to download manual - Time+Space

We l c o m e t o th e Ko n t a K t4-In s t r u m e n t 

et h n o Wo r l d 5 Pr o f e s s I o n a l & Vo I c e s produced by Marcel Barsotti 

INTRODUCTION 

ETHNO WORLD 5 PROFESSIONAL & VOICES 

is by the renowned film composer Marcel Barsotti 

(Die Päpstin, Deutschland. Ein Sommermärchen, 

Das Wunder von Bern). This composer has already 

won several awards. He has composed music for 

more than 80 cinema, advertising and television 

films and his musicians have been placed in the charts 

several times. 


contains more than 240 professionally recorded 

ethnic instruments and more than 18.000 

high quality samples in the following categories: 

Bowed Instruments, Stringed Instruments, 

Woodwind & Brass, Key Instruments, Bell Type 

Instruments, Metal Type Instruments, World 

Drums, World Percussion, Gongs & Bowls and the 

new category of Voices & Choirs. Therefore, EW5 

PRO & VOICES with its 20 gigabytes of samples 

is one of the most extensive ethnic library in the 

world. 


contains the entire library „Ethno World 4 Professional“ 

and an additional 10 GB with about 5.500 

new samples. Thereby ETHNO WORLD 5 PRO- 

FESSIONAL & VOICES with its 20 GB content 

and more than 800 patches is one of the largest ethnic 

sample libraries in the world. 

The latest addition to ETHNO WORLD 5 PRO- 

FESSIONAL & VOICES are 25 professionally recorded 

solo-voices from all over the world and an 

Ethnic Chamber Choir with over 3.800 new samples 

and phrases. You will find voices from North 

America, Cameroon, Guinea, China, Iran, Turkey, 

Bulgaria, Ukraine, North Afrika and Peru. 

With the highly improved Legato-Mode in combination 

with several voice-articulations you now 

have the possibility to record realistic vocal lines. 

Another highlight for all film composers are the new 

Taiko Drums and Big Ethnic Tom Drums, consisting 

of individual samples (left and right hand) and 

hundreds of inspiring loops. In the category woodwinds 

you will find the famous Ney flute (Iran), 

the Pivana & Tenor Pivana flute (Corsica), the very 

meticulously recorded pan flute and human 

whistling. The category Metal Type Instruments 

there is an all new large selection of Hi-End Crash, 

Splash, Ride & China Cymbals with Hits, Swells 

and Loops, the Big Feng Gong and fine glistening 

Windchimes. The string instruments category has 

been updated with a Bandura from the ukraine. 


has tapped into a new dimension with Kontakt 4 

and outstanding programming. A new instrument 

interface allows you via the new quick edit page 

to directly access all the essential parameters and 

thereby offers a more intuitive handling of ethno 

world instruments. By integration of the convolution 

reverb the instruments sound more natural. The 

realtime automation has been greatly simplified. 

Furthermore elastic audio Time Machine II lets you 

transpose any instrument phrase and playing style. 

With sample start-shift you can determine when a 

lick should begin. All drum- & percussion-loops 

and every solo-loop can be synchronized by Beatmachine 

II to any tempo or by the host sequencer. 

Also every loop is individually programmable. 

For solo instruments there is the new legato mode. 

With the humanize mode every note has a slightly 

different tone. And micro-tuning allows any type 

of tuning and ethnic scales. 

All ETHNO WORLD 5 PROFESSIONAL & 

VOICES instruments and voices are played by renowned 

musicians & singers under the direction of 

Andreas Hofner and Marcel Barsotti. 

more info: www.bestservice.de. 

Just listen to the Demo! 

I hope users all over the world will find 

much enjoyment, plenty of inspiration and 

musical creativity in the musical transformation 

of ethnic and other styles. 

Marcel Barsotti 

In t r o d u c t I o n 02

THe NeW INSTRUMeNTS 

& VOICeS FROM eTHNO 

WORLD 5 

Native American Phrases, Cameroon Voices & 

Phrases, Guinean Voices & Phrases, Chinese 

Opera Voices & Phrases, Iranian Voices & Phrases, 

Turkish Voices & Muezzin Phrases, Bulgarian 

Voices & Phrases, Ukrainian Traditional 

Phrases, Peruvian Voices & Phrases sowie Ethnic 

European Vocals, Boy Solo Voices & Phrases, 

Gregorian Phrases and an Ethnic Chamber 

Choir, Human Whistling, Taiko Drums, Big Ethnic 

Tom Drums, Ney Flute (Iran), Pivana & Tenor 

Pivana Flute (Korsika), , Crash, Splash, Ride 

& China Cymbals, Big Feng Gong, Windchimes, 

Bandura (Ukraine). 

THe SOUND CONCepT 

Almost all instruments were recorded in stereo with 

various tempos. For sound reasons, several fl utes 

were sampled in mono. Very often fl utes do sound 

smoother and richer in mono. All instruments have 

been recorded with the fi nest state-of-the-art tube 

technology and then mastered with professional 

high quality plug-ins. Great care has been exercised 

to transmit the authenticity of the instruments. 

This sometimes means that original melodies are 

sampled with some unavoidable sounds and noises. 

The reference tuning is set at 440 Hz. 

HOW TO USe THe 

INSTRUMeNTS 

The instruments can be used as they would be in a 

„normal“ orchestra. 

For this reason there are different groups such as 

bell type instruments, bowed instruments, construction 

sets, gongs and bowls, key instruments, 

voices, construction sets, metal type instruments, 

stringed instruments, woodwinds and brass, world 

drums and world percussion. The instruments 

sound extremely dynamic and natural. You will 

hear the swish of vibrating strings and in addition 

there is an effects bank that lets you combine the 

specifi c noises of an instrument with the basic instrument 

sound. 

In the main program many instruments are equipped 

with dimension keys. Via keys they let you 

select the different playing styles of the instrument. 

Some of the instruments are programmed with up 

to 14 dimension keys and playing styles. For a certain 

instrument, the dimension keys allow you to 

change the playing styles like piano/forte, marcato, 

pizzicato, tremolo, glissandi, slides, mordent, trills 

and many more. With precise programming, one 

will no longer be able to differentiate between the 

Ethno World instruments and „real“ instruments. 

In addition, there are many different loops, licks 

and effects in all tempos. Ethno World 5 Professional 

can be used within many different stylistic 

contexts. 

ABBReVIATIONS 

ALT Alternating Samples 

BM Beatmachine 

TM Timemachine 

TM SYNC Timemachine with tempo 

synchronisation 

P Piano 

F Forte 

Gliss Glissando 

FX Effect 

TR Tremolo 

VIB Vibrato 

03 ne W In s t r u M e n t s & so u n d co n c e P t & ho W t o use

VEL Velocity Switch 

MOD Modulation Wheel 

XFD Crossfade 

3XFD Crossfade mit 3 Layern 

KEY Keyswitch Instrument 

CC Midi Control Change 

(C0) Key-Switches start from C0 

BeLL & MeTAL Type 

INSTRUMeNTS 

Here are some very unusual instruments from 

around the world. They all have varying dynamics, 

playing styles and loops. 

Hugh Tracey Kalimba 

Kalimba Kibirizi Tuning Plates 

The MONGOLIAN JEWS HARP and the Hungarian 

Jews Harp played by Sandro Friedrich, with 

unique loops. 

Jews Harp 

th e sa r o n 

The Saron is a Gamelan Glockenspiel from Lombok 

(1 octave). 

Gamelan Crash Bells & Saron & Gamelan 

Glockenspiel & Gamelan Wood Cowbell 

Ka l I m B a s 

The Kalimbas (African plucked instruments, here 

with 5 and 15 small metal rods) include programmes 

in the original tuning and in the European half 

tone tuning. 

Bass Kalimba & Gopichand & Tamborcito 

aB B re V I a t I o n s & Be l l & Me t a l ty P e In s t r u M e n t s 04

mo r e Be l l In s t r u m e n t s 

A selection of ethnic bell instruments is available 

as well as Tibetan singing bells, which are played 

with a rubber-coated stick. There are temple cymbals 

from China and Tibet and bells from Burma. 

You will fi nd European instruments, such as a Metallophone, 

a chromatic 2 octave Glockenspiel, 

and small tubular bells. These too have varying 

dynamics. A few more unusual instruments are the 

Shanghai baby piano (its little wooden clappers 

fall on to longer metal rods), a bamboo vibraphone 

with synthetically produced tremolo. 

Shanghai Baby Piano (China) 

Also included are a Gamelan crashbell, where 

four fi rmly fi xed cymbals are hit by two cymbals, 

and the Dreamcatchers, which are very much like 

windchimes. 

Gamelan Crash Bells (Lombok) 

Here are some very unusual instruments from 

around the world. They all have varying dynamics, 

playing styles, loops and pitch programmes. 

Tibetan Temple Cymbals 

Tibetan Singing Bells 

Metallophon (Germany) & Chromatic Glockenspiel (Germany) 

& Small Bamboo Vibraphon (Synth. Tremolo). 

05 Be l l & Me t a l ty P e In I n s t r u M n e e n t s

cy M B a l s 

Cymbals consist of thin, normally round plates of 

various alloys. The greater majority of cymbals are 

of indefi nite pitch and used in orchestras, percussion 

ensembles, jazz bands, heavy metal bands, and 

marching groups... 

Military Cymbals 

GONGS & BOWLS 

From the instrument family of the Gongs, there 

are instruments such as the Wuhan Tam Tam from 

China, the Java Gong with a diameter of 80 Centimeters 

(approx. 31 inches) and the Tam Tam Besar 

from Indonesia. New in Ethno World 4 is the Mongolian 

Gong. 

Gong Besar 18“ 

There is also a large collection of Singing Bowls at 

your disposal: Big Rako Bowls, Big Tibetan Singing 

Bowls from Tibet and Rin Bowls from Japan 

in different playing styles and sizes. From Indonesia is 

the Gong Besar with a deep curve at the back. 

