Manual - Impact Soundworks

Manual - Impact Soundworks
An Impact Soundworks Sample Library
Designed and Produced by Andrew Aversa | Performed by Tony Dickinson
OVERVIEW
At the foundation of any killer track is a killer bass groove. A bass doesn’t just provide the meat and low-end of the
track – it anchors and glues all other elements together, and even shine as a virtuosic solo instrument in the hands
of an expert. Shreddage Bass 2 captures the full potential of the electric bass using a masterwork custom 6-string
instrument recorded through legendary analog gear.
Unlike the original Shreddage Bass library, Shreddage Bass 2 uses a much more versatile fingered playing style
performed by master bassist, composer, and session musician Tony Dickinson. Tony brought his massive
experience and skill to recording the library from both the perspective of a performer and a producer; he also
brought his custom-made, one-of-a-kind handmade Muckelroy bass!
Shreddage Bass 2 features over 11,000+ samples recorded through a Universal Audio Solo/610 analog tube
preamp/DI box for maximum fatness, punch, and warmth. As with our virtual guitar instruments, each string was
sampled in exhaustive detail across every fret, at multiple dynamics, and with up to 8x round robin variations per
note. The instrument’s massive 4.5 octave range starts at a sub-destroying low G up to a high C#, allowing you to
play or sequence any bass part you can think of.
Everything we’ve learned from the Shreddage 2 series has been applied to Shreddage Bass 2 – our most realistic
performance engine, extensive tweaking options, beautiful legatos, and meticulous editing. This is not just a badass
bass for rock & metal music, but the premier virtual electric bass for any musical style!
INSTALLATION
Step 1: Using your browser or our downloader app, download the library files. If you’re using the downloader,
skip to Step 3.
Step 2: Using a program like WinRAR (PC) or UnRarX (Mac), double-click to extract the library folder. This should
create a folder labeled “Shreddage Bass 2”.
Step 3: Open Kontakt, click the Libraries tab, and select “Add Library”. Select the Shreddage Bass 2 folder. Note that
the folder you select must be “Shreddage Bass 2”, which contains subfolders like Instruments and Data.
Step 4: Open Native Instruments Service Center and input the Shreddage Bass 2 serial you received via email.
Step 5: The library is now activated; restart Kontakt for the changes to take effect.
INSTRUMENT OVERVIEW
Shreddage Bass 2 features the authentic sound of a custom-made, 6-string electric bass created by Muckelroy
Basses. This is a one-of-a-kind instrument… literally! We recorded all key articulations on all strings and frets,
along with many variation samples to add life and realism to your virtual performances.
All audio (over 11,000 samples) was captured at 44/24bit fidelity through a stunning UA610 DI/preamp and no
additional processing, allowing you to add your own EQ, amp, and compression. The samples also sound beautiful
clean and work great in most any context.
ARTICULATIONS
SINGLE NOTE SUSTAINS
The bread-and-butter articulation of Shreddage Bass 2 is simply a single note on a single string being plucked
with one finger. This technique is most common and used in every kind of bass riff. You can combine multiple
single sustain notes to create chords. We made sure to capture the full, un-looped sustain of each note, as well as
the authentic 'attack' of the finger plucking the strings, including the ‘pop’ at higher dynamics.
STACCATO
Single notes performed rapidly and then released – great for peppering emphasis and accents in a riff!
HARMONICS
By using a specific hand position, a bassist can pick a note and bring out mostly the harmonics (overtones) as
opposed to the root pitch (fundamental).
HAMMER-ON AND PULL-OFF
When playing a series of notes, bassists do not often pluck each individually. Instead, when ascending in pitch on
the same string, a "hammer-on" is used: once the string is struck, a finger on the left hand is used to hit the next
fret, causing a slight attack and change in pitch. The opposite, a "pull-off", involves fingering several notes on the
same string. By quickly releasing the finger on the highest fret, the lower pitch comes through. These techniques
are used quickly and seamlessly in many riffs and phrases.
