Tonehammer Requiem Readme

ALL RIGHTS RESERVED TONEHAMMER 2006 - 2010

Requiem TONEHAMMER

INTRODUCTION

Welcome to Requiem

REQUIEM is the successful culmination of a dream we have had for several years. We always believed that there was another way of sampling choir and vocals. We believed it would be possible to have completely audiorealistic choir samples with a strong emotional connection. We believed that we needed to cover all the basic articulations, but also add a variety of new dimensions to this powerful type of sampling.

REQUIEM is our dream come true - and now it is yours too.

REQUIEM is the next-generation virtual choir developed for professional composers. The library is based on a variety of new recording- and sampling techniques some which have never before been deployed in choral sample libraries. The library can literally sound like a real choir and includes both full choir (SATB), divisi groups (males/females) and solo singers - all recorded in 24 bit / 44.1khz with 3 (5.1-compatible) microphone positions.

The library contains true (polyphonic) legato intervals from piano to forte, sustains from piano to forte, staccato with repetitions, ultra forte marcato, BPM (host-synced) based latin chants recorded at different speeds across entire interval of choir, +1000 choral effects including whispers, shouts, clusters, demonic chants, sweeps, consonants without tone, claps, snaps and over +50 different types of effects.

REQUIEM was recorded over a period of two weeks in one of the oldest and most known cathedrals in San Francisco. The conductor, Robert Geary, is one of the leading choir conductors in the world and the choir was made by members of his multi-award winning VOLTI choir and members from other renowned choirs.

Produced by M. Peaslee, T. B. Folmann, G. Stephens

INSTALLATION

The installation of Requiem is divided into two basic steps.

Step 1 Download/installation of source/samples files and Step 2 Download/installation of instrument files.

You need to complete both these steps to successfully use Requiem.

Step 1: Installation of Requiem source files

1. Please go to the download links you received in the mail called: Requiem Source Files

2. When you have downloaded the files successfully you have to uncompress them.

3. PC users should download UNRAR from http://www.win-rar.com/download.html

4. MAC users should downloaded from http://www.unrarx.com/

5. When you have uncompressed files you should have a director with three sub-directories: Documentation, Impulses, Samples

6. It is important that you place all the source files in the same directory before you uncompress.

7. Once all files are placed in same directory. Please only extract the FIRST .rar file as the others will automatically extract once you do this. Do NOT try to extract each single file.

8. When you have successfully extracted the files you will see a directory with four sub-directories.

9. You now need to proceed to extracting the patch files, which contain all the programs/patches for the Requiem library.

INSTALLATION

The installation of Requiem is divided into two basic steps.

Step 1 Download/installation of source/samples files and Step 2 Download/installation of instrument files.

You need to complete both these steps to successfully use Requiem.

Step 2: Installation of Requiem instrument files

1. Please go to the download links you received in the mail called: Requiem Program Files

2. When you have downloaded the files successfully you have to uncompress them.

3. PC users should download UNRAR from http://www.win-rar.com/download.html

4. MAC users should downloaded from http://www.unrarx.com/

5. Please extract the files into the Requiem directory, which was created when you installed the source files

6. You should now see four sub-directories (documentation, impulses, instruments, samples). It is vital that the directory structure has these elements - otherwise the library will not work.

7. After auto-extracting the "Tonehammer_Requiem_Choir" series and your instrument package, Drag the "Instruments_xxxx" subfolder into the Tonehammer_Requiem_Choir folder. You should now be ready to load the instrument files into Kontakt, using the standard File Load/Save tab at the top of Kontakt or the main Files browser window on the left panel.

WATERMARKING

The Requiem Cinematic Choir Library is water marked in multiple ways and using a mixture of conventional watermarking methods and proprietary watermarks, which means that both source and instrument files are watermarked. There are multiple advantages to this process - first of all users dont have do deal with serial codes, complex registration systems or dongles.

The watermarks leaves the library in an open format and are virtually undetectable, which means they do not affect the quality of the audio and are seamless to the end user.

The advantage of watermarking are not just an easier registration process, but it also allows the user to duplicate the library onto multiple computers if they desire to. Customers are allowed to duplicate the library on their own systems - as long as they adhere to our general licensing agreement.

But make no mistake - each user has a unique version of the library, which are solely theirs.

Tonehammer will use all remedies of law against anybody who illegally sells, shares or in any other way distributes the Requiem library. We have invested an incredible amount of time and resources into this library and we want to ensure that it stays in the hands of our loyal customers.

Please see licensing agreement (end of document) for general licensing information.

CORE ARTICULATIONSThe Requiem Cinematic Choir Library is 19.4GB and it contains 13,021 wav files, with an additional 142 custom-captured impulse files. It includes 303 .nki instruments files and 80 .nkm multi-instrument banks.

It's difficult to estimate exactly how many playable "samples" there actually are in this library, since our method of capturing programming legato resulted in each long series of legato intervals living in a single parent file. Therefore, the number is likely somewhere closer to 20,000 distinct playable audio samples.

We captured a large range of articulations, both classic and unconventional. We recorded sustains and extended sustains. We recorded a wide range of common long and short Latin and Germanic syllables in staccato (22), power marcato (16) and fast (20) and slow poly-syllabic sustains (12 each for male/female/solo divisi sets). We recorded a wide array of unique smooth vowel sustains at different dynamic levels and voicings. We captured true legato intervals for each of our three main vowel sounds (Oh, Ah, Eh), at two dynamic levels (p and ff) and we added a bonus of 3 solo singers (bass, tenor and soprano) each comprehensively sampled.

We also captured over 50 individual short common consonant sounds, as well as numbers. We have a broad range of unison and dissonant slow and fast swells, sweeps, risers, falls, shouts, whispers, simple and complex clusters and slow half-tone trills. There's even a complete collection of full choral body/ vocal percussion and breath effects commonly used in modern and avant-garde choral arrangements.

The goal was to provide a choir library that excelled in areas critical to epic scoring, while also encompassing a more general range of utility that would allow it be used as a fully stand-alone naked instrument within a mix, in even the most critical applications, without any need for any additional instrumental or choral accompaniment.

This is a professional tool for experienced composers and arrangers that requires understanding and skill to properly and fully utilize.

