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Larry Vaz
Larry Vaz

Electro Funk WAV MiDi


For me, the ONLY way to present a pack like this is in multitrack form so you can see just how parts can be designed to work together, how they intertwine sonically and musically and how a few live touches can come together with the machine backbeat to bring life and exceptional human energy to a funk recording.




Electro Funk WAV MiDi



What drum VSTs you go for relies heavily on the genre or style you are composing for. You may look into electronic drums for EDM or video game scores, or softer, mellow kits for jazz ensembles.


The library features 7 kits along with 25 snares, 16 kick drums and approximately 250 electronic drum machine sounds. There are various mix-ready presets in multiple styles and 35 built-in sound effects.


Native Instruments Studio Drummer features samples recorded on premium drum kits. The library focuses on incorporating an acoustic drum kit into your track along with mixing options and a large library of grooves with fills complementing styles including funk, rock, blues, indie and country.


In the bottom of the interface window, you will see a tab called Grooves. Here you can sort and find the perfect groove for your session. The grooves are categorized in 11 different styles including pop, funk, jazz, hard rock, metal, blues & country, indie rock, and others. Selecting one of the styles will bring up a new window of grooves in various tempos and variations.


The drum samples were performed by professional drummer Derico Watson and produced by Grammy-winning producer, Kenny Barto. The library contains 5.26GB of content featuring 60 sound presets, 90 grooves with 10 variations each, with 58 acoustic samples and 80 electronic layering sounds.


DrumLab is a great tool for creating customized, composite sounding drums. Due to its lack of samples relative to other drum libraries, DrumLab inspires you to get creative with acoustic and electronic blended sounds, encouraging the creation of a drum tone that is uniquely yours.


Native Instruments Battery 4 is a drum sampler for creating electronic and urban drum beats. The library comes installed with 143 kits that are focused on electronic and hip-hop production.


1GB of material and 440 samples are included in 22 construction kits. Vintage Electric RnB takes inspiration from the gigantic names, huge and electrifying sound and big songs of the mid-and-late 80s, the era of massive electric funk and soul hits by Jam & Lewis, Whitney Houston, Luther Vandross, Alexander O'Neal, etc. when there was a fascination with rhythm machines, analog and digital synths, energetic rhythms and lush harmonies.


The free funk loops, samples and sounds listed here have been kindly uploaded by other users. If you use any of these funk loops please leave your comments. Read the loops section of the help area and our terms and conditions for more information on how you can use the loops. Any questions on using these files contact the user who uploaded them. Please contact us to report any files that you feel may be in breach of copyright or our upload guidelines.


Description : Contact me for comissions, custom loops, sample packs and midis. All of the contacts are listed in my profile info.Time signature is 7/8. Performed on ACCORD 219 grand piano (made in Russia 1998), captured with captured by OKTAVA MK-12-20 stereopair.


Description : Contact me for comissions, custom loops, sample packs and midis. All of the contacts are listed in my profile info.Just some Christmas melancholy. Performed on ACCORD 219 grand piano (made in Russia 1998), captured with captured by OKTAVA MK-12-20 stereopair.


Description : A Hot and moving piano chord progression, perfect for funk around. I will thank you if you let me know when you use it in your track ;) Contact me for midi, custom loops, beats, original music and sample packs. All contact ways listed on my profile


Cymatics hired a Grammy nominated pianist to come in the studio and record hours of hip hop melody loops for this one. Making this a very special MIDI loop pack.We had him jam out for hours to different tempos and styles of beats and captured all of the MIDI to give you a wide variety of midi files and midi chords to play with.51 free MIDI loops are included in the Python MIDI Collection.


Not to mention, in the same fashion people would look for sheet music to study other composers, you can now look for midi files and analyze them to learn your favorite midi chords, progressions and how to build rhythms with midi drum loops!