Triggering them in Shreddage Bass 2 is a simple matter of overlapping two notes within the specified Hammer
Range and Min/Max Threshold. These options can be changed on the Articulations page, and additional options are
available on the Engine page.
PORTAMENTO SLIDES
A continuous slide (aka glissando, portamento) is performed by striking a note and then sliding the left hand along
the frets of the string. This technique can be used to dramatically hit a low or high note, or at the end of a phrase
(usually downward in pitch). Slides in Shreddage Bass 2 are triggered the same way as hammers/pulls, by
overlapping two notes; by default, the two legato techniques are in separate velocity ranges.
For example, holding E3 then playing and holding B3 will produce an authentic slide from E3 to B3. The destination
note, B3, will then be sustained as long as you hold the note. However, a very useful technique is NOT holding the
destination note long enough for it to be heard. The result will produce only the sound of the slide, and nothing else
- a very handy effect!
RELEASE NOISES
When released, the thick strings of the bass produce a distinct release noise. We’ve captured that pitched noise for
each and every note. Tweaking controls are available in the Engine page of the UI.
EXTRA POP NOISE
When playing with lots of force and enthusiasm, the strings produce a ‘pop’ before the tone is heard. We’ve isolated
these pops so you can mix them in at whatever delay, volume, and dynamic threshold you would like. Extra pop
settings can be adjusted on the Engine page.
UNISON BENDS
A common technique while playing two notes on two separate strings is to pitch bend the note on the lower string
without bending the higher note. This technique, called a 'unison bend', is commonly done by 1 or 2 semitones. You
can execute unison bends in Shreddage Bass 2 by using the knob on the Perform page, which can also be MIDI
learned. This will bend the lowest currently played note up to two semitones, without affecting any other currently
played notes!
THE SCRIPT ENGINE
Shreddage Bass 2 uses a highly-advanced and refined script to realistically interpret MIDI notes and transform
them into realistic performances.
Note: Disabling the script, or attempting to edit any groups/mapping options, is not recommended! If you want to
attempt this, save backups first.
STRING & FRET SELECTION
As you play the instrument, notes are assigned to different strings based on a number of factors calculated by the
engine in real-time. These include the minimum and maximum fret preference, virtual hand size, the position of
existing notes, and the time between the current and previous note. All these variables can be adjusted on the
Perform page. You can also use keyswitches or the “String Selector” knob to force the instrument to use specific
strings as desired.
Because we recorded all notes on all strings, you can play the same exact MIDI sequence and – with different
performance settings – get a very different tone. For example, playing on the upper frets of the lower strings has a
darker and fuller sound, whereas the higher strings will sound more thin and bright. Feel free to experiment with
hand size and fret preference to see what sounds best for any given track. You can even automate these parameters
in real-time!
ROUND ROBINS & DYNAMICS
A ‘round robin’ refers to a unique recording of a given pitch and articulation, while dynamics (or velocity layers)
are recordings at different intensity levels. Shreddage Bass 2 contains up to 8 round robins (RRs) per articulation
and pitch, and four dynamic layers. This means that playing the same note at the same velocity over and over will
trigger different recordings each time! You can enhance this feature using the Anti Repetition option on the Engine
page.
RRs are selected using a pre-determined 'seed' of random numbers. This ensures that rather than hearing the same
short sequence (1-2-3-4, 1-2-3-4) over and over, you will hear a dynamic, non-repetitious order.
By selecting Bass 2 instead of Bass 1, the same seed is used, but at a different starting point. Thus, with two
patches on the same MIDI channel using separate guitars, a true double-tracked sound can be achieved.
The Reset RR button can be used to reset RR sequence position.
DOUBLE-TRACKING 101
One of the most powerful features in Shreddage Bass 2is the ability to simulate "double-tracked" bass guitar
parts. We’ve made it extremely easy to achieve a double-tracked sound simply by enabling the Stereo Double
option, which outputs a stereo signal with two unique samples panned hard left and right respectively.
