Intro...

WOBBLE HOUSE
Afro Tech contains 2GB of high quality, must have
Afro Tech Audio loops and one-shots, Construction
Kits, MIDI loops, Synth Presets, Video Tutorials and
production tips and tricks to your sample library?
Are you searching for the tools and inspiration to
take your music and career to the next level?
These top quality audio loops and one-shots will
slot seamlessly into any Deep, Tech or House
production - choose from killer bass, drum, synth,
guitar, vox and piano loops, punchy drum hits
(including key labelled kicks!) and inspiring FX. Not
to mention our ever popular Songstarter
Construction kits
We aim to deliver the ultimate product for novice
and advanced user alike - allowing you to delve as
deep as you wish to generate your own sound thats
why we also provide 3 Prod-Cast video tutorials
shining a light on the techniques we used in this
pack and a booklet containing tips and tricks from
the producer. We also provide invaluable videos
from productivity guru Mike Monday and Music
Marketing Academys Budi Voogt - the ultimate
guide to pitching your music to labels and industry
professionals from the

SAMPLE TOOLS BY CR2

A subsidiary of world-renowned dance music
record label Cr2 Records, Sample Tools by Cr2
provides electronic music producers and DJs
cutting edge tools, tuition and sounds from across
the dance music spectrum.
Introducing our new membership project PlatinumProducer Membership.
#SampleToolsPlatinum

Connect...

www.sampletoolsbycr2.com

Cr2 Records Opportunities...

About the pack...

INCLUDED IN THE PACK
1.5 GB Total Content
602 Total Audio Files
115 x MIDI Files
25 x Drum Loops (124 stems)
40 x Kicks
40 x Snare
75 x Bass Loops & Hits
80 x Claps & Hats
70 x Percussion Hits & Loops
20 x FX
50 Synth Loops
50 x Synth Presets
6 x Songstarters
3 x Prod-Cast Video Tutorials
1 x Mike Monday Studio Productivity Video
1 x Budi Voogt Art of Pitching Video
1 x Production Booklet
KIT LIST
TR 303
Minimoog Voyager XL
Moog Sub Phatty
Moog Minitaur
Access Virus
Nord Lead 3
Juno 60
Manley Variable MU
TR 808, TR 909, TR 70

VIDEO TUTORIALS
Our commitment to helping develop you as a
producer means that bundled with each pack will
be a collection of FREE Prod-Cast video tutorials
explaining the techniques behind many of these
expertly crafted sounds.
We have also teamed up with music production
guru Mike Monday to offer you a tutorial to help
you to achieve the most from your production
sessions.
Finally we provide you with the ultimate video for
pitching your music to labels and industry
professionals from the Music Marketing Academys
Budi Voogt.
www.mikemonday.com
www.budivoogt.com

From the producer....

AFRO SAMPLER
(16 AT Bassloop 122 G) After creating a simple
synth lead patch, with a small attack on the
Lowpass filter cutoff, record a simple 3 note minor
chord. After bouncing this down (dry: no effects)
you need to load this into a sampler. Now by
playing single notes, you can trigger the chord
which leads to this sample dance music effect. For
the final stage, add a short modulated delay, and
some light reverb.
RHYTHM IS A DANCER
One important way of creating afro rhythms is by
using syncopation. Firstly, place a kick drum on
each beat of the bar. Then set your quantize to
1/16 and place either snare drums, or a clave style
percussion instrument on measures 1,4 & 7 of each
bar (16 measures) then place another snare or clave
style sound (the opposite to the sound you chose in
the previous step) on measures 3,4, 7,8, 11,12
15,16 of each bar. Experiment of the swing and
track delay of these two sounds to create an
interesting starting point for your afro rhythm.
ARP LOOPS
(08 AT Synthloop 122 F)
Heavily quantized arpeggiated loops can
sometimes lack feeling. To create some interest to
your arp loops, create a straight loop that is
quantized to 16ths, with or without swing,

dependent on the rhythm of the rest of your track.

