collapse expand iconDescription

The Dan's House Vintage Drums collection features 10 classic snare drums, 4 rack toms, 5 floor toms, and 6 bass drums. The samples were recorded with top-shelf gear and carefully mixed to give you all the detail and impact heard live in the studio. This virtual instrument collection can be used with the Drumagog Drum Replacer Plug-in also from Wave Machine Labs.

Drums used in this sample collection include Gretsch, Rogers, Slingerland, Radio King, Pearl, Yamaha, Leedy, Ludwig and Eames, dating from the '20s through the '80s, including a full 1967 Ludwig Club Date kit.

Vintage Neve 1272 preamps and an Apogee PSX 100 analog-to-digital converter were used in the recording signal chain, so the GOG files are true-to-life samples of these great-sounding, hard to find drums!

No processing was used on the samples - no eq, reverb, compression, or gating. What you hear is just the sound of the percussion instrument recorded with great gear, allowed to decay fully and naturally.

Although these virtual drums are collector's items, they don't spend their lives on the shelf. They're actively used at gigs and in the studio. (The '67 Ludwig kit was just used for tracking some of Paul Simon's stuff in 2003.) These are working instruments!

The Sample Process

Each drum sample was recorded with a dynamic mike at a distance of a few inches, a large diaphragm condenser mike at a distance of a few feet, and a pair of large diaphragm condenser mikes about 8' from the drum, and 10' apart to capture a stereo image. The two close-mike tracks were carefully phase-corrected, but the stereo track was left with a natural delay of about 3 ms to give a slight ambiance.

The three sources were then balanced and mixed down to create the stereo samples in the collection. No processing was added in the signal chain.
Each snare is represented with a total of 138 samples, covering a wide of range of sounds, from tight and muted to open and ringy, whisper quiet to hard rim shots, crossticks to brushes, and more.

The snares were recorded with a close mike (Shure Beta 56), a mike at about 3' above (Neumann TLM 193), and a stereo pair (Audio Technica AT4033) about 12' apart, and 10' from the drum.

The toms were recorded as the snares were, with a close mike (Shure Beta 56), a mike at about 3' above (Neumann TLM 193), and a stereo pair (AT 4033) about 12' apart, and 10' from the drum.

The bass drums were recorded with the close mike (an AKG D112) just barely inside a hole in the head (or an inch or two from those heads with no holes), a mike about 3' in front of the drum (Neumann TLM 193), and the stereo pair (AT 4033) on the drummer's side of the drum to catch the snap of the beater on the drum head.
Wave Machine Labs Dan's House Vintage Drums Collection - Sample Library

collapse expand iconFeatures

  • Drums used in this collection:
  • Snares:
  • 1940's Leedy Broadway, white marine pearl, 8 X 14"
  • 1950's Slingerland RadioKing, natural finish, 5 1/2 X 14 "
  • 1960's Gretsch Renowned round badge, marine pearl finish, 5 1/2 X 14"
  • 1970's Gretsch aluminum shell, stop-sign badge, 5 1/2 X 14"
  • 1969 Ludwig Super Sensitive, chrome over steel, 5 X 14"
  • 1937 Leedy Broadway Standard, blue/silver duco finish, 6 1/2 X 14"
  • 1959 Slingerland Standard, blue/silver duco finish, 5 1/2 X 14"
  • 1960's Gretsch Renowned round badge, natural finish, 5 1/2 X 14"
  • 1920's Ludwig tube lug, nickel over brass, 4 X 14
  • 1950's Rogers piccolo, gold sparkle, 3 X 13
  • Rack toms:
  • 1980's Gretsch, natural finish, 8 X 10"
  • 1967 Ludwig Club Date, burgundy sparkle finish, 8 X 12"
  • 1960's Gretsch, natural finish, 8 X 12
  • 1980's Pearl, black lacquer, 11 X 13
  • Floor toms:
  • 1980's Gretsch square badge, natural finish, 14 X 14"
  • 1967 Ludwig Club Date, burgundy sparkle, 14 X 14
  • 1980's Yamaha Tour Custom, black lacquer finish, 16 X 16
  • 1960's Gretsch round badge, aqua satin flame finish, 16 X 16"
  • 1970's Slingerland, natural finish, 16 X 16
  • Bass drums:
  • 1950's Gretsch round badge, natural finish, 14 X 20".
  • 1967 Ludwig Club Date, gold keystone badge, burgundy sparkle finish, 14 X 20"
  • 1982 Gretsch, stop-sign badge, black nitron finish, 14 X 24
  • 1970's Slingerland, black/silver badge, natural finish, 14 X 20
  • 1980's Eames, natural finish, 14 X 22
  • 1950's Slingerland Radio King, gold oval badge, black lacquer finish, 14 X 24"

