RDK ReFill Manual

17
, ReFill Manual , www.propellerheads.se Hypersampled acoustic drum kits for Reason 3.0 Reason Drum Kits Reason ReFill Collection 2.0

description

RDK ReFill Manual

Transcript of RDK ReFill Manual

Page 1: RDK ReFill Manual

, ReFill Manual

, www.propellerheads.se

Hypersampled acoustic drum kits for Reason 3.0

Reason Drum KitsReason ReFill Collection

2.0

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Operation Manual by Synkron:

Written by Fredrik HägglundEdited by Anders Nordmark Photo by Johanna HannoAdditional photos by Peter Målquist, Kristoffer Wallman and Leo Nathorst-Böös

The information in this document is subject to change without notice and does not represent a commitment on the part of Propellerhead Software AB.

© 2005 Propellerhead Software and its licensors. All specifications subject to change withoutnotice. Reason is a trademark of Propellerhead Software. All other commercial symbols are pro-tected trademarks and trade names of their respective holders.

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Table of Contents

2 Getting Started4 Introduction5 Simply the best8 Using Reason Drum Kits12 About the producers13 Track Credits13 ReFill Folder Index15 Credits

Getting Started

System Requirements

Due to the size and complexity of Reason Drum Kits (henceforth referred to as RDK), this ReFill is not suited for low-end systems lacking the processing power and memory required for using RDK without hitches and glitches.

The

minimum

system requirements for RDK are as follows:

Windows:

• Reason 3.0 or later• Intel P4 1.4 GHz / AMD Athlon XP• 512 MB RAM• DVD drive

Mac OS:

• Reason 3.0 or later• Macintosh G4 1.0 GHz• 512 MB RAM• DVD drive

The

recommended

system requirements for RDK are as follows:

Windows:

• Reason 3.0.4 or later• Intel P4 2.4 GHz• 1024 MB RAM• Low-latency ASIO compatible soundcard• DVD drive

Mac OS:

• Reason 3.0.4 or later• Macintosh G5 or Dual G4 / 1.4 GHz• 1024 MB RAM• DVD drive

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DVD-ROM Contents – Overview

In the root directory of the DVD-ROM you will find the following:

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Reason Drum Kits - 16.rfl (file)

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Reason Drum Kits - 24.rfl (file)

The contents are identical, with one major exception: The sample formats - 16- and 24-bit, respectively. The two ReFills are 100% exchangeable, however they cannot co-exist in a location Reason is aware of, so if you plan on alternating be-tween the two you must place the one you're not using for the moment outside of your designated ReFill locations (more on this in the following section, “Instal-lation”).

ReadMe.rtf (file)

A “Read Me” document, containing important last minute notes about the Rea-son Drum Kits DVD-ROM.

RDK Documentation (folder)

Contains the RDK Operation Manual, a Key Map overlay and a recording log, all in PDF format. In addition, a “What’s new in RDK 2.0” text document is in-cluded,detailing the changes and additions made since version 1.0 of RDK.

Other Propellerhead Products (folder)

Here you’ll find a demo version of ReCycle 2.1, plus some info about additional products by Propellerhead Software.

Acrobat Reader (folder)

This folder contains MacOS and Windows installer for the International English version of Acrobat Reader, an application required for opening PDF files such as the RDK documentation. If you would prefer to use a localized version, you can download a new installer directly from www.adobe.com.

RDK Professional Mixes (folder)

A folder containing the 6 demo songs included with the Refill.

Installation

Simply drag the ReFill file of your choice (Reason Drum Kits - 16.rfl or Reason Drum Kits - 24.rfl) from the DVD-ROM to the folder where you keep your ReFills.

Which one should I choose – 24 or 16 bits?

In order to determine which ReFill version to pick, you need to consider the fol-lowing questions:

• Is your computer powerful enough to handle 24 bits? (CPU speed, system bandwidth, RAM size, audio card…)

• Do you have any practical or creative need for the 24-bit format?• Are you prepared to dedicate the disk space required for the 24-bit version?• Are you concerned about workflow issues such as loading and browsing

time?