Once happy with the tonality of your loop, bounce
a 1 bar loop of your arp. Now take this audio, and
time stretch it, from your original song tempo
(122bpm for instance) up by a small percentage
(122.20bpm for instance) This slight change will
create a pull at the end of each bar, and used
correctly can even be layered with your original arp
at the main tempo.
DO A DUNUN
Afro music is based heavily around rhythm. As you
will hear, a lot of the basslines use round percussive
bass notes, which emulate the style of the Dunun, a
traditional African Drum. You can electronically
emulate the timbre and shape of these using an
808 Kick drum with a long tail. Take the sample and
load it into your sampler and tune it alongside a
piano to ensure the C on your keyboard, plays the
C note of the Kick drum. Ensure your release is
long, and your sampler is set to play 1 voice at a
time, this means the next note will cut the tail of
the previous and you wont get a harmonic clash in
the low end. You can now trigger this like a drum,
by using MIDI controller pads or playing your
keyboard percussively.

From the producer....

CLAP CHOP
(03 AT Clap) To create an interesting clap texture,
that you can tweak to your own requirements
requires a few simple steps. Setup your
microphone (even an onboard laptop mic will
suffice and create some interesting textures) and
record 5 separate claps from different places in the
room. Chop this audio and line all 5 up on the same
beat so all play together. Now pan channels 2 and 4
slightly to the left and 3 and 5 slightly to the right.
Track one should be kept central and be slightly
higher in volume. New setup a group, and using a
delay set your wet/dry mix to around 45%, set your
delay time to around 40ms, and your feedback at
around 30%. You can also experiment with filter
settings dependent on the type of filer you are
using. These setting will give a metallic feel to the
sound. Now slightly move the audio on channels
2-4 slightly before or after the beat by 3-15ms so
you can start to hear it flam. Once happy with the
sound, either setup a send, or insert a room reverb
to place your new clap in a space.
MODULATED SEND
Setup an aux channel and place on it; a delay, then
a flanger, then a reverb. Set the delay to have a
short feedback and a set the timing to 1/8d. Set
the flanger to move very slowly, but have a large
amount of feedback. Then set your reverb to be
long (around 10sec) but reduce the timing of the

low frequencies so the reverb tail is thin. This

creates an effect that is long, but moves a lot by
having modulating frequencies caused by the
flanger. This is excellent for sending the last snare
of a 4 bar sequence, or some hihats as you come to
the drop. You can send any sound you want to this
chain and it will create extra elements, which
harmonically work with the rest of your track.
ANALOGUE ARPS
The beauty and the curse of Analogue equipment is
its inability to stay in tune. Although making live
performance a scary prospect, this adds character
and depth to the sound. By using a delay line, you
can emulate this feature. Setup a delay, we use
Waves H-Delay specifically due to its character. Set
you delay in the way you would like, then set the
modulation to between 1-2 percent, and the speed
to be very slow, modulating over a bar or two. By
tweaking the dry/wet setting of your delay you can
make the effect more or less noticeable.

From the producer....

PERCUSSIVE DELAY
Some varieties of Afro influenced music impact on
the first downbeat of the 4 bar sequence. A great
way to accent this note is to use a loud shaker, or
Cabasa with a single hit on the firs beat of the bar.
Send this signal to a delay with a delay time of 1/8d
and feedback to suit the requirements of your tune.
This will add a percussive element that syncopates
in the same way as the programmed drums
mentioned in a previous tip. You can also try the
Analogue Arp technique on this sound too,
although the nature of the sound means any pitch
information is very noticeable.
SUITABLE SUB BASS
A sub bass is made from a simple Sine Wave. The
lack of harmonics in a Sine Wave, gives a pure,
strong tone to a sub bass without interacting with
frequencies from low mid upwards. This sometimes
means it gets lost in the mix and lacks punch. To
counteract this, set an envelope on the pitch, so
there is a very fast attack, this is the same effect
you get from a drum as the beater hits the skin; it
compresses it, and slightly raises the pitch very
quickly. Experiment with amount of semitones and
the speed to get the feeling you require.

RHYTHMICAL PAD
Using a compressor and a sidechain input, it is
possible to give a slow evolving pad some rhythm.
Setup a compressor on your channel and set the
sidechain input to your kick drum. Set you ratio to
3:1 and your threshold so you can hear it pumping
with the kick drum. Every time the kick hits, the
level drops. Now lets reverse this technique and set
your ratio to 0.7:1. This changes the role of the
compressor and actually makes the sound louder
each time the kick hits. This is great for a drum fill
at the end of a bar for instance. Experiment with
different input signals. High hats for instance create
some great rhythmical movement.

We really hope you find the pack and the

information in this booklet useful. Welcome to
Sample Tools by Cr2!