Manual - Best Service

Manual - Best Service

Manual - Best Service


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from Ethno World 5 professional

WE L C O M E T O TH E VO I C E S & CH O I R S F R O M ET H N O WO R L D 5<br />

PR O F E S S I O N A L & VO I C E S produced by Marcel Barsotti<br />

iNtrodUCtioN<br />


PROFESSIONAL is by the renowned fi lm composer<br />

Marcel Barsotti (Die Päpstin, Deutschland.<br />

Ein Sommermärchen, Das Wunder von Bern). This<br />

composer has already won several awards. He has<br />

composed music for more than 80 cinema, advertising<br />

and television fi lms and his musicians have<br />

been placed in the charts several times.<br />


PROFESSIONAL with its 7 GB content and about<br />

4.000 samples and 200 patches is one of the largest<br />

ethnic vocal sample libraries in the world.<br />

There are 25 professionally recorded solo-voices<br />

from all over the world and an Ethnic Chamber<br />

Choir. You will fi nd voices from North America,<br />

Europe, Cameroon, Guinea, China, Mongolia,<br />

Iran, Turkey, Bulgaria, Ukraine, North Afrika and<br />

Peru and a detailed recorded Human Whistling.<br />

With the highly improved Legato-Mode in combination<br />

with several voice-articulations you now<br />

have the possibility to record realistic vocal lines.<br />


PROFESSIONAL has tapped into a new dimension<br />

with Kontakt 4 and outstanding programming.<br />

A new instrument<br />

interface allows you via the new quick edit page<br />

to directly access all the essential parameters and<br />

thereby offers a intuitive handling of VOICES &<br />

CHOIRS instruments. By integration of the convolution<br />

reverb the voices sound more natural. The<br />

realtime automation has been greatly simplifi ed.<br />

Furthermore elastic audio Time Machine II lets you<br />

transpose any vocal phrase. With sample start-shift<br />

you can determine when a phrase should begin.<br />

With the humanize mode every note has a slightly<br />

different tone and micro-tuning allows any type of<br />

tuning and ethnic scales.<br />

All VOICES & CHOIRS are performed by renowned<br />

singers & musicians under the direction of Andreas<br />

Hofner and Marcel Barsotti.<br />

more info: www.bestservice.de.<br />

Just listen to the demo!<br />

I hope users all over the world will find<br />

much enjoyment, plenty of inspiration and<br />

musical creativity in the musical transformation<br />

of ethnic and other styles.<br />

Marcel Barsotti<br />

the VoiCes & Choirs<br />

from ethNo WorLd 5<br />

Native American Phrases, Cameroon Voices &<br />

Phrases, Guinean Voices & Phrases, Chinese<br />

Opera Voices & Phrases, Iranian Voices & Phrases,<br />

Turkish Voices & Muezzin Phrases, Bulgarian<br />

Voices & Phrases, Ukrainian Traditional<br />

Phrases, Peruvian Voices & Phrases sowie Ethnic<br />

European Vocals, Boy Solo Voices & Phrases,<br />

Gregorian Phrases and an Ethnic Chamber<br />

Choir, Human Whistling.<br />

the soUNd CoNCePt<br />

All voices have been recorded with the fi nest stateof-the-art<br />

tube technology and then mastered with<br />

professional high quality plug-ins. Great care has<br />

been exercised to transmit the authenticity of the<br />

singers. The reference tuning is set at 440 Hz.<br />

in t r o d u c t i o n - tH e vo i c e s & cH o i r s f r o M et H n o Wo r l d 5 02

