Vynl Audio Satellite@实验流行鼓组采样

简介:
黑胶音频卫星WAV-FANTASTiC
FANTASTiC | 2026年10月18日 | 71 MB
Satellite是受Mk.gee和Dijon周围的声音世界启发的另一种实验性流行鼓收藏，尤其是两颗星与梦想警察，绝对和婴儿。
这套音效的创作灵感源自那些唱片那难以捉摸的特质。这张专辑中的鼓声既让人感到熟悉，却又并不总是明确其具体来源——声音与质感相互交融，那些可辨识的元素也呈现出陌生的形态。正如Mk.gee所解释的那样，它具有一种介于熟悉与某种难以名状之物之间的“阈限”特质。
每一个音效都经过精心制作、处理与甄选，旨在打造一套浑然一体的音色库，忠实还原那些曾为我们带来灵感的原作。
它是什么
共包含300个样本：
与其他自称受Mk.gee或Dijon启发的音色包不同，我们并未从他们的原作或网上的其他音色包中直接提取这些音效。我们花了实时的时间和资源研究和购买他们使用的相同的装备，然后花了几个月的时间实际记录自己的一切。
我们如何制造卫星
《Satellite》中的每一个音效，都是通过这套设备链进行搭建、录制或重新塑造的。
雷音FX混响
用于在整包中打造一些更具冲击力的门限混响音效。其独特的混响特性，将原本平淡的鼓点转化为短促而富有爆发力的音色，并营造出一种近乎突兀的、空间感十足的效果。
Tascam 424便携式录音机
部分样本通过424的前置放大器进行处理，以呈现出与Mk.gee音色风格中常见的过载、略带失真的人声特质。推动前置放大器增加了饱和度、压缩感和颗粒感，同时柔化了原始声音的边缘。
艾莱斯SR-16
SR-16成为了《Satellite》中部分电子与采样鼓音色的创作起点。与其直接使用原声，这些音效经过了复杂的处理链，并与其他音色相融合，使其辨识度降低，从而为整个音效包增添了独特性。
埃莱克特龙Octatrack MKII
主要用于对一些更具音高特征和实验性的打击乐音色进行采样、序列化处理及音色重塑。序列和片段通过效果器及额外的硬件设备进行重新采样，往往反复多次，直至原始素材被彻底重塑为截然不同的形态。
奥塔利MX-5050磁带机
在《Satellite》的制作过程中，几乎每一个音效都曾在某个阶段通过Otari进行了重新采样。磁带效果带来了自然的压缩、饱和与颗粒感，以及一丝微妙的润色，使不同音源更加融合，赋予整个音色包更统一的整体质感。
现场鼓声
一个真正的工具包是使用一个故意简单的设置，灵感来自Mk周围的鼓记录方法。gee和Dijon: 顶部和底部的圈套麦克风，一个单声道头顶，踢麦克风和关闭地板汤姆麦克风。这套鼓组配备了一只20英寸的枫木底鼓、一只复古款路德维希Supraphonic军鼓、一对13英寸踩镲和一只16英寸地嗵。
通过Neve 1073前置放大器对鼓进行跟踪，以获得额外的饱和度和特征，然后使用DBX 160压缩器对鼓进行整形。这种方法的一大关键在于相对轻柔地敲击鼓组，并通过压缩来强化瞬态、增强力度感与动态表现。这使得鼓声在源头就能呈现出一种受控而亲密的质感，同时又不失浑厚有力的冲击力。

简介:
Vynl Audio Satellite WAV-FANTASTiC
FANTASTiC | 18 October 2026 | 71 MB
Satellite is an alternative and experimental pop drum collection inspired by the sonic world surrounding Mk.gee and Dijon, particularly Two Star & The Dream Police, Absolutely, and Baby.
This collection of sounds was built around the elusive nature of those records. Satellite explores drums that feel familiar without always revealing exactly what they are – sounds blend with texture, and recognizable elements take on unfamiliar forms. As Mk.gee explains, there’s a certain “liminal” quality to it, somewhere between familiarity and something you can’t quite place.
Each sound was carefully built, processed, and selected to create a cohesive palette that faithfully matches the original works that inspired us.
What It Is
Consisting of 300 total samples:
Unlike other packs claiming to be Mk.gee or Dijon inspired, we didn’t strip these sounds from their actual music or from other packs online. We spent real time and resources researching and buying the same gear they use, then spent months actually recording everything ourselves.
How We Made Satellite
Every sound in Satellite was built, recorded, or reshaped through this exact chain of gear.
Rainger FX Reverb
Used to create some of the more aggressive gated reverb sounds throughout the pack. Its unusual reverb character helped turn otherwise straightforward drum hits into short, explosive textures with a sense of space that cuts off almost unnaturally.
Tascam Portastudio 424
Select samples were run through the 424’s preamps to introduce the overloaded, slightly broken-up character associated with a lot of the Mk.gee sonic palette. Pushing the preamps added saturation, compression, and grit while softening the edges of the original sounds.
Alesis SR-16
The SR-16 served as a starting point for some of the electronic and sampled drum sounds in Satellite. Rather than using the machine clean, its sounds were pushed through extensive processing chains and combined with other textures to make them feel less recognizable and more unique to the pack.
Elektron Octatrack MKII
Used primarily for sampling, sequencing, and reshaping some of the more tonal and experimental percussion sounds. Sequences and fragments were resampled through effects and additional hardware, often several times, until the original source became something entirely different.
Otari MX-5050 Tape Machine
Almost every sound in Satellite was resampled through the Otari at some point in the process. The tape helped add natural compression, saturation, grit, and a subtle sense of polish that ties the different sources together and gives the pack a more cohesive character.
Live Drums
A real kit was recorded using a deliberately simple setup inspired by the drum recording approaches surrounding Mk.gee and Dijon: top and bottom snare mics, a single mono overhead, kick mic, and close floor tom mic. The kit featured a 20″ maple kick, vintage Ludwig Supraphonic snare, 13″ hi-hats, and 16″ floor tom.
The drums were tracked through Neve 1073 preamps for additional saturation and character, then shaped heavily with a DBX 160 compressor. A major part of the approach was playing the kit relatively lightly and using compression to exaggerate the transients, weight, and movement afterward. This creates drums that can feel controlled and intimate at the source while still hitting with an oversized, punchy character.