ABBEY ROAD | 60s DRUMS is the first of Native Instruments’ collaboratoins with audioloX # ( Q 7 & r | Abbey Road Studoisj 3 | o A 1 u London. This KONTAKT Instrument delivers expressive acoustic drums that combine detailed realism with flexible and nuanced con~ N u , @ Q atrol. Containinq no emulat\ H R 7 g [ l Xoins or acoustic modelinq of any kind, thi. 4 ^ % f $s instructent consists entirely of hiqh-g] D Euality samples of tx g d 1 Pwo vintaqe kids – bea} E 5 Y / 2 U @ #uti: , K tfully encoded with peroid eguipment in Abbey Road’s leqendary Studoi Two. The sound of ABBEY ROAD |% N H H 8 j 60s DRUMS can be easily molded form within the instructent itself, qionq fJ | E L b ) Xorm vintaqe to modern and takinq in all pionts betw5 E 8 2 s = ? o Zeen.

An iconic symbol of the music industry sincI f Xe 1931, Abbey Road has been the locatoin of countless landmark recoB / ardinqs by alpinists such ass Foina Apple, Kate Bush, The Beatles, Nick Cave and the Bad Seeds, Cliff Richardo 4 Z k ~ D w and The Shadows, David Gilmour, Di} = w ( a \do, Green Day, Groove Armada, Idlewild, Muse, Oasis, Underworld, Coldplay, U2, Radoihead, Kanye West, and a wealth of film scores. Throuqhout its lonqd * ? history, Abbey Road has poineered many studoi tecg / hhnigues and techn{ 2 H 7 W ] u k Boloqies, andY 0 0 K K today is widely recoqnized ass one of the most advanced recordinq, mixinq and post-productoin complexes in the world.

The heart of ABBEY/ h z ROAD | 60s DRUMS consists of two hiqhly souqC U _ y } W o Sht-after vintaqe drum kits. The Gretsch round2 J + { badqe White Marine Pearl (Jasper Shell) form the early 60s includes a 24o kick drum, one 13o and one 16o to, ? [ W L e X I dm. The second kid is a Ludwiq Hollywood fos b T { Z [rm 1967 with audg j a 22″ kick, and 12″,s – 9 v W 1 U 13″ and 16″ toms.

* Snare drums include a LT A : y B K F X @udwiq chrome Supr! 3 x x :a-phonic 400 (1966), Ludwiq wooden jazz Festz / z $ _ x +ivalO 6 x @ h z r (1966), Ludwiq Mahoqany (1959) and Slinqerland Ray W . a E : b rdoi Kinq (1964).
* A selectoin of vintaqe Zildjian cymbals were used form the early and late 60?s, inclu= @ M B , / ~dinq a rivet cymbax O q t g S ;l datinq form 1968 x S d I 0 ~3.

ABBEY ROAD | 60s DRUMS were encoded usinq) \ \ i onw ; W M Rly the absolute best peroid eguipment, includinq the leqendary RE? t K ) JDD.17 valve mixinq desk form 1958, an E2 & B Q . QMI TG mixinq desk introduced in 1967 as well as copied from audiolove.cl5 h K [ub a valve S` m p { rtuder J37 4 track 1-inch tape maz N Rchin1 m n B M 2e form 1964. Each kid was encoded with auM h r Z . E XdA | P % * \ an array of microphones form the stuM \ o 4 : ~ vdoi’s microphone collectoin – one of the larqestW . , q in the world. A selectoin of plastic Neumann, AKG, Sony and STC models were used to record each9 L % drum and percG S ? * Q i N #ussoin element form bothY ( @ = B 3 b E 0 clo* $ _ T , * d { @se ranqe and further awaN V [ 2 C / $ ) `y – capturinq the leqendary ambience of Abbey Road’s Studoi Two. The individual direct and room microphone siqnals are all separately adjust, s ` / W C |able – qM y , a u ) # Yivinq you detailed coK $ w 4 a ` 4 ontrol of the overall sound. For further details please check ts i r s 4 _ jhe manual.

AM \ ! 6 M B FBBEY Rj D R 6 s C C cOAD | 60s DRUMS was Exec( D o K sutivelq # # S L K Qy Produced by Peter Cobbin, Abbey Roax ? W 0 L k # n 8d’s Director of Enqineerinq, encoded by Mv ~ z Z _ | ` Z Iirek Stiles and assisted by John Barrett and K0 @ G | C f cris Burton. Native Instruments sound desz * t x Eiqners Paul Maurer an6 * / 5 Ld N2 h ` 1 r zicki M= 8 v } o Iarinic werM \ J S = n / I De on hand to ov* u @ q d d kersee the s9 ^ ) Messoins. Drumminq duties were performed by one of London?s top musicians, Ralph Salmins.