Adam Monroe Music Slap Bass V.1.1 KONTAKT VST AU
Adam Monroe Music Slap Bass V.1.1 KONTAKT VST AU
Adam Monroe's Slap Bass was sampled from a Fender Jazz electric bass guitar with Carvin J99 pickups and DR Hi-Beam bass strings directly into a Radial Pro48 DI Box. An extended range was obtained by tuning the E-string all the way down to a C. The low B (B0) of a standard 5-string bass was omitted do to "floppiness" from down-tuning.

"Slap" and "pop" articulations were carefully and meticulously recorded for each note, although in the extreme upper range of the bass, do to tension of the string, normal notes starts to become indistinguishable from a pop articulations. Regular notes were recorded with a guitar pick, in order to maintain a semi-percussive and metallic sound.

Regular pick notes were recorded in 5 note round-robin with 4 velocity layers. The velocity layers themselves don't have much of a dynamic range (between -7 -1 dB), as bass guitars are typically compressed signals that end up somewhat level in modern recordings. Slap articulations are 5 turn round-robin, but exist as one velocity layer. The decision was made to simply pick the best representations of a slap or pop sound, rather than mix in many different sounds, in order to achieve a "better" sounding vst instrument as opposed to a more "realistic" one.

Bass strings were periodically cleaned with denatured alcohol, as the metallic Hi-Beam sound tends to darken rather quickly. Pains were taken to ensure that the transition in tone between strings was minimized by selecting the best places to start sampling a new string. One octave of harmonics was achieved by selecting the best harmonic tones and tuning/detuning strings around these notes, thus it would be impossible to recreate these harmonics on a standard-tuned bass, but they do sound cool.

Slides were recorded for most strings, but were ommited for things like open strings, or when sliding down or up would overshoot standard tuning. Major Thirds and Perfect Fifths were chosen for the sake of usability. Slides were recorded at a tempo of 120 BPM.

The Kontakt version of Adam Monroe's Slap Bass is cross-platform, and is maintained by Native Instruments, all the programming and effects being done through them. Some simple scripting is done by us. The VST and version is another beast entirely, and the programming falls entirely on AdamMonroeMusic. The goal in any sample library that is also a VSTi (virtual instrument) or Audio Unit, is to attempt to match the performance of the Kontakt Player. With this library, we feel like we have done just that.
The VST version includes updated, high-performance algorithms that have been improving with each new virtual instrument released by Adam Monroe Music. For example, the buffering algorithm is double-buffered and multithreaded, which means that buffering performance is fast, even on slower computers, and even in lower latencies. Voices are held and iterated over in a pure, C-Style array. Memory use is comparable to the Kontakt version. Because of the solid VST code base, you can feel confident that the VST version should work just as well as the Kontakt version.

Why develop a VST or Audio Unit version at all? Although a great piece of software, the Full version of Kontakt (required to run 3rd party sample libraries) is expensive. Developing a VST and Audio Unit version that anyone can use does not add significant time to the development of a Slap Bass library - most of the time is spent sampling and processing the samples - so it's a real no-brainer.

Audio engineering is a large part of creating a VST or Audio Unit, but the sounds of this slap bass have barely been processed. Slight eq tweaks were done here and there, mostly so that the instrument would have a similar sonic footprint note-to-note. Some noise was removed to level out some of the "hotness" associated with bass guitar circuitry and pickups.

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964 MB (lossless compressed) library size, 6517 samples
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4 sustaining dynamic layers, chromatically sampled
4 round robins for each note/dynamic
all 5 Strings sampled in their length
8 release trails layers for each note/string
Fingered, Fingered Mute and Harmonics main articulations
sampled with a Millennia DI preamps fed direct into Apogee converters
ease of use thanks to our custom advanced scripting
recorded at 24 bit / 96 KHz, released at 24 bit / 44.1 KHz
easy-to-use effects section for extreme sound-mangling

Kontakt engine features

custom User Interface
velocity curve management
intelligent auto-fretting algorithms developed in-house, emulate different bass players' way of playing
manual fretting for advanced users
advanced legato and slide-to technology allows for slides of any duration and interval, controllable with your playing
custom vibrato, modeled after real bassists' vibratos
effects section specially tuned for bass instruments
no need to learn tons fo key-switches thanks to well-tought-out user interface design choices
172 custom cabinet + mic combinations IRs for maximum tonal realism
26 factory presets
works as stand-alone, AAX, RTAS, AU and VST for Mac and PC

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This is a selection of audio demos for the BBassV created by some of our testers and friends. For more info on the demos, please go to our Soundcloud page.
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Fretless Bass features

2.37 GB ncw compression format.
4612 samples, 24-bit, 44.1 kHz.
Up to 12 velocity layers, 21 frets on each string with round-robin algorithm.
Three right hand positions in the single patch.
Auto and Manual String and Position Selection.
Attack control.
Slide-up, Flageolets, X-notes (two modes for x-note performance).
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8-Way Round-Robin sampling for natural sounding repetitions of notes and phrases.

