ADK Samples / Reason Refill

As promised, all eight samples from the first MPAW Series, the Analog Drum Kit, are provided in the following zip file:

ADK Samples

All samples are in .wav format, 16 bit, 44.1kHz. If any of you are interested they were sampled dry directly via the line input of my Zoom H2 digital recorder and subsequently trimmed / normalized in ReCycle / Bias Peak Pro.

For all you Reason users, I have also created a custom Refill using these samples:

The microKORG ADK

The samples are provided with the Refill container in the same format as given above, but I have also provided these all wrapped up in a Combinator with programmable Matrix Sequencers for the Kick, Snare and Hi Hat samples. The microKORG ADK Combinator comes resplendent in a custom skin as shown below:

Special thanks must go to a Discovering Reason article on the Propellerhead website, and the associated .cmb file, which formed the basis for my microKORG ADK Combinator.

NOTE - I have now included "The microKORG ADK" Refill on my new blog dedicated to Reason where I intend dumping a lot of my archived Combinators and Refills as well as any new stuff I dream up. Check it out here Reason users.

Patch 012 - ADK Drip

I doubt that many of you were trembling with excitement about reading about the intended subject of today's patch in the introduction to the Analog Drum Kit series, the conga, but if you were then I am truly sorry. One for another day perhaps? The main reason for ditching the conga was that you really needed different conga sounds to create an interesting sequence (from striking different parts of the drum skin) and this just wouldn't work in a sampling situation.

Instead of the conga however you are getting a kind of drip sound which is basically a noise source with a low pass filter (with the resonance cranked up) with a filter envelope driving the change in pitch. An amp envelope with decay but no release means that you can get some cool stuttering rhythms (and squelches) by playing the patch on the keyboard rather than sampling it (although you could get the same effect using a sampler).

Here are the settings (starting from init, shift+3):

Voice: SYT, SGL, PLY, ---, --- (unchanged)
Pitch: 0, 0, 0, 2, 5 (unchanged)
Osc 1: SAW, 0, 0, ---, --- (unchanged)
Osc 2: SAW, OFF, 0, 0, --- (unchanged)
Mixer: 0, 0, 127, ---, ---
Filter: 12L, 52, 127, -19, 0
Filter EG: 0, 72, 0, 0, ON
Amp: 127, CNT, OFF, 0, --- (unchanged)
Amp EG: 0, 48, 0, 0, ON
LFO 1: TRI, OFF, OFF, 10, --- (unchanged)
LFO 2: SIN, OFF, OFF, 70, --- (unchanged)

Patch 1: LF1, PTC, 0, ---, --- (unchanged)
Patch 2: LF2, PTC, 0, ---, --- (unchanged)
Patch 3: LF1, CUT, 0, ---, --- (unchanged)
Patch 4: LF2, CUT, 0, ---, --- (unchanged)
Mod FX: FLG, 20, 0, ---, --- (unchanged)
Delay: STR, OFF, 40, 0, --- (unchanged)
EQ: 320, 0, 6.0, 0, --- (unchanged)
Arpeg. A: 120, 1.16, 80, UP, 1 (unchanged)
Arpeg. B: OFF, 0, ON, 8, --- (unchanged)

And that concludes the ADK Series! As promised I will be releasing this as a sample set and Reason Refill, watch this space!

Patch 011 - ADK Tambourine

I actually started today's patch using the settings for Patch 010 (the ADK Shaker) as I felt I was close to a tambourine sound. I felt it was missing two things however - the ringing like repetitions of the tambourine plates shaking, and a metallic tone.

I will deal with the metallic tone first. I played about with the filter settings (mainly with the resonance) on both the LPF in Osc 1 (set to noise) and the standard HPF and simply by adjusting these controllers the sound became more complex (as I discussed in the ADK Cymbal post, a complex harmonic spectrum is needed for metallic percussion), and thus more tambourine-like. I increased the higher frequencies further by adding a boost to these via EQ.

To give the impression of multiple shaking jingles, I simply added a delay and adjusted the settings to taste (also tweaking the amp envelope slightly).

The result is a not entirely convincing tambourine, but for the same reason given in the posts for the other metallic ADK percussion elements (i.e. it is hard with a simple synth like the microKORG) I shouldn't be too downhearted. Having said that, I am sure a seasoned synthesist could make a better attempt than this...