ABBreViAtioNs<br />

TM Timemachine<br />

TM SYNC Timemachine with tempo<br />

synchronisation<br />

P Piano<br />

F Forte<br />

FX Effect<br />

VEL Velocity Switch<br />

MOD Modulation Wheel<br />

XFD Crossfade<br />

KEY Keyswitch Instrument<br />

VoiCes & Choirs<br />

Besides the Khoomii overtone singing, Ethno<br />

World also includes various male and female solo<br />

voices from Mongolia and a Mongolian Choir.<br />

Members of Egschiglen<br />

KH o o M i i ov e r t o n e si n g i n g<br />

Khoomii singing is the typical Mongolian overtone singing.<br />

This unique, ethnic sounding way of singing is<br />

created by combining abdominal, diaphragm and chest<br />

breathing. By varying the resonance of the mouth cavity<br />

and with stronger air compression it is possible to create<br />

melodies. The three basic Khoomii techniques are chest<br />

khoomii, throat khoomii and kharkhira khoomii.<br />

po n c H i & gr e g o r i a n cH a n t s<br />

Manfred Bogner<br />

tu r K i s H Ma l e vo i c e s<br />

Seref Dalyanoglu<br />

Bu l g a r i a n fe M a l e vo i c e s<br />

Gergana Kushewa<br />

pe r u v i a n Ma l e vo i c e s<br />

Yerar Gerardo Chávez<br />

Bo y´s vo i c e s<br />

Ben Schädlich<br />

ca M e r o o n Ma l e vo i c e s<br />

Antoine Noah<br />

cH i n e s e vo i c e s<br />

LiLi + Xizhi Nie<br />

gu i n e a n Ma l e vo i c e s<br />

Mori Dioubate<br />

uK r a i n i a n tr a d i t i o n a l so n g s<br />

Valentyna Starenka<br />

ne d a ir a n i a n & ar a B i c vo i c e s<br />

Neda Homayoon<br />

fo u X i e eu r o p e a n et H n i cvo i c e s<br />

Fouxie<br />

pa u l o eu r o p e a n et H n i c vo i c e s<br />

Paulo Alves<br />

Wo l f g a n g eu r o p e a n et H n i c vo i c e s<br />

Wolfgang Kotsowilis<br />

na n i n a eu r o p e a n et H n i c vo i c e s<br />

Nanina Ghelfi<br />

li p a eu r o p e a n et H n i c vo i c e s<br />

Lipa Majstrovic<br />

03 aB B re v i a t i o n s - tH e vo i c e s & cH o i r s

na t i v e aM e r i c a n vo i c e s:<br />

na t i v e aM e r c a n so l o so n g s<br />

Ambros Göller<br />

gr a n d M a - (no r t H e r n cH e y e n n e)<br />

Elva Stands in Timber<br />

ol d Ma n - (la K o t a)<br />

Sonny Richards<br />

Wa r cH a n t s - (la K o t a)<br />

Chris Ravenshead and Friends<br />

so l o cH a n t s - (la K o t a-cH e y e n n e)<br />

Jack Miller<br />

tH e et H n i c<br />

cH a M B e r cH o i r:<br />

WO M E N<br />

melanie Kuchling (SOPRAN)<br />

tarja Kultalahti (SOPRAN)<br />

Steffi Albrecht (ALT)<br />

Judith fröhlich (ALT)<br />

ME N<br />

Nicolai Kleinbauter (TENOR)<br />

Andreas Gnyp (TENOR)<br />

Wolfgang hansen (BASS)<br />

Jakob felchnerowski (BASS)<br />

eu r o p e a n et H n i c cH o i r<br />

Hu M a n W H i s t l i n g<br />

the siNGers<br />

from ethNo WorLd<br />

tu M e n B a y a r Mi g d o r J<br />

Mongolian Voices<br />

tu M u r s a i H a n ya n l a v<br />

Mongolian Voices<br />

aM a r t u W s H i n Ba a s a n d o r J<br />

Khoomii Voices<br />

sa r a n g e l ts e re v s a M B a<br />

Mongolian Voices<br />

sa n d r o fr i e d r i c H<br />

Sandro Friedrich started his education with early<br />

music. For over 20 years he has been working<br />

with instruments and music of many cultures. His<br />

skills have grown to include an astonishing spec-<br />

tH e vo i c e s & cH o i r s - tH e si n g e r s 04

trum of over 120 different wind instruments. His<br />

musical styles vary from world music, rock, folk,<br />

and pop, to techno/trance, from chill-out to fi lm<br />

music. For over 10 years he performed with his<br />

own band ACANTO (3CD‘s, awards, concerts,<br />

festivals, radio and TV appearances). As a studio<br />

musician he has recorded with well-known Swiss<br />

musicians such as Andreas Vollenweider and Dodo<br />

Hug. He has recorded fi lm music with composers<br />

such as Enjott Schneider („Die Flucht“), Andre<br />

Matthias („The Drummer“), Sebastian Pille, Andreas<br />

Weidinger („Rosamunde Pilcher: Wiedersehen<br />

am Shannon River“) and others. A wide spectrum<br />

of studio jobs on over 20 international CD‘s, and<br />

recording sessions with Rue du Soleil (Café del<br />

Mar) and Uffe Savery from Safri Duo complete his<br />

studio experience. He also performs live in various<br />

bands and combinations. As musician and composer<br />

his strength lies in the originality of his melodic<br />

lines, the power of his rhythmic grooves and his<br />

ability to competently and fl exibly support diverse<br />

musical atmospheres. His technical knowledge<br />

also enables recording jobs via internet in addition<br />

