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Reason Drum Kits

Reason ReFill Collection

2.0

, ReFill Manual Hypersampled acoustic drum kits for Reason 3.0

Operation Manual by Synkron: Written by Fredrik Hgglund Edited by Anders Nordmark Photo by Johanna Hanno Additional photos by Peter Mlquist, Kristoffer Wallman and Leo Nathorst-Bs
The information in this document is subject to change without notice and does not represent a commitment on the part of Propellerhead Software AB. 2005 Propellerhead Software and its licensors. All specifications subject to change without notice. Reason is a trademark of Propellerhead Software. All other commercial symbols are protected trademarks and trade names of their respective holders.

Table of Contents

Getting Started
System Requirements
Due to the size and complexity of Reason Drum Kits (henceforth referred to as RDK), this ReFill is not suited for low-end systems lacking the processing power and memory required for using RDK without hitches and glitches. The minimum system requirements for RDK are as follows:

Windows:
Reason 3.0 or later Intel P4 1.4 GHz / AMD Athlon XP 512 MB RAM DVD drive

Mac OS:
Reason 3.0 or later Macintosh G4 1.0 GHz 512 MB RAM DVD drive

2 4 5 8 12 13 13 15

Getting Started Introduction Simply the best Using Reason Drum Kits About the producers Track Credits ReFill Folder Index Credits

The recommended system requirements for RDK are as follows:

Windows:
Reason 3.0.4 or later Intel P4 2.4 GHz 1024 MB RAM Low-latency ASIO compatible soundcard DVD drive

Mac OS:
Reason 3.0.4 or later Macintosh G5 or Dual G4 / 1.4 GHz 1024 MB RAM DVD drive

RDK REFILL MANUAL

DVD-ROM Contents Overview

In the root directory of the DVD-ROM you will find the following: D Reason Drum Kits - 16.rfl (file) D Reason Drum Kits - 24.rfl (file) The contents are identical, with one major exception: The sample formats - 16and 24-bit, respectively. The two ReFills are 100% exchangeable, however they cannot co-exist in a location Reason is aware of, so if you plan on alternating between the two you must place the one you're not using for the moment outside of your designated ReFill locations (more on this in the following section, Installation).

Installation
Simply drag the ReFill file of your choice (Reason Drum Kits - 16.rfl or Reason Drum Kits - 24.rfl) from the DVD-ROM to the folder where you keep your ReFills.

Which one should I choose 24 or 16 bits?

In order to determine which ReFill version to pick, you need to consider the following questions: Is your computer powerful enough to handle 24 bits? (CPU speed, system bandwidth, RAM size, audio card) Do you have any practical or creative need for the 24-bit format? Are you prepared to dedicate the disk space required for the 24-bit version? Are you concerned about workflow issues such as loading and browsing time?

ReadMe.rtf (file)
A Read Me document, containing important last minute notes about the Reason Drum Kits DVD-ROM.

RDK Documentation (folder)

Contains the RDK Operation Manual, a Key Map overlay and a recording log, all in PDF format. In addition, a Whats new in RDK 2.0 text document is included,detailing the changes and additions made since version 1.0 of RDK.

Other Propellerhead Products (folder)

Here youll find a demo version of ReCycle 2.1, plus some info about additional products by Propellerhead Software.

If the answer to two or more of the above questions is no, the choice is easy pick the 16-bit version. Conversely, if the answer to all four questions is yes, opt for the 24-bit version. If you're still undecided, you may want to consider this solution: Use the 16-bit version while you're composing, arranging and mixing, and once you're ready and set to render an audio mixdown you can temporarily replace the 16-bit version with the 24-bit version. Since the above four questions are non-issues for offline rendering, when Reason works at whatever pace the computer can handle, this method gives you the best of both worlds - efficiency, speed and power conservation during the creative stage, and supreme audio quality at the mixdown stage. Note: As the 16-bit /24-bit RDK ReFills are designed to be exchangeable, all data except the sample bit rate is identical and therefore cannot co-exist in any location where Reason scans for ReFills, such as the Reason program folder, the Desktop, or any additional folders you have added to the Locations pane in the Reason browser. If you plan on alternating between the two, the version not in use must always be kept outside of Reason's jurisdiction! If you have a computer with lots of power and bandwidth, you can safely go for the big version, and enjoy the RDK ReFill in glorious 24-bits at all times!

