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Home » 2009 » September » 11 » Zero-G Sounds of the 70s VSTi DXi RTAS AU DVDR-AI
Zero-G Sounds of the 70s VSTi DXi RTAS AU DVDR-AI
23:05:38

Zero-G Sounds of the 70s VSTi DXi RTAS AU DVDR-AI



Unique virtual sound module powered by the Native Instruments Intakt interface, featuring a huge and uniquely inspiring sound library, which captures the True essence of the 1970s.

This Virtual Sound Module is the ultimate Seventies production tool for 21st century groovers! It delivers the undiluted heart of soul, disco, funk, and punk: recreated, sampled, and reborn. The great golden age of the dancefloor recreated! Step back in time to the disco explosion, with the Sounds of the 70s Virtual Sounds Module.

What do the 70s mean to you? Glitterballs, strobe lights, dry ice, mirrors, roller discos, the World Disco Dancing Championships, the hustle, the bump, the freak, cocktails, platform boots, flares, bell bottoms, tank tops, velvet suits, spandex, hot pants, medallions on hairy chests, afros & perms, John Travolta & 'Saturday Night Fever', Little Michael & The Jacksons, James Brown, disco divas, boogie. This was the great era, when the 12 inch, the remix and the DJ were born, the genesis of beat mixing. The horns, the strings, the raw disco power! Now the musical essence and irresistible dancefloor vibes of this great era can live on even more strongly in the music of today with a new generation, thanks to Sounds of the 70s, this stunning production tool featuring construction kits, grooves, hits and instruments, written and produced by Mike Wilkie and Matthew Corbett for Zero-G. All the rhythm material has further been lovingly sliced and diced to form an awesomely flexible production powerhouse based on the Native Instruments Intakt plug-in engine.

The awesome flexibility of the custom high-performance Native Instruments interface will soon have you customizing, shaping and manipulating the 70s vibes to suit your own requirements. In the rhythm department of this monster library, there are many hundreds of loops and all are presented either in sliced format (via the NI INTAKT Beat Machine) or via the Time Machine, so they will automatically sync to your songs, and you can apply sound-shaping to each slice if you wish!

An introduction by the creators, Mike Wilkie and Matthew Corbett

"What makes funky music sound as if it genuinely came from the spaced out 70's? We listened endlessly to crackly vinyl in the studio, listened to those who've tried to recreate the flavour since, picked up our instruments and threw the rule books away. First though, to faithfully recreate the sounds of the seventies we equipped ourselves with two pairs of loon pants (purple and mauve), brown glitter encrusted platform boots with 5 inch heels, cheese cloth shirts and genuine Afghans. We also had an Afro hairdo, and then, and only then, did we feel ready to proceed on our sonic journey!

Recording technology circa 1973 was of course rudimentary by today’s standards and the attention to precision playing was much more ‘relaxed’. The music flowed through an attitude rather than a set of criteria. The timing was most definitely out but the vibe was definitely in. Check out some really old vinyl, listen to the players, there are gaps big enough to park lorries in but somehow it’s all part of a brilliant sound picture.

Vocals that would be auto tuned or corrected were left to dissonance, percussion that would be now be audio quantised retained its loose swing. Electric pianos that are now endlessly mimicked by Japanese developers were the genuine article with malfunctioning pick ups and noisy amps. Drop one on your foot whilst setting up on stage and you’d be out of action for weeks! Guitar processors that now convey pristine clarity through digital convertors then hissed and crackled adding yet more filth into the mix. Pedals had names like ‘Electric Mistress’ evoking the possibility of an exciting night if you impressed the girl in the front row!

Valve amps and compressors added warmth (and noise) through analogue desks which looked like something out of Jules Verne, to 2 inch tape machines the size of milk floats, the end result being bounced onto another tape thing before being mastered onto vinyl.

But that was then and this is now, and in the new century we can look back at an iconic period in sound production that will echo through the decades, maybe even through centuries to come. A sound picture where the producer’s initiative and creativity would make a real difference, and could create a genuine new sound. Many of those artists never made it far into the eighties and when Solid State Logic and Digital arrived in about 1981, times had changed for ever.

In 2004, there isn’t a 70’s artist who hasn’t been sampled, not just the Icons, but even Chas and Dave, playing as respected musos in ’75 on a Labi Siffre song, have turned up on an Eminem track! Almost every modern producer has 'borrowed' from old records, some legally, and some have ended up in court with royalties being re-directed to the original copyright holder.

We already had original guitars and basses from the 70's and before, and soon managed to borrow a Fender Rhodes and a Wurlitzer EP as well as a Hammond with a massive Leslie cabinet with something like a propeller in it. We enlisted the help of a seventies keys man and a horn player to complete the picture and set to work creating the loops.