Like any sample-based library, it cannot truly replace a real choir and it cannot be used to replicate every possible choral arrangement flawlessly. Like any instrument, it does take time to learn and explore, in order to successfully create quality results in a finished piece of music. That said, it is also designed to be a powerful and intuitive tool right out of the box for users who are familiar with and skilled at using complex orchestral sample libraries. It's fully automated, efficiently scalable, logically arranged and totally user-controllable and customizable.

MICROPHONE POSITIONSWe captured the Requiem Cinematic Choir in 3 main mic

positions, including Stage, Mid and Far. Each independent

array of 2 - 4 large-diaphragm condenser microphones was

places at roughly 5 feet, 15 feet and 45 feet from the singers.

We also captured the soloists with a special "Close" mic

position, captured with a stereo line-gradient "shotgun" mic,

providing the optional option of a drier and more present

sound.

This library divides instruments and samples into 3 primary

groupings, one for each microphone position. Most

instrument programs include a unique version for each

position, located in the appropriately named Instrument sub-

directories. The additional Soloist "Close" mic programs are

included in the "Soloists" subfolder, within the "Stage"

directory. The last Instrument Directory called "All" includes

the multi-instrument banks (.nkm), which incorporate all of

the microphone positions, as well as the special master

polyphonic legato programs.

A word of caution... This library was captured in a "small" historic cathedral in downtown San Francisco. Though the

stone walls can keep out all outside noise pollution, the vast

expanses of stained glass windows absolutely cannot. This

old structure, with its vast wooden pews and tens of

thousands of square feet of stained glass, faces East-West.

While it created a mind-blowing visual effect as the sun

arced over us during the long, long days of recording, the

temperature changes also created an interesting effect on

the wooden pews, resulting in the occasional disembodied

wooden crack, pop, creak or groan. Or it could have been

the ghosts

We worked to prevent outside sonic artifacts from getting

into the source, but recording in the real world always results

in occasional traces of that real world sneaking in to the

samples. The far mics are most prone to such impurities,

due to their greater distance from the choir and nearer

proximity to the outside world.

Likewise, we couldn't ask the 32 singers to show up

completely naked or reframe from ever breathing. Therefore,

the close mics can occasionally reveal the sounds of subtle

human movements and breathing. Recording in a real-world

environment with real world performers is by nature bound to

suffer impurities. Just like each and every other

Tonehammer library, the Requiem Cinematic Choir library

includes these "impurities". From our perspective, it's

actually one of the reasons that samples will always be

superior to synthesis. You cannot replicate "reality" without

including a little of all of it.

Please also note that the Soloists were recorded front and

center stage, using the exact same microphone

configuration that was used to capture the rest of the choir.

This was done to allow realistic placement and level

balancing. Because of the lower overall signal volume that

inherently comes with a single voice recorded at distances

typical of a choral setting, attempting to boost the volume of

the soloists above a natural level can cause natural

increases in the noise floor, especially in the mid and far

microphones. When attempting to push the soloists forward

in a mix, while still creating the impression of great distance,

we recommend relying on the close and stage mics and

using one of the Cathedral Impulses included in the drop-

down menu.

Our first and primary goal with this library was to capture

powerful epic choral sounds with a fat, broad and dynamic

sound that could be just as easily be stacked for body - or-

routed and mixed independently in surround sound

applications. Our mic placement directly reflected that goal.

Unfortunately, mic placement and gain-staging when

recording louder sounds is a very different art and science

from those needed for, especially from a distance, within a

large, reverberant space. As we branched out and began to

explore softer articulations during the sessions, we retained

a consistent recording configuration for the sake of continuity

and consistency. In general, we don't recommend mixing the

mid and far mics too much hotter than their natural levels for

any of the softer content in this library, as this can amplify

both the outside impurities and lift the inherent noise floor.

MAIN PROGRAM TYPESStandard: These programs evenly balance memory use and disk streaming to provide all-around performance and system resource use. These are ideal for users with average DAW systems (3GB system ram, dual-core, 32-bit OS).

Hi-Mem: These versions are intended only for 64-bit OS users multiple cores and large amounts of system ram (over 4GB). Using these programs allows greater polyphony, lower latency, better overall performance and less hard drive wear.

DFD: These versions are intended for users with low available system ram. These rely heavily on hard disk streaming to efficiently stream audio data from your hard disk only when it's needed as a note is playing. Therefore, they may require higher audio driver

latency settings, allow fewer voices before suffering audio drop-outs and put more strain on hard drives, especially when other

instruments or audio tracks are also streaming from disk.

Multi-Pos (nkm multi): These multi-instrument banks come pre-loaded will all three microphone positions to allow custom layering, mixing and even surround sound output routing for users with capable systems. The Soloist multi-instruments also include the

4th "Close" mic position in their 3-pos multis.

Tri-Harm (nkm multi): These are special "tri-harmony" legato multi-instrument banks that are set up to allow 3 layers of simultaneous but independent poly-phonic legato playing, using our range bracketing system. These multis allow the combing of

polyphonic legato playing with the dynamic layer swelling and trans-vowel morphing to create a truly realistic legato sound.

Time-Stretch: These programs allow basic playback speed adjustment in real-time, using Kontakt's built-in Time-Machine 2 engine. This speed control is automatically assigned to the pitch wheel, as well as an assignable front panel speed knob. Please see Notes on Time Machine 2 Bugs. **

Tempo-Synch: These programs allow tempo-synchronization with Kontakt's internal BPM counter or your host's tempo control automatically, using Kontakt's built-in Time-Machine 2 engine. Since these programs use Kontakt's built-in tempo synching functionality,

make sure to adjust your host or Kontakt settings to allow Kontakt and the host sequencer to self-synchronize. Please see Notes on Time Machine 2 Bugs. **

** Time-Machine 2 Warning: Please note that this Kontakt engine sub-system can cause glitching, popping, distortion, aliasing and other audio artifacts, due to flaws in the "Time-Machine 2" algorithm used by Kontakt. These programs are includes as a convenience

and create tool only. Users should expect frequent audio glitches and artifacts during normal use. Not all sample content is effected in

the same way or to the same degree. Higher notes tend to suffer more than mid-range notes. Artifacts can occur even when no time-

stretching is being applied. There's no known complete solution to this internal engine-related issue, but it can be minimized or hidden

fairly well by layering multiple notes and using reverb or other effects and mixing techniques.