TamTam Besar & Wuhan am Tam & Java Gong 

Be l l & Me t a l ty P e In s t r u M e n t s - Go n G s & Bo W l s 06

Rin Bowls 

Big Tibetan Singing Bowls 

BigRako Singing Bowls, 

Big Feng Gong 

BOWeD INSTRUMeNTS 

er h u 

Small Erhu Plectrum Violin & Erhu Plectrum Violin 

& Ceylon Guitar. 

In China the Erhu, Gaohu and Jinghu (Chinese 

opera violin) are traditional bowed instruments. 

The Erhu is a two-string violin tuned in fi fths. It 

has no frets and no fi ngerboard and is being played 

with a fi xed bow stick. 

07 Go n G s & Bo W l s - Bo W e d In s t r u M n e t s

JI n G h u oP e r a VIolIn 

The little Jinghu is a Chinese soprano violin which 

is used in Beijing opera music. 

Mo r I n kh u u r VIolIn 

Dra-Ngen (left) & Morin Khuur (right) 

The morin khuur sounds like a violin, but it has a 

trapezoidal body, a fretless neck and is strung with 

two horsehair strings. It was already being played 

in imperial palaces in the 12th century. The instrument 

is played with the fi ngernails or fi ngertips. It 

sounds a bit like a viola or a cello, but it can also be 

played in the higher violin ranges. 

Ih kh u u r Ba s s 

The bass morin khur is a bigger version of the 

morin khuur and plays in range and in sound like 

a traditional double bass. 

dI l r u B a 

The dilruba is similar to the esraj, but has a larger 

resonance box, an angular body and is strung 

with 20 instead of 15 resonance strings. This gives 

it a louder and fuller sound. As with the esraj, the 

ground base tone is tuned in between C and D. 

Bo W e d In s t r u M n e t s 08

es r a J 

The Esraj (also known as israj or dilruba) is a string 

instrument found in two forms in India. Esraj and 

Dilruba have a very similar structure. Each has a sitar-like 

neck with 20 metal frets, and the neck holds 

a wooden rack with 12-15 sympathetic strings. The 

dilruba has more sympathetic strings and a differently 

shaped body than the esraj, but they both 

have four main strings which are bowed. All strings 

are metal, and the soundboard is a stretched piece 

of goatskin. The neck is played with a bow, with 

the other hand moving along the strings above the 

frets. The player may slide the note up or down to 

achieve the portamento, or meend, characteristic of 

Indian music. 

eG y P t I a n FI d d l e 

The Egyptian Fiddle does have a fi ngerboard and 

two strings but no frets. It has a high pitched sound 

and tends towards a hollow, nasal sound. 

We s t e r n FI d d l e 

The Western Fiddle is a bowed instrument very 

similar to the Violin. The Fiddle differs from the 

classical Violin in the way that it is played and in 

the musical style in which it is played. 

Ga o h u 

Erhu & Gaohu 

The Gaohu is an Erhu which plays in a higher key. 

STRINGeD 

INSTRUMeNTS 

Contra Guitar F-Bass 

09 Bo W e d In s t r u M n e t s - st r I n G e d In s t r u M e n t s

Jo o c h I n (du l c I M e r) 

The Joochin is a larger string instrument, similar 

to the European zither. It is played with different 

hammers, which gives it the typical choral sound. 

sM a l l er h u P l e c t r u M VIolIn 

& ce y l o n e s e Gu I t a r 

The Small Erhu plectrum violin and the Ceylonese 

guitar (2 strings with fi ngerboard) behave similarly, 

but they are more suited to an Arabian style. 

ka n t e l e 

Kantele & Small-Kantele 

The Kantele (developed from the dulcimer) has 

15 strings, and it has an F tuning. It is played by 

plucking or tapping with sticks (as is the small 

Kantele). 

Ba n J o & tr u x a Ma n d o l I n 

Banjo Framus & Saz Seven Strings 

There is also a banjo and a Truxa mandolin, which 

can be used for East Asian, European and Arabian 

styles. 

Zh e n G ha r P 

The Zheng Harp (Chinese curved base Zither) is 

similar to the Japanese Koto. It is a harp with a size 

of approximately 2 Meters and its 21 strings are 

tuned diatonically. The Zheng´s particular vibrato 

is produced with the left hand close to the bridge. 

st r I n G e d In s t r u M e n t s 10

Ba n d u r a 

Bandura refers to a Ukrainian plucked string folk 

instrument. It combines elements of a box zither 

and lute. 

sI t a r & ta M P u r a 

Sitar (left) & Tampura (right) 

The Sitar and the Tampura are the most famous 

stringed instruments from India. The standard Sitar 

has 7 main strings and 11 freely vibrating sympa- 

thetic strings for harmonics. The Tampura, used as 

an accompaniment instrument for Raga singing or 

together with Sitar, consists of 5 strings without a 

fi ngerboard. It is played with a glissando chord and 

tuned to keynote and fi fth (fourth). 

Bo u Z o u k I 

The Bouzouk from Greece is a guitar-like instrument 

with 4 double courses, which is well known 

for its use of tremolo-style in Greek folk music 

(Alexis Zorbas). 

Bouzouki & Zsoura 

dr a-nG e n 

The Dra-Ngen is a 7 string kerb lute with matching 

half octave string originating from Bhutan. 

11 st r I n G e d In s t r u M e n t s

Ba l a l a I k a & do M r a 

The Balalaika and the Domra are both from Russia. 

The Balalaika is tuned in E-E-A and is mostly 

played with a tremolo. The accompaniment, the 

Domra, originally comes from Mongolia. It is a 

small plucked guitar tuned in fi fths. It can be built 

in several different styles. 

Timple & Domra 

tI M P l e 

ou d 

The Timple is the traditional 5 string guitar from 

Lanzarote. It is similar to the Ukulele. 

The Oud originally comes from the geographical 

area of Persia and is a short-necked lute with up to 

6 double courses. Due to its fretless fi ngerboard it 

can be played in micro-intervals. 

uk u l e l e 

The Ukulele from Hawaii is a small 4 string guitar tuned 

to A-D-F#-B (a soprano version is featured here). 

Banjolin (upper) Ukulele (Lower) 

Ba n J o l I n 

The Banjolin has existed since 1885 and is also 

known as the Banjo Mandolin. It is mandolin with 

4 double courses tuned to G-D-A- E. It is played 

with a banjo corpus. 

sa n t o o r 

Santoor Saberi 

The 72 string Santoor is a 4-voice zither from Persia 

which is played with two hammers over a tonal 

range of 3 octaves. 

sIx-s t r I n G e d s t e e l G u I t a r 

There is a six-stringed steel guitar with slide notes 

and Effects 

st r I n G e d In s t r u M e n t s 12

Ve s t e r ac o u s t I c B a s s 

The Vester Acousticbass is an acoustic 4-string 

bass guitar which is tuned to E-A-D-G. 

co n t I n e n t a l 

re s o n a t o r Gu I t a r 

This resonator guitar made by Continental from 

Germany is a tin guitar which is brought to resonance 

with the „resonator cone“. Its sound is 

slightly tinny and aggressive. The instrument often 

is played with the slide technique. 

cÜ M B Ü s 

The Cümbüs is a Turkish long-neck lute with a circular 

metal bowl resonator covered with a screwtensioned 

hide sound table. It resembles a Banjo, 

only with a deeper bowl resonator and a wider unfretted 

neck; its sound is deeper. It has six double 

courses (pairs) of metal strings attached to metal 

machine tuning heads. It is tuned (and played) with 

a quill or a plectrum, like the oud. 

ta n B u r 

Tanbur & Oud 

The Tanbur, a long-neck lute from the Middle 

East, is played with a pick (plectrum) just like a 

Mandolin. 

Zs o u r a 

The Zsoura is a small three voice Bouzouki which 

is very well suited as a solo instrument because of 

its higher pitch. 

13 st r I n G e d In s t r u M e n t s

co r a 

sa Z 

The Cora, a harp-like stringed instrument from 

West Africa, features 8 to 16 strings that can be tuned 

over a bridge. The strings are fi xed without a 

fi ngerboard, and are plucked with several fi ngers. 

The Saz or Baglama is a Turkish long-neck lute with 

seven strings and frets. Despite its shape which is similar 

to the Greek Bouzouki, it is different in construction, 

size and sound. The Saz is the most popular 

string instrument in Turkey. The word „Saz“ originates 

in the Persian language and simply means „musical 

instrument“. It is the traditional accompanying instrument 

of the bards who are called Asik in Anatolia and 

the Caucasian regionand is played in an open tuning. 

„Slaps“ is a further playing style available here. 

Gr a n d Mo n o c h o r d 

The sound bench on this recording is being used in 

the Contexts of relaxation and wellness, birth preparation, 

in kindergartens and in schools. The 50 

strings running over two well rounded frets found 

their way from the cembalo to this instrument; they 

guarantee a very warm, pleasant and deep sound 

with rich harmonics. 

WOODWIND AND BRASS 

Top to bottom: Bamboo Flute. Irish Low Whistle. 

Recorder Alto F. Dagoba Flute. Susato Tin Whistle 

th e PI V a n a 

The pivana is a fi pple fl ute made from the horn of 

a mouffl on sheep or goat. It originates in Corsica 

where it is played in traditional music. It is related 

to the better known gemshorn, a medieval instrument. 

st r I n G e d In s t r u M e n t s - Wo o d W I n d & Br a s s 14

th e te n o r PI V a n a 

The tenor pivana is a larger version of the pivana. 

It is made from a large goat horn instead of the relatively 

small mouffl on sheep horn. 

