Granular Guitars

VST Sound Instrument Set

Patchlist & Additional Information

September 2014 Steinberg Media Technologies GmbH

Table of contents Welcome ...... 3 Patchlist ...... 6 Abbreviations ...... 6 Acoustic Guitar ...... 7 Acoustic Scapes ...... 11 Acoustic Strangers ...... 16 Acoustic Synced ...... 20 Electric Beds ...... 22 Electric E-Bow ...... 26 Electric Guitars ...... 30 Electric Scapes ...... 39 Electric Strangers ...... 44 Electric Synced ...... 51 Mandolin ...... 54 Ethnic Strings ...... 61

Credit notice: Steinberg, ASIO and VST are registered trademarks of Steinberg Media Technologies GmbH. VST Sound is a trademark of Steinberg Media Technologies GmbH. Windows is a registered trademark of Microsoft Corporation in the United States and other countries. Mac, Mac OS and OS X are trademarks of Apple Inc., registered in the U.S. and other countries. All other product and company names are ™ and ® of their respective holders. All rights reserved. All specifications are subject to change without notice. Made in Germany. © 2014 Steinberg Media Technologies GmbH.

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Welcome

Granular Guitars for Padshop Pro explores the world of electric and acoustic guitar instruments. Traditional playing techniques meet more experimental ways of treating the guitar, more exotic instruments like psaltery, celtic harp and oud add another flavor to the collection. Big cinematic soundscapes, beds and pads meet beautiful fragile textures, plucked string sounds morph into alien noises, heavy metal sounds and overdriven guitar screams clash with divine New Age sounds. Phrases, scales, single notes, dark drones, tremoli and slides, sequences, chords, E- Bow-sounds, arpeggios, processed electronic sounds, prepared guitar-mayhem, flageolet sounds and resynthesized textures all compose Granular Guitars. Sampled instruments

Sample format: 48 kHz / 24 bit / stereo • Various electric guitars played through various stompboxes and amps in various combinations, most samples were recorded through two amps simultaneously using 4 microphones (2 for each amp, condensor and dynamic types), sometimes also using the amp‘s reverbs. All microphone signals were phase aligned which enhances the transparency of the sound, broadens the stereo image and improved the transient behaviour. There are also prepared guitar samples made by brushing the strings, bowing the strings with a violin bow, hitting the strings with mallets and sticks and preparing the strings with various objects. There is also a folder with E-Bowed guitar sounds. Some electric guitar sounds were furthermore processed with software and hardware effects. • Mandolin recorded via pickup through a DI box and also played through a single guitar amp. Many of the samples in the mandolin folder were played with an E-Bow. • Classical acoustic guitar (nylon strings) • Western guitar (steel strings) • Prepared acoustic guitar sounds made by scraping the strings with metal objects, hitting the strings with various mallets, chopsticks, screws, Allen wrenches, bowing the strings with a violin bow, preparing the strings with various metal and wooden objects.

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• Tenor psaltery (range C3–F5) bowed and plucked with plectrums and other objects • Oud • Celtic harp (27 strings - range 3.5 octaves) • All acoustic instruments were recorded with 3 microphones in L-C-R, all mic signals were phase aligned. The classical guitar was sometimes also recorded with an integrated pickup and two microphones. • Some of the acoustic sounds were also processed with external soft and hardware effects and some were resynthesized. • All sounds and presets are very tweakable using the programmed controls, many are programmed in (pseudo)-split mode using both layers so a large masterkeyboard with 88 keys, Modwheel and Aftertouch will make the best of these presets. Please note: Before you start tweaking a preset, you should move the modwheel once to check if the parameter you want to modify is assigned to the wheel. If it is, you can remove this assignment with a right-click on the parameter, then select "Disable Mod Wheel" from the Modulation Wheel submenu. Otherwise your modifications will be overwritten by the wheel. There are 252 original patches and 8 patch variations (marked with XT = extended). The 371 samples (2.83 GB in size) are distributed in two main folders – Granular Guitars Acoustic and Granular Guitars Electric, each of these folders contain several subfolders: GG Acoustic (946.3 MB in size) • 01 A-Guitar - 39 samples • 02 A-Guitar Sequences - 25 samples • 03 A-Guitar Prepared - 23 samples • 04 Ethnic - 43 samples • 05 Resynthesized - 6 samples GG Electric (1.89 GB in size) • 01 E-Guitar - 69 samples • 02 E-Guitar Scales - 10 samples • 03 E-Guitar Phrases - 12 samples • 04 E-Guitar Loops - 19 samples

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• 05 E-Guitar E-Bow - 27 samples • 06 E-Guitar Drones - 19 samples • 07 E-Guitar Prepared - 30 samples • 08 E-Mandolin - 49 samples Now I can only hope that you will be inspired by Granular Guitars and create some great music with these sounds!

Simon Stockhausen

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Patchlist

The 260 patches are organized in 12 subfolders: • Acoustic Guitar (24 presets) • Acoustic Scapes (21 presets) • Acoustic Strangers (16 presets) • Acoustic Synced (9 presets) • Electric Beds (16 presets) • Electric E-Bow (18 presets) • Electric Guitar (34 presets) • Electric Mandolin (29 presets) • Electric Scapes (20 presets) • Electric Strangers (28 presets) • Electric Synced (13 presets) • Ethnic Strings (32 presets) Abbreviations AT -> Aftertouch MW -> Modulation Wheel PB -> Pitch Bend VEL -> Velocity, as 99% of the presets have VEL assigned to Amp Volume I didn‘t mention it in the list below MultiGrain -> numerous parameters affecting the grain structure (e.g. Speed, Length, Duration, Pitch, Randomization, Number, Spread, Shape)

MultiFilter -> several parameters affecting the filter (e.g. cutoff, resonance, LFO modulation amount) XT -> in the list below some patch names have an XT (extended) at the end of their names. These patches are variations, e.g. the main patch will have one layer, and the extended version will have two layers adding another sample of the same or different kind and also varying the grain, filter and FX settings in the XT patch. Note Expression modulators assigned in the Modmatrix are not mentioned in the list below, please have a look at the second page of the matrix to see what has been assigned. NE 1/2 are assigned to filter cutoff /resonance in all patches. C3 refers to the middle C on a piano.