If the answer to two or more of the above questions is no, the choice is easy - pick the 16-bit version. Conversely, if the answer to all four questions is yes, opt for the 24-bit version. If you're still undecided, you may want to consider this so-lution: Use the 16-bit version while you're composing, arranging and mixing, and once you're ready and set to render an audio mixdown you can temporarily re-place the 16-bit version with the 24-bit version. Since the above four questions are non-issues for offline rendering, when Reason works at whatever pace the computer can handle, this method gives you the best of both worlds - efficiency, speed and power conservation during the creative stage, and supreme audio quality at the mixdown stage.

Note:

As the 16-bit /24-bit RDK ReFills are designed to be exchangeable, all data except the sample bit rate is identical and therefore cannot co-exist in any location where Reason scans for ReFills, such as the Reason program folder, the Desktop, or any additional folders you have added to the Locations pane in the Reason browser. If you plan on alternating between the two, the version not in use must always be kept outside of Reason's jurisdiction!

If you have a computer with lots of power and bandwidth, you can safely go for the big version, and enjoy the RDK ReFill in glorious 24-bits at all times!

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Introduction

Anyone with experience in professional studio work will tell you that recording drums is the most difficult and demanding part of any project. Hands down. Drum recording is a craft which takes decades to learn, yet never gets any eas-ier. It's exhausting. It's expensive. It can make or break an entire production.

Due to these challenging demands, the means for capturing the ultimate drum sound have always been out of reach for everyone except those who never get cold sweats from the tick tock of the studio clock. Until now.

We took care of the hard part, and the result is Reason Drum Kits - a powerful and versatile drum tool that tears down the last barrier between the virtual studio workspace and the real drum recording studio, and closes the quality gap be-tween “merely” professional and world class!

Be the engineer

Traditionally, the structure of computer based drum tools has been dictated by the anatomy of the drum kit. In other words, it's always been approached from the drummer's point of view. He's got his instruments - his bass drum, his snare, his toms and so forth, and that's how the drums are packaged and presented to you.

From the perspective of a sound engineer, however, it's not merely about drums but also about the microphones that capture them. On the mixing desk, the snare is represented by two channels - the bottom and the top microphone. The cymbals are represented by the overhead mics that capture them.

And what's more, there is always leakage between microphones - the snare bleeds into the hi-hat mic, the kick bleeds into the snare bottom mic, and all the instruments are picked up by the overhead mics.

This is all an essential part of the sound of recorded live drums, yet virtual drum tools seldom take these aspects into account. It therefore made sense to us that Reason Drum Kits should be built around microphones.

By replicating the recording situation, RDK lets you be both the drummer and the engineer, and gives you all the control you would have in a professional stu-dio - with the added benefit of total recall of not only the mixer settings, but in fact the whole package; the room, the drums, the microphones, the effects, ev-erything exactly the way you left it.

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D

The illustration below shows the approximated source mic place-ments, and how each respective microphone source corresponds to channels in the Reason mixer.

The Overhead mics capture an overall stereo picture of the kit from an overhead position. The Ambience mics will do the same, but at a greater distance to include more ambience, i.e. the natural room reflections of the studio itself. Likewise, the Snare Bottom mic captures not only the Snare, but also leakage from the Kick and Toms, which can add body to the overall sound. All the other mics capture the instrument it is dedicated to with little leakage.

Simply the best

With the emphasis on sonic and creative realism, it is vital that every component along the path from the studio floor to your computer is the best of the best - no weak links anywhere.

We therefore took utmost care in assuring that the studio, the recording gear, the instruments, and last but not least the talent involved, was top notch across the board.

The studio

RDK was recorded at the legendary Atlantis Studio in Stockholm, whose Hall of Fame includes the likes of ABBA, Quincy Jones, Lenny Kravitz, Elvis Costello and The Cardigans.

Atlantis was originally a cinema theatre with 330 seats, built in 1941 and con-verted to an audio recording facility in the early 1960's.

Renowned for its spectacular acoustics, Atlantis was the ideal choice for our ambitious project. The wonderful ambience of the rooms was captured on indi-vidual tracks and ultimately included as separate samples in the RDK ReFill.