If you use Stereo Double, keep in mind that any amps or FX you use must also take a stereo input.
You can of course do double-tracking with multiple instances of Shreddage Bass 2, as with other Shreddage
instruments. To use this feature, you must have Kontakt configured for multiple outputs in your host. Make sure
you're using Kontakt 8out or Kontakt 16out - these plugins provide multiple outs with no further tweaking.
To route Kontakt's outputs to your host's mixer, Native Instruments offers detailed walkthroughs - simply Google
search for "Kontakt multiple outputs Logic" or "Kontakt multiple outputs Ableton" for more info.
Once you have Kontakt set up with multiple outputs, follow these steps.
1. Create two instances of Shreddage Bass 2 within one instance of Kontakt.
2. Set each instance to the same MIDI channel, but different outputs in Kontakt.
3. On the Perform page in Shreddage Bass 2, click the bass 1 icon under "Doubletracking" for the first
instance, and the bass 2 icon for the second instance.
4. Click the "Reset RR" button for each instance to synchronize them.
5. In your host mixer, pan each output being used hard left and hard right, then add the amps + FX of
your choice. For best results, we recommend different amps/settings for each output.
6. Play or sequence notes on the MIDI channel assigned to your Shreddage Bass 2 instances, and enjoy a
wide, double-tracked sound!
IMPORTANT! When double-tracking, all instances must get the SAME MIDI DATA! If you do not have all
instances on the same MIDI track, you will not have a true double-tracked sound.
INTERFACE & ENGINE
The UI of Shreddage Bass 2 is rich with features, but it’s also streamlined for ease of use. Don’t be intimidated! As
you explore all the features, note that any knob can be MIDI learned by right-clicking and selecting “MIDI learn”.
You can then move a MIDI CC on your hardware to map that knob to your hardware control of choice.
The Perform Page controls and displays most functions related to performance. Starting with the top row of
knobs:
Gain: Controls the output of the guitar before any effects are applied.
Transpose: Transposes MIDI input without actually tuning the guitar itself.
DI Line Noise: Controls the volume of 60hz line hum.
Vibrato: Controls the amount of vibrato – right click this knob to MIDI learn it! (CC1 / mod wheel default)
Unison Bend: Controls the amount of unison bend.
Mono Mode: Sets the instrument to strict monophonic voice mode – only one note can be played at once.
Tapping Mode: Toggles strict tapping mode, where all notes are played as hammer-ons (no pick attack).
Doubletrack 1/2: Selects which bass track to use. Each will trigger a different sequence of samples – see the
Double-Tracking 101 section for more details.
Stereo Double: Toggles stereo output with the left channel using one bass track, and the right channel another.
Advanced Button: Reveals the advanced fret/string performance controls…
Hand Size: Sets the virtual hand size, which is the maximum possible ‘reach’ of the virtual hand.
Min/Max Fret Pref: Sets the range of frets the engine will use if at all possible.
Eye Icon: Displays the selected fret preference range on the fretboard.
Fret Priority: When enabled, the instrument will strongly prioritize the fret preference range.
Chord Thresh: Sets the maximum threshold where chords are triggered, for the purposes of pick direction.
For example, a chord thresh of 150ms means that when alternate pick mode is enabled, notes played with
less than 150ms between them will trigger with the same stroke direction.
Reset Time: Sets the delay after all notes are released that the last-played string/fret resets to default.
Round Robin Reset: Resets the RR sequence. Click on all basses before rendering for a consistent result.
Thrash Note: Selects the desired ‘thrash note’ key. Pressing this key will trigger the last-played note. Great
if you are performing a fast riff and you want to play on one note very rapidly.
Fretboard Display: Shows the location of all currently played notes.
Show Hand: Toggles a view of the virtual hand position (highlighted in gray on the fretboard.)
Preset Menu: Selects a preset to use. All factory presets only load FX and will not change your mapping or engine
settings. You can also save and load your own custom presets, or load custom presets as FX-only.
String Preference: When enabled, the string preference knob will select a particular string to favor over other
strings.
