soniccouture glassworks user guide - alexander publishing · soniccouture glassworks user guide...

SONICCOUTURE GLASSWORKS USER GUIDE

www.soniccouture.com email :[email protected]

SONICCOUTURE

GLASS / WORKS

CONTENTS :

• INSTALLATION

• A LITTLE ABOUT THOMAS BLOCH

THE GLASSWORKS INSTRUMENTS :

• LE CRISTAL

• THE GLASS ARMONICA

• CLOUD CHAMBER BOWLS

• THE KONTAKT INSTRUMENTS

• CLOUD CHAMBER BOWLS

• BOWED CHAMBER BOWLS

• GLASS ARMONICA

• LE CRISTAL BASCHET

• LE CRISTAL SFX

• SUPPORT

• E.U.L.A



INSTALLATION

If you do not own Kontakt 5, you will need to download and install the free

Kontakt 5 player which you can do here ; Kontakt Player Download Link

TO ADD THE LIBRARY AND AUTHORIZE IN KONTAKT

1. Start Kontakt or Kontakt Player in standalone mode (ie. not as a plug-in).

Then open the Browser on the left (the folder Icon at the top).

2. In the Libraries tab at the top of the Browser click "Add Library"

3. Click and use the dialogue window to navigate to and point Kontakt to the

location of the ‘Library’ folder ( inside the main Soniccouture Glassworks

folder). This will add it to the Kontakt Library list AND to the NI Service

Center.

4. When Kontakt asks you to Activate the library, the NI Service Center

program will launch and you will need your serial number to authorize

Glassworks.

If Kontakt doesn't ask you to authorize, you can force it to by clicking the

little "Activate" button in the upper right corner of our Glassworks Library

logo, in the Browser/Libraries list. It will then prompt you to launch the

Service Center.

(You will find your serial number in the email you were sent when you

purchased. If for some reason you haven't received this yet, you can run your

library in demo mode until it arrives.)

After authorization, you should restart Kontakt.

TROUBLE SHOOTING

If you get error messages or other problems when authorizing, there are a

number of solutions on our FAQ page at soniccouture.com



ABOUT THOMAS BLOCH

Thomas Bloch is a classical musician specializing in rare instruments . When

beginning to research Glass / Works, we found that his name was ubiquitous

in every line of enquiry. We quickly realised we had to talk to him, and once

contact was made, we arranged to visit him in his studio between his many

tours.

In a suburb of Paris, down a quiet street in the freezing January weather , we

found Thomas. A very charming and quiet man with the most incredible

collection of exotic instruments - their rarity matched only by his virtuosity

when playing them.

In Thomas’ studio, everywhere you look there is memorabilia from his long

and fascinating musical career. Photographs, CDs, concert programmes,

movie posters. Among the exhaustive list he has worked with are :

Radiohead, Gorrilaz, John Cage, Tom Waits, Milos Foreman and many more.

Soniccouture would like to thank Thomas for allowing us to record his

instruments and for his hospitality in Paris.



LE CRISTAL

Surely one of the strangest instruments most of us will ever lay eyes on, Le

Cristal, or The Cristal Baschet was designed in 1952 by Bernard and



François Baschet. It consists of about 4 octaves of chromatically tuned

glass rods, which are rubbed with wet fingers.

The vibration of the glass is passed to a heavy block of metal, which itself is

tuned and in fact determines the final pitch. The entire mechanism is

amplified by a large steel plate, called the “flame”. There are also three

small fiberglass cones that amplify the higher frequencies.

The glass rods connected to the tuned metal blocks ( top of picture )

Tuned metal blocks behind the Flame



Playing the Cristal Baschet is in fact surprisingly easy - at least, it is easier to

produce a decent note than one might imagine. Simply dipping one’s fingers

in the waterbowl and stroking a glass rod immediately produces a sound,

and it is quite intuitive to build up the oscillations in the rod to produce

louder tones.

