Vir2 Cinematic Thunder User Manual

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USER MANUAL

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Produced by Vir2 Instruments

Vir2 Instruments / is an international team of sound designers, musicians, and programmers, who specialize in creating the world’s most advanced virtual instrument libraries. Vir2 is producing the instruments that shape the sound of modern music.

29033 Avenue Sherman, Suite 201 Valencia, CA 91355

Phone: 661.295.0761 Web: www.vir2.com

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USER MANUAL

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CINEMATIC THUNDER/ TABLE OF CONTENTS

TABLE OF CONTENTS

CHAPTER 01

01 INTRODUCTION TO THE LIBRARY

CHAPTER 02: REQUIREMENTS AND INSTALLATION

03 SYSTEM REQUIREMENTS

03 INSTALLING

04 UPDATING

04 AUTHORIZING

CHAPTER 03: USING KONTAKT

05 HOW TO ACCESS THE CINEMATIC THUNDER

LIBRARY FROM KONTAKT

05 USING KONTAKT IN STANDALONE MODE

07 USING KONTAKT AS A VST PLUG-IN IN CUBASE AND NUENDO

08 USING KONTAKT AS A VST OR AUDIOUNIT PLUG-IN IN ABLETON

LIVE

09 USING KONTAKT AS AN AUDIOUNIT PLUG-IN IN LOGIC PRO,

LOGIC STUDIO, LOGIC EXPRESS, ETC.

10 USING KONTAKT IN GARAGEBAND

11 USING KONTAKT AS AN AUDIOUNIT PLUG-IN IN DIGITAL

PERFORMER

11 USING KONTAKT AS AN RTAS PLUG-IN IN PRO TOOLS

12 USING KONTAKT AS A PLUG-IN IN ANOTHER HOST

CINEMATIC THUNDER

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CHAPTER 04: WORKING WITH THE INSTRUMENTS

13 MIXER

15 CHANNEL FX

19 MASTER INSERT FX

CHAPTER 05: PATCH LAYOUT

20 GROUP HITS

21 GROUP RANDOM

22 SOLO MALLETS

23 SOLO STICKS

CHAPTER 06: TECH SUPPORT, ETC.

24 TECH SUPPORT

24 THE FULL VERSION OF KONTAKT 5

24 LICENSE AGREEMENT

25 CREDITS

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CHAPTER 01

CINEMATIC THUNDER/

INTRODUCTION TO THE LIBRARY

We are proud to present Cinematic Thunder: Epic

Orchestral Toms. Recorded in a large concert hall in

central California from three mic positions for complete

CHAPTER 01 / INTRODUCTION TO THE LIBRARY

ﬂexibility, Cinematic Thunder delivers an epic sound. From

soft and warm to big and bombastic, Cinematic Thunder

is an absolute and indispensable production tool.

Cinematic Thunder contains four master patches: Solo

Sticks, Solo Mallets, Group Hits and Group Random. The

master patches are the natural sound as they were

recorded. Each master patch has a corresponding “Slam”

patch. The slam versions have a bigger, more aggressive

sound that is perfect for your next trailer or action cue.

Each drum in the “Solo” patches has left and right hand

hits, ﬂams, 3-stroke rus, 5-stroke rus, and rolls. There

are also combo hits in the highest octave. The Combo hits

consist of two toms being struck simultaneously. We

sampled hits from highest pairs to lowest. In other words,

8”&10” toms, 10”&12” toms, 12”&14” toms, 14”&16” toms, and

16”&18” toms.

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Each drum in the “Group Hits” patch has left and right

hand hits, and ﬂams. Like the “Solo” patches, there are

also combo hits in the highest octave. The “Group

Random” patch is a great patch for adding big accents, it

contains only single hits and ﬂams played at maximum

volume (f).

Cinematic Thunder is powered by the industry-leading

Kontakt engine. It is compatible with VST, AudioUnit, AAX

(Pro Tools 10 & 11) and RTAS (Pro Tools 9 & 10) plug-in

formats allowing it to work seamlessly within any major

sequencer, in addition to standalone use.

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CHAPTER 02

CINEMATIC THUNDER/

REQUIREMENTS AND INSTALLATION

SYSTEM REQUIREMENTS

The Macintosh version requires an Intel Core Duo, 2GB of RAM, and OS 10.7.x

or later. For optimum performance, Vir2 Instruments recommends a 2.0GHz

processor or faster. The library requires 3GB of free hard drive space.

