Respects Cymbals Rar Download
NEW: now includes Drum Particles Kontakt instruments - Black Album edition, for even more power and flexibility
PURCHASE THE LIBRARY. (Instant Digital Download). The drums in this sample library come from Kurt's personal collection, with a few signature pieces built by Kurt himself, including several sizes of God City Instruments Titanium Snare Drums. All of the kit pieces included in this drum library were recorded at God City. (Qu): n &i'in xit -, iinsfu mar CJi i j*; circle; globe; cymbals; flowery speech. Ail' t $ eaaofouuir: (Qu): )iTS>: (Qu): Ga. WIL®: (Qu): (35^1(5 «c6afi o (5«rar(5 fpeaii Qi wjjrir; iP/p/ gjaraf; dice; anything which is round; a piece of cloth. Uji'(iHa,a,niii: (Qu): c^,/, i 'TJ -i,'. Jul 28, 2011. Runs to around 600 samples/400Mb download for the whole set or you can just download the ones you fancy. Single cymbal downloads are here > The whole set is here as a single download > Apologies if this has.
Read below for more info. Free for all registered customers, old and new.
PLUS: Get Audiority TS-1 with The Black Album Drums for one low combined price!!!
The vibe and sound of an historical recording at your fingertips
The Black Album Drums is a drum library for BFD3 and Kontakt 5.5 (full version) inspired by the drum sound featured on the 'Black Album' by Metallica from 1991:
it features the kit played on that record, not just the same model, that exact kit (a 1980 Gretsch with Zildjian cymbals and a Tama Bell Brass snare)
2 snares (we added an extra Ludwig 1970s vintage Black Beauty), dual kicks (L&R), 5 toms, 4 crashes, 1 china and an additional ride cymbal.
We approached the production of this library with an enormous amount of respect and love for the sound we wanted to capture: one of the signature sounds of the history of Rock and Metal music. To this extent, we were lucky to track down a large number of information and material regarding the sessions we were inspired by.
Please Enjoy these videos and audio demos describing the features of the library and further info on the recording sessions and see you in a bit, below here.
'Making of' Video
The Making of The Black Album Drums instrument by Chocolate Audio. Inspired by the Black Album by Metallica and its sound. Requires BFD 3.1 and/or Kontakt 5.5 full version (or better)','source':'The Making of The Black Album Drums instrument by Chocolate Audio. Inspired by the Black Album by Metallica and its sound. Requires BFD 3.1 and/or Kontakt 5.5 full version (or better)
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Enjoy these audio demos: each demo is also presented in a Drums++++ version with the rest of the arrangement mixed very low so you can better enjoy the sound of the library.
All demos feature the drums purposely mixed inside the hosting plugin (Kontakt 5.5 on Grinders By Little Dom and Your Time Has Come, BFD 3 on Black Drive and Too Bad To Be Forgiven), hence using only the stock effects available on each supported platform.
The only processes applied to the drum sound after it exits the hosting instrument are: a brickwall limiter on the master (Fabfilter Pro-L) and the mp3 encoding.
Re-creative drumming
After finding out the former One On One Studio, famous in the 80s and early 90s for some of the best rock records of the times, got back in business under the name of 17 Hertz in the same exact location and with the room sound perfectly preserved, we decided we wanted to produce a drum library there.
Out of luck we also found out that Ross (the Drum Doctor) still owns the kit which was originally used on the 'Black Album'. The next step was finding out Mike Tacci, originally the assistant engineer of that record, was available for the session.
The studio
Located in North Hollywood, One On One Recording studio gained popularity in the 80s for having the best drum sound in Los Angeles and became home to many of world top acts: Alice in Chains, Aretha Franklin, Bad English, Burt Bacharach, Dionne Warwick, Earth, Wind & Fire, Etta James, Hal David, KISS, Lita Ford, Megadeth, Metallica, Michael Jackson, Michael McDonald, Mötley Crüe, Sammy Hagar, Survivor, The Temptations and Tom Petty are among the legends who recorder and/or mixed at One On One Recording along the years. During the 90s the studio was bought by a Japanese rock star and became a private facility. The studio ended up in a dire status until Jason Gluz, the new owner under the 17 Hertz Studio moniker, got it and restored it to its original glory.
The drums
The 'Black Album' was tracked using a 1980 Gretsch drum kit Ross Garfield rented to Metallica during the long months they were resident at One On One starting autumn 1990. Featuring Lars' Zildjian cymbal set of that time and the famous Tama Bell Brass 6.5 inch snare drum.
