Raw Vermona inaugurates a new concept in sample library development.
Most contemporary sample packs focus on highly undynamic samples. Audio-destructive processes like normalization and digital compression are the norm rather than the exception. There is a loudness war going on in the sample world and everybody is on the same one-way-only train: my library has to sound louder than yours.
Here at HelloSamples we think the public (you) knows better, and that there should be a market for more dynamic sounding samplepacks. That's why we decided to start our "Raw" analog library series.
Why should you care about dynamic range in sample libraries?
- Well, for a start, compression and normalization are a process that is almost impossible to counter. Of course you can use expanders to regain some dynamic range, but the negative artifacts of compression and volume normalization will still be there. So if you want to use dynamic sounds in say, a more "laid back" production, you just can't do it with regular libraries.
- When dealing with synthetic analog sounds, dynamics are key. Unlike real drum and instrument samples, synthetic sounds are already very undynamic, so having the option to "let them breathe" a bit is certainly a good idea.
- It's as close as having the machine yourself. The "real deal" doesn't sound compressed, it sounds RAW.
- Most producers have their own set of preferred tools and dynamic processors. Some like the sound of a certain optical compressor, while others love "brand X" digital brickwall limiter. Producers and artists -like yourself- are very idiosyncratic, everybody has their preferences. However, most libraries are already compressed and maximized to hell with "brand Y" compressors and limiters, this leaves no headroom for the producer to apply his own set of tools, his "sound", and he ends up with a production sounding timeworn, plain and ordinary.
- More than 1700 painstakingly hand-cut samples (about 200 different sounds x 7 round robin hits + more than 300 single one-shots), organized by type and descriptively labelled.
- A minimum of 6 Round Robin samples of each sound for added realism -most hits have 7 or more Round Robin samples.
- 45 ready to use Machine kits.
- 25 ready to use MPC kits. (1000/2500).
- 154 Kontakt patches including advanced features like variable ADSR and automatic Round Robin management.
- 2 chromatic instruments: We have created two Kontakt TOM/Conga instruments that use real multi-samples (at least six per semitone) for two complete octaves. This kind of quality is only found in acoustic instrument libraries of the highest calibre.
- Instant gratification: Although the samples are not compressed, we feel they're SO good that they're actually ready to use as they are.
- Everything was run through Great River (improved Neve 1073) and API 512 preamps, short cables and, last but not least mastering grade converters (Black Lion Audio, Mytek).
That's 1700 Sound Designer quality samples captured through a top of the line signal chain!