PERFORMANCE CONTROLS

Swell: This knob controls volume/intensity layer swelling, allowing you to

crescendo and decrescendo at will, or

simply set the intensity level you want and

leave it. The Mod Wheel (CC1) controls the

knob by default . Most instruments in this

library include this control. Programs that

feature multiple dynamic sample layers use

this knob to morph between the layers

smoothly, while single layer programs

utilize deep programming and scripting to

simulate realistic performance dynamics.

Offset: This knob controls that Sample Start Position Offset value, allowing you to

shift the starting position farther in to a

sample. This is ideal for making note

attacks smoother or sharper, or move

between words/syllables in the case of the

poly-phonetic sustains. CC91 controls the

knob by default. Most DFD and Tempo-

synching patches don't include this feature,

or have a more limited range of offset

control. Please note: This control is often

linked with the Attack control as well, with a

minimum attack value automatically

activated whenever offset is used. This

feature prevents popping/clicking at the

start of the note that is naturally caused by

cutting ahead into the audio.

Attack: This knob controls the sharpness/softness of initial note attack.

When the attack value is set low and the

Offset control is used, the attack setting is

automatically increased to a default

minimum to prevent popping/clicking at the

initial note start. However, if the attack is

already over the minimum threshold when

Offset is used, then this feature isn't

applied.

Release: This knob controls sustain gating of the release-trigger samples and/

or the release fade-out time on single-shot

or sustaining samples. This allows you to

minimize natural room decay after note

release and fade-out time on longer

samplers. CC93 also controls the knob by

default.

Speed: This control is specific to the Time-Stretch programs. It controls the time-

stretch speed by up to +/- 25%. The knob

can also be controlled by the Pitch Wheel.

Please note that even small speed

adjustments can cause glitching, popping,

distortion, aliasing and other audio artifacts,

due to flaws in the "Time-Machine 2"

algorithm in Kontakt. Not all sample content

is effected the same way or to the same

degree. There's no known complete

solution to this engine-related issue, but it

can be minimized or hidden fairly well by

layering multiple notes and using reverb or

other effects and mixing techniques.

Stepping: This feature allows you to shift the tuning of the entire instrument up

or down in semitone steps (+/- 12). It can

also be controlled by key-switches, to allow

instant re-tuning. This feature is primarily

found in the Choir FX section instruments,

in atonal or non-chromatically recorded

content. The key-switch range is C-2 to C0

(C-1 restores it to the center pitch).

Key-Switch On/Off: This button ties in to the Stepping Control. It activates/de-

activates the key-switches that control the

stepping knob.

X-Blend: This is a custom cross-fading control that has different uses in different

instruments within this library. In most

instruments that include real-time cross-

fading between multiple sample layers, this

is the default knob to use for blending. In

the 3-way legato morphing instrument, it's

used to cross-fade between Oh and Ah/Eh.

In instruments without internal cross-layer

morphing, this is used as a convenient

control to allow cross-fading with an

external source. This is best done by using

the Kontakt Automation system and

assigning the same controller to the X-

Blend knob in both instruments, and

inverting the polarity of one of them. The

reason to use this knob, rather than the

linear volume slider is that we've set up

custom internal enveloping to provide

smoother dip-free cross-fading. The

default midi controller for this knob is CC11

(expression pedal).

Y-Blend: This is a custom cross-fading control that has different uses in different

instruments within this library. In the 3-way

legato morphing instrument, it's used to

cross-fade between Eh and Ah. In most

instruments that include real-time cross-

fading between multiple sample layers, this

is the secondary knob to use for blending.

In instruments with only one pair of internal

layer, this is used as a convenient control

to allow cross-fading with an external

source, in the same way as the X-Blend

knob. The default midi controller for this

knob is CC74.

We've incorporated a wide range of performance controls and systems to provide maximum flexibility. We chose to program this library in Kontakt 3.5 in order to allow use on a wider range of systems and we chose to keep most of our controls knob-based in order to allow the simple real-time host automation assignment of nearly ANY parameter. Please see the Instrument Program Descriptions section in this manual for more details on articulation-specific control descriptions.

REVERB CONTROLSImpulse Drop-Down Menu: This menu allows you to quickly load one of our

custom-captured real-world convolution

impulses, including several that were

captured in various mic positions in Saint

Paul's Church in San Francisco, CA. There

are a variety of classic and unique impulse

files, from churches and cathedrals, to

bunkers and underground parking garages.

We've also included a variety of self-

evolving special FX "mystery" impulses to

create extremely otherworldly effects.

Please note that these special mystery

impulses require significantly more CPU

power than the other impulses, due to their

length. Use them carefully.

The convolution system always defaults to

bypass mode when you first load an

instrument. When the convolution chain is

bypassed/disabled by choosing "none" from the Impulse Response drop-down

menu, this knob is also disabled and only

fully dry signal is audible, with no signal

attenuation at all. If you save an instrument

while a convolution impulse is loaded, the

instrument will remember your settings and

automatically reload the sample impulse

next time you open the instrument.

Dry Mix: This knob controls the dry signal returning from Kontakt's internal

convolution engine. Turning it up past ~36 increases the gain over the original signal

level and therefore may increase noise or

cause distortion in some cases.

Wet Mix: This knob controls the 'wet' effected signal returning from Kontakt's

internal convolution engine. Turning it up without balancing it against the dry level

can quickly increase the total combined

gain over the original signal level and

therefore may increase noise or cause

distortion in some cases.

Low Pass: This knob controls the built-in low pass filters in the early and late

reflection modules of the convolution

engine. The value displayed reflects the

frequency cut off point, above which the

signal is sharply attenuated. This allows

you to shape the overall brightness of the

reverb.

About the Convolution Impulses:

We like to sample the world in every way

possible. We also liked our little cathedral

so much, we decided to share it with you

as literally as we possibly could. We

captured dozens of long 30-second sine-

wave convolution sweeps from different 5

microphone positions, in order to produce

the 108 unique impulse files included in this

library.