Reflections in the Flame

The Cristal Baschet was created in 1952 by the French instrument makers

and artists Bernard and Francois Baschet. The Baschet brothers specialize

in creating sculptures that can be "played" to produce music. They also

invented the inflatable guitar and the aluminum piano, and created an

"educational instrumentarium" for exposing young people to musical

concepts. The instruments are still in production - see their website here :

http://www.structuresonore.eu/



THE GLASS ARMONICA

The glass armonica, also known as the glass harmonica, bowl organ,

hydrocrystalophone, or simply the armonica (derived from "harmonia", the

Greek word for harmony), is a type of musical instrument that uses a series

of glass bowls or goblets graduated in size to produce musical tones by

means of friction (instruments of this type are known as friction

idiophones ). Because its sounding portion is made of glass, the glass

harmonica is a crystallophone. The phenomenon of rubbing a wet finger

Water causes limescale build-up on the Armonica

around the rim of a wine goblet to produce tones is documented back to

Renaissance times; Galileo considered the phenomenon in his Two New

Sciences.



The instrument was invented by Benjamin Franklin, who called his invention

the "armonica" after the Italian word for harmony. He worked with London

glassblower Charles James to build one, and it had its world premiere in

early 1762, played by Marianne Davies. A modern glass armonica built using

Benjamin Franklin's design.

Thomas Bloch playing the Armonica

On Franklin's treadle operated version 37 bowls were mounted horizontally

on an iron spindle. The whole spindle turned by means of a foot pedal. The

sound was produced by touching the rims of the bowls with moistened

fingers. Rims were painted different colors according to the pitch of the

note. A's were dark blue, B's purple, C's red, D's orange, E's yellow, F's

green, G's blue, and accidentals white. With the Franklin design it is possible

to play ten glasses simultaneously if desired, a technique that is very difficult

if not impossible to execute using upright goblets. Franklin also advocated

the use of a small amount of powdered chalk on the fingers which helped

produce a clear tone in the same way rosin is applied to the bows of string

instruments.

Mozart, CPEl Bach, Beethoven, Donizetti, Richard Strauss, and more than

100 other composers have composed for the glass harmonica.



Blochs latest, brand new Armonica - untarnished by limescale.

Since it was rediscovered during the 1980s composers began writing for it

again(solo, chamber music, opera, electronic music, popular music): Jan

Erik Mikalsen, Regis Campo, Etienne Rolin, Philippe Sarde, Damon Albarn,

Tom Waits, Michel Redolfi, Cyril Morin, Stefano Giannotti, Thomas Bloch,

Guillaume Connesson...

Thomas Bloch has two Armonicas - he has

recently taken delivery of a stunning new

model, gleaming clear glass unsullied by the

limescale build-up that gives his older

instrument a frosted appearance, like a rare

crystal or stalactite.

As with the Cristal Baschet, it is not hard to

produce a note from the Armonica, but to

witness the virtuoso playing of Bloch is

breathtaking -his fingers dance across the

spinning glass at great speed, producing

spiraling staccato melodies of great beauty.



CLOUD CHAMBER BOWLS

The Cloud Chamber Bowls are Soniccouture’s recreation of an instrument

built in the 1960s by maverick American composer Harry Partch. It consists

of hanging “bowls” which are sections of 12-gallon glass carboys. Both tops

and bottoms of the carboys are used. Partch had 14 (later 13) bowls hanging

from a large wooden frame he called a “tori”.

The name “Cloud Chamber Bowls” arose from the fact that Partch found the

original carboys at a Radiation Laboratory at UC Berkeley in 1950. The

bowls were originally as cloud chambers used in tracing paths of subatomic

particles.



The pitches of the bowls are basically random, as were Partch’s (“It has

been impossible for me to tune the bowls - I must accept what I get.”).

The varying thickness of the carboys and unpredictable overtone structure

make it pretty much impossible to cut a carboy to an exact pitch.

The Soniccouture Cloud Chamber Bowls were painstakingly cut and drilled

by glass-working artisans, and the substantial wooden frame constructed as

a custom order for the recording of Glass / Works.



THE KONTAKT

INSTRUMENTS

Although there are three physical instruments we used to create this library,

there are five basic Kontakt instruments with slightly different controls.