The drums are in perfect shape (just a little bit of rust on the Bell Brass) and were equipped with matching drum heads, After the initial setup we spent quite a bit of time matching the tuning of the drums to the one on the record before we set off to sample the drums.
To the original kit setup we added a vintage 1970 Ludwig Black Beauty 6.5 inch snare and a ride cymbal to augment the expressive power allowed by the library.
The microphones (and outboard)
The original recording featured a quite amazing recording setup and mics. The net is awash with myths regarding those sounds. The studio currently doesn't feature the same mic locker as the one the original production had at their disposal, so we had to rent quite a bit of material. Then we decided to add a bit of options based on our taste and ears, always to augment the possibilities given by the library
Kicks were recorded with EV RE20, Sennheiser MD421 and a Neumann Fet-47 on the outside
Snares featured a Neumann KM-86 and a Shure SM-57 on top with an AKG C451 on the bottom
Hi-Hat is presented miked with a Shure SM-7 and an AKG C451
all other Cymbals are closed-miked with AKG C451s
Toms are top and bottom miked with Sennheiser MD409s and MD421s
Overheads were high hanging Neumann U87s
Rooms feature a single AKG C414 as a mono rear room mic, 2 + 2 AKG C414 in XY on the left and right front of the kit, mixed down to stereo, 2 AKG C12s tube mics as front close rooms, focused on the drums (and especially the kick) and a couple of extremely coveted Telefunken ELAM 251E tube mics placed up above the original mic locker acting as far rooms
The engineer
Respects Cymbals Rar Downloads
None of this attention to detail would have been possible without the expertise and direct hands-on experience we gained by hiring Mike Tacci to engineer the sampling sessions.
Mike, a northern California native (and of proud Italian origins), has been a top notch recording engineer in the L.A. area for more than 25 years and has engineered for Metallica, Whitesnake, Impellitteri, Eros Ramazzotti, George Lynch, Vasco Rossi, Richard Marx, Megadeth, Michael McDonald, REO Speedwagon, Bad English, L.A. Guns and Steve Lukather among others.
Mike had a lot of first-hand memories and information regarding the original recording session and was crucial in helping us getting as close as feasible to our source of inspiration. Virtua tennis challenge apk sd data free download. Add to this a wonderful attitude and the ear of an expert engineer together with a deep knowledge of the room, since he used to be assistant engineer at One On One Recording for quite a few years early in his career.
In January 2016, we reunited with Mike at 17 Hertz to create a set of signature presets for BFD3 and Kontakt which will place his own take on this historical sound under your fingertips or drumsticks (update required).
The Black Album Drums - the Engines
We strived to capture the vibe and keep it along the tedious and long hours of editing required to turn any recording into a sample library of the highest quality.
The engines we chose to run our drum libraries are the best for what we feel are today's top usage scenarios.
Fxpansion's BFD3 gives you a dedicated engine, made, thought and tailored for drums from the ground up and with 13 years of history behind its back. The Black Album Drums integrates perfectly inside BFD3 and makes use of its DSP capabilities to bring you 13 presets which can be used for final mixes or as starting points for your own experimentations.
NI Kontakt, on the other hand, allows us to customize the user experience in different ways and presents the library in a format which is a standard for the composer/songwriter nowadays.
Sounds and Patterns Video
This is a video 'showing' the sound of the mics featured in the library. The BFD3 version is exactly the same apart from the fact that the Close Room mics are split into Kick Room and XYs Room, so that version allows you extra control when mixing.','source':'This is a video 'showing' the sound of the mics featured in the library. The BFD3 version is exactly the same apart from the fact that the Close Room mics are split into Kick Room and XYs Room, so that version allows you extra control when mixing.
'},'hSize':null,'floatDir':null,'html':'','url':'https://www.youtube.com/watch?v=fTxCvBJawMk&index=2&list=PLFYIyygP_I71VT8h57ie6g0yrmvrInl70','thumbnailUrl':'https://i.ytimg.com/vi/fTxCvBJawMk/hqdefault.jpg','resolvedBy':'youtube'}'>Kontakt - a custom engine
When we decided to support Kontakt we knew we needed to offer a custom interface for drums. Development took a bit under two years and now we are proudly shipping the first version.
The user interface is thought out to be easy and quick to learn and use while featuring the power-user tools some of us love to tweak when working with drums.
