STEINBERG Groove Agent 3, Groove Agent - 3.0 Instruction Manual [fr]
Groove Agent 3
Operation Manual
by Sven Bornemark
The information in this document is subject to change without notice
and does not represent a commitment on the part of Steinberg Media
Technologies GmbH. The software described by this document is
subject to a License Agreement and may not be copied to other media. No part of this publication may be copied, reproduced or otherwise transmitted or recorded, for any purpose, without prior written
permission by Steinberg Media Technologies GmbH.
All product and company names are ™ or ® trademarks of their respective owners. Windows XP is a trademark of Microsoft Corporation. The Mac logo is a trademark used under license. Macintosh is a
registered trademark. Mac OS X is a registered trademark. Cakewalk
SONAR is a registered trademark of Twelve Tone Systems. ReWire is
a trademark of Propellerhead Software AB. Logic is a trademark of
Apple Computer, Inc. registered in the U.S. and other countries.
© Steinberg Media Technologies GmbH and Bornemark Software,
2007.
All rights reserved.
Groove Agent 3
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Table of Contents
4
Welcome!
6
What is Groove Agent?
6
What’s new in Groove Agent 3?
7
Register Groove Agent!
8
Installation
13
Setting up the instrument
16
First test
16
Groove Agent terminology
18
About the sounds in Groove Agent
31
Using Groove Agent in Classic Mode
32
The LCD window
32
Range
49
Introducing Dual Mode
51
Groove Agent in Dual Mode
52
Special Agent
56
Percussion Agent
62
Ideas on using Dual Mode creatively
63
Import & FX page
68
The Setup page
75
Creating a drum track with Groove Agent 3
77
Using Groove Agent’s MIDI output (Live to host) in Cubase SX
77
Using Groove Agent’s MIDI output (Record to file)
78
Using host automation in Cubase SX
79
Composing with Groove Agent’s Memory slots in Cubase SX
81
About the Groove Agent Styles
108
Tempo Guide
112
80 or 160 BPM, what’s the correct tempo?
113
Jamming with Groove Agent 3
114
Smooth operator
114
Controlling Groove Agent from a MIDI keyboard
118
Contact, Internet
118
Credits
119
Last but not least…
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Groove Agent 3
Welcome!
Somehow I find it hard to believe that I’m sitting in a rented cottage in
Skagen, Denmark actually writing the manual for the third generation
of Groove Agent. What started out as a rather basic idea about a virtual drum machine, has turned into a tool that’s almost a household
name amongst computer based musicians around the globe. Third
version, consider that!
So, how do we meet the expectations from an increasingly demanding
group of followers and new potential customers? We’d better be
good this time, because the market is full of fine drum tools…
Well, we’ve had to change the overall design a bit. The original
Groove Agent interface was elegant and easy to use, but provided no
room for growth. It would be impossible for us to fit our new modules
into the old layout, so we’ve created a new one: Dual Mode.
Even though the name itself may not sound too exciting, Dual Mode
offers the possibility to use any two modules simultaneously. You may
think of it as controlling a drummer and a group of percussionists at
the same time. Or a live drummer with added MIDI controlled elements and sounds. Or even as two drummers playing together! Oh,
this sends me back to the days of Joe Cocker’s “Mad Dogs And Englishmen” tour in 1970… but I digress.
My dear friend Paul Kellett, who skillfully programmed the first two
versions of Groove Agent, now works exclusively for another music
software company. Our new master of ceremonies is Dave Brown,
music software authority extraordinaire. He has designed and built a
totally new Groove Agent from the ground up. This new code offers a
wealth of possibilities, enabling us to present a machine that will load
drum kits even faster along with a new built-in nine band EQ/Compressor coming directly from Dave’s respected Quantum FX 2.
But, software without strong musical content is not of much use. The
ever persistent Mats-Erik Björklund has assembled a new range of
drum kits. A trusty group of talented musicians have produced 27 new
styles for the original Groove Agent module.