These are Cloud Chamber Bowls, Bowed Chamber Bowls, Glass Armonica,

Le Cristal Baschet, and Le Cristal SFX. You’ll find these on the top level of

the Instruments folder when you open the Library in Kontakt’s browser on

the left.

You’ll notice there’s also a folder called Sound Design. This contains

experimental presets in which the instrument is processed to some degree.

If you want a realistic instrument, or want to start creating your own presets

from scratch, it is best to start from one of the five main instruments.

Note that if you are inside a

subfolder, like Sound Design, you

can go back to up a level by

double-clicking on the folder’s title

at the top.

Let’s have a look at the five main instruments.



CLOUD CHAMBER BOWLS

Soniccouture’s Cloud Chamber Bowls are comprised of 14 different bowls

that were played with soft mallets, and 13 bowls hit with hard mallets (yes,

we broke one). There are 10 velocity levels and three round-robins for each

bowl.

On the main front panel (Instrument tab, above) you can see which mallet is

selected on the left. You can select these by clicking on them, or by using

keyswitches (defined on the Options page, but by default B5 and C6).

At the bottom left of the Instrument panel you have a stereo width knob.

This is “natural” in the middle, enhanced to the right, and becomes mono

when fully left.

In the middle of this panel you have the Envelope section. At the very top

the menu allows you to select whether you are editing the Amplitude or the

Filter Envelope. Below this are four knobs for the Attack, Decay, Sustain,

and Release of the selected envelope. Finally, below that is the Velocity

sensitivity control. (Note that for the Amplitude envelope the velocity depth

is unipolar, but for the Filter envelope the velocity depth is bipolar.)



Finally on the right, you have the Filter section. The filter can be bypassed

completely with the LED at the top right. Below this we have the standard

controls for the Filter Cutoff and Resonance, a High Pass Filter (HPF), and

then Velocity and Envelope depth. The Velocity and Envelope depth are

both bipolar and only affect the low pass filter with resonance (not the HPF).

Tuning

The original pitches of the bowls are basically random, as were Partch’s.

But for ease of use, we have tuned the set chromatically by default. If you

want to hear the bowls in their original tuning, you can change it on the

Options page at the top left where it says Mapping (Chromatic to Original).

Also on this Options tab you can set up your keyswitches, which are B5 and

C6 by default (soft and hard mallets, respectively). You can change these if

you like.

There are other controls in the Options tabs, which vary slightly for each

instrument, but in Cloud Chamber bowls the last one is the Jammer. This is

the panel on the far right of the Options tab.

TIP: With all knobs you can Command-Click ( or Control-click in

Windows) to instantly set a knob back to it’s “default” position.



THE JAMMER

The Jammer is turned on or off with the LED on the far right of the panel.

The Jammer is a kind of random arpeggiator that chooses from the notes

you hold down at random. Hold a chord down on your keyboard, and

Jammer will randomly play notes from that chord.

The RATE of the Jammer is set with respect to tempo, ie. you can choose

16th notes, or 8th notes, etc. The other controls are as follows:

VEL controls the amount of randomization to the velocity. Jammer takes

the velocity you played the notes in at, but it can vary from this initial value

by a small amount or a lot depending on the setting of VEL.

TIMING randomizes the timing of the Jammer. This is a bit strange, but

sometimes nice in small amounts.

NOTE randomizes the pitch of the notes you are holding down. This can be

especially useful if the PITCH FILTER is on, which we’ll mention in a

moment.

OCTAVE introduces random octave jumps upwards. This can be 0, 1, 2 or

3 octaves.



MW VEL allows you to adjust the velocity of the Jammer output, while it’s

playing, using the mod wheel. This is bipolar, so you can add or subtract

from the playing velocity without re-playing your input notes.

DOUBLE HITS on the bottom, to the right of the little keyboard, creates two

hits on each repetition. This creates a denser output, or chords, depending

on the situation.

The PITCH FILTER is the little keyboard at the bottom. If

you don’t select anything, or select everything, the

Jammer will output any of the 12 possible pitches.

However, as soon as you select a note, or several notes, the output of the

Jammer will be restricted to those pitches only. So you can fix it to a chord,

or to a scale.

