ALL RIGHTS RESERVED TONEHAMMER 2006 - 2010

Requiem LightTONEHAMMERS

INTRODUCTION

Welcome to Requiem Light

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 audio-realistic 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 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 the US and the choir includes members of his multi-award winning VOLTI choir and members from the SF Choral Society.

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 a total of 6 unique microphone positions. In Requiem Light, these microphone positions are mixed down into a single well-balanced blend, providing all the quality, depth, power, tone and body of our Pro version, while allowing a significant overall conservation of system resources (cpu, ram, storage space and disk streaming bandwidth) and greater ease of use. Weve simplified the content to provide just the most essential articulations and presets. Requiem Light is intended for users who want a professional choir library at their fingertips, without the usual trade-offs. Its designed to excel, whether dropped into the most resource intensive orchestral scoring templates or loaded on a laptop for composing on the road or use in live performance settings.

The library contains sustains and polyphonic true legato from piano to forte, covering 3 primary vowel sounds, staccato with repetitions, ultra forte marcato, two unique phrase and chant sequencers, latin chants recorded at different speeds across entire interval of choir with playable real-time legato functionality, +300 choral effects including whispers, shouts, clusters, demonic chants, sweeps, consonants, claps, snaps and a variety of other effects.

INSTALLATION

The installation of Requiem Light is divided into 9 basic steps.

Step 1. Youll need a utility to extract rar files. PC users should download UNRAR from http://www.win-rar.com/download.html MAC users should downloaded from http://www.unrarx.com/

Step 2. Please go to the download links you receive in an email called: Your Requiem Light Download Links.

Step 3. Download the compressed file called Tonehammer_Requiem_Light.rar

Step 4. Extract Tonehammer_Requiem_Light.rar and place the folder where you would like the library installed on your system.

Step 5. Download and extract the compressed file called Instruments_xxxxxxx.rar and place it directly inside your final Tonehammer_Requiem_Light folder.

Step 6. If you do not have the full version of Kontakt 4 or the free Kontakt 4 Player already installed, download it from Native Instruments and install it. Owners of previous versions of Kontakt can use the free Kontakt Player or upgrade to Kontakt 4.

Step 7. Open Kontakt 4 or the Kontakt 4 Player and look on the left side of the program window. You should see the browser pane. Find and click the Libraries tab and press the Add Library button at the top of the Libraries browser pane. A browser window will open allowing you to direct Kontakt to the location that you installed Requiem Light.

Step 8. Once the Requiem Light module has been loaded into the Libraries tab, press the Activate Button in the top right corner of the module itself.

Step 9. The NI Service Center application will automatically launch itself. Click on the Activate tab and enter your Requiem Light serial number in the series of boxes. You should have received your serial number in the email along with your download links. Activate your serial number, close the Service Center and restart Kontakt. When you launch Kontakt again, Requiem Light should be activated and ready to use.

Special note to Kontakt Player users: After installing and registering Requiem Light, if youd like to explore the entire world of Tonehammer, you can take advantage of Native Instruments great cross-grade deals and get the full version of Kontakt, which will allow you to load, play and customize any one of our 50+ unlocked standard-format Kontakt instruments.

CORE ARTICULATIONSThe Requiem Light Cinematic Choir Library is 3.23 GB. It includes 58 .nki instruments files.

We captured a large range of articulations, both classic and unconventional. We recorded a wide range of common long and short Latin and Germanic syllables in staccato (19), 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) .

We also captured over 50 individual short common consonant sounds. 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.

We've incorporated a wide range of performance controls and systems to provide maximum flexibility and simple real-time host automation assignment for nearly any parameter. Please see the Instrument Performance Controls and Program Descriptions section in this manual for more details on articulation-specific control descriptions.

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, 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 automatable, efficiently scalable, logically arranged and user-controllable and customizable.

We captured the Requiem Cinematic Choir in 3 main mic positions, including Stage, Mid and Far. Each independent position included 2-4 large-diaphragm condenser microphones, with positions 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.

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. 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.

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 above average DAW systems (at least 3GB system ram, dual or quad core, 32-bit OS).

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.

Time-Stretch: The Time-Stretch Soloist 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 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.

Click on the Hymn Book to open the Performance Control Panel

PERFORMANCE CONTROLSSwell: 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 caused by jumping ahead.

Attack: This knob controls the sharpness/softness of note attacks. When the attack value is set low and the Offset control is used, the attack 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.

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.

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 within this library. In most instruments with real-time cross-fading between multiple sample layers, this is the default knob for layer blending. In the 3-way legato morphing instrument, it's used to cross-fade between Oh and Ah/Eh.

In instruments with a single layer, this is used as a convenient control to allow cross-fading with other instruments. This is best done by using the Kontakt Automation system and assigning the same controller to the X-Blend knob in both instruments, then inverting the polarity of one of them. Custom internal enveloping provides 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 with real-time cross-fading between multiple sample layers, this is the secondary knob to use for blending. In instruments with only one blending 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 midi controller for this knob is CC74.