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Engineer Marco Manieri, Special Agent Rasmus Kihlberg and producer Sven
Bornemark
On top of that, one extremely experienced and frequently recorded
drummer by the name of Rasmus Kihlberg has recorded some of his
best grooves for you. This gives you, the lucky user, instant access to
15 useful styles of live drumming, complete with 25 complexity levels,
fills and half tempo feel renditions. And as if that weren’t enough, Rasmus also took the time to record a bagful of percussion instruments.
Again, live grooves that can be arranged into traditional or complex
patterns.
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I feel confident that version 3 is a worthy successor in the Groove
Agent series of instruments. Believe me, we spent a lot of effort on
this baby. More than two dozen devoted musicians plus a bunch of
patient betatesters assisted in turning this drum machine dream into
reality. We’ll take a short, well deserved break now before we dig
into… well, you’ll see!
/Producer
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What is Groove Agent?
Groove Agent 3 is a tool that can help you compose a complete drum
track for your song in a few minutes. Groove Agent 3 can provide inspiration throughout your musical creation process. Groove Agent 3
can be the perfect sparring partner when you’re jamming and practising. Groove Agent 3 can breathe new life into your existing array of inboard and outboard drum and percussion equipment.
So Groove Agent 3 can do a lot of things, but first of all it’s a fine
helper when you say:
– “I can’t program drums”
– “I don’t have the time to program drums”
– “Inspire me!”
What’s new in Groove Agent 3?
This third incarnation is a major step up from the previous versions.
Consider the following:
•
Special Agent module with 15 complete drum styles played live by
Rasmus Kihlberg.
•
Percussion Agent module that provides 8 groups of live recorded
grooves.
•
27 new Groove Agent styles including odd time signatures.
•
Total number of audio outputs increased from 8 to 12 stereo outputs.
•
3 new acoustic drum kits plus an assortment of digital drum machines
and percussion.
•
All new FX section, where every output has its own 9-band EQ with
Compressor.
•
FX presets for individual drums and entire kits can be used as-is or
tweaked.
•
Improved style handling with genre categorization for better overview.
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•
New Auto Fill functionality for jamming and practising along with a
useful Speed control.
•
All new Dual Mode where two drum/percussion modules can be run
in parallel.
•
A new Sample Import page allows the users to import and use their
own drum samples.
Register Groove Agent!
Before getting carried away with Groove Agent 3, please take a moment to register. This will entitle you to technical support, and we’ll
also keep you up to date with the latest news and updates.
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Groove Agent 3
Installation
The Steinberg key
Please read this section before installing the Groove Agent software.
Included with the Groove Agent 3 package you will find an activation
code for the Steinberg Key (sometimes referred to as a “dongle”), a
hardware copy protection device that is part of the Groove Agent
copy protection scheme. Groove Agent will not run if there is no
Steinberg Key or if the key hasn’t been properly activated. You can
separately purchase a new Steinberg Key for use with Groove Agent,
or use a key previously bought for use with other Steinberg applications.
The Steinberg key
The Steinberg Key is, in fact, a little computer on which your Steinberg software licenses are stored. All hardware-protected Steinberg
products use the same type of key, and you can store more than one
license on one key. Also, licenses can (within certain limits) be transferred between keys – which is helpful, e.g. if you want to sell a piece
of software.
•
If you have a Windows PC, the installation routine will initiate a restart
of Windows after installation of the key drivers and the program software. After the restart, you can plug the key into the USB port to proceed with the key activation.
•
If you have an Apple Macintosh computer, there will be no automatic
restart. Be sure to read the information regarding the Steinberg Key
that is displayed during the installation process.
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•
If you already own copy-protected Steinberg software, remove any
existing Steinberg Keys from the computer’s USB port during the
Groove Agent 3 installation routine.
The Steinberg Key must not be plugged in before or during the installation of Groove Agent 3. Otherwise the operating system of your computer will register it as new USB hardware and try to find drivers that
won’t be present before Groove Agent 3 installation.
