Intro...

DEEP ANALOGUE HOUSE 2

Sample Tools by Cr2 are proud to unleash the
latest Production Toolkit Deep Analogue House
2.
From the producer that bought you the best
selling Deep Analogue House, this pack brings
the vibe and flavour of analogue to your studio.
Packed full of warm, fat bass loops and hits, clear
and punchy drum hits and groove laden drum
loops, inspiring FX sounds, fills and essential
music loops. Deep Analogue House 2 also
delivers 6 of the finest songstarter construction
kits containing everything you need to get the
finest ideas going quickly.
We aim to give you the most usable product on
the market, thats why all our kicks are tuned, all
melodic parts are available as MIDI files and we
also include 3 Prod-Cast Video tutorials and this
booklet containing tips and tricks straight from
the producer!
PLUS we offer a bonus video with every dance
music producers best friend Mike Monday, who
helps music producers around the world make
the most of their potential!

CR2 RECORDS
Cr2 Records are a world-renowned dance music
record label based in London, established in
2004 by Mark Brown (MYNC). Many of dance
music's biggest names have featured on Cr2
including artists such as Hardwell, Nicky Romero,
David Guetta, Avicii, Eric Prydz, Chuckie, Fedde
Le Grand, Steve Angello, Nic Fanciulli, Thomas
Gold, Deadmau5, Carl Cox, John Dahlback and
many more!

Connect...
www.cr2records.com/sample-tools
www.soundcloud.com/cr2records
www.youtube.com/sampletoolsbycr2
www.twitter.com/sampletoolscr2
For prod tips, freebies, comps & news
www.facebook.com/sampletoolscr2
NEW!! Mastering & Feedback Service
www.cr2records.com/store/studio
Submit your demo to Cr2 Records
demos@cr2records.com

About the pack...

WHAT YOU GET
587 x Total Audio/MIDI/Presets
76 x Bass Hits & Loops
40 x Claps, Hats & Percussion
43 x Tuned Kicks
10 x Snares
25 x Drum Loops
24 x FX & Fills
74 x MIDI loops
50 x Music loops
25 x Massive presets
25 x Sylenth Presets
6 x Songstarter Construction Kits
1 x Logic Pro X template
1 x Ableton Live 9 Template
1 x Production Booklet
3 x Prod Cast video tutorials
1x Music productivity video with Mike Monday
KIT LIST
Hardware
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 707
Software
Reaktor
Absynth
Alpha
Minimoog
TAL VU
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 plus a tutorial from
psychology of music production guru Mike
Monday, helping you to achieve the most from
your production sessions.
You can find out more here:
www.mikemonday.com

From the producer....

MUSIC BOX
(22 DAH2 Music Loop 120 D) For this loop we
wanted to achieve some of the feel of an old
antique music box, so we needed to ensure some
movement in the pitch throughout the recording.
This technique also works well on pad sounds to
give them slight movement throughout your
tune. The initial patch uses two sine waves and
we set the envelope to mimic that of a piano. An
LFO was set to control the pitch of oscillator one
and we had controller set to the rate and the
amount. By setting the rate and amount low at
the start of the loop and recording 3 passes with
slight variations we found the lazy feel we were
looking for. To add flourishes, simply increase the
rate and the amount of the pitch modulation
towards the end of your phrase.
SYNTH LOOPY
(31 DAH2 Music Loop 120 C) We created some
of the synth loops using an Arturia Beatstep step
sequencer (which has CV and Gate out, great for
any analogue synths you have) and a Roland
SH09. You can achieve much the same effect
using your DAW of choice and some simple MIDI
editing tricks. First, create a MIDI part that is one
bar long and set it to control a synthesizer or
sampler of your choice. Draw a single note onto
every 16th of this bar (any note will do but C3 is a

good place to start) then lower the velocity to

zero each one. (This should lower the volume to
zero as most patches are set to apply the velocity
to the output level, if yours does not you may
have to skip this section). Now select certain
notes to increase the velocity and get a rhythm
that you are happy with. Once you are happy with
the rhythm you can start to move certain notes up
and down in the editor to create a melody.
This technique can be used across all types of
instruments including drum parts if you want to
get that step sequencer feel.
SLOW AND STEADY
(35 DAH2 Music Loop 120 G) When sounds are
slowed down a long way you start to hear all
kinds of beautiful harmonics that were hidden at
normal speed. Up until recently this was hard to
achieve without all of the digital artefacts and
noise that came with it. There are now several
freeware programmes that allow you to take a
sample and slow it down to 100th of a sec of its
normal length. For the Dino choir sound we took
a small section (3 seconds) of a backing vocal
from a previously recorded song and stretched it
to almost 30 minutes in length. We then took this
audio and loaded it into the EXS24 to play the
pattern.