We decided to give every loop two distinct sections that could be used within the same production and then recorded all of the breakdowns so the user could add and remove parts at will.

We decided too, to adopt ‘extreme panning’ on many loops to add that ‘stereo panned to both ends of our galaxy' feel and also from time to time mixed loops 'lumpy and bumpy' in an attempt to avoid any allegiance to modern technology.

Many synths like our ancient Crumar, which we used a lot, were amped instead of feeding direct and guitars were awash with spidery tones and liberal use of an old Cry Baby. We used a Gibson Les Paul standard (circa 1977) for almost all of the guitars and, surprisingly, most of the bass was undertaken on an old Aria Pro, after rejecting more sumptuous instruments, it just seemed to evoke the era more precisely, we played it through an old Selmer bass amp. Although most of the loops produced were in the funky vein we decided to tip our hat to a few other genres from the 70s: Glam, punk, prog and proto electronica.

In making these loops for you we went back to the drawing board, attempting to unlearn years of clean production skills and started to gather everything we'd need to take the sound back to the 70s. It was a bit like flying an old aircraft, a bit heavy, marginally uncontrollable, but at the end of the day a graceful and rewarding experience.

After all the initial work was finished we decided the only way to retain the funk was to have everything mastered onto vinyl through 70s valve compressors and EQs. We found a mastering suite deep in South London that ticked all the boxes and got everything transferred to a large stack of laquers, and then back into digital, it sounds….like the seventies!

So we’re off now on a couple of Raleigh Choppers, munching on our Curly Wurlies to see and Earth Wind and Fire tribute band….we hope you enjoy our seventies experience, we were lovin’ it!"

Mike Wilkie and Matthew Corbett

The Software Interface

The whole of this remarkable library is presented within a stunning state-of-the-art plug-in interface by Native Instruments which is a version of their Intakt sampler, which was specifically designed for rhythmic loop playback, manipulation, and mayhem.

The convenient one-screen interface features tremendous sound shaping abilities without disrupting the creative flow, including a first-class multimode filter, an envelope follower, two LFOs, effects, and more. The loops have been set up so that they can be automatically synced to tempo, either via the Beat Machine or the Time Machine. The Beat Machine has loops divided into their individual hits or notes (slices) which means they can be played at a wide range of tempos without change in pitch. It also allows the user to give each hit or note individual settings for pitch, playback direction, pitch envelope, amp envelope, distortion, delay, and more; a MIDI file of each loop can be easily exported so that groove, accent, and feel can be manipulated in any host sequencer.

The Time Machine time-stretches or compresses loops in real time. Not only can you sync, stretch, and pitch the loops, but also filter, effect and modulate them as well! A powerful sound-shaping filter, flexible envelopes, syncable LFOs, and distortion, syncable delay, and lo-fi effects can inject even more energy and individuality into the loops, as well as into the synths, pads, textures and everything else in this absolutely authentic and inspiring sound library. Since the software interface is a version of NI's superb Intakt engine, working with it is fast, easy, and sounds great!

Features

Library Content
Huge library of world-class, totally original but totally authentic 70s-style instrument and percussion performances, arranged in construction kits together with their broken-out grooves and tool kits.
Over 1.4 Gigabytes of samples

Features of NI Intakt User Interface
Access to individual hits (slices) within loops
Easy and intuitive user interface
User interface is a version of Native Instruments' Intakt, based on Kontakt, the world's finest software sampling engine
Loops use one or more of the three sampler-modes: Beat Machine with ISE (Individual Slice Edit), Time Machine and standard Sampler mode
Easy synchronization of loops to MIDI tempo
MIDI file export permits groove, accent, and feel manipulation in any host sequencer
Integrated effects: Group filter including low-pass, high-pass, band-reject or band-pass modes, global filter, lo-fi, distortion, syncable delay
Modulation section provides AHDSR envelope, two individual syncable LFOs, envelope follower and a DBD pitch envelope
Total Recall
Sound Library can also be loaded into other Native Instruments samplers including Intakt and Kontakt (version 1.5 or later), for even greater flexibility and more options for working with the material.

System Requirements

PC

Minimum Requirements
Windows XP
Pentium III/ Athlon 400 MHz
256 MB RAM

Recommended
Mac OS 10.2.6 or higher
G4 733
512 MB

Mac

Minimum Requirements
Mac OS 10.2.6 or higher
G3 500 MHz
256 MB RAM

Recommended
Mac OS 10.2.6 or higher
G4 733
512 MB

Supported Interfaces
VST® 2.0
DXi
ASIO
Audio Units
Core Audio
RTAS
Mac & PC


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Category: Virtual Instruments | Reads: 6383 | Dark_Angel
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