If you already own a Steinberg Key (e.g. for Cubase or Nuendo), you can
load your Groove Agent license onto that one, using the activation code
supplied with Groove Agent 3. This way you need only one USB key for
both your host application and Groove Agent 3 (see below).
System requirements (PC version)
To run Groove Agent you’ll need:
• Windows XP (Home or Professional).
• Intel/AMD Processor 2 GHz minimum.
•1 GB RAM.
•4 GB free hard disk space.
• DVD drive required for installation.
• Windows MME compatible audio hardware is required (ASIO compatible
audio hardware required for low latency operation).
• Steinberg Key (copy protection device) and USB port required.
• Internet connection required for license activation.
• For using as a plug-in or Rewire slave-device, a VST 2, DXi2 or Rewire
compatible host is required.
• The Steinberg Key (USB copy protection device) required to run this product
is not included. Customers who do not own a Steinberg Key must purchase
one separately. The same Steinberg Key copy protection device is then used
for all Steinberg products that require it.
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See the Steinberg website for recommendations on how to set up your
audio work station.
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Installing Groove Agent 3 (PC version)
Proceed as follows to install Groove Agent 3 on a Windows PC:
1.
Switch on your computer and insert the Groove Agent 3 DVD.
2.
If the DVD window doesn't open automatically, locate the Groove
Agent 3 DVD with Windows Explorer.
3.
Double-click on the Groove Agent 3 Installer icon to run the installation program, and follow the on-screen instructions.
Removing Groove Agent 3
To remove the Groove Agent 3 software from your PC:
1.
Locate your installation directory of Groove Agent 3.
2.
Run the application “Uninstall.exe” for Groove Agent 3 from your hard
disk.
System requirements (Mac version)
To run Groove Agent you’ll need:
• Mac OS X 10.4
• Power Mac G5 2 GHz minimum/Intel core Solo 1.5 GHz
•1 GB RAM.
•4 GB free hard disk space.
• DVD drive required for installation.
• Core Audio compatible audio hardware.
• Steinberg Key (copy protection device) and USB port required.
• Internet connection required for license activation.
• For using as a plug-in or Rewire slave-device, a VST 2, AU (tested in Logic
7.2.3, Garageband and Digital Performer 5.1) or Rewire compatible host is
required.
• The Steinberg Key (USB copy protection device) required to run this product
is not included. Customers who do not own a Steinberg Key must purchase
one separately. The same Steinberg Key copy protection device is then used
for all Steinberg products that require it.
See the Steinberg website for recommendations on how to set up your
audio work station.
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Installing Groove Agent 3 (Mac version)
Proceed as follows to install Groove Agent 3 on a Macintosh:
1.
Switch on your computer and insert the Groove Agent 3 DVD.
2.
If the DVD window doesn't open automatically, double-click on the
Groove Agent icon on your desktop.
3.
Double-click on the Groove Agent 3 Installer icon to run the installation program, and follow the on-screen instructions.
4.
The Groove Agent 3 Content will be automatically installed to the following location on your hard disk: “Hard Disk/Library/Application
Support/Steinberg/Groove Agent 3”.
5.
If you want to move the musical content to another place on your hard
disk, run the “Move Content.pkg” utility after installation has finished.
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Groove Agent 3
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Activating the Steinberg Key
Whether you bought a new key when you bought Groove Agent 3, or if
you want to use one you previously bought with a different Steinberg
product: Your Steinberg Key does not yet contain the license required
for Groove Agent 3. You must download this license before you can
launch Groove Agent 3!
Use the activation code supplied with the program in order to download the license for Groove Agent 3 to your Steinberg Key. This process is the same both for existing and new keys. Proceed as follows:
1.
After installation of the dongle drivers and the program software (and,
on a Windows PC, after restarting your computer), plug the Steinberg
Key into the USB port.