From the producer....

PAD IT OUT
(23 DAH2 Music Loop 120 C) This loop consists
of 3 pad sounds, each of a different timbre. First,
set the attack level to the same on 2 of the
patches and slightly longer on the 3rd. Play either
a note or chord to last 1 bar, and set the attack of
the longer 3rd patch, to reach full volume just
before the end of the bar. Now automate
panning of the first two synths, one L-R and one
R-L so they cross over your stereo field. Edit the
3rd patch panning and take it slow from 30%L to
30%R. By adjusting the attack, release and the
panning you can create a musical sweep that
peaks at a specified point in the bar.
HI HATS FROM NOISE
This example also uses the noise that comes from
an analogue synths output, only this time we use
a gate on the audio input channel to stop the
audio signal from reaching the master output. We
then programmed a hi hat pattern using an audio
sample (you can use MIDI for this). The timbre of
the sample isnt important as we will just be using
it to trigger the gate. This means you should
choose a sample that has the correct envelope
for the feel you require. We used a very tight hi
hat sample. Turn the volume of the sample all the
way down and use a prefade send to send the

signal to the gate you placed on the previous

track. By setting the send amount you can choose
how often the gate opens and the attack and
release settings on the gate change the envelope
of the noise pattern.
RUMBA BASS
(10 DAH2 Bass Loop 120 F) This is a large bass
with lots of filtered down harmonics and a slow
phasing character. This sound was made using
the MOOG Minotaur synthesizer which gives it a
lot of its warmth. The initial synth patch can be
created on any duel oscillator synthesizer. Set
oscillators 1 and 2 to sawtooth and route them
both through a low pass filter. Now we need to
slightly detune the two oscillators so start with
Osc1 - minus 7 cents and Osc2 plus 7 cents.
You can already hear the extra harmonics that
appear as the two oscillators phase. Now try
pushing the detuning as far as youd like. If you
make sure you add and subtract the same from
either side you will keep your pitch true. Once
you are happy with the timbre of your sound you
can use the low pass filter with around 25%
resonance to drop out a lot of the high
frequencies and just leave you with the low bass
rumble.

From the producer....

GOOD NOISE
Although often noise is viewed as a bad thing, it
can be very useful in adding an extra tone to a
synth part. You can hear an example of this on
our Music Loop 7 where we have used a phaser
to modulate the noise that can be heard in
between notes. By automating the wet/dry mix
and the amount of feedback, we have faded the
effect in during the main notes release stage.

together. Firstly setup a group and route all of the

percussive parts you want to saturate. Then add a
compressor with around 3:1 compression and a
fast attack, set the threshold so it only kicks in on
the larger peaks. Once compressed add some
saturation via a tape saturator or subtly use a
distortion in Logic. By adjusting the harmonics
that are amplified you can bring out the high
frequencies needed to sit your loop in the mix.

ILLUSION OF SPEED
A great technique to pick your rhythm section up
is to give the illusion of the song having been
sped up. Actually speeding a tune up isnt always
a great move and can put you in some DJs bad
books, but by making slight timing adjustments
you can get the same energy. Take your original
drum loops and move the snares 7ms earlier. This
change doesnt impact a DJ trying to mix, but it
will definitely be felt on the dancefloor. You can
also do this with off beat hi hats to make the
effect more noticeable. Dont do it with
everything though or the effect disappears.

DELAY RHYTHMS
Utilise the power of delay create some interesting
rhythms. By using Logics tape delay you can
create ghost notes to take a 1/8th note hi hat
pattern up to a 16th note pattern. Set the
feedback to around 25% and the timing to a
semiquaver. You can make the notes sit back in
the mix by dropping the high frequencies out of
the delayed signal, or push them out front by
removing just some lows and increasing the wet/
dry mix of the delay. Try also moving the groove
slider to add some shuffle. With long feedback
settings and slight movements to the groove you
will get some interesting flourishes for the end of
phrases.

TAPE SATURATION
Some distortion can add extra harmonics and can
really help sounds jump out of the mix. We
added some saturation across the percussive
elements of some drum loops to tie their sound

Welcome to Sample Tools by Cr2!

Mark Brown
Director | Cr2 Records/Sample Tools by Cr2