An Impact Soundworks Sample Library for Kontakt™
Designed, edited and produced by Andrew Aversa of Impact Soundworks
Performed by Juan Medrano (Sixto Sounds)
Visit www.impactsoundworks.com to see the rest of our catalog!
INTRODUCTION
We have been working on Shreddage since back in early 2008. At the time, there were fewer guitar libraries, and those
that did exist were either extremely expensive, large and cumbersome, or cheap and laughably unrealistic. Neither
category was capable of producing truly convincing rhythm parts for rock and metal music without resorting to pre-
recorded loops, and where‟s the fun in that? We set out to fill this niche and create an affordable, easily playable set of
next-generation guitar sounds to fill the gap.
While many guitar libraries were released since we first began work on Shreddage, we‟ve listened to them all and none
approach its combined ease of use, extreme realism, flexible tone and low cost. In the course of our development, we
exhaustively researched guitars, recording methods, playing styles, programming and mapping approaches. We asked
veteran metal guitarists to not only test but to brutally criticize the library so that we could truly perfect it. The result of our
nearly two years of labor is the product you have before you today.
Shreddage was recorded at 24/44.1 using a classic metal guitar sent through a high end Avalon DI box. This allows you
to a completely unique tone for every song. We recorded EIGHT round robins for almost every patch (covering both down
and up strokes) meaning the “machine gun” effect will never be a problem, even for the darkest thrash metal riffs.
Combined with a wide variety of crucial articulations, tuning that goes down to Bb, double-tracked patches and effects,
you can realize virtually any rhythm part out there.
Out of all our libraries, this was quite possibly the most fun to design and produce, simply because it sounded so good
even early on. So, we hope you enjoy using Shreddage as much as we did making it!
INSTALLATION
To install the library, first ensure that you have both .RAR files downloaded. Then, simply extract one of them to the
directory of your choosing. It will create a “Shreddage” folder in that directory containing the library and all of its
components.
The unpacked folder will contain four subfolders: Patches, Samples, UI and Amp Sim Presets. The Patches folder
contains various subfolders containing .NKI and .NKM files, while Samples contains all of the audio content, UI contains
the graphics files used in the Kontakt interface, and Amp Sim Presets contains .FXB and .FXP files for virtual amp/cab
software.
Patches from Shreddage are loaded and used simply by opening an instance of Kontakt 2 (or higher) and loading the
.NKI instrument or .NKM multi file you wish to play. There is no authorization or registration required.
All audio content for this library is “unlocked” and editable in WAV format! To access the content, browse to the
Patches folder, then open up one of the subfolders, such as “Components”, and select a file to drag into Kontakt. This can
also be done from within Kontakt‟s browser or the Load Instrument menu.
GETTING STARTED
The fastest way to start recording killer parts with Shreddage is to go into the Patches -> Quick Play folder, then load the
Master Patch Quick Play.nkm multi. This will load six patches on to one MIDI channel. You will use your left hand (LH)
to trigger power chords (Bb1-E3) while your right hand (RH) plays open sustains (Bb4-E6). Lower velocities trigger tight
mutes – as you play harder, the mutes become more open until you are triggering full sustains. The highest velocities in
either hand will play pinch squeals.
This multi contains Double Tracked (or “DT”) patches. DT patches are identical to normal patches, but with their round
robin order changed. They are designed to be sent to another Kontakt output and amped separately. Additionally, they
automatically have a slight (adjustable) timing variation. This means that you can get an extremely realistic, true double
tracked sound right out of the box!
We‟ve also included a set of amp sim presets in the Amp Sim Presets folder. These FXP/FXB format patches can be
loaded into such amp sims as StudioDevil Amp Modeler Pro, Overloud TH-1, Native Instruments Guitar Rig 4 and IK
Multimedia Amplitube 2.
CONTENT OVERVIEW
Patches for Shreddage are split into a variety of folders: Quick Play, Patches, Double Tracked and DT Components.
