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Steinberg Groove Agent 4

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This allows you to see how things are mapped to MIDI notes for the currently selected kit slot and can also be used to trigger both pads and patterns via the mouse if required. This was worth the few dollars it cost me! Or combine the Acoustic and Beat Agents to create ultra-modern hybrid beats.

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Over 20 percussion instruments have been recorded in minute detail using multiple microphones such as bongos, congas, shakers, tambourines and many more. Almost makes me want to try Steinberg's Cubase now, and that's a real crazy leap for me to hear myself saying that. You just need to press a slice button after you import your loop and it is done — of course, all four channels could be independently controlled through four different MIDI channels in your sequencer and all four channels can carry any combination of the described elements, so, you can have four different percussion presets or two acoustic along with two percussions and so on. That means that you can have a real drum kit with additional MIDI pattern on the first channel, percussions along with MIDI patterns that come with specific preset on a second channel and two additional loops on other two channels — or even loop elements ranked over the pads ready to trigger them through a Rex-like MIDI clip that you can drag it on a track.


Groove Agent 4 provides three different Agents and up to four different players at the same time. Why take three virtual rhythm plug-ins into the studio when you can just take one? Back in the dim and distant past well, 2003 to be precise , Steinberg released their first iteration of Groove Agent.

It eventually sat alongside two other virtual instruments Virtual Guitarist and Virtual Bassist , all of which shared a similar approach. For their time, these were novel and innovative products and Steinberg deserve a respectful nod for taking some of these initial steps along a road that other developers have now followed.

It evolved through v. However, if you are familiar with Cubase 5 or later, you will have encountered Groove Agent ONE and perhaps Groove Agent SE4, both of which are more in the MPC-style drum-machine mould. It might not come as a surprise, therefore, that the long-awaited Groove Agent 4, while it may be the next number in the sequence, appears to be a very different beast.

These categories are not, of course, mutually exclusive and, for example, with the right samples, something like EZDrummer can do urban just as easily as it can do rock. However, with Groove Agent 4, Steinberg seem to be on a bit of a mission to bring these kinds of tools together. For the purposes of this review, I installed GA4 from a download around 9GB — pour a drink and wait , although there is a boxed version available.

Software front-end aside, the library includes over 22,000 samples and some 3800 MIDI grooves, the combination of which covers a huge range of musical styles. Amongst the samples are three sampled acoustic drum kits Studio, Rock and Vintage and featuring quite detailed sampling , around 100 Beat Agent kits and over 20 percussion kits. While the integration with Cubase is obviously very tight, GA4 will work with any suitable VST or AU host.

To the left of the kit slots you get access to the preset system for the currently selected kit slot and some settings — polyphony, MIDI channel, etc — that are specific to that kit slot. This allows you to see how things are mapped to MIDI notes for the currently selected kit slot and can also be used to trigger both pads and patterns via the mouse if required.

The rest of the display is split into two areas, both of which are tabbed to allow access to multiple functions. Beat Agent offers very detailed sample-editing options, including up to eight velocity layers. In Instrument view you can explore, edit and play whatever samples are currently assigned to any of the eight banks of 16 pads for the currently selected kit slot.

By default, the instrument pads for each kit slot respond on MIDI channels 1 to 4 while the pattern pads respond to any MIDI channel, but there is plenty of flexibility here and even a completely separate virtual MIDI port that can be activated for the pattern pads if required.

The options available to you in the right side of the display depends upon whether you have the Pattern or Instrument tab selected in the left pane and, to a certain degree, upon which Agent you have in the currently selected kit slot the features offered are different for each Agent.

You also get to pick between two different snare and kick sounds. The Percussion Agent works in a similar fashion. The Beat Agent also offers loop slicing and can classify individual slices in different drum types. However, for the Beat Agent, the Edit tab shows the sample or samples — each pad can contain up to eight velocity layers for the currently selected pad. If you like to get down and dirty with your drum-machine samples, you can certainly do it here.

Indeed, in a review of this length, it is very difficult to do justice to exactly just how many options this right-side pane can cough up as you work your way through the different Agents and the various tabs on offer. The level of control might, to some new users, seem quite daunting, and this is perhaps not helped by just how compact er, small some of the controls, buttons and settings are.

Drum sampling has come a long way over the last few years, and software such as BFD3 boasts astounding attention to detail in this regard. The three acoustic kits sound very good indeed and each kit piece provides plenty of dynamic response.

The three acoustic kits within Acoustic Agent each have a distinct character and, between them, and with a willingness to experiment with the mixing and effects options GA4 puts at your disposal, you could cover a very wide range of musical styles spanning jazz to metal. For Percussion Agent, the 20 or so presets give you variations of the same basic percussion set, but this includes a diverse selection of instruments from the humble triangle to some impressive congas and, where appropriate, different articulations based upon strikes with the palm, finger tap and so on, each triggered via separate MIDI notes.

