From the late seventies right up to the late 80s the city of Minneapolis forged its own post-disco musical path - An incredible mixture of Funk, Rock, Pop and the emerging Synth and New wave movements pioneered by the city’s own prodigal son: Prin...
From the late seventies right up to the late 80s the city of Minneapolis forged its own post-disco musical path - An incredible mixture of Funk, Rock, Pop and the emerging Synth and New wave movements pioneered by the city’s own prodigal son: Prince. During the 80’s international charts and dance floors were inundated by hit after hit from the purple one and the unstoppable production team - Jam and Lewis.
Minneapolis carved out its own crazy subculture and artists such as The Time (and Morris Day) Apologia 6 Sheila E, Vanity 6, Mazerarti and The Family all produced a hybrid body of work that still sounds ahead of the zeitgeist today and the polished productions for Alexander O’Neal, Janet Jackson and even the Human league created timeless albums. Their influence has been felt for years across traditional electro house and techno.
In 2015 the most streamed song in Europe has been Mark Ronson and Bruno Mar’s tribute to the funk of Minneapolis
So how do we re-create these sounds today - The Minneapolis sound relied on one thing: The Players. For this incredible pack we enlisted the help of one of the finest (and funniest) bass players alive today: Guy Pratt. To hear his work listen to Madonna’s ‘Like a prayer’ or Michael Jackson’s ‘Earth Song’. He is one of the only bass players ever hired by Bernard Edwards of Chic to play bass and knows every funk move in the book. Not only that he can knock out the very finest in Funky Guitar parts.
For this recording we went back to basics’ - Only Synths available at the time were used (Jupiters , Super Jupiters, Prophets , Oberhiems etc) and everything went through thousands of pounds of on-genre Neve SSl and GML pre amps , Eq’s and compressors. Original Beatboxes such as the Linns, 808, Simmons all used by the Minneapolis artists were sampled and careful processed to get just the right future retro approach for inclusion in modern productions
Guy’s Beloved 1963 Fender Jazz bass “Betsy’ was recorded through a Neve 1081 pre, a very odd Ukranian Valve Compressor (HCL) and the High end GML 8900 Dynamic gain controller resulting in a sound that bites and sings the incredible bass-lines created for this collection.
The result is Stunning - Imagine having access to original multitrack sections of Minneapolis sessions as well as royalty free access to the master tapes. Each piece is available as a mastered 2 track in a variety of forms (full, section by section, Drums only - and all music with no drums). Then split into every single component part - We’ve kept the keys pretty much the same between the two tempos in this volume (116 and 110 Bpm) so many parts can be combined from the different pieces.
RIFF-MATIC.. The best thing about buying a new sample pack is when you chop it to pieces and come up with new compositions based on the pieces - Here we’ve done all the chopping for you . These sampler patches are the Jewel in the Minneapolis crown.
Every bass, Guitar and synth part has been careful chopped and split up across a 49 note Keymap. Each Riffmatic sampler patch has all parts in the same key and tempo so you can dive right in a Start making brand new riffs, parts and hooks from the component parts of this sample pack
All drum sounds and effects are also pre-chopped and ready for production. Included is a Beautifully sampled 808 that is part of the Holy trinity of Vintage machines (808, Linn and 909).
Users of Kontakt 5 Have a Custom GUI and scripted controls for each and every sampler patch
Also- just as a little added bonus we’ve included 5 Eighties impulse responses direct from Vintage Lexicon and AMS Hardware reverbs.
35 Perc Sounds
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