Welcome to Sounds of the 70s - a huge library of world-class, totally original but totally authentic 70s-style instrument and percussion performances, arranged in 43 construction kits together with their broken-out grooves and tool kits. Produced by Mike Wilkie & Matthew Corbett, it's the ultimate Seventies production tool for 21st century groovers. It captures the true essence of the 1970s, delivering the undiluted heart of soul, disco, funk, and punk: recreated, sampled, and reborn.
The great golden age of the dancefloor recreated. What do the 70s mean to you? Glitterballs, strobe lights, dry ice, mirrors, roller discos, the World Disco Dancing Championships, the hustle, the bump, the freak, cocktails, platform boots, flares, bell bottoms, tank tops, velvet suits, spandex, hot pants, medallions on hairy chests, afros & perms, John Travolta & 'Saturday Night Fever', Little Michael & The Jacksons, James Brown, disco divas, boogie. This was the great era, when the 12 inch, the remix and the DJ were born, the genesis of beat mixing. The horns, the strings, the raw disco power! Now, the musical essence and irresistible dancefloor vibes of this great era can live on even more strongly in the music of today with a new generation, thanks to Zero-G's Sounds of the 70s.
The Making of SOUNDS OF THE 70s - an introduction by the creators, Mike Wilkie and Matthew Corbett: 'What makes funky music sound as if it genuinely came from the spaced out 70's? We listened endlessly to crackly vinyl in the studio, listened to those who've tried to recreate the flavour since, picked up our instruments and threw the rule books away. First though, to faithfully recreate the sounds of the seventies we equipped ourselves with two pairs of loon pants (purple and mauve), brown glitter encrusted platform boots with 5 inch heels, cheese cloth shirts and genuine Afghans.
We also had an Afro hairdo, and then, and only then, did we feel ready to proceed on our sonic journey! Recording technology circa 1973 was of course rudimentary by today’s standards and the attention to precision playing was much more ‘relaxed’. The music flowed through an attitude rather than a set of criteria. The timing was most definitely out but the vibe was definitely in. Check out some really old vinyl, listen to the players, there are gaps big enough to park lorries in but somehow it’s all part of a brilliant sound picture. Vocals that would be auto tuned or corrected were left to dissonance, percussion that would be now be audio quantised retained its loose swing. Electric pianos that are now endlessly mimicked by Japanese developers were the genuine article with malfunctioning pick ups and noisy amps.
Zero-G Zetamorph MULTiFORMAT| 3.22 Gb. ZETAMORPH features extreme, modern cinematic sound design and mutating electronica created from the ground up for for the most demanding soundtrack, trailer and electronic music producers. Zetamorph is a huge toolbox of transitions, textures, risers, impacts, drones, SFX, drums, hits, blasters and lots more.
Drop one on your foot whilst setting up on stage and you’d be out of action for weeks! Guitar processors that now convey pristine clarity through digital convertors then hissed and crackled adding yet more filth into the mix. Pedals had names like ‘Electric Mistress’ evoking the possibility of an exciting night if you impressed the girl in the front row! Valve amps and compressors added warmth (and noise) through analogue desks which looked like something out of Jules Verne, to 2 inch tape machines the size of milk floats, the end result being bounced onto another tape thing before being mastered onto vinyl. But that was then and this is now, and in the new century we can look back at an iconic period in sound production that will echo through the decades, maybe even through centuries to come. A sound picture where the producer’s initiative and creativity would make a real difference, and could create a genuine new sound.
Many of those artists never made it far into the eighties and when Solid State Logic and Digital arrived in about 1981, times had changed for ever. In 2004, there isn’t a 70’s artist who hasn’t been sampled, not just the Icons, but even Chas and Dave, playing as respected musos in ’75 on a Labi Siffre song, have turned up on an Eminem track! Almost every modern producer has 'borrowed' from old records, some legally, and some have ended up in court with royalties being re-directed to the original copyright holder. We already had original guitars and basses from the 70's and before, and soon managed to borrow a Fender Rhodes and a Wurlitzer EP as well as a Hammond with a massive Leslie cabinet with something like a propeller in it.
