60s A Go Go

60s a GoGo
Computer Music, May 2006

by Computer Music

60s a GoGo
Computer Music, May 2006
https://www.computermusic.co.uk

Computer Music, May 2006
This collection uses Ueberschall’s Elastik Loop Player to automatically stretch the supplied loops to your track’s tempo. This system might not appeal if you like to load samples into your sequencer’s arrange window, but the timestretching algorithm works well, and you can manipulate the supplied content in a variety of ways.
The sounds themselves are a satisfying and convincing selection of 60s-style construction kits. They feature kitsch vocals, plump brass, jangly guitars, big organs and lilting flutes.
A first class package. Rating: 9

60s a GoGo
Sound On Sound, July 2007

by Sound On Sound

60s a GoGo
Sound On Sound, July 2007
https://www.soundonsound.com

60s A GoGo is likely to be aiming at something of a niche market and, at just under £70, this library does not perhaps scream 'bargain!'. Elastik itself is functional, but some users might feel that learning yet another front-end just to use a loop library is in danger of becoming a chore. It would be really nice to see library producers develop an alternative copy-protection system (dongle-based perhaps?) that allowed users to access loops via their own choice of loop manipulation tool, although at least you do have the option of exporting individual loops from Elastik, should you wish. All that said, if you need some genuinely cheesy '60s flower-power pop, 60s A GoGo pushes all the right buttons, and it is worth auditioning if only for the nostalgia trip it can most certainly induce. John Walden
Read the whole article at: https://www.soundonsound.com/sos/jul07/articles/sampleshop_0707.htm

60s a GoGo
Virtual Instruments, July 2006...

by Virtual Instruments

60s a GoGo
Virtual Instruments, July 2006
https://www.virtualinstrumentsmag.com

This library quickly recalls the more innocent times of ’60s era surf and bubblegum pop. In addition to the standard era-accurate instrumentation—including prominent combo organ—there are also flutes and a fair amount of horns that occasionally bring to mind Herb Albert’s Tijuana Brass (or on one occasion, Mark Isham doing acid rock). Country, doo-wop, and mildly psychedelic flavors also make brief appearances. The recordings are clean but not antiseptic, often with an appropriate wash of reverb.
You get construction kits for 14 songs (many with two or three variations) ranging in tempo from 65 to 160 bpm biased towards the faster side. The single 1.56 gig Elastik bank is divided into three folders: Demo Songs, Kits Mixed, and Kits Dry.
Demo songs range from 4 to 16 bars in length, often broken into two or four distinct sections that often (but not always) may be looped smoothly. Each Demo Song bank features three samples: full mix, just the instruments, and just the percussion, with the drums occasionally being only 1 to 4 bar loops, sometimes missing the breaks that appear in the full mix.
The Kits Mixed folder contains 5 to 24 individual 1 to 4 bar loops that includes breakouts such as drums, male voices, female voices, organ, just the hi-hats, and the such. Some of the samples include variations and breaks. The Kits Dry folder contains well over 100 banks of more elemental recordings of these pieces. Inside, the Drums subfolder features loops for each drum mic (with lots of bleed), while the Instruments subfolder contains loops of individual licks without artificial reverb added.