to traditional studio work. Please visit him at www.<br />

powerfl ute.ch for further information.<br />

Im Bueeli 6 - 8864 Reichenburg<br />

Switzerland<br />

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

info@powerfl ute.ch<br />

www.powerfl ute.ch<br />

eg s c H i g l e n en s e M B l e<br />

Contemporary and traditional music and dance from<br />

Mongolia. The ensemble EGSCHIGLEN (“beautiful<br />

melody”) was founded in 1991 in Mongolia by<br />

master-class students at the Ulan Bator Conservatory.<br />

The core of the ensemble still consists of four of its<br />

founder members. From the outset these artists have<br />

placed their country’s contemporary music at the forefront<br />

and have systematically explored the sound<br />

dimensions of this repertoire with traditional instruments<br />

from Mongolia and with Central Asian song<br />

techniques. The name EGSCHIGLEN means “good<br />

sound” or “beautiful melody”. Tume (Tumenbayar<br />

Migdorj) and Tumru (Tumursaihan Yanlav) sing<br />

and play the horse head violin, the morin khuur, a<br />

string instrument with two horse hair strings which<br />

is played like a cello. Uugan (Uuganbaatar Tsend-<br />

Ochir) bows and plucks the bass. Solo singer Amra<br />

(Amartuwshin Baasandorj) sings in the khoomii style<br />

and plays the swan neck lute, the tobshuur. Khoomii<br />

is a specifi c kind of overtone singing, where lower<br />

tones and overtones are simultaneously modulated<br />

into a melody. Sara (Sarangel Tserevsamba) plays<br />

virtuoso dulcimer and is the female voice in the ensemble.<br />

EGSCHIGLEN’s music impresses with its<br />

variety and delicacy of expression. Khoomii singing,<br />

especially, is unbelievably amazing. Do these low<br />

and high notes really come from the throat at the<br />

same time? (indeed, they do!). The EGSCHIGLEN<br />

musicians transport us far away into the fascinating<br />

culture of their remote homeland, and at the same<br />

time into the common centre of human existence –<br />

beyond all cultural differences.<br />

Ariunaa tserendavaa: tanz<br />

taivan Chimeddoo: moderation<br />

egschiglen ensemble management: Birgit ellinghaus<br />

heaven and earth - Label & Publishing<br />

Zwirnerstr. 26<br />

D - 50678 Cologne<br />

F O N:0049.221.813211<br />

F A X: 0049.221.811053<br />

E M A I L:label@albakultur.de<br />

birgit@albakultur.de<br />

www.albakultur.de<br />

05 Be l l & Me t a l ty p e itH n s t e rsi u M n n g e t r s

Wo l f g a n g Ko t s o W i l i s<br />

(Big Ethno Drums, Military Snare and Voices)<br />

Born in Munich, Wolfgang took his fi rst guitar<br />

lessons at the age of 7 and violin lessons at the age of<br />

10. After his 13th year of life he was a steady participant<br />

at Joe Vieras jazz class in Burghausen (founder<br />

of the int. Jazzwoche Burghausen), extending his<br />

knowledge in jazz dance, aural training, interplay,<br />

improvisation, voice, drums and percussion. Higher<br />

education entrance qualifi cation was achieved at<br />

the Gymnasium Burghausen (violin, piano, drums).<br />

Since then, numerous bands and projects covering<br />

jazz, pop, funk, soul, rock‘n roll, rock follwed. 1999<br />

contribution to Ethno World 1. 2003 CD recording<br />

for the German motion picture „Das Wunder von<br />

Bern“. Concert tours in Germany and Europe since<br />

2004. 2009 CD recording for the German motion<br />

picture „Die Päpstin“.<br />

wolfgangkotsowilis@yahoo.com<br />

www.wolfgangkotsowilis.com<br />

ge r g a n a Ku s H e W a<br />

Bulgarian Female Voices<br />

se re f da l y a n o g l u<br />

Turkish Male Voices, Saz, Oud, Cümbüs & Tanbur<br />

Seref Dalyanoglu born in Turkey has lived in germany<br />

since he was 8. He has played in several<br />

international groups, orchestras and formations.<br />

Specialized in UD and old oriental sing-styles. He<br />

is also a soloist and has been performing for many<br />

years with his group Scirocco-Oriental.<br />

Contact: seref.dalyanoglu@gmx.de,<br />

www.scirocco-music.de<br />

li p a Ma J s t r o v i c<br />

Lipa Majstrovic was born in Paris and grew up in<br />

Spain and Croatia. She works as a studio singer,<br />

vocal coach and live performer in Germany. Education:<br />

Kim Nazarian (New York Voices), Sheila<br />

Jordan. Current projects: www.cantarela.net ,<br />

www.thedilorettes.de<br />

Contact: 0049(0)89/60013893 /<br />

++49(0)173/3536392<br />

mail@lipamusic.de www.lipamusic.de<br />

pa u l o al v e s<br />

Paulo European Ethnic Voices<br />

tH e si n g e r s f r o M et H n oWo r l d 5 p r o f e s s i o n a l & v o i c e s 06