Acrobat Reader (folder)

This folder contains MacOS and Windows installer for the International English version of Acrobat Reader, an application required for opening PDF files such as the RDK documentation. If you would prefer to use a localized version, you can download a new installer directly from www.adobe.com.

RDK Professional Mixes (folder)

A folder containing the 6 demo songs included with the Refill.

RDK REFILL MANUAL

Introduction
Anyone with experience in professional studio work will tell you that recording drums is the most difficult and demanding part of any project. Hands down. Drum recording is a craft which takes decades to learn, yet never gets any easier. It's exhausting. It's expensive. It can make or break an entire production. Due to these challenging demands, the means for capturing the ultimate drum sound have always been out of reach for everyone except those who never get cold sweats from the tick tock of the studio clock. Until now. We took care of the hard part, and the result is Reason Drum Kits - a powerful and versatile drum tool that tears down the last barrier between the virtual studio workspace and the real drum recording studio, and closes the quality gap between merely professional and world class!

Be the engineer
Traditionally, the structure of computer based drum tools has been dictated by the anatomy of the drum kit. In other words, it's always been approached from the drummer's point of view. He's got his instruments - his bass drum, his snare, his toms and so forth, and that's how the drums are packaged and presented to you.

From the perspective of a sound engineer, however, it's not merely about drums but also about the microphones that capture them. On the mixing desk, the snare is represented by two channels - the bottom and the top microphone. The cymbals are represented by the overhead mics that capture them. And what's more, there is always leakage between microphones - the snare bleeds into the hi-hat mic, the kick bleeds into the snare bottom mic, and all the instruments are picked up by the overhead mics. This is all an essential part of the sound of recorded live drums, yet virtual drum tools seldom take these aspects into account. It therefore made sense to us that Reason Drum Kits should be built around microphones. By replicating the recording situation, RDK lets you be both the drummer and the engineer, and gives you all the control you would have in a professional studio - with the added benefit of total recall of not only the mixer settings, but in fact the whole package; the room, the drums, the microphones, the effects, everything exactly the way you left it.

RDK REFILL MANUAL

D The illustration below shows the approximated source mic placements, and how each respective microphone source corresponds to channels in the Reason mixer.

Simply the best

With the emphasis on sonic and creative realism, it is vital that every component along the path from the studio floor to your computer is the best of the best - no weak links anywhere. We therefore took utmost care in assuring that the studio, the recording gear, the instruments, and last but not least the talent involved, was top notch across the board.

The studio

Cym 2 Cym 1 Ride TOM 1 TOM 2

HH SD BD

TOM 3

L R

L R

RDK was recorded at the legendary Atlantis Studio in Stockholm, whose Hall of Fame includes the likes of ABBA, Quincy Jones, Lenny Kravitz, Elvis Costello and The Cardigans. Atlantis was originally a cinema theatre with 330 seats, built in 1941 and converted to an audio recording facility in the early 1960's.

10

11

12

BD

SD

SB (SD) (BD) (TOMS)

TOM 3

TOM 2

TOM 1

HH

Tamb- Over- Ambi- CLAP SNAP ourine head ence

Tambourine

Renowned for its spectacular acoustics, Atlantis was the ideal choice for our ambitious project. The wonderful ambience of the rooms was captured on individual tracks and ultimately included as separate samples in the RDK ReFill.

The Overhead mics capture an overall stereo picture of the kit from an overhead position. The Ambience mics will do the same, but at a greater distance to include more ambience, i.e. the natural room reflections of the studio itself. Likewise, the Snare Bottom mic captures not only the Snare, but also leakage from the Kick and Toms, which can add body to the overall sound. All the other mics capture the instrument it is dedicated to with little leakage.

RDK REFILL MANUAL

The signal chain

The instruments were captured using tried and true microphones such as Shure SM57 and AKG 414, along with various classic Neumann models. The signals were fed through a Class A Neve 32/8/32 console directly onto a Studer B67 2 analog tape machine. No processing was applied, except in a few rare instances where we used an Urei 1176 compressor. The analog recordings were transferred to a ProTools HD system at 176.4 kHz, 24-bit.

