![]() There are certain areas where the sounds are a little rough around the edges, so some tweaking might be necessary to make the sounds fit in your productions. ![]() While there are only 180 kong drum patches, these patches contain one to four different Hit Types. You will find that some patches only have one type programmed, however, many have multiple types programmed. ![]() The NN-Nano sampler allows you to program four different sounds in the drum patch, and each sound can be accessed by selecting the HIT TYPE parameter on Kong. Programming sampled instruments in the Kong Drum Designer is time consuming, especially with so many details to address. These quantization templates render slight timing inconsistencies, and when combined with the alternating drum tones, the experience of the TR-808 comes to life. To further enhance this experience, the refill includes several ReGroove templates which are extracted from programmed 808 patterns. The patch, “Classic 808 v3.kong”, has several alternating kong drum patches for the snares, hi-hats, claps, and percussion. While most productions probably do not require the detail of the analog variations, a few Kong Kits were created around this programming method. When a string of hi-hats is sequenced to this drum channel, the variations mimic the analog nature of the device. Each time the drum channel is triggered, a different sample is heard. For example, the patch “808 Hi Hat Alternating.drum” has four closed hi-hat samples and four accented closed hi-hat samples. Each time a NN-Nano sampler is triggered, one of three or four different samples is randomly selected for playback. To emulate this characteristic, a set of Kong drum patches with alternating sample zones was created. Certain tones like the Bass Drum and Toms/Conga are fairly consistent, but snares and other percussion tones have subtle, sometimes very noticeable variations. The TR-808 is an analog device, and one of the characteristics of the analog charm are the inconsistencies. See the following video tutorial on how both techniques are applied in Reason 5: Accent Programming with the Kong 808 Refill The second approach still requires some editing, but after setting up the initial pattern, a regroove template can be used to apply accent patterns to multiple sequencer lanes. One approach is to manually program patterns in the sequencer with the pencil tool and manually make velocity lane adjustments. To take full advantage of the velocity mapped accent switching, there are a couple of production strategies you can employ. In the end, this required that all the patches originally programmed with velocity switching zones at 125 needed to be duplicated and modified with lower switching thresholds. According to some testers (Thank you Ph WTF Crew!), this was too high for effective playback on pad controllers, so a second set of patches was created with more moderate velocity switching levels at 101. Initially, the switching threshold was set to a 125 velocity level. To address the 808 Accent sound, each combination of the drum tones required velocity switching, where the normal and accent hits could be easily accessed. The actual sampling part was pretty easy into Propellerhead Record, and I used my standard signal path for sampling: ADL D.I./Neve/UA-2192, from a Roland TR-808 bestowed to me from composer, Stuart Diamond The initial sampling resulted in over 500 individual audio files. This is probably overkill, but I approached this from an archival perspective and wanted a lot of detail. For example the bass drum required sampling 6 different tone settings, with a normal hit and accent hit at seven or eight different decay settings. This involved selectively sampling variations of each sound. The primary goal was to create a set of Kong patches that effectively simulate the classic 808. ![]() I thought this would be easy… Sample the Roland TR-808, load the files into the Reason 5 Kong Drum Designer… Bam… done! Nope, that definitely is not how things went down. ![]()
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