If you are unsure of which port this is, consult the documentation of your computer.
2.
If this is the first time a copy protection device is plugged in, it will be
registered as a new hardware device. On a Mac, drivers are found automatically without further user interaction. Windows will display a dialog box asking you whether you would like to find drivers for the
device manually or automatically.
Under Windows, choose to find drivers automatically. The dialog box closes, and you
may have to reboot your computer.
3.
Make sure that your computer has a working internet connection. License download is done “online”.
If the computer on which you installed Groove Agent 3 is not connected to the internet, it is possible to use another computer for the online connection – proceed with
the steps below and see the help for the License Control Center application.
4.
Launch the “License Control Center” application (found in the Windows Start menu under “Syncrosoft” or in the Macintosh Applications
folder).
This application allows you to view your Steinberg Keys and load or transfer licenses.
5.
Use the License Control Center “Wizard” function and the activation
code supplied with Groove Agent 3 to download the license for
Groove Agent 3 to your Key. Simply follow the on-screen instructions.
If you are uncertain about how to proceed, consult the help for License Control Center.
When the activation process is completed, you are ready to launch
Groove Agent 3!
Groove Agent 3
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Setting up the instrument
Groove Agent 3 as a VST Instrument in Cubase
This section describes how to set up Groove Agent 3 with Cubase as
your host application. However, the same procedure applies to most
host applications, and you should consult your host’s documentation
if you need further help.
Make sure the host program has been correctly installed and set up to
work with your MIDI and audio hardware (e.g. MIDI keyboard and an
audio card).
To set up Groove Agent 3:
1. Open the VST Instruments window.
2. Click the “No Instruments” label and select Groove Agent 3 from the
pop-up menu.
3. Wait for a few seconds while Groove Agent 3 loads its default style
samples. The Groove Agent window opens automatically.
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4. In the VST host application, select Groove Agent 3 as the output for a
MIDI track.
Groove Agent 3 as a DXi2 Instrument in Sonar
In SONAR you load Groove Agent 3 into the Synth Rack.
1. Open the Synth Rack and choose “Insert soft synth”. You will then
need to scroll through the list and find Groove Agent 3.
2. You are provided with the option of inserting the default MIDI control
track as well as one or all of the audio outputs of Groove Agent 3.
MIDI Output in SONAR 5.2 or higher
Note that the DXi version of Groove Agent 3 does not support MIDI
output. If you desire this functionality, you will need to install the VST
version of Groove Agent 3. Having done so, you will need to run SONAR's VST configuration wizard in order to locate and configure
Groove Agent 3.
Groove Agent 3
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Now locate the Groove Agent 3 VSTi in the Synth Rack and select
“Enable the MIDI output” when inserting Groove Agent 3 into your
project. You will then see Groove Agent appear in your MIDI input
port drop-down selection. This will allow you to route the MIDI output
from Groove Agent 3 to any other MIDI track in a SONAR project.
Using Groove Agent 3 in an AU compatible application
For Logic Pro 7 proceed as follows:
1. Open the Track Mixer and choose the desired Instrument channel.
2. Click the I/O field and, in the pop-up menu that appears, choose ei-
ther “Multi-Channel” or “Stereo”.
3. In the sub-menu the appears. select All Instruments and then Groove
Agent 3.
4. Groove Agent 3 is now loaded as an AU instrument.
Groove Agent 3 stand-alone and ReWire
Groove Agent 3 can be used as a stand-alone application, independently of any host application. This makes it possible to use Groove
Agent in sequencer applications that do not support one of the provided plug-in formats of Groove Agent (i.e. VST, DXi, AU), but allow
for data exchange using ReWire.
ReWire2 is a special protocol for streaming audio and MIDI data between two computer applications. When using ReWire, the order in
which you launch and quit the two programs is very important, as the
first audio application launched will capture the sound card resources.
Proceed as follows:
1. First, launch the sequencer application you wish to use (e.g. Ableton
Live, ProTools).
