<< Official Press Release >>
Rich Redmond & Nashville Sampling Co. have joined forces to create one of the most in-depth drum kit sample libraries to date.  With over 50,000 samples, Rich Redmond Modern Country Drums is designed to meet the needs of the most ambitious producers in country, rock, and indie. This flagship sample-pack from NSC offers Rich's most-played kits in the studio and on the road with Jason Aldean and other top Nashville artists. 
Rich Redmond
Rich Redmond has been the touring an recording drummer with multi platinum country rocker Jason Aldean for nearly two decades. He has recorded 23 #1 radio hits and plays to millions of fans per year in iconic venues across the globe. Rich has also worked with artists such as Kelly Clarkson, Ludacris, Bryan Adams, Bob Seger, Chris Cornell, Miranda Lambert, Eric Church, Keith Urban, Luke Bryan and many more. Rich is also a busy educator, speaker, author and actor. DrummingInTheModernWorld.
Nashville Sampling Co.
Justin Miller is a composer, producer, and owner of Yellow Hammer Studio in Nashville. Miller holds a degree in film scoring from Berklee College of Music and has won awards in international composer competitions. Since opening Yellow Hammer, Justin has scored films and games, and produced songs for many top Nashville artists.
Garrett Goodwin began his career playing in the backdrop of worship movements across the country (Zoegirl, Jeff Deyo of Sonicflood, Lindell Cooley, two-time Dove Award winner By The Tree), he has since transitioned fluidly through the musical world. Most recently, Garrett has spent the last nine years as the drummer for Carrie Underwood.  Garrett has played for well over 1 million people... for each tour he's been on, and was named #1 up and coming drummer in Modern Drummer Magazine.  All this, and he's just getting started.
Sampling the Kits
From the conception of this project, we had a few goals in mind.  We had to create a library that could fit into the Modern Country coming out of Nashville, while straining from sounding artificial. There are so many libraries out there currently either lacking in variety of dynamic layers, mixing ability, or simply missing that certain life we strive to achieve in sampling drums. By including the "air" before the actual drum hit, or the sound of the foot hitting the pedal before the kick drum is struck you bring something great back into the recordings.  Garrett and I have always been fond of Rich's playing and we couldn't think of anyone better for creating a library users would respect and find exceeds that of the current offering. 
We decided to record at Ronnie's Place (currently owned by Black River Entertainment) because of the controlled acoustics and classic outboard gear. The room is pretty large, but the reverb is short--allowing for a drum sound that can mold itself easily with reverbs without sounding awkward. The studio was previously owned by Ronnie Milsap, and it's been at the heart of the Country Music industry for the past few decades.
We were debating on whether we should sample a large amount of drum sets or sample just a couple of kits to an extent unseen before.  The latter seemed to offer more flexibility, mainly due to the quantity of microphones used and dynamic layers recorded. Once we decided upon the sonic aesthetic the library would offer, we determined the best way to sample the drums.  We wanted to create the largest library possible, but we wanted to make sure it wasn't going to be overkill on most users' computer processors and RAM.  So we planned out a sample sheet to get the most out of our recording time.  The most dynamic layers that we found necessary were in some of the snare drums and toms, which reached up to 24 layers.  More of the variety comes from the round-robin scripts we programmed into the kit, as well as the hi-hat articulation switching via the Mod Wheel.
The drum kits included have been sampled through 23 microphones, totaling 8 mic positions for most of the kit.  This approach allows the user to get either a narrow overhead microphone setup or a wide overhead setup. You can also blend 3 different room microphone setups, and 3 different close microphones (per drum) to your liking. Sampling the hi-hat was one of the most challenging tasks, since we wanted to make the transition between closed and open a nearly seamless experience.  Thanks to genius of our drum tech, Jon Hull, we wound up actually measuring the distance from the top hi-hat to the floor with tape measure to make our hi-hat opening changes.  We got a little ambitious at the stage as well, deciding to sample the hi-hats the same way but striking at the bell, center, and edge, allowing for 3x the diversity of any other hi-hat we had previously recorded.
The microphone setup we decided to go with was one of a hybrid nature, tailored to classic country mic setups and modern rock setups.  Two overhead configurations are available (and can be used simultaneously--AND are in phase): XY pattern of Royer 121's for a slightly darker and narrower sound, common in rock such as King's of Leon's Only By The Night. The other overhead setup is a spaced pair of AKG C414 EB microphones setup in a Recorderman configuration to allow for a wider sound while keeping the snare and kick centered in the stereo image. The close microphone options were chosen based on genre usage as well. For the snare, the user is given 3 microphones: 1 Shure SM57 on top, another on the bottom, and a Neumann KM84 also on the top.  The Neumann's roll is to gather more top end and bottom end, giving the snare a great amount of detail that can be useful when programming train beats--or anything requiring quieter dynamics to have more focus.
The kick drum was sampled through 3 microphones as well--the AKG D112 for snap, Neumann U47 for body, and the Royer 121 for an "organic" sound.  The Royer can be extremely useful in bridging the close sound of the kick with the distant sound of the room mics, as well as helping to bring out the overtones and character of the kick drum.
The tom tom setup was simple, a pair of Sennheiser MD421 on top and bottom--the low end of these tom samples to have an insane amount of sustain!
Finally, the room microphone configurations are as follows: coincidental pair of Neumann U87 approximately 6 feet away from the kick drum for a bright, narrow sound; wide pair of Coles 4038 for a warmer sound that excels in the kick drum and cymbals; and a super-wide pair of Miktek C5 microphones (with the omni capsules) for a bright, lively sound that excels in acoustic music and brings out the snap of the toms.
Dynamic Range
Dynamics are one of the most important parts in recreating a living, breathing virtual instrument. Rich's background in orchestral percussion was indispensable in achieving a huge dynamic consistency.  For the smallest kick drum samples, he struck the kick drum by hand with the beater; for the loudest--I'm pretty certain the room shook a good bit.
Here is a video showing the dynamic range of just 1 kick drum, 1 snare drum, and a hi-hat (foot stomps)--the pattern is a simple train beat for consistency.
The Virtual Instrument
We decided to go with Kontakt Player once again for this release due to the vast amount of features and cpu-friendly design.  The design and mindset behind this library is very similar to our first library, Goodwin Black Kit, in regards to each instrument having it's own patch within Kontakt (opposite to our niche-based libraries, Vintage Mahogany Kit, Blue Star Kit, and Retro Bubinga Kit, where the entire kit is found within one instrument patch of Kontakt.) The benefit to this approach is that it makes the user experience very easy when combining the patches with drums from other sample libraries. Thanks to our programming wizard, Dimitris Dalamtris (owner of his own drum sampling company, Stigmatized Productions), we were able to once again achieve our vision for this library.
The pages within the plugin are laid out so that the mixing interface is the first thing the user sees. From there, the producer can get a balance of the faders, pan, mute, solo, and route the faders out to Pro Tools (or any DAW) to blend outside of Kontakt.  Page 2 offers a mastering-style EQ with 4 bands and hi-pass/low-pass filters, while page 3 offers an 1176-style compressor, tape saturation, and transient designer. The fourth page allows the user to configure the midi-notes however they desire.
For a first time, we also decided to release a version for Steven Slate Trigger 2, which can be accessed through the Deluxe version of the library. The Trigger version can be useful if you just need to swap out a live recorded drum quickly and efficiently.
Drum Solo Playthrough
A short video showing a completely-programmed drum solo using RRMCD:
Application Videos
A couple of clips showing how our library could be used with a drum-pad, or even integrated into a live drummer's setup via Trigger 2 or Kontakt Player.
User Demos


