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TIMPANI USER’ S GUIDE
Copyright 2007 Westgate Studios. All Rights Reserved. Reserved. By using this product you agree to the following Sample License Agreement. The sound samples in this library are licensed, not sold, exclusively to you for use in music and media productions only. Westgate Studios reserves all other rights rights not expressly granted granted to you. You own the media on which the sound samples are fixed, while Westgate Studios retains all rights to the sound samples. Unlawfully copying, lending, trading, duplicating, reselling, hiring, uploading to or downloading from a database, server, server, network or otherwise distributing this product product is hereby expressly forbidden. Any infringement of copyright will be pursued to the fullest extent of the law.
General Information Instrument Timpani
Note Range C1-A#3
(Kontakt note names will appear one octave lower) Dynamic Levels ppp, pp, p, mp, mf, f, ff, fff
Disk Space 1.98 GB
Abbr Ab brev eviat iatio ions ns L LR Lp h Key Key m MOD MOD Damp Damp R RR RS Key Key s TM P X-fad X-fade e (5, (5, 3, 2)
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File Types GIGA VERSION GIG files that contain multiple banks will always begin with an instrument titled in “All Caps.” These are only used for labeling purposes and should not be loaded. KONTAKT VERSION You will find all of the instrument files in different folders organized by playing styles such as Single Hits, Rolls, Dynamic Rolls, etc. Be sure and keep the NKI files and their corresponding sample folders in the same directory. Single Hits The DVD edition contains 3 mallet choices (soft, medium and hard) for all articulations. These instruments contain 8 dynamic levels ( ppp-fff ) of single hit samples. The samples in the LR patch are mapped two octaves apart to allow for natural playing of the left and right hand samples. If you prefer playing in the timpani’s native octave you can load up the RR patch which will automatically cycle the left and right samples. If you’d like to hear the full decay of a note, keep your finger on the key. Some releases are up to 10 seconds in length. Removing your finger from the key will shorten the release while still giving a natural sounding, shorter decay. Finally you can use the mod wheel to shorten the release even further. You can choose to raise the value of this controller at any point during the release to immediately bring the note to an end. Or you may choose to set a cc#1 at the beginning of your sequence to keep all note endings short. Depending on how much reverb you use, a cc# at 127 can still sound natural.
Rolls Within these instruments you’ll find looped and un-looped rolls in 5 dynamic layers ( p-ff ). ). The unlooped rolls are 10 seconds in length. Each roll contains a release triggered sample that allows you to end the roll at any time. The crossfade patches come in three varieties (5, 3 and 2). This tells you how many dynamic layers you are crossfading between and also how many samples are playing simultaneously. This helps you keep in mind how much polyphony is being used. The 5 layer crossfade will use 10 voices (5 stereo) and when the release is triggered it will temporarily shoot up to 20. Because of this, the 3 or 2 layer may be better suited to a large sequence where you need a crossfade roll but you are running out of polyphony. The 5 layer crossfade goes between all dynamic possibilities for the smoothest transition. The 3 layer uses the p, mf , and ff samples samples whereas the 2 layer uses only p and f . Dynamic Dyna mic Rolls These patches contain Crescendos in lengths of 2, 4, and 8 seconds and Diminuendos in lengths of 4 and 8 seconds. Each crescendo begins at a very soft volume and increases to ff . The Diminuendo samples begin at ff and and fade out across the length of the sample. Glissando FX Hits During the duration of these samples the pitch is stretched with the drum’s pedal across the entire range. There are up and down glissandos controllable by the mod wheel. To choose between slow and fast glissandos, use the provided keyswitch. Rolls These samples are around 25 seconds in length and consist of constant pitch changes through the drum’s pedal. The single “Gliss roll” patch is mapped to include samples of all drums. You can also individually load each of the four drums. Here, the samples are stretched much more to allow for more extreme effects. Roll + Cymbal This effect is similar to the glissando rolls. Here the musician places a suspended cymbal upside down on the drum head. The sound is achieved by rolling on the cymbal while constantly adjusting the drum’s pedal.
Produced, Edited, and Programmed by Timothy Edward Smith Recorded at Harbor House Studios – Roanoke, Texas Thanks to Hyman Stansky and Steve Rokks And a special special thanks thanks to our musician Edward Edward Stephan Stephan