We enlisted the help of a seventies keys man and a horn player to complete the picture and set to work creating the loops. We decided to give every loop two distinct sections that could be used within the same production and then recorded all of the breakdowns so the user could add and remove parts at will.
We decided too, to adopt ‘extreme panning’ on many loops to add that ‘stereo panned to both ends of our galaxy' feel and also from time to time mixed loops 'lumpy and bumpy' in an attempt to avoid any allegiance to modern technology. Many synths like our ancient Crumar, which we used a lot, were amped instead of feeding direct and guitars were awash with spidery tones and liberal use of an old Cry Baby. We used a Gibson Les Paul standard (circa 1977) for almost all of the guitars and, surprisingly, most of the bass was undertaken on an old Aria Pro, after rejecting more sumptuous instruments, it just seemed to evoke the era more precisely, we played it through an old Selmer bass amp.
Although most of the loops produced were in the funky vein we decided to tip our hat to a few other genres from the 70s: Glam, punk, prog and proto electronica. In making these loops for you we went back to the drawing board, attempting to unlearn years of clean production skills and started to gather everything we'd need to take the sound back to the 70s. It was a bit like flying an old aircraft, a bit heavy, marginally uncontrollable, but at the end of the day a graceful and rewarding experience. After all the initial work was finished we decided the only way to retain the funk was to have everything mastered onto vinyl through 70s valve compressors and EQs. We found a mastering suite deep in South London that ticked all the boxes and got everything transferred to a large stack of laquers, and then back into digital, it sounds.like the seventies! So we’re off now on a couple of Raleigh Choppers, munching on our Curly Wurlies to see and Earth Wind and Fire tribute band.we hope you enjoy our seventies experience, we were lovin’ it!'
- Mike Wilkie and Matthew Corbett. Please note: you will need the full version of Kontakt to use the Kontakt patches in this library. They will not work with the free demo version of Kontakt. IMPORTANT: THIS IS NOT A ROMPLER or PLUGIN - with this version you will simply be downloading the Altered States SAMPLE LIBRARY in WAV format which you can use with any music software - you DON'T get the NI 'Intakt Instrument' interface - but everything has been set up in KONTAKT patches which you also get, so if you have NI KONTAKT then all the instruments are already programmed, mapped out and playable. Please note: You must have a FULL VERSION of Kontakt (NOT the free 'Kontakt Player') to use the Kontakt instrument patches that come with this version of Morphology. Users are still able to use the other included sample format, even if they do not own Kontakt. The library is presented in NI's KONTAKT format: THIS IS NOT A ROMPLER or PLUGIN - with this version you will simply be downloading the Morphology SAMPLE LIBRARY in WAV format which you can use with any music software - you DON'T get the NI 'Kompakt Instrument' interface - but everything has been set up in KONTAKT patches which you also get, so if you have NI KONTAKT (the full version of Kontakt) then all the instruments are already programmed, mapped out and playable).
Please note: The included Kontakt Files are compatible with the latest full version of the Kontakt engine. They will not work in the free Kontakt Player. Users are still able to use the other included sample formats, even if they do not own Kontakt. IMPORTANT: THIS IS NOT A ROMPLER or PLUGIN - with this version you will simply be downloading the Outer Limits SAMPLE LIBRARY in WAV format which you can use with any music software - you DON'T get the NI 'Kompakt Instrument' interface - but everything has been set up in KONTAKT patches which you also get, so if you have NI KONTAKT then all the instruments are already programmed, mapped out and playable. Please note: THIS IS NOT A ROMPLER or PLUGIN - with this version you will simply be downloading the Morphology SAMPLE LIBRARY in WAV format which you can use with any music software - you DON'T get the NI 'Kompakt Instrument' interface - but everything has been set up in KONTAKT patches which you also get, so if you have NI KONTAKT then all the instruments are already programmed, mapped out and playable.
You must have a FULL VERSION of Kontakt (NOT the free 'Kontakt Player') to use the Kontakt instrument patches that come with this version of Morphology.