The sweeps were projected from dozens of

speaker locations and orientations

throughout the cathedral, creating a wide

variety of tonal and positional options to

choose from in the finished impulse files.

Once re-captured, the sweeps are

analyzed and encoded into stereo PCM

wav format by special software DSP tools.

The files contain 3-7 second long impulses,

which sound rather similar to a sharp crack

or snap that had been recorded in the

original location.

The actual encoded information is both

audible and inaudible, hidden deep within

the phase, frequency and reflection timing.

This humble-sounding "snap" actually

conveys all of the physical acoustic

properties of the location the sweep was

captured in. Each impulse is unique, due to

naturally chaotic variations in acoustic

reflections, even when the conditions

present during the two captures are

physically identical.

Rather than an effect, think of convolution

impulses as a colored camera lens. When

loaded into a convolution reverb plug-in

(such as the one built into Kontakt), these

impulse files are used to impart their tonal,

phase and reverberant characteristics onto

any audio signal that is sent through the

convolution plug-in. While software can

never duplicate a real recording in a real

space, they are remarkably life-like and can

be very helpful in creating authentic-

sounding reverb effects.

When mixing other instrumental source

material with the Requiem Choir, we

recommend trying some of these impulses

on your material to help naturally blend the

outside material with the choir. We don't

recommend using the impulses on the

choir itself, especially on similar mic

positions, since these impulses and choir

itself were both captured in the same space

and can therefore cause partial

cancelation, amplified resonance, phasing,

combing and other anomalies.

The impulses are organized so that they

roughly correspond to the choir's mic

position structure. Because of the nature of

impulse files, different sources respond

differently to each one when processed.

That's one of the reasons we provide such

a wide variety. You're sure to find an

impulse that sounds great with almost any

source material. Just experiment and try

lots of them.

We've also included a broad selection of

our classic impulses, captured in a variety

of unique locations, such as underground

military bunkers, churches, recording halls,

parking garages, stairwells and forest

valleys, as well as a variety of special effect

impulses that we designed in various ways.

You can find them all in this directory:

Tonehammer_Requiem_Choir\Impulses\

LEGATO CONTROLSLegato recording is an important aspect of a choir library in

achieving the greatest possible sonic realism. Legato intervals are

the tiny slices of sound between any two legato notes. Even in the

most precise vocal performance humanly possible, there is always

a subtle pitch and tonal transition as the vocal chords adjust

tension to achieve and support the next note to be sung. The

transition can be smooth, but subtle flaws are equally important.

It's these tiny moments of sonic flavor and texture that help the

brain interpret realism. These micro-transitions are present in our

speech, just as they are in our singing. Without them, the brain

hears the notes, but doesn't believe the performance as having

been sung live by an actual human. This is an inescapable fact.

The technique of capturing and editing these small chunks of

transitional sound is often used in voice sampling, as well as other

instruments then require fluid playing to convince the brain of their

authenticity. A script detects the preceding note and destination

note and almost instantly determines which interval sample to play

between them. Our legato system takes it a few steps farther,

factoring in a complex interplay of blend time and blend slope

between the sustaining notes, as well as the hold duration,

volume, attack and decay of the interval itself.

The end result is a system that allows for multiple selectable

transition speed settings, from long, gentle and fluid to sharp, short

and tight. Or, you can instantly turn off the system momentarily

and play a passage of chords before returning to legato playing.

Speed: The Legato Speed knob is unrelated to the time-stretch speed knob. This control uses complex scripting to re-shape the

apparent interval transition and blending speed, allowing for

precise yet intuitive control over legato behavior. When the knob is

set to "Slow", the legato transitions are gentle, smooth and fluid.

Increasing the knob to "Med", "Fast" and "Tight" incrementally

shorten the overall transition blending, making it more ideal for

faster playing styles. Setting the knob to "Off" disables legato

functionality, allowing standard polyphonic chord playing. This

knob can be automated for real-time speed changes.

Please Note: Extremely fast legato playing can overwhelm

Kontakt's scripting system, causing occasionally strange playback

behavior. It's best to take some time to get used to how the legato

system works as a whole and adopt specific playing styles that

work best with each speed setting.

Volume: This knob controls the volume of the true legato interval samples.

Range Brackets ("High" and "Low"): These two knobs limit the key-range range of the program, allowing you to restrict

the notes that the program will respond to. This is extremely useful

when loading multiple legato programs at once into Kontakt to

allow polyphonic legato playing. You can simply set multiple

instances of any of the legato programs to the same midi channel

and then set different ranges to each instance, allowing polyphonic

legato harmonies to be played simultaneously and independently

on a keyboard. We created several multi-instrument banks ("tri-

harm") with this system set up so you can jump right in and try it.

Dynamics: This knob controls the overall amount of dynamic expressiveness in the legato programs, based on incoming note

velocity. The higher you set the Dynamics control value, the more

strongly volume and tone will be effected by how hard you hit the

keys.

X-Blend: In the 2-way legato morphing instruments, it's used to cross-fade between the two available vowel sounds. In the 3-

way legato morphing instruments, it's used to cross-fade between

Oh and the Ah/Eh pair. In legato instruments without internal

cross-vowel morphing, this is used as a convenient control to allow

cross-fading with an external source. The default midi controller for

this knob is CC11 (expression pedal).

Y-Blend: In the 3-way legato morphing instrument, it's used to cross-fade between Eh and Ah vowels. You'll only hear these

vowels of the X-Blend knob is turned up to cross-fade over to them

from the default Oh vowel. In legato instruments with only one

pair of internal layer, this is used as a convenient control to allow

cross-fading with an external source. The default midi controller for

this knob is CC74.

