I suspect that all those heavily processed hybrid hits and bits are used in most modern production because it is quite easy to achieve impressive results – definitely easier than programming all those complex rhythms with more traditional or even ethnic drums. Even if you have a library containing those specific percussive instruments, it’s quite tricky to recreate all those mad rhythms that can be heard in those movies.
I simply adore it when various djembe, darbuka or any sort of bell percussion goes totally mad whenever a chase begins. Another option is that you take the time to find out if any are hidden by mistake somewhere in a deep corner of your ultra modern percussive instrument / library.ĭon’t get me wrong, I adore those processed hits and bits, but it would be fine to combine them with all that ethno/traditional percussion that you hear in certain action movies, where composers still rely on traditional cinematic sounds. There are plenty of normal percussion instruments for pop and rock production that can partly serve the cinematic purpose, but all those are far from being a perfect solution for that specific genre.
All these serve their purpose fantastically, but when you want to use slightly more traditional percussion, or even combine with some ethnic instruments, you are more or less in no-man’s land.
Most of them are heavily processed, bringing big hits and rumbling Taikos, epic crashes and similar huge, epic-sounding kits. Here are two percussion instruments covering orchestral and cinematic ranges of application that also include a generous number of loops, hits and MIDI patterns.Įvery individual that composes any sort of cinematic music owns at least few different modern cinematic percussion libraries and instruments.
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