Written by Pino Donaggio & Merrit Malloy
Originally Performed by Katie Irving
Transcribed by Furkan Barut
Arranged by Ryder Houston
Bass Guitar, Electric Piano, Add'l Synth: Samuel Nobles
Acoustic & Electric Guitars: Ciaran Wall
Pedal Steel Guitar: Burton Lee
Backing Vocals: Ariana Kelly

Total Reciprocity

I Never Dreamed Someone Like You Could Love Someone Like Me

Telekinesis... Sissy Spacek
Theme from "Carrie" . . . Pino Donaggio
I Never Dreamed Someone Like You Could Love Someone Like Me . . . Katie Irving
Why . . . Tina Charles
Heather . . . Carpenters
Candy . . . Esther Phillips
Come A Little Bit Closer . . . Fleetwood Mac
Miss Broadway . . . Belle Epoque
Rock And Roll, Hoochie Koo . . . Rick Derringer
Dance Little Lady Dance . . . Tina Charles
A Fifth Of Beethoven . . . Walter Murphy
Come And Get Your Love . . . Redbone
Showdown . . . Electric Light Orchestra
One Of These Nights . . . Eagles
TSOP (The Sound of Philadelphia) . . . MFSB
What's Your Name, What's Your Number . . . Andrea True Connection
Prom Night... Pino Donaggio
Born To Have It All . . . Katie Irving

Prom Night '76

DOWNLOAD THE SAMPLES HERE:
https://zakimrecordingscom.files.wordpress.com/2017/09/909s950-processed.zip

Back in 2015 I uploaded 3 sample packs on 7/07, 7/27 and 8/08 to celebrate each respective classic drum machine made by Roland. To differentiate these packs against the thousands of other TR-707, 727 and 808 ones on the internet, I ran all of the sounds through my Akai S950 sampler to give each hit a grittier, harder-driving lo-fi sound. Each pack was well received and they continue to be downloaded and enjoyed two years later.

Unfortunately life got in the way and was never able to get around to making a TR-909 pack for 9/09….UNTIL NOW.

Over the past week I finally managed to record 1350 different hits from my TR-909, and run each of them through my S950. In each one’s lo-fi, 12-bit gritty glory I am happy to finally share these with you guys.

WHAT’S INCLUDED HERE:

BASS DRUM/KICK: 5 different pitches, each with 11 differnet length attacks and 5 different decay settings per attack (275 samples)
SNARE: 11 different pitches (B2 to A3), each with 11 different decay settings and 5 different snappy settings per decay (590 samples)
LOW TOM: 12 different pitches (C#2 to C3), each with 11 different decay settings (132 samples)
MID TOM: 12 different pitches (F#2 to F3), each with 11 different decay settings (132 samples)
HI TOM: 11 different pitches (G2 to F#3), each with 11 different decay settings (121 samples)
RIM SHOT: 1 sample
CLAP: 1 sample
CLOSED HAT: 11 different decays (11 samples)
OPEN HAT: 11 different decays (11 samples)
CRASH: 24 different tunings, plus 12 different weird tweaks (36 samples)
RIDE: 24 different tunings, plus 13 weird tweaks (37 samples)

Not all the samples are perfect, some may be slightly out of tune, some aren’t chopped exactly on the waveform, etc, but they can easily be adjusted in your sampler. And sometimes, imperfect is better in the lo-fi realm!

DOWNLOAD LINK:
https://zakimrecordingscom.files.wordpress.com/2017/09/909s950-processed.zip

PLEASE RESHARE THIS IF YOU CAN…would love for as many people to enjoy these as possible!

TR-909 Meets Akai S950

Download Samples Here

Roland TR-909 Meets Akai S950: Free Sample Pack

Ryder Harrison Houston is a Philadelphia-based filmmaker and musician born and bred just outside of Dallas, Texas. At age 19, he premiered his debut feature film ‘Rapture in Blue,’ a noir-ish ode to the overwhelming gothic zeitgeist that permeated the edge of the new millennium. Included on the eponymous soundtrack composed by himself is the haunting theme ‘Wine (A Sea Of Future)’ performed by frequent collaborator and songstress Ariana Kelly. Little did they know, it was this very release which would catalyze the future of Houston's musical endeavors. As much as his evocative sound dotes on alternative pop acts Depeche Mode, Garbage, and even Madonna at her most controversial, it also seems to suggest something greater operating on the periphery: a dark, omnipresent melodrama not unlike the crooning music of David Lynch composer Angelo Badalamenti or the baroque sensibilities of Lana Del Rey. Nevertheless, Houston’s spidery vocals continue to weave clichés of lust and rock ‘n’ roll menace anew, adhering himself to a certain groovy allusion to sleazy, opium-den electronica. Plainly, it is within this blasphemous little slipstream that Ryder Houston’s unique brand of sonic nostalgia exists — a sullen musical seduction echoing back from a liminal moment in time where downtempo music and freeze-dried hip-hop beats managed to infiltrate every hot artist’s discography, mutating genre ties and birthing something wholly itself.

I Never Dreamed Someone Like You Could Love Someone Like Me

Ryder Houston

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