L R L R L R L R

BD

BD

1

SD SB

(SD)(BD)

(TOMS)

SD

2

TOM3

3

TOM2

4

TOM1

TOM1

TOM2

TOM3

5

HH

HH

RideCym 1

Cym 2

6

Tamb-ourine Tambourine

7

Over-head

8

Ambi-ence

9

CLAP

10

SNAP

11 12

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The signal chain

The instruments were captured using tried and true microphones such as Shure SM57 and AKG 414, along with various classic Neumann models. The signals were fed through a Class A Neve 32/8/32 console directly onto a Studer B67 2” analog tape machine. No processing was applied, except in a few rare in-stances where we used an Urei 1176 compressor. The analog recordings were transferred to a ProTools HD system at 176.4 kHz, 24-bit.

Mic usage – brands, models and placement

The Instruments

First we rented a broad selection of premium quality drums and cymbals from a renowned provider.

The engineers, producers and drummers then collaborated in assembling the ul-timate combinations for each music style.

Finally we experimented with a vast variety of drum head combinations, until we found the most excellent sounding range of instruments we could imagine.

Bass drums:

• Yamaha 9000 Recording 20”x16”, 22”x16”• Ludwig 20”x14”, 26”x14””• DW 24”x18”

Snare drums:

• Ludwig Supraphonic 14”x6.5”• Ludwig Acrolite 14”x5.5”• Ludwig Vintage 14”x5”• Ludwig & Ludwig 14”x5”• Ayotte 14x5.5”, 14”x6.5” Kepplinger steel.• DW 10”x6”, 14”x4.5”• Pearl Signature Steve Ferrone Signature 14”x6”• Pearl Free Floating System 14”x3.5”• Yamaha Birch Custom 14”x4”• Gretsch 14”x5.5”• Gretsch Vinnie Colaiuta Signature 14”x5”

|

Source

|

Microphone

Bass drum 1 x Neumann U47 FET (distance: 4”)

Snare drum 1 x Shure SM57

Snare drum (bottom) 1 x AKG 414

Hi tom 1 x Neumann U87

Mid tom 1 x Neumann KM56

Floor tom 1 x Neumann U87

Hi-hat (small room) 1 x Neumann U87

Hi-hat (large room) 1 x Neumann TLM 103

Overhead 2 x Neumann KM 86

Ambience 2 x Neumann U87

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Toms:

• Gretsch 12”x8”, 13”x9”, 12”x9”, 14”x14”• Ludwig 13”x10”, 16”x16”, 18”x16” • Yamaha 9000 Recording 10”x10”, 12”x10”, 14”x12”, 16”x14”

Hi-hats:

• Zildjian New Beat 15”• K Zildjian 14”• Meinl Customshop Heavy• Paiste Formule 602 Medium15”

Cymbals:

• A-Zildjian, K-Zildjian, Meinl (various)

The people

D

Jan Hansson, co-owner of the Atlantis studio, has over 30 years of experience as a recording engineer and is one of the people behind the ABBA sound.

He has worked with many pop and rock artists over the years, and is partic-ularly sought after for acoustic recordings - many contemporary jazz and folk artists have turned to him for capturing their sound.

D

Martin Brengesjö and Micke Svensson are accomplished instru-ment technicians who has managed guitars and drums for some of Sweden's biggest acts.

D

Martin Jonsson, Magnus Frykberg and Henka Johansson are pro-fessional drummers with a collective experience that covers live and studio work for, in short, everyone.

Hypersampling

Multisampling is the established standard for digital representation of analog in-struments. While it has been refined somewhat over the years, multisampling still has a few shortcomings:

• The dynamic resolution is too limited, failing to capture the subtle nuances between the steps.

• Typically, a single microphone (or, at best, a merged signal from multiple mi-crophones) is used, leaving the recording distance, ambience and character set in stone.

• You usually get only one sample per “velocity span”, while a real instrument sounds slightly different for every pluck, stroke or beat (even when played at a static velocity level)

• Instruments can be played with countless approaches and techniques, yet multisampling typically only offers the basic archetypes. At best, you get one snare roll, one rimshot and one brush hit sample, but these only represent a tiny fraction of all the sound variations you can get out of a snare drum.

So, how could we bring something fresh to the table?