INSTRUMENT PROGRAMSLegato:

Sustains_full_legato_3-way_oh-ah-eh.nki

This legato patch allows for real-time morphing between the

primary "OH", "EH" and "AH" vowel sounds, as well as morphing

between the low and high intensity layers of all three. This

program requires a large number of voices to play and a very

significant amounts of ram and CPU power to operate, even in dfd

mode. Use with caution. If you're not sure if your system can

handle it, stick to the 2-way or 1-way legato programs. (standard,

dfd, hi-mem and 3-mic position and tri-harmony multi nkm)

Sustains_full_legato_2-way_eh-ah.nki


primary "EH" and "AH" vowel sounds, as well as morphing

between the low and high intensity layers. (standard, dfd, hi-mem

and 3-mic position and tri-harmony multi nkm)

Sustains_full_legato_2-way_oh-ah.nki


primary "OH" and "AH" vowel sounds, as well as morphing



Sustains_full_legato_2-way_oh-eh.nki


primary "OH" and "EH" vowel sounds, as well as morphing



Sustains_full_legato_ah.nki

This patch focuses on the "AH" vowel, with modwheel morphing



Sustains_full_legato_eh.nki

This patch focuses on the "EH" vowel, with modwheel morphing



Sustains_full_legato_oh.nki

This patch focuses on the "OH" vowel, with modwheel morphing



Sustains Only:

These programs features all of the vowel sustains we captured,

divided into just women and just men. There are 14 unique

sustaining vowel sounds for the women and 15 for the men.

Legato intervals are not featured in these instrument.

Vowel Layer Knobs: This pair of knobs allows you to quickly select any two vowel sustain sounds and cross-fade smoothly

between them. The Low layer selects the vowel that is at full volume with an X-Blend (CC11/expression pedal) setting of 0. The

High layer selects the vowel that is at full volume with an X-Blend (CC11/expression pedal) setting of 127. Choosing "Off" on either one of the knobs will disable that knob's particular layer

completely, allowing you to save voices if you don't need to cross-

fade between the two layers.

Sustains_women_2-way_vowel-select.nki

This program features all of the vowel sustains we captured, with

just the women. Includes: ooh 1, ooh 2, ooh soft, oh soft, uhm, uum, ahh, ah, aw, ae, ehh, eh, ee, ih. (standard, dfd and hi-mem nki and 3-mic position multi nkm)

Sustains_men_2-way_vowel-select.nki

This program features all of the vowel sustains we captured, with

just the men. We captured an additional Om "vowel" for the men.

We've programmed it to allow a setting for an "Ommmmm"

sustaining sound as well as simply just "mmmm". Includes: ooh 1, ooh 2, ooh soft, oh soft, uhm, uum, ahh, ah, aw, ae, ehh, eh, ee, ih, ohm, mm. (standard, dfd and hi-mem nki and 3-mic position multi nkm)

Staccato:

Staccato words and syllables are a classic and fundamental part

of any choral library. We captured a total of 22 legato syllables,

based on commonly used Latin and Germanic sounds.

Staccato Syllable Knob: This knob allows you to select the staccato syllable you want to play. There are 19 staccato syllables

in the main staccato patch. It can also be switched on the fly using

dedicated key-switches. The knob can also be automated using

Kontakt's built-in automation router or most using internal host

automation systems. The last setting is "Off" allowing you to mute

the patch as soon as any currently playing note finishes.

In the Staccato program, the key-switches range from C-1 to G0.

The key-switch at G0 sets the Syllable to "Off" mode. In the h La-

Meh Staccato program, the key-switches range from C-1 to D-1.

The key-switch at D-1 sets the Syllable to "Off" mode. There are 2

unique short staccato syllables in this patch. There is also one

more additional staccato syllable in the" La Dissonant" program.

Staccato_full.nki

The Staccato Full patch includes 19 different staccato articulations

with round robin (Ag, Cre, Cru, Do, Fah, Fis, Glo, Ky, La, Mus, Nis, Nus, Rhi, Rru, Sanc, Sart, Sin, Son and Tus) featuring the full choir. The patch is chromatically tuned from G#2 to G#4 and the

modwheel controls the "Swell" of the patch. (standard and dfd nki

and 3-mic position multi nkm)

Staccato_women_spizz_La_dissonant.nki

The Staccato Women Spizz La Dissonant patch includes 25

different dissonant "La" articulations featuring the women section

of the choir. The articulations aren't tuned and are spread from low

to high intensity starting on C1 and ending on C5. The modwheel

controls the "Swell" of the patch. (standard and dfd nki and 3-mic

position multi nkm)

Staccato_women_spizz_La-Meh.nki

The Staccato Women Spizz La-Meh patch includes two alternate

staccato articulations (La and Meh) featuring just the women section of the choir with 8 round robin each. The patch is

chromatically tuned from F2 to G#4 and the modwheel controls the

"Swell" of the patch. (standard and dfd nki and 3-mic position multi

nkm)

Marcato:

This section is a unique feature to this library. Often completely

overlooked in orchestral and choral sampling, Marcato notes are

longer staccato notes (usually 3 beats) that are sung at maximum

volume, usually close to FFF. These are powerful articulations to

use in conjunction with both sustains and shorter staccatos. They

can provide powerful emphasis and dramatic emotional energy

and momentum. We recorded all of the same staccato syllables for

this articulation.

Marcato Layer Controls: These controls are specific to the Marcato programs. They allow you to choose two independent

layers of Marcato syllables/words. There are 16 syllables/words to

choose from and each of the two layers is independently

selectable.

The X-Blend knob allows real-time cross-fading between the two

layers as they play, so that you can morph between any two

syllables/words at any time. The "Low" Knob selects the layer that

is at full volume when X-Blend is set to 0. The "High" Knob selects

the layer that is at full volume when the X-Blend is set to 127.

Choosing "Off" on either one of the knobs will disable that knob's

particular layer completely, allowing you to save voices if you don't

need to cross-fade between two layers.

Marcato_full_2-layer-blend.nki

The Marcato Full 2-Layer-blend patch includes 16 different

marcato articulations (Ar, Cre, Cru, Do, Fah, Fis, Glo, Ky, Mus, Nis, Nus, Rhi, Sanc, Sin, Son, and Tus) featuring the full choir. The patch is chromatically tuned from E1 to A#4 and the modwheel

controls the "Swell" of the patch. (standard, dfd and hi-mem nki

and 3-mic position multi nkm)

Poly-phonetic/Multi-syllabic Sustains:

These are special sustaining articulations that can be used in

multiple ways. One of the main weaknesses of traditional choral

vowel sustains is that they don't convey direct thematic, emotional,

dramatic or lyrical elements and therefore don't actually represent

the majority of commonly required sustaining choral articulations.

