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Eight tracks of drums to mix, process and tune the way you want to fit your track! Greg Morrow has a feel that you have to hear to believe. These tracks range from down and dirty slow grinding rock to trashing alt/metal and everything in between.
Recorded at Hum Depot on a nice old Neve console (like the one pictured below). The room mics were Coles, and placed approx 5 feet from the kit.
Series One 12 Disc Professional Set Includes:
- 9 CD-ROMS of 31 performances/projects, each with multiple sections such as verses, choruses,
bridges, fills, intros, etc. to build your songs (plus Crash n Burn endings). 8 individual tracks include kick, snare, stereo toms, stereo overhead and stereo room.
- 2 audio CDs for auditioning or sampling (includes individual drum hits)
- 1 CD-ROM with AIFF samples of all drum and cymbal hits (ambient and dry - 24 and 16 bit)
- Mac and PC compatible
- Wood storage box
User Testimonial by D Cozzens, Owner, Mantis Audio Productions:
"I use Discrete Drums in my project studio all the time. Why travel to Nashville to track drums when I bring them to me via Discrete Drums?! I recently constructed the song entitled "Just Like Me" with DD loops from Series One. It turned out so well that I use it as a sample to illustrate what the possibilities of my little studio." Listen to "Just Like Me" here.
Series One was Recorded at the Hum Depot Studio
From Mix review of Hum Depot "Between downtown Nashville and Berry Hill (was) a funky two-room studio called Hum Depot that (was) owned by studio session aces Greg Murrow, Tony Harrell and producer RS Field. It is one of those places a lot of cool artists and producers like to go to. The Hum Depot's clients have included Lucinda Williams, Ray Benson, the Dixie Chicks, ZZ Top, Steve Earle, Dan Baird, Steve Forbert, John Kilzer, Todd Snider, Raul Malo (The Mavericks), Steve Cropper, Radney Foster and Robbie Fulks. Producers who have worked there include Richard Bennett, RS Field, David Leonard, Rick Will, Joe Hardy, Chris Farren and Mike Utley. The upstairs room (was) outfitted with a Neve 8232 32x24 recording console, a 24-track Sony APR-24 machine, and a solid assortment of vintage and new outboard gear. While Hum has its share of the popular digital gear, the folks there still value the classic stuff. In that spirit, the owners recently installed a 1972 24x16 API console in the downstairs room." The Hum Depot appears to be closed. After owning The Hum Depot Recording Studio in Nashville for eight years, Tony Harrell joined with two partners to open Vibe56 Studio located on famous Music Row in Nashville.
Greg Morrow, Drummer
Greg Morrow has worked with numerous industry talents including the Dixie Chicks, Van Zant, 38 Special, Hank Williams III, DeGarmo & Key, LeAnn Rimes, Amy Grant, Travis Tritt and Deana Carter, and more.
More About Greg Morrow
Steve Marcantonio, Engineer
Steve Marcantonio Mix Interview: "Steve Marcantonio is a master at engineering. Given his trademark punchy drums, well-placed guitars and tastefully present lead vocals, it's no surprise that the client list of this former Jersey boy reads like a who's who of country. His work encompasses classic Nashville as well as the edgier side of the genre, including projects for Rodney Crowell, Deana Carter, Billy Falcon, the Nitty Gritty Dirt Band, George Strait, Alabama, the Warren Brothers and Vince Gill, among others."
More About Marcantonio
Joe Hardy, Engineer
Joe Hardy has worked with ZZ Top, Michael McDermott, Cross Canadian Ragweed, Steve Earle and many more. He Mixed ZZ Top "XXX". He worked at the infamous Ardent Studios, which has a forty year history encompassing a wide range of artists like Led Zeppelin, Stevie Ray Vaughan, and many more.
Craig DeFalco's SleezeRoxx Interview says , "Joe Hardy was by far the greatest hang I've ever been on while working in a recording studio. What a great way to record a record. Nothing but laughter and music being made with no bad vibes or shattered nerves! He is a very intelligent man so his humor is top shelf as well. You've got to stay on your toes when dealing with Joe Hardy. "
Rick DiFonzo, Producer & Engineer
Rick DiFonzo, the key player behind Discrete Drums, says, "I'd planned a drum library because I was not happy with the products available at the time. I come from a rock background, having played guitar on and/or toured with Mick Jagger, Bob Dylan, Roger Waters, Belinda Carlisle, Joan Osborn, Cyndi Lauper and others. Drum libraries at the time were limp and did not rock. The one drum library that rocked because the drums sounded great and the drummer was great, had a stereo mix swimming in room ambience - and not in a good way. I decided to go with a multitrack format, as no one else had done it. I knew lots of great drummers from my days as a session and touring guitarist. I went into the studio right away. Discrete Drums grew from my need for rocking drums that I could mix myself. Now you can customize the sound of the drum kits recorded by great drummers, and add them to your tracks just the way you want.". More About Rick DiFonzo
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MORE INFO:
February 21, 2007 - Harmony Central's Discrete Drums Pro Sets Review
"I still reach for Discrete Drum's Series One sample CD collection when I need quick drums for a soundtrack; it's stood the test of time. The sound quality is excellent, the playing is dynamic and human, and the files are presented in multitrack format so it's easy to mutate the tracks as you want: Process just the snare, replace the kick, bring up the room mics, that sort of thing. As a result, even though it's a drum sample library, you can personalize it to a large degree. So much so, in fact, that I did a remix of it and played it for the Discrete Drum guys. I expected them to throw me across the room (We spent thousands of hours getting it to sound right, and you put it through distortion pedals!) but instead they said cool and put it out as a sample CD called "Turbulent Filth Monsters."
Read Craig Anderton's Review: Discrete Drums Pro Sets | Buy Discrete Drums - Series One | Buy Turbulent Filth Monsters
March 1, 2002 - Electronic Musician Series One Review
"I love the concept of this library. The end result could potentially blow away other methods of achieving realistic-sounding drum tracks. The performances utilize session folks from Nashville, and the quality of the playing and engineering is very good overall. The drum sound is big and expansive and some creative editing makes for a great drum track. The ability to balance the ambient/dry sounds of the overhead and room mics and to experiment with different EQ, compression, and reverb settings on the snare is a luxury usually not available to those who use drum loops in their work."
Read Electronic Musician's "Discrete Drums Series One Review"
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