The Articulations Page allows for total customization of all playing techniques. Here you can set any articulation
to use any kind of trigger – velocity, keyswitch, or MIDI CC – or disable them altogether.
Keysw Latch: When enabled, pressing a keyswitch will cause that keyswitch to ‘stick’ – the key does not need to be
held down for the keyswitch to work. You can hit another keyswitch, or an empty keyswitch note, to change it.
When latch is disabled, keyswitches must be held to work.
Articulation Buttons: The circles next to each articulation name will enable or disable that articulation. Disabled
articulations can’t be mapped, and if “Auto RAM Unload” is enabled on the Engine page, they will be purged from
memory as well.
*** IMPORTANT – Articulations are prioritized in the order they are displayed. For example, if you map sustains
from velocity 1-127, and mutes from velocity 1-127, sustains will always trigger instead of mutes. Therefore, you
should always use unique mapping for each articulation to avoid any overlaps or conflicts. ***
FX Articulation: When this articulation is mapped and toggled, it ‘takes over’ the playable range of the keyboard.
Each key triggers a different, unique FX sample.
VEL/KEY/CC Dropdown: Sets the mapping mode for the articulation.
VEL = Velocity. Set the minimum and maximum velocity range – when playing in that range, the
articulation will trigger.
KEY = Keyswitch. Select the desired keyswitch, and then press that keyswitch to switch to that
articulation. When a keyswitch is enabled, other articulations will NOT trigger.
CC = MIDI CC. Set the desired MIDI CC, and the RANGE to use for that CC. For example, if you wanted
modwheel to switch between sustains, mutes, and staccato, you would set all three to “CC” mode, select CC
num = 1, and then set a unique range for each. As with keyswitches, when an articulation has been selected
via MIDI CC, no other articulation will trigger.
(Sustain) Release Time: Sets the release time for the sustain articulation.
Hammer/Pull Max Range: Sets the maximum range, in semitones, where overlapping notes can possibly trigger
hammer-on/pull-off playing. For example, realistically, it would be difficult for a player to reach beyond 2-3 frets
(semitones), but if you want to be able to play C2 and then hammer to C3, turn this up to 12!
Hammer/Pull Min/Max Thr: Sets the minimum time threshold, in milliseconds, where hammer/pull playing will
trigger. For example, with a range of 50-500ms, if you hold a note and then play another note <50ms or >500ms
later, hammer/pull will not trigger.
(Portamento) Trans Vol: Sets the volume of the portamento slide (transition) samples.
Portamento Sus Vol: Sets the volume of the sustained notes played after portamento slides.
Portamento Speed: Uses time machine pro to stretch or compress the slide samples. If this is set to the lowest
possible value, the speed of the portamento slide will scale based on velocity. Lower velocities = slower
portamento.
Vib Speed: Sets the speed of the vibrato LFO.
Vib Depth: Sets the max depth of smooth vibrato LFO.
Velocity to Volume: Controls the volume scaling of the instrument. High values will make your playing
particularly dynamic; high velocities will result in louder notes, and low velocities in softer notes. Lowering this
knob will reduce the effect of velocity on volume. If this knob is set to 0, all notes will be played at a consistent
volume regardless of velocity.
Scaled: When enabled, velocity scaling is based on the mapped velocity range of each articulation. For
example, if Sustains are mapped from 0-64, playing at velocity=64 will trigger max-volume sustained
(instead of half-volume, if Scaled is DISABLED).
Vel Curve: Controls the instrument's sensitivity to your MIDI input. Lower values make the script less sensitive; all
of your playing will be scaled down in velocity. Higher values make the script more sensitive, scaling UP your input.
Pitch Bend Range: Sets the range of the pitch bend wheel (or control) in semitones. A range of 2.0 means that if
the pitch wheel controller is pushed to its maximum or minimum, it will bend up (or down) 2 semitones.
Auto RAM Unload: When enabled, any articulations that are NOT enabled will be purged from RAM.
