Review – Sonuscore Trinity Drums from Bestservice

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Here’s a cinematic percussion library with a bit different approach that brings some advantages (and disadvantages). Trinity Drums has its purpose – instant solution for immediate results.


by Alex Arsov, Nov. 2016


This is a cinematic percussion loop library that runs inside the full version of Kontakt. There is only one main Kontakt preset for the whole library that brings a three part player, for Low, Mid and High percussive parts of the same loop, that can be triggered and further manipulated, tweaked through various controllers and effects. We can choose between 100 different rhythms recorded in various tempo ranges, with an option to automatically tempo sync with a host. All in all, 1,500 loops and separate hits. 4 GB of material for €179 EUR.

OK, those are the basic facts, details will follow. The only question that remains is what my thoughts are about this library. I have mixed feelings regarding this one. It sounds good, loops are highly usable for any cinematic need, just right for getting the job done. Another good thing is that you can easily find the right rhythm for your composition, so when you are in a hurry (and I’m always in a hurry) this library can be a lifesaver. Before I go on with the things that I miss, we should maybe explain a bit about how rhythms are structured inside the main graphical interface.

Pressing on the name of the current rhythm, the one below the big Trinity Drums sign, will bring you to the big browser window where you can choose between Cinematic and Modern rhythms by selecting 4/4 or an Odd signature option. Double click on any name and the rhythm will be almost immediately loaded, so you can try it and go on searching. Nice and neat. OK, after the rhythm is loaded we can see how it is mapped onto a keyboard.

The lower five yellow keys are reserved for triggering the full groove, then we have two green keys for each of the three layers where we can find separate hits, and then five blue keys for every Low, Mid and High layer where we get five different variations. That’s nice, so where’s the problem? Let’s say that I found my desired rhythm very quickly. All rhythms are quite intense, so my chosen rhythm will be ideal for the last part of the song. I can use separate hits to build some tension in a first part of the song, but for the mid part I would like to see a variation of the same rhythm with a bit less density, with fewer hits to be precise. For a really fast work-flow I would like to see the full rhythm on the last, highest key, having the same rhythm on the other keys, with fewer and fewer elements for every lower key. At the moment we have five different variations giving us far more rhythms in general, but leaving us a bit restricted with the one that we choose for our song. Other rhythms are from the same kit, not so totally different from the main one, but still enough to not allow you to do graduation. The only other thing that I miss is the fact that you can’t export loops to a DAW. Truth be told, there are not so many libraries that allow that, this is just a bugbear of mine.

If we skip those two criticisms, I’m quite happy with the library, would be even happier if the price would be closer to €140 EUR, but OK, we can’t have it all. After all, the rhythms will meet your cinematic needs and it is really easy and fast to find appropriate rhythms for your cinematic tune.



We’ve already been through some basic data – key-maps, quantity and versatility – so time to see what we have inside the graphical interface. We already talked about the browser that can be reached through the current rhythm, below we have three waveform displays where we can see the shape of the currently playing rhythm, and at the bottom we have a menu for entering the Mixer and Effects windows. The only thing left here is a Phrase sync and Free option for selecting if you want all three parts to be synced or you want to trigger them independently without being synchronized with each other.

In Mixer window we can tweak panning, delay and reverb amount for every separate layer along with busting the gain or simply increasing it with a slider. We also have three master sliders for changing the level of the delay, reverb and main volume for all three bands together. The true value of the Mixer window is the ability to change the same part of every layer from some other rhythm. Clicking on the name of the current rhythm below the Low, Mid and High signs will open up a dropdown menu with appropriate substitutions for this part. Sometimes we get large number of substitutions, sometimes less, but it’s nice that those Sonuscore fellows already did some pre-selection, saving us a ton of time.

In the Effects section we get Equalizer, Compressor, Distortion, Transient Designer, Filter and Lo-Fi effects for every layer separately with all the additional controllers that you need to tame any of those effects. Along with those you also get a common Delay and Reverb window where you can choose between different impulse responses in the case of reverb, or between all other standard parameters for those two effects.


Is It or Isn’t It?

The sound quality and versatility of the included rhythms, really well designed for classical cinematic “big percussion” clips, make this library quite essential. Due to some limitations this definitely can’t be your one and only big percussive cinematic library, but whenever someone asks you to make a cinematic clip in the next few hours, this one could save the day. I’m not regretting having this one in my arsenal. It absolutely serves its specific purpose.

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