The answer: Hypersampling. We like to refer to it as multi-dimensional sampling, because it gives you complete control over many aspects of instrument repro-duction that used to be out of reach for the end user.

What is Hypersampling?

D

Multiple velocity levels

For capturing the full dynamic range of each instrument.

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Multiple microphones

For capturing and controlling distance, ambience and character.

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Multiple same-velocity samples

Random alternation between sets of similar sounding samples, for a more re-alistic performance.

D

Multiple variation sampling

Capturing the different techniques, grips and playing styles that bring life to an instrument.

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Using Reason Drum Kits

RDK has been designed with a broad spectrum of application scenarios in mind, and has multiple entry points to accommodate the different needs of different user categories. Here is a brief summary of the RDK contents:

• Preset Kits - these 25 Combinator-based Kits form the heart of RDK. • Producer Kits - virtual “signature kits” by professional music producers.• Style Kits - Combinator patches designed to serve as “quickstart” platforms

for various music styles. • Individual Instruments - these NN-XT patches are the building blocks of the

Preset, Producer and Style Kits. • Template Kits - “Build your own kit” templates.• Redrum Sets - for users who prefer pattern style programming but still want

to enjoy the natural acoustic sound of the RDK samples.• MIDI files - ready-made drum patterns which can be used with any Kit, for

those who need fresh ideas or simply aren't comfortable with drum sequenc-ing.

• Style Templates (rns) - Reason song files featuring beats and arrangements that can be used as a starting point for a track.

• Professional Mixes - RDK-centric Reason tracks mixed by professional engi-neers to demonstrate their respective bags of tricks for handling drums in a mix.

Drum Kits Patches

Inside this folder are five subfolders. Four of them contain Kit patches - Preset, Producer, Style and Template. The fifth folder, Individual Instruments, contains the NN-XT patches that the Kits are built from.

A complete folder index can be found on page 13.

D

Preset Kits contains 25 Combinator patches representing complete Kits, each in 4 variations: All Mics, Close Mics, No Ambience Mics and Stereo Mix.

The kits are arranged in category (genre) subfolders. The Preset Kits are ba-sic combinations of various drums we found worked particularly well to-gether. These kits all share the same output routing and parameter assignments to the controls on the Combinator panel, and represent an ideal starting point for making up user kits.

D

Producer Kits contains 13 Combinator patches tailor made by pro-ducers.

They utilize specific routing and effects all according to the creative choices and preferences of the designers. The microphone configuration of each kit is indicated in the file name.

D

Style Kits contains 20 Combinator patches organized by music style, and they are best used with the MIDI files in the Sequencer Material folder.

D

Template Kits contains different “build your own kit” templates, with microphone configuration variations.

This is the virtual drum shop where you go when you want to replace individ-ual drums or cymbals in the ready-made kits, or when you want to build your own kits from scratch. The intended mode of use is to load up a Template Kit and then select NN-XT patches for each instrument from the Individual In-struments folder.

D

Individual Instruments (NN-XT) - this subfolder contains 55 single drum/ percussion instruments (in 4 variations just like the Preset Kits).

This is the virtual drum shop where you can hand pick different drums and cymbals and build your own custom kits, either entirely from scratch or by using the Template Kits.

Redrum Sets

Here you will find 96 RDK patches for Redrum. Each patch comes in 3 or 4 dif-ferent flavors, depending on the nature of the source kit. Needless to say, these sets are very basic owing to the fact that Redrum is limited to 10 samples, while some of the Combinator Kits use upwards of 1000.

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RV7000 Patches

8 Advanced Reverb patches featuring room simulations, spring reverbs and echo effects tailor made for drums and percussion by the producers behind the the Professional Mixes and Producer Kits.

One of the patches; “Atlantis Big Room” is actually a simulation of the natural room acoustiscs in Atlantis, the studio where the RDK ReFill was recorded.

Scream Patches

23 Scream 4 patches for adding distortion and compression to give your drums more punch, edge and bite.

Sequencer Material

A large collection of style templates and MIDI files for various genres is found here, as well as a portfolio of Professional Mixes.