The Instruments

Mic usage brands, models and placement

| Source | Microphone

Bass drum Snare drum Snare drum (bottom) Hi tom Mid tom Floor tom Hi-hat (small room) Hi-hat (large room) Overhead Ambience

1 x Neumann U47 FET (distance: 4) 1 x Shure SM57 1 x AKG 414 1 x Neumann U87 1 x Neumann KM56 1 x Neumann U87 1 x Neumann U87 1 x Neumann TLM 103 2 x Neumann KM 86 2 x Neumann U87 First we rented a broad selection of premium quality drums and cymbals from a renowned provider. The engineers, producers and drummers then collaborated in assembling the ultimate combinations for each music style. Finally we experimented with a vast variety of drum head combinations, until we found the most excellent sounding range of instruments we could imagine.

Bass drums:
Yamaha 9000 Recording 20x16, 22x16 Ludwig 20x14, 26x14 DW 24x18

Snare drums:
Ludwig Supraphonic 14x6.5 Ludwig Acrolite 14x5.5 Ludwig Vintage 14x5 Ludwig & Ludwig 14x5 Ayotte 14x5.5, 14x6.5 Kepplinger steel. DW 10x6, 14x4.5 Pearl Signature Steve Ferrone Signature 14x6 Pearl Free Floating System 14x3.5 Yamaha Birch Custom 14x4 Gretsch 14x5.5 Gretsch Vinnie Colaiuta Signature 14x5

RDK REFILL MANUAL

Toms:
Gretsch 12x8, 13x9, 12x9, 14x14 Ludwig 13x10, 16x16, 18x16 Yamaha 9000 Recording 10x10, 12x10, 14x12, 16x14

Hypersampling
Multisampling is the established standard for digital representation of analog instruments. While it has been refined somewhat over the years, multisampling still has a few shortcomings: The dynamic resolution is too limited, failing to capture the subtle nuances between the steps. Typically, a single microphone (or, at best, a merged signal from multiple microphones) is used, leaving the recording distance, ambience and character set in stone. You usually get only one sample per velocity span, while a real instrument sounds slightly different for every pluck, stroke or beat (even when played at a static velocity level) Instruments can be played with countless approaches and techniques, yet multisampling typically only offers the basic archetypes. At best, you get one snare roll, one rimshot and one brush hit sample, but these only represent a tiny fraction of all the sound variations you can get out of a snare drum.

Hi-hats:
Zildjian New Beat 15 K Zildjian 14 Meinl Customshop Heavy Paiste Formule 602 Medium15

Cymbals:
A-Zildjian, K-Zildjian, Meinl (various)

The people
D Jan Hansson, co-owner of the Atlantis studio, has over 30 years of experience as a recording engineer and is one of the people behind the ABBA sound. He has worked with many pop and rock artists over the years, and is particularly sought after for acoustic recordings - many contemporary jazz and folk artists have turned to him for capturing their sound. D Martin Brengesj and Micke Svensson are accomplished instrument technicians who has managed guitars and drums for some of Sweden's biggest acts. D Martin Jonsson, Magnus Frykberg and Henka Johansson are professional drummers with a collective experience that covers live and studio work for, in short, everyone.

So, how could we bring something fresh to the table? The answer: Hypersampling. We like to refer to it as multi-dimensional sampling, because it gives you complete control over many aspects of instrument reproduction that used to be out of reach for the end user.

What is Hypersampling?
D Multiple velocity levels For capturing the full dynamic range of each instrument. D Multiple microphones For capturing and controlling distance, ambience and character. D Multiple same-velocity samples Random alternation between sets of similar sounding samples, for a more realistic performance. D Multiple variation sampling Capturing the different techniques, grips and playing styles that bring life to an instrument.

RDK REFILL MANUAL

Using Reason Drum Kits

Drum Kits Patches

Inside this folder are five subfolders. Four of them contain Kit patches - Preset, Producer, Style and Template. The fifth folder, Individual Instruments, contains the NN-XT patches that the Kits are built from.

A complete folder index can be found on page 13.

D Preset Kits contains 25 Combinator patches representing complete Kits, each in 4 variations: All Mics, Close Mics, No Ambience Mics and Stereo Mix. The kits are arranged in category (genre) subfolders. The Preset Kits are basic combinations of various drums we found worked particularly well together. These kits all share the same output routing and parameter assignments to the controls on the Combinator panel, and represent an ideal starting point for making up user kits. D Producer Kits contains 13 Combinator patches tailor made by producers. They utilize specific routing and effects all according to the creative choices and preferences of the designers. The microphone configuration of each kit is indicated in the file name. D Style Kits contains 20 Combinator patches organized by music style, and they are best used with the MIDI files in the Sequencer Material folder. D Template Kits contains different build your own kit templates, with microphone configuration variations. This is the virtual drum shop where you go when you want to replace individual drums or cymbals in the ready-made kits, or when you want to build your own kits from scratch. The intended mode of use is to load up a Template Kit and then select NN-XT patches for each instrument from the Individual Instruments folder. D Individual Instruments (NN-XT) - this subfolder contains 55 single drum/ percussion instruments (in 4 variations just like the Preset Kits). This is the virtual drum shop where you can hand pick different drums and cymbals and build your own custom kits, either entirely from scratch or by using the Template Kits.

