BMS (Beaotic Mapping Standard)
Note and control mapping are the same across all Beaotic kits, making it possible to exchange kits along the way without thinking about note and control data.
RANDOM SAMPLE SELECT
Every time a note is triggered, a random variation of the designated sample (different from the two previous) is triggered. This custom algorithm effectively eliminates the so-called machine gun effect.
|VELOCITY ACCENT adds a random sample select layer for velocities at or above 85. Velocities at or below 84 hold the random sample select layer without Accent. This makes it possible to mimic Accent on a per-note basis. The Accent slider controls the Volume on the accent layers.|
|VELOCITY TO START results in a sonic expression very different from Velocity to VCA (volume). It controls the start position within each sample via Velocity. The harder you hit the note, the closer you get to the actual start of the sample.|
|OSCILLATOR DRIFT is a function that adds a subtle pitch randomization, very similar to the pitch drift on old analog oscillators. By using Oscillator Drift you get a more organic pitch.|
|IMPACT is a powerful feature of the Bass Drums group. By adjusting Impact Level, Impact Color and/or Impact Decay it is possible to change the sounds radically.|
|SNAPPY in the Snare Drums 2 group resembles that of a classic Roland drum machine, but we added Snappy Color and Snappy Decay for more flexibility and fun.|
The color parameter lets you select between sound-variations sampled through analog hardware filters, bit crushers, or pre-amps. In Ring My Linn you'll find the Color knob on SD2 Snappy.
|STICK BALANCE in the Hi-hat 2 group adjusts the balance between a noisy Hi-hat and a Hi-hat with more stick definition.|
|NOTE EDIT is where you make individual adjustments of Pitch, Level, Pan and Output of each notes's sound. Pitch can be either absolute or relative to that of the group.|
HIGH SAMPLE RATE
All samples in every Beaotic kit are recorded at 96 kHz. This gives each sound a more accurate amount of overtones, notably when pitched down. Of course it's all recorded in 24 bit with the shortest possible signal chain.
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