A walkthrough for the drummer/mixer page in our line of drum products. Starting with The Black Album Drums. Check our website www.chocolateaudio.com for more info','source':'A walkthrough for the drummer/mixer page in our line of drum products. Starting with The Black Album Drums. Check our website www.chocolateaudio.com for more info
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Behind the curtains of the engine allows us to:
feature up to 11 round robins - hitting a drum many consecutive times will hardly trigger the same sample
give you the chance to easily build the kit in both the 3D (DrumKit) and Mixer pages
manage RAM very efficiently with purge - no need to load separate .nki just to load another kit
feature a full-fledged mixer with mute, solo, 4 insert effects: EQ, comp, transient and tape
insert a built-in global and channel-specific preset management
be a MIDI mapping agnostic - we already built in support for a large number of articulations (input from you for future productions is very welcome!)
color-coding for easy recognition of drums on Kontakt keyboard
feature up to 4 Room mic channels
give you up to 4 mixable Close mics on Kicks and Snare, 2 for hi-hats, rides and toms
grant drum-specific control on tuning, velocity curve and attack, hold and release times - instant damping, gating or creative effects
feature an exclusive ADH envelope on Room channels for creative effects
intelligently switch pan-pot and width controls in case of mono or stereo channels (and stereo Rooms get both width and pan for maximum flexibility)
insert channel-specific controls in the settings page, like hi-hat control, snare bleed, or cymbals/percussions management
.. and much more
Reverb, with class
The IR Reverb module in our engine currently features 36 unique proprietary impulse responses. These are originated from vintage plates, hardware and coveted real rooms, which, when used with drums, push the limits of what can be done with a single drum kit.
Ready-to-go
10 global mix-ready factory presets ease your way into using these drum kits, to which we add presets for each channel, including the reverb.
The Style Player in Kontakt
A walkthrough for the groove player embedded in our line of drum products. Starting with The Black Album Drums. Check our website www.chocolateaudio.com for more info','source':'A walkthrough for the groove player embedded in our line of drum products. Starting with The Black Album Drums. Check our website www.chocolateaudio.com for more info
'},'hSize':null,'floatDir':null,'html':'','url':'https://www.youtube.com/watch?v=rmjgWpE5Y74&list=PLFYIyygP_I71VT8h57ie6g0yrmvrInl70&index=5','thumbnailUrl':'https://i.ytimg.com/vi/rmjgWpE5Y74/hqdefault.jpg','resolvedBy':'youtube'}'>We developed a custom Style Player for the Kontakt version.
In depth info is available in the walkthrough video above, in short:
3 ways of interacting with the MIDI Player:
Play from the Kontakt interface: switch in realtime (and in Sync to the host, if desired) between multiple intros, main grooves, fills and outros.
Drag and Drop any pattern to the desktop or your DAW for further editing on MIDI tracks
Assign any pattern to a MIDI key on your MIDI Keyboard and play through in a 'one-finger-drummer' fashion
Modify each pattern in realtime (and modifications are kept when assigning to a MIDI Key or dragging to the DAW) at the global or atomic level in terms of:
intensity
tempo (original, x2, 1/2x)
delay: both in ticks (960 PPQ) and musical terms
grid (used for quantize and swing operators)
quantize
swing
remap: used on some kit pieces (for example: remap all snare notes to sidestick or rimshots)
activate each single instrument group (kick, snare, hihat, toms, ride, cymbals, percussions)
You can randomize fills and main grooves while calling automatically a fill every 2, 4, 8, 16 bars (via the Player preferences panel)
All of this turns the 800 available Patterns, organized in 10 Styles and recorded using a real drummer especially for the release using the same samples, into billions of possibilities at your fingertip.
Now includes Drum Particles - Black Album Edition - FREE!
A no frills User Interface with just two simple pages:
Load a full kit Multi NKM or a single kit piece NKI
Select the controlling MIDI Channel
Load the preferred sound
Eventually:
Balance the microphones and optionally feed them into separate channels in your DAW
Set to taste macro and micro tuning, round robin, envelope and velocity-based interactions
Change the controlling MIDI keys in the Mapping Page
Done!
Some applications
Simplify workflow and reduce memory and CPU footprint when you do not need a full drum kit in the production you are doing
Drum triggering:
Easily assign more than one drum or sample to the same MIDI Key allowing for real time drum replacement or layering using any of the available drum triggering plugins
Use the embedded audio to Midi functions present on many platforms (Logic, Sonar..)
