The STOIC is a FREE drum and melody kit sound designed by Slap Experts Curtiss King, Oh Gosh Leotus, Aaron Barber, YLM Beats, and vocalist Pearl Manhattan. Every sound was created from scratch and meticulously tweaked into high quality 808s, Kicks, Snare, One-Shots, Drum Loops, and Melody Loops.
Artist: Sound Ideas
Title : Fax Machines & Modems Sound Effects
Release Date: November 7, 2014
Format: Digital [Flac]
Label: Hot Ideas 2014
Team DjYOPMiX
Total Length: 35:15
Genres: Samples Movie Effects, Special Computer Internet Modems
Tracklist:
01 Fax Machine Connect Signals [Sound Ideas] 0:07
02 Fax Machine Redial Signals [Sound Ideas] 0:10
03 Various Fax Machine Tones [Sound Ideas] 0:10
04 Old Thermal Paper Fax Machine Rings & Receives Single Page Fax [Sound Ideas] 1:06
05 Old Thermal Paper Fax Machine Rings & Receives Two Page Fax [Sound Ideas] 1:39
06 Old Thermal Paper Fax Machine Rings & Receives Three Page Fax [Sound Ideas] 2:25
07 Old Thermal Paper Fax Machine Rings & Receives Multi Page Fax [Sound Ideas] 3:25
08 Single Function Beep Fax Machine Beep [Sound Ideas] 0:06
09 Fax Machine Error Tone [Sound Ideas] 0:12
10 Differing Fax Machine Tones [Sound Ideas] 0:30
11 Fax Machine Servo Feed 1 [Sound Ideas] 0:07
12 Fax Machine Servo Feed 2 [Sound Ideas] 0:10
13 Fax Machine Receive Accent [Sound Ideas] 1:19
14 Fax Machine Receiving Information [Sound Ideas] 1:47
15 Fax Machine Receiving [Sound Ideas] 0:33
16 Fax Machine Receiving Small Message [Sound Ideas] 1:22
The signature sound of R&B, from emotive, late-80s cuts to smooth, contemporary beats and beyond.
From late 80s ballads, to soul-searching 90s cuts and new pop frontiers, R&B is the defining force behind emotive, rooted music that always hits the spot. SATIN LOOKS traces the genre’s evolution until the present day, with vintage synth strings and keys, quintessential chord progressions chopped into versatile kits, funk-tinged guitar licks, and crisp acoustic percussion that blends old-school flavor with contemporary production aesthetics. Whether it’s bittersweet tones or late-night nostalgia that define R&B for you, this is the place to find it.
SATIN LOOKS was created in collaboration with Snipe Young.
Music Protest Ableton Push 2 Rhythm Theory TUTORIAL
Ableton Rhythm in Electronic Music
This course is ideal for any electronic musician who wants to understand (visually and intellectually) how to create both familiar/standard beats AND innovative/original beats. From the basics on up, this course will expand your understanding of rhythms and inspire you to reinvent your beats (and maybe make a breakthrough on that old track :).
Where You’ll Start…
We’ll kick things off with a primer on essential beat/time concepts like duple, triple and beats. Then, we’ll explore polyrhythms, humanizing and use what we learn to construct House, Garage and 2 Step beats.
Design Better Beats
I’ve been an electronic musician and performer since the days of Ableton 4 and this course encapsulates rhythm fundamentals that every beginner electronic musician needs to know. I’ve learned how to capture beats more easily on Push 2 and how to keep beats feeling human, without them sounding too imperfect…
When You’re Finished…
By the time you’ve finished this course, you’ll have created 3 great beats – House, UK Garage and 2 Step. You’ll understand how to program beats from scratch AND how to use delays, humanizing, polyrhythms and randomizing capabilities in Ableton to enhance your beats.
The Z3X is the top-shelf, custom shop Dingwall bass – representing the pinnacle of the Dingwall sound. This genre-defining instrument has been perfectly captured by Jacob himself – ready to unleash its tonal power on your music.
Whether finger picking, truLegato, truSlides, slap or even esoteric techniques such as double thumping – Jacob spared no effort in capturing every nuance of his playing style.
Packing all of our latest technologies, UmanskyBass is the ultimate Dingwall virtual instrument.
Introducing: Jacob Umansky
After debuting on stage with Intervals five years ago, Jacob Umansky has become a colossal force in the world of modern bass.
