4/30/2023 0 Comments Drumspillage 2 review![]() ![]() Each model has a common bottom pane of LFOs, amp and filter section. Which is handy because even the simplest synth, the cowbell, features four LFOs plus amp and filter envelopes, all of which can modulate each other and some of which are sync’able to host tempo. Again, Drum Spillage 2’s interface is paramount here: some of the algorithms are quite complex, but at no time did I feel confused or swamped by parameters. The sounds themselves are produced by 12 different synthesis algorithms, and are wonderfully tweakable via each pad’s individual instrument editing screen. Audio Spillage are to be commended on their balance here: too wacky and Drum Spillage 2 would be left languishing, never a go-to plug-in too staid and it would be out-competed by aforementioned sample libraries. A lot of the kits seem to revel in wildly bizarre tones that leap out of the speakers, but they are always part of an ensemble which features usable bread-and-butter sounds too. However, even here, the programmers throw us some beautifully mournful percussive tones that sound like goats lost in Scottish fog. ‘Electro’ is the most ‘normal’ of the kits, coming closest to 808 territory. Cycling through the factory banks reveals all manner of zinging, whooping and metal-bashing.ĭrum Spillage 2 arrives with 15 of these factory banks, which are both eminently musical and experimental. ![]() I programmed some beats and was impressed by the contrast between the traditional synthesized kicks and snares and the crazier gibberings of some of the pads. It’s crisp, clean and punchy-sounding, very like something I’d spend hours patching up on my modular only to forget about and ruin the next day. The second smile was courtesy of the sound. Whilst this kind of interface has been done before, Audio Spillage’s implementation is leaner, cleaner and therefore more immediate than others. It’s a wonderfully simple way of connecting real-world controller with virtual response, and it makes programming Drum Spillage 2 a doddle as you never get lost: you always see what is playing where. Hit some keys from C1 upwards and waveforms pop up on the corresponding pad. There are 16 pads arranged in a four-by-four grid. Like Apple with iOS 7, Audio Spillage have eschewed the dreaded skeuomorphic design that infects many plug-ins, and instead, present the user with a beautifully spartan and utilitarian graphical interface. The first thing that made me smile about Drum Spillage 2 is its aesthetic. ![]() Perhaps a drum synthesizer, albeit running as software rather than an unruly clump of wires, gets closer to the spirit of these machines than static samples? Drum & Drummer Remember, too, that a fair number of classic drum machines, like the TR808 and CR78, used totally synthesized sounds. But if, like me, you miss Waldorf’s Attack and you like to roll your own sounds, Drum Spillage 2 is definitely of interest. If you’re after a vintage Linn, DMX or other sample-based beat machine, this is not the droid you’re looking for. Where it differs from the Steven Slate Drums of this world is in its proud emphasis on synthesized drum sounds. The possibilities are vast.Drum Spillage 2 lets you get down and dirty with synthesized drum sounds.Īudio Spillage’s Drum Spillage 2 is the (surprise!) second version of their Audio Units-format synthetic percussion plug-in for Mac OS X. There are multiple levels of step sequencing to contend with, split into individual pages for parameters including velocity, pitch and filter settings. While the sound sculpting options are surprisingly user-friendly, the sequencing capabilities are actually much more complex than they might first appear. A selection of key parameters can also be automated or controlled via built-in LFOs for further real-time shaping. Once they’re locked in, the resynthesis is precalculated (hence ‘precalc’) and loaded into RAM. This is an incredibly user-friendly approach to a complex form of sample-based digital synthesis.Īlthough in theory the precalc settings are meant to be adjusted before attempting to construct a beat, the majority can be tweaked in real time without any significant glitches. What’s most impressive about Nerve is the way it encourages you to jump in and tweak sounds in ways that you might be scared of trying using conventional synthesis techniques or drum samplers. Although you might be starting with a sample in each of the plugin’s 16 drum slots, the resynthesis capabilities very quickly twist and stretch them into completely new territory. Nerve’s ‘precalc’ options (modestly referred to as effects but realistically much more than that) set it apart from other sample-based plugins, effectively making it operate like a digital synth with drum samples as the raw sound source.
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