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Convolution Amp Modeling: 3 Amps with up to four reverb settings and multiple stereo/mono mic configurations.

Realtime release sample control (pick damping and palm damping).

MIDI Learn mode for all assignable controls and keyswitches.

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Recorded with a close mic in 24 bit Mono

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Tonehammer Alien Drum Facts:
Single finger tap on all 8 notes (including ding): 12 – 20 velocity layers, 10x round-robin 
Single finger mute on all 8 notes (including ding): 12 – 20 velocity layers, 10x round-robin
Fingertip ping on all 8 notes (including ding): 12 – 20 velocity layers, 10x round-robin
Palm slap on all 8 notes (including ding): 12 – 20 velocity layers, 10x round-robin
Sound Hole thumps: 12 velocity layers each, 10x round-robin
Sound Hole edge pings: 8 velocity layers each, 10x round-robin 
Hand Brushes included in finger tap patches: 3 styles, 5-9 velocity layers each, 10x round-robin
Articulation switching multis (sustain pedal, cc22, midi channel or modwheel fading/switching)
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1/4 sized Low-Memory versions of all multis (slightly fewer velocity layers, 4x round-robin) 
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Cinematique Instruments Hammered Dulcimer Cinematique Instruments Hammered Dulcimer
The Instrument

The hammered dulcimer is a stringed instrument with 31 string pairs stretched over a trapezoidal shaped sound box. Usually, the hammered dulcimer is set on a stand in front of the musician, who holds small wooden mallet hammers to strike the strings.
The dulcimer has two bridges, a bass bridge near the right and a treble bridge on the left side. The bass bridge holds up bass strings, which are played to the left of the bridge. The treble strings can be played on either side of the treble bridge, playing them on the left side gives a note a fifth higher than playing them on the right of the bridge.

The strings of a hammered dulcimer are found in pairs, two strings for each note. Each set of strings is tuned in unison and is called a course. As with a piano, the purpose of using multiple strings per course is to make the instrument louder, although as the courses are rarely in perfect unison, a chorus effect usually results like a mandolin.. 

The Content

We recorded the hammered dulcimer in two microphone positions. At the top of the instrument we placed - in a ms stereo set-up - a pair of Neumann U87s and at the bottom we put a single condenser. These two positions are covering a wide range of sound and you are free to mix them at your own requirements. We played the hammered dulcimer in minor thirds and concentrated mainly on three different articulations. Firstly we recorded the „normal" notes which means that we hit the strings with the typical small wooden mallets, we called this articulation „Mallet". Furthermore we struck the strings with a drum stick which we called „Sticks" and finally we recorded an articulation where we struck the strings with a timpani mallet and damped the strings with the palm of the hand which we named „Muted". All these articulation were recorded in 4 round robin variation and up to 4 velocity layer.

Beside this we cared most about producing the typical hammered dulcimer tremolo. Thus we equipped the instrument with two different ways to produce this roll alike tremolo. The first option to generate the tremolo will be achieved by duplicating each already played note when releasing the key. This lets you exactly control the velocity and tempo of the tremolo. The other and more easy way to produce the tremolo uses the modwheel. By turning the wheel you control the tremolo tempo from slow to fast. In order to avoid sounding too artificially we included a random factor which automatically affects the tempo and the velocity which results a very organic tremolo which lets you easy switch between single notes and tremolo rolls. Furthermore we added several functions and effects such as the control of reverb, delay, decay, distortion or octave which expands the entire sound of the hammered dulcimer and gives you a lot of options.

All in all we came out with an instrument which enriches your music with a nice and organic feel whether you used it as a solo or just as a background instrument.

The Package

One complex patch including three articulations and advanced scripting. Approx. data 2.5 GB (1.4 GB compressed). For more details please read the . reference manual.
Kontakt 4 full version is required