If you click on LEARN, you can play the notes you want the PITCH FILTER to

remember, but don’t forget to switch it off again!

There is also a Preset menu with some popular scales.

TIP: If you want to record the output of the Jammer into a MIDI

track, you need to turn on “Send MIDI to outside world” in

Kontakt’s Options page, under the Audio Engine tab. In the

“choose options” drop down, you can turn on “script generated

notes”, and Kontakt will then send Jammer’s notes out. You then

need to assign a MIDI track to record these notes as you play the

Jammer. Be careful you don’t route the generated MIDI thru your

sequencer back into Kontakt again, or you’ll get complete

confusion and the universe might turn inside out



EFFECTS

Finally we have the Effects panel, which is the third tab at the bottom of

each instrument. This identical in all the Glass/Works instruments.

The Effects page is divided into four sections; Tape, Phaser, Delay, and

Reverb. Each of these can be bypassed with the LED at the top of each

section. There is also a Limiter at the bottom right, under the Reverb tab

which can be turned on or off with it’s own LED.

TAPE

When the Tape section is activated, you can adjust the DRIVE and WARMTH

of Kontakt’s Tape Saturator algorithm. This is nice for a very subtle

distortion. The COMP is a compressor, which is bypassed when all the way

left, but as you move the knob clockwise lowers the threshold of the

compressor. LO EQ and HI EQ are exactly that, gain controls for a low

frequency and high frequency equalizer, Solid-G EQ in Kontakt.

PHASER

The Phaser gives you control over it’s MIX level, the SPEED of modulation,

the DEPTH of modulation, FEEDBACK and PHASE.



DELAY

In the Delay section you can control the MIX level, the DAMPING,

FEEDBACK and WIDTH of the delay. If the SYNC button is off, the TIME is

in absolute time (milliseconds), if the SYNC button is on then the TIME is in

16th notes. SYNC is handy if you want your delays to be in time with your

track.

REVERB

In the Reverb section you can control the MIX level, and adjust the SIZE and

HPF (High Pass Filter) of the Reverb. The Reverb uses Kontakt’s

Convolution processor, and we therefore include a selection of our favourite

convolution presets in a menu called REVERB TYPE.

LIMITER

The Limiter is either on or off, and this is at the end of the insert effects

chain. It doesn’t therefore affect the level of the Phaser, Delay, or Reverb as

these are on sends. If you are getting output clipping and the Limiter is on,

please check the levels of the Phaser, Delay, or Reverb MIX.



BOWED CHAMBER BOWLS

The Bowed Chamber Bowls are the same 13 bowls as used in the Cloud

Chamber Bowl instrument, but played with a cello bow. This resulted in a

haunting sustained tone, as well as some strange harmonics, as we’ll see.

The Instrument panel is largely the same as the Cloud Chamber Bowls, with

identical controls for the Envelope and Filter in the middle and on the right.

(You can read about the Envelope and Filter here.)

The main difference on this Instrument panel is that instead of Articulations,

we have a small LAYERS panel on the bottom left.

LAYERS includes a menu that can be set to Round Robin or Stack Detune.

In Round Robin mode, the instrument plays one note at a time, but cycles

through the five robins we recorded for the Bowed Bowls instrument. In

Stack Detune mode, the instrument plays TWO of those robins at once



(different ones) and allows you to detune them slightly using the DETUNE

knob. Note that this Knob is not available in Round Robin mode.

Also notice that the knob labeled WIDTH has a slightly different function in

Round Robin mode than in Stack Detune mode. In Round Robin mode, it

functions as a Stereo Enhance knob (with the middle being natural, left

being mono, and right being fully enhanced). In Stack Detune mode, the

Width controls the spread between the two detuned voices.

HARMONICS

One of the unusual things we noticed when bowing the bowls was that each

bowl would occasionally slip into a strange harmonic (we say “strange”,

because the bowls are highly inharmonic, so the overtones are not

predictable like on a guitar or a flute). Being great fans of all things strange,

we sampled these harmonics as well, and you can crossfade into the

harmonics using the Mod Wheel (by default).