If your sequencer supports ReWire, it will provide a way to assign audio and MIDI
channels for the exchange of data. See the documentation of your sequencer application for details.
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2. Now, launch Groove Agent as a stand-alone application.
If you chose to create desktop and Start menu items during installation of Groove
Agent 3, you can launch the program just like any other application on your computer.
You can also double-click the Groove Agent program file in the installation folder.
When you now play a style with Groove Agent 3, the sound is
streamed via ReWire to the assigned mixer channels in your host. You
can route the separate instrument outputs to individual mixer channels
(up to 8).
Note that you are now running two completely separate applications.
When you save your sequencer project, this will include the overall
channel and bus configuration, but none of the settings in Groove
Agent 3! To retain your Groove Agent settings, choose the Save Bank
command from the Groove Agent File menu. You may want to choose
a file name that indicates that the file contains settings created for a
particular sequencer project.
Similarly, when you re-open a project in your sequencer application
and have launched Groove Agent 3, use the Load Bank command in
Groove Agent to reload the Groove Agent settings pertaining to this
particular project.
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Groove Agent 3
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First test
Let’s make sure Groove Agent 3 is properly set up and ready to play:
1. If you load Groove Agent as a VST instrument, make sure Groove
Agent is selected as the output for a MIDI track. If required, make sure
your MIDI controller is routed to this track.
2. Open the Groove Agent panel. Move the Style slider to a style of your
choice. Be prepared to wait for a second or two while Groove Agent
loads its samples for this style. The green LCD window is helpful here
with its Loading and Ready messages.
3. Adjust the tempo of your host application to suit each style’s favorite
tempo range as displayed in the “range” field in the green LCD window.
4. Click Run in the Groove Agent window. Now you should see the red
LCD meters on the Groove Agent interface flash and the beat light indicate 1-2-3-4. You should also hear cool rhythms streaming from
your speakers!
Groove Agent terminology
Accent – The kind of Accent we refer to in this manual is the traditional marked hit, typically played on the crash cymbal and kick drum.
When played off beat, like e.g. on the 8th note preceding a bar line, it
becomes a syncope.
Ambience – Groove Agent 3 comes with a complete set of ambience
recordings for all drums and percussion instruments. The acoustic
sounds have been recorded with distant microphones and the electronic sounds have been processed through various reverb and effects units.
Channel – A Channel in Percussion Agent can be seen as a single
musician playing his/her instrument. Each Channel can have its own
settings for volume, pan, shuffle, tuning, ambience and even start
point offset.
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Complexity – The level of advancement in a style. In Groove Agent 3,
the complexity levels go from left (simple) to right (advanced). Music
generally benefits from variations in a song, and in Groove Agent
they’re always easy to reach.
Compressor – This is probably the first device a recording engineer
reaches out for when recording drums. Limiting (or compression, the
difference is not always easily defined) controls the overall output
level and can also be used as an effect.
Control Strip – The central panel in Dual Mode view that holds general functions like the module selector, Stop, Run, Fill buttons, Speed
control etc.
Dry/Wet – These are terms that describe the two extremes of a
sound. Either you listen to an instrument very closely in a damped environment, or you take many steps back and listen to it from a distance
or bathed in reverb. In the studio we refer to these extremes as dry
(close) and wet (distant).
Dual Mode – The all new page that lets you access any two modules
at once, Groove Agent, Special Agent, Percussion Agent.
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Fill – A live drummer usually plays a fill every eight bars or so, emphasizing the song’s structure and movement. A fill may be regarded as
“an improvised exclamation mark”. Are you going from the verse into
the chorus? Time for a fill!
Half tempo feel – Typically, slowing down the kick and snare pattern
to half speed, while keeping the rest of the pattern going in the other
instruments. This creates a dramatic effect and is a very typical live
drummer behavior! Real drummers do this all the time, if you don’t
stop them.