Style Templates

Style templates are Reason song files (.rns), each featuring a complete rhythm section setup: Combinators, loaded with sounds, and all routing ready-made - mixer, effects, EQ, compression, various tweaks - everything fine tuned for a par-ticular music style. The template files are arranged in folders by style/genre, and can be found under “Sequencer Material” in the ReFill root folder. Once you've loaded up a style template you can either start sequencing away, or experiment with the pre-programmed MIDI files.

The Style Templates contain sequencer data - sometimes a drum beat, sometimes a complete arrangement. If you're only interested in the kit as such, you can turn to the Style Kits folder instead where you will find Combinator kits corresponding to all the Style Tem-plates.

MIDI Files

Like the Style Templates, the MIDI files are arranged in folders by genre. Each MIDI file consists of a single track featuring one 4-bar basic groove, two 4-bar variations – ride instead of hi-hat, snare replaced by sidestick etc. – and two or three 1-bar fills.

The naming convention for MIDI files is

A-B TTT Title.mid

, where A-B is bars/beats (e.g. 4/4), TTT is the original tempo and Title is a descriptive name, hinting about the style, genre or artist which inspired the groove.

To use the files, simply select the sequencer track you wish to import to, then se-lect “Import MIDI File” from the File menu and pick a MIDI file in the browser. The groove will then appear on the track, ready to be cut, copied and pasted as you see fit. The tempo of the song will take on the tempo of the MIDI file.

The standard MIDI groove will be 16-18 bars long, where bars 1-4 is the basic groove and bars 5-8 and 9-12 are the two variations. These are followed by the two or three 1-bar fills, with an empty bar between each.

Note: You will find exceptions to this formula among the MIDI files.

For instant gratification, we recommend that you combine the MIDI files with the Style Templates - this is the quickest and easiest way to get a great sounding groove going!

The Professional Mixes

The tracks included with RDK are not your run-of-the-mill mixes. The included songs were first recorded in the respective studio, then we enlisted a host of seasoned professionals to produce a number of mixes for RDK so that you can study different engineering tricks of the trade first hand. The mixes are included in RPS format under /Sequencer Material/Professional Mixes.

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Drum Kits Samples

The big resource vault where the 10.900 samples are organized in various in-strument category folders. On the following pages you will find a naming con-vention specification for the samples in case you need to better understand the file name language.

Legacy Material

A folder containing:

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The Preset Kits as presented in RDK1, meaning all included sam-ples in each kit were inherent in one NN-XT.

For those who for one reason or another prefer to use RDK this way.

D

The original HiHats patches.

These were improved on in RDK 2, but again, there may be people who pre-fers the "old" response in these patches.

Keyboard Layout

Both the Preset Kits and the Individual Instruments are mapped according to the General MIDI standard. Basic sounds like BD, SD, HH, sidestick, claps, toms and cymbals (C1-B2) are GM compliant, and the keys C3 to F4 have been allo-cated for additional snare and hi-hat variations.

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The Preset Kits

There are 25 complete Kits arranged in 4 categories: Pop, Rock, Vintage Soul/Funk, and Misc.

Each kit has four variations: All Mics, Close Mics, No Ambience Mics and Stereo Mix.

The basic Preset Kits are as follows:

|

Category

|

Name

|

Description

Pop Brian Distinct, warm and subtly saturated kit with a thick snare.Kit name inspiration: Brian Reitzell.

Pop Carla Classy sounding kit inspired by Earth, Wind & Fire recordings of the early 1980's. With a pitched up snare, “Carla” makes a great Minneapolis funk kit á la Prince/Wendy & Lisa.Kit name inspiration: Carla Azar.

Pop Eddie This kit has that funky “thud” sound of the 1970’s, with a hi-tech twist.Kit name inspiration: Eddie Kendricks.

Pop Meg Dark, strident and rough-around-the-edges kit with open, ringing drums and plenty of ambience.Kit name inspiration: Meg White of The White Stripes.

Pop NigelA Roughed-up hi-fi kit with a vintage flavor, typical of indie pop/rock with an electronic edge.Kit name inspiration: Nigel Godrich.

Pop NigelB A variation on the NigelA kit, this time with a brighter snare.

Pop Phil Crisp, punchy and well-rounded pop kit with tight room ambience.Kit name inspiration: Phil Selway of Radiohead.