Ma n f r e d Bo g n e r<br />

For over 30 years singing has been his muse. wether<br />

its classic, jazz, pop or rock, every genre is covered<br />

by his musicality and open spirit. Auto-didactical<br />

learning with professional takes have given his talent<br />

its extraordinary matureness over the years.<br />

Contact: bogner-holland@t-online.de,<br />

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

Mo r i di o u B a t É É<br />

Mori Dioubaté is a professional musician born 1959<br />

in Conakry, West Africa, as Griot (traditional musicians<br />

and story tellers). He started his career as solo<br />

balafonist in the „Ballet national de guinée“, the<br />

„ensemble coteba d`abdjan“, and the „Orchestre<br />

de la RTI“, and worked with Mori Kante, Miriam<br />

Makeba and Mamady Keita later on. Since several<br />

years he is living in Munich, where he started the<br />

band „Jobarteh-Kunda“ (CDs „Ali Heya &“Abaraka“),<br />

and played f. ex. with Hannes Beckmann,<br />

and Klaus Kreuzeder. He worked as “Gastdozent”<br />

(lecturer) for African vocals at the “Akademie für<br />

gesprochenes Wort (Staatliche Musikhochschule<br />

Stuttgart)” from 1996 to 1999 and is now starting<br />

two projects of cross cultural music, one in Vienna<br />

(Afro Mandeng) and one in Stuttgart together with<br />

the classical pianist Stefan Charisius (TASUMA).<br />

Instruments: vocals, balafon, djembe, guitar, percussion,<br />

(congas, ngongoma…)<br />

Contact: communication@beitinger.com<br />

Website: mori-dioubate.de<br />

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

ne d a Ho M a y o o n<br />

Iranian and Arabic Voices<br />

neda.homayoon@googlemail.com<br />

na n i n a gH e l f i<br />

Nanina Ghelfi , born in 1971 (CH) , singer, Naked<br />

Voice teacher, vocal therapist, Off-Speaker (TV).<br />

She has released 3 CDs and has performed internationally<br />

(CH,D, UK). She intensively studies Ethnosinging,<br />

chants and mantras from all over the world.<br />

Her latest album from 2009 „Powerchant“ can be heard<br />

at www.klangfeld.ch. her Album „Powerchant“<br />

was recorded partly with Ethno World Software.<br />

Contact: Nanina Ghelfi , Ringwilerstrasse 21,<br />

8620 Wetzikon, Schweiz (CH)<br />

Hm. 0041 (0)44- 930 14 74,<br />

Mob. ++41 (0)79- 505 69 39<br />

nghelfi @bluewin.ch<br />

Website: www.klangfeld.ch<br />

07 tH e si n g e r s f r o M et H n oWo r l d 5 p r o f e s s i o n a l & v o i c e s

an t o i n e no a H<br />

Cameroon Male Voices<br />

Contact: ++49 (0)260-99573852<br />

++49 (0)8205-777820<br />

fo u X i<br />

Fouxi is a Munich based actress, singer and songwriter.<br />

Her fi rst album with french pop-chansons was<br />

released in 2009 called „Les fl eurs de Fouxi“. One of<br />

her songs was not only covered by Françoise Hardy<br />

but gave also the name of her new album.<br />

Contact: contact@fouxi.com www.fouxi.com<br />

Be n sc H Ä d l i c H<br />

Boy´s Voices<br />

Born on the 16th may 1996 in Starnberg and a gifted<br />

pupil of the Pestalozzi Gymnasium Munich. Boy soprano<br />

in the ViVaVocina choir Munich. Loves to play<br />

the piano, sing and dance.<br />

Contact: benschaedlich@gmx.de<br />

li li<br />

Chinese Female Voices<br />

Xi z H i nie<br />

Erhu, Gaohu, Jinghu, Bawu, Sheng, Hulusi, Melodica<br />

NIE, Xizhi was born in 1953 in the Shandong province<br />

of China. 1977 he went to peking to study musicology<br />

at the central music-academy. In the years<br />

of his teaching activity Mr. Nie published several<br />

technical and exercise book as well as some essays<br />

about chinese music and chinese instruments. He<br />

also became a member of the national „association<br />

for chinese traditional music“. 1989 he joined the<br />

„Chinese music association peking“ that consisted<br />

of musicologists and musicians. Since 1995 he‘s<br />

toured internationally and recorded several CDs<br />

with the music ensemble „Embryo“ from munich.<br />

As a musician he performance with various instruments<br />

such as the chinese string instrument „Erhu“<br />

or the mouth organ „Sheng“<br />

tH e si n g e r s f r o M et H n oWo r l d 5 p r o f e s s i o n a l & v o i c e s 08

va l e n t y n a st a r e n K a<br />

Ukrainian Traditional Songs<br />

aM B r o s gÖ l l e r<br />

Native American Solo Songs<br />

Ambros Göller comes from near Bamberg.<br />

In 1999 in the BLACK HILLS of South Dakota he<br />

met the northern Cheyenne fl ute player Joseph Fire<br />

Crow who became his teacher, mentor and brother.<br />

2002 Ambros released the album „Through my<br />

dreams“. His music can be heard in several indian<br />

radio-stations. On Stage he doesn‘t only play<br />

solo but also opens for the Slide-Visions of Dirk<br />

Rohrbach and Peter Hinz-Rosin. With his fl utes<br />

Ambros brought back the fundamental Sound and<br />

a lot of good energy in SIO Steinberg‘s ERDE &<br />

MENSCH project against violence.<br />

ye r a r ge r a r d o cH Á v e z<br />

The Peruvian Male Voices<br />

Born: 11.11.1974 - Peru,<br />

Contact: D-82166 Gräfelfi ng - Pasingerstr, 15<br />

Music Producer, Singer, Musician, Composer of<br />

Shavez & La banda Fantastica<br />

mail: yerar@web.de - www.shavez.com<br />

09 tH e si n g e r s f r o M et H n oWo r l d 5 p r o f e s s i o n a l & v o i c e s