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Acoustic Guitar Acoustic Guitar Samples / Comments Controllers

Bouncing Mallet Layer A: Glockenspiel beaters on steel AT reduces Grain Speed Strings Split string accel./rit. - root E2 MW changes grain Layer B: Glockenspiel beaters on steel structure, adds filter string accel./rit. - root E4 modulation, increases A fades out towards the high end, B attack/release time, adds fades out towards the low end chorus FX

Bowed Sustain Layer A: guitar string bowed with a AT increases Grain Speed Split violin bow - root: E1 and reduces Grain Length, Layer B: guitar string bowed with a VEL slightly shifts sample violin bow - root: E3 start Glide is activated in both layers MW introduces filter A fades out towards the high end, B modulation and detunes fades out towards the low end the grains

Bowed Tremolo Layer A: tremolating with a violin bow AT shifts Grain Position, Scape Split on guitar string - root: E1 increases Grain Duarion Layer B: tremolating with a violin bow and reduces Grain Speed on guitar string - root: E3 MW changes grain A fades out towards the high end, B structure and introduces fades out towards the low end filter modulation

Chopstick Minor Layer A: playing an arpeggiated minor Layer A: AT decreases Arp Chord chord sequence up/down with Grain Speed, increases chopsticks on steel strings Grain Duration, detunes Layer B: only the last note of the the grains chopstick sequence MW randomizes the grains, adds more detune and introduces filter modulation Layer B: MW increases filter resonance

Cinematic Vibrato Layer A: concert guitar - repeating AT shifts Grain Position Reps notes with vibrato - root: E3 MW adds noise-shaped Layer B: concert guitar - repeating modulation of Grain Pitch notes with vibrato, some grace notes, and Formant, íncreases processed with reverb/delay FX filter resonance and adds root: B3 some distortion

Double Phrase Layer A: concert guitar - alternating AT increases Grain Speed Morph minor phrase with slides - root: E3 and adds distortion in both Layer A: concert guitar - minor phrase layers with slides - root: E3, tuned up an MW randomizes Grain octave Position (via Noise- modulator in the Modmatrix) and increases Grain Duration in A, adds Formant modulation in B

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Acoustic Guitar Samples / Comments Controllers

(via Noise-modulator in the Modmatrix) and reduces stereo width in both layers

Dream Plucker Layer A: uses only the last note of a AT introduces long processed octave sequence temposynced amplitude Filter Env modulates Grain Speed modulation MW adds distortion and introduces filter modulation (Bandreject filter) via LFO 1

Grace Chord Duet Layer A: grace note followed by an AT fully engaged shifts the open fifth pitch in B by Layer B: arpeggiated Emj9 chord 5 semitones Key Follow modulates Grain Duration in MW randomizes grain A, higher notes -> longer grains position and increases attack time in A and shifts sample start in B as well as altering grain speed and randomization

Major9 Chord Duet Layer A: western guitar - arpeggiated AT adds distortion in A Emj9 chord played near the bridge MW increases Grain Layer B: another arpeggiated Emj9 Speed in A chord played near the bridge The sample position in B is modulated by temposynced LFO 1 (playing the sample backwards / forwards)

Mallet Guitar Pad Layer A: western guitar, low E-string hit AT introduces hard with a Glockenspiel beater temposynced amplitude Filter Env modulates Grain Speed and filter modulation in B Layer B: only uses a segment of the MW detunes the grains decay phase to create the sustained and increases Gain in A pad sound

Mallet String Layer A: western guitar - dynamically AT increases Grain Speed Morphing Tremoli tremolating near the bridge with a / filter resonance and Glockenspiel beater accel. / rit on the introduces Grain Formant high E-string modulation via the Noise- modulator With MW up the sound gets “de- MW changes grain clouded“ structure, reduces attack time, eliminates filter modulation and delay FX and also increases reverb send

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Acoustic Guitar Samples / Comments Controllers

Melancholic Layer A: repeating phrase-loop 4 bars VEL decreases attack time Phrase Cloud 01 played on a classical guitar with a in B wooden plectrum - root: E3 MW reduces Grain Layer B: single octave accent - root: A2 Number and Length, Filter Env modulates Grain Speed increases Grain Spread, reduces modulation amount of Grain Duration via LFO 1 and introduces modulation of distortion amount via LFO 2

Melancholic Layer A: repeating phrase-loop 2 bars MW reduces Grain Phrase Cloud 02 played on a classical guitar with a Number and Length, wooden plectrum - root: E3 increases Grain Spread, Layer B: single octave accent - root: A2 reduces modulation Filter Env modulates Grain Speed amount of Grain Duration via LFO 1 and introduces modulation of distortion amount via LFO 2

Minor Arp Chord Layer A: western guitar - arpeggiated AT detunes the grains Split Emin chord - root: E2 MW totally changes the Layer B: western guitar - arpeggiated grain structure, adds filter Emin chord - root: E2 modulation, increases The sample in B plays reversed in the attack time, adds delay high reigister - A fades out towards the and chorus FX, increases top end, B fades out towards the low reverb send end VEL modulates Grain Speed in B, higher velocities -> faster reverse time

Minor Phrase Layer A: concert guitar - alternating AT slightly detunