Vi-elements Core Kit Manual


All of the instruments in the Core Kit were recorded at a native resolution of 24-bit/48kHz. We used high-end clocking and A/D converters from Apogee and Avid. Below is some basic information about the analog equipment we used in creating the Core Kit.

• For all overhead recordings, we used Neumann TLM-103s running into Vintech X73 preamps.

• For all room recordings, we used a pair of Royer 121s and a Royer SF-24 running into Universal Audio 610 preamps.

• For most snare recordings, we used Shure SM57s and Audix i5s running into API 512c preamps.

• The DW J. Craviotto snare was recorded with a Josephson e22s on the top head running into a Vintech X73; for the overheads on this snare we used TLM103s running into Vintech X73s.

• The toms were recorded using Audio-Technica ATM-25s and Sennheiser 421s running into API 512c preamps.

• The kick drums were recorded with an AKG D112 for the inside mic and a Neumann U47 for the outside mic. We used several mic preamps on the kicks, including the API 512c, Chandler Limited TG Channel, and Vintech X73.

• Spot mics for hi-hats and ride cymbals were recorded with the Josephson e22s running into a Vintech X73.

• Spot mics for the crash and splash cymbals were recorded with a Bock Audio 251 running into the Chandler TG Channel.

For the reverb Impulse Responses we used three sets of microphones: Shure KSM141s for the close mics, running through a pair of Buzz Audio Elixir preamps; Mojave MA-200s for the mid-field mics, running through a set of UA 610 preamps; TLM-103s for the far-field mics, running through Focusrite ISA110 preamps.



We took great care to record all Core Kit instruments in drummer’s perspective, as shown below. The panning of elements plays a major part in the realism, spatial depth, and stereo imaging of the Core Kit. This stereo field layout is emulated in the default MIDI mapping layout.

Users can achieve a thoroughly realistic sound and feel when assigning pads or triggers to the Core Kit instruments by orienting them in a similar fashion. For example, the 8″ Z-Splash might be assigned to your left-most pad or trigger, and the Swiss Crash might be assigned to your righ-most pad or trigger.


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Our goal is to create the most musical and natural-sounding sample libraries in existence.

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