CHAPTER 02 / REQUIREMENTS AND INSTALLATION

The Windows version requires Windows 7 or Windows 8 (latest Service Pac,

32/64 Bit) Intel Core Duo or AMD Athlon 64, and 2GB of RAM. For optimum

performance, Vir2 Instruments recommends a 2.0GHz processor or faster.

The library requires 3GB of free hard drive space.

INSTALLING

The installation of CINEMATIC THUNDER consists of two separate steps: the

installation of the Kontakt engine, and the installation of the CINEMATIC

THUNDER library.

In the CINEMATIC THUNDER folder, you will see the installers for Kontakt 5

and the CINEMATIC THUNDER library folder. Move the CINEMATIC

THUNDER library folder to any location on your hard drive, then run the

Kontakt 5 installer.

The Kontakt installer will install the Kontakt Player engine, its standalone

application, all of its plug-in versions, and the Service Center authorizer

program. We recommend the Easy Install and that the install locations for

each component are left at their default settings.

The CINEMATIC THUNDER library is approximately 2.7GB in size, and can be

installed on any available hard drive. For speed reasons, we recommend it be

installed on internal or eSATA drives. A Firewire drive is also acceptable.

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AExternal USB drives may give somewhat less optimized performance. We

also recommend 7200rpm drives or SSDs regardless of the interface used.

Once Kontakt is installed, launch the standalone application, or open it as an

instrument plug-in from within your preferred host application. Click on the

Libraries tab from the Kontakt browser on the left side of the Kontakt

interface. Just below “Libraries,” click on “Add Library.” A “Locate Folder”

window will appear. Navigate to the CINEMATIC THUNDER Library folder,

highlight it, then click “Choose”. CINEMATIC THUNDER should now appear

in Kontakt’s library browser.

UPDATING

After installation, please make sure that you are fully updated to the most

recent versions of the three components that make up the CINEMATIC

THUNDER package: the library (which contains all the patch information

and programming), the engine (which is powered by Kontakt), and the

authorizer (Service Center). It is possible that any of these components

may have a more recent version than you originally received, so you should

check for updates to each of these three. You can do this by visiting the

vir2.com web site and checking the Support area.

AUTHORIZING

After you’ve completed installation, CINEMATIC THUNDER will be working

in demo mode, meaning it will only work for 15 minutes at a time. To fully

authorize it, launch Service Center (found in the Applications folder on a

Mac, or the Program Files folder on Windows) and follow its instructions or

click the Activate button in Kontakt. You will be prompted to enter your

e-mail address and password that make up your Native Instruments

account, or will be given an option to create an account if you don’t

already have one. Once inside the Service Center, it will give you a list of all

the Native Instruments and NI-powered products on your hard drive and

give you the option to activate them. You are allowed to install and use

CINEMATIC THUNDER on up to two computers simultaneously.

Service Center will guide you through the process for either online (instant)

activation, or oine activation if the computer on which you installed

CINEMATIC THUNDER does not have direct access to the internet.

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CHAPTER 03

CINEMATIC THUNDER/

USING KONTAKT

CHAPTER 03 / USING KONTAKT

HOW TO ACCESS THE CINEMATIC THUNDER LIBRARY FROM KONTAKT

CINEMATIC THUNDER ships as a Kontakt-powered library, and CINEMATIC THUNDER is opened from within Kontakt, which can be run either as a standalone application, or as a plug-in hosted by any major sequencer on either Macintosh or Windows platforms. All these versions are installed by the Easy Install option of the installer.

Users who don’t own a sequencer, or would like to simply boot up and be able to play CINEMATIC THUNDER, can go to their Applications folder (Mac) or Program Files folder (Windows) to launch Native Instruments > Kontakt.

Users who wish to use CINEMATIC THUNDER for sequencing or recording, or wish to play it multitimbrally, should use it in plug-in mode within a host sequencer. Kontakt supports the VST, AU, AAX and RTAS plug-in formats. Any host sequencer that supports these plug-in formats properly will be able to use Kontakt. Instructions vary slightly from sequencer to sequencer, but the general procedure is to instantiate Kontakt as a virtual instrument plug-in, then load an CINEMATIC THUNDER instrument in Kontakt, then route a MIDI track to Kontakt so it can be triggered and recorded.

The following instructions will help standalone and plug-in users get up and running quickly with a basic track of CINEMATIC THUNDER.

USING KONTAKT IN STANDALONE MODE

The standalone Kontakt application can be found in the Applications > Kontakt 5 folder for Mac users, or Program Files > Native Instruments > Kontakt 5 for Windows users.

