If you only wish to use a few samples for different sounding drums, you can just work on a single computer or laptop and will not need a lot of RAM to do so (at least 16GB is recommended but 8GB will suffice for less intensive usage).
What drum VSTs you go for relies heavily on the genre or style you are composing for. You may look into electronic drums for EDM or video game scores, or softer, mellow kits for jazz ensembles.
Punk Rock Drums 12 WAV
The AD2 program allows easy access for you to tweak one of their in-built drum presets, or to build up a custom kit of your own. The mixing tools in the preset drums are straightforward, meaning less time is spent in the tech and more time composing.
Overall, Damage is a fantastic choice for cinematic, and industrial-orchestral fusion kits and percussive sounds. The sound palette makes it a favorite for composers, producers and sound designers. It is a must-have for those looking to incorporate epic, trailer music-style drums to their mixes.
The engineer behind the library is the multi-award-winning Chuck Ainlay, known for his work with the Dixie Chicks and Dire Straits. This library is best suited for songwriters looking to amplify their tracks with drums full of depth and flavor.
The library features 7 kits along with 25 snares, 16 kick drums and approximately 250 electronic drum machine sounds. There are various mix-ready presets in multiple styles and 35 built-in sound effects.
Native Instruments Studio Drummer features samples recorded on premium drum kits. The library focuses on incorporating an acoustic drum kit into your track along with mixing options and a large library of grooves with fills complementing styles including funk, rock, blues, indie and country.
In the bottom of the interface window, you will see a tab called Grooves. Here you can sort and find the perfect groove for your session. The grooves are categorized in 11 different styles including pop, funk, jazz, hard rock, metal, blues & country, indie rock, and others. Selecting one of the styles will bring up a new window of grooves in various tempos and variations.
The drums are recorded with separate microphones on each of the main parts on the kit, which makes it incredibly useful to balance out the levels on your kit. The cymbals too bright and in-your-face? Lower that fader! You can also balance out levels of the overhead, room, and mono mics.
DrumLab is a great tool for creating customized, composite sounding drums. Due to its lack of samples relative to other drum libraries, DrumLab inspires you to get creative with acoustic and electronic blended sounds, encouraging the creation of a drum tone that is uniquely yours.
Excellent guide, concise and well-informed, perhaps with some important omissions, such as Steven Slate and BFD, also notable in the field of in-depth real programming drums. Thanks Samantha and Pianodreamers.
New wave is a loosely defined[22][23][24] music genre that encompasses pop-oriented styles from the late 1970s and the 1980s.[2] It was originally used as a catch-all for the various styles of music that emerged after punk rock,[25] including punk itself.[24] Later, critical consensus favored "new wave" as an umbrella term involving many popular music styles of the era, including power pop, synth-pop, ska revival, and more specific forms of punk rock that were less abrasive.[9] It may also be viewed as a more accessible counterpart of post-punk.[24]
The majority of American, male, new wave acts of the late 1970s were from Caucasian, middle-class backgrounds. Scholar Theo Cateforis said these acts intentionally presented these exaggerated, nerdy tendencies associated with their "whiteness" to criticize it and to reflect their identity.[35] A nervous, nerdy persona was a common characteristic of new wave fans, and acts such as Talking Heads, Devo, and Elvis Costello.[36] This took the forms of robotic dancing, jittery high-pitched vocals, and clothing fashions that hid the body such as suits and big glasses.[37] This seemed radical to audiences accustomed to post-counterculture genres such as disco dancing and macho "cock rock" that emphasized a "hang loose" philosophy, open sexuality, and sexual bravado.[35]
Although new wave shares punk's do-it-yourself artistic philosophy, the artists were more influenced by the light strains of 1960s pop while opposed to mainstream "corporate" rock, which they considered creatively stagnant, and the generally abrasive and political bents of punk rock.[6] In the early 1980s, new wave acts embraced a crossover of rock music with African and African-American styles. Adam and the Ants and Bow Wow Wow, both acts with ties to former Sex Pistols manager Malcolm McLaren, used Burundi-style drumming.[38] Talking Heads' album Remain in Light was marketed and positively reviewed as a breakthrough melding of new wave and African styles, although drummer Chris Frantz said he found out about this supposed African influence after the fact.[39] Second British Invasion acts were influenced by funk and disco.[40]