Fu J a r a 

The Slovakian Fujara - like many fl utes an instrument 

of the cattle drovers - is made from elder. After 

removing the soft pulp, the two elder tubes (one 

up to 170 cm/67 inches long, the other signifi cantly 

shorter) are attached to each other. The long tube is 

fi tted with a labium and three gripholes, the shorter 

tube gets a mouthpiece which is used to blow the 

fl ute. 

dV o J a c k a 

The dvojacka is a double fl ute / overtone fl ute from 

Slovakia. It has a quarter of the length of the fujara 

and therefore these instruments can be played 

together. The musical possibilities include doublefl 

ute-melodies and overtone fl ute techniques similar 

to the ones used on the fujara. 

Ir I s h tr a V e r s e Fl u t e 

A keyless Irish fl ute with an ebony body and a silver 

head with an ebonite lip plate, made in County Clare. 

This style of fl ute has become popular in Ireland in the 

last 50 years, but was originally based on the German 

“reform fl ute”. Its rich sound has become an unmistakeable 

part of traditional Irish music. 

th e ne y 

The ney is an end-blown fl ute which is widely used 

in Turkish, Persian and Arabic music. Its origins 

reach back as far as 3000 BC. The ney consists of a 

piece of hollow cane or reed with fi ve or six fi nger 

holes and one thumb hole. 

PI n k I l l o 

The pinkillo is a fi pple fl ute from the South American 

Andes. It is typically 30 - 40cm in length and made from 

bamboo or reed. The range is usually two octaves. 

15 Wo o d W I n d & Br a s s

oc a r I n a s 

Ocarinas are fi pple fl utes made from clay with 

a non-cylindrical hollow which enables various 

fi ngering techniques. They originate in Italy, where 

traditional instrument makers construct them 

in many different sizes. The range is usually one 

octave and three tones. 

du d u k 

The duduk is a double-reed instrument from Armenia. 

Its huge reed which gives the instrument its 

voice-like, mournful sound, is made from an indigenous 

reed. The body of the instrument is usually 

made from aged apricot wood. The range is one 

octave. 

sh a k u h a c h I 

The shakuhachi is a Japanese end notch fl ute, usually 

made from bamboo. The open notch makes it 

more diffi cult to play but more versatile in sound 

variations. It was originally used by the members 

of a sect of Zen Buddhism as a part of their meditation. 

The range is two octaves and three tones. 

dI d G e r I d o o 

The didgeridoo is a wind instrument from the 

Australian Aborigines. By slightly changing the 

position of the mouth, the player can infl uence the 

overtone spectrum of the sound. The instrument is 

mostly played with circular breathing, a technique 

which enables continuous sound. 

ho t c h I k u 

This is the big brother of the shakuhachi. It requires 

the same playing techniques and has similar sound 

characteristics as the shakuhachi, but it is about 2.3 

feet in length and therefore lower in pitch. 

Wo o d W I n d & Br a s s 16

cI a r a M e l l a 

The ciaramella is a shawm from the Abbruzze 

mountains of Italy. It is a double- reed instrument 

of about 1 foot of length with an unmistakable loud 

nasal sound and a range of one octave. Traditionally 

it is played around Christmas time together 

with the Italian zampogna (bagpipes). 

la u n e d d a s 

The Sardinian launeddas consist of three single 

pipes made of reed: two fi ve-holed chanters and a 

drone. They are played with circular breathing and 

are still used for religious ceremonies and dances. 

The range is one octave. 

Ma n c o s e d d a 

Like the launeddas, its origins lie in Sardinia. It is 

a single-reed instrument with similar sound characteristics, 

but unlike the launeddas it has up to 

seven holes which makes it more useful for complex 

melodies and gives it an extended range of one 

octave. 

cr u M h o r n 

The Crumhorn with its rather duck-like sound quality 

is a double-reed instrument from the European 

Renaissance, where such instruments were often 

played in groups of different sizes. The doublereed 

itself is hidden in a closed cap. 

tIn Wh I s t l e 

The tin whistle is an Irish fi pple fl ute made of metal 

which usually has a range of two octaves and four 

tones. The particular decoration techniques and 

slurs make its sound unmistakeable. 

lo W Wh I s t l e 

The low whistle might be encountered a bit less 

often than the tin whistle in traditional Irish music, 

but it has a richer sound. It is often used in 

slow airs. 


Ba W u 

The Bawu is a smooth and mellow sounding Chinese 

bamboo fl ute with 5 holes. Its sound is produced 

by a copper reed. 

Qu e n a & Mo c e n o Fl u t e 

The Quena and the Moceno Flute both are South 

American end notch fl utes from Bolivia. Their 

characteristically powerful and airy sound is a bit 

similar to the Shakuhachi. 

sh I V a Fl u t e 

The Shiva Flute is played by Indian preachers. This 

brass fl ute has a very transparent and high pitch 

sound. 

eu r o P e a n te n o r re c o r d e r 

The European Tenor Recorder starts at C minor and 

belongs to the instrument family of recorders. 

sh e n G 

The Sheng also known as mouth organ, comes 

from China as well, and its sound is similar to a 

blow organ. The sound is produced by 30 bamboo 

tubes with valves. The Sheng covers a tonal range 

of approx. 3 octaves. 

hu l u s I 

The Chinese Hulusi (pic2 Chinese Hulusi) is a 6 

hole double tube fl ute with a bamboo body in the 

shape of a pumpkin. Its sound is warm and clear. 

Pe r u V I a n oc a r I n a s 

The Peruvian Ocarinas are made from clay and are, 

as their name implies, from Peru. 

Wo o d W I n d & Br a s s 18

a G du n ho r n 

The Rag Dun Horn is often played at ceremonies. 

It comes from the Himalayas and shows similarities 

with the European Alphorn, but it sounds much 

louder and more metallic than its European counterpart. 

There are Rag Dun Horn versions of up to 

3 Meters (approx. 9 ft.) length. 

du n G dk a r co n c h tr u M P e t 

The Dung Dkar Conch Trumpet from the Himalayas 

is a shell-like trumpet with rich ornamentation. 

Zu k r a Ba G P I P e 

The Zukra Bagpipe, a Tunisian bagpipe, is a double 

reed fl ute with a kid-leather body. By powerfully 

blowing into the instrument it works like a 

bagpipe. 

ha W a I I a n sh e l l h o r n 

The Hawaiian Shellhorn is a shell-like horn fl ute 

from Hawaii. 

In d I a n sh e n a I 

The Indian Shenai is a double reed fl ute and it is 

very similar to the Schalmei from Morocco. It 

starts at G# and sounds very loud and harsh. 

uI l l e a n n PI P e s 

Uilleann Pipes Irish & Overton Whistles 

Uilleann Pipes is the name for the Irish bagpipe. 

Uilleann is the gaelic word for elbow. The name 

came from the fact that the Uillean Pipes get supplied 

with air not with the mouth, but by a bellow 

which is compressed with the elbow. 

Pa n Fl u t e 

Canira Panfl ute 


The Pan Flute - named after Pan, god of the sheperds. 

The sound of this instrument originates from 

an airstream which is directed to a sharp edge that 

cuts this airstream (on its cutting edge). All over 

the world Pan Flutes developed in different cultures 

more than 6000 years ago. Today the very 

airy sounding Pan Flutes from South America are 

famous, especially the ones from the Andes with 

their tubes aligned in one row. There are 2 different 

Panfl utes in this Library 

oV e r t o n Ir I s h Wh I s t l e s 

Overton Whistles are handmade Irish aluminium 

whistles. Three whistles are combined to one instrument 

to achieve a greater range. 

Va r I o u s Wo o d W I n d s 

All the woodwind instruments have tapered notes, 

some with and some without vibrato. The following 

instruments are included: an Indian and a Ceylonese 

snake charmer and a double neck recorder made 

from a pumpkin, which always plays two notes at 

once like a bagpipe. There is, however, a programme 

that lets you play on just one recorder neck at 

a time. With its loop version you can imitate Irish 

pipes. There is a big bamboo fl ute from Indonesia 

for warm sounds and for a strong ethnic fl ute character, 

a Mexican piccolo, a clay ocarina 

from Peru, a Dagoba (temple) fl ute from Sri Lanka 

and an alto recorder in F. In addition, there is a 

good selection of fl ute phrases and effects for the 

musical regions of East Asia and South America. 

WORLD DRUMS 

All drums have two or more dynamics on each 

key and all loops are in beatmachine-mode. Many 

programs contain single samples in addition to the 

loops to imitate a phrase realistically. 

Derbuka & Small Derbuka & Iran Bongos 

Talking Drum & Dolek & Fujara Flute 

Wo o d W I n d & Br a s s - Wo r l d dr u M s 20

ta I k o dr u M s 

Japanese Taiko Drums are stick instruments and 

used in both Japanese folk and classical musical 

traditions. They have heads on both sides of the 

drum body, and a sealed resonating cavity. Taiko 

are also characterized by a high amount of tension 

on the drums heads, with a correspondingly high 

pitch relative to body size. 

Mo n G o l I a n he n G e re G dr u M 

Mo n G o l I a n Fr a M e d r u M 

These traditional drums stem from the classic instrument 

collections of Mongolian folk groups. The 

Mongolian Hengereg Drum, often sparkling with 

colour, is a bass drum played with wooden drumsticks. 

Ma d a l dr u M 

The Madal drum originally comes from Nepal. 

It has different sized drum skins on each side 

and can be tuned with wooden keys on interlaced 

skins. 

BIG et h n I c to M dr u M s 

21 Wo r l d dr u M s

aF r I c a n do n n do n n 

The African Donn Donn is a tin drum with a cow 

hide skin and is especially recommended for African 

and Indian grooves. 

Big African Donn Donn Drum & Madal Drum & 

Ceremony Drum 

Gr a n MI l I t a r y cassa 

sM a l l cassa 

The Small Cassa has a very low and mighty sound, 

well suited to produce big drum grooves of all 

styles. There is also the big hand drum for all playing 

styles, a tambourine drum and a headless tambourine 

with rolls and crescendi, brass tablas from 

India, low pitched timbales and grooves, etc. 