Sus Pedal to Legato: When enabled, the Sustain Pedal (MIDI CC64) must be PRESSED for any legato transition to
happen. This can be useful if you want to use legato articulations in some, but not all, of your performance.
Split MIDI Channels: When enabled and the patch is set to receive OMNI MIDI input, each MIDI channel
corresponds with a string of the bass (MIDI channel 1 = string 1, channel 2 = string 2, etc.)
Anti Repetition: When enabled, zone transposition is used in Kontakt to add extra variation to each note. This
cannot be used if you are quad-tracking!
Random Resonance: When enabled, the script will sometimes resonate an open string adjacent to the current
played string. This simulates the effect of a guitarist accidentally striking or resonating strings. Quite useful for
realism!
Resonance Volume: Sets the volume of the random resonance effect, if enabled.
Release Noise: Clicking this light enables or disables pitched release noises.
Noise Vol: Sets the volume of pitched release noises (manual palm stops).
(Release) Min/Max Thresh: Sets the threshold (in milliseconds) where release noises will play. This is useful as
you may not want release noises to trigger on very short or very long notes.
Extra Pop On/Off: Enables or disables the Extra Pop articulation.
Extra Pop Time: Sets the delay allocated for the extra pop articulation, in milliseconds.
Extra Pop Volume: Sets the volume of the extra pick sample.
Extra Pop Min/Max Vel: As with other articulations, you can specify the range where the extra pop articulation is
triggered.
Legato Hammer Realism: When enabled, only a handful of hammer-on/pull-off articulations can be played
consecutively before a new pick is triggered.
Legato Volume Realism: When enabled, legato articulations will scale down in volume the longer you wait to
trigger them.
Legato Realism: When enabled, legato articulations will only trigger on the same string. If disabled, you can – for
example – slide from one string to another. Not realistic but it sounds cool!
Attack Offset: This controls the attack offset of all recordings. A value of 30ms for example means that all samples
will be played from 30ms into the sample - thus eliminating some of the lead-in / finger attack time naturally
recorded with each note. Adjusting this control is a matter of taste. Generally, we recommend using minimal attack
offset so that the natural pick sound of each note is heard, however for certain playing styles you may want to
tweak it.
Our custom Effects Rack features a four-band Parametric EQ, an analog-modeled Compressor, Tube Screamer
(distortion) pedal, amp/cab stack with three parametric equalizers and a stereo doubler, a chorus, and a delay
unit.
All FX can be MIDI-learned and automated. Mouse over any control in the interface to learn more about it (appears
at the bottom of the Kontakt window).
For the cabinet, we’ve created a number of custom impulse responses from various popular bass cabinets. Each
cab has a drastically different tone so be sure to cycle through each one as you’re designing or tweaking presets.
The Advanced page offers powerful tweaking options and settings for users that want to dive further under-thehood of the Shreddage Bass 2 engine.
Portamento Attack Offset: Changes the playback position of the sustain sample played after the slide sample.
Portamento Slide Offset: Changes the playback position within the porta slide sample.
Portamento Slide Time: Sets the base time of the portamento ‘wait’ statement. This is further modified by the
portamento speed % control on the Articulations page, and the total distance you’re sliding.
Portamento Fade Time: Sets the fade-out time of the ‘origin’ note. For example, if you play C2 to G2, this controls
the fade-out time of the C2.
Portamento Xfade Time: Sets the crossfade time between the slide sample and the final destination note.
KEYSWITCHES: Each dropdown defines the root keyswitch for various functions. As with articulations, any given
key can only be mapped to ONE function. Don’t assign multiple functions to the same keyswitch – it gets confusing.
String Select: Sets the ROOT keyswitch for the string select keyswitch range, which takes up 8 keys total. The first
6 keys correspond to the 6 strings of the bass (1 = high, 6 = low), while the 7th key resets your string preference.
Tapping Mode: Sets the keyswitch for tapping mode toggle on/off.
Slide Note: Sets the keyswitch for the ‘slide note’. When Portamento is enabled, you can play a note and press this
key, which will trigger a portamento down slide (without any destination note).