Rock Hot Heavy rock/funk kit with a high pitched 10” snare, muted cymbal hits, china cymbals etc.Kit name inspiration: Red Hot Chili Peppers.

Rock Jimmy Same as Hot but with a different snare.

Rock Jocke Hard rock kit with a punchy kick and heavy toms.Kit name inspiration: Jocke Skog of Clawfinger

Rock John A classic, huge sounding rock kit with ringing toms, wide open bass drum and generous room ambience.Kit name inspiration: John Bonham of Led Zeppe-lin.

Vintage Soul/Funk

Al A “southern fried” kit inspired by 1970's Stax re-cordings such as “Love and Happiness”.Kit name inspiration: Al Green.

Vintage Soul/Funk

Clyde A “funky drummer” kit inspired by classic James Brown recordings.Kit name inspiration: Clyde Stubblefield.

Vintage Soul/Funk

Fresh A A light, yet gritty funk kit drawing inspiration from 1970’s Sly & the Family Stone tracks like “In Time”.

Vintage Soul/Funk

Fresh B Same as Fresh A, with different toms and a brighter hi-hat.

Vintage Soul/Funk

George Tight sounding kit inspired by The Isley Brothers recordings of the 1970's.Kit name inspiration: George Moreland

Vintage Soul/Funk

Idris A A late 1960’s funky jazz-kit with plenty of nice room ambience. Kit name inspiration: Idris Muhammad.

Vintage Soul/Funk

Idris B Same as Idris A with a different snare.

Vintage Soul/Funk

JR 1980's Quincy Jones-style kit á la Michael Jack-son's “Rock With You”.Kit name inspiration: John Robinson.

Vintage Soul/Funk

Poogie A Kit inspired by the aesthetics of Neo-Soul.Kit name inspiration: Poogie Bell.

Vintage Soul/Funk

Quest “Futuretro” kit, tuning in with contemporary R'n'B old school nostalgia (Neptunes, Roots and oth-ers).Kit name inspiration: Questlove

Vintage Soul/Funk

Will New Orleans funk kit, Neville Brothers style.Kit name inspiration: Will Green.

Misc Mallets The pop kit NigelB played with soft mallets.

Misc Brushes A kit played with brushes.

Misc NoSnares The Pop kit NigelB played with the snares off.

|

Category

|

Name

|

Description

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Naming Convention

Preset Kits

The Preset Kits use a naming convention with the following syntax:

Title Mics (XXX XX)

Title represents the kit's name, Mics specifies the microphone configuration, and the five digits XXX XX indicate which instruments are featured in the Kit.

Example:

Carla All Mics (242 22)

”Carla” is the name of the kit; All Mics means all microphones (close, overhead and ambience), and “242 22” means Bass Drum 2, Snare Drum 4, Toms 2, Hi-Hat 2 and Cymbals 2.

D

Character 1 = BD

D

Character 2 = SD

D

Character 3 = Toms

D

Character 4 = Hi-hat

D

Character 5 = Cymbals

Samples

The samples use a naming convention with the following syntax:

MM_NNN_X_TT_SS_H_VYY

This translates as follows:

MM: Two letter abbreviation for the microphone category: CL (Close), AM (Am-bience), OH (Overhead), SB (Snare bottom) or MX (Stereo mix).

NNN: Three character abbreviation for the instrument name.

X: The relative position in the drumkit, indicated by a single number 1 to 4 (left to right). Applies to toms and cymbals only, all other instruments use the number 1.

TT: Specifies the tool which the instrument was played with: DS (drumstick), BR (brush), SM (soft mallet), HA (hand), FS (finger snap), FE (felt beater) or PL (plastic beater).

SS: Specifies the playing technique - RG (regular), RS (rimshot), SS (side stick) RL (roll), RF (roll flam), SQ (sequence), TP (top), CL (closed), O1/O2/O3 (open 1, 2, 3), CR (crash), MT (muted), BL (bell), RI (ride), PU (punch) and OT (open tone).

H: The hand(s) the instrument was played with: L (left), R (right) or B (both).

VYY: The velocity type: H (hard) or G (gradient) or L (loose), followed by two digits indicating the sample number.