Here are the settings (starting from init, shift+3):

Voice: SYT, SGL, PLY, ---, --- (unchanged)
Pitch: 0, 0, 0, 2, 5 (unchanged)
Osc 1: NOS, 115, 51, ---, ---
Osc 2: SAW, OFF, 0, 0, --- (unchanged)
Mixer: 127, 0, 0, ---, --- (unchanged)
Filter: HPF, 68, 59, 0, 0
Filter EG: 0, 64, 127, 0, ON (unchanged)
Amp: 127, CNT, OFF, 0, --- (unchanged)
Amp EG: 3, 46, 0, 46, ON
LFO 1: TRI, OFF, OFF, 10, --- (unchanged)
LFO 2: SIN, OFF, OFF, 70, --- (unchanged)

Patch 1: LF1, PTC, 0, ---, --- (unchanged)
Patch 2: LF2, PTC, 0, ---, --- (unchanged)
Patch 3: LF1, CUT, 0, ---, --- (unchanged)
Patch 4: LF2, CUT, 0, ---, --- (unchanged)
Mod FX: FLG, 20, 0, ---, --- (unchanged)
Delay: STR, OFF, 40, 47, ---
EQ: 320, 0, 2.25, 6, ---
Arpeg. A: 120, 1.16, 80, UP, 1 (unchanged)
Arpeg. B: OFF, 0, ON, 8, --- (unchanged)

Note 1 - For some reason, unbeknown to me, today's patch sounds better in the upper octaves (does the LPF for Osc 1 track the keyboard?)
Note 2 - As an alternative to the use of noise alone, I did experiment with using a sawtooth wave in Osc 2 ring modulated with the noise in Osc 1 (Osc 1 turned off, or down low in the mixer) and although I liked the results, felt that the patch I ended up using fitted in better with the other ADK patches to date.

Patch 010 - ADK Shaker

In a similar vein to Patch 009, I have pilfered all the settings for this shaker patch from a stock
factory patch for the Subtractor synth in Reason. Although I actually lifted the settings from the Tamburine (sic) patch, you'll see in my write-up of the next patch (actually a tambourine!) that these two patches are very similar.

Starting with the init patch, I dialed in a typical percussion amp envelope (instant attack, no sustain, moderate decay / sustain) and switched Osc 1 to noise with a bit of built in LPF that Osc 1 provides. I then added a high pass filter with a lot of resonance (thanks Subtractor for the settings!). It is already starting to sound shaker-like, but not quite. I didn't like the sharp attack and after slowing this down a touch the sound suddenly sounded just like a shaker. Finally, this patch was really quiet so I added more noise through the mixer and we were done.

Here are the settings (starting from init, shift+3):

Voice: SYT, SGL, PLY, ---, --- (unchanged)
Pitch: 0, 0, 0, 2, 5 (unchanged)
Osc 1: NOS, 88, 0, ---, ---
Osc 2: SAW, OFF, 0, 0, --- (unchanged)
Mixer: 127, 0, 127, ---, ---
Filter: HPF, 105, 105, 0, 0
Filter EG: 0, 64, 127, 0, ON (unchanged)
Amp: 127, CNT, OFF, 0, --- (unchanged)
Amp EG: 12, 47, 0, 50, ON
LFO 1: TRI, OFF, OFF, 10, --- (unchanged)
LFO 2: SIN, OFF, OFF, 70, --- (unchanged)

Patch 1: LF1, PTC, 0, ---, --- (unchanged)
Patch 2: LF2, PTC, 0, ---, --- (unchanged)
Patch 3: LF1, CUT, 0, ---, --- (unchanged)
Patch 4: LF2, CUT, 0, ---, --- (unchanged)
Mod FX: FLG, 20, 0, ---, --- (unchanged)
Delay: STR, OFF, 40, 0, --- (unchanged)
EQ: 320, 0, 6.0, 0, --- (unchanged)
Arpeg. A: 120, 1.16, 80, UP, 1 (unchanged)
Arpeg. B: OFF, 0, ON, 8, --- (unchanged)

Patch 009 - ADK Clap

I've had a lot on this week so apologies for the lack of patches (I had promised four and you're getting one at the end of the week).

I must admit I didn't have a clue how to start with a clap sound and had made a number of aborted attempts of one before now. Initially I started with a burst of noise shaped via an amp envelope with fast attack and decay / release with no sustain and basically found myself with a hi hat. A low pass filter made the sound duller but listening to a clap from my sample library there was more tone to it than a low pass filtered burst of noise. I turned to google and found a very interesting site - Advanced Programming Techniques for Modular Synthesizers which was written for the Nord Modular hardware synth. Still a lot of the techniques were valid for any synth (hardware or software) and on the page relating to Percussion Synthesis a synthesized clap was discussed.