Grandma - (Northern Cheyenne)<br />

so n n y ri c H a r d s<br />

Old Man - (Lakota)<br />

Ja c K Mi l l e r<br />

Solo Chants - (Lakota-Cheyenne)<br />

el v a st a n d s in ti M B e r<br />

cH r i s ra v e n s H e a d a n d fr i e n d s<br />

War Chants - (Lakota)<br />

tH e et H n i c cH a M B e r cH o i r<br />

Me l a n i e Ku c H l i n g Sopran<br />

ta r J a Ku l t a l a H t i Sopran<br />

st e f f i al B re c H t Alt<br />

Ju d i t H fr Ö H l i c H Alt<br />

ni c o l a i Kl e i n B a u t e r Tenor<br />

an d r e a s gn y p Tenor<br />

Wo l f g a n g Ha n s e n Bass<br />

Ja K o B fe l c H n e r o W s K i Bass<br />

tH e si n g e r s f r o M et H n oWo r l d 5 p r o f e s s i o n a l & v o i c e s 10

Credits<br />

Produced by<br />

Ma r c e l Ba r s o t t i<br />

an d r e a s Ho f n e r<br />

recorded and mastered at<br />

BaM Mu s i c & ar t M a n Mu s i c<br />

Additional recording<br />

en r i c o co r o M i n e s<br />

design & graphic realisation by<br />

Ma r c e l Ba r s o t t i<br />

ri c H a r d ai c H e r<br />

Photos by<br />

Ma r c e l Ba r s o t t i<br />

an d r e a s Ho f n e r<br />

ri c H a r d ai c H e r<br />

Photo Native American (Title left) by<br />

le c a r o | dr e a M s t i M e .c o M<br />

Ni Kontakt script programming by<br />

Kl a u s Ba e t z<br />

klaus@coldsteelmusic.de<br />

www.coldsteelmusic.de<br />

GUi developement and graphics<br />

in g o He r M e s<br />

Eigelstein 72 50668 Köln<br />

0176-67477444<br />

ingo@thebadroom.de<br />

siPs Legato script<br />

o r i g i n a l l y B y …Big Bo B<br />

LiCeNse AGreemeNt<br />

The samples and software contained in this library<br />

are licensed to you for use in music, multimedia<br />

and film productions only. Only the purchaser of<br />

this CD is authorized to use the sounds. Unauthorized<br />

copying, reproduction (including conversion<br />

and reproduction in other data formats) hire, rental,<br />

public performance, broadcasting and distribution<br />

is expressly prohibited. best service constantly monitors<br />

other soundware releases to check for copyright<br />

infringements, and will prosecute all piracy<br />

and copyright violations to the fullest extent of the<br />

law. All rights by best service.<br />

© 2003 2010 best service. All rights reserved<br />

11 tH e si n g e r s f r o M et H n oWo r l d 5 p r o f e s s i o n a l & v o i c e s