Wa t e r dr u M s 

Water Drums are made of pumpkins with some 

amount of water to create a unique sound. 

Ir a n I a n Bo n G o s 

Iranian bongos are very small and made from solid 

wood. Their sound is loud and high pitched and 

they are played with sticks. 

Me t a l da r a B u k a / da r a B u k a 

For typical ethnic grooves there is a metal Darabuka 

from Turkey, not to be mistaken for Derbukas, 

which are from Morocco and have a clay body (generally 

higher pitched). 

tu n I s ce re M o n y dr u M 

& tu n I s ta M B u r I n 

Also from Tunisia are the Tunis Ceremony Drum 

and the Tunis Tamburin. 

Tunis Ceremony Drum & Tunis Tamburin & Bendir 

Wo r l d dr u M s 22

Ba s s ca J o n & ya M B u 

Bass Cajon 

The Bass Cajon and the Yambu are two large drums 

from Peru and Cuba which both have a wooden 

head. They were used to urge slaves to work. 

dJ e M B e 

Moroccon Conga & Djembe & Cuica 

The Djembe is a drum originating from Moroccon 

Guinea and Mali. It has a batter head made from 

goat skin and it offers a rich sound palette. 

ka n J I r a 

Kanjira - a simple South Indian frame drum which 

is hit only with the right hand. Nevertheless it provides 

an astounding variety of sounds. By keeping 

the skin moist one gets a remarkable bass sound. 

Be n d I r 

The Bendir from Tunisia is similar to the Irish 

Bodhran. Its characteristic sound is produced by 

two cords inside the drum. 

su r d o 

This big Samba drum from Brazil is played with 

heavy sticks. It provides the basic rhythm for the 

Samba and is constructed from a large aluminium 

kettle, strung with two plastic skins. 

23 Wo r l d dr u M s

WORLD peRCUSSION 

Here are some very unusual instruments such as 

the Angklung from Indonesia. Varying woods in 

diatonic tuning are shaken to achieve a kind of tremolo 

sound. This instrument can sound quite East 

Asian, but can also be used as a kind of Russian 

balalaika. 

Rainmakers, Chicken Eggs, Afuche Cabasa, 

Various Maracas 

Furthermore there is the wide selection of playing 

techniques and loops of shaker-like percussion instruments 

such as the African rice shaker (a rice 

fi lled rectangular bamboo board), an Afuche Cabasa 

with metal chains, South American rainmakers 

in varying sizes, chicken eggs and maracas from 

Africa and America, Jews Harps and many more. 

Go P I c h a n d 

The Gopichand is a plucked drum from Bengal. It 

is made of two longitudinal wooden sticks and a 

body which changes its pitch whenever an internal 

string is being compressed. 

ch I Go n G Ba l l s 

Chi Gong balls from China, which are traditionally 

used for hand meditation, a Gamelan wooden bell, 

two hand cymbals from Europe and many other 

percussion instruments from around the world. 

Ba l a F o n & aF r I c a n xy l o P h o n e 

The Balafon and the African Xylophone both are 

from Senegal, they are the counterpart to the European 

Xylophone. The Balafon exists in versions of 

different size. The resonance of the sound boards is 

transmitted over pumpkins cut in half. 

Baobab Shaker & Cola Shaker & Rattle Shakers & Eggs 

& Wood Shaker & Small Maracas & Metal Guiro Shaker 

Mo n G o l I a n Bo n e s sh a k e r 

Wo r l d Pe r c u s s I o n 24

Key INSTRUMeNTS 

sc a l e ch a n G e r ha r M o n I u M 

The Scale Changer Harmonium was fi rst introduced 

to India by the missionaries. It is brought to 

resonance with a stream of air. The whole keyboard 

can be shifted, and thereby the key note is adjustable 

from G# to E. An organ sound can also be 

added. 

da l l a P e ac c o r d I o n 

The Dallape Accordion from Italy is a 3 octave 

wide accordion with keys. 

ho h n e r Me l o d I c a 

The Hohner Melodica is a keyboard-like reed 

instrument from Germany and features a scale of 

2 octaves. 

VOICeS & CHOIRS 

Besides the Khoomii overtone singing, Ethno 

World also includes various male and female solo 

voices from Mongolia and a Mongolian Choir. 

Members of Egschiglen 

kh o o M I I oV e r t o n e sI n G I n G 

Khoomii singing is the typical Mongolian overtone singing. 

This unique, ethnic sounding way of singing is 

created by combining abdominal, diaphragm and chest 

breathing. By varying the resonance of the mouth cavity 

and with stronger air compression it is possible to create 

melodies. The three basic Khoomii techniques are chest 

khoomii, throat khoomii and kharkhira khoomii. 

25 ke y In s t r u M e n t s - Vo I c e s & ch o I r s

Po n c h I & Gr e G o r I a n ch a n t s 

Manfred Bogner 

tu r k I s h Ma l e Vo I c e s 

Seref Dalyanoglu 

Bu l G a r I a n Fe M a l e Vo I c e s 

Gergana Kushewa 

Pe r u V I a n Ma l e Vo I c e s 

Yerar Gerardo Chávez 

Bo y´s Vo I c e s 

Ben Schädlich 

ca M e r o o n Ma l e Vo I c e s 

Antoine Noah 

ch I n e s e Vo I c e s 

LiLi + Xizhi Nie 

Gu I n e a n Ma l e Vo I c e s 

Mori Dioubate 

uk r a I n I a n tr a d I t I o n a l so n G s 

Valentyna Starenka 

ne d a Ir a n I a n & ar a B I c Vo I c e s 

Neda Homayoon 

Fo u x I e eu r o P e a n et h n I cVo I c e s 

Fouxie 

Pa u l o eu r o P e a n et h n I c Vo I c e s 

Paulo Alves 

Wo l F G a n G eu r o P e a n et h n I c Vo I c e s 

Wolfgang Kotsowilis 

na n I n a eu r o P e a n et h n I c Vo I c e s 

Nanina Ghelfi 

lI P a eu r o P e a n et h n I c Vo I c e s 

Lipa Majstrovic 

na t I V e aM e r I c a n Vo I c e s: 

na t I V e aM e r c a n so l o so n G s 

Ambros Göller 

Gr a n d M a - (no r t h e r n ch e y e n n e) 

Elva Stands in Timber 

ol d Ma n - (la k o t a) 

Sonny Richards 

Wa r ch a n t s - (la k o t a) 

Chris Ravenshead and Friends 

so l o ch a n t s - (la k o t a-ch e y e n n e) 

Jack Miller 

th e et h n I c 

ch a M B e r ch o I r: 

Wo m e n 

Melanie Kuchling (SOPRAN) 

Tarja Kultalahti (SOPRAN) 

Steffi Albrecht (ALT) 

Judith Fröhlich (ALT) 

me n 

Nicolai Kleinbauter (TENOR) 

Andreas Gnyp (TENOR) 

Wolfgang Hansen (BASS) 

Jakob Felchnerowski (BASS) 

eu r o P e a n et h n I c ch o I r 

hu M a n W h I s t l I n G 

Vo I c e s & ch o I r s 26

BIOGRApHIeS 

Ma r c e l Ba r s o t t I 

th e Pr o d u c e r 

Marcel Barsotti has been one of the most successful 

fi lm composers in Germany for over 10 years. Many 

of his by now more than 60 fi lm compositions have 

become popular cinema music hits – „Pope Joan 

(Die Päpstin)“ ‘Das Wunder von Bern’, ‘Deutschland. 

Ein Sommermarchen’, ‘Rennschwein Rudi 

Russel, „Der Seewolf“ „Der Bibelcode“ 2’, ‘Kebab 

Connection’, ‘Wo ist Fred?’, ‘Grüne Wüste’ and 

‘Dolphins’. On the international scene, he composed 

music for the award-winning fi lm productions 

‘Sirga the Lioness’ and ‘The Poet’. 

Barsotti has worked together with Luc Besson 

Production, Carl Schenkel, Caroline Link, Sönke 

Wortmann, Gunter Rohrbach, Josee Dayan, Paul 

Hills, Hark Bohm, Gus Trikonis and Harold Faltermeyer, 

among others. 

Marcel Barsotti is also responsible for many advertising 

tunes and world wide corporate signature 

tunes, such as ‘RTL2’, ‘SOS Children’s Villages’ 

and ‘Concorde Film Distribution’. 

Michael Barsotti holds fi lm music workshops in 

Europe, and he is a member of the German composers’ 

association, the Composer Club, and a member 

of the German Film Academy jury. He gained 

two nominations for the German Television Awards 

in 2004, and in 2005 the Designer Award for best 

advertising music. 

In 2005, he founded the fi lm music label 

THE SCORE Record Company. 

Besides his fi lm composing activities, he published 

his fi rst library for ethnic instruments, ‘Ethno 

World’, in 2000. Together with Ethno World Volume 

4, this has become one of the most successful 

ethnic DVD Libraries in the world. 

In 2010 Barsotti wins the German Record Critic 

Award, The Park City Filmmusic Award 2010 and 

was nominated for the German Film Critic Award 

and the Score of the Year 2009. 

. 

MARCEL BARSOTTI 

Filmmusic Composer 

BAM Music Publishing - Germany 

barsotti@t-online.de 

www.marcelbarsotti.com 

an d r e a s ho F n e r 

Andreas Hofner has been working as an independent 

composer and music producer in Munich for 

more than 20 years. After having piano, guitar and 

saxophone lessons, he acquired his own music and 

studio know how. 

He has written several radio jingles, music for 

many commercial fi lms and advertising spots, and 

also title music and scores for several television 

productions. In the pop sphere he has worked successfully 

with THE LES HUMPHRIES SINGERS, 

JURGEN DREWS and PETER SCHILLING, participating 

successfully in the 1986 Eurovision Song 

Contest. 