RDK has been designed with a broad spectrum of application scenarios in mind, and has multiple entry points to accommodate the different needs of different user categories. Here is a brief summary of the RDK contents: Preset Kits - these 25 Combinator-based Kits form the heart of RDK. Producer Kits - virtual signature kits by professional music producers. Style Kits - Combinator patches designed to serve as quickstart platforms for various music styles. Individual Instruments - these NN-XT patches are the building blocks of the Preset, Producer and Style Kits. Template Kits - Build your own kit templates. Redrum Sets - for users who prefer pattern style programming but still want to enjoy the natural acoustic sound of the RDK samples. MIDI files - ready-made drum patterns which can be used with any Kit, for those who need fresh ideas or simply aren't comfortable with drum sequencing. Style Templates (rns) - Reason song files featuring beats and arrangements that can be used as a starting point for a track. Professional Mixes - RDK-centric Reason tracks mixed by professional engineers to demonstrate their respective bags of tricks for handling drums in a mix.

Redrum Sets
Here you will find 96 RDK patches for Redrum. Each patch comes in 3 or 4 different flavors, depending on the nature of the source kit. Needless to say, these sets are very basic owing to the fact that Redrum is limited to 10 samples, while some of the Combinator Kits use upwards of 1000.

RDK REFILL MANUAL

RV7000 Patches
8 Advanced Reverb patches featuring room simulations, spring reverbs and echo effects tailor made for drums and percussion by the producers behind the the Professional Mixes and Producer Kits.

MIDI Files
Like the Style Templates, the MIDI files are arranged in folders by genre. Each MIDI file consists of a single track featuring one 4-bar basic groove, two 4-bar variations ride instead of hi-hat, snare replaced by sidestick etc. and two or three 1-bar fills. The naming convention for MIDI files is A-B TTT Title.mid, where A-B is bars/ beats (e.g. 4/4), TTT is the original tempo and Title is a descriptive name, hinting about the style, genre or artist which inspired the groove. To use the files, simply select the sequencer track you wish to import to, then select Import MIDI File from the File menu and pick a MIDI file in the browser. The groove will then appear on the track, ready to be cut, copied and pasted as you see fit. The tempo of the song will take on the tempo of the MIDI file. The standard MIDI groove will be 16-18 bars long, where bars 1-4 is the basic groove and bars 5-8 and 9-12 are the two variations. These are followed by the two or three 1-bar fills, with an empty bar between each. Note: You will find exceptions to this formula among the MIDI files. For instant gratification, we recommend that you combine the MIDI files with the Style Templates - this is the quickest and easiest way to get a great sounding groove going!

One of the patches; Atlantis Big Room is actually a simulation of the natural room acoustiscs in Atlantis, the studio where the RDK ReFill was recorded.

Scream Patches
23 Scream 4 patches for adding distortion and compression to give your drums more punch, edge and bite.

Sequencer Material
A large collection of style templates and MIDI files for various genres is found here, as well as a portfolio of Professional Mixes.

Style Templates
Style templates are Reason song files (.rns), each featuring a complete rhythm section setup: Combinators, loaded with sounds, and all routing ready-made mixer, effects, EQ, compression, various tweaks - everything fine tuned for a particular music style. The template files are arranged in folders by style/genre, and can be found under Sequencer Material in the ReFill root folder. Once you've loaded up a style template you can either start sequencing away, or experiment with the pre-programmed MIDI files.

The Professional Mixes

The Style Templates contain sequencer data - sometimes a drum beat, sometimes a complete arrangement. If you're only interested in the kit as such, you can turn to the Style Kits folder instead where you will find Combinator kits corresponding to all the Style Templates.

The tracks included with RDK are not your run-of-the-mill mixes. The included songs were first recorded in the respective studio, then we enlisted a host of seasoned professionals to produce a number of mixes for RDK so that you can study different engineering tricks of the trade first hand. The mixes are included in RPS format under /Sequencer Material/Professional Mixes.