Neutral vowel-based sustains don't offer any pulse or purpose and

lack the power to inspire the same kind of emotional and aesthetic

reactions from the listener.

In the vast majority of choral music, these is lyrical content. The

listener natural expects to here this, above all else, whether or not

it's understandable. Just the suggestion of lyrical meaning can

convey purpose, mood and soul in ways that a simple vowel

cannot, regardless of key, chord structure, tempo or melody alone.

The meaning and intent may be there, but words magnify in a

unique way.

Our Poly-phonetic sustaining chants can be used like normal

sustains. They hold true to a singular unison pitch and are

recorded chromatically over the whole key range of the choir. As

the sustain is held, the choir pulses through the successive

syllables of the word being sung. We captured common and yet

powerful and spiritually meaningful Latin and Germanic words.

There are three main types of poly-sustains in the library. We

recorded full-ensemble fast chants as 140 BPM. These are

articulated as a fluid series of connected staccato syllables. They

are intended to be powerful, driving and intense.

There are also divisi male and female slow chants, captured at

100 BPM. These are more subtle, subdued and expressive. These

smoothly pulse through the syllables of each word before holding

on the final open vowel. This final vowel can be held indefinitely.

As soon as the note is released, the final consonant or vowel

sound in the word is played as a release. Because of the dual-

layer cross-fading and independent layer selection, any two chants

can be blended and morphed together.

Obviously, this requires a certain amount of creative timing and not

every possible moment of note release or cross-fade can sound

completely natural or flawless. However, with a little bit of

experimentation, the realism and flexibility allowed by this system

can be rather remarkable. In addition, full control over sample start

offset position allows for even broader phrase splicing and

blending possibilities.

The final type is the Soloist collection. These are a subset of the

various Latin/Germanic words as sung by a single soprano, tenor

and bass soloist. They're ideal for layering along with the slow

divisi and fast full choir poly-syllabic sustains, or on their own. A

few of the Latin/Germanic words have been substituted and there

is a slightly improvised feel to emotion and timing, rather than

being locked to a specific bpm and dynamic. This was allowed in

order to evoke greater emotional intensity, character and realism.

Therefore, you may need to massage the timing, mix and tuning a

little to fit your specific needs on occasion. For best results, try to

work with the samples' natural flow, rather than against them.

Chant Layer Control Knobs: These two controls can be found in the Poly-Sustains. They function exactly the same as

the Marcato layer controls. There are 20 fast ensemble poly-

phonetic sustaining chants to choose from in each layer in the

Fast Poly-Sustains. There are 12 slow poly-phonetic sustaining

chants to choose from in each layer in the Slow Divisi Men,

Women and Solo Poly-Sustains.

140 BPM Fast Chants:

poly-sustains_full_fast_2-layer.nki

The Poly-Sustain Full Fast 2-Layer patch includes 20 different fast

marcato articulations (Adoramus, Apocalypse, Credodium, Crucifixus, Dominum, Incarnatus, Lumine, Morisuri, Omega, Origin, Resurecte, Scripturas, Apastulus, Demanus, Exmustamus, Extraspection, Lahdighagah, Pisces Pisces, Apocalypse Dissonant and Demanus Dissonant) featuring the full choir. The patch is chromatically tuned from D#1 to A4 (note that Resurecte is extended to B4) and the modwheel controls the "Swell" of the

patch. (standard, dfd, time-stretch and tempo-synch nki and 3-mic

position multi nkm)

100 BPM Slow Chants:

poly-sustains_men_slow_2-layer.nki

The Poly-Sustain Men Slow 2-Layer patch includes 12 different

slow marcato articulations (Adoramus, Apocalypse, Credodium, Crucifixus, Dominum, Incarnatus, Lumine, Morisuri, Omega, Origin, Resurecte, and Scripturas) featuring the men section of the choir. The patch is chromatically tuned from D#1 to G#3 (note that

not all articulations extend to G#3. Adoramus, Apocalypse, Crucifixus, and Lumine extend to E3 and Dominum, Incarnatus, Origin, Resurecte and Scripturas extend to F#3) and the modwheel controls the "Swell" of the patch. (standard, hi-mem,

dfd, and tempo-synch nki and 3-mic position multi nkm)

poly-sustains_women_slow_2-layer.nki

The Poly-Sustain Women Slow 2-Layer patch includes 12 different

slow marcato articulations (Adoramus, Apocalypse, Credodium, Crucifixus, Dominum, Incarnatus, Lumine, Morisuri, Omega, Origin, Resurecte, and Scripturas) featuring the women section of the choir. The patch is chromatically tuned from E#2 to A4 and the

modwheel controls the "Swell" of the patch. (standard, hi-mem,

dfd, and tempo-synch nki and 3-mic position multi nkm)

Soloists: (located in the Soloists sub-directories)

Close_poly-sustains_solo_bass_2-layer.nki

The Close Poly-Sustains Solo Bass 2-Layer is set up exactly like

the standard Poly-Sustains Solo Bass 2-Layer and features a

closer, more intimate microphone position. (standard, dfd, and

time-stretch nki and 4-mic position multi nkm)

Close_poly-sustains_solo_soprano_2-layer.nki

The Close Poly-Sustains Solo Soprano 2-Layer is set up exactly

like the standard Poly-Sustains Solo Soprano 2-Layer and

features a closer, more intimate microphone position. (standard,

dfd, and time-stretch nki and 4-mic position multi nkm)

Close_poly-sustains_solo_tenor_2-layer.nki

The Close Poly-Sustains Solo Tenor 2-Layer is set up exactly like

the standard Poly-Sustains Solo Tenor 2-Layer and features a

closer, more intimate microphone position. (standard, dfd, and


poly-sustains_solo_bass_2-layer.nki

The Poly-Sustains Solo Bass 2-Layer patch includes 12 different

expressively sung articulations (Adoramus, Apocalypse, Credodium, Crucifixus, Dominum, Incarnatus, Lumine, Morisuri, Omega, Origin, Resurecte, and Scripturas) featuring a solo bass vocalist. The patch is chromatically tuned from C#2 to C4 and the

modwheel controls the "Swell" of the patch. (standard, dfd, and


poly-sustains_solo_soprano_2-layer.nki

The Poly-Sustains Solo Soprano 2-Layer patch includes 10

different expressively sung articulations (Adoramus, Apocalypse, Credodium, Crucifixus, Dominum, Incarnatus, Resurecte, Secundum, Scripturas and Spiritus) featuring a solo soprano vocalist. The patch is chromatically tuned from G#2 to G#4 and the



poly-sustains_solo_tenor_2-layer.nki

The Poly-Sustains Solo Tenor 2-Layer patch includes 10 different

expressively sung articulations (Adoramus, Apocalypse, Credodium, Crucifixus, Dominum, Incarnatus, Resurecte, Secundum, Scripturas and Spiritus) featuring a solo tenor vocalist. The patch is chromatically tuned from A1 to A#3 and the



