Rhapsody Orchestral Percussion Manual

Rhapsody Orchestral Percussion Manual
Designed by Dickie Chapin & Andrew Aversa
Kontakt Programming by Iain Morland & Andrew Aversa
Editing by Anthony Mena, Iain Morland, Andrew Aversa & Elan Hickler
Created by Impact Soundworks - http://impactsoundworks.com/
INTRODUCTION
Welcome to Rhapsody: Orchestral Percussion. Our goal in creating this beautiful symphonic
instrument was nothing less than creating the most versatile and affordable percussion library ever. With
50 instruments, 100+ articulations, and 21+ gigabytes of recordings, calling this collection
‘comprehensive’ is an understatement! Each instrument has been exhaustively sampled with up to 10x
RR and 5x velocity layers, captured across three mic positions in a gorgeous orchestral hall.
Rhapsody: Orchestral Percussion goes beyond the standard suite of drums (i.e. bass drum, snare, toms,
cymbals) to include a wide variety of aux percussion (i.e. shaker, sleigh bells, castanets, chimes, metals,
wood & temple blocks), hand drums (i.e. djembe, bongos, cajon, darbuka), and chromatic
instruments(i.e. glockenspiel, xylophone, marimba, crotales, tubular bells).
Besides its scope and affordability, what else sets this library apart? Most orchestral percussion libraries
strive for the ideal of “epic” through big halls and lots of reverb: a huge sound for a huge
price. Rhapsody: Orchestral Percussion was instead recorded & designed to function in any musical
context, from small, emotional pieces, to tense underscores, and even bombastic, loud, and – yes – epic
tracks.
As always, we hope this instrument will inspire and enhance your music. Enjoy!
INSTALLATION
Rhapsody: Orchestral Percussion can be installed using 16bit or 24bit audio. Before downloading
anything, we recommend deciding on which version of the library you want to install. The 24bit version
takes up approximately 50% more memory and hard drive space, but offers more 'digital headroom'
which may be useful if you are composing & mixing very dynamic pieces. For most users, we
recommend the 16bit version.
Step 1: Using the download link sent to you via email, download all of the relevant 16bit or 24bit
Rhapsody RAR files. These are compressed archives that can be extracted using UnRarX on a Mac, or
WinRAR on PC (both free). All files should be the same size (1000mb) except for the final RAR, which
should be smaller.
Step 2: Double-click on the Part1 RAR file to extract it. You only need to extract part 1!
Step 3: Move the newly-created Rhapsody Orchestral Percussion folder to the desired location on your
computer. This is where the library will reside. For best performance with Kontakt, we recommend an
internal hard drive as opposed to an external (USB / Firewire / Thunderbolt).
Step 4: Open Kontakt either in your DAW, or in standalone mode. Using the Browser on the left side,
navigate to the Rhapsody Orchestral Percussion folder and go to the Instruments folder. From here,
you can load any of the instrument patches (.NKI files).
Step 5: You're ready to use the library!
CONTENT OVERVIEW
All instruments within Rhapsody are accessible through the following patches:
ROP Aux Percussion
ROP Cymbals & Gongs
ROP Drums & Ensembles
ROP Hand Drums
ROP Marimba
ROP Timpani
ROP Tubular Bells & Crotales
ROP Xylophone & Glock
As the names of these patches might suggest, some contain single instruments while others contain
multiple instruments. We have also provided a folder of "Single Instrument" .NKI patches which have
the same mapping as the patches above, but load only one instrument at a time by default - thus
improving loading times and saving memory usage.
All instruments were recorded with three microphone positions - close, decca, and hall. These can be
enabled, disabled, and mixed to your taste. All instruments are captured in great detail, with up to 10x
RR variations and 5x dynamic layers, and all include a useful script for mixing - read on for more info.
INSTRUMENT LIST
Many of the instruments below contain multiple articulations and variations. For example, hand
drums include various different strokes and playing techniques. Ride cymbals can be played with mallet
or stick. Woodblocks, temple blocks and claves have two distinct pitches, etc.