According to this site, the key element I seemed to be missing was the delay added to the sound to simulate the "echoes and reverberations produced in an enclosed environment from the slapping together of the hands". That made a lot of sense so I added some onboard delay over the top and I was almost there. The sound still lacked a bit of interest so I turned to Reason's Subtractor synth and checked out the clap sound in the Factory library. The Subtractor synth is very similar in terms of architecture to the microKORG so I basically ripped off the filter settings (BPF with cut-off of 81 and resonance of 42) and I was finally getting close.

I realised that I could use two filters with noise if I used the noise oscillator in Osc 1 instead of just adding noise in the mixer. This meant that I could filter out the higher frequencies and add a BPF on top. The level was a bit low so I boosted it a bit by adding distortion. The level is still a bit low but I am happy with that for now (I guess you could add an identical patch on timbre 2 if you wanted).

Here are the settings (starting from init, shift+3):

Voice: SYT, SGL, PLY, ---, --- (unchanged)
Pitch: 0, 0, 0, 2, 5 (unchanged)
Osc 1: NOS, 63, 0, ---, ---
Osc 2: SAW, OFF, 0, 0, --- (unchanged)
Mixer: 127, 0, 0, ---, --- (unchanged)
Filter: BPF, 81, 42, 0, 0
Filter EG: 0, 64, 127, 0, ON (unchanged)
Amp: 127, CNT, ON, 0, ---
Amp EG: 0, 25, 0, 25, ON
LFO 1: TRI, OFF, OFF, 10, --- (unchanged)
LFO 2: SIN, OFF, OFF, 70, --- (unchanged)

Patch 1: LF1, PTC, 0, ---, --- (unchanged)
Patch 2: LF2, PTC, 0, ---, --- (unchanged)
Patch 3: LF1, CUT, 0, ---, --- (unchanged)
Patch 4: LF2, CUT, 0, ---, --- (unchanged)
Mod FX: FLG, 20, 0, ---, --- (unchanged)
Delay: STR, OFF, 20, 18, ---
EQ: 320, 0, 6.0, 0, --- (unchanged)
Arpeg. A: 120, 1.16, 80, UP, 1 (unchanged)
Arpeg. B: OFF, 0, ON, 8, --- (unchanged)

Patch 008 - ADK Cymbal

As discussed on the ADK Hi Hat patch, obtaining a realistic cymbal noise from a simple synth like the microKORG is difficult. This is due to the fact that a cymbal sound is an inharmonic sound that cannot be replicated with two oscillators (or four for a layered patch). I was keen to give it a go though...

From my web based research, I learned that ring modulation could be used to generate a complex spectrum of frequencies and started with that. First I used a DWGS waveform in Osc 1 in conjunction with a square wave, detuned heavily in Osc 2. I used the DWGS waveform solely for ring modulation / synch purposes and therefore turned this off in the mixer and set Osc 2 to the maximum. Fast or instant attack and zero sustain for both envelopes together with moderate (and equal) decay / release. I made the filter decay a little quicker than the amp decay.

I found that adding distortion amplified the metallic nature of the patch and I also liked some movement in pitch and the filter through modulation with an LFO. As per the other ADK pitches I turned keyboard tracking of the pitch off.

I then thought that the sound could be further enhanced by adding a second timbre, . after all, this is a monophonic patch so the lack of polyphony wouldn't be a problem. After messing with a noise based sound I settled on using another DWGS waveform, this time without ring modulation. I left Osc 2 off in the mixer and used a similar (but quicker) amp envelope than timbre 1. As you can hear, timbre 2 has a lot less "noise" than timbre 1, being more like a ringing bell, so I made sure it didn't overshadow timbre 2. After making some adjustments to the filter (HPF, negative envelope), I panned both timbres slightly off centre. Timbre 2 has identical virtual patch settings to timbre 1. Finally I EQ'd both timbres to accentuate the higher frequencies.