After launching the Kontakt application for the ﬁrst time, you will be presented with a dialog box to set up your audio and MIDI settings. Settings will vary for each user according to the speciﬁc setup, but the important thing is to route the audio to a valid audio device, and to set the buer

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reasonably low for good latency performance. We recommend 256 samples or less. The lower the latency slider, the less latency (the split second between the physical playing of the note and the sound coming out of Kontakt) will be, but the harder the computer will have to work. Typical useful values range between 128 and 256, however very fast computers may be able to handle lower values, while very slow computers may need higher values. [01]

The MIDI page of the Options dialog box must be conﬁgured in order to let Kontakt know which MIDI device(s) to respond to. Kontakt will respond to up to four MIDI input ports (A, B, C, and D), so we recommend you switch one MIDI source on to Port A, as shown in the graphic below. [02]

More detailed information on the setup options can be found in the accompanying Kontakt manual.

Once you have completed Kontakt setup, jump ahead to the Getting Started with CINEMATIC THUNDER section below.

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USING KONTAKT AS A VST PLUG-IN IN CUBASE AND NUENDO

Users of Steinberg’s Cubase or Nuendo sequencers can use Kontakt as a VST plug-in. These instructions have been prepared in Cubase 5, although Kontakt may also work in earlier versions if the computer meets the system requirements.

Once the project is open, go to the Devices menu and choose VST Instruments: [01]

When the VST Instruments window appears, click in the ﬁrst available slot in which “no instrument” is listed. [02]

A popup menu will appear; choose KONTAKT 5.

An alert box will appear asking if you want to create a MIDI track assigned to the KONTAKT 5 plug-in. Click Create. [03]

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The Kontakt window will appear, and a MIDI track will be created, transmitting to Kontakt’s MIDI channel A-1. When it is record-enabled, it will send any incoming MIDI played on your controller into Kontakt.

At this point, you can skip down in the instructions to the Getting Started With CINEMATIC THUNDER section below.

USING KONTAKT AS A VST OR AUDIOUNIT PLUG-IN IN ABLETON LIVE

Users of Ableton Live can use Kontakt as a VST or AudioUnit plug-in, depending on the version. The functionality is the same. These instructions have been prepared in Live 7, although Kontakt may also work in earlier or later versions if the computer meets the system requirements.

Once the project is open, go to the left side and click on the third icon down to show the Plug-in Devices list, then scroll to the Native Instruments folder and locate KONTAKT 5: [04]

Drag KONTAKT 5 into the central area where the text “Drop Files and Devices Here” is shown.

The Kontakt interface will appear, and it will already be actively transmitting to Kontakt’s MIDI channel A-1. When it is record-enabled, it will send any incoming MIDI played on your controller into Kontakt.

At this point, you can skip down in the instructions to the Getting Started With CINEMATIC THUNDER section below.

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USING KONTAKT AS AN AUDIOUNIT PLUG-IN IN LOGIC PRO, LOGIC STUDIO, LOGIC EXPRESS, ETC.

Users of Apple’s Logic can use Kontakt as an AudioUnit plug-in. These instructions have been prepared in Logic Pro 8, although Kontakt may also work in earlier versions if the computer meets the system requirements.

Once inside your Logic project, go to the Track mini-menu (in the central area of your screen) and choose Track > New... [01]

The New Tracks dialog box will appear. Make sure Software Instrument is selected, then click Create. [02]

The new instrument track will be created. On the left side of the screen you will see the channel strip for that channel, including a fader, pan knob, and various insert slots. Locate the blank slot just below the letters “I/O” and above the output pair: [03]

Click there, and a list of available instrument plug-ins will appear. Choose AU Instruments > Native Instruments > KONTAKT 5 > Stereo. [04]

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At this point, you can skip down in the instructions to the Getting Started With CINEMATIC THUNDER section below.

USING KONTAKT IN GARAGEBAND

Users of Apple’s GarageBand can use Kontakt as an AudioUnit plug-in. These instructions have been prepared in GarageBand 5 (which shipped with iLife ‘09), although Kontakt may also work in earlier versions if the computer meets the system requirements.

Once inside your GarageBand project, go to the Track menu and choose New Track.