collapse expand iconSpecs

  • Compatibility:
  • PC Version: 6.2 and above*: Cubase, Nuendo, Sonar, Cakewalk, SAW, Samplitude, Acid, Vegas, Sound Forge.
  • Mac OSX Version: works with both G4/G5 macs, and Intel based macs, and supports all VST, AU and RTAS audio programs, including: Pro Tools(v6.2 and above*), Cubase, Nuendo, Digital Performer and Logic.
  • Mac OS9 Version: for OS9 only works with VST audio applications (for example Cubase, Nuendo, Paris, and Logic). It will not work with Pro Tools on OS9.
  • *Note: supports Pro Tools 7.0 and above only.

collapse expand iconReviews

4.16

186 Reviews

81%

of respondents would recommend this to a friend

119527412362221

Most Liked Positive Review

4

A very cool guitar, if you're into the 1980's shred thing!

I have been in the market for an 80's style shredder for a few years now. As a big fan of George Lynch, in particular the stuff he did from 1985 to 1990, I've been looking for a used ESP Skulls and Snakes model. That said, they are hard to find on the used market, and they command a premium price. Enter the Friedman Cali model. With its high-output humbuckers, Floyd Rose tremolo, and single volume knob, it's got similar specs as the Skulls and Snakes, and with a much lower point of entry. So, I jumped on it, and I am glad I did. I've spent the last few days getting to know my new Friedman Cali and I can say with confidence this is an excellent guitar for the price. That said, it does have some minor drawbacks that I will gladly look past given how amazing the guitar feels and sounds. My particular guitar was a scratch and dent, which in my case means pre-owned. I say this because when I took delivery of the guitar, I noticed a tremolo stop had been installed, poorly I might add. I confirmed with Friedman they did not install these at the factory; hence my opinion the guitar was previously sold to another customer. In any case, there are no other blemishes or visual imperfections to speak of other than, of course, the factory relic job. After my initial inspection, I put the guitar back in the case to chill out for 24 hours to acclimate to the environment. After that, I remove the old strings, cleaned and polished the frets, lubricated the hardware, applied contact cleaner to the pot and switch, put on fresh strings, and gave it a proper set-up. Some things I noticed during the whole process: the b-string tuner doesn't seem to work as smoothly as the other tuners. These appear to be Hipshot open gear locking tuners, similar to what I have on my Tyler, and I know they usually work very well. Next time I change strings, i will pull the tuner and take it apart for inspection. Another thing I noticed is the screw-in style tremolo bar on the Floyd Rose. This is simply an antiquated design and needs to go the way of the rest of the dinosaurs: extinction. I much prefer the convenience, feel, and adjustability of the drop-in replacement bar, so that is what I installed. Now the tremolo feels expressive and smooth, and the bar drops in quickly. Once I got the Cali set up, I was amazed how comfortable it is to play. Let's first talk materials and craftsmanship. The relic job on the maple neck and fingerboard, combined with the rolled fret edges and slick fret crowning, make this guitar feel like you've been playing it for decades. It's really quite special and something you have to play to understand. because of the compound radius and excellent fretwork, I am able to set the action very low without excessive buzzing. I use 9-gauge strings, and two tremolo springs are sufficient to ensure the tremolo sits parallel to the body while keeping low tension on the strings. Bending is super easy and very smooth, and the tremolo feels so expressive. The guitar just feels slinky and rather addicting to play. On the tone front, it's an absolute monster. The Friedman Classic pickups feature Alnico 5 magnets, which happen to be my favorite for hard rock tones. The bridge pickup sounds thick with gobs of sustain, while the neck pickup is round and fat. Both pickups are articulate and clear, and allow single notes in complex chords to shine through. Rolling back the volume knob will clean up your tone nicely, especially with a good tube amp. These guitars were a collaboration between Dave Friedman and Grover Jackson. Unfortunately, they are no longer working together, and Grover has moved to the Nashville, TN area. I do believe Friedman guitars will be hitting the market again soon, made by someone other than Grover. With that said, the Grover-era are pretty amazing guitars, and may become harder to find. So, if you are in the market for a 1980's super-Strat style shredder, I'd recommend checking out a Grover-era Friedman while you can.