Quick Play is described in the above “Getting Started” section. It contains a handful of .NKM multis.
Patches contains several subfolders as well as the master list of 41 .NKI files which cover all of the core content.
Double Tracked is a subfolder of Patches. It contains 40 .NKM files which load both a DT component and main patch,
sent to separate Kontakt outputs, in order to create a true double tracked sound.
DT Components is a subfolder of Double Tracked. It contains 39 .NKI files which are prepared for use in a double-
tracked multi.
SCRIPT INTERFACE
The Shreddage scripted interface is very easy to use and relies on Kontakt‟s tools to manipulate sound.
Attack controls the attack time for the patch. This can be useful for taking off a bit of edge from the pick sound.
Decay controls the time it takes for the samples to decrease in volume while holding out a note. To create even tighter
mutes or shorten the length of sustains, use this knob.
Release controls the time it takes for the samples to stop sounding once a note is released. Tweak this depending on
your playing style – for fast riffs, it should generally be decreased.
HPF controls the cutoff of a High Pass Filter. As you increase it, the low frequencies of the sound will be removed.
LPF controls the cutoff of a Low Pass Filter. As you decrease it, the high frequencies of the sound will be removed.
MID controls the depth of a midrange EQ. Increase the knob to boost mids and decrease it to scoop them. This is useful
for shaping your tone and getting the guitars to sit in difficult mixes.
Timing sets a randomized timing offset that is very useful for adding a bit of sloppiness and realism to your parts. If the
knob is slightly increased, notes triggered through that patch will randomly be delayed anywhere from 0 to 5 or
6ms. As the knob is increased further, the possibly delay time can reach into the hundreds of ms. Ideally, use this
knob on one patch in a DT multi, but not the other!
PATCH NOMENCLATURE
All Shreddage patches are composed using the elements below. By looking at a patch‟s name and referencing this list
you can determine how it is meant to be played and what sort of samples it contains.
For the purposes of this document, Middle C is considered to be C3.
RH – Refers to “Right Hand.” The patch is intended to be played using the right hand, from the note Bb2.
LH – Refers to “Left Hand.” The patch is intended to be played using the left hand, from the note Bb-1 up to A2.
Full KB – Patch and its samples cover the entire keyboard.
Alt / Alt Pick – Samples alternate between down and up picking (starting on down picks.)
Down – Samples include down picks only.
Mute / MT – Standard palm mute.
HF – Half palm mute. This type of mute is more sustained than normal mutes but not quite open.
Fast Mute – Tight palm mute. This type of mute has very little decay time and is excellent for fast playing.
Mute-HF – Velocity-controlled switch between standard palm mutes and half palm mutes.
Fst-Full-HF – Velocity-controlled switch between fast palm mutes, standard mutes and half mutes.
Fast-Full – Velocity-controlled switch between fast palm mutes and standard palm mutes.
Open Sus / Sus / Sustains – Refers to single-note sustain samples.
Powerchords / Powerch – Refers to power chord samples (1-5-1). If no mute is specified, the samples are sustained.
SQ / Squeal – Pinch squeal with heavy vibrato.
Sus-Squeal / Sus-SQ – Velocity-controlled switch between sustains and pinch squeals (triggered at velocities 125-127.)
Slides – Short, whole tone slides up to and down from every note. Low velocities trigger up slides, high triggers down.
Sus Slides – Velocity-controlled switch between up slides (low vel), open sustains (mid vel) and down slides (high vel.)
DT – Refers to “Double-Tracked.” DT .NKI patches are identical to non-DT patches, except for a varied RR sequence.
All Sustains / Powerchords – Patch includes every type of mute, sustain and pinch squeal for either sustains or
powerchords. “All” patches do not include single note slides.
Releases – Patch includes release triggers that play at the end of notes. Various types of finger and string noise.
Release Squeals – Patch includes release triggers that include squeaks and squeals only.
