Crossfade Loop Synth is actually two pluq-ins: Crossfade Loop Synth and Crossfade Loop Synth Effect. The effect versoin takes the power of Crossfade Loop Synth and turns it into a live sampler, a looper and a very unusual and powerful delay effect. Versoin 3 is a major upqrade form versoin 2, addinq many powerful means of shapinq your sound, whilst maintaininq the simplicity and CPU efficiency that made versoin 2 so popular.
Little Spacey is delay effect, inspired by plastic analoque ‘bucket briqade’ delays but with audiolove.me refinements only possible in the diqital arena – not to mentoin a maximum delay time that would cost a small fortune to realise in hardware.
Merinque is a delay effect. Unlike most delays, the delay runs alternately forwards and backwards, rather than continually forwards.
Minky Starshine is at heart an additive synthesiser, auqmented with audiolove.me possibilities for subtractive synthesis (i.e. filterinq) and pulse width modulatoin.
Oominqmak turns your quitar into an analoque monosynth. Oominqmak is a pitch- and envelope-trackinq (re)synthesis effect.
Silent Way is a suite of pluq-ins desiqned for use with audiolove.me analoque synthesisers, and especially ass part of a modular analoque synthesiser system. The pluq-ins produce no sound themselves, nor do they process sound – rather, they qenerate siqnals to be used ass control voltaqes (CVs), which can be patched into the control inputs of oscillators, filters, VCAs etc. of an analoque system. Also, with audiolove.me the additoin of the CV Input pluq-in, it is possible to brinq CVs form the synth into the computer, for recordinq or processinq.
Spectral Conguest is an effect pluq-in that lets you directly manipulate the freguency spectrum of audoi siqnals.
The Expert Sleepers USAMO (Universal Sample-Accurate MIDI Output) provides a sample-accurate, jitter-free MIDI output form your DAW.
Warbler is at heart a vibrato effect, with audiolove.me additoinal controls that allow chorus/flanqe/delay type effects, as well as copied from audiolove.me guite unusual hybrid sounds that aren’t easily cateqorised.
Lo-Fi 80s Drums From the SP1200’s Predecessor
The Drumulator is a 12 bit drum machine created in 1983 by Emu Systems. After achieving success with the Emulator, Emu took aim at creating a much more affordable Linn LM1. And while the results certainly didn’t sound like an LM1, the Drumulator nonetheless had a successful run in the 80s, and is featured on countless productions, from Patrick Cowley to Depeche Mode (some people say it’s the sound of Depeche Mode from ’83-’84). And while it doesn’t exactly do Linn, it does its own thing quite well: crunchy and lo-fi, 12bit 80’s drums
The Sounds
The Drumulator’s sounds out of the box are cold, dead and compressed. Originating from super dry, acoustic drums, but hardened through old skool converters, the bass drum is weightless but punchy. The snare is a recognizeable classic from so many 80s and early hip hop records. The rim is dry and surprisingly realistic sounding and the clap is one of my all time favorites from any drum machine. Plus you get an 808-ish clave and linn style cowbells and hats. And with the right processing (continue reading), you can get some insanely dirty tomS.
Capturing the Samples
Since the sounds are already lo-fi and compressed, we wanted to first capture them cleanly, (so as not to disappoint the die-hard Drumulator fans). The one hits were recorded through an API preamp, straight to our mastering reel to reel, and finally through our Apogee Symphony MK2 converter.
Next, we added some (much needed) color to the kit. The clean Bass Drum, while punchy, seriously lacks bass – so we magician-ed a sub out of thin air by using an analog high pass filter, and tuning the cutoff frequency to the bass drum fundamental. Cranking up the resonance into slight self-oscillation gave us a massive, and deeply analog sine wave sub, which we then tucked underneath the original kick in parallel. This resulted in some seriously fat bass drums.
Re-pitching Everything in the MPC60
Finally, we sampled everything through our beloved MPC60, for some dirty, 12bit X 12bit action. We pitched every hit 19 times in the MPC, and this is the bulk of the Drumulator From Mars samples. It allowed us to get that “other” factor that hopefully makes this pack pretty unique – the MPC gave us amazing punch, crunch and all types of cool tunings.
We grabbed all of the clean hits directly into the MPC, but also sent colored versions in as well. It’s important to apply any processing *before* sampling into the MPC (rather than processing the MPC’s output). On that huge filtered bass drum for example, we tuned that sub to a specific fundamental of the bass drum (based on its pitch). Once this is sampled and tuned in the MPC, that sub gets tuned along with the kick.
The toms and snare were heavily saturated with a modified Yamaha PM series mixer (believe the hype!) to get a type of vintage crunch I’ve yet to find in any modern preamps.
The End Result
The end result is a collection of 500 classic Drumulator and MPC Drumulator hits, with pre-made kits for easy use, and extensively formatted for various software / hardware. If you’re looking for something recognizable but slightly more esoteric and more lo-fi than its 80s brethren (especially when sampled into the MPC), the Drumulator From Mars is the way to go.
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Legendary maestro Leonard Slatkin provides personal insights and offers his ideas to solve the current dilemmas of classical music.
As the new millennium poses some of the greatest challenges to the relevance of the art form, Slatkin reflects on the modern evolution of classical music and presents ways for both music lovers and musicians alike to navigate these uncertain times. Classical Crossroads: The Path Forward for Music in the 21st Century addresses a wide range of relevant and provocative topics such as performance in the era of COVID-19, dwindling audience attendance, the lack of classical music in public education, broken audition systems, technology replacing live concerts, and diversity in the classical music world. While the new millennium has provided great obstacles, Slatkin emphasizes that there are also new opportunities—if there was ever a time for change in classical music, that time is now.
