Denny Jaeger is one of the most experienced sound designers in the world today. Many of the sounds and musical sound effects contained in this collection come from groundbreaking new developments and techniques in the use of samples.

The focus of this development, of course, is far from the technology itself; it is on making better music. Every sound in this collection has been thoroughly tested in Denny Jaeger’s one-of-a-kind digital control room by surviving strenuous musical applications.

This library offers some of the most advanced sampling sound design ever achieved. In fact, many of the categories and resultant approaches to sampling contained in this collection will affect the way you use samples for years to come. Denny Jaeger has found methods that simulate the detail and playability offered by morphing and re-synthesis. In some ways, these methods are better because the sounds that he has focused on for this collection don’t morph or re-synthesize very well in the first place.

Layout/Organization
This collection is organized to make it easy to mix and match presets and samples. Some volumes were created for systems with lots of RAM. We’ve also offered several Sprints, located in the Sprints folder. These Sprint presets are very small in size, but still carry a lot of weight sonically. In some cases, there are dry and wet versions of patches. In some of these cases, because of memory considerations, the wet version uses less samples and may be patched differently. Wet versions are always in stereo.

An asterisk denotes a MegaPatch&, Denny Jaeger’s innovative approach for making sequenced drums virtually indistinguishable from the live performance of a real drummer. Here’s the secret: the reason drum machines sound so sterile is that the same kick, snare, and hi-hat samples are played over and over. No matter how realistic the samples are, the absence of variation is a dead giveaway and the listener immediately recognizes that the music is being played by a computer. A human drummer, on the other hand, plays each note a little bit differently from the last. The solution is brilliant in its simplicity; each MegaPatch contains a number of similar, but not identical, samples for each instrument of the drum kit. By randomly rotating the samples, you can create sequences without the robotic quality usually associated with sampled drums.

Sliders
Because of the brilliant real time control available on the E4, we’ve utilized sliders for most patches. Instead of getting hundreds of presets of varying degrees of usability, you get a small amount of presets, each of which give you infinite possibilities in real time. In general, slider A controls the frequency cutoff of the filter. Slider B controls the Q of the filter. Slider C controls the release of the envelope. Slider D controls the pitch.

If you don’t have an E4K keyboard, assign your MIDI controller sliders to MIDI A, B, C, and D. EOS samplers respond to MIDI controllers 21, 22, 23, & 24 for sliders A-D, but this can be changed to fit your needs by going to Master > MIDI > MIDI Controllers 2.

System Compatibility
This collection was programmed on an E4 fully loaded with RAM. Although this library is usable with an 8MB system, it is recommended using at least 64MB of RAM, and to fully experience the synergy of this library, grow up to 128MB of RAM.