Stack as many drums as you want on a single Midi key
Create hybrid kits using our sounds or integrate other developers’ kits with our drums
Open up endless sound design possibilities having the chance to layer, re-direct, retune, change envelope on each drums separately
Finely tune the velocity response of each drum allowing you to better complement a live e-drumming or finger-drumming or to create velocity split stacks of different sounds
(Your own creative ideas here)
Quality you can tell
We released the first multi-mic drum libraryin 2003, with Scarbee.
We know drums. We know drum-sampling.
We know how to turn a drum recording session into a set of coherent, greatly playable sampled instruments. Not just a collection of sounds. This effort needs a lot of love for drums, time, ear, knowledge, dedication and experience.
Our drum samples have been used on countless tracks in the last 13 years, counting on an ongoing success still sprawling from our first library, Imperial Drums, re-released in BFD format through FXpansion at the end of 2013, our ever-growing product line and the large large number of companies we worked with along the years: Native Instruments, Ableton, Steinberg, Arobas, Cakewalk and Presonus to name just a few.
DISCLAIMERS:
- this Instrument requires either BFD 3 from FXpansion or the FULL RETAIL VERSION OF KONTAKT 5.5.2 or higher, the free Kontakt Player will run this Instrument in demo mode ONLY for a few minutes.
- this Instrument may be acquired only in downloadable format, download size is about 12.5 Gigabytes for each format (separate downloads), so expect longer download times on slower connections
Features
aims at recreating the magic vibe and sound of an historical record
features the same exact kit used on the 'Black Album' by Metallica
same microphones and recording path as used on the 'Black Album'
engineered by Mike Tacci (originally the assistant engineer on the 'Black Album')
recorded in the same room, at One On One studio (now 17 Hertz) in North Hollywood (CA)
BFD3 Expander and Kontakt versions - all in one pack
12.5 GB BFD3 Expander and Kontakt versions (both compressed on disk and compressed downloads)
25000 samples
1 full drum kit
17 drum pieces
sampled in full detail: up to 286 samples per articulation divided into up to 11 round robins (Kontakt)
5 round robins on Cymbals and more than 16 dynamics each
the best of both worlds: the power of BFD for drums, the ease of use and integration of Kontakt
up to 3 close mics on each drum piece
5 sets of room mics (BFD version): Overheads (2xU87), Close Room (2xAKG C12), XYs Room (a set of 4 AKG414), Far Room (2xTelefunken ELAM 251s), Rear Room (a single AKG414)
4 sets of room mics (Kontakt version): 2xOverheads, 1xRear Room, 2xFar Room and a stereo mixdown of Close, XYs and a small hint of PZMs
warm and deep sound, processed through an analog tape machine (Studer A800)
advanced mixing and management (Kontakt) thanks to our custom advanced scripting
digitally recorded at 24 bit / 88.2 KHz, released at 24 bit / 44.1 KHz
features presets mixed by Mike Tacci
BFD Expander Features
BFD3 only: takes advantage of the additional features available on BFD 3.1 and up
2 Kits and 13 BFD Presets for BFD 3
Kontakt Features
Read the dive-in manual for the Kontakt version here
custom 3D graphics with animation on snare drum changes
build your own kit
very quick startup times
advanced RAM management thanks to RAM purge
up to 3 Close and 4 Room mics
tuning, velocity curve and AHD envelope controls on each drum
advanced engine, shared with all future drum libraries
10 global factory presets
innovative integrated MIDI file player
10 MIDI Styles, 800 Patterns,billions of possible combinations
up to 11 round robins
large number of velocity splits (always > 16)
30 custom IR reverbs
Around a year ago we reported on a movement from East Africa that explored a new sense of excitement in the region, working at the intersection between traditional musical approaches and electronic music culture. A year on and things have continued to develop at pace. New festivals, parties and events have sprung up in Kenya, Tanzania and Uganda focussing on a desire to represent and promote an ‘Afro-futuristic’ or ‘World Music 2.0’ attitude – and new styles, interesting collaborations and fresh approaches to live performances have flourished.
Collectives like Santuri East Africa have been at the forefront of this development, and have begun to further the conversation by looking at technology as a platform for traditional culture and heritage. One of the strands for this has been to encourage the development of an East African sample library, including new digital instruments based on and inspired by traditional instruments from the wide and varied cultures of the region. Four such instruments have been developed into unique Ableton Live Racks by Johannesburg's Emile Hoogenhout (a.k.a Behr) and can be downloaded for free.