RDK REFILL MANUAL

Drum Kits Samples

The big resource vault where the 10.900 samples are organized in various instrument category folders. On the following pages you will find a naming convention specification for the samples in case you need to better understand the file name language.

Keyboard Layout
Both the Preset Kits and the Individual Instruments are mapped according to the General MIDI standard. Basic sounds like BD, SD, HH, sidestick, claps, toms and cymbals (C1-B2) are GM compliant, and the keys C3 to F4 have been allocated for additional snare and hi-hat variations.

Legacy Material
A folder containing: D The Preset Kits as presented in RDK1, meaning all included samples in each kit were inherent in one NN-XT. For those who for one reason or another prefer to use RDK this way. D The original HiHats patches. These were improved on in RDK 2, but again, there may be people who prefers the "old" response in these patches.

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The Preset Kits

There are 25 complete Kits arranged in 4 categories: Pop, Rock, Vintage Soul/ Funk, and Misc. Each kit has four variations: All Mics, Close Mics, No Ambience Mics and Stereo Mix. The basic Preset Kits are as follows:
| Category | Name | Description

| Category

| Name

| Description

Rock

John

A classic, huge sounding rock kit with ringing toms, wide open bass drum and generous room ambience. Kit name inspiration: John Bonham of Led Zeppelin. A southern fried kit inspired by 1970's Stax recordings such as Love and Happiness. Kit name inspiration: Al Green. A funky drummer kit inspired by classic James Brown recordings. Kit name inspiration: Clyde Stubblefield. A light, yet gritty funk kit drawing inspiration from 1970s Sly & the Family Stone tracks like In Time. Same as Fresh A, with different toms and a brighter hi-hat. Tight sounding kit inspired by The Isley Brothers recordings of the 1970's. Kit name inspiration: George Moreland A late 1960s funky jazz-kit with plenty of nice room ambience. Kit name inspiration: Idris Muhammad. Same as Idris A with a different snare. 1980's Quincy Jones-style kit la Michael Jackson's Rock With You. Kit name inspiration: John Robinson. A Kit inspired by the aesthetics of Neo-Soul. Kit name inspiration: Poogie Bell. Futuretro kit, tuning in with contemporary R'n'B old school nostalgia (Neptunes, Roots and others). Kit name inspiration: Questlove New Orleans funk kit, Neville Brothers style. Kit name inspiration: Will Green. The pop kit NigelB played with soft mallets. A kit played with brushes.

Vintage Soul/ Funk Vintage Soul/ Funk Vintage Soul/ Funk Vintage Soul/ Funk Vintage Soul/ Funk Vintage Soul/ Funk Vintage Soul/ Funk Vintage Soul/ Funk Vintage Soul/ Funk Vintage Soul/ Funk

Al

Pop

Brian

Distinct, warm and subtly saturated kit with a thick snare. Kit name inspiration: Brian Reitzell. Classy sounding kit inspired by Earth, Wind & Fire recordings of the early 1980's. With a pitched up snare, Carla makes a great Minneapolis funk kit la Prince/Wendy & Lisa. Kit name inspiration: Carla Azar. This kit has that funky thud sound of the 1970s, with a hi-tech twist. Kit name inspiration: Eddie Kendricks. Dark, strident and rough-around-the-edges kit with open, ringing drums and plenty of ambience. Kit name inspiration: Meg White of The White Stripes. Roughed-up hi-fi kit with a vintage flavor, typical of indie pop/rock with an electronic edge. Kit name inspiration: Nigel Godrich. A variation on the NigelA kit, this time with a brighter snare. Crisp, punchy and well-rounded pop kit with tight room ambience. Kit name inspiration: Phil Selway of Radiohead. Heavy rock/funk kit with a high pitched 10 snare, muted cymbal hits, china cymbals etc. Kit name inspiration: Red Hot Chili Peppers. Same as Hot but with a different snare. Hard rock kit with a punchy kick and heavy toms. Kit name inspiration: Jocke Skog of Clawfinger

Clyde

Pop

Carla

Fresh A

Fresh B George

Pop

Eddie

Pop

Meg

Idris A

Pop

NigelA

Idris B JR

Pop Pop

NigelB Phil

Poogie Quest

Rock

Hot

Rock Rock

Jimmy Jocke

Vintage Soul/ Funk Misc Misc Misc

Will Mallets Brushes

NoSnares The Pop kit NigelB played with the snares off.

