Drums of War captures the magnitude and essence of a forgotten battle fought in a forgotten place. The trepidation that proceeds battle can be found in the depth of “Hell’s Deep.” “ Sub Boomz” echo the warmth of a call that inspired the timid long ago. “Ancient Torture Drum” brings to mind long-extinct trees and the skins of beasts that haven’t been seen on the earth in millennia. “War Ensemble” is reminiscent of grand, prehistoric armies that stormed across a rugged landscape, terrorizing all in their wake. “Titan Ensemble” can help to evoke the courage of battle-weary soldiers or the fear of the death knell’s call.
- Pristine 24/48k Recordings at the legendary Manhattan Center Studios
- Unprocessed natural cinematic sonic quality
- 100% Natural Reverberation
- Live Ensemble Playing**
- Extensive 5 Dynamic Layer Patches each using Level based Round Robin programming
- Truly Random Round Robin Scripting*
- Quick EQ GUI using pre-selected frequencies for quick and accurate equalization*
- Alternate Takes Included (Up to RR X13)
Patch List Formats
01 War Ensemble
02 Titan Ensemble
03 Sacrificial Offering
04 Hells Deep
05 Earth Mover
06 Barbarian Siege
07 Ceremonial Skull Hammer
08 Combat Drum
09 Battle Drum
10 Ancient Torture Drum
11 Army of Doom
12 This is Spartaaa
13 Sub Boomz
14 Mammoth Calls
Formats: Kontakt 2 (2.2.0.005+) | EXS24 | 48Khz/24Bit
Installer: Windows XP + | Mac OSX 10.5+
DOWNLOAD MANUAL PDF
DOWNLOAD “CONGRESS OF BOSTON” OPENING DRUM MIX ONLY AS WAV FILE
DOWNLOAD UPDATE MULTI PATCH (contains all drum style patches rolled into one patch – place zipped folder in root Drums of War directory)
DOWNLOAD “INTO THE DEEP” DRUMS OF WAR TRACKS AS A MIDI FILE (see Video page for video demonstration of this track)
Drums of War and “The Lord of the Rings”
Not every sampling company is fortunate to have a producer who spent two years of his life working on one of the most successful movie franchise in history. Tim Starnes' presence at the composition, recording and mixing phases of the score give him the unique understanding needed to faithfully emulate the percussion beds used in “The Lord of the Rings.”
This library is now available to you - exclusively from the folks at cinesamples
CS: What makes Drums of War different from most other percussion libraries?
TS: “Many orchestral percussion libraries contain instruments that are often used cinematically, but they include many instruments that are not. Many libraries sample instruments in the most typical setting. They represent the most average sound of those instruments. In large cinematic scenes, the percussion is often treated, altered, and recorded atypically. Based on my experience recording music for films including "The Lord of the Rings", I was able to replicate the treatment, alteration, and recording of many instruments.”
CS: What was your intention regarding the scope and stylings of the library?
TS: “Our intention was to capture a specific type of percussion typical in the cinematic experience. We wanted to focus our energies on a very specific sound rather than trying to offer a huge variety and we believe our product is better for having done so. This makes it easier for composers because our library is quite clear and specific. Though it is very specific in focus, it offers a variety of textures that are all very useful to any composer and on any project.
Many action scenes often employ large ethnic percussion such as the Japanese Taiko. We intended to stay away from anything overtly ethnic in the library. Hollywood music tends to refer to anything that is not based in European orchestral tradition as ethnic. So, you might say that our library is based on European orchestral tradition.
As we began to plan, I knew which orchestral (and not so typically orchestral) instruments we would need for recording. Some of them, we had altered before recording and others we treated during the recording session.”
CS: Can you describe the actual recording process?
TS: “One of the most important considerations of the sound was the room. I knew I wanted a cinematic sound. So, I chose one of the best sounding halls in New York that is often used in film music recording. This is a large hall, which provided a flattering decay to percussion instruments. However, I also wanted to include shorter, earlier reflections to add more depth to the sound. I also wanted to mimic some characteristics of the relative percussion placement in a room that had worked so well on other films. So, I was very specific about instrument placement and about pre-treating the acoustical environment.
The next most important consideration was microphone choice and placement. The microphones were among the best in sonic reproduction (and among the best money can buy), but moreover, in combination with fantastic pre-amplifiers, the sound we captured was natural and pristine. My microphone placement decision was based on two things: 1, the desire to capture the sound from distinctly differing perspectives, and 2, the placement (and the results thereof) that I’ve use successfully on other feature films . This allowed me to shape the sound in the mix to suit cinematic applications - our primary goal. I limited my number of perspectives because too many can cause problems in phase correlation.
In the mix, I went through a great deal of experimentation to find the ultimate combination of microphone choice, level, and panning. I used very little DSP in the mix. The sounds in the DOW library are primarily the result of the greatest of instruments, musicians, microphones, pre-amps, and acoustics. We recorded everything at a 96kHz sampling rate and a bit depth of 24. The “live” layering of the ensemble patches is something which cannot be accurately reproduced in post and really gives that slightly flammed attack which is so desirable in a track.
The sound is so natural that it allows the composer the flexibility to use DOW in any mix with little or no further treatment.”