About the producers

The people behind the Producer Kits and the Professional Mixes

Dave Darlington

is versed in a wide range of styles. He works out of his own studio in New York, Bass Hit Recording, and has mixed and remixed artists such as Masters at Work (MAW), Roger S, Kylie Minogue, Herbie Hancock, Chaka Khan, Brand Nubians and Wayne Shorter. (See www.davedarlington.com)

Bob Brockman

- also known as Bassybob - is an engineer, producer and pro-grammer with an impressive track record. His home base is NuMedia NY Studio in New York, and clients include Heather Nova, Faith Hill, Brian McNight, Baby-face, Toni Braxton, Laurie Anderson and Christina Aguilera. (See www.numedi-any.com)

Niklas Flyckt

is based in Khabang Studio, Stockholm, and has worked with art-ists such as Britney Spears (“Toxic”), Ms. Dynamite, Sophie Ellis Bextor, S Club 7, Sugababes, Samantha Mumba and Christina Milian.

Jocke Skog

is the keyboard player, programmer and engineer of the band Clawfinger. He has done numerous remixes for several bands and artists, includ-ing metal/industrial household names like Rammstein, Die Krupps, Meshuggah and Dalbello.

Simon Nordberg

works in various studios around Stockholm. His work on Lisa Miskovsky's Fallingwater won him the Swedish Grammy Award for Best Produc-tion of 2003. Britney Spears, Heather Nova, Sita, Eskobar and American Junior Idols feature on his extensive list of clients.

Eric Gadd

is a Swedish singer-songwriter who produced and released 9 solo albums. A multiple award winner at the Swedish Grammies (including Artist of the Year), Eric produces pop music with its roots firmy planted in American R'n'B and funk.

Jack Freudenheim

studied drums with the great Kenny Clarke, Dante Agostini and T. Ranganathan. He is the creator of Sounder, an ambient music generator. He co-produces and plays electronic drums for the band 46bliss, and does re-mote drum sessions via his RealDrummer.net website.

Ed Bauman

is known throughout the Reason community as EditEd4TV. He works as a freelance videographer, musician and audio consultant and is a co-owner of Bauman Productions in San Francisco, CA.

Shep

is a team of Swedish producers and songwriters with an impressive track record, ranging from high end sample production for Toontrack Music to mixing, producing and writing for the likes of Rachel Stevens and Maxi Priest.

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Track Credits

Grunge Ballad (2.33)

(Jocke Skog)

Recorded and mixed by Jocke Skog at Fear and Loathing Studios, Stockholm

Hard – Harder – F****d Up (0.44)

(Jocke Skog)

Recorded and mixed by Jocke Skog at Fear and Loathing Studios, Stockholm

Lucky Pony (2.08)

(Puckspony a k a Huxflux Nettermalm)

Recorded at the Green Genie, Stockholm

Mixed by Simon Nordberg at Step Down Studio, Stockholm

Sac Ma Deek (1.33)

(Magnus Frykberg)

Recorded by Magnus Frykberg at Break My Heart Studio, Stockholm

Mixed by Bob Brockman at NuMedia NY, New York

StrokeyDokey (0.54)

(Niklas Möller/Lars Erlandsson)

Recorded by Niklas Möller and Lars Erlandsson at Dreamworld Studio, Stock-holm

Mixed by Niklas Flyckt at Khabang Studio, Stockholm

The Groove (2.08)

(Magnus Frykberg)

Recorded by Magnus Frykberg at Break My Heart Studio, Stockholm

Mixed by Dave Darlington at Bass Hit Recording, New York

ReFill Folder Index

A complete overview of the folder structure. Individual patches and samples are not listed, only the folder/subfolder tree.

!