QUiCK stArt mANUAL<br />

for eW5 ProfessioNAL &<br />

eW5 VoiCes & Choirs:<br />

op e r a t i o n:<br />

In order to load a new instrument simply doubleklick<br />

the .nki file in the Kontakt-Browser or drag it<br />

to the right with the mouse.<br />

If you drag on to an existing instrument then this<br />

one will be overwritten. The instrument interface<br />

of EW5 always boots with the quick Edit Page. For<br />

most applications this page is sufficient.<br />

To changing the value of the faders at a finer resolution<br />

simply hold the shift-key. With Cmd-Click<br />

(MAC) or Strg (PC) you can reset every fader to<br />

its default setting.<br />

The value-window above the tune-fader has two<br />

arrows to transpose in semi-tone steps. By doubleclicking<br />

the window you can manually enter the<br />

number.<br />

To get a description of the fader functions just<br />

activate the INFO button in the top bar. This displays<br />

helpful information in the bottom bar during<br />

mouse-over.<br />

Also it is recommended to activate the keyboardview<br />

in Kontakt in order to see where the sample<br />

keys (grey) and the key switches (pink) are located.<br />

Newly loaded instruments are not displayed<br />

immediately. First you must click the interface to<br />

select it.<br />

You can change to a smaller view of the instruments<br />

by clicking the Ethno World 5 Icon (red circle).<br />

If thats not small enough click the minus-symbol at<br />

the top right of the instrument.<br />

tH e in s t r u M e n t s:<br />

There are various types of instruments which becomes<br />

apparent in the layout of the Quick Edit Page:<br />

• TM SYNC: musical phrases and licks are synced<br />

to the tempo automaticly. Be mindful that extreme<br />

deviation from the original file leads to distortion<br />

of the audio signal. The more overtones and<br />

polyphony a signal has, the sooner the distortion<br />

occurs.<br />

• TM: The TM-Patches also have Time-machine,<br />

but all samples play in original tempo and tuning.<br />

However you can edit every note separately.<br />

• BM: The Beat-machine-patches have the advantage<br />

that the loops automaticly sync to the tempo<br />

but the samples are sliced, meaning they are<br />

cut into fragments. The Speed-fader displays the<br />

BM-Sound lengths in quarters. If you divide these,<br />

for example the loop doubles in speed.<br />

• The “Normal”-patches without prefix mostly use<br />

the DFD-Mode (HD Streaming) and load very<br />

fast and use up the least resources.<br />

• KEY-Patches: With the lower keys of your master-keyboard<br />

(usually E0) you can select variations<br />

of the instrument. The particular description<br />

of the variation is displayed on the Quick Edit<br />

Page in “active Key-group”.<br />

With instruments that contain Licks or Loops, every<br />

note is assigned to its individual Group, so that<br />

every phrase can be edited in Group-Edit and Sample<br />

Start Parameters.<br />

Bell type + Metal type<br />

+ gongs & BoWls:<br />

• Since metal instruments sound especially<br />

interesting when tuned down, there are patches<br />

where the samples cover a wide range called LOW<br />

or WIDE RANGE..<br />

voices and cHoir,<br />

BoWed instruMents:<br />

• Also there are many TM and TM SYNC Sounds,<br />

but also Pad- and Solo Sounds. In order to play<br />

Solo Sounds authentically you should activate<br />

the new Legato Function (Performance – Legato<br />

- Start-offset) and also with the sustain pedal the<br />

Glide-Effect. The Legato-Function enables very<br />

real note transitions, because it skips the attackphase<br />

of the following samples in order to elegantly<br />

lead into the next Note.<br />

• With many VOICES there are Pad-Sounds or<br />

Playback Tracks in the lower range of the keyboard<br />

in order to put the sung phrases in context..<br />

Qu i c K s t a r t Ma n u a l 12

World druMs<br />

a n d World percussion<br />

• In World Drums and World Percussion most of<br />

the patches are a mix of loops, rolls, fl ams and<br />

single hits. Whereby most of the loops where<br />

programmed as Beat-machine Sounds (sliced).<br />

Many rolls and fl ams however are Time-machine-Sounds<br />

identifi able by the 100 (middle setting)<br />

of the Speed-Fader. With this you can easily<br />

sync turnarounds and breaks to your song-tempo<br />

or integrate these sounds into your loops. With<br />

single hits the Speed-Fader is useless.<br />

• Tipp: Try playing several loops at once, but vary<br />

them in panorama, Tuning and fi lter settings. By<br />

doing this you can create very interesting and individual<br />

rhythms.<br />

the ethNo WorLd 5<br />

iNstrUmeNt iNterfACe:<br />

QUiCK edit PAGe:<br />

This page gives you easy access to the most important<br />

parameters of your instrument.<br />

sp e e d:<br />

Controls the speed in Timemachine-Mode (TM) or<br />

Beatmachine-Mode (BM).<br />

tu n e:<br />

Sets the tuning in semitones. For exact settings and<br />

fi ne-tuning use the data-entry fi eld. Just doubleclick<br />

and enter your data or use the mouse (high<br />

resolution with shift).<br />

sa M p l e st a r t:<br />

Sets the point where the sample begins to play.<br />

With the Sample Start Range, you can adjust a wider<br />

range of this slider.<br />

sa M p l e st a r t ra n g e:<br />

Here you can adjust a wider range of the Sample<br />

Start slider.<br />

a c t i v e Ke y g r o u p:<br />

shows the selected keygroup-articulation. You can<br />

switch the keygroups in most „KEY“-instruments<br />

with the lower keys, starting on E0.<br />