Here are the settings (starting from init, shift+3):

Timbre 1

Voice: SYT, LAY, MON, SGL, ---
Pitch: 0, 0, 0, 0, 0
Osc 1: DIG, ---, 60, ---, ---
Osc 2: SAW, R-S, 10, 40, ---
Mixer: 0, 127, 0, ---, ---
Filter: BPF, 75, 75, 34, 0
Filter EG: 6, 84, 0, 84, ON
Amp: 127, R3, ON, 0, ---
Amp EG: 0, 80, 0, 80, ON
LFO 1: TRI, OFF, OFF, 10, --- (unchanged)
LFO 2: SIN, OFF, OFF, 70, --- (unchanged)

Patch 1: TRC, PTC, -48, ---, ---
Patch 2: LF2, CUT, 2, ---, ---
Patch 3: LF2, PTC, -2, ---, ---
Patch 4: LF2, CUT, 0, ---, --- (unchanged)
Mod FX: FLG, 20, 0, ---, --- (unchanged)
Delay: STR, OFF, 40, 0, --- (unchanged)
EQ: 320, -12, 6.0, 12, ---
Arpeg. A: 120, 1.16, 80, UP, 1 (unchanged)
Arpeg. B: OFF, 0, ON, 8, --- (unchanged)

Timbre 2

Voice: SYT, LAY, MON, SGL, ---
Pitch: 0, 0, 0, 0, 0
Osc 1: DIG, ---, 28, ---, ---
Osc 2: SAW, OFF, 0, 0, --- (unchanged)
Mixer: 87, 0, 0, ---, ---
Filter: HPF, 41, 52, -43, 0
Filter EG: 6, 84, 0, 84, ON
Amp: 127, L4, ON, 0, ---
Amp EG: 0, 60, 0, 60, ON
LFO 1: TRI, OFF, OFF, 10, --- (unchanged)
LFO 2: SIN, OFF, OFF, 70, --- (unchanged)

Patch 1: TRC, PTC, -48, ---, ---
Patch 2: LF2, CUT, 2, ---, ---
Patch 3: LF2, PTC, -2, ---, ---
Patch 4: LF2, CUT, 0, ---, --- (unchanged)
Mod FX: FLG, 20, 0, ---, --- (unchanged)
Delay: STR, OFF, 40, 0, --- (unchanged)
EQ: 320, -12, 6.0, 12, ---
Arpeg. A: 120, 1.16, 80, UP, 1 (unchanged)
Arpeg. B: OFF, 0, ON, 8, --- (unchanged)

And that is that, very obviously a synth sound, but it does vaguely resemble a cymbal! The one thing I am not sure I am altogether happy with is the pitch of this patch. I could re-enable keyboard tracking of pitch and play it up and down the keyboard, and perhaps I will in the future. But for now, I am going to leave it as is. Also, if keyboard tracking is not enabled for the filter, amp or pitch, or any of the other modulation sources in the virtual patches, why does this sound different played up and down the keyboard anyway? Perhaps one of you clever people can give me a clue..

Patch 007 - ADK Hi Hat

According to Gordon Reid (in his Synth Secrets articles on the Sound on Sound website), synthesizing realistic metallic percussion on a simple analog (in our case virtual) synth is impossible. This is due to the inability to generate the complex spectrum of frequencies with simply two oscillators (and a noise generator) although with layering we can utilise four oscillators (and two noise generators). As you will see below however, the open hi hat patch that forms the subject of today's post is relatively simple being based on white noise only and doesn't to my ears sound too bad, especially for it's intended use, within an electronica composition. I suspect I will have a harder time of it however when programming the cymbal patch (ride or crash, I have not yet decided which) for tomorrow.

As I will be synthesizing just the single hi hat sound for use in my sampler I will need to create a sound that can be used both as an open and closed hi hat. I was also therefore keen that the hi hat in today's patch could be played on the microKORG as either open or closed (either manually or via an external sequencer). This will be achieved by having an amp envelope with zero sustain and a shorter release than decay which means that playing normally will result in open hi hat sounds while playing staccato will result in closed hi hats.

Firstly, change to voice to monophonic as we don't want any open hat tails to overlap. Next up I turned off the vibrato on the mod wheel. Although I left the pitch bend assignment on, I reduced this to 1 as I may want some subtle changes in pitch as the patch plays (although have since realised that this has no effect given only noise is used).

Next I turned down both oscillators and the noise level up to 127 in the mixer. The filter was of the high pass variety with a medium degree of resonance. The filter and amp envelopes were similar, although the decay and release for the filter envelope were faster than the amp envelope (so we can hear the full ADSR of the filter envelope before the sound fades out). And that is pretty much all there is to it, except for some EQ to accentuate the higher frequencies further.