Gregg Tendwa, a cultural activist from Kenya and co-founder of Santuri East Africa explains how this came about: “Many musicians and producers from East Africa depend on standard sample libraries that are available on their DAWs. The music produced can be good, but has none of the contextual authenticity that comes with adding a texture of heritage. With sounds collected from around East Africa, there’s much more scope for creating unique music that reflects the deep vibes of the region.”
Making an East African sound bank
Mirroring the global trend, the bulk of music production and recording in Kenya, Tanzania and Uganda has moved beyond traditional studios. Most producers in the region do not have access to recording studios, quality recording equipment or even musicians to record. Santuri has been thinking about this issue for a while, and has been organizing ideas around developing an East African sound bank – a resource for producers, DJs and music makers to access sounds and instruments from their own backyard – and to share those sounds with producers around the world. And so to this end, Santuri convened a line-up of ‘roots’ musicians including Olith Ratego, Abakasimba Troupe, Msafiri Zawose, and Giovanni Kremer Kiyingi, to work together with Behr, who happens to be an Ableton Certified Trainer, in a workshop on building Instrument Racks in Live.
Behr’s deep interest in African instruments had led to him previously developing an mbira Rack, and over five days in Nairobi he had the opportunity to record four more distinct instruments found only in the East Africa region. Battling with less than ideal conditions, (sound insulation was in scarce supply and samples had to be recorded during lulls in other workshops), Emile set about capturing and translating instruments with unfamiliar and unique qualities into playable Racks – perhaps the first time these instruments have appeared outside of a traditional context.
“I wanted to approach this project with the utmost respect to the culture and history behind the instruments and musicians but with the ability to push the sonic boundaries with the use of Ableton Live. I sat down with all the artists and asked them about the history of all the instruments – everyone was very happy this vision of cross-pollinating the traditional with music technology.'
Good quality recordings were essential to achieving this goal. “If the recording and processing methods were adhered to correctly,” notes Emile “the dynamic essence of the instrument would be embodied in a virtual context, with most of the organic nuances intact when playing different velocities on any MIDI device.” Working from this basis, he then added a few well-thought out macro controls to each Instrument Rack to control Arpeggiator parameters, Reverb, Filter Delay and sample reverse. With the ability to morph from the pure, multi-sampled recordings to heavily treated, filtered and arpeggiated forms of the same, Emile is making a concrete contribution of the Afro-futuristic aesthetic that’s to be bubbling up in East Africa.
Free Sounds from East Africa
Download the Pack from Emile’s site where you’ll also find a detailed description of the recording process. Read on to learn some of the social and cultural background the original instruments and musicians came from.
The Instruments
Zeze – Tanzania
The zeze can be found in various guises all over East Africa and beyond. Essentially it’s a stringed instrument that normally consists of between one and five strings running along a wooden neck to a open, resonating gourd. Previously, recalls leading exponent Msafiri Zawose, a zeze was called a “ching’wengng’we” – an onomatopoeia for the sound produced by the smaller versions.
The zeze sampled for this Rack is unique. It was developed and modified by the Zawose family of Bagamoyo – a coastal town one hour’s drive from Tanzania's capital, Dar es Salaam. The Zawose clan have been at the forefront of showcasing the music of the Wagogo tribe for decades. The towering presence of Dr. Hukwe Zawose led the music of the Wagogo to be heard worldwide through his tours and recordings with Peter Gabriel’s Real World Records in the 1980s. At home, he presided over a vast musical family of some 50 members, and pioneered a number of modifications and evolutions of traditional instruments to suit his development as an artist – from kalimbas of all sizes to the distinct zeze now played by his son and musical successor, Msafiri. The Zawose zeze is characterized by its size, having an unprecedented 14 steel strings. It’s made of dried calabash, wood, the skin of either a monitor lizard, goat, cow or python.
Zeze player Msafiri Zawose on the history of the instrument and his relationship to it
Msafiri, who recorded the zeze for this Rack, explains:
“I learned how to play the zeze when I was around 8-9 years old. By the time I was 16 years old, I had mastered the instrument and was able to make them on my own. I have a special love for the sound of the zeze, the way it can be drawn out and express a range of feelings and emotions. It can be relaxing and meditative, or it can be uplifting. Animals are drawn to the sound, and birds will often try to mimic its tones.