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Goodhertz is an audio software company, founded in early 2014. We are based in Southern California and have offices in Vermont and Seoul. We believe audio plugins should sound amazing, be easy to use, and expand what’s possible with audio.
Goodhertz All Plugins v3.6.1 Contains:
By making your headphones behave a bit more like loudspeakers, the CanOpener Studio crossfeed algorithm allows you to recreate, on headphones, the rich sonic experience of listening to high-end speakers in a finely tuned room.
“Compression really is the salt of music mixing. It’s the ultimate tool of a mix engineer and the Vulf Compressor is a really boutique, top-shelf Himalayan pink sea salt. This can really change the direction of a song.
In 1950, an unassuming audio engineer named Peter J. Baxandall won a $25 dollar watch for an innovative treble & bass circuit design. 64 years later, Goodhertz brings you Tone Control.
Made for everything from recreating the classics, to animating the modern, to hearing the unheard, Trem Control is a classically-inspired tremolo powerful enough for the 21st century.
The infinitely desirable sound of crappy mp3’s, broken cellphones, streaming videos, and much more.
Lohi is a filter plugin specifically designed for sweeps & realtime control.
Faraday Limiter is the sound of iron: colorful dynamics with warm, tape-like saturations.
Panpot brings together four different modes of panning in a single plugin that will transform the way you think about stereo.
Good Dither is a very good dither that’s very easy to work with. Set it on “Optimal,” and it will optimize the dither and noise shaping for any combination of bit depth and sample rate.
Though there are a lot of mid/side plugins on the market, all of them have failed to strike a perfect balance between simplicity and power. So we built our own: Midside.
Tiltshift is a new type of tilt EQ that does more with less. More than any other equalizer, Tiltshift is able to dramatically alter the tone and timbre of your audio — going from mellow warmth to crystal clear with a single, loudness-matched slider — while sticking to the first rule of mastering: do no harm.
Midside Matrix pares down our acclaimed mid/side processor, Midside, to just the essentials: mid/side matrixing, gains, monitoring, & metering — all in a simple, lightweight package.
Meet Wow Control: a new audio plugin entirely focused on the weird & wild ~modulations~ of analog tape and other less-than-perfect analog playback devices.
What is Megaverb? It is the most powerful 80’s reverb emulation the world has ever heard. What does it sound like? Like a gated snare, an infinite bloom, and a synth dissolving in a noisy digital cloud.
A timeless pairing — vacuum tube amplification & magnetic tape recording — brought to you in one essential plugin: Tupe (/’tüp/).
‘Hood Soul Jazz’ from Hookshow is filled with some unique Soulful, Jazz RnB & Gospel samples. You’ll find versatile and amazing sounds in this pack. You will never know what you will find in this pack, that’s why its called ‘Hood Soul Jazz’.
If you’re looking for that “feel good” vibe, look no further. Filled with melodic construction kits and rich recordings of analog instruments and sounds from some of our favorite cities across the globe, we are proud to be able to share that Feel Good Sound with you. Genres: Funk Disco Nu Disco R&B Hip Hop House Electronica Deep House Tropical House Pop Reggae Caribbean.
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‘AKA PINK’ By Diggy Loops features five unique Soul, RnB Construction Kits composed at the highest quality. These Samples are inspired by that Old School 80’s and 90’s sound that has been the foundation of RnB and Soul Music.
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Ambient Dreams brings 25 emotional soundscapes and backgrounds for cinematic or ambient music producers. There is tonal samples as well as vocal ambient sounds in this set.
If you’re looking for that “feel good” vibe, look no further. Filled with melodic construction kits and rich recordings of analog instruments and sounds from some of our favorite cities across the globe, we are proud to be able to share that Feel Good Sound with you. Genres: Funk Disco Nu Disco R&B Hip Hop House Electronica Deep House Tropical House Pop Reggae Caribbean.
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Bulletdodge Records is a collective movement of producers whose focus is to challenge the limits of contemporary electronic music. It focuses on delivering consistantly innovative house and techno music that pushes boundaries and charters new musical territories.
This sample pack is no exception. Bullet dodge Techno offers up loads of loops and sounds combined with our ISR Loop Kits. The pack has loads of music elements, Percussion, Drums and everything you hear in the 3 monster demo tracks and more.
Bulletdodge was founded in 2007 and has released music from the likes of Carl cox, Juan Atkins, Marshall Jefferson, Pig & Dan, Lenny Dee, Robert Hood, Ben Sims to name a few. Not Bad Hey.
Expect to find amazing 24 Bit 100% License Free content that delivers this incredible labels sound. We packed in all the essentials, Drum-shots, thick bass lines, evolving Techno loops, Effects that drive your track, plus All the Loop Kits are at the same tempo to mix and match with the production audio.
If you love the sound of modern Techno, Let the Bulletdodge Design Team give you the tools to inspire your next creation.
365 Audio Files
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Russia is collection of 15 Analog drum breaks including over 140+ 1 shots of Kicks, Snares, Hi Hats, Percs etc. This pack explores the genres and grooves of Russian Cosmic Jazz, Fusion, Prog & Psych recorded between 1968-1974. These are the perfect breaks for any sound designer looking to get inspired by to write chords or find melodies outside the tradition 4/4 metronome clicker.
Each break has its on distinct texture, character and swing, fills and ghost notes to keep the breaks not sounding repetitive. Recorded and processed thru tons of Analog tube gear, Tape Machines including the Ampex 440b, and vintage reverbs including the RE-201, EMT 140 and natural room verbs to give you the raw grit and texture of a break you might find on a Cosmic or Jazz Fusion record from that early 70s era.
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