If you want to change the controller used to crossfade into the harmonics,

you can do so on the Options tab:

You see the X-FADE CC on the left-most panel. It’s set to 1, the Mod

Wheel, by default, but you can change this to another controller if you like.



GLISSANDO

Another control panel we find in this Options tab is the Glissando.

This includes a switch to turn it on or off,

the LED on the right, as well as two knobs:

AMOUNT and TIME.

Glissando creates and endless pitch glide

while a note is being held down.... and we

do mean endless! It can go down below

the threshold of hearing or way up into

some very nasty aliasing.

The two controls decide how far to shift the

pitch (AMOUNT), and how quickly to do it

(TIME).

AMOUNT is therefore bipolar. If it’s in the middle, at 12 o’clock, the pitch

won’t move at all, but if it’s slightly to the right the pitch will start to rise, if it’s

slightly to the left the pitch will start to fall.

TIME is unipolar, and the larger the value the slower the pitch will change.

The Bowed Chamber Bowls also includes the Jammer option. You can

read about the Jammer here.

The Effects tab is the same on all instruments, and is described here.

TIP: Remember that all knobs in our Instruments can be

automated, either by MIDI or by host automation. Often the

quickest way to automate a knob is to right-click on it and move

the controller that you want to assign to that knob.

Automating the Glissando can give you some quite bizarre results,

and take your music into horror movie territory.



GLASS ARMONICA

This Glass Armonica is a recreation of the original Ben Franklin instrument

built by master glassblower Gerhard Finkenbeiner. It consists of 37 nested

bowls that range from F3 to F6, although we’ve mapped this an octave

lower for convenience.

There isn’t a huge dynamic range on the Glass Armonica, so we sampled

each note 3 times at two different dynamics, soft and loud. There are 3

round robins of each set.

There are 3 sections to the main Instrument page (Instrument tab, above).




and Release of the selected envelope. Below that is the Velocity sensitivity

control. (Note that for the Amplitude envelope the velocity depth is unipolar,

but for the Filter envelope the velocity depth is bipolar.)

On the right, you have the Filter section. The filter can be bypassed







On the left of the Envelope panel you can see a knob labelled KEY OFF.

This allows you to control the level of the key-off, or release samples... the

ringing of the bowls once Thomas fingers were removed. Remember this is

slightly different from the Amplitude Envelope Release, which controls the

release time of the rubbing sound.

Below this you can see a small LAYERS panel near the bottom.

LAYERS includes a menu that can be set to Round Robin or Stack Detune.

In Round Robin mode, the instrument plays one note at a time, but cycles

through the three robins we recorded for the Armonica instrument. In Stack

Detune mode, the instrument plays TWO of those robins at once (different

ones) and allows you to detune them slightly using the DETUNE knob.

Note that this Knob is not available in Round Robin mode.

Also notice that the knob labeled WIDTH has a slightly different function in

Round Robin mode than in Stack Detune mode. In Round Robin mode, it

functions as a Stereo Enhance knob (with the middle being natural, left

being mono, and right being fully enhanced). In Stack Detune mode, the

Width controls the spread between the two detuned voices.

Crossfade or Velocity Control

You can crossfade from the soft sample to the loud sample using Velocity or

a MIDI Controller. Our instruments are generally set to use Velocity by

default, but if you want to use a controller you can set that up on the

Options panel.



The Glass Armonica Options Tab

At the top left, under the heading DYNAMICS, there is a menu that allows

you to choose between Velocity and Controller. If this is set to Velocity, then

the incoming keyboard velocity is used to crossfade between the loud and

soft Armonica samples. If you change this to Controller, then you can

crossfade these sample sets dynamically. This defaults to the Mod Wheel

(CC 1), but you can change that to any other controller.

Note that this option handles only the crossfading of the two sample sets,

the velocity sensitivity is still active on the Instrument/Envelope panel.

The Glass Armonica Options tab also includes the Glissando control, which

you can read about here, and the Jammer control which you can read about

here.

As with all Glass/Works instruments, the Effects tab is identical, and you can

find the details of that page here.