* = Instrument includes modwheel-controlled ROLL articulation
Drums
Bass Drum 1*
Bass Drum 2*
Gong 1*
Gong 2
Snare 1*
Snare 2*
Snare 3*
Snare 4*
Snare Ensemble*
Timpani*
Tom 1
Tom 2
Tom 3
Tom Ensemble*
Aux Percussion
Castanets*
Claves
Chimes
Cowbell
Finger Cymbals
Guiro
Metals
Shaker*
Sleigh Bells*
Tambourine*
Temple Blocks
Triangle*
Vibraslap
Woodblocks
Cymbals & Gongs
Cymbal Scraped
Gong 1*
Gong 2*
Piatti
Piatti Mute
Ride Cymbal*
Tam Tam*
Viennese Cymbal*
Hand Drums
Bongo High*
Bongo Low*
Cajon 1*
Cajon 2*
Conga High*
Conga Low*
Conga Muted
Darbuka 1*
Darbuka 2*
Djembe 1*
Djembe 2*
Chromatic Percussion
Crotales
Glockenspiel
Marimba
Tubular Bells
Xylophone
INSTRUMENT & ARTICULATION MAPPING
All mapping described below uses Kontakt's internal reference for MIDI pitches / notes. You can click
the wrench icon in the Kontakt interface and look at the "Mapping Editor" to see labeling for all the keys.
All roll articulations have dynamics (volume) controlled by the modwheel.
Choke keys are used to quickly mute the tail / decay of any instrument.
ROP Auxilliary Percussion
C0 = Shaker (L)
C#0 = Shaker Roll
D0 = Shaker (R)
D#0 = Shaker Choke
A2 = Cowbell A
B2 = Cowbell B
F#0 = Sleigh Bells Slow Roll
G0 = Sleigh Bells (L)
G#0 = Sleigh Bells Fast Roll
A0 = Sleigh Bells (R)
A#0 = Sleigh Bells Choke
E3 = Woodblock A
F3 = Woodblock B
C1 = Tambourine (L)
C#1 = Tambourine Roll
D1 = Tambourine (R)
D#1 = Tambourine Choke
E1 = Finger Cymbals
F1 = Finger Cymbals
F#1 = Finger Cymbals Choke
G1 = Triangle
G#1 = Triangle Roll
A1 = Triangle Mute
A#1 = Triangle Choke
C2 = Metal 1
D2 = Metal 2
E2 = Metal 3
F2 = Metal 4
G2 = Metal 5
C3 = Temple Block A
D3 = Temple Block B
F#3 = Castanets Roll p
G3 = Castanets (L)
G#3 = Castanets Roll f
A3 = Castanets (R)
B3 = Claves A
C4 = Claves B
D4 = Guiro Up
E4 = Guiro Down
F4 = Vibraslap Short
G4 = Vibraslap Long
A4 = Chimes 1
B4 = Chimes 2
C5 = Chimes 3
D5 = Chimes 4
E5 = Chimes 5
F5 = Chimes 6
G5 = Chimes 7
A5 = Chimes 8
ROP Cymbals & Gongs
C0 = Ride Cymbal (L)
C#0 = Ride Cymbal Roll
D0 = Ride Cymbal (R)
D#0 = Ride Cymbal Choke
E0 = Ride Cymbal Stick
F0 = Viennese Cymbal (L)
F#0 = Viennese Cymbal Roll
G0 = Viennese Cymbal (R)
G#0 = Viennese Cymbal Choke
A0 = Piatti (Crash)
B0 = Piatti Mute 1
C1 = Piatti Mute 2
D1 = Tam Tam (L)
D#1 = Tam Tam Roll
E1 = Tam Tam (R)
F1 = Gong Hit (L)
F#1 = Gong Roll
G1 = Gong Hit (R)
G#1 = Gong Choke
A1 = Gong Choked Hit
B1 = Gong Hit 2 (L)
C1 = Gong Hit 2 (R)
D#1 = Tam Tam Choke
D1 = Gong Scrape
E1 = Cymbal Scrape 1
F1 = Cymbal Scrape 2
G1 = Cymbal Scrape 3
ROP Drums & Ensembles
C0 = Bass Drum (L)
C#0 = Bass Drum Roll
D0 = Bass Drum (R)
A1 = Snare 4 (L)
A#1 = Snare 4 Roll
B1 = Snare 4 (R)
F0 = Gran Cassa (L)
F#0 = Gran Cassa Roll
G0 = Gran Cassa (R)
C2 = Snare Ensemble (L)
C#2 = Snare Ensemble Roll
D2 = Snare Ensemble (R)
A0 = Snare 1 (L)
A#0 = Snare 1 Roll
B0 = Snare 1 (R)
E2 = Tom 1 (L)
F2 = Tom 1 (R)
G2 = Tom 2 (L)
A2 = Tom 2 (R)
B2 = Tom 3 (L)
C3 = Tom 3 (R)
C1 = Snare 2 (L)
C#1 = Snare 2 Roll
D1 = Snare 2 (R)
F1 = Snare 3 (L)
F#1 = Snare 3 Roll
G1 = Snare 3 (R)
D3 = Tom Ensemble (L)
D#3 = Tom Ensemble Roll
E3 = Tom Ensemble (R)
ROP Hand Drums
Note: A/B/C refer to different strokes/techniques
C0 = Cajon 1
C#0 = Cajon 1 Roll
D0 = Cajon 2A
D#0 = Cajon 2 Roll
E0 = Cajon 2B
F0 = Cajon 2C
G0 = Djembe 1
G#0 = Djembe 1 Roll
A0 = Djembe 2A
A#0 = Djembe 2 Roll
B0 = Djembe 2B
C1 = Djembe 2C
D1 = Darbuka 1
D#1 = Darbuka 1 Roll
E1 = Djembe 2A
F1 = Djembe 2B
F#1 = Djembe 2 Roll
G1 = Djembe 2C
A1 = Lo Conga Open (L)
A#1 = Lo Conga Roll
B1 = Lo Conga Open (R)
C2 = Hi Conga Open (L)