ARTMAN MUSIC 

Andreas Hofner 

www.artman-music.de 

27 BI o G r a P h I e s

THe MUSICIANS 

FROM eTHNO WORLD 


Stringed instruments, drums & percussion, fl utes 

and key instruments 


Stringed instruments, drums & percussion, fl utes 

and key instruments 

sa n d r o Fr I e d r I c h 

Various Ocarinas, Tin & Low Whistle Licks, 

Shakuhachi, Pinkillo, Mancosedda, Launeddas, 

Crumhorn, Hotchiku, Fujara Overtone Flute, Irish 

Traverse Flute, Dvojacka, Double Flute, Duduk, 

Didgeridoo, Ciaramella, Ney Flute, Pivana, Tenor 

Pivana, Human Whistling 

sa n d r o hussel 

Esray, Dilruba 

tu M e n B a y a r MI G d o r J 

(from the Egschiglen Ensemble) 

Morin Khuur, Vocals 

tu M u r s a I h a n ya n l a V 


Morin Khuur, Vocals 

uu G a n B a a t a r ts e n d-oc h I r 


Ih Khuur Bass 

aM a r t u W s h I n Ba a s a n d o r J 


Khoomii Vocals, Morin Khuur 

sa r a n G e l ts e re V s a M B a 


Joochin (Dulzimer), Vocals 

en r I Q u e uG a r t e 

Accordion, Shenai 

ra o u l al V a re l l o s 

Shiva fl ute, Tenor Recorder 

th e Mu s I c I a n s F r o M et h n o Wo r l d 28

da V I d Ju n I o r 

World percussion and drums 

Fa B I a n ro e M e r 

Moorin Khur Effects, Egyptian violin 

re c o r d I n G sessIon 

Enrico Coromines (Additional Recording), 

Andreas Hofner 

and members of Egschiglen 

Pe P e ro c h a s 

Kena, Mocéno Bassfl ute 

an d r e a s Zo e l l n e r 

Rag Dun horns, Hawaiian Shell horn 

Wo l F G a n G lo h M e I e r 

Drums, Percussion, Monochord 

an d r e a s We I d I n G e r 

Various Bamboo- and European Flutes 

to M ha k e 

Overtone Whistles and Uilleann Pipes 

cl a u s Gs t a t t e r 

Western Fiddle 

Be r n h a r d Ze l l e r 

Additional Didgeridoo 

ca t a l I n tI rc o l e a 

Thank you to Catalin Tircolea, the Pan Flute Player, well 

known all over the world with his samples at EW 5. 

sa n d r o hussel 

As a musician, producer and luthier, Sandro Hussel 

has always had a special interest in string and 

percussion instruments from the Far East, Africa 

and Eastern Europe. It is these instruments which 

serve him as a source of inspiration, and meet his 

requirements for authenticity, originality and intensity. 

Sandro Hussel’s main workshop is Woodstage 

29 th e Mu s I c I a n s F r o M et h n o Wo r l d

Studio in Zurich, an insider-tip for creative sound 

production, which brings natural sound resources 

and digital technology together in perfect harmony. 

Aside from his own projects, he also works with 

artists such as Lee “Scratch” Perry and Betty Legler, 

and is also available for commercial and fi lmmusic 

projects. 

Woodstage sound studio Sandro Hussel 

Baslerstrasse 51 - 8048 Zürich 

Mobile 0041 (0)78 912 45 79 

0049 44 731 11 18 - 0049 44 492 95 19 

Email . Woodstage@bluewin.ch 

sa n d r o Fr I e d r I c h 

Sandro Friedrich started his education with early 

music. For over 20 years he has been working with 

instruments and music of many cultures. His skills 

have grown to include an astonishing spectrum of 

over 120 different wind instruments. His musical 

styles vary from world music, rock, folk, and pop, 

to techno/trance, from chill-out to fi lm music. For 

over 10 years he performed with his own band 

ACANTO (3CD‘s, awards, concerts, festivals, 

radio and TV appearances). As a studio musician 

he has recorded with well-known Swiss musicians 

such as Andreas Vollenweider and Dodo Hug. He 

has recorded fi lm music with composers such as 

Enjott Schneider („Die Flucht“), Andre Matthias 

(„The Drummer“), Sebastian Pille, Andreas Weidinger 

(„Rosamunde Pilcher: Wiedersehen am 

Shannon River“) and others. A wide spectrum of 

studio jobs on over 20 international CD‘s, and recording 

sessions with Rue du Soleil (Café del Mar) 

and Uffe Savery from Safri Duo complete his studio 

experience. He also performs live in various 

bands and combinations. As musician and composer 

his strength lies in the originality of his melodic 

lines, the power of his rhythmic grooves and his 

ability to competently and fl exibly support diverse 

musical atmospheres. His technical knowledge 

also enables recording jobs via internet in addition 

to traditional studio work. Please visit him at www. 

powerfl ute.ch for further information. 

Im Bueeli 6 - 8864 Reichenburg 

Switzerland 

Tel. & Fax: 0041 / 55 - 444 30 43 

info@powerfl ute.ch 

www.powerfl ute.ch 

eG s c h I G l e n en s e M B l e 

Contemporary and traditional music and dance from 

Mongolia. The ensemble EGSCHIGLEN (“beautiful 

melody”) was founded in 1991 in Mongolia by 

master-class students at the Ulan Bator Conservatory. 

The core of the ensemble still consists of four of its 

founder members. From the outset these artists have 

placed their country’s contemporary music at the forefront 

and have systematically explored the sound 

dimensions of this repertoire with traditional instruments 

from Mongolia and with Central Asian song 

techniques. The name EGSCHIGLEN means “good 

sound” or “beautiful melody”. Tume (Tumenbayar 

Migdorj) and Tumru (Tumursaihan Yanlav) sing 

and play the horse head violin, the morin khuur, a 

string instrument with two horse hair strings which 

is played like a cello. Uugan (Uuganbaatar Tsend- 

Ochir) bows and plucks the bass. Solo singer Amra 

(Amartuwshin Baasandorj) sings in the khoomii style 

and plays the swan neck lute, the tobshuur. Khoomii 

is a specifi c kind of overtone singing, where lower 

tones and overtones are simultaneously modulated 

into a melody. Sara (Sarangel Tserevsamba) plays 

virtuoso dulcimer and is the female voice in the en- 

th e Mu s I c I a n s F r o M et h n o Wo r l d 30

semble. EGSCHIGLEN’s music impresses with its 

variety and delicacy of expression. Khoomii singing, 

especially, is unbelievably amazing. Do these low 

and high notes really come from the throat at the 

same time? (indeed, they do!). The EGSCHIGLEN 

musicians transport us far away into the fascinating 

culture of their remote homeland, and at the same 

time into the common centre of human existence – 

beyond all cultural differences. 

Ariunaa Tserendavaa: Tanz 

Taivan Chimeddoo: Moderation 

Egschiglen Ensemble Management: Birgit Ellinghaus 

Heaven and Earth - Label & Publishing 

Zwirnerstr. 26 

D - 50678 Cologne 

f o n:0049.221.813211 

f a X: 0049.221.811053 

e m a I l:label@albakultur.de 

birgit@albakultur.de 

www.albakultur.de 

ch r I s t o P h Ma n h a r t 

(Taiko Drums) 

Wo l F G a n G ko t s o W I l I s 

(Big Ethno Drums, Military Snare and Voices) 

Born in Munich, Wolfgang took his fi rst guitar 

lessons at the age of 7 and violin lessons at the age of 

10. After his 13th year of life he was a steady participant 

at Joe Vieras jazz class in Burghausen (founder 

of the int. Jazzwoche Burghausen), extending his 

knowledge in jazz dance, aural training, interplay, 

improvisation, voice, drums and percussion. Higher 

education entrance qualifi cation was achieved at 

the Gymnasium Burghausen (violin, piano, drums). 

Since then, numerous bands and projects covering 

jazz, pop, funk, soul, rock‘n roll, rock follwed. 1999 

contribution to Ethno World 1. 2003 CD recording 

for the German motion picture „Das Wunder von 

Bern“. Concert tours in Germany and Europe since 

2004. 2009 CD recording for the German motion 

picture „Die Päpstin“. 

wolfgangkotsowilis@yahoo.com 

www.wolfgangkotsowilis.com 

31 th e Mu s I c I a n s F r o M et h n o Wo r l d

THe VOICeS FROM 

eTHNOWORLD 

Fo u x I 

Fouxi is a Munich based actress, singer and songwriter. 

Her fi rst album with french pop-chansons was 

released in 2009 called „Les fl eurs de Fouxi“. One of 

her songs was not only covered by Françoise Hardy 

but gave also the name of her new album. 

Contact: contact@fouxi.com www.fouxi.com 

lI P a Ma J s t r o V I c 

Lipa Majstrovic was born in Paris and grew up in 

Spain and Croatia. She works as a studio singer, 

vocal coach and live performer in Germany. Education: 

Kim Nazarian (New York Voices), Sheila 

Jordan. Current projects: www.cantarela.net , 

www.thedilorettes.de 

Contact: 0049(0)89/60013893 / 

++49(0)173/3536392 

mail@lipamusic.de www.lipamusic.de 

Ge r G a n a ku s h e W a 

Bulgarian Female Voices 

Ma n F r e d Bo G n e r 

For over 30 years singing has been his muse. wether 

its classic, jazz, pop or rock, every genre is covered 

by his musicality and open spirit. Auto-didactical 

learning with professional takes have given his talent 

its extraordinary matureness over the years. 