Staccato Syllable: (Staccato presets only) - 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 adjustable 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 lowest key-switch sets the Syllable to "Off" mode.

Marcato Layer Controls: (Marcato presets only) - These controls allow you to choose two independent layers of Marcato syllables. There are 16 syllables to choose from and each layer is independently selectable.

The X-Blend knob allows real-time cross-fading between the two layers, so that you can morph between any two syllables. 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 knob by turned it all the way to the right (or choosing the highest key-switch) will disable that particular layer, allowing you to save voices .

Chant Layer Control Knobs: (Poly-sustain and Soloist presets only) - 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.

Legato On-Off button: (Poly-sustain and Soloist presets only) - This button activates Intelligent Phrase Legato, which tracks the real-time playback position of the chant so that you can change from one note to the next, without interrupting the sequence of the syllables in each chant. Mastering the art of playing legato effectively with these programs will require a little practice and care to work well within the natural flow of each chant.

Release On/Off button: (Slow Poly-sustain presets only) - This control activates the release samples, which are the final ending syllable of each chant. Releasing the key at any time will end the sustain and trigger the release sample.

When playing legato sequences with the Release samples activated, press and hold a note. Releasing the key at any time will end the sustain and trigger the release sample. To perform a smooth legato transition to a new note, press and hold the new note and then release the old note. If you hold multiple notes at the same time and then release them all, the release sample wont play. Try to make sure you only hold one note at a time, except during each legato note transition.

Please Note: due to the limitations of Kontakts engine, the sustain pedal should not be used when playing with both the Legato Button and the Release Button activated at the same time. Manually hold the key down by hand or use a midi sequencer to extend the note for as long as you wish it to sustain.

Speed knob: (Soloist presets only) - This control is specific to the Time-Stretch Soloist programs. It controls the time-stretch speed by up to +/- 25%. The knob can also be controlled by the Pitch Wheel.

Please note: 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.

Consonant Select Knob: (Consonant FX preset only) - 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.

Keyswitch Controls: Key-switches are used throughout this library to remotely control Layer selectors or to adjust tuning. The Key-switch customization controls allow you to move the starting key-switches to any note you like. In instruments with two layers, both layers have assignable ranges. To set the starting key, press the Set High or Set Low button and then press the lowest key you wish to assign on your midi keyboard controller as a key-switch for the low or high layer. Note: Avoid overlapping key-switch and note ranges, as it can cause unpredictable behavior.

Legato Controls:Legato recording is an important aspect of a choir library in achieving sonic realism. Legato intervals are the tiny slices of sound between two notes played in legato. Even in the most precise vocal performance humanly possible, there is always a subtle pitch and tonal transition as the vocal chords adjust to achieve and support the next note. It's these tiny fragments of flavor and texture that help the brain perceive realism. These micro-transitions are present in our speech, just as they are in singing. Without them, the brain hears the notes, but doesn't believe the performance.

Our system detects the preceding note and destination note and quickly determines which interval sample to play between them, 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. It then analyzes each new note and determines whether it should transition over to the new note or allow the new note to play in parallel, based on the behavior of any other concurrent legato sequences and your current legato settings.

The end result is a system that allows for up to 3 simultaneous legato melodies to be played at once, with 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 settings are a serious of buttons: slow, mid, fast, tight and off. These settings reshape the interval, allowing for precise yet intuitive control over legato behavior. When the "Slow" button is pressed, the legato transitions are gentle, smooth and fluid. Switching to "Med", "Fast" and "Tight" incrementally shortens the overall transition blending, making it more ideal for faster playing styles. Selecting "Off" disables legato functionality, allowing standard sustained chord playing.

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.

Leg Limit: This setting sets the maximum interval range that each legato sequence will include. You can set how far away a new note can be from any currently playing note in order to trigger a legato transition to it. New notes will always join the legato sequence of the nearest currently playing legato note, unless they fall outside of the range of any current sequence.

Legato Voices: This knob controls how many concurrent legato sequences will play, up to a maximum of 3. If a new note is played above that limit, then it will play as a normal sustain. This is useful for combining complex accompaniment with legato lead lines.

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

Dynamics: This knob controls the overall amount of dynamic expressiveness 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.

This system allows you to create an automatic sequence of staccato or marcato syllables. It functions like a classic step sequencer. Set the length of the sequence in bars , then set the tempo multiplier, then click on the grid to select the syllable, timing and velocity of various syllables that you wish to trigger. Use the up and

down arrows to scroll through the available syllables and the trash can icon to clear the sequence. When you press and hold any note, the instrument will automatically advance through the sequence youve created, following your project tempo. The key-switches allow you to set the starting bar and the key-switch set button allows you to define the starting (lowest) key-switch note on your midi keyboard. The cursor grid bar at the top tells you where the sequence is currently at.