LE CRISTAL BASCHET

Le Cristal Baschet consists of about 4 octaves of chromatically tuned glass

rods, which are rubbed with wet fingers. The vibration of the glass is passed

to a heavy block of metal, which itself is tuned and in fact determines the

final pitch. The entire mechanism is amplified by a large steel plate, called

the “flame”. There are also three small fiberglass cones that amplify the

higher frequencies.

Articulations

We sampled each note in many different ways, and for most articulations

were able to get data from C1 to D5, just over 4 octaves. Articulations

include: Sustain, Accent, Soft Mallets, and Hard Mallets. You can select

the articulations on the left of the main panel (shown above) or use

keyswitches to select the articulations.

The default keyswitches are C6 for Sustain, B5 for Accent, A#5 for soft

mallet, and A5 for hard mallet. You can change these in the Options tab.

NB. We also samples a selection of special effect hits, which are in a

seperate instrument called Le Cristal SFX. We’ll discuss that instrument

later.



Note that in the above panel, to the right of the Articulations there is a

control for WIDTH and for FLAME.

The WIDTH is a stereo width control. The middle (12 o’clock) being natural,

left being mono, and right being fully enhanced.

One of the unique sonic characteristics of the Cristal Baschet is the

resonance of the huge metal FLAME that rings slightly differently for every

note played. To try and approximate this in Kontakt, we took some impulse

responses of the flame hit various ways, and loaded these into a convolution

processor. On this panel you have access to Flame level, and to several

Flame types, which we characterize in the pull-down menu as Low, Mid,

High, and Thin.

If you turn the FLAME all the way to zero, then the effect is bypassed,

conserving CPU.




and Release of the selected envelope. Below that is the Velocity sensitivity

control. (Note that for the Amplitude envelope the velocity depth is unipolar,

but for the Filter envelope the velocity depth is bipolar.)

On the right, you have the Filter section. The filter can be bypassed





Let’s have a look at the Cristal Baschet Options tab.

TIP: If you want to set the Amplitude Release differently for the

Mallet articulations than the Sustain Articulations, you can do it

using ALT or OPTION. When ALT or OPTION is held down, the

Release knob only affects the Mallet articulations. If no control

button is held down, all articulations are set to the same release.



Le Cristal Baschet Options page.

On the left we see the Keyswitches setup. By default we’ve set this at the

top of a 61 note keyboard, just slightly above the range of the Cristal itself

(which we stretched to G5). You can change the keyswitches however to

anything you like.

Below the Keyswitches there is the SUSTAIN X-FADE control. The Sustain

samples were recorded at two different volumes, soft and loud. Using this

menu you can choose to control that crossfade with Velocity or with a

Controller. We leave it on Velocity by default, but you can change this if you

want to use a continuous controller instead. The Controller you want to use

is set below in the box labelled X-FADE CC.

Note that the SUSTAIN X-FADE only affects the Sustain articulation, and

only controls the crossfading of the sample sets themselves. The velocity

sensitivity on the Instrument page is still functional, no matter which method

you use to crossfade the samples.

Also on the Cristal Options page you can see our Glissando controller, which

is explained in detail here, and our Jammer effect, which is explained here.

As with all Glass/Works instruments, the Effects tab is identical, and you can

find the details of that panel here.



LE CRISTAL SFX

Le Cristal SFX Instrument Page.

This instrument is a collection of 53 special effects made with the Cristal

Baschet. These are mapped from C1 to E5, each key being a different

special effect.

However, this instrument is slightly different from the other instruments in the

collection in several ways.

Firstly, each key can be edited individually if you like. When EDIT SINGLE

(on the left of the panel) is selected, the last key you played is the only key

that is being edited. So you if you adjust the attack time on C3, you won’t

be changing the attack time on any of the other notes (SFX).

If you turn this off, the text changes to EDIT ALL, and in that case you are

editing all the sounds at once. This is very handy as well of course,

especially if you want to reset everything to a natural starting point

(remember Command/Control Click!).

The other unique thing in this instrument (as opposed to the other

instruments in Glass/Works) is the FOCUS button. When the FOCUS



button is turned on, the last sound effect you played is spread across the

entire keyboard and centred on middle C.