Contact: bogner-holland@t-online.de, 

phone: ++49(0)801676, ++49(0)162/2997125 

Mo r I dI o u B a t É É 

Mori Dioubaté is a professional musician born 1959 

in Conakry, West Africa, as Griot (traditional musicians 

and story tellers). He started his career as solo 

balafonist in the „Ballet national de guinée“, the 

„ensemble coteba d`abdjan“, and the „Orchestre 

de la RTI“, and worked with Mori Kante, Miriam 

Makeba and Mamady Keita later on. Since several 

years he is living in Munich, where he started the 

band „Jobarteh-Kunda“ (CDs „Ali Heya &“Abaraka“), 

and played f. ex. with Hannes Beckmann, 

and Klaus Kreuzeder. He worked as “Gastdozent” 

th e Vo I c e s F r o M et h n o Wo r l d 32

(lecturer) for African vocals at the “Akademie für 

gesprochenes Wort (Staatliche Musikhochschule 

Stuttgart)” from 1996 to 1999 and is now starting 

two projects of cross cultural music, one in Vienna 

(Afro Mandeng) and one in Stuttgart together with 

the classical pianist Stefan Charisius (TASUMA). 

Instruments: vocals, balafon, djembe, guitar, percussion, 

(congas, ngongoma…) 

Contact: communication@beitinger.com 

Website: mori-dioubate.de 

++49(0)171 3871678 / ++49(0)89 608 55 683 

se re F da l y a n o G l u 

Turkish Male Voices, Saz, Oud, Cümbüs & Tanbur 

Seref Dalyanoglu born in Turkey has lived in germany 

since he was 8. He has played in several 

international groups, orchestras and formations. 

Specialized in UD and old oriental sing-styles. He 

is also a soloist and has been performing for many 

years with his group Scirocco-Oriental. 

Contact: seref.dalyanoglu@gmx.de, 

www.scirocco-music.de 

Pa u l o al V e s 

Paulo European Ethnic Voices 

ne d a ho M a y o o n 

Iranian and Arabic Voices 

neda.homayoon@googlemail.com 

na n I n a Gh e l F I 

Nanina Ghelfi , born in 1971 (CH) , singer, Naked 

Voice teacher, vocal therapist, Off-Speaker (TV). 

She has released 3 CDs and has performed internationally 

(CH,D, UK). She intensively studies Ethnosinging, 

chants and mantras from all over the world. 

Her latest album from 2009 „Powerchant“ can be heard 

at www.klangfeld.ch. her Album „Powerchant“ 

was recorded partly with Ethno World Software. 

Contact: Nanina Ghelfi , Ringwilerstrasse 21, 

8620 Wetzikon, Schweiz (CH) 

Hm. 0041 (0)44- 930 14 74, 

Mob. ++41 (0)79- 505 69 39 

nghelfi @bluewin.ch 

Website: www.klangfeld.ch 

an t o I n e no a h 

Cameroon Male Voices 

Contact: ++49 (0)260-99573852 

++49 (0)8205-777820 

33 th e Vo I c e s F r o M et h n o Wo r l d

Be n sc h Ä d l I c h 

Boy´s Voices 

Born on the 16th may 1996 in Starnberg and a gifted 

pupil of the Pestalozzi Gymnasium Munich. Boy soprano 

in the ViVaVocina choir Munich. Loves to play 

the piano, sing and dance. 

Contact: benschaedlich@gmx.de 

Va l e n t y n a st a r e n k a 

Ukrainian Traditional Songs 

lI lI 

Chinese Female Voices 

xI Z h I nIe 

Erhu, Gaohu, Jinghu, Bawu, Sheng, Hulusi, Melodica 

NIE, Xizhi was born in 1953 in the Shandong province 

of China. 1977 he went to peking to study musicology 

at the central music-academy. In the years 

of his teaching activity Mr. Nie published several 

technical and exercise book as well as some essays 

about chinese music and chinese instruments. He 

also became a member of the national „association 

for chinese traditional music“. 1989 he joined the 

„Chinese music association peking“ that consisted 

of musicologists and musicians. Since 1995 he‘s 

toured internationally and recorded several CDs 

with the music ensemble „Embryo“ from munich. 

As a musician he performance with various instruments 

such as the chinese string instrument „Erhu“ 

or the mouth organ „Sheng“ 

th e Vo I c e s F r o M et h n o Wo r l d 34

ye r a r Ge r a r d o ch Á V e Z 

The Peruvian Male Voices 

Born: 11.11.1974 - Peru, 

Contact: D-82166 Gräfelfi ng - Pasingerstr, 15 

Music Producer, Singer, Musician, Composer of 

Shavez & La banda Fantastica 

mail: yerar@web.de - www.shavez.com 

aM B r o s GÖ l l e r 

Native American Solo Songs 

Ambros Göller comes from near Bamberg. 

In 1999 in the BLACK HILLS of South Dakota he 

met the northern Cheyenne fl ute player Joseph Fire 

Crow who became his teacher, mentor and brother. 

2002 Ambros released the album „Through my 

dreams“. His music can be heard in several indian 

radio-stations. On Stage he doesn‘t only play 

solo but also opens for the Slide-Visions of Dirk 

Rohrbach and Peter Hinz-Rosin. With his fl utes 

Ambros brought back the fundamental Sound and 

a lot of good energy in SIO Steinberg‘s ERDE & 

MENSCH project against violence. 

so n n y rI c h a r d s 

Old Man - (Lakota) 

Ja c k MI l l e r 

Solo Chants - (Lakota-Cheyenne) 

35 th e Vo I c e s F r o M et h n o Wo r l d

el V a st a n d s In tI M B e r 

Grandma - (Northern Cheyenne) 

ch r I s ra V e n s h e a d a n d Fr I e n d s 

War Chants - (Lakota) 

th e et h n I c ch a M B e r ch o I r 

Me l a n I e ku c h l I n G Sopran 

ta r J a ku l t a l a h t I Sopran 

st e F F I al B re c h t Alt 

Ju d I t h Fr Ö h l I c h Alt 

nI c o l a I kl e I n B a u t e r Tenor 

an d r e a s Gn y P Tenor 

Wo l F G a n G ha n s e n Bass 

Ja k o B Fe l c h n e r o W s k I Bass 

CReDITS 

Produced by 



Recorded and mastered at 

BaM Mu s I c & ar t M a n Mu s I c 

Additional Recording 

en r I c o co r o M I n e s 

Design & graphic realisation by 


rI c h a r d aI c h e r 

Photos by 



rI c h a r d aI c h e r 

Photo Native American (Title left) by 

le c a r o | dr e a M s t I M e.c o M 

NI Kontakt Script programming by 

kl a u s Ba e t Z 

klaus@coldsteelmusic.de 

www.coldsteelmusic.de 

GUI Developement and graphics 

In G o he r M e s 

Eigelstein 72 50668 Köln 

0176-67477444 

ingo@thebadroom.de 

SIpS Legato Script 

o r I G I n a l l y B y …BIG Bo B 

Panfl ute Canira 

ca t a l I n ra s V a n 

The Pan Flute Canira Istrument is from the Essence 

of Panfl ute album made by Canira Music International 

from Romania, in the original conception of 

the musician Catalin Rasvan licenced by 

th e Vo I c e s F r o M et h n o Wo r l d - cre d I t s 36

th e es s e n c e o F Pa n F l u t e c o l le 

c t I o n, P r o d u c e d B y s.c ca n I r a 

Mu s I c In t e r n a t I o n a l s.r.l 

sP e c I a l t h a n k s t o: 

kl a u s ka n d l e r, Gu n d I, re G I n a, 

al e x, ro l a n d, rI c h a r d, t h e Mu s I c 

sh o P c r e W, an d I, ch r I s t o F, Jo s e F, 

Fe l I, Fr a n Z, In G o, kl a u s Ba e t Z a n d 

a l l t h e G r e a t Mu s I c I a n s. 

LICeNSe AGReeMeNT 

The samples and software contained in this library 

are licensed to you for use in music, multimedia 

and fi lm productions only. Only the purchaser of 

this CD is authorized to use the sounds. Unauthorized 

copying, reproduction (including conversion 

and reproduction in other data formats) hire, rental, 

public performance, broadcasting and distribution 

is expressly prohibited. best service constantly monitors 

other soundware releases to check for copyright 

infringements, and will prosecute all piracy 

and copyright violations to the fullest extent of the 

law. All rights by best service. 

© 2003 2010 best service. All rights reserved 

37 cre d I t s - lI c e n s e aG re e M e n t

QUICK START MANUAL: 

oP e r a t I o n: 

In order to load a new instrument simply doubleklick 

the .nki file in the Kontakt-Browser or drag it 

to the right with the mouse. 

If you drag on to an existing instrument then this 

one will be overwritten. The instrument interface 

of EW5 always boots with the quick Edit Page. For 

most applications this page is sufficient. 

To changing the value of the faders at a finer resolution 

simply hold the shift-key. With Cmd-Click 

(MAC) or Strg (PC) you can reset every fader to 

its default setting. 

The value-window above the tune-fader has two 

arrows to transpose in semi-tone steps. By doubleclicking 

the window you can manually enter the 

number. 

To get a description of the fader functions just 

activate the INFO button in the top bar. This displays 

helpful information in the bottom bar during 

mouse-over. 

Also it is recommended to activate the keyboardview 

in Kontakt in order to see where the sample 

keys (grey) and the key switches (pink) are located. 

Newly loaded instruments are not displayed 

immediately. First you must click the interface to 

select it. 

You can change to a smaller view of the instruments 

by clicking the Ethno World 5 Icon (red circle). 

If thats not small enough click the minus-symbol at 

the top right of the instrument. 

th e In s t r u M e n t s: 

There are various types of instruments which becomes 

apparent in the layout of the Quick Edit Page: 

• TM SYNC: musical phrases and licks are synced 

to the tempo automaticly. Be mindful that extreme 

deviation from the original file leads to distortion 

of the audio signal. The more overtones and 

polyphony a signal has, the sooner the distortion 

occurs. 

• TM: The TM-Patches also have Time-machine, 

but all samples play in original tempo and tuning. 

However you can edit every note separately. 