vo l u M e :<br />

Sets the volume of the selected group or the entire<br />

instrument, depending on the EDIT ALL button<br />

status.<br />

pa n:<br />

Sets the panning of the selected group or the entire instrument,<br />

depending on the EDIT ALL button status.<br />

at t a c K:<br />

Sets the attack time of the selected group or the entire<br />

instrument, depending on the EDIT ALL button<br />

status.<br />

re l e a s e:<br />

Sets the release time of the selected group or the<br />

entire instrument, depending on the EDIT ALL<br />

button status.<br />

ve l o c i t i y:<br />

Adjusts the amount that the velocity changes the<br />

volume of the selected group or the entire instrument,<br />

depending on the EDIT ALL button status.<br />

pi t c H B. ra n g e:<br />

Sets the pitch bend range in semitones of the selected<br />

group or the entire instrument, depending on<br />

the EDIT ALL button status.<br />

13 Qu i c K s t a r t Ma n u a l

lo Wpa s s / Hipa s s on/off sW i t c H<br />

Enables Low Pass or HiPass Filter.<br />

lo W pa s s s l i d e r:<br />

Sets the Low Pass Filter Frequency of the selected<br />

group or the entire instrument, depending on the<br />

EDIT ALL button status.<br />

Hi g H pa s s s l i d e r:<br />

Sets the High Pass Filter Frequency of the selected<br />

group or the entire instrument, depending on the<br />

EDIT ALL button status.<br />

co n v o l u t i o n on/off sW i t c H<br />

Enables the Convolution effect. The Convolution<br />

Reverb requires a lot of CPU-power, so depending<br />

on the power of Your computer switch it off when<br />

you hear distortion in the audio path.<br />

co n v o l u t i o n pr e de l a y:<br />

Sets the Pre Delay Time of the Convolution Effect.<br />

This effect concerns the whole instrument.<br />

co n v o l u t i o n si z e:<br />

Sets the impulse response fi le size of the Convolution<br />

Effect. This effect concerns the whole instrument.<br />

co n v o l u t i o n ou t p u t:<br />

Sets the output level of the Convolution Effect.<br />

This effect concerns the whole instrument.<br />

QUiCK edit PAGe<br />

(for KeY-iNstrUmeNts):<br />

a c t i v e Ke y g r o u p:<br />

shows the selected keygroup-articulation. You can<br />

switch the keygroups in most „KEY“-instruments<br />

with the lower keys, starting on E0.<br />

le g a t o on/off sW i t c H:<br />

Enables the the Legato effect. Yon can fi nd more<br />

Legato-Controls in the Performance Section.<br />

effeCts:<br />

This is the section where you can enable and adjust<br />

effects for the whole instrument.<br />

The effects are Convolution, Reverb, Delay,<br />

Phaser, Equalizer, Compressor and Saturation.<br />

co M p . / sa t u r.<br />

The compressor reduces the dynamic range of your<br />

instrument. Reducing volume-peaks gives you the<br />

possibility to raise the overall volume of the instrument.<br />

This can help you to bring out an instrument<br />

in the mix. Saturation makes the sound ‘thicker’.<br />

eQ u a l i z e r<br />

The EQ enables you to change the sound of your<br />

instrument subtly or drastically.<br />

de l a y<br />

In conjunction with reverb, the delay can produce<br />

nice echoes or very realistic sounding room effects.<br />

pH a s e r/cH o r u s<br />

Here you can add a Phaser or Chorus to your instrument.<br />

Qu i c K s t a r t Ma n u a l 14

e v e r B<br />

The Reverb is agorithmic and does´nt need as much<br />

CPU power as the Convolution, a high quality effect<br />

using impulse response recordings.<br />

GroUP edit:<br />

In this section you can adjust volume, tuning, fi lter<br />

and envelopes for each group or playing style.<br />

You can fi nd everything to manipulate the tone and<br />

response of your instrument.<br />

voluMe:<br />

vo l u M e<br />

Sets the volume of the selected group or the entire<br />

instrument.<br />

ve l o c i t i y<br />

Adjusts the amount that the velocity changes the<br />

volume.<br />

at t a c K<br />

Determines how fast the Attack effect reaches its<br />

maximum volume after you hit the key.<br />

de c a y<br />

Determines how fast the Attack effect’s volume<br />

drops to sustain level.<br />

su s t a i n<br />

Adjusts the volume level the sample should reach<br />

after the decay phase.<br />

re l e a s e<br />

Sets the time the Attack-sample continues to sound<br />

after you release the key.<br />

ve l o> at t.<br />

Sets the amount of the Velocity to Attack Time modulation.<br />

lfo on/off Bu t t o n<br />

Enables the Low Frequency Oscillator.<br />

lfo dr o p do W n<br />

Here you can select the Volume LFO waveform.<br />

lfo in t e n s i t y<br />

Sets the intensity of the Volume LFO effect.<br />

lfo fr e Q u e n c e<br />

Sets the frequency of the Volume LFO effect .<br />

PitCh Lfo:<br />

lfo on/off Bu t t o n<br />

Enables the Low Frequency Oscillator.<br />

lfo dr o p do W n<br />

Here you can select the Pitch LFO waveform.<br />

lfo in t e n s i t y<br />

Sets the intensity of the Pitch LFO effect.<br />

15 Qu i c K s t a r t Ma n u a l

lfo fr e Q u e n c e<br />

Sets the frequency of the Pitch-LFO, and therefore<br />

the speed of the pitch modulation.<br />

LoW PAss / (hi PAss)<br />

By using the Low Pass / High Pass fi lter you can<br />

manipulate your instrument’s sound drastically.<br />

Low Pass cuts all the high frequencies, whereas<br />

High Pass cuts the low frequencies.<br />

cu t o f f<br />

This knob sets the cutoff frequency. It determines<br />

the point from which either the high frequencies or<br />

the low frequencies get cut.<br />

re s o n a n c e<br />