As early as 1973, critics including Nick Kent and Dave Marsh were using the term "new wave" to classify New-York-based groups such as the Velvet Underground and New York Dolls.[42] In the US, many of the first new wave groups were the not-so-punk acts associated with CBGB (e.g. Talking Heads, Mink DeVille and Blondie),[28] as well as the proto-punk scene in Ohio, which included Devo, the electric eels, Rocket from the Tombs, and Pere Ubu.[43][44] Some important bands, such as Suicide and the Modern Lovers, debuted even earlier.[45] CBGB owner Hilly Kristal, referring to the first show by Television at his club in March 1974, said; "I think of that as the beginning of new wave".[46] Many artists who would have originally been classified as punk were also termed new wave. A 1977 Phonogram Records compilation album of the same name (New Wave) includes American artists Dead Boys, Ramones, Talking Heads, and The Runaways.[28][47]
Between 1976 and 1977, the terms "new wave" and "punk" were used somewhat interchangeably.[27][48] Music historian Vernon Joynson said new wave emerged in the UK in late 1976, when many bands began disassociating themselves from punk.[3] That year, the term gained currency when it appeared in UK punk fanzines such as Sniffin' Glue, and music weeklies such as Melody Maker and New Musical Express.[49] In November 1976, Caroline Coon used Malcolm McLaren's term "new wave" to designate music by bands that were not exactly punk but were related to the punk-music scene.[50] The mid-1970s British pub rock scene was the source of many of the most-commercially-successful new wave acts, such as Ian Dury, Nick Lowe, Eddie and the Hot Rods, and Dr. Feelgood.[51]
In the US, Sire Records chairman Seymour Stein, believing the term "punk" would mean poor sales for Sire's acts who had frequently played the New York club CBGB, launched a "Don't Call It Punk" campaign designed to replace the term with "new wave".[53] Because radio consultants in the US had advised their clients punk rock was a fad, they settled on the new term. Like the filmmakers of the French New Wave movement, after whom the genre was named, new wave artists such as Ramones and Talking Heads were anti-corporate and experimental. At first, most American writers used the term "new wave" exclusively in reference to British punk acts.[54] Starting in December 1976, The New York Rocker, which was suspicious of the term "punk", became the first American journal to enthusiastically use the term, at first for British acts and later for acts associated with the CBGB scene.[49] The music's stripped-back style and upbeat tempos, which Stein and others viewed as a much-needed return to the energetic rush of rock and roll and 1960s rock that had dwindled in the 1970s with progressive rock and stadium spectacles, attracted them to new wave.[55][page needed]
The term "post-punk" was coined to describe groups who were initially considered part of new wave but were more ambitious, serious, challenging, darker, and less pop-oriented.[according to whom?] Some of these groups later adopted synthesizers.[56] While punk rock wielded a major influence on the popular music scene in the UK, in the US it remained a fixture of the underground.[55]
By the end of 1977, "new wave" had replaced "punk" as the term for new underground music in the UK.[49] In early 1978, XTC released the single "This Is Pop" as a direct response to tags such as "new wave". Songwriter Andy Partridge later stated of bands such as themselves who were given those labels; "Let's be honest about this. This is pop, what we're playing ... don't try to give it any fancy new names, or any words that you've made up, because it's blatantly just pop music. We were a new pop group. That's all."[57]
In the early 1980s, new wave gradually lost its associations with punk in popular perception. Writing in 1989, music critic Bill Flanagan said; "Bit by bit the last traces of Punk were drained from New Wave, as New Wave went from meaning Talking Heads to meaning the Cars to Squeeze to Duran Duran to, finally, Wham!".[58] Virtually every new pop rock act, and particularly those that included synthesizers in their sound, were tagged as "new wave".[24] Starting around 1983, the US music industry preferred the more generic term "New Music", which it used to categorize new movements like New Pop and New Romanticism.[59] In Britain, journalists and music critics largely abandoned the terms "new wave" and "new music" in favor of subgenre terms such as "synth-pop".[60]
New wave was closely tied to punk, and came and went more quickly in the UK and Western Europe than in the US. At the time punk began, it was a major phenomenon in the UK and a minor one in the US. When new wave acts started being noticed in the US, the term "punk" meant little to mainstream audiences, and it was common for rock clubs and discos to play British dance mixes and videos between live sets by American guitar acts.[61] By the 2000s, critical consensus favored "new wave" to be an umbrella term that encompasses power pop, synth-pop, ska revival, and the soft strains of punk rock.[9] In the UK, some post-punk music developments became mainstream.[62] According to Music critic David Smay writing in 2001: 2ff7e9595c
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