His unique technical approach, composition and distinctive tone has made him a household name in the progressive metal genre.
Following his graduation from the Berklee College of Music, Jacob has worked with artists such as Aaron Marshall (Intervals), JIA, Joshua Dela Victoria, Joseph Anidjar, The Omnific, Aviations, Auras, Nick Johnston, The Faceless and many more.
Endorsed by Sheldon Dingwall, sampled by Jacob and powered by our industry-leading truBass technology, UmanskyBass is the most advanced heavy, progressive virtual bass instrument in existence.
UmanskyBass Features:
Dingwall z3x (Custom Shop), sampled by Jacob Umansky
Every fret, multi-sampled. Match guitar performances 1:1
Interactive fretboard + 17 Articulations!
Use Force String to program exactly which string each note is played on
New articulations: Thumping, Double Thumb, Hand Mutes, Slap/Pop, Ghost Slap/Pop, Tapping, truLegato, truSlides
Completely overhauled truBass slides. Slide exactly how you want – program start/end notes, with realistic energy decay over time
Use Force String to program exactly which string each note is played on
Pitch Bend up to 12 semi-tones! (or be sensible and stick with 2)
Up to 16 sample round robbin on Finger Alternate articulation
Fully raw DI, as well as 3 of Jacob’s custom tones. Grit is the primary tone, matched from the Intervals album, Circadian
‘Mixer’ tab allows for limited tweaking of each tone
New ‘Humanize’ feature. Goes from Machine through to ‘Bassist’
‘Position’ knob acts as virtual capo, so notes will only play above the selected fret, unless they can only be played beneath it
‘DOOM’ mode: shrinks sample count, uses only the most punchy, clear samples, and maxes out the velocity
Same old industry-leading Alternate Picking selector people know and love from DjinnBass
Settings Menu allows: Rebinding Keyswitches, changing the tuning of the bass, and the bend range
Requirements: Kontakt or Kontakt Player 6.6 or later.
AutoGrid is a Max 4 Live audio device, that creates random grid synths patterns from up to 4/8 incoming tracks, and mixes them with current track, ducking it if needed.
I’s a huge timesaver for building interesting FM patterns with different sounds, or sequencing arpeggios or basslines, making sure they don’t overlap whatsoever.
The device is used by major psytrance scene artists, such as Tristan or Jumpstreet.
AutoGrid offers the following parameters:
control or the four incoming signal levels and current track one.
occurrences weight control between the 4 sounds
time allocation control between: 1/32, 1/16, 1/8 and 1/4 occurrences
minimum and random length per note
mix amount between current track and stutter, and duck amount when stutter plays
stutter probability (to insert some random silences and thus lower density)
smooth parameter to avoid clicks/pops or on the opposite to glue the sounds together for fading them in or out
fully automatable parameters
Please note you need to have Max 4 Live to use this device (included with Ableton Live Suite, or available as an add-on for other Live versions
Tired of having to draw rhythmic sequences by hand, or feeling they always “look the same” ? Don’t think more, as here comes AutoPlay, the randomly controlled step sequencer for infinite combinations of unexpected patterns !
Autoplay is a Max 4 Live MIDI device, that processes incoming (usually one long monophonic note) input, and automatically plays random sequences providing:
time allocation control between: 1/32, 1/16, 1/8 and 1/4 occurrences
global time multiplier to slow down the device up to 64x
minimum and random length per note
minimum and random velocity per note
note probability (to insert some random silence and thus lower density)
transposition probability (to output randomly pitched note)
pitch transpose in octaves, uni or bidirectiona up to 5 octaves in each direction
per note probability when transposing (starting from incoming note, range 1 to 12 get a chance between 0 and 100). Note chances can also be set up automatically to follow one scale among 65 with a simple menu!
Preset pack of 125 sounds for Lennar Digital’s ubiquitous Sylenth1 synth.
Sounds designed predominantly for the darker psytrance subgenres such as Forest and Twilight, however equally suited in anything from Progressive all the way to Hitech.
All sounds in the demo track are taken from the pack. This means kicks, percussions, bass, leads. Everything.
UL The House of Sound Premier Artist Maple Drums v2.0 KONTAKT
The Premier Artist Maple Drums were recorded in a tight and dry environment with normal drum sticks 1 velocity layer and 24 round robin.
