Future Classic Series, Vol. 1
How to craft a futuristic kick that satisfies the legacy of the classics?. Synthesizing a future classic bass drum sound, needs a commitment. We all love TR-808´s and TR-909´s sound, because of the knowledge & effort behind them. Just imagine the Roland engineers, trying to translate the concept of an acoustic bass drum into electronic components; not a simple task. Nowadays artists, harvest hundreds of sounds for their art-machines, as they have more flexibility inside the box. The possibility to become their own sound designers, now depends on the raw material. This versatile bass drum production kit, is a huge resource of analog layers & takes, made to sculpt the finest modern kick sound.
Although there is infinite possibilities on DSI Tempest, it needs to be complex to be a tool of the new age, so you also have to push your limits if you want the best to come out of it. We see some kind of frustration between it´s first buyers, when they can´t reach the imagined goal in the time they expected. The challenge is great as the instrument is. Getting our bass drum samples of the future was very demanding, needed exploration of the possibilities, to unveil it´s best sound. Hand crafted to perfection, every design made for this pack needed extensive sessions to polish the sweet spots. So we decided to take the challenge, and we are very happy we did.
First & last impressions can be described together. In search of the best drum analog synthesizer money can buy, we suddenly stepped with something better: a mind crafted piece of analog art, designed by two living legends in this matter, Dave Smith & Roger Linn. There´s a kind of surprise regarding sound quality when people meets this drum box for the first time. A single hardware out for every stereo voice, with the finest analog oscillators on earth, fat & clinic at the same time, or whatever your skills may synthesize. But the real power of this future-classic is the open hardware design, a whole molecular world of envelopes, micro-delays, filters & feedback. This is a tool with years to come.
You can really feel the power of the several analog envelopes converging. They easily hit the amplifier output hard, if desired, with that beautiful soft-distortion of the best synths. Just the analog oscillators were used, no samples involved in any patch. DSI Tempest is a future-classic now, we did not wanted to wait any more to enjoy it. Directly patched through the warmth of crystal tubes. Two kind of circuits were used: the most stable modern valves, and that 70´s classic. The outcome is amazing, yes, far away from plugins. Three mono channels resulted, two untouched and one equalized. Next, the best solid states stereo, with their great character. For last, that two channel legendary compressor paired to the dry signal.
Gino Battiston, AKA Kan Kaban, multimedia artist, musician, photographer, two decade sound designer, has a vast career creating images and soundscapes for digital cinema; both, commercially and for his personal artistic works. As an artist, he was involved since 2004 in several live-cinema presentations at Argentina, Chile & Ecuador; sometimes as part of modern audiovisual workshops, based on the image-time thesis from Deleuze. Bending vintage rhythm machines & modding Eproms as a hobby, he seems a passionate DSI Tempest owner. His synthesis designs were selected by DSI, at the first Tempest sound design contest, and are part of a package of patches available at DSI forum.
The direct output of each analog voice through high end valve & solid preamplifiers, captured with the finest A/D converters. A synth by itself goes far beyond 192kHz coverage (infinite harmonics rates?). We can actually see, by FFT, how an analogue pulse exceeds the audible spectrum by far. Synth recordings gets its benefit from the extended bandwidth, they sound closer to the original. Why are we hearing an improvement, it´s an open debate; but many can notice some converters perform better at higher rates. Also 96kHz. & 48kHz. versions are available, so you can start a project in any DAW or sampler, with the maximum audio quality you can handle.
Representing multiple kick synthesis designs, from the hardest layered to the perfectly rounded; we passed through some acoustic kinds, and also by the deepest sub-bass kick we ever heard before. Multiple envelope types & lengths, round robin goes between 5 to 12 shots per recording. This professional production kit contains 5,020 stereo & mono one shot samples, recorded at 192kHz. 24 bits. Created with parallel processing techniques, they invite you to find that perfect combination, leading to the sound you were searching for. This sample pack can be used to improve acoustic bass drum recordings, or applied in any kind of electronic music production. Five different sounding stages, that can be layered & mixed as desired.
This kit contain 5,020 audio samples mono & stereo, organized in this folders: BD-MO-176, with 1,100 mono samples through 1176 compressor recorded in parallel to BD-MO-RAW, with 1,100 raw mono samples. BD-MO-EQ, with 460 mono samples through EQ, recorded in parallel to BD-MO-VLV, with 820 mono samples through valve preamp. BD-ST-176, with 354 stereo samples through 1176 compressor recorded in parallel to BD-ST-RAW, with 354 raw stereo samples. BD-ST-NVE, with 715 stereo samples through solid state pre amplifier. CLICKS, POPS & BASS mono samples contains additional 117 sounds to help in the layering creation process.
Securely get this complete production kit - 192k USD 44 / 96k USD 33 / 48k USD 22.