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Naming Convention
Preset Kits
The Preset Kits use a naming convention with the following syntax: Title Mics (XXX XX) Title represents the kit's name, Mics specifies the microphone configuration, and the five digits XXX XX indicate which instruments are featured in the Kit. Example: Carla All Mics (242 22) Carla is the name of the kit; All Mics means all microphones (close, overhead and ambience), and 242 22 means Bass Drum 2, Snare Drum 4, Toms 2, HiHat 2 and Cymbals 2. D Character 1 = BD D Character 2 = SD D Character 3 = Toms D Character 4 = Hi-hat D Character 5 = Cymbals

About the producers

The people behind the Producer Kits and the Professional Mixes
Dave Darlington is versed in a wide range of styles. He works out of his own studio in New York, Bass Hit Recording, and has mixed and remixed artists such as Masters at Work (MAW), Roger S, Kylie Minogue, Herbie Hancock, Chaka Khan, Brand Nubians and Wayne Shorter. (See www.davedarlington.com) Bob Brockman - also known as Bassybob - is an engineer, producer and programmer with an impressive track record. His home base is NuMedia NY Studio in New York, and clients include Heather Nova, Faith Hill, Brian McNight, Babyface, Toni Braxton, Laurie Anderson and Christina Aguilera. (See www.numediany.com) Niklas Flyckt is based in Khabang Studio, Stockholm, and has worked with artists such as Britney Spears (Toxic), Ms. Dynamite, Sophie Ellis Bextor, S Club 7, Sugababes, Samantha Mumba and Christina Milian. Jocke Skog is the keyboard player, programmer and engineer of the band Clawfinger. He has done numerous remixes for several bands and artists, including metal/industrial household names like Rammstein, Die Krupps, Meshuggah and Dalbello. Simon Nordberg works in various studios around Stockholm. His work on Lisa Miskovsky's Fallingwater won him the Swedish Grammy Award for Best Production of 2003. Britney Spears, Heather Nova, Sita, Eskobar and American Junior Idols feature on his extensive list of clients. Eric Gadd is a Swedish singer-songwriter who produced and released 9 solo albums. A multiple award winner at the Swedish Grammies (including Artist of the Year), Eric produces pop music with its roots firmy planted in American R'n'B and funk. Jack Freudenheim studied drums with the great Kenny Clarke, Dante Agostini and T. Ranganathan. He is the creator of Sounder, an ambient music generator. He co-produces and plays electronic drums for the band 46bliss, and does remote drum sessions via his RealDrummer.net website. Ed Bauman is known throughout the Reason community as EditEd4TV. He works as a freelance videographer, musician and audio consultant and is a coowner of Bauman Productions in San Francisco, CA. Shep is a team of Swedish producers and songwriters with an impressive track record, ranging from high end sample production for Toontrack Music to mixing, producing and writing for the likes of Rachel Stevens and Maxi Priest.

Samples
The samples use a naming convention with the following syntax: MM_NNN_X_TT_SS_H_VYY This translates as follows: MM: Two letter abbreviation for the microphone category: CL (Close), AM (Ambience), OH (Overhead), SB (Snare bottom) or MX (Stereo mix). NNN: Three character abbreviation for the instrument name. X: The relative position in the drumkit, indicated by a single number 1 to 4 (left to right). Applies to toms and cymbals only, all other instruments use the number 1. TT: Specifies the tool which the instrument was played with: DS (drumstick), BR (brush), SM (soft mallet), HA (hand), FS (finger snap), FE (felt beater) or PL (plastic beater). SS: Specifies the playing technique - RG (regular), RS (rimshot), SS (side stick) RL (roll), RF (roll flam), SQ (sequence), TP (top), CL (closed), O1/O2/O3 (open 1, 2, 3), CR (crash), MT (muted), BL (bell), RI (ride), PU (punch) and OT (open tone). H: The hand(s) the instrument was played with: L (left), R (right) or B (both). VYY: The velocity type: H (hard) or G (gradient) or L (loose), followed by two digits indicating the sample number.

