According to the manufacturer, this makes the sound more organic. You can also edit the signal with a ducker to tame the transients of the reverb signal a little. Before it “goes into the room”, the interface lets you change the input gain and adjust the high and low pass filters. These include a pre-delay regulating the distance from the virtual walls. This means you can switch between different microphone positions, and also adjust the characteristics of the simulated room. The exact technical principles remain a trade secret, but the description implies there are impulse responses at play. Somewhat surprisingly, though, you can’t trigger the voices by clicking in their cells.Īll in all, then, Klevgrand Slammer is a quick, simple and fun way to create trashy, splashy, off-the-wall drum sounds.The Klevgränd Rum plug-in offers ten different rooms to choose from, and all of them simulate small, intimate spaces. In the main view, these images are arranged on the grid of drum voices, and you can interact with each cell to adjust volume and panning. These entail a pair of yellow sleepy eyes that open wider and become more orange the louder the signal! This quirky, slightly cartoony styling is carried throughout the instrument and is particularly noticeable in the illustrative images assigned to each multi-sample. Things are rounded off with broad-brushed bass, middle and treble controls, a selection of presets, and a master section with the most original level meters we’ve ever seen. Slammer is also available for iPad, though not iPhone. The dirt processor provides a warm and smooth saturation/overdrive effect, with four different tonal characters and control over the amount of distortion and “squeeze” (essentially compression). On the reverb side, you can control the decay time and overall level, and choose from six different reverb characters, although some of these are pretty similar to each other. You can also dial in how much of the signal you want to send to the built-in reverb and dirt processors. There’re level and pan controls, low and high shelving EQ, velocity response, and you can adjust the pitch and the prominence of the transient and decay phases of the sound. Also, the limited choice means you avoid getting lost in selecting sounds rather than making beats, although the ability to load your own samples would have been awesome.Įach voice has a set of controls that allow you to sculpt the multi-sample assigned to it. While 30 sounds may not sound like a huge number, each multi-sample includes velocity switches and different articulations, amounting to over 2000 individual samples wrapped up in Slammer. Others are a bit more unusual, such as buckets, Teflon trays, shovels and crowbars. Some are regular drums that have been struck in unusual ways, for example, a kick drum that’s been struck with a hand-held mallet, or a tom struck on its body by a stick (and that’s just a stick, not a drumstick!). The multi-samples are recorded from a range of different sources. Slammer provides twelve sample-based voices, each of which can host one of the 30 multi-sampled sounds packaged with the instrument.
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