Dream Guitars 2 is the new library for Native Instruments Kontakt featuring a complete selection of fully playable rhythmic patterns and sequences, with a cinematic and ambient feel, forged from sonic manipulation of Acoustic and Electric guitar sounds.

770 | Jupi6 Factory Set | DX5 Factory Set A | ESQ1 | HT6000 | Poly6 Custom Set 1 | Poly6 Factory Set A | Poly6 Factory Set B | SQ-80 Factory Set
The Korg 770 may be small, but it's mighty - not in a MiniMoog way, more in a BBC Radiophonics Workshop synth-puppy way. From a handful of wires and diodes comes all manner of frankly amazing and wonderful sounds, thanks to some pretty barmy topology and a whole load of unusual surprises: the Chorus wave on Oscillator 1, or the two forms of ring modulation built right in, or the musically brilliant Scale Noise which we're now nicking and building into all our new synths.

The Vintage Folk Rock Kit is an awesome kit for a 60s / 70s Folk Rock or Indie rock sound. We used the engineering skills of the legendary engineer / producer Phill Brown (Laura Marling / John Martyn / Rolling Stones) whose indepth knowledge of recording bands during these years helped mould the sound of the kit. The Kit used was a beautiful old 1966 Ludwig Hollywood kit and it was setup by legendary drumtech Martin Oldham. To direct us on the sound of the kit we used Folk specialist drummer Martyn Barker (Rufus Wainwright, Richard Hawley, Katherine Williams) who sampled the kit using sticks, hotrods and brushes which effectively gives you three kits - nice!

Something that was weirdly great about the 80s was the emergence of "things that are also other things". For example: pencil erasers that also smell of candy. Or toy cars that are also toy robots. Or school calculators that are also tiny synthesisers.

We can't leave our Sinclair ZX Spectrum alone. Not only can it do awesome drums (see SpecDrum 2000) and print rude messages about your mates on shiny thermal paper, it can also do RO-BOT VOI-CES!

The Korg 770 may be small, but it's mighty - not in a MiniMoog way, more in a BBC Radiophonics Workshop synth-puppy way. From a handful of wires and diodes comes all manner of frankly amazing and wonderful sounds, thanks to some pretty barmy topology and a whole load of unusual surprises: the Chorus wave on Oscillator 1, or the two forms of ring modulation built right in, or the musically brilliant Scale Noise which we're now nicking and building into all our new synths.

Long before the Rhodes piano made tines rock'n'roll, little resonating metal bars were called lamellae and were to be found lurking below the ornately-carved exteriors of Victorian musical boxes. Some of these clockwork devices were extraordinarily intricate, involving moving figures that twirled, danced, made gestures or appeared to speak before retiring into concealment. Larger mechanisms might have removable and replaceable drums, allowing you to play different tunes (possibly the earliest example of the hot-swappable storage drive?!). All of them were more or less crude attempts to bring the music of the symphony or chamber orchestra home to the individual consumer, to be set going whenever you might wish (so, possibly the precursor of the iPod, too...)

We've sampled amazing, expensive, state-of-the-art machines like the Emulator II and the Roland Jupiter 6, but sometimes what a track calls for is something a little more basic, a little more humble in its origins. Think soundtrack to Napoleon Dynamite. Think home keyboard. Think cheese. Think Casiotone.

NanoMod Hats rounds out the components of our 'NanoMod Drumkit' with some high-frequency fizz and clank. The eight source waves here range from typical analogue white-noise hisses through various more complex, metallic tones to a couple of low-bit-depth digital sounds - for when you want a more realistic hats track which still retains a bit of vintage flavour.

Hard puts the NanoMod architecture to work on hard-hitting, metallized, aggressive waveforms to give you a wide variety of powerful leads and angry basslines. It's ideally suited to sounds that need to cut through a mix assertively. Wave 1 comes from our modular system and harnesses the SuperSawtor to great effect, generating a brash, thick sawtooth wave which we've harnessed to a chunky square-wave sub-oscillator before pushing them both through our Aurora Stinger at a rather high gain setting. This wave is angry but thick-sounding and is great for basses and polysynth tones.