Boosts the frequencies around the cutoff frequency.<br />

at t a c K<br />

Determines how long it will take the fi lter to reach<br />

the cutoff frequency after you hit.<br />

de c a y<br />

Sets the time the fi lter will take to drop to sustain level.<br />

su s t a i n<br />

Sets the level the fi lter reaches after the decay phase.<br />

re l e a s e<br />

Adjusts the time the fi lter takes to stop affecting the<br />

sound after you have released the key.<br />

in t e n s i t y<br />

Determines how much the ADSR curve affects the<br />

Low/High Pass Filter.<br />

lfo on/off Bu t t o n<br />

Enables the Low Frequency Oscillator. In this section<br />

it is used to modulate the cutoff fre- quency.<br />

lfo dr o p do W n<br />

Here you can select the Filter-LFO waveform.<br />

lfo in t e n s i t y<br />

Controls the intensity of the fi lter modulation.<br />

lfo fr e Q u e n c e<br />

Sets the frequency of the LFO, and therefore the<br />

speed of the fi lter modulation.<br />

miCrotUNiNG:<br />

Ke y<br />

This section enables to you to fi ne tune individual<br />

keys of an octave. You can fi nd tunings from different<br />

epochs and can even create your own tunings.<br />

You can draw the fi ne-tuning with your mouse.<br />

Select the root note of the scale.<br />

pre s e t<br />

us e r<br />

Select a microtuning preset.<br />

Save your own tuning. The saved user-tunings are<br />

not available in other instruments due to Kontakt´s<br />

scripting - architecture.<br />

Qu i c K s t a r t Ma n u a l 16

PerformANCe:<br />

This section contains specifi c playing options that<br />

can alter your performance: Legato mode, Humanize<br />

and Harmonize. All these effects concern the<br />

whole instrument.<br />

legato:<br />

Legato ON/OFF Switch<br />

Enables the Legato function. If Legato is on, the<br />

Harmonize function can’t be used and the instrument<br />

is set to a monophonic Solo-Mode.<br />

st a r t of f s e t<br />

Sets the Sample Start Offset of the legato played<br />

notes. This effect concerns the whole instrument.<br />

For Instruments in DFD mode (disk streaming) like<br />

drums and percussions, the offset is not working.<br />

le g a t o X-fa d e<br />

Sets the Crossfade Time of the legato played notes.<br />

This has no effect when you play with the Legato<br />

Glide Effect while pressing the sustain pedal (CC64).<br />

This effect concerns the whole instrument.<br />

gl i d e ti M e<br />

Sets the Legato Glide Time of the legato played<br />

notes. Press the sustain pedal (CC64) to hear the<br />

effect. This effect concerns the whole instrument.<br />

HuManize:<br />

tu n i n g<br />

Randomly detunes each note. If set to 100%, the<br />

maximum detune value is 100 cents in both directions.<br />

This effect concerns the whole instrument.<br />

eQ aM o u n t<br />

Sets the amount of the EQ Humanizing. Each note<br />

gets a slightly altered 1-band EQ-setting, depending<br />

on the chosen Humanize Setting. This very<br />

subtile effect concerns the whole instrument.<br />

Hu M a n i z e se t t i n g d r o p d o W n<br />

Select the EQ setting for the EQ Humanizing. This<br />

effect concerns the whole instrument.<br />

HarMonize<br />

ad d n o t e<br />

If pressed, one additional note is created. Adjust<br />

it´s tuning with the tune data-entry below. This effect<br />

concerns the whole instrument.<br />

tu n e<br />

Sets the tuning of the additional note. With the arrows<br />

on the right side of the fi eld you can adjust the<br />

tuning in semitones.<br />

edit ALL BUttoN:<br />

This button is as powerful as it is dangerous. Not<br />

for your life or your studio – but for the settings of<br />

your instruments.<br />

If the Edit All button is enabled, all changes you<br />

make are applied to all groups, keyswitches or<br />

loops that are part of the instrument. That includes<br />

Time-and Beatmachine, fi lter, volume and tune<br />

settings. No matter what group you have been working<br />

on before, the settings are applied to all parts<br />

of the instrument.<br />

If the Edit All button is disabled, the changes are<br />

only applied to the currently selected group, loop<br />

or phrase. In KEY-Instruments, this is the active<br />

Keygroup, in the other instruments, the selected<br />

group is the last played note or sound.<br />

Effects from the effects- and the performance section<br />

are always affecting the whole instrument and<br />

are not affected by the Edit All button.<br />

And if you really get stuck, you can always reload<br />

your instrument.<br />

17 Qu i c K s t a r t Ma n u a l

in s t r u M e n t list<br />

VoiCes & Choirs from eW5<br />

EW-Vol.<br />

Boy´s Voices 5<br />

Bulgarian Female Voices 5<br />

Cameroon Male Voices 5<br />

Chinese Voices 5<br />

Ethnic Chamber Choir 5<br />

European Ethnic Choir 5<br />

Fouxi European Ethnic Voices 5<br />

Gregorian Chants 5<br />

Guinean Male Voices 5<br />

Human Whistling 5<br />

Lipa European Ethnic Voices 5<br />

Mongolian Female Solo Vocals 4<br />

Mongolian Male Khoomii Overtone Vocals 4<br />

Mongolian Male Solo Vocals 4<br />

Mongolian Male Subtone Vocals 4<br />

Mongolian Vocal Ensemble 4<br />

Nanina European Ethnic Voices 5<br />

Native American Original Chants 5<br />

Native American Style Chants 5<br />

Neda Iranian & Arabian Voices 5<br />

Paulo European Ethnic Voices 5<br />

Peruvian Male Voices 5<br />

Ponchi European Ethnic Voices 5<br />

Turkish Male Voices 5<br />

Ukrainian Traditional Songs 5<br />

Wolfgang European Ethnic Voices 5<br />

in s t r u M e n t list 22

23 no t e s

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