Here are the settings (starting from init, shift+3):

Voice: SYT, SGL, MON, ---, ---
Pitch: 0, 0, 0, 1, 0
Osc 1: SAW, 0, 0, ---, --- (unchanged)
Osc 2: SAW, OFF, 0, 0, --- (unchanged)
Mixer: 0, 0, 127, ---, ---
Filter: HPF, 107, 28, 22, 0
Filter EG: 0, 20, 0, 20, ON
Amp: 127, CNT, OFF, 0, --- (unchanged)
Amp EG: 0, 54, 0, 33, ON
LFO 1: TRI, OFF, OFF, 10, --- (unchanged)
LFO 2: SIN, OFF, OFF, 70, --- (unchanged)

Patch 1: LF1, PTC, 0, ---, --- (unchanged)
Patch 2: LF2, PTC, 0, ---, --- (unchanged)
Patch 3: LF1, CUT, 0, ---, --- (unchanged)
Patch 4: LF2, CUT, 0, ---, --- (unchanged)
Mod FX: FLG, 20, 0, ---, --- (unchanged)
Delay: STR, OFF, 40, 0, --- (unchanged)
EQ: 280, -12, 6.0, 5, ---
Arpeg. A: 120, 1.16, 80, UP, 1 (unchanged)
Arpeg. B: OFF, 0, ON, 8, --- (unchanged)

Patch 006 - ADK Snare

Like the ADK Kick patch from yesterday (Patch 005), I did a fair bit of reading up on what constitutes a snare sound. This time round though I followed the tutorial provided in the Fast Guide to Propellerhead Reason by Debbie Poyser and Derek Johnson closely, where a snare drum was synthesised using the Subtractor synth.

The sound of the stick hitting the skin is provided by a triangle wave while the vibrating metal snare across the bottom of the drum was provided by noise. A fairly open LPF was used (we wanted to retain a lot of the character of the white noise) with a filter envelope with moderate attack, decay and release with no sustain. The amp envelope has an instantaneous attach and moderate to fast decay and release (again, no sustain).

As with the ADK Kick patch from yesterday, put the voice into monophonic mode and turn keyboard tracking of the pitch off using virtual patch 1. I used Osc 2 so I could drop the pitch by a further octave. If you wanted to use a sine wave you'd have to drop the pitch by the same method as the ADK Kick patch (using the mod wheel) or of course you could have a higher pitched snare. Finally, I made some minor adjustments to the EQ.

Here are the settings (starting from init, shift+3):

Voice: SYT, SGL, MON, ---, ---
Pitch: 0, 0, 0, 2, 5 (unchanged)
Osc 1: SAW, 0, 0, ---, --- (unchanged)
Osc 2: TRI, OFF, -12, 0, ---
Mixer: 0, 84, 127, ---, ---
Filter: 12L, 75, 0, 0, 0
Filter EG: 25, 40, 0, 40, ON
Amp: 127, CNT, OFF, 0, --- (unchanged)
Amp EG: 0, 36, 0, 36, ON
LFO 1: TRI, OFF, OFF, 10, --- (unchanged)
LFO 2: SIN, OFF, OFF, 70, --- (unchanged)

Patch 1: TRC, PTC, -48, ---, ---
Patch 2: LF2, PTC, 0, ---, --- (unchanged)
Patch 3: LF1, CUT, 0, ---, --- (unchanged)
Patch 4: LF2, CUT, 0, ---, --- (unchanged)
Mod FX: FLG, 20, 0, ---, --- (unchanged)
Delay: STR, OFF, 40, 0, --- (unchanged)
EQ: 180, 4, 1.5, 4, ---
Arpeg. A: 120, 1.16, 80, UP, 1 (unchanged)
Arpeg. B: OFF, 0, ON, 8, --- (unchanged)

Patch 005 - ADK Kick

The first patch of the Analog Drum Kit (ADK) Series is a kick drum. Not knowing where to start I did what I usually do and turned to my synth bible, Gordon Reid's Synth Secrets series first published in Sound on Sound Magazine and now available online. Rather than regurgitate the relevant articles on bass (i.e. kick) drums, I will instead point you in the direction of the following links:

Synthesizing Drums: The Bass Drum
Practical Bass Drum Synthesis

Other sources of information I turned to in preparing this kick drum patch included Programming Drum Sounds, a PDF guide to how the classic drum machine sounds were synthesized (provided with the Attack Percussion Synthesizer by the great German synth company Waldorf) and the Fast Guide to Propellerhead Reason by Debbie Poyser and Derek Johnson which includes tutorials on how to program kicks and snares using noise in the Subtractor synth which is available in hard copy only (I have a rather well thumbed volume).