Black Beauty 5 x 14 “THE HAT” 

Black Beauty 6 x 14 “MALIBU” 


center hit - 24 layers of 5 round robins

edge hit - 24 layers of 5 round robins

rim shot - 11 layers of 5 round robins

cross stick - 5 layers of 5 round robins

Snare off - 24 layers of 5 round robins

snare roll samples w/ release - 7-8 layers (these are useful for keyboard programming of drums)


Black Beauty 6 1/2 x 14 “STAN”

Ludwig Acrolite 5 x 14 “MERICA”

DW Copper 5 1/2 x 14 “LIVE”

DW Maple 5 1/2 x 14 “INGLEWOOD”

DW Bamboo 5 1/2 x 14 “CASHEW”

DW Bamboo 5 1/2 x 14 “HIPSTER”

DW Edge Bronze 6 1/2 x 14 “BIG BUDGET”

DW Maple Mahogany 6 1/2 x 14 “RED VELVET”


center hit - 9 layers of 7 round robins

edge hit - 9 layers of 7 round robins

rim shot - 9 layers of 7 round robins

cross stick - 4 layers of 7 round robins

Snare off - 9 layers of 7 round robins

snare roll samples - 7 layers. no round robins


AAX Dark Crash 19"

HHX Dark Crash 19"

HHX Studio Crash 20"

AAX O-Zone Crash 20"

HHX Legacy Crash 20"

HHX Legacy O-Zone Crash 20"

AAX Saturation Crash 19"

Evolution O-Zone Crash 20"

HHX Legacy Crash 21"

9 layers x 5 round robins hits and catches


DW Maple Mahogany 16 x 24

DW Maple Collectors 18 x 24

DW Bamboo 18 x 22

16 layers x 5 round robins

(all hits with snare on and snare off)




DW Maple Mahogany 12 x 13

DW Maple Mahogany 16 x 16

DW Maple Collectors 9 x 13

DW Maple Collectors 14 x 16

DW Maple Collectors 16 x 18

DW Bamboo Eco-X  8 x 10

DW Bamboo Eco-X 9 x 12

DW Bamboo Eco-X 14 x 14

all toms are 16 layers by 5 round robins





Bell strike

Center strike

Edge strike

all 5 open positions x 12 layers x 5 round robins

(strike location controlled by mod wheel)



5 layers x 5 round robins


Sabian Dark Ride

Sabian Legacy Heavy RIde

Sabian Rock Ride 

bell, center, edge hits

9-16 layers x 5 round robins