How it works…
Build-A-Boom is a “component-variable” bass-sculpting engine hosted within Kontakt. This means that the sound you get is quite literally the sum of its parts. In other words, this multi-sampling engine allows users the ability to selectively mix and match the given “Impact” and “Rumble” textures into the ideal sound for one’s production.
Rumble Patches
As a knit-picky Producer/Engineer, there was always one part of the 808 bassline creating process that I felt should be improved upon: time-stretching samples to create the different notes in a bassline had to go! The typical process for programming an 808 bassline involves loading a sample into a Sampler tool that can pitch the audio up and down to create musical movements. Unfortunately, this process of pitching the audio introduces a phenomenon called “aliasing,” which is information injected into the audio to “fill the gaps” as your sample is stretched apart to create new notes. To add insult to injury, these distortions are most audible in the top-end where there is typically no content in an 808 to mask it, resulting in a “cheaper” and “hashier” sounding final export.
In a perfect world, one wouldn’t create three-octaves of a keyboard from a single sample; one would have three-octaves of “live-recorded” notes (thirty-six of these 808s!) from an original sound source mapped to the keyboard across those three octaves (or more)… Enter Build-A-Boom!
By sampling each Rumble patch across the entire playable keyboard, the “true-pitch” of each sample can be triggered without time-stretching, thus eliminating these subtle compromises. As a result, you’ll export a higher-definition file that sounds just like it’s coming off of the analog synthesizer we sampled for that patch!
Impact Layers
As you might know, some 808s come layered with a built-in kick drum and I’m all for it! That is… until I find a really great “knock” at 60Hz and the 808 plays up an octave (as is quite common). That built-in kick drum follows the note, so what was at 60Hz is now at 120Hz. My EQ boost is not only missing its target, but we’ve basically lost the entire sub-range of the record… oops!
In a perfect world, only the rumble would be changing pitch while the impact stayed strong and consistent. Luckily… it’s a perfect world and it gets better! The third Impact bank is set up for “drag-and-drop” in case you wanted to incorporate sounds from your own kits!
Design Parameters
Housed within the GUI is a set of controls linked to inserts operating in the background of Kontakt meant for design sculpting. At default knob locations, these inserts are bypassed so-as to preserve the integrity of the original recorded analog samples. When put into effect, these controls allow for the manipulation of the stereo field, filter-style, phase, and transient shape, along with a sensitivity dial for velocity-controlled distortion (“crunch”) because… we could!
Tips from the Creator
When building Impact first, I like to turn the Synth Volume Knob all of the way down and set the level of the kick using the DAW fader. Once my “smack” is sitting strong in the production, I’ll reintroduce the Synth Volume until the rumble feels right!
When building Rumble Patch first, I’ll immediately toggle the “Mute” near the Drum Pads. After cycling Rumble Patches and making a selection, deselect the “Mute” and fly through Kicks until the front of the sound musically glues with the track!
The Synth Volume Knob is used to balance the two layers. If you aren’t hearing enough texture from your Impact layer after setting levels, the Attack Envelope and Transient Designer controls can be a great way to make some room! Think of it as a more natural version of side-chain compression!
Simplest Gain-Staging Method:
DAW Fader = Impact/Kick Volume
Synth Volume Knob = Rumble Patch Volume
Be sure to watch your headroom when toggling the “crunch” wheel! Patches with more low-end react differently with regards to level change when the distortion is introduced. This creates the potential for Kontakt to clip depending on the Patch and where the Synth Volume Knob (which is post-distortion) has been set.
Happy Building,
Hoot