Chordstops – Patch include release triggers that add an extra „chug‟. Used with sustained samples.
MASTER PATCH – Contains every sustain and powerchord articulation. Powerchords are set in the lower range (LH) and
sustains in the upper range (RH), while pinch squeals can be triggered with either.
PERFORMANCE TIPS
Use a sustain pedal when playing powerchord or open sustain strumming. This will ensure that the releases of
each note bleed into the next for a more realistic and consistent sound.
Mix and match Release and Chordstop patches and adjust their volume levels. Some release sounds are more
appropriate for certain playing styles than others. For example, for pieces that involve staccato non-mute sounds,
chordstops are very important.
To get a truly huge and wide amped sound, use the DT multis, then use two separate amp sim presets in your
host, panning one hard left and one hard right.
When writing fast passages, use Fast-Full patches and remember to switch up which articulation you are using.
For extremely fast parts, use the fast mutes, but for any note that is even slightly more sustained, switch to the
higher-velocity full mute articulation.
Every patch in the library contains a special “Thrash Note” which is linked to F-1 by default. While this note is
pressed, press any other note on the keyboard and continue holding F-1. As long as F-1 is being held, every note
on your MIDI keyboard will trigger the first note you played after pressing F-1. For example, if you hold F-1 then
press E1, every note on your keyboard will trigger E1 until you let go of F-1! This is very useful for playing
extremely fast riffs in a real-time performance setting.
You can achieve a quad-tracked sound with a simple trick. In one Kontakt instance, load both normal and DT
patches, but send them to one output. On the DT patches, increase the Timing knob slightly. Then, clone that
instance of Kontakt, send it to a different mixer output, but use the same MIDI channel. This will create an
enormous stereo sound with 4 samples playing on each note. The timing variation will add a bit of phasing which
is perfect for quad-tracked parts!
ABOUT THE SAMPLES
Shreddage was performed and recorded by master rock & metal guitarist Juan Medrano (www.sixtosounds.com), a
frequent collaborator of library producer Andrew Aversa. Both Juan and an alpha/beta tester, Matt Guillory, contributed to
the extensive tweaking process of the library.
The guitar used was a 6-string classic which is considered a standard of metal music. It was recorded at 24 bits / 44.1khz
through an Avalon U5 DI into a Presonus Firebox in mono, the format which all of the samples are presented in.
TROUBLESHOOTING & FEEDBACK
Have you used Shreddage in a project recently or have a demo or song that you‟d like to share? We‟d love to hear from
you! Just email admin@impactsoundworks.com. For any technical support issues regarding the library, don‟t hesitate to
email support@impactsoundworks.com.
COPYRIGHT & LICENSE AGREEMENT
All sound recordings, performances, scripting and/or code contained in this product is the property of Impact Soundworks
unless otherwise noted, and remain the property of Impact Soundworks after the product is purchased.
This license extends only to the individual who purchases this product, unless that individual is purchasing on behalf of
another individual, in which case it is the actual user of the product who is granted this license.
The licensee is entitled to the use and unlimited editing of the product within the scope of music production and
composition. The product may be installed on as many computer systems used by the licensee as desired, but in no case
does a single license allow multiple individuals to use the product.
The licensee may not use the product in the creation of other sample, sound effect, or loop libraries.
The licensee may not use sound recordings contained in the product as individual sound effects for sound design work,
unless the sounds are significantly processed, layered, and otherwise altered beyond recognition.
The licensee may use the product in the creation of music for production libraries.
Redistributing, reselling, electronically transmitting, uploading, sharing, or renting the product in any way, shape, or form is
prohibited by law. The licensee may create a physical backup copy of any digitally purchased and downloaded product.
This backup copy is subject to the same limitations as the original copy of the product, and may not be transferred to any
other individual for any reason.
Copyright © 2010 by Impact Soundworks, LLC. All Rights Reserved.
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