The snare drum is black beauty.
I wanted to leave the drums sound un touched as much as possible, so I did a minimal prosses to the sound to keep the drums sounding real but to have power so you can use it out of the box in your music.
The drums can be processed as you like it without a lot of problem when you mix, you can put your compressors or eq …with ease, there is no process that you need to fight in order to get your sound. I love my drums to be un processed so I can shape my own sound.
There are 2 mixer panels in the GUI first mixer is for the kit (bd, snare, toms, hi-hat) the second is for the cymbals.
On the first mixer panel there are also 2 reverbs, one small room and one big room, the reverb is mainly a stone room impulse response that I recorded mixed with another one.
Here on the recordings there is no process on the drums other then the minimal process of the samples, so you can hear how the drums really sound out of the box.
How to use the Premier Artist Maple Drums is explained in the video in this page.
You can listen for examples for the Premier Artist Maple Drums here below.
Track number 3 is some loops I used to make something so you can hear the drums.
Tracks number 5,6,7 are construction kits loops that make a song, I added my drums and bass to them.
What you get:
24 round robin on most of the kit
cymbals are around 12-21 round robin
1 velocity layer on all of the samples
All instrument has a requirement for kontakt full 6.5.3 and above!
The concept of the venson bass like the mandolin is very simple.
You can play any note on any string between the open string (0 fret) and the 22nd fret using key switches.
I made this kontakt instrument so I can have the ability to play any note that I want, that way I can play the bass and have the same spacing of the chords that the bass has and the same tone that the strings has. It’s very important to have the right TONE OF THE STRING so it will sound the right.
In the venson bass you can select always the right note on the right string or you can select the open strings if you like that sound. you can decide what is right to you it’s your choice.
You can hear the TONE OF THE STRING clearly when you play arpeggio notes.
How to use the venson bass is explained in the video in this page.
You can listen for examples for the venson bass here below. Track number 3 has more key switch notes in it.
What you get:
+ 8 round robin long notes
+ 4 round robin mute notes. (starting from fret 1)
+ 4 round robin slap
+ 2 round robin hammer on
+ 2 round robin pull off
+ 2 round robin ½ up slide to the note played (starting from fret 2)
+ 2 round robin 1 up slide to the note played (starting from fret 3)
+ 2 round robin ½ down slide to the note played (starting from fret 1)
+ 2 round robin 1 down slide to the note played (starting from fret 1)
You can play any note on any string between the open string (0 fret) and the 12nd fret using key switches.
I made this kontakt instrument so I can have the ability to play any note that I want, that way I can play the mandolin and have the same spacing of the chords that the mandolin has and the same tone that the strings has. It’s very important to have the right TONE OF THE STRING so it will sound the right way.
In the mandolin you can select always the right note on the right string or you can select the open strings if you like that sound. you can decide what is right to you it’s your choice.
You can hear it clearly if you play arpeggio notes, but also if you play fast chords up and down strokes.
How to use the mandolin is explained in the video in this page.
You can listen for examples for the mandolin here below.
What you get:
+ 15 round robin long notes
+ 4 round robin mute notes. (starting from fret 1)
+ 4 round robin 1/2 note slide up. (starting from fret 2)
– Fretboard layout of the ul-mandolin
– And light indication of the note played
All instrument has a requirement for kontakt full 6.5.3 and above!
This is a very beautiful SAXOPHONE kontakt instrument, notes sound real also when you wright the notes manually.
The saxophone is sampled for 2 octaves from D3 to D#5. And the netes are extended to B5 and G2.
There are 3 velocity layers of on the notes without vibrato.
There are 2 velocity layers on the vibrato notes.
And there are 5 note lengths on the articulations:
LONG , 1/2 , 1/4 , 1/8 ,1/16 .
On the no-vibrato the note length set the time the note can be played
That means 1/4 note will stop playing after 1/4 of a bar and note will have a real decay.
And on vibrato 1/4 note is the time it takes the vibrato to start. so, the note will play no vibrato for ¼ of a bar and then the rest of the note will have a vibrato.
You can listen for examples for the SAXOPHONE here below.
![Adrenakrohm Psylenth Forest for Sylenth [FXB]](https://vstorrent.info/wp-content/uploads/2022/03/Adrenakrohm-Psylenth-Forest-for-Sylenth-FXB-1.webp)