Kit – A special set of drums and percussion associated with each
style. In Groove Agent, style and kit can be chosen separately.
LCD meters – These are the cool, red level meters that start flashing
when Groove Agent is playing. They indicate that sound is being output from Groove Agent, but for more detailed control you should use
the level meters in your host sequencer.
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LCD window – The big, yellow window tells you, at all times, what’s
going on inside Groove Agent 3. This is your main source for information.
Module – This is new in Groove Agent 3, the possibility to fill the two
slots in Dual Mode with Groove Agent and/or Special Agent and/or
Percussion Agent. Each such agent is referred to as a module.
Shuffle – Also referred to as “swing factor”. These terms indicate the
relationship between the 8th notes (sometimes 16th notes), as these
can either be perfect 8ths (“straight 8ths”) or swung (“triplet 8ths”).
Style – A certain musical style, normally linked to a unique drum and
percussion kit.
T – If there’s the letter T after a style or groove name, that’s an indication that this style is triplet based.
About the sounds in Groove Agent
Groove Agent was one of the first virtual instruments to include multiple velocity layers and separate ambience recordings. The more velocity layers you include, the closer you’ll be able to get to the sound,
impact, musicality and realism of a drum kit recorded live. The same
goes for the acoustic properties of the room where the drums were
recorded. By including separate samples of the echoing room, the
user is able to adjust the amount of space surrounding the drum kit.
Apart from velocity layer and ambience, a third feature is also very important for realism: Alternating, new in Groove Agent 3. First seen in
an early Yamaha sampler (and then strangely forgotten until recent
years), Alternating calls up a different sample every time a drum sound
is played. With alternating, you can record two or more (nearly) identical hits, load them into your playback device, and hear the samples
alternate. Our ears are extremely good at recognizing exact repetition,
so treating them with similar but yet different, unique samples is generally a good idea.
Groove Agent 3 now sports Alternating for the most important acoustic instruments in the new kits, namely: snare, hihat, toms, kick and
cymbals.
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Groove Agent 1
The drums for the original edition of Groove Agent were recorded
during the summer of 2002 in Studio Kuling north of Örebro, Sweden.
The large studio room has the most dramatic acoustic properties
we’ve ever heard! The room itself is large and mostly covered with
wood panels, and engineer Jens Bogren certainly knows his way
around the equipment. With Mats-Erik Björklund playing all instruments, sound designers Per “Worra” Larsson/SampleTekk and Sven
Bornemark started recording multiple velocity levels of each sound.
There was an initial agreement that this archive should cover most
grounds – as many musical landscapes as possible. Therefore we decided upon recording all these instruments:
A 50s jazz kit. Not very damped,
sounds a bit loose, sloppy.
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A 60s pop kit. Very damped drums
from the era when they put towels on
the toms!
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A 70s rock kit. Loud, deep and
ringing. This kit is big!
An 80s studio kit. Fresh and modern,
like on most of today’s CDs.
On top of that, we added stuff that adds color and realism to the different eras and attitudes we wanted to cover. 50s drums played with
brushes and mallets, 80s kit with rods and additional snares like piccolo and deep models.
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To make the archive complete, we spent a long session recording
percussion instruments, both those included in the GM protocol plus
an array of other, interesting sounds: African fur drum, rainstick, tambourine, cascabelles, mouth plop etc.
Recording bongos…
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…congas…
… and timbales
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Engineer Jens Bogren came up with the suggestion that we’d run all
sounds through an analogue 24 track tape recorder for “that warm
sound”. Great idea! Coupled with our original intention to produce a
very complete archive, this is what we actually recorded:
• Tracks 1-2: closely miked drum.
• Tracks 3-4: overhead microphones.
• Tracks 5-6: ambient mics 2 meters away.
• Tracks 7-8: distant mics 7 meters away.
