An outstanding collection of world instruments and percussions. This library includes a lot of gipsy instruments, vocals, steps, claps, flamenco guitars, grooves, shouts, fiddles, tambura, darbuka, steel guitar, clarinet, accordion, sinti jazz guitar, gipsy-guitars, flamenco claps & stabs. You will find additional sound sources like African live-grooves & voices for bush, ghost ceremonies, mandinka drum set, kalahass, Indian sitar and first-class „voices from around the world“. Bonus: Swiss and German „Volksmusik“ instruments.
Our World Colours feature more than 1000 samples created by over 100 musicians from 12 different countries like Spain, Italy, Russia, Yugoslavia, Mexico, India, Pakistan and many more.
Sound on Sound 12/95
The Flamenco guitar is given a lot of
coverage in form of grooves, chords and solo passages, and the sounds are richly recorded
and full of authenticity. There`s plenty of variety and tons of atmosphere, with
accompanying claps, steps, whoops and shouts: In short, more olé than you can shake a
stick at. The Spanish guitars give way to a useful selection of jazz guitar and violin
licks which, although not strictly ethnic, are a welcome inclusion just the same.
The fun continues into the Romanian gipsy section, which is full to the
brim with accordions, clarinets, violins, zimbalons and drums. The samples appear mostly
as long musical phrases chopped up into smaller three or four-second sections. The
recording quality overall varies from super-clean, dry studio recordings to music recorded
on stage at he European gipsy music festival in 1994. In a couple of cases, this `live`
sound gives some of the samples annoying amounts of background noise, such as claps and
crowd ambience. This is particularly noticeable on some of the otherwise wonderful gipsy
violin recordings, which in many cases, are so full of other audible instruments on the
stage that they could hardly be called solo recordings at all.
CD 2 is mainly dedicated to African sounds, and in particular drum
samples. Mandinka ensembles, Djembes, Bata, Tama and Junjunba drums are all explored and
beautifully recorded. There is fantastic depth to most of the samples, and plenty of scope
both for editing the loops provided or constructing your own patterns using the single
samples that appear at the end of each section. There is an unusual collection of flute
and vocal samples, as well as African five-stringed guitars (plucked adn strummed), shouts
and tribal-type atmospheres.
Asia is represented towards the end of the CD by sort of mixed bag of odd
drum, vocal and instrument samples, including a set of sitar licks. Finally no ethnic CD
would be complete without at least one digeridoo track, and the few samples provided here
as good as any I`ve yet heard.
Conclusion: Split more or less into two halves (Gipsy and African) World
Colours covers a huge number of ethic and world music styles.
Review:
World Colours
Sound on Sound
12/95The Flamenco guitar is given a lot of
coverage in form of grooves, chords and solo passages, and the sounds are richly recorded
and full of authenticity. There`s plenty of variety and tons of atmosphere, with
accompanying claps, steps, whoops and shouts: In short, more olé than you can shake a
stick at. The Spanish guitars give way to a useful selection of jazz guitar and violin
licks which, although not strictly ethnic, are a welcome inclusion just the same.
The fun continues into the Romanian gipsy section, which is full to the
brim with accordions, clarinets, violins, zimbalons and drums. The samples appear mostly
as long musical phrases chopped up into smaller three or four-second sections. The
recording quality overall varies from super-clean, dry studio recordings to music recorded
on stage at he European gipsy music festival in 1994. In a couple of cases, this `live`
sound gives some of the samples annoying amounts of background noise, such as claps and
crowd ambience. This is particularly noticeable on some of the otherwise wonderful gipsy
violin recordings, which in many cases, are so full of other audible instruments on the
stage that they could hardly be called solo recordings at all.
CD 2 is mainly dedicated to African sounds, and in particular drum
samples. Mandinka ensembles, Djembes, Bata, Tama and Junjunba drums are all explored and
beautifully recorded. There is fantastic depth to most of the samples, and plenty of scope
both for editing the loops provided or constructing your own patterns using the single
samples that appear at the end of each section. There is an unusual collection of flute
and vocal samples, as well as African five-stringed guitars (plucked adn strummed), shouts
and tribal-type atmospheres.
Asia is represented towards the end of the CD by sort of mixed bag of odd
drum, vocal and instrument samples, including a set of sitar licks. Finally no ethnic CD
would be complete without at least one digeridoo track, and the few samples provided here
as good as any I`ve yet heard.
Conclusion: Split more or less into two halves (Gipsy and African) World
Colours covers a huge number of ethic and world music styles.