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Track Credits
Grunge Ballad (2.33) (Jocke Skog) Recorded and mixed by Jocke Skog at Fear and Loathing Studios, Stockholm Hard Harder F****d Up (0.44) (Jocke Skog) Recorded and mixed by Jocke Skog at Fear and Loathing Studios, Stockholm Lucky Pony (2.08) (Puckspony a k a Huxflux Nettermalm) Recorded at the Green Genie, Stockholm Mixed by Simon Nordberg at Step Down Studio, Stockholm Sac Ma Deek (1.33) (Magnus Frykberg) Recorded by Magnus Frykberg at Break My Heart Studio, Stockholm Mixed by Bob Brockman at NuMedia NY, New York StrokeyDokey (0.54) (Niklas Mller/Lars Erlandsson) Recorded by Niklas Mller and Lars Erlandsson at Dreamworld Studio, Stockholm Mixed by Niklas Flyckt at Khabang Studio, Stockholm The Groove (2.08) (Magnus Frykberg) Recorded by Magnus Frykberg at Break My Heart Studio, Stockholm Mixed by Dave Darlington at Bass Hit Recording, New York

ReFill Folder Index

A complete overview of the folder structure. Individual patches and samples are not listed, only the folder/subfolder tree.

indicates folder/subfolder

Reason Drum Kits

Drum Kits Patches ReDrum Sets RV7000 Patches Scream 4 Patches Sequencer Material Drum Kits Samples Legacy Material

Drum Kits Patches

Individual Instruments (NN-XT) Preset Kits Producer Kits Style Kits Template Kits

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Individual Instruments (NN-XT)

Multi Out All Mics (ALL) 1. Bass Drums (BD) 2. Snare Drums 3. Toms (TM) 4. HiHats (HH) 5. Cymbals (CY) 6. Tambourine (TB) 7. Hand Claps (HC) 8. Finger Snaps (FS) Close Mics (CLS) 1. Bass Drums (BD) 2. Snare Drums 3. Toms (TM) 4. HiHats (HH) 5. Cymbals (CY) 6. Tambourine (TB) 7. Hand Claps (HC) 8. Finger Snaps (FS) No Ambience Mics (NOA) 1. Bass Drums (BD) 2. Snare Drums(SD) 3. Toms (TM) 4. HiHats (HH) 5. Cymbals (CY) 6. Tambourine (TB) 7. Hand Claps (HC) 8. Finger Snaps (FS) Stereo Mix (MX) 1. Bass Drums (BD) 2. Snare Drums (SD) 3. Toms (TM) 4. HiHats (HH) 5. Cymbals (CY) 6. Tambourine (TB) 7. Hand Claps (HC) 8. Finger Snaps (FS)

Preset Kits
Multi Out All Mics (ALL) Misc Pop Rock Vintage Soul Funk Close Mics (CLS) Misc Pop Rock Vintage Soul Funk No Ambience Mics (NOA) Misc Pop Rock Vintage Soul Funk Stereo Mix (MX) Misc Pop Rock Vintage Soul Funk

-ReDrum Sets -RV7000 Patches -Scream Patches

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-Sequencer Material
1. MIDI Files (mid) Disco Experimental Pop Rock Soul RnB Urban 2. Style Templates (rns) Disco Experimental Pop Rock Soul RnB Urban 3. Professional Mixes (rps) Grunge ballad.rps Hard harder F****d up.rps Lucky Pony.rps Sac ma Deek.rps StrokeyDokey.rps The Groove.rps

Credits
This ReFill was developed and produced by Propellerhead Software All drums recorded at Atlantis Studio, Stockholm Executive Producers: Magnus Frykberg and Erik Sojdelius Recording engineers: Jan Hansson, Pontus Olsson Drummers: Magnus Frykberg, Martin Jonsson, Henka Johansson Drum Technicians: Martin Brengesj and Micke Svensson Drum Rental: Mickes Musik, Stockholm Additional Programming: Attila Cederbygd, Bob Brockman, Dave Darlington, Jack Freudenheim, Magnus Frykberg, Erik Sojdelius, Ed Bauman, Per Gunnerfeldt, XLN Media, Jocke Skog, Henka Johansson, Ricard Nettermalm, Josh Mobley Professional Mixes: Simon Nordberg, Bob Brockman, Niklas Flyckt, Dave Darlington, Jocke Skog

-Drum Kits Samples

1. Bass Drums (BD) 2. Snare Drums (SD) 3. Toms (TM) 4. HiHats (HH) 5. Cymbals 6. Tambourine (TB) 7. Hand Clap (HC) 8. Finger Snap (FS)

-Legacy Material
Individual Instruments (NN-XT) Multi Out Stereo Mix Preset Kits (NN-XT) Multi Out Stereo Mix

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