• BM: The Beat-machine-patches have the 

advantage that the loops automaticly sync to the 

tempo but the samples are sliced, meaning they are 

cut into fragments. The Speed-fader displays the 

BM-Sound lengths in quarters. If you divide these, 

for example the loop doubles in speed. 

• The “Normal”-patches without prefix mostly 

use the DFD-Mode (HD Streaming) and load very 

fast and use up the least resources. 

• KEY-Patches: With the lower keys of your 

master-keyboard (usually E0) you can select variations 

of the instrument. The particular description 

of the variation is displayed on the Quick Edit Page 

in “active Key-group”. 

With instruments that contain Licks or Loops, every 

note is assigned to its individual Group, so that 

every phrase can be edited in Group-Edit and Sample 

Start Parameters. 

Bell tyPe + Metal tyPe 

+ GonGs & BoWls: 

• Since metal instruments sound especially 

interesting when tuned down, there are patches 

where the samples cover a wide range called LOW 

or WIDE RANGE.. 

VoIces and choIr, 

BoWed InstruMents: 

• Also there are many TM and TM SYNC Sounds, 

but also Pad- and Solo Sounds. In order to play 

Solo Sounds authentically you should activate 

the new Legato Function (Performance – Legato 

- Start-offset) and also with the sustain pedal the 

Glide-Effect. The Legato-Function enables very 

real note transitions, because it skips the attackphase 

of the following samples in order to elegantly 

lead into the next Note. 

• With many VOICES there are Pad-Sounds or 

Playback Tracks in the lower range of the keyboard 

in order to put the sung phrases in context.. 

Qu I c k s t a r t M a n u a l 38

World druMs 

a n d World PercussIon 

• In World Drums and World Percussion most 

of the patches are a mix of loops, rolls, fl ams and 

single hits. Whereby most of the loops where 

programmed as Beat-machine Sounds (sliced). 

Many rolls and fl ams however are Time-machine-Sounds 

identifi able by the 100 (middle setting) 

of the Speed-Fader. With this you can easily 

sync turnarounds and breaks to your song-tempo 

or integrate these sounds into your loops. With 

single hits the Speed-Fader is useless. 

• Tipp: Try playing several loops at once, but vary 

them in panorama, Tuning and fi lter settings. By 

doing this you can create very interesting and individual 

rhythms. 

THe eTHNO WORLD 5 

INSTRUMeNT INTeRFACe: 

QUICK eDIT pAGe: 

This page gives you easy access to the most important 

parameters of your instrument. 

sP e e d: 

Controls the speed in Timemachine-Mode (TM) or 

Beatmachine-Mode (BM). 

tu n e: 

Sets the tuning in semitones. For exact settings and 

fi ne-tuning use the data-entry fi eld. Just doubleclick 

and enter your data or use the mouse (high 

resolution with shift). 

sa M P l e st a r t: 

Sets the point where the sample begins to play. 

With the Sample Start Range, you can adjust a wider 

range of this slider. 

sa M P l e st a r t ra n G e: 

Here you can adjust a wider range of the Sample 

Start slider. 

a c t I V e ke y G r o u P: 

shows the selected keygroup-articulation. You can 

switch the keygroups in most „KEY“-instruments 

with the lower keys, starting on E0. 

Vo l u M e : 

Sets the volume of the selected group or the entire 

instrument, depending on the EDIT ALL button 

status. 

Pa n: 

Sets the panning of the selected group or the entire instrument, 

depending on the EDIT ALL button status. 

at t a c k: 

Sets the attack time of the selected group or the entire 

instrument, depending on the EDIT ALL button 

status. 

re l e a s e: 

Sets the release time of the selected group or the 

entire instrument, depending on the EDIT ALL 

button status. 

Ve l o c I t I y: 

Adjusts the amount that the velocity changes the 

volume of the selected group or the entire instrument, 

depending on the EDIT ALL button status. 

PI t c h B. ra n G e: 

Sets the pitch bend range in semitones of the selected 

group or the entire instrument, depending on 

the EDIT ALL button status. 

39 Qu I c k s t a r t M a n u a l

lo WPa s s / hIPa s s on/oFF sW I t c h 

Enables Low Pass or HiPass Filter. 

lo W Pa s s s l I d e r: 

Sets the Low Pass Filter Frequency of the selected 

group or the entire instrument, depending on the 

EDIT ALL button status. 

hI G h Pa s s s l I d e r: 

Sets the High Pass Filter Frequency of the selected 

group or the entire instrument, depending on the 

EDIT ALL button status. 

co n V o l u t I o n on/oFF sW I t c h 

Enables the Convolution effect. The Convolution 

Reverb requires a lot of CPU-power, so depending 

on the power of Your computer switch it off when 

you hear distortion in the audio path. 

co n V o l u t I o n Pr e de l a y: 

Sets the Pre Delay Time of the Convolution Effect. 

This effect concerns the whole instrument. 

co n V o l u t I o n sI Z e: 

Sets the impulse response fi le size of the Convolution 

Effect. This effect concerns the whole instrument. 

co n V o l u t I o n ou t P u t: 

Sets the output level of the Convolution Effect. 


QUICK eDIT pAGe 

(FOR Key-INSTRUMeNTS): 

a c t I V e ke y G r o u P: 

shows the selected keygroup-articulation. You can 

switch the keygroups in most „KEY“-instruments 

with the lower keys, starting on E0. 

le G a t o on/oFF sW I t c h: 

Enables the the Legato effect. Yon can fi nd more 

Legato-Controls in the Performance Section. 

eFFeCTS: 

This is the section where you can enable and adjust 

effects for the whole instrument. 

The effects are Convolution, Reverb, Delay, 

Phaser, Equalizer, Compressor and Saturation. 

co M P . / sa t u r. 

The compressor reduces the dynamic range of your 

instrument. Reducing volume-peaks gives you the 

possibility to raise the overall volume of the instrument. 

This can help you to bring out an instrument 

in the mix. Saturation makes the sound ‘thicker’. 

eQ u a l I Z e r 

The EQ enables you to change the sound of your 

instrument subtly or drastically. 

de l a y 

In conjunction with reverb, the delay can produce 

nice echoes or very realistic sounding room effects. 

Ph a s e r/ch o r u s 

Here you can add a Phaser or Chorus to your instrument. 

re V e r B 

The Reverb is agorithmic and does´nt need as much 


CPU power as the Convolution, a high quality effect 

using impulse response recordings. 

GROUp eDIT: 

In this section you can adjust volume, tuning, fi lter 

and envelopes for each group or playing style. 

You can fi nd everything to manipulate the tone and 

response of your instrument. 

VoluMe: 

Vo l u M e 

Sets the volume of the selected group or the entire 

instrument. 

Ve l o c I t I y 

Adjusts the amount that the velocity changes the 

volume. 

at t a c k 

Determines how fast the Attack effect reaches its 

maximum volume after you hit the key. 

de c a y 

Determines how fast the Attack effect’s volume 

drops to sustain level. 

su s t a I n 

Adjusts the volume level the sample should reach 

after the decay phase. 

re l e a s e 

Sets the time the Attack-sample continues to sound 

after you release the key. 

Ve l o> at t. 

Sets the amount of the Velocity to Attack Time modulation. 

lFo on/oFF Bu t t o n 

Enables the Low Frequency Oscillator. 

lFo dr o P do W n 

Here you can select the Volume LFO waveform. 

lFo In t e n s I t y 

Sets the intensity of the Volume LFO effect. 

lFo Fr e Q u e n c e 

Sets the frequency of the Volume LFO effect . 

pITCH LFO: 


Enables the Low Frequency Oscillator. 


Here you can select the Pitch LFO waveform. 


Sets the intensity of the Pitch LFO effect. 


Sets the frequency of the Pitch-LFO, and therefore 

the speed of the pitch modulation. 


LOW pASS / (HI pASS) 

By using the Low Pass / High Pass fi lter you can 

manipulate your instrument’s sound drastically. 

Low Pass cuts all the high frequencies, whereas 

High Pass cuts the low frequencies. 

cu t o F F 

This knob sets the cutoff frequency. It determines 

the point from which either the high frequencies or 

the low frequencies get cut. 

re s o n a n c e 

Boosts the frequencies around the cutoff frequency. 

at t a c k 

Determines how long it will take the fi lter to reach 

the cutoff frequency after you hit. 

de c a y 

Sets the time the fi lter will take to drop to sustain level. 

su s t a I n 

Sets the level the fi lter reaches after the decay phase. 

re l e a s e 

Adjusts the time the fi lter takes to stop affecting the 

sound after you have released the key. 

In t e n s I t y 

Determines how much the ADSR curve affects the 

Low/High Pass Filter. 


Enables the Low Frequency Oscillator. In this section 

it is used to modulate the cutoff frequency. 


Here you can select the Filter-LFO waveform. 


Controls the intensity of the fi lter modulation. 


Sets the frequency of the LFO, and therefore the 

speed of the fi lter modulation. 

MICROTUNING: 

ke y 

This section enables to you to fi ne tune individual 

keys of an octave. You can fi nd tunings from different 

epochs and can even create your own tunings. 

You can draw the fi ne-tuning with your mouse. 

Select the root note of the scale. 

Pre s e t 

us e r 

Select a microtuning preset. 

Save your own tuning. The saved user-tunings are 

not available in other instruments due to Kontakt´s 

scripting - architecture. 


peRFORMANCe: 

This section contains specifi c playing options that 

can alter your performance: Legato mode, Humanize 

and Harmonize. All these effects concern the 

whole instrument. 

leGato: 

Legato ON/OFF Switch 

Enables the Legato function. If Legato is on, the 

Harmonize function can’t be used and the instrument 

is set to a monophonic Solo-Mode. 

st a r t oF F s e t 

Sets the Sample Start Offset of the legato played 

notes. This effect concerns the whole instrument. 

