DECAP’s Drums That Knock series has become one of those rare sample brands producers talk about by name. The packs are known for drum sounds that feel finished right away, which is the whole reason they have spread across modern rap, R&B, pop, and club production at the level they have.
Now DECAP is turning that sound into a larger label with Splice. Knock Audio will live exclusively on Splice and release regular packs from DECAP, along with work from producers and sound designers chosen to fit the same standard.
That is the angle here. This is not a one-off pack drop. It is DECAP moving from being the person behind a massive drum-sound series into a curatorial role with a bigger release schedule.
Drums That Knock Already Had the Producer Trust
The numbers around Drums That Knock are hard to ignore. The series has passed 20 million total downloads, and the newest edition, Drums That Knock 11, has already crossed one million sample downloads since its early June release.
That kind of traction usually comes from one thing: the sounds hold up in sessions. Producers can debate taste all day, but they tend to return to packs that save time and feel consistent across a full folder.
DECAP says he builds every sound from scratch, which helps explain why the packs have stayed so identifiable. The goal is not volume for its own sake. The goal is to give producers drums that hit quickly and remain coherent across the pack.
I covered that mindset in my interview with DECAP on finding the sweet spot between precision and feel, where the conversation centered on making sounds that carry detail without losing impact.
Splice Gives Knock Audio a Bigger Release Engine
DECAP and Splice have been working together for years, so the label feels like a natural extension of that relationship. Drums That Knock has consistently performed well on Splice, and the new label gives that audience a dedicated home for future releases.
Kenny Ochoa, SVP of Global Partnerships at Splice, describes DECAP as the mind behind a sample series that has “quietly powered some of the biggest hits of the last decade.”
The bigger point is access. Splice already shapes how many producers search for drums, loops, one-shots, and production ideas. A dedicated Knock Audio label means DECAP can release more often, bring in outside contributors, and keep the quality bar tied to his own ear.
The Splice connection also makes sense beside the article I wrote on Splice Beat Maker, because Splice has spent years pushing beyond simple file downloads and toward a fuller production workflow.
Knock Audio Expands the Sound Without Losing the Standard
DECAP says the new label removes the old once-a-year pace around Drums That Knock. He can now create or curate more packs across more styles, while working with sound designers who fit the Knock Audio direction.
That part is important for producers. A label like this can go wrong if the name gets stretched too far. The value of Knock Audio comes from expectation: if the pack has DECAP’s stamp, producers expect it to hit quickly in a session.
The challenge will be keeping that identity intact while expanding the roster. If DECAP handles the curation tightly, Knock Audio could become a reliable place for producers who want drums and production tools that feel ready without sounding generic.
Will Vance is a professional music producer who has been involved in the industry for the better part of a decade and has been the managing editor at Magnetic Magazine since mid-2022. In that time period, he has published thousands of articles on music production, industry think pieces and educational articles about the music industry. Over the last decade as a professional music producer, Will Vance has also ran multiple successful and highly respected record labels in the industry, including Where The Heart Is Records as well as having launched a new label with a focus on community through Magnetic Magazine. When not running these labels or producing his own music, Vance is likely writing for other top industry sites like Waves or the Hyperbits Masterclass or working on his upcoming book on mindfulness in music production. On the rare chance he's not thinking about music production, he's probably running a game of Dungeons and Dragons with his friends which he has been the dungeon master for for many years.