If you have the Keyboard display enabled, it will turn green, like this:

This helps remind you you’re in FOCUS mode. While in FOCUS mode you

play a single sound effect as if it were an instrument. You can save an

Instrument in FOCUS mode.

Aside from the Envelope and Filter sections on the right of the panel, you

can see this Instrument also has a TUNE knob at the bottom. This of

course controls the PITCH of the sample you’re hearing (or all samples if

EDIT ALL is displayed.)

The WIDTH knob controls the stereo width of the sound effect.

Now let’s have a look at the Options page, which also has another new

feature.



Le Cristal SFX Options page.

Here you’ll find two buttons on the left, SHUFFLE and RESET.

SHUFFLE randomizes the order in which the sound effects are laid out on

the keyboard. Since each sound effect is basically unrelated to the others,

this can be a fun way to explore and to find new sounds.

RESET simply puts them back to the default order.

Note that if you’re in FOCUS mode (on the Instrument page), you won’t hear

the results of SHUFFLE or RESET, since the instrument is currently still

FOCUSED on a given sample.

This Options page also includes the Jammer effect, which is covered in

detail here.

The Cristal SFX Effects page is identical to the others in the collection and is

covered in detail here. Please note that EDIT ALL and EDIT SINGLE only

affect the Instrument parameters, not those on the Effects page.



SUPPORTIf you have any problems or questions relating to the use of this product,

please feel free to contact us. You can either email us at :

[email protected]

or we have a support forum within the KVR Audio community, which can be

found here :

Soniccouture Support Forum

We will always endeavour to reply to any enquiry within 12 hours, but do

bear in mind the differences in time zones, so please be patient!



E.U.L.A.

END USER LICENSE AGREEMENT

PREFACE: This End-User License Agreement ("EULA") is a legal agreement

between you and Soniccouture LTD for the Soniccouture product

accompanying this EULA, which includes computer software and may

include associated media, printed materials, and online or electronic

documentation ("Software"). By installing, copying, or using the software,

you agree to be bound by the terms of this EULA. If you do not agree to the

terms of this EULA, you may not use the software.

The software is protected by copyright laws and international copyright

treaties, as well as other intellectual property laws and treaties. The software

is licensed, not sold.

Soniccouture Ltd grants the Owner of a Soniccouture product the right to

create finished musical works and performances using the sounds and

software that comprise the Soniccouture product.

The making of sample libraries in any form, commercial or otherwise,

using Soniccouture audio or software (be they single hits, loops, fully

mixed audio clips, or scripts) is STRICTLY FORBIDDEN without express

written agreement of Soniccouture Ltd, and violations will be prosecuted

to the full extent of international and local copyright law.

The ownership of all title and copyrights in and to the Software (including

but not limited to any images, photographs, animations, video, audio, music,

text, and "applets" incorporated into the Software ) is fully asserted by

Soniccouture Ltd.

The Owner may only install and use Soniccouture libraries and software

on multiple computers strictly under the following conditions: where

multiple computers comprise part of a single composition workstation for

a composer; or where the Owner has two non-concurrent sites of work,

for example a studio desktop and a laptop for live performance.



The Owner may not transfer, modify, rent, lease, loan, resell, distribute,

network, electronically transmit or merge the Software.

DISCLAIMER OF WARRANTY: The software is provided "as is" and without

warranty of any kind. The entire risk arising out of the use or performance of

the software and documentation remains with user. To the maximum extent

permitted by applicable law, Soniccouture further disclaims all warranties,

either express or implied, including, but not limited to, implied warranties of

merchantability and fitness for a particular purpose, with regard to the

software, and any accompanying hardware. To the maximum extent

permitted by applicable law, in no event shall Soniccouture be liable for any

consequential, incidental, direct, indirect, special, punitive, or other damages

whatsoever (including, without limitation, damages for loss of business

profits, business interruption, loss of business information, or other

pecuniary loss) arising out of this EULA or the use of or inability to use the

software, even if Soniccouture has been advised of the possibility of such

damages.



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