RR Reset: Sets the keyswitch for the RR reset ‘hotkey’. When pressed, this key will reset the RR sequence.
Retune Chance: Sets the probability that notes will be retuned using neighboring zones when ‘anti-repetition’ is
enabled.
Max RT Range: Sets the maximum range in semitones of notes that will be retuned for the purposes of antirepetition. Larger values may sound a little wonky.
Repetition Threshold: If a note is played on the same pitch as the previous note within this many milliseconds,
the repetition offset will be applied. This can help with the realism of riffs on a single note.
Repetition Offset: Amount of attack (sample) offset to use if notes are triggered within the repetition threshold.
Mono Note Fade Time: Sets the default fade-out time when a note is faded via monophonic mode.
Hammer/Pull Fade Time: Sets the fade-out time for the origin note when using hammer/pull playing.
Random Resonance Chance: Sets the chance that random resonance will occur when the ‘Random Resonance’
engine setting is enabled. Random resonance will always occur more at higher velocities.
String Polyphony: When enabled, multiple notes can be unrealistically played on a single string.
CREDITS
Instrument Concept & Design: Andrew Aversa
Performance & Recording: Tony Dickinson
Kontakt Scripting: Andrew Aversa
Additional Engine Scripting: Nabeel Ansari
Sample Editing: Anthony Mena, Elan Hickler, Andrew Aversa
Artwork: Constructive Stumblings
TROUBLESHOOTING & FEEDBACK
Have you used Shreddage Bass 2 in a project recently? Got an awesome track you'd like to share? Drop us a line
([email protected]) 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 [email protected]
COPYRIGHT & LICENSE AGREEMENT
The following license is granted non-exclusively to all purchasers of our products. This version (updated December
4, 2014) supersedes any prior printed or digital versions of our license.
Overview
All sound recordings, performances, scripting and/or code contained in this product is the intellectual property of
Impact Soundworks unless otherwise noted, and remain the property of Impact Soundworks after the product is
purchased. When purchasing an Impact Soundworks product, you are purchasing a non-exclusive license to use,
edit, perform, or otherwise utilize these recordings, performances, scripting and/or code for commercial and noncommercial purposes as defined below.
Authorized Users
Depending on the type of customer and usage scenario, authorized users of this license will vary. ALL purchases
fall into category A or B.
A. Individual Purchase
This license is extended to customers who are purchasing as the primary user of the product, OR are
purchasing on the behalf of another primary user (i.e. as a gift).
The licensee (primary user) MAY install the product on as many computer systems as he or she has access
to. However, ONLY the licensee may use the product. No other users are authorized.
B. Corporate, Academic, Institutional Purchase
This license is extended to customers who are purchasing for a multi-user setting, such as a shared studio,
networked workstation, computer lab, etc. In this case, the licensee is the institution and not any one user.
In contrast with individual purchases, an institutional license applies to ONE computer / workstation. All
users of that workstation who belong to the purchasing institution (licensee) shall be considered
authorized users.
However, at no point may multiple authorized users access one license simultaneously. Multiple licenses
must be purchased if the product is to be used by multiple users simultaneously.
Scope of License
The licensee is entitled to the use and unlimited editing of the product within the scope of music production,
performance, recording, and composition. This includes both non-commercial and commercial usage of all types,
including, but not limited to, film scores, television scores, music libraries, video game soundtracks, digital and
physical music releases, albums, compilations, etc. Exceptions to this scope are listed below.
The licensee MAY NOT use the product in the production of any other sample library or virtual instrument
products.
The licensee MAY NOT sell individual sounds from a product in any context.
For clarity: The licensee MAY use sounds from the product to create individual sound effects (SFX) for use in film,
TV, advertising, and video games. However, the licensee cannot sell these sounds individually via marketplace,
stock music/stock audio site, etc.
Ownership, Resale, and Transfer
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 © 2016 Impact Soundworks, LLC. All Rights Reserved.
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