From my research I learned that just as there are many ways to skin a cat, there are many ways to program a kick drum. Start by selecting a monophonic voice. Next I selected a sine wave in Osc 1 and a triangle wave in Osc 2 (dropped an octave) in equal measure which provided the low end rumble to the sound together with some noise, which provided the initial shorter sound of the beater striking the drum. I introduced a very short (but not instant) attack to the amp envelope together with no sustain and moderate decay and release. I closed the low pass filter almost completely and added a reasonable amount of resonance. A very short filter envelope controlled the short click like sound of the beater, provided by the noise.

I wanted to turn keyboard tracking to the pitch off (since this is meant to be an untuned instrument) but I couldn't really work out how to do this satisfactorily - I ended up routing keyboard tracking to the pitch by -48. This had the effect of increasing the pitch however and for some reason I can't quite fathom editing the pitch transpose value had no effect (I would welcome any suggestions!). In the end I routed the mod wheel to pitch as well in order to drop the pitch further (you need to remember to do fully apply the modulation via the mod wheel once you load the patch). Finally I added a little low end boost via EQ.

Further editing would be possible (for example adding distortion, introducing some cross or ring modulation, tweaking the envelopes and filter settings further, etc) but you have to stop somewhere and I am actually rather pleased with this first attempt. Hopefully it suits the other analog drum sounds I will shortly be creating!

Here are the settings (starting from init, shift+3):

Voice: SYT, SGL, MON, ---, ---
Pitch: 0, 0, 0, 2, 0
Osc 1: SIN, 0, 0, ---, ---
Osc 2: TRI, OFF, -12, 0, ---
Mixer: 127, 127, 50, ---, ---
Filter: 12L, 10, 68, 7, 0
Filter EG: 0, 2, 14, 5, ON
Amp: 127, CNT, OFF, 0, --- (unchanged)
Amp EG: 1, 60, 0, 50, ON
LFO 1: TRI, OFF, OFF, 10, --- (unchanged)
LFO 2: SIN, OFF, OFF, 70, --- (unchanged)

Patch 1: TRC, PTC, -48, ---, ---
Patch 2: MOD, PTC, -63, ---, ---
Patch 3: LF1, CUT, 0, ---, --- (unchanged)
Patch 4: LF2, CUT, 0, ---, --- (unchanged)
Mod FX: FLG, 20, 0, ---, --- (unchanged)
Delay: STR, OFF, 40, 0, --- (unchanged)
EQ: 320, 5, 6.0, 0, ---
Arpeg. A: 120, 1.16, 80, UP, 1 (unchanged)
Arpeg. B: OFF, 0, ON, 8, --- (unchanged)
[NOTE - Always remember to push the mod wheel fully away from you prior to playing the patch, otherwise the bass drum will be an octave too high.]

MPAW Series - Analog Drum Kit (ADK)

Last night I decided to record a 100% microKORG track using the patches I have blogged about up to now. The only problem though, is that there are no drums to provide rhythm! Rather than compromise on my all microKORG philosophy I thought I would have a go at generating my own analog drum sounds on the microKORG. I could then load my hardware sampler of choice (the much underrated Zoom Sampletrak) with these to accompany my track.

Therefore the idea for the first MPAW Series was born! There are 8 samples in each bank on the Sampletrak so I decided to limit this series to 8 common drum and percussion sounds, as follows:

Patch 005 - ADK Kick
Patch 006 - ADK Snare
Patch 007 - ADK Hi Hat
Patch 008 - ADK Cymbal
Patch 009 - ADK Clap
Patch 010 - ADK Shaker
Patch 011 - ADK Tambourine
Patch 012 - ADK Drip

Obviously if I stuck to a patch a week this series will take me the best part of 2 months to complete. I therefore plan to publish 4 patches a week - traditional drum sounds next week and percussion sounds the week after (but this may change depending on how tricky the sounds are to program!).

As a bonus extra - I will then conclude the series by issuing the drum kit as a sample set (WAV audio files) so you can use in your own sampler without even having to program the patches yourselves (or even having to own a microKORG). Especially for Reason users I will also provide a refill ("The microKORG ADK") including a special Combinator patch housing a Redrum drum kit with all the samples preloaded. Hopefully these will be useful to someone. Check out the page with all the goodies here.

I haven't created any bass sounds for this blog yet either, which is something I'll address soon as well...

Note - The ADK Drip was a late replacement for a conga.