After the recording sessions, Per Larsson spent several months editing the sounds. Editing in a multitrack environment like this is a task
very different from working with only stereo samples. We carefully
chose the takes that would go together best and went for a mixed
setup, where the 50s and 70s kits use the dry and distant sounds and
the remaining instruments use the dry and ambient recordings.
Mats-Erik Björklund was the person responsible for bringing all the
carefully chosen instruments to the studio. So even if the 70s hihat recordings went astray or if we totally forgot to record the sound of a
whistle, his help has been invaluable!
So much for acoustic timbres. For the more modern and experimental
electronic sounds we turned to the sample library of Primesounds,
Stockholm. There was the multitude of sounds we needed. On top of
that, many of our musicians spent time on building their own, unique
sounds from the ground up.
Sounds marked with a B, M or R were recorded with Brushes, Mallets
and Rods respectively.
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Groove Agent 2
The Groove Agent 2 sessions sported Mats-Erik behind the drums
and as the main sound designer. Engineer for this second round was
Rickard Bengtsson. Mats-Erik took the opportunity to record some
useful kits to make the sonic palette even more complete:
The Studio kit – A top of the
line set with some of the best
drums and cymbals around.
We wanted to achieve a
sound that would fit in a lot of
styles that demand a good,
clean and modern sound. The
three snares are high quality
snares with different depth
and materials and carefully
tuned to bring out the true
characteristic of the
instruments.
The Heavy kit – This drum-set
is intended to fit in many of
today’s Metal styles, where
busy bass drumming is a vital
ingredient. The dry character
of the ride-cymbal and the
great sound from the crashes
will cut through any wall of
guitars.
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The Noisy kit – We wanted to
create a modern drum sound
using traditional drums. These
instruments are very small but
along with the boom-box
effect they sound much bigger
than they really are. We
experimented a lot with
different digital effects and
came up with a sound that we
think will last. The snares are a
thin, high pitched piccolo and
a small 10” mini-snare. Some
of the cymbals are rare vintage
instruments that are almost
impossible to find anywhere today, while others are modern, noisy sounding
instruments that have seen better days…
A red Slingerland “Radio King”
(the world’s most recorded
snare drum), a black
handmade snare drum from
Hanus & Hert in Prague and a
Slingerland copper snare.
In order to achieve our sonic goals, it was decided that we would not
add acoustic ambience this time. Rickard had just purchased an
Eventide Harmonizer “Orville” unit and spent considerable time creating some very significant environments for the drum sounds. The resulting sounds are very rich and colorful.
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In addition to the acoustic kits, a
handful of vintage drum machines from
Sven Bornemark’s private collection
were added. Some of these beauties
are over thirty years old, so sampling
them was not without complications.
Old analogue gear tends to sound a bit
different from day to day – and even
from beat to beat – so when comparing
the original, built-in rhythms with our
MIDI renditions, there are some
differences. However, we think we’ve
managed to capture and re-package
the better part of the magic of these drum machines of yesteryear.
The vintage drum machines got their ambience from a vintage EMT
plate reverb unit located in a well known Malmö recording studio,
Tambourine Studios.
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Groove Agent 3
With Groove Agent 3 we wanted to add new dimensions to our drum
tool concept. Session drummer deluxe Rasmus Kihlberg is one of a
very small group of people capable of delivering live drum grooves
ranging “from very sparse to very hot”. In 25 steps, with only slight
variations between each step plus fills and half tempo feel versions of
all levels! All in all, Rasmus recorded over 1.000 unique grooves behind his drum kits plus hundreds of percussion patterns.
The studio chosen for our Groove Agent 3
sessions was Gula Studion in Malmö, with
Marco Manieri as engineer. The sound at Gula
is not as big as in Studio Kuling. Instead we
relied more on the studio room’s earlyreflection style ambience plus an assortment
of control room reverb effects. In addition, the
“Stone Room” was used with one kit, giving
an aggressive yet natural character to the
third kit.