An underground movement of disco music, which was simultaneously "stripped-down" and featured "radically different sounds,"[4] took place on the East Coast that "was neither disco and neither R&B."[5] This scene, known as post-disco,[nb 1] catering to New York metropolitan area, was initially led by urban contemporary artists partially in response to the over-commercialization and artistic downfall of disco culture. Developed from the rhythm and blues sound as perfected by Parliament-Funkadelic,[8] the electronic side of disco, dub music techniques, and other genres. Post-disco was typified by New York City music groups like "D" Train[5] and Unlimited Touch[5] who followed a more urban approach while others, like Material[9] and ESG,[10] a more experimental one. Post-disco was, like disco, a singles-driven market[4] controlled mostly by independent record companies that generated a cross-over chart success all through the early-to-mid 1980s. Most creative control was in the hands of record producers and club DJs[4] which was a trend that outlived the dance-pop era.


The music tended to be technology-centric, keyboard-laden, melodic, with funk-oriented bass lines (often performed on a Minimoog), synth riffs, dub music aesthetics, and background jazzy or blues-y piano layers.[3][4][21][22][23] For strings and brass sections, synthesizer sounds were preferred to the lush orchestration heard on many disco tracks, although such arrangements would later resurface in some house music.[citation needed] Soulful female vocals, however, remained an essence of post-disco.


The term "post-disco" was used as early as 1984 by Cadence magazine when defining post-disco soul as "disco without the loud bass-drum thump."[25] New York Magazine used the word in an article appearing in the December 1985 issue; it was Gregory Hines's introduction of post-disco and electronic funk to Russian-American dance choreographer Mikhail Baryshnikov "who has never heard this kind of music."[26] AllMusic states that the term denotes a music genre in the era between the indistinct "end" of disco music and the equally indistinct emergence of house music.[4]


Shortly after the "Disco Sucks" movement of disco bashing throughout the United States, American radio stations began to pay attention to other popular formats of music such as reggae, punk rock or new wave while top mainstream labels and record companies like Casablanca, TK Records or RSO went bankrupt. Since disco music had been on the way of [its] electronic progression, it split itself into subscenes and styles like Hi-NRG, freestyle, Italo disco and boogie.[30][3][29] The last one is closely associated with post-disco more than any other offshoots of post-disco.[31][32]


Disco in Europe remained relatively untouched by the events in the U.S., decreasing only in Britain, but this was mostly because of the emergence of the new wave and new romantic movements around 1981,[36] and continued to flourish within the Italo disco scene although the interest for electronic music in general was indeed growing.


Unlike in the United States, where anti-disco backlash generated prominent effect on general perception of disco music, in Britain, the new-wave movement initially drew heavily from disco music (although this association would be airbrushed out by the end of 1979) and took many elements from American post-disco and other genres, thus creating a characteristic scene.[20] According to Billboard, American post-disco was merely a crossover of different genres, while focusing on the electronic and R&B overtones, whereas jazz-funk was a crucial element of the British post-disco scene that generated musicians like Chaz Jankel, Central Line or Imagination.


During the late 1990s and throughout the 2000s, electronic and, especially, house musicians were influenced by post-disco. Some of these musicians are: Daft Punk, a French house music group, adopted elements of post-disco, disco and synth-pop into Discovery.[61] Another artist, Les Rythmes Digitales, released a post-disco/electro-influenced album, Darkdancer.[62] Canadian music group Chromeo debuted in 2004 with the album She's in Control.[63] Similar Los Angeles-based musician Dâm-Funk recorded Toeachizown, a boogie- and electro-influenced album released in 2009.[64]Another band called Escort, who hails from New York City, surfaced on the post-disco and post-punk revival scenes around 2006. The story about Escort appeared on New York Times in November 2011.[65]Sampling disco and post-disco songs became a distinctive feature of R&B music at the turn of the century. Artists such as Mariah Carey and Janet Jackson incorporated strong post-disco elements in their work, with post-disco-influenced songs such as Heartbreaker, Honey, Fantasy and All For You peaking at #1 on the Billboard Hot 100.


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