” indicates folder/subfolder

Reason Drum Kits

Drum Kits Patches•

ReDrum Sets•

RV7000 Patches•

Scream 4 Patches•

Sequencer Material•

Drum Kits Samples•

Legacy Material

Drum Kits Patches

Individual Instruments (NN-XT)•

Preset Kits•

Producer Kits•

Style Kits•

Template Kits

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Individual Instruments (NN-XT)

Multi Out•

All Mics (ALL)•

1. Bass Drums (BD) •

2. Snare Drums •

3. Toms (TM) •

4. HiHats (HH) •

5. Cymbals (CY) •

➔ 6. Tambourine (TB) • ➔ 7. Hand Claps (HC) • ➔ 8. Finger Snaps (FS) • ➔ Close Mics (CLS)• ➔ 1. Bass Drums (BD) • ➔ 2. Snare Drums • ➔ 3. Toms (TM) • ➔ 4. HiHats (HH)• ➔ 5. Cymbals (CY)• ➔ 6. Tambourine (TB)• ➔ 7. Hand Claps (HC)• ➔ 8. Finger Snaps (FS)• ➔ No Ambience Mics (NOA)• ➔ 1. Bass Drums (BD)• ➔ 2. Snare Drums(SD)• ➔ 3. Toms (TM)• ➔ 4. HiHats (HH)• ➔ 5. Cymbals (CY)• ➔ 6. Tambourine (TB)• ➔ 7. Hand Claps (HC)• ➔ 8. Finger Snaps (FS)• ➔ Stereo Mix (MX)• ➔ 1. Bass Drums (BD)• ➔ 2. Snare Drums (SD)• ➔ 3. Toms (TM)• ➔ 4. HiHats (HH)• ➔ 5. Cymbals (CY)• ➔ 6. Tambourine (TB)• ➔ 7. Hand Claps (HC)• ➔ 8. Finger Snaps (FS)

Preset Kits• ➔ Multi Out• ➔ All Mics (ALL)• ➔ Misc• ➔ Pop• ➔ Rock• ➔ Vintage Soul – Funk• ➔ Close Mics (CLS)• ➔ Misc• ➔ Pop• ➔ Rock• ➔ Vintage Soul – Funk• ➔ No Ambience Mics (NOA)• ➔ Misc• ➔ Pop• ➔ Rock• ➔ Vintage Soul – Funk• ➔ Stereo Mix (MX)• ➔ Misc• ➔ Pop• ➔ Rock• ➔ Vintage Soul – Funk

-ReDrum Sets

-RV7000 Patches

-Scream Patches

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-Sequencer Material • ➔ 1. MIDI Files (mid)• ➔ Disco• ➔ Experimental• ➔ Pop• ➔ Rock• ➔ Soul – RnB• ➔ Urban• ➔ 2. Style Templates (rns)• ➔ Disco• ➔ Experimental • ➔ Pop • ➔ Rock • ➔ Soul – RnB • ➔ Urban • ➔ 3. Professional Mixes (rps)• ➔ Grunge ballad.rps• ➔ Hard – harder – F****d up.rps• ➔ Lucky Pony.rps• ➔ Sac ma Deek.rps• ➔ StrokeyDokey.rps• ➔ The Groove.rps

-Drum Kits Samples• ➔ 1. Bass Drums (BD) • ➔ 2. Snare Drums (SD) • ➔ 3. Toms (TM) • ➔ 4. HiHats (HH) • ➔ 5. Cymbals • ➔ 6. Tambourine (TB) • ➔ 7. Hand Clap (HC) • ➔ 8. Finger Snap (FS)

-Legacy Material• ➔ Individual Instruments (NN-XT)• ➔ Multi Out• ➔ Stereo Mix• ➔ Preset Kits (NN-XT)• ➔ Multi Out• ➔ Stereo Mix

CreditsThis ReFill was developed and produced by Propellerhead Software

All drums recorded at Atlantis Studio, Stockholm

Executive Producers: Magnus Frykberg and Erik Sojdelius

Recording engineers: Jan Hansson, Pontus Olsson

Drummers: Magnus Frykberg, Martin Jonsson, Henka Johansson

Drum Technicians: Martin Brengesjö and Micke Svensson

Drum Rental: Mickes Musik, Stockholm

Additional Programming: Attila Cederbygd, Bob Brockman, Dave Darlington, Jack Freudenheim, Magnus Frykberg, Erik Sojdelius, Ed Bauman, Per Gunner-feldt, XLN Media, Jocke Skog, Henka Johansson, Ricard Nettermalm, Josh Mob-ley

Professional Mixes: Simon Nordberg, Bob Brockman, Niklas Flyckt, Dave Dar-lington, Jocke Skog

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