In parallel to the grooves, Rasmus also recorded individual samples of
every drum kit. As usual, we wanted to give each kit its own personality and we treated ourselves to an easy start by recording a kit that
was already in the studio, the in-house Gula kit.
It looks a bit odd with its extended bass
drum (two kick drums mounted head-tohead), but the sound is easily recognized
as the very popular sound found on many
hit songs recorded at Gula. This kit is
referred to as “Gula”.
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The second kit was Rasmus’ own Premier GenX set with pinstripe heads. It’s tuned to
produce a dry, clean, elegant and widely useful
sound, hence the name “Clean Adult Fun”.
ENGLISH
For the third set of recordings, we
moved into the overly reverberant
Stone Room, where Rasmus
played his old, precious Ludwig kit
from the early sixties, nick-named
“Fula”. Think “Ringo Starr”, and
you’ll know what sort of drum set
we’re talking about. Mother-ofpearl finish, white heads and
almost no damping gives a very
dynamic jazz-to-pop sound that
can be used in almost any
situation.
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We’ve spiced up the sonic
palette with some very well
known digital drum machines
from the eighties.
One such drum machine is the Linn LM-1 Drum Computer that belongs to Torgny Söderberg in Skara. It has serial number 00131 and
was one the first to be sold in Sweden. This was Torgny’s main tool
during his extremely successful period of songwriting, and consequently this very machine has been heard in more Swedish pop hits
than any other drum machine.
Hmm, isn’t it fascinating how everything goes in circles. When digital
drum machines first appeared in the early 80s, we were amazed at the
sonic realism. It sounds just like a real drummer! Human drummers
didn’t become totally extinct, but they met some fierce competition in
those days.
Later, with huge, multisampled sound libraries, plus a general revival
of the live drummer, those old 8-bit beasts seem to represent an era
most musicians want to forget. Until now, that is, for it seems like digital sounds have started to become fashionable again!
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Special Agent: Rasmus Kihlberg
Groove Agent 3 sports some totally new modules. In two of them
we’re able to enjoy the inspiring drumming and fine percussion work
of Rasmus Kihlberg.
For me as a producer, finding a person like Rasmus was a stroke of
luck. Even though we’ve been acquainted for over twenty years and
played together a number of times, it wasn’t until October 2005 that I
started to think about Rasmus as a very exciting Special Agent.
Some background: Rasmus
Kihlberg was educated at Malmö
Music University and has worked
as a musician at Tambourine
Studios and Gula Studion with
Tore Johansson. His recording
credits include Titiyo, Shakira, Aha, Junior/Senior, Charlotte
Church, Saint Etienne, Tom Jones,
Bonnie, Pink, Hideki Kaji, Tomoyo
Harada, Dan and Gullan
Bornemark, Jan Lundgren Trio,
Viktoria Tolstoj, The Ark, Ainbusk
Singers, Sylvia Vrethammar,
Spitfire, Arne Domnerus and Kasper Villaume. He’s also made live performances
with many European artists such as The Cardigans, Björn Skifs, Tomas Ledin,
Anders Berglund, Jill Johnson, Toots Thielemans, Putte Wickman, Tommy Körberg,
Jojje Wadenius, Monica Zetterlund, Jennifer Brown, Johnny Griffin, Deborah Brown,
Nils Landgren, Viktoria Tolstoy and Ulf Wakenius.
Asking a drummer to play a basic rhythm is easy. Then asking for
some similar patterns with only minute variation isn’t too hard either.
But instructing someone to produce 25 different renditions that still
remain true to the style in question, that’s a tall order. Very few musicians are experienced and mentally organized enough to be able to
deliver that. Then, after those 25 levels have been recorded, there are
25 fills needed and an additional 25 levels of half tempo feel. That’s
where total musical understanding comes in.
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I knew Rasmus could manage to do all that, and so he did! It’s very
un-Swedish to confess such self-confidence, but for a producer it’s a
godsend to find that in a musician. So, he was not afraid of trying, but
would he manage to deliver?
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