I learned to play the zeze from my father, who later developed zezes in different sizes and with more strings. The large zeze instruments did not exist in Gogo [one of the largest tribes in Tanzania] culture, especially the plucking style. It’s been exciting to develop songs on the large zeze because very few people in the world have a zeze like ours. Almost all are in the family, and even within the family, no one plays the zeze like I do.”
Adungu – Uganda
Two of the instruments developed into Ableton Racks hail from Uganda - the Endere (flute) and Adungu (bowed harp), and were both played by Giovanni Kremer Kiyingi – a young multi-instrumentalist from Kampala.
The Adungu is a nine-string arched (bow) harp of the Alur people of northwestern Uganda. There are strong similarities and possible direct links to the Egyptian Arched harp of the Old Kingdom – and similar instruments can be found in West and North Africa. Players of arched harps were often of a high social status. The informative Singing Wells website suggests: “Traditionally, the harpist was the only musician ever allowed to play in the room of the royal ladies, whilst there would often have been a harpist situated in the Kabaka’s palace (the chief of the Baganda tribe in Uganda). In some cases, a harpist was blinded by royal command either to make him immune against the charms of his audience or to keep him dependent upon his master.”
These days the Adungu is featured predominantly in wedding and funeral ceremonies, and can be heard either solo or in ensembles. Giovanni, the instrumentalist that worked on this Rack, began playing it at school, but was later taught by a musician who played in the king’s palace. He’s since become one its leading exponents.
Endere – Uganda
The Endere may be less impressive in appearance, but has just a firm a place in the Ugandan musical landscape. A flute of the Baganda people, the Endere known by several other names depending on the region – the Omukuri of the Banyankore and the Bakiga people, the Akalere of the Basoga Iteso people. The instrument is blown at the slightly V-shaped slit end of the instrument, usually with four finger holes. If the Endere is not used to accompany dancing, it is used to play melodies for the grazing cattle or to interpret love songs. Giovanni confirms this:
“I traveled to western Uganda with my father, where many children played the flute to the cattle while grazing and milking. All the time we spent there I was struggling to produce a sound from this flute. One day I got a chance to talk to the late Prof. Ssempeke – the best flute player in the kingdom. There began my love for the instrument. The Endere can produce so many melodies, which makes me love it more, and keeps me searching for new ways to play it.”
Ohangla Drums – Kenya
The drums recorded for this Pack come from the the Ohangla culture – born out of the Luo community of Western Kenya. Ohangla refers to a dance and style of music that was often performed at funerals, weddings as a part of Tero Buro – a Luo rite of passage. Ohangla had a reputation for very fast tempos and vulgar messages, and was associated with provocative dances and illicit home-brew, and as such Luo elders once decreed it was only fit for adult audiences. A famous Luo saying translates as ‘ohangla is never to be used for entertaining a woman’, such was its perceived seductive potency. It has now mostly lost this reputation, having found audiences across tribal barriers and become popular for celebrations of many kinds. Yet, Ochieng Moses Ochieng (a.k.a Moseh Drumist) who provided the recordings for the Rack here, testifies to its continued hypnotic power:
“These drums were used in sacred celebration ceremonies – their sounds are therapeutic and possess the audience. When I play these drums people usually go into a trance.. It takes their souls on a journey.”
Moseh Drumist recording Ohangla drums
Africa Ni Leo (Africa is now)
The four instruments available here cover a wide geographical terrain, from the coastal areas of Tanzania to Western Kenya and Northern and Central Uganda. Scores of other equally unique instruments and cultures exist, many that have been all but forgotten during the rapid urbanization of culture in the region. Santuri’s interaction with these musical cultures provides a platform for rethinking their position within the creative landscape. As Behr elucidates: “music has constantly expanded and evolved with many applications through ritual and experience. This project echoes this sentiment that nothing is ever stagnant, which I feel resonated with all the artists, combining the traditional and the modern to the sonic world of the unknown.”
Gregg Tendwa of Santuri suggests that “as yet, we are nowhere near commenting strongly or authoritatively about an East African sound, and that is not the main reason for collecting these samples and developing these Racks. The idea is that the usage and validation of such sounds across a network of producers, DJs and musicians can allow an organic sound to emerge. When we hear a West African kora play, you know where that music comes from, irrespective of whether it's on a hip hop or a folk track. We look forward to a growing appreciation of these sounds globally, and an eventual recognition of particular sounds coming out of East Africa.”
Keep up with Emile Hoogenhout and Santuri Safari