Alternatively, if you drag and drop an unsliced loop onto an empty pad, you can then open the Slice tab and hit the Create Slices button.

This both slices the loop and spreads the slices across consecutive empty pads. Whichever route you opt for, you then get the full set of Beat Agent editing tools to tweak the samples — filter it, reverse it, process with effects, adjust the amplitude envelope, pitch-shift it — so you can get as creative as you like.

You also get the option to drag and drop a MIDI pattern back to your host DAW that will replay the original loop from the slices, but the Create Slices function also places the same MIDI pattern onto the first empty pattern pad, so you can trigger it from there if you prefer. Groove Agent 4 includes a very well-specified pattern editor. Amongst the other options here is the Classify Slices feature. This will automatically attempt to place the slices into one of five basic classes — kick, snare, hi-hat, tom and percussion — and these then appear colour coded within the display.

You can manually adjust the classification if required. You can also automatically assign all notes of a specific class within a pattern to be played by the same slice; pick the best kick or snare slice and use this for all the kick or snare hits within the loop for a more consistent sound. Switch to pattern mode and GA4 allows you to assign patterns to the eight banks of 16 pads and these can be triggered directly from the pads or via MIDI. GA4 also has a fully featured pattern editor built in with a controller lane and a tool-set that is on a par with the Cubase drum editor.

The Pattern Overview tab allows you to organise the mapping of your MIDI patterns for all four kit slots to the various pads. However, the really interesting element is that, for each of the 128 pattern pads, you can assign a pattern for each of the four kit slots. A single pad can, therefore, trigger up to four simultaneous patterns, allowing you to layer sounds from any of the Agents you currently have loaded.

The ability to layer acoustic drums, percussion and electronic drum samples into a hybrid rhythm using this pattern system is both a lot of fun and hugely creative. That said, despite the GA4 reference manual running to 180 pages, neither feature is perhaps explained as clearly as it might be for the new user. I did the bulk of my own testing using GA4 as a plug-in within Cubase Pro 8 and, as you might expect, this proved a pretty smooth experience.

I did, however, use GA4 as a stand-alone application without problems and also did some very brief testing in both Digital Performer and Reaper. In both cases, GA4 functioned well.

Putting the front-end aside for a moment, the sample and pattern content of GA4 is impressive and the review took a lot longer to write than it might have done simply because I found myself getting inspired while exploring the sounds and preset patterns.

While each of the Agents is impressive in its own right — and Beat Agent, in particular, is amazingly deep — it was the ability to layer the different Agents within a single virtual instrument that really caught my creative imagination. I can see GA4 becoming a very firm favourite in my own musical productions.

Amongst the extensive feature list, Groove Agent 4 includes comprehensive mixing options or each kit slot. I will, however, qualify what is otherwise an overwhelmingly positive response to GA4 with three comments.

Second, while both Acoustic Agent and Percussion Agent sound fabulous and offer plenty of features, when it comes to the absolute geek-level of control over your virtual acoustic drummer, GA4 is perhaps not a match for something like BFD3.

Third, the interface itself is perhaps best described as utilitarian rather than as a thing of great beauty. At times the various screen layouts are rather busy with some miniscule controls stuffed into very small places.

Despite these qualifications, however, I think Groove Agent 4 is one heck of a piece of software and the rewards for digging in and getting to grips with the vast array of tools and features available are considerable.

By combining those three Agents under one hood, each of which is very capable in its own right, GA4 covers a huge range of sounds in sonic terms. If you like the idea of a single virtual instrument for all your drum and percussion needs, GA4 is a hugely impressive contender and, at the current asking price, represents fabulous value for money.

Just be prepared for a bit of a learning curve. For acoustic drums, BFD3, Superior Drummer 2 and Addictive Drums 2 would be obvious candidates, while EZDrummer might make a more budget choice.

The interface may take some learning but this is a very impressive and powerful tool for almost any style of drum or rhythm production and represents very good value for money. The contents of this article are subject to worldwide copyright protection and reproduction in whole or part, whether mechanical or electronic, is expressly forbidden without the prior written consent of the Publishers.

Great care has been taken to ensure accuracy in the preparation of this article but neither Sound On Sound Limited nor the publishers can be held responsible for its contents. The views expressed are those of the contributors and not necessarily those of the publishers.


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Steinberg Groove Agent 4 - groove agent 4 crack


groove agent 4 crack
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Groove Agent 4 - Introduction
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Groove Agent 4 includes a huge sound library of over 22,000 samples and more than 3,800 patterns, a vast array of specialist editing tools, Style Player, the handy Jam mode, full integrated mixing board and much, much more.

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Groove Agent 4 includes a huge sound library of over 22,000 samples and more than 3,800 patterns, a vast array of specialist editing tools, Style Player, the handy Jam mode, full integrated mixing board and much, much more.

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