[05]

A window with three choices will appear. Choose Software Instrument, then click Choose. [06] On the right side of the interface, the Browse tab will be showing. Switch to the Edit tab. [07] The Sound Generator will default to Piano. Click on Piano, and a popup menu will appear. Choose Audio Unit Modules > KONTAKT 5. [08]

Note: GarageBand may default to inserting

eects, such as a compressor and a visual EQ on on this track. This will color the sound. If you don’t want these eects used, you can

remove them.

Once KONTAKT 5 is selected, the icon will change to the AudioUnit icon (the ball with the sound

waves radiating outward). Double-click on

the icon to bring up the Kontakt window. [09]

At this point, you can skip down in the instructions to the Getting Started With CINEMATIC THUNDER section below.

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USING KONTAKT AS AN AUDIOUNIT PLUG-IN IN DIGITAL PERFORMER

Users of MOTU’s Digital Performer can use Kontakt as an AudioUnit plug-in. These instructions have been prepared in Digital Performer 6, although Kontakt may also work in earlier versions if the computer meets the system requirements.

Once the project is open, go to the Project menu and choose Add Track > Add Instruments... [01]

In the resulting dialog box, click on the Unassigned pulldown menu, and choose Native Instruments > KONTAKT 5. You can also change the number of MIDI tracks to be added, if you know you will want to use more than one.

[02]

At this point, you can skip down in the instructions to the Getting Started With CINEMATIC THUNDER section below.

USING KONTAKT AS AN RTAS PLUG-IN IN PRO TOOLS

Users of Digidesign’s Pro Tools (M-Powered, LE, or TDM) can use Kontakt as an RTAS plug-in. These instructions have been prepared in Pro Tools 8, although Kontakt may also work in earlier versions if the computer meets the system requirements.

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Once the project is open, go to the Track menu and choose New... [03]

In the dialog box that appears, choose the appropriate options, such as the following: create 1 new stereo Instrument Track in samples. Then click Create.

[04]

Go to the Mix window and look at the channel strip for the instrument. At the very top is an area for Inserts A-E. [05]

Click on the ﬁrst of the ﬁve slots, and navigate through the popup menu to choose multichannel plug-in > Instrument > KONTAKT 5. [06]

The Kontakt window will appear. At this point, you can skip down in the instructions to the Getting Started With CINEMATIC THUNDER section below.

USING KONTAKT AS A PLUG-IN IN ANOTHER HOST

There are too many host programs to cover here in detail, but any modern sequencer that properly supports the VST, AudioUnit, or RTAS standards should be able to use Kontakt properly, and load CINEMATIC THUNDER within it. Consult the manual for your speciﬁc host to ﬁnd out how to instantiate the Kontakt virtual instrument.

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CHAPTER 04

CINEMATIC THUNDER/

WORKING WITH THE INSTRUMENTS

The CINEMATIC THUNDER interface is very easy to navigate. There are four

main pages; Mixer, Channel FX, and Master Insert FX.

MIXER

The mixer in Cinematic Thunder gives you complete control over each Mic position. The easy to use, familiar controls make it easy to quickly tailor the sound to your composition.

CHAPTER 04 / WORKING WITH THE INSTRUMENTS

The Mixing page contains controls for the Stage, Tree, and Surround mic positions, as well as the Master buss. Each mic position has an On/O switch. By default each mic position is On. When switched O, the samples for that mic position are purged, freeing up RAM. The sample are reloaded once switched back On.

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Here is a description of each of the controls:

On/O Switch – disables or enables that Mic position. When O, samples will be unloaded.

Pan Knob – controls the Mic position’s placement in the stereo ﬁeld.

Volume Fader – controls the overall volume level for each Mic position or buss.

Solo (S) Button – temporarily isolates a mic position or buss while listening.

Mute (M) Button – temporarily silences a mic position or buss while listening.

Delay Knob – controls the amount of signal that is sent to the delay eect.

Reverb Knob – controls the amount of signal that is sent to the convolution

reverb eect.

FX Button – opens the Channel FX window.

Eects Button – opens the Master Insert FX window.

Humanize – introduces slight pitch, velocity and volume randomization to all

incoming notes to help create a more natural performance. The knobs adjust how much of this eect will be applied to incoming notes. When set to 0% the eect is not applied to any incoming notes. 0% is the default setting.

The Round Robin settings aect how the samples playback. There are three modes: Cycle, Random and O. The Cycle mode sequentially plays back the round robin groups. Random plays the round robin groups completely at random allowing for groups to be repeated or skipped. O disables round robin mode. When switched o, one sample group will playback for a uniform and static performance.

NOTE - Humanize is not available on Group Random Hits since there is only one sample group.