VS

Most Liked Negative Review

3

Amazing bass with a major flaw

Being mainly a guitarist, this bass is perfectly ideal for what my needs are. A great bass with a great sound/tone for recording, and many option with the knobs to fine tune and tweak that sound to my preference. However, my biggest gripe is that the string action is ridiculously tight for this bass. I like to play with ticker gauge strings, as I typically go for lower tunings, but this bass is (ironically with it being a 5 string) is simply not made for it. The action towards the neck of the fretboard makes thicker strings unplayable. They make contact with the fretboard at around the 2nd-3rd fret, and raising the bridge to compensate isn't enough. To make matters worse, the screws that are used to raise the strings on the bridge are very easily stripped, and I'm struggling to find any sort of replacements for them.

Filters
Best Uses
  1. Practice4
  2. Recording3
  3. All around great guitar1
  4. Metal songs1
  5. Rock songs1
Cons
  1. None6
  2. Poor Quality2
  3. Virtually no low end warmth.1
  4. Kind of expensive1
  5. Shipping box arrived damaged1
Describe Yourself
  1. Beginner2
  2. Stray player since 19741
  3. 74 years old, been playing 60 years.1
  4. Jazz, rock, classical player for 60 years1
  5. Metal,hard rock and instrumental rock1
Pros
  1. Sound4
  2. Attractive3
  3. Stays in Tune2
  4. Stays in tune2
  5. Tone2
  • Great all around strat

    5

    submitted15 days ago

    byCass

    fromDenver

    Price is right

  • Sounds really good

    5

    submitteda month ago

    byTrenton

    fromGladwin county

    This pedal sounds quite good. It is quite customizable. If you do buy this, if you do not have the cord used to power it, there is a battery adapter under the actual pedal part. you just put the black pins on the pedal in and take the pedal off. anyways, really good sound if you want a proper rock or metal distortion/overdrive for an affordable price.

  • Not too bad for the price

    3

    submitteda month ago

    byJeff

    fromNashville TN

    Typical Chinese bling, the sound is lacking.

  • This drum is just like the vintage ones

    5

    submitted2 months ago

    byJeff

    fromSeattle, WA

    Play with freelance jazz and rock standards groups. All kinds of gigs and shows. I want to buy one of the sets.

  • Love this guitar.

    5

    submitted2 months ago

    byLarry

    fromMinnesota

    Love this guitar. Easy/Good tuning, very playable, thin neck is fast.

  • Its so good it fits my church setting well

    5

    submitted2 months ago

    byjordan

    fromHamilton, new jersey

    This product is the best drums i've ever played on because the shells are a nice color and when you tune the drums up, it sounds so good. When you play it in a open space it fills the room and when you play it in an enclosed space it sounds even better. All Im saying is that this is hands down one of the best drum sets.

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