Full Choral Effects:

Word/Phrase Construction Tools:

Consonant Select Knob: The Consonant Letters selection knob in the Choir FX Consonant Quick-Select program allows you to

trigger any one of 54 simple and compound vocal consonant

sounds. You can also use Key-Switches from C-1 to F#3 to switch

between the different consonants on the fly.

Choir_FX_full_consonants_quick-select.nki

This primary Consonants patch is a series of 54 alphabetized

consonants, mostly non-voiced. There are 20 different types of

consonant sounds, with multiple natural sub-variants and

pronunciations of each one, covering most of the primary simple

and compound consonant sounds. There are two main zones in

this program. The left side of the key range (C-1 - F#3) is

dedicated to the key-switches that control which consonant is

played. The right side of the key range (C4-C6) triggers the actual

note, with a pitch range of +/- 12 semitones. You can also

manually control or automate the consonant sound selector knob

located on the front control panel.

This program is designed for users who want to see which

consonant sound is at their fingertips ready to play and/or want

direct automatability for use in complex word or phrase

construction. (standard and dfd .nki and 3-mic position multi .nkm)

Choir_FX_full_consonants.nki

This version of the Consonants patch arranges the individual

consonant sounds over the key range alphabetically from left to

right, ranging from C2 to F6. You can change the tuning in

semitone steps by using our pitch stepping key-switches, from C-2

to C0. C-1 resets pitch to default. Essentially, this program is the

same as the quick-select program, but with the play control

systems conceptually inverted. This is ideal for users who want

instant access to all consonant sounds simultaneously. (standard,

dfd and time-stretch .nki and 3-mic position multi .nkm)

Choir_FX_full_numbers.nki

The Numbers patch includes the numbers 0 through 10 sung in

monotone by the males section of the choir only and includes

round robin. The patch ranges from C2 to A#2 and the modwheel

controls the "Swell" of the patch. (standard, dfd and time-

stretch .nki and 3-mic position multi .nkm)

Choir_FX_full_words_fah-free-su.nki

The Full Words patch is somewhat of an extension of the

consonants patch, providing greater variation, intensity and length

to three select words, "fah", "free" and "su." Also included are

three bonus effects of the choir singing "Tonehammer." The patch

ranges from C2 to D5 and the modwheel controls the "Swell" of

the patch. (standard & dfd .nki and 3-mic position multi .nkm)

Choral Percussion:

Choir_FX_full_body_percussion.nki

The Full Body Percussion patch consists of a variety of

percussive, mostly non-tonal sounds, including stomps, claps,

snaps, hand rubbing, teeth clattering, tongue clicking, and breaths

as well as loops of many of those effects. The mapping ranges

from C1 to G5 and includes three bonus improvisational

"compositions" performed live by the choir. The modwheel controls

the "Swell" or volume of the patch. (standard & dfd .nki and 3-mic

position multi .nkm)

Clusters:

Choir_FX_men_dissontant_clusters_long.nki

The FX Men Dissonant Clusters Long patch includes a variety of

long clusters ranging in intensity and expression, slowly blending

from unison to dissonance and vice versa. A zombie or 16 may

have snuck in there somewhere in the upper register. The patch

ranges from C2 to F3 and the modwheel controls the "Swell" of the

patch. (standard & dfd .nki and 3-mic position multi .nkm)

Choir_FX_men_dissontant_clusters_shrill.nki

Wanna hear the most annoying sound in the world? Ok, not really,

but the FX Men Dissonant Clusters Shrill patch features some

masterfully horrific dissonant looping clusters. The loops are

presented in two distinct ways: 1.) The five different layers of shrill

loops are cross-blended from low to high intensity and pitched

from C1 to G#2. 2.) From B2 to B7 and rooted at B4 , the five

layers are blended through intensity using the modwheel.

(standard & dfd .nki and 3-mic position multi .nkm)

Choir_FX_men_dissontant_clusters_sustain.nki

The FX Men Dissonant Clusters patch features five layers of

dissonant looping clusters. The loops are presented in two distinct

ways: 1.) The five different layers of loops are cross-blended from

low to high intensity and pitched from C1 to E3. 2.) Rooted at C5

and pitched down to F3 and up to A6, the five layers are blended

through intensity using the modwheel. (time-stretch .nki only)

Choir_FX_full_tonehambiences.nki

Toneambiences includes three improvisational "compositions", the

first rooted at C3, pitched down to C2 and pitched up to F#3. The

second is rooted at C4, pitched down to G3 and up to C5. The

third is rooted at G5, pitched down to C#5 and up to F#6. Also

included is a multi-layered whispering loop rooted at C1, pitched

down to C0 and up to B1. The modwheel cross-fades through

layers of intensity for the whispers and controls the "Swell" of the

compositions. (standard & dfd .nki and 3-mic position multi .nkm)

Sweeps and Swells:

Choir_FX_full_swell_woo-ahh.nki

The Swell Woo-Ahh patch features the entire choir swelling from

"woo" to "ahh" over a couple seconds. It is chromatically scaled

from B1 to G#4. The modwheel controls the volume of the patch.


Choir_FX_full_dissontant_sweeps_down.nki

The Dissonant Sweeps Down patch features 10 downward full

choir sweeps from dissonance blending into unison. They are

arranged from shortest/quickest to longest/slowest starting from

C2 to A2. The modwheel controls the "Swell" of the patch.