Routing Drop - Down Menu - Selects one of Kontakt’s outputs. By default this is set to “Default.” Click on the the word “Default” above each mic position’s label to see a list of available outputs. To create more outputs, see Chapter 14 of the Kontakt reference manual.

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CHANNEL FX

Each eect has an On/O switch. By default, all eects are o. To exit the

FX window, simply click the “Mixing” button.

If you are unfamiliar with any of the available eects, below is a brief

description to help acquaint you each of them:

Transient Master – Input - Controls the input gain to the eect.

Attack - Controls the scaling of the attack portion of the input signal’s

volume envelope. Increasing this parameter will add more punch and

decreasing it will reduce sharp attacks

Sustain - Controls the scaling of the sustain portion of the input signal’s

volume envelope. Increasing this parameter will add more body to the sound

and decreasing it will reduce the sound’s tail.

Output - Controls the output gain after the eect. For dynamic eects like compressors, this is very important.

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Solid G-Equalizer – LF Freq - Adjusts the center frequency of the low

frequency band at which the boost or cut will occur.

LF Gain - Adjusts the amount of boost or cut at the LF Frequency.

LMF Freq - Adjusts the center frequency of the low-mid frequency band at

which the boost or cut will occur.

LMF Gain - Adjusts the amount of boost or cut at the LMF Frequency.

LMF Q - Controls the width (or Q) of the low-mid frequency band. For most

EQs, the higher the width, the narrower the frequency band, but with this EQ the control is reversed to match the hardware it emulates and becomes a bandwidth control.

HMF Freq - Adjusts the center frequency of the high-mid frequency band at which the boost or cut will occur.

HMF Gain - Adjusts the amount of boost or cut at the HMF Frequency.

HMF Q - Controls the width (or Q) of the high-mid frequency band. For

most EQs, the higher the width, the narrower the frequency band, but with this EQ the control is reversed to match the hardware it emulates and becomes a bandwidth control.

HF Freq - Adjusts the center frequency of the high frequency band at which the boost or cut will occur.

HF Gain - Adjusts the amount of boost or cut at the HF Frequency.

Output - Controls the output gain after the eect.

Solid Bus Compressor – Threshold - Sets a level threshold above which the

Compressor starts working. Only levels that rise above this threshold will be

reduced by the compression; signals that stay below it will be left

unprocessed.

Ratio - Controls the amount of compression, expressed as a ratio of “input

level change” against “output level change.” A Ratio of 1:1 means that no

compression will be happening. For example, a Setting of 4 represents the

ratio 4:1, which means for every 4 decibel increase of amplitude above the

threshold, the output will increase by only 1 decibel.

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Attack - Adjusts the time the Compressor will take to reach the full Ratio

value after an input signal exceeds the Threshold level.

Release - Adjusts the time the compressor will take to fall back to non-

compression after the input signal falls below the threshold.

Makeup - Controls the output gain of the compressed signal. Used to

compensate for the gain reduction of the eect.

Mix - Controls the dry/wet mix of the compressor. This can be used to create

a parallel compression style routing, which increases the quieter signals

rather than reducing the louder ones. At a setting of 100% you will only hear

the compressed signal, at a setting of 0% you will only hear the unprocessed

input signal.

Output - Adjusts the compressor’s output level.

Stereo – Spread - Collapses (counter-clockwise) or expands (clockwise)

your signal’s stereo base. At the far left position, stereo signals will be

summed to mono. Positive values will result in an artiﬁcial widening of stereo

sources that has a tendency to apparently expand beyond the speakers, but

watch out – this can cause mono incompatibilities in your mix.

Output - Adjusts the Stereo eect output level.

Limiter – In Gain - Sets the gain of the input signal. The Limiter is dierent

from the Compressor in that it has a ﬁxed threshold; to achieve a sensible

peak reduction, use this control to adjust the input gain until you see the

Attenuation meter responding only to occasional level peaks.

Release - Just like the Compressor’s control of the same name, this knob adjusts the time it takes the Limiter to return to an unprocessed signal after the input level falls below the threshold.

Output - Adjusts the Limiter’s output level.

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Distortion - Drive - Adjusts the amount of distortion.

Damping - Turning this knob clockwise attenuates high frequencies in the

output signal, thereby counteracting the brightness caused by the artiﬁcial

harmonics.

Output - Adjusts the module’s output level. Since distortion boosts the gain

considerably, it’s often necessary to attenuate the signal at the output stage.