This system allows you to automatically progress through a sequence of staccato or marcato syllables,

advancing to the next one each time you play a new note. Click on the Syllables you wish to add to your chain, in the order you want them to be triggered. You can insert a blank by using the Skip button. Use the Clear button to undo your last selection. The Low (Red) key-switch range allows you to skip ahead by one position in the chain. The High (Green) Key-switch allows you to replace the next syllable that will play. You can see

which position in the chain is set to play next by looking at which candle the flame is currently on.

Quickchant Builder

Phrase Builder

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.

Sustains_full_legato_2-way_eh-ah.nki

This legato patch allows for real-time morphing between the primary "EH" and "AH" vowel sounds, as well as morphing between the low and high intensity layers.

Sustains_full_legato_2-way_oh-ah.nki

This legato patch allows for real-time morphing between the primary "OH" and "AH" vowel sounds, as well as morphing between the low and high intensity layers.

Sustains_full_legato_2-way_oh-eh.nki

This legato patch allows for real-time morphing between the primary "OH" and "EH" vowel sounds, as well as morphing between the low and high intensity layers.

Sustains_full_legato_ah.nki

This patch focuses on the "AH" vowel, with modwheel morphing between the low and high intensity layers.

Sustains_full_legato_eh.nki

This patch focuses on the "EH" vowel, with modwheel morphing between the low and high intensity layers.

Sustains_full_legato_oh.nki

This patch focuses on the "OH" vowel, with modwheel morphing between the low and high intensity layers.

Staccato:

Staccato words and syllables are a classic and fundamental part of any choral library. We captured a variety of commonly used Latin and Germanic sounds.

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 modwheel controls the "Swell" of the patch.

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_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 C1 to C5 and the modwheel controls the "Swell" of the patch.

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, the missing link is lyrical content. Just the suggestion of 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.

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.

Using these programs well does require practiced and creative timing and not every possible moment of note release or cross-fade can sound completely natural.. However, with a little bit of experimentation, the realism and flexibility allowed by this system can be 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.

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.

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 modwheel controls the "Swell" of the patch.

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 modwheel controls the Swell.

Soloists: (located in the Soloists sub-directories)

The Soprano and Tenor Soloist instruments focus on single vocalists. Their structure is similar to the slow male and female poly-sustains, except that they do not loop are performed semi-improvisationally. They glide gently and freely over the more rigid foundation provided by the divisi chants, and can be shaped by using the time-stretching speed and sample start offset controls.

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 modwheel controls the "Swell" of the patch.

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 modwheel controls the "Swell" of the patch.

Full Choral Effects:

Word/Phrase Construction Tools

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 playable key range is dedicated to the key-switches that control which consonant is played. The right side of the key range 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.

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. This set includes three bonus improvisational "compositions" performed live by the choir. The modwheel controls the "Swell" or volume of the patch.

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 modwheel controls the "Swell" of the patch.

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 by using the modwheel or swell knob.

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. 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. 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 on the left and the down sweep are arranged from short to longest on the right. The modwheel controls the "Swell" of the patch.

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. 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, in both up and down sweep directions. The modwheel controls the "Swell" of the patch.

Choir_FX_women_dissontant_sweeps.nki

The Women Dissonant Sweeps patch features three different types of sweeps: short, mid and long, in both up and down sweep directions. The modwheel controls the "Swell" of the patch.

SF Choral Society:

Conductor:

Robert Geary

Choral Director:

Alan Kleinschmidt

Singers:

Michael Mendelsohn (Tenor)

Kristen Brown (Soprano)

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

Tonehammer Team:

Directed, Produced and Designed by:

Troels Folmann

Michael Peaslee

Engineering, Editing and Programming:

Michael Peaslee

Gregg Stephens

Programming and Mixing for Light:

Gregg Stephens

Lead Scripting and UI Design:

Chris Marshall

Additional Feature Scripting:

Blake Robinson

CREDITS

Visit the San Francisco Choral Society

LICENSE AGREEMENT

By installing Requiem Light 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-selling, trading, sharing, 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.

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

This product uses 2 forms of copy protection, including user-specific watermarking and serial number registration using the Native Instruments Service Center. Users who attempt to circumvent these copy-protection systems, or otherwise violate the terms of this licensing agreement are subject to criminal and civil penalties and liable for monetary damages. 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.

TONEHAMMER GENERAL LICENSING AGREEMENT

THANK YOU.

We wanna thank you for buying the Tonehammer Requiem Light.

The 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, 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.

If you have any questions, concerns, love-letters or hate mail feel free to send it to: info@tonehammer.com

Love,

Mike Peaslee & Troels Folmann

TONEHAMMER.COM

All programming, samples, images and text Tonehammer 2006 - 2010. All Rights Reserved.Tonehammer is a registered trademark of Tonehammer, Inc.