Numerous ‘lesser’ tweaks and enhancements are sure to bring a smile to the face of the upgrading GA user, too. The Prelisten function lets you hear the components before committing to them, while the Sensitivity, Duration and Cutoff controls determine which partials are considered Tonal and which are Noise.ĭecompose proves to be a highly effective corrective and sound design tool, endlessly useful for everything from corrective shaping (turning down those snare wires, say) to the conjuration of original hybrid sounds. This separates the ‘Tonal’ (ie, pitched - the body of a snare drum, say) and ‘Noise’ (ie, unpitched - the snare wires) components of a sample and saves them out as two new samples for independent levelling, processing and recombination, mixing with other disparate sounds, or anything else you can think of. Split personalityįor our money, Groove Agent 5’s most interesting new feature is the Decompose system, which is also housed in Beat Agent. You can also now use Acoustic and Percussion Agent Styles with Beat Agent, incidentally. These feel more valuable than The Kit, giving dance music producers plenty of quality material to chew on.
#FUTURE ELECTRONICA GROOVE AGENT 4 FULL#
Acoustic Agent still offers very little in the way of editing and control, either - you can’t even mix and match pieces from different kits or import Beat Agent samples, for example.ģ1 new Kits (samples and MIDI patterns) for electro, trap, house, garage and other electronic genres by Joe Ford, Billain, zKlang et al have been added to Beat Agent’s arsenal, taking the full GA5 footprint up to 31GB. It all adds up to a tightly conceived and intuitive system for quickly flying anything you like into your Groove Agent kits in real time.Īs good as The Kit is on its own terms, though, it’s hardly a gamechanger within the overall GA context, as the majority of users will be satisfied with the incumbent (albeit much smaller) Rock, Studio and Vintage Acoustic Agents, and those seeking a versatile high-end drum kit instrument would clearly be better served by the far more expansive likes of Toontrack Superior Drummer 3 or FXpansion BFD3. The Sample Recorder Options page enables selection of bit depth, file format (WAV or AIFF), sample storage location, and even a variety of file naming schemes. Various methods of auto-mapping sequentially recorded samples are provided (all to one pad, chromatically, black or white notes only, etc), and the ability to start and stop recording via MIDI makes it easy to slice loops across contiguous pads using an appropriately configured MIDI clip, for example. Recording can be started and stopped manually or when the incoming signal exceeds and/or drops below specified volume threshold (with optional Pre/Post periods and automatic trimming) and other plugins and audio tracks are routed directly into Groove Agent 5 via the sidechain input. The Sample Recorder appears as a tab in Beat Agent’s Instrument Edit page. The following examples have been created with Cubase SX 2, but should be adapted easily to other sequencers featuring automation functions.The all-new integrated Sample Recorder enables internal and external audio signals - microphone inputs, hardware synths and drum machines, other virtual instruments in the host DAW, etc - to be directly captured to Groove Agent 5’s pads.
And GA more than adequately fits this role, with the added benefit of modern, computer-based sequencers, allowing you to edit, automate etc.
#FUTURE ELECTRONICA GROOVE AGENT 4 SOFTWARE#
If there’s indeed already a bunch of software drumsamplers like LM-4, Battery 1/2, DR-008, RM-IV, Ezdrummer, BFD and others, as far as I know, GROOVE AGENT was the first one trying to emulate the typical Drum-Machine paradigm : on the one hand, different drumkits at your disposal, and on the other hand, predefined patterns and fills in various styles and being able to put those patterns together to create a complete rhythm track/arrangement. And now of course we have access to fully equipped, DAW computers, and we’re slowly replacing the old‚ magic boxes with software programs such as Groove Agent. So it just seems normal that people are trying to create artificial drumtracks with synthesizers or replacing acoustic drums by drum-machines and samplers in the studio. Whatever the kind of music you’re into, acoustic or electronic, drums are the driving force behind all musical styles and tendencies. In our so called Modern Music there’s one instrument which is really ubiquitous : introducing Drums !
It’s being published here with their very kind permission. This article was first written for the late MusicRun magazine.
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