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Master Insert FX

Convolution Reverb - Pre Delay - Introduces a short delay between the

direct signal and the reverb trail build up. This corresponds to the natural reverberation behavior of large rooms, where short time elapses before the ﬁrst reﬂection of a sound wave returns from a wall.

Size - Adjusts the size of the simulated room. This aects the duration of the reverb tail.

Delay - Time - The delay time in milliseconds. To synchronize the time to your host or Master Editor tempo, click on the Speed parameter’s unit display and choose a note length value from the drop-down list.

Pan - Setting a value higher than 0 creates a panning eect, which alternates echoes between the left and the right side of the stereo panorama – this is aectionately called a ping-pong delay. Higher values will result in wider panning; at 100, signals alternate between the far left and far right channel.

Feedb. - Controls the amount of the output signal that’s being fed back into the input of the delay line, thereby creating a series of echoes that gradually fade into silence.

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Right Hit

8” Tom

CHAPTER 05

CINEMATIC THUNDER/

PATCH LAYOUT

Group

CHAPTER 05 / PATCH LAYOUT

Flam Left Hit

Hits

10” Tom

12” Tom

14” Tom

16” Tom

CINEMATIC THUNDER

Flam Left Hit

18” Tom

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Combo Hits

Roll* 5-stroke Ruff 3-stroke Ruff Flam Left Hit Right Hit

- Roll volume controlled by Mod wheel.

8” Tom

10” Tom

12” Tom

14” Tom

16” Tom

18” Tom

Solo Mallets

Flams

Hits

Group Random

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- Roll volume controlled by Mod wheel.

Combo Hits

Roll* 5-stroke Ruff 3-stroke Ruff Flam Left Hit Right Hit

8” Tom

10” Tom

12” Tom

14” Tom

16” Tom

18” Tom

Solo Mallets

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- Roll volume controlled by Mod wheel.

Combo Hits

Roll* 5-stroke Ruff 3-stroke Ruff Flam Left Hit Right Hit

8” Tom

10” Tom

12” Tom

14” Tom

16” Tom

18” Tom

Solo Sticks

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CHAPTER 06

CINEMATIC THUNDER/

TECH SUPPORT, ETC.

TECH SUPPORT

CHAPTER 06 / TECH SUPPORT, ETC.

Vir2 Instruments stands behind its products and is committed to helping you get the most out of using them. Please check the Support area of the www. vir2.com web site if you encounter any diculties in using the product. You may also e-mail [email protected].

Before getting in touch with Vir2 Instruments regarding problems with the product, make sure you are running the latest versions of the library, engine, and Service Center. We are continuously updating and improving the product, so it is possible that there are more recent updates available that were released after the physical manufacturing of your installation disc.

THE FULL VERSION OF KONTAKT 5

CINEMATIC THUNDER ships with KONTAKT 5 running in library mode, meaning it is fully able to play back the CINEMATIC THUNDER library and access the parameters detailed in this manual.

Registered owners of CINEMATIC THUNDER are eligible for a special crossgrade discount to the full version of KONTAKT 5, which enables users to create their own libraries, import libraries in non-Kontakt formats, and access numerous deep editing features.

Visit www.nativeinstruments.com for details on the Kontakt crossgrade.

LICENSE AGREEMENT

The samples contained herein are licensed, not sold to you, the individual end user, by Vir2 Instruments. This non-exclusive, non-transferable license is granted only to the individual end user who has purchased an unopened, new, and lawfully made copy of this product from a dealer or distributor authorized by Vir2 Instruments. All samples remain the property of Vir2 Instruments and are licensed only for use in the creation of a live or recorded

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performance that includes the licensed samples as part of a derivative musical work created by the licensed end user. This license expressly forbids resale, rental, loan, gift, or transfer of these samples in any format or via any medium, except as part of a derivative musical work. The samples may not be included, whether unmodiﬁed or as part of a derivative work, in any sample library product. Any unlicensed usage will be prosecuted to the maximum extent possible under the law.

CREDITS

Produced by: Sam Estes and Vir2 Instruments

Percussionists: Satnam Ramgotra and Chris Peck

Recording Engineer: Nils Montan

Sample Editing and Patching: Chris Peck

Kontakt Scripting: Mario “Evil Dragon” Kruselj

Graphic Design: Joel Contrares

Layout: Andrew Kosloske

Manual: Chris Peck

All speciﬁcations subject to change.

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All trademarks used are property of their respective owners.

Speciﬁcations subject to change.