For Instruments in DFD mode (disk streaming) like 

drums and percussions, the offset is not working. 

le G a t o x-Fa d e 

Sets the Crossfade Time of the legato played notes. 

This has no effect when you play with the Legato 

Glide Effect while pressing the sustain pedal (CC64). 


Gl I d e tI M e 

Sets the Legato Glide Time of the legato played 

notes. Press the sustain pedal (CC64) to hear the 

effect. This effect concerns the whole instrument. 

huManIZe: 

tu n I n G 

Randomly detunes each note. If set to 100%, the 

maximum detune value is 100 cents in both directions. 


eQ aM o u n t 

Sets the amount of the EQ Humanizing. Each note 

gets a slightly altered 1-band EQ-setting, depending 

on the chosen Humanize Setting. This very 

subtile effect concerns the whole instrument. 

hu M a n I Z e se t t I n G d r o P d o W n 

Select the EQ setting for the EQ Humanizing. This 

effect concerns the whole instrument. 

harMonIZe 

ad d n o t e 

If pressed, one additional note is created. Adjust 

it´s tuning with the tune data-entry below. This effect 

concerns the whole instrument. 

tu n e 

Sets the tuning of the additional note. With the arrows 

on the right side of the fi eld you can adjust the 

tuning in semitones. 

eDIT ALL BUTTON: 

This button is as powerful as it is dangerous. Not 

for your life or your studio – but for the settings of 

your instruments. 

If the Edit All button is enabled, all changes you 

make are applied to all groups, keyswitches or 

loops that are part of the instrument. That includes 

Time-and Beatmachine, fi lter, volume and tune 

settings. No matter what group you have been working 

on before, the settings are applied to all parts 

of the instrument. 

If the Edit All button is disabled, the changes are 

only applied to the currently selected group, loop 

or phrase. In KEY-Instruments, this is the active 

Keygroup, in the other instruments, the selected 

group is the last played note or sound. 

Effects from the effects- and the performance section 

are always affecting the whole instrument and 

are not affected by the Edit All button. 

And if you really get stuck, you can always reload 

your instrument. 


In s t r u M e n t lIst 

BeLL Type INSTRUMeNTS 

Instrument EW-Vol. 

Bamboo Vibraphone 1 

Belltree 3 

Bhutan Bells 2 

China Finger Cymbals 1 

Dream Catcher 1 

Gamelan Crash Bells 1 

Glockenspiel 1 

Iran Fingercymbals 3 

Metallophon 1 

Mini Bells 2 

Saron Gamelan 1 

Shanghai Baby Piano 1 

Small Burma Bells 1 

Small Tubular Bells 1 

Tibetan Cymbals 1 

Tibetan Singing Bells 1 

Vietnam Bells 2 

Windbells 3 

Windchimes Ethno World 5 

BOWeD INSTRUMeNTS 

Dilruba 4 

Egyptian Fiddle 2 

Erhu 2 

Esraj 4 

Gaohu 2 

Ih Khuur Bass 4 

Jinghu Operaviolin 2 

Morin Khuur Strings Ensemble 4 

Morin Khuur Violin 4 

Small Morin Khuur 2 

Western Fiddle Licks 3 

CONSTRUCTION SeTS 


China Set 100 3 



Mid East Set 100 3 




GONGS & BOWLS 


Big FengGong 5 

Big Rako Bowls 2 

Big Tibetan Singing Bowls 2 

Gong Besar 18“ 1 

Java Gong 2 

Mongolian Gong 4 

Rin Singing Bowls 2 

Tam Tam Besar 2 

Thai Gong 14“ 1 

Wuhan Tam Tam 2 

Key INSTRUMeNT 


Dallape Accordion 2 

Melodica 2 

Scale Changer Harmonium India 2 

MeTAL Type INSTRUMeNTS 


Bass Kalimba 2 

Cymbals 5 

Hand Cymbals 1 

Jews Harp 4 

Kalimba Kibirizi 15 tuning Plates 1 

Kalimba Kibirizi 5 tuning Plates 1 

Kalimba Hugh Tracey 3 

Metal Squares 1 

Military Cymbals 2 

Mongolian Jews Harp 4 

In s t r u M e n t lIst 44

STRINGeD INSTRUMeNTS 


Acoustic Bass Vester 2 

Balalaika 2 

Bandura 5 

Banjo Framus 1 

Banjolin 2 

Big Erhu Plectrum Violin 1 

Bouzouki Sakis 2 

Ceylon Guitar 1 

Contra Guitar F - Bass 1 

Cora 2 

Cümbüs 3 

Domra 2 

Dra-Ngen 2 

Grand Monochord 3 

Joochin Dulcimer 4 

Kantele 1 

Mandolin Truxa 1 

Oud 2 

Oud Licks 3 

Resonator Guitar 2 

Santoor Saberi 2 

Saz Licks 3 

Sitar 2 

Small Erhu Plectrum Violin 1 

Small Kantele 1 

Steel String Guitar Falcon 1 

Tampura 2 

Tanbur 3 

Timple 2 

Turke Saz 1 

Ukulele 2 

Zheng Harp 2 

Zsoura Sakis 2 

VOICeS & CHOIRS 


Boy´s Voices 5 

Bulgarian Female Voices 5 

Cameroon Male Voices 5 

Chinese Voices 5 

Ethnic Chamber Choir 5 

European Ethnic Choir 5 

Fouxi European Ethnic Voices 5 

Gregorian Chants 5 

Guinean Male Voices 5 

Human Whistling 5 

Lipa European Ethnic Voices 5 

Mongolian Female Solo Vocals 4 

Mongolian Male Khoomii Overtone Vocals 4 

Mongolian Male Solo Vocals 4 

Mongolian Male Subtone Vocals 4 

Mongolian Vocal Ensemble 4 

Nanina European Ethnic Voices 5 

Native American Original Chants 5 

Native American Style Chants 5 

Neda Iranian & Arabian Voices 5 

Paulo European Ethnic Voices 5 

Peruvian Male Voices 5 

Ponchi European Ethnic Voices 5 

Turkish Male Voices 5 

Ukrainian Traditional Songs 5 

Wolfgang European Ethnic Voices 5 

WOODWINDS & BRASS 


Bamboo Flute 1 

Bawu 2 

Ceylon Snake Charmer 1 

Ciaramella 4 

Dagoba Flute 1 

Didgeridoo 4 

Duduk 4 

Dung Dkar Conch Trumpets 2 

Dvojacka Doubletone Flute 4 

Flute Phrases 1 

Fujara Flute 3 

Fujara Overtone Flute 4 

Hawaiian Shellhorn 2 

Hotchiku 4 

Hulusi 2 

Indian Snake Charmer 1 

Irish Low Whistle 1 

Irish Traverse Flute 4 

45 In s t r u M e n t lIst

Kena 2 

Krumhorn 4 

Launeddas 4 

Low Whistle Licks 4 

Mancosedda 4 

Mexican Piccolo Flute 1 

Moceno Bassflute 2 

Ney Flute 5 

Ocarina 1 

Overton Irish Whistle 3 

Overton Irish Whistle Licks 3 

Panflute 3 

Panflute Canira 5 

Peruvian Double Ocarina 2 

Peruvian Ocarina 2 

Pinkillo Flute 4 

Pivana Flute 5 

Rag Dun Horns 2 

Recorder 1 

Shakuhachi 4 

Shenai 2 

Sheng 2 

Shiva Flute 2 

Susato Whistle 1 

Tenor Pivana Flute 5 

Tenor Recorder 2 

Tin Whistle LIcks 4 

Uilleann Pipes 3 

Various Ocarinas 4 

Zukra Bagpipe 2 

WORLD DRUMS 


African Donn Donn Drum 1 

Bass Cajon 2 

Bass Skin Udu 2 

Bendir Framedrum 2 

Big Ethnic Tom Drums 5 

Big hand Drum 1 

Ceremony Drum 1 

Darabuka 1 

Derbuka 1 

Djembe 2 

Dolek 3 

Flat Udu 3 

Gon Bops Cuica Drum 2 

Gran Military Cassa 2 

Indian Tablas 1 

Iran Bongos 1 

Kanjira 3 

Madal Drum 1 

Military Snaredrum 1 

Mongolian Framedrum 4 

Mongolian Hengereg Drum 4 

Moroccon Conga 2 

Oceandrum 3 

Piccolo Military Snaredrum 1 

Pitched Timbales 1 

Small Cassa 1 

Small Derbuka 1 

Surdo 3 

Taiko Drums 5 

Talking Drum 3 

Tambourine Drum 1 

Traditional Bongos 1 

Tunis Ceremony Drum 2 

Waterdrums 3 

Yambu 2 

WORLD peRCUSSION 


African Rice Shaker 1 

African Xylophone 2 

Afuche Cabasa 1 

American Woodblocks 1 

Angklung Gamelan 1 

Balafon 2 

Bamboo Windchimes 1 

Baobab Shaker 3 

Castanets 1 

Chi Gong Balls 1 

Chicken Eggs 1 

Cola Shaker 3 

Drum Pots 1 

Gamelan Wooden Cowbell 1 

Gon Bops Cuica 2 

In s t r u M e n t lIst 46

Gopichand 2 

Headless Tambourine 1 

Log drum 2 

Metal Guiro Shaker 3 

Mixed Wood Percussion 3 

Mongolian Bones Shaker 4 

Nut Shaker 3 

Rainmakers 1 

Rattle Shaker 3 

Schellenkranz 2 

Shaker Sets 3 

Shell Shekere 2 

Small Chickeneggs 3 

Small Maracas 3 

Spring Drums 3 

Tamborcito 2 

Tambourine Drum 1 

Traditional Cowbells 1 

Tunis Tambourine 2 

Various Maracas 1 

Wood Shaker 3 

Wooden Bells 2 

Wrist Jingles 2 

47 In s t r u M e n t lIst

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