C#2 = Hi Conga Roll
D2 = Hi Conga Open (R)
E2 = Hi Conga Mute A
F2 = Hi Conga Mute B
G2 = Low Bongo (L)
G#2 = Low Bongo Roll
A2 = Low Bongo (R)
A#2 = Bongo Roll
B2 = Bongo (L)
C3 = Bongo (R)
ROP Marimba
A0 to B4: Chromatic Marimba played with felt mallets
ROP Timpani
C0 to A1: Chromatic Timpani played with mallets - left hand
A#1: Timpani mute
C2 to A3: Chromatic Timpani - right hand
A#3: Timpani mute
C4 to A5: Timpani roll
ROP Tubular Bells & Crotales
C0 to G1: Chromatic tubular bells
C2 to C3: Chromatic crotales
ROP Xylophone & Glock
D#0 to D4: Chromatic xylophone
F4 to C7: Chromatic glockenspiel
SCRIPT & USER INTERFACE
Rhapsody: Orchestral Percussion features a streamlined, intuitive interface giving you access to
important mixing tools without any extra fluff or bells & whistles.
Starting from the top and moving from right to left:
Instrument Dropdown Menu
In the example above, we can see the "Bass Drum" instrument is selected. Using this menu, you can
select which instrument you would like to edit. You can also use the arrows (left/right) to switch to
different instruments quickly.
Vol (Volume)
Sets the volume of the selected instrument.
Tune
Sets the coarse tuning of the selected instrument in increments of 50 cents (half semitone).
EQ High / Mid / Low
Adjusts the gain of the pre-set EQ bands for the selected instrument.
Info Display
The box showing "Bass Drum L" in the screenshot above will display useful information at any time. For
example, if you adjust a knob like Volume, you will see the current value of that knob in the Info Display.
Playing any given articulation will display the current articulation in the box as well.
Instrument Picture (Enable / Disable)
The picture of the selected instrument on the interface is not just for show. You can click on it to disable
the instrument, unloading all samples from memory.
Volume Envelope (A/D/S/R)
These familiar Attack, Decay, Sustain, and Release controls can be used to adjust the volume envelope for
the selected instrument. For example, if you think the attack of the instrument is too harsh, try slightly
adjusting the A (attack) slider. If you want to reduce the tail / ring-out of the instrument when you let go
of each key, try adjusting the R (release) slider.
Set Global
This button applies the current instrument settings to ALL instruments.
Undo Button
Pressing this will reset the current instrument settings to defaults.
Output Menu
Set to Master in the example, you can use this menu to assign the selected instrument to its own
Kontakt output. For more information on using Kontakt outputs, please consult the Kontakt manual &
Native Instruments website, as the method of using multiple outputs depends on your DAW.
Patch Save Menu
Showing "Patch" in the screenshot above, this menu selects what part of the current patch you would like
to save or load. If "Patch" is selected, you will save/load all data from the current patch. If "Inst" is
selected, you will only save/load settings for the instruments you have loaded - not the mic mix. "Mic
Mix" saves/loads only the mic settings.
Save (Disk Icon) / Load (Folder Icon)
Saves or loads current patch data to an .NKA file on your hard drive. Note that the kind of data saved or
loaded depends on what is selected in the Patch Save Menu above.
Reverb On/Off, Wet, Size
This control enables or disables added reverb to the entire patch. The wetness and size (length) can be
adjusted. Note that this does use extra CPU.
Mic Mixing (Close, Stage, Hall)
The bottom of the interface features a handy mixer for the microphone positions.
The Close, Stage, and Hall buttons will enable or disable those mic positions and load/unload them from
memory.
The Mix knob controls the volume for each position.
The Pan knob controls panning (left/right).
The Wide knob controls stereo width - useful to expand the stereo field of the mic, or collapse it down to
mono.
Mic Offset Controls (via MIDI CC)
This feature is not actually part of the interface, but can be accessed using MIDI CCs sent from your DAW
or MIDI controller. By using MIDI CCs 85, 86, and 87, you can control the sample offset times for the close,
stage, and hall mics, respectively. Increasing the offset will reduce the lead-in time for each sample, which
can yield a better touch and reduce the perceived distance from the listener to the mic.
USAGE & MIXING TIPS
* As with any orchestral library, the music you write is the most important thing to achieving a realistic
sound. Even with lots of round robin (RR) variations, rigid percussion with no velocity or timing variation
may sound somewhat mechanical. Try playing in percussion parts with your keyboard, and don't
quantize 100%.
* For best results blending with other libraries, consider primarily using the close mic position with
external reverb, and applying that same external reverb to the other libraries. If the sound is still too dry,
slowly add stage and/or hall mics to taste.
* Remember that you can adjust the sample offset of each mic using MIDI CCs 85, 86, and 87. Higher
offset values will reduce the lead-in time for each sample, making them 'respond' faster to keyboard
playing and sequencing. Be aware that too much offset on the close mic may start eating into the
transients of the hits. We recommend using an offset of no more than 10-12ms on the close mic however, offsets for the other mics can be higher as there is more distance between each mic and the
sound source.
* For a nice full orchestral sound, the default mic mix is a great place to start. Most of the mix should
come through the close mics, with stage / hall providing extra reverberance and tail decay. You may
consider widening the hall mic as well.
* Having trouble with high CPU and memory usage? Try disabling instruments you're not using (click
the instrument picture within the active patch), or disable mic positions. You might also use the 16-bit
samples instead of 24-bit. If you're using internal reverb, try turning that off as well. You may also be
interested in our three part blog series on optimizing Kontakt - click here to read!
CREDITS
Library Concept & Art: Dickie Chapin
Design: Dickie Chapin & Andrew Aversa
Kontakt Programming: Iain Morland & Andrew Aversa
Scripting: Iain Morland & Andrew Aversa
Editing: Anthony Mena, Iain Morland, Elan Hickler, and Andrew Aversa
Recording & Engineering: Strezov Music Productions
Beta Testing: Henning Nugel, Jason Cullimore, Brad Jerkins, Blake Ewing, Abel Vegas, Daniel Szwedek,
Will Bedford, and Dmitry Selipanov.
A special thanks to Blake Robinson, Mario Kruselj, and the VI-Control community for assistance with
KSP!
TROUBLESHOOTING & FEEDBACK
Have you used Rhapsody: Orchestral Percussion in a project recently? Got an awesome track you'd like
to share? Drop us a line (admin@impactsoundworks.com) and we might post it on our website! Or, tell
the world at our Facebook page here: http://www.facebook.com/ImpactSoundworks
We encourage all our users to share and promote their work. Word of mouth is the #1 way people find
our samples, so it also helps us to produce more great libraries for you!
For any technical support issues regarding the library, don’t hesitate to email
support@impactsoundworks.com.
COPYRIGHT & LICENSE AGREEMENT
All sound recordings, performances, scripting and/or code contained in this product is the property of
Impact Soundworks unless otherwise noted, and remain the property of Impact Soundworks after the
product is purchased.
This license extends only to the individual who purchases this product, unless that individual is
purchasing on behalf of another individual, in which case it is the actual user of the product who is
granted this license.
The licensee is entitled to the use and unlimited editing of the product within the scope of music
production and composition. The product may be installed on as many computer systems used by the
licensee as desired, but in no case does a single license allow multiple individuals to use the product.
The licensee may not use the product in the creation of other sample, sound effect, or loop libraries.
The licensee may not use sound recordings contained in the product as individual sound effects for sound
design work, unless the sounds are significantly processed, layered, and otherwise altered beyond
recognition.
The licensee may use the product in the creation of music for production libraries.
Redistributing, reselling, electronically transmitting, uploading, sharing, or renting the product in any
way, shape, or form is prohibited by law.
The licensee may create a physical backup copy of any digitally purchased and downloaded product. This
backup copy is subject to the same limitations as the original copy of the product, and may not be
transferred to any other individual for any reason.
Copyright © 2014 Impact Soundworks, LLC. All Rights Reserved.
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