Choir_FX_full_dissontant_sweeps_fast.nki

The Dissonant Sweeps Fast patch includes 13 dissonant full choir

sweeps, 9 up and 4 down. The up sweeps are arranged from

shortest to longest starting at C2 to G#2 and the down sweep are

arranged from short to longest starting at A2 to C3. The modwheel

controls the "Swell" of the patch. (standard & dfd .nki and 3-mic


Choir_FX_full_dissontant_sweeps_up.nki

The Dissonant Sweeps Up patch features 29 full choir sweeps of

varying intensity, length, clustering and unison. The sweeps are

grouped with similar sounds together, such as unison sweep ups

of different lengths ranging from C2 to G2. The patch covers from

C2 to E4 and the modwheel controls the "Swell" of the patch.


Choir_FX_men_dissontant_sweeps.nki

This patch features three different types of sweeps: short, mid and

long. 11 down sweeps from C2 to A#2 are arranged from shortest

to longest. 10 up sweeps from C3 to A3 are also arranged from

shortest to longest and the modwheel controls the "Swell" of the

patch. (standard & dfd .nki and 3-mic position multi .nkm)

Choir_FX_women_dissontant_sweeps.nki

The Women Dissonant Sweeps patch features three different

types of sweeps: short, mid and long. 13 up sweeps from C2 to C4

are arranged from longest to shortest. 12 down sweeps from C#4

to C5 are arranged from shortest to longest and the modwheel

controls the "Swell" of the patch. (standard & dfd .nki and 3-mic


Slow Trills:

Choir_FX_full_slow_trill.nki

The Full Slow Trill patch features the full choir slowly trilling and is

scaled chromatically from A1 to D4. The modwheel controls the

"Swell" of the patch. Note that with the time-stretch version of the

patch, you can adjust the speed of the trilling. (standard, dfd and

time-stretch .nki and 3-mic position multi .nkm)

Choir_FX_men_slow_trill.nki

This is just like the Full Slow Trill patch but only includes the men

section. (standard, dfd and time-stretch .nki and 3-mic position

multi .nkm)

Choir_FX_women_slow_trill.nki

This is just like the Full Slow Trill patch but only includes the

women section. (standard, dfd and time-stretch .nki and 3-mic


By installing the product you accept the following product license agreement:

LICENSE GRANT

The license for this product is granted only to a single user. All sounds and samples in this product are licensed, but not sold, to you by Tonehammer, Inc. for commercial and non-commercial use in music, sound-effect, audio/video post-production, performance, broadcast or similar finished content-creation and production use.

Tonehammer allows you to use any of the sounds and samples in the library(s) you've purchased for commercial recordings without paying any additional license fees or providing source attribution to Tonehammer, Inc. This license expressly forbids any unauthorized inclusion of content contained within this library, or any any Tonehammer library, into any other sample instrument or library of any kind, without our express written consent.

This license also forbids any re-distribution method of this product, or its sounds, through any means, including but not limited to, re-sampling, mixing, processing, isolating, or embedding into software or hardware of any kind, for the purpose of re-recording or reproduction as part of any free or commercial library of musical and/or sound effect samples and/or articulations, or any form of musical sample or sound effect sample playback system or device. Licenses cannot be transferred to another entity, without written consent of Tonehammer, Inc.

RIGHTS

Tonehammer retains full copyright privileges and complete ownership of all recorded sounds, instrument programming, documentation and musical performances included in this product.

REFUNDS

Downloaded libraries can't be returned, so we can't provide refunds. We may choose do so at our own discretion,but please be aware that as soon as you've downloaded it, you can't return it.

RESPONSIBILITY

Using this product and any supplied software is at the licensees own risk. Tonehammer holds no responsibility for any direct or indirect loss arising from any form of use of this product. You are responsible for the library based on guidelines established by watermarking principles. Tonehammer will use all remedies of law against anybody who illegally shares/distributes this library.

TERMS

This license agreement is effective from the moment the product is installed by any means. The license will remain in full effect until termination. The license is terminated if you break any of the terms or conditions of this agreement, or request a refund for any reason. Upon termination you agree to destroy all copies and contents of the product at your own expense.

VIOLATION

We don't use any form of DRM software, registration, license keys or other anti-piracy technology. We do this because we love you. That's also one of the reasons our prices are so low, even though it takes a long time to make these libraries. The other reason is because we love music almost as much as we love you. If you've done any deep sampling and the labor-intensive programming that comes with it, you know that it is very hard work. Remember, the more you support us, the more awesome libraries we can afford to make for you.

LICENSING AGREEMENT

Choir:

Conductor:

Robert Geary

Choral Director:

Alan Kleinschmidt

Singers:

Michael Mendelsohn

Kristen Brown

Lindsey McLennan

Verah Graham

Emily Ryan

David Kurtenbach

Chip Grant

Robert Huber

Barton Thomte

Cynthis Adams

Carlin Black

Catherine Heagerty

C. Christine Stuart

David Schermerhorn

Ella Bacon

Ethan Geary

Jesse Buddingon

John Burgdorf

Jennifer Granat

Judith Murio

James Schenkel

Janet Scott

Kristina Ashley

Kathleen Leones

Mark Sumner

Nona Baker

Philip Buonadonna

Roger Fong

Roger King

Rachel Thompson-Ray

Susan Kalman

Sulpicio Mariano

Sydni Roberson

Stephanie Small

Thomas Huckaba

William Chiles

William Langley

CREDITS

CREDITSThe production of Requiem is not only a product of our own vision, but also a product of patience from friends and family - and a product of countless discussions with a variety of great composers, producers and so forth.

We would like to sincere thank the following people for everything they have done for us - we owe you all sushi, beer, back rubs and lots of love and hugs.

Jennifer Peaslee, Xenia Contreras, Tawnia Knox, Chris Marshall, Steve Tavaglione, Alex Pfeffer, Frederick Russ, Gabe Shadid and the powerful solipsism of Thomas Bergersen.

We also throw our appreciation to all great people supporting us on facebook, vi-control, twitter, northernsounds, KVR and so forth - you guys are an endless source of inspiration and occasional frustration. The hive mind is powerful.

Tonehammer Requiem Readme

Documents

requiem requiem

requiem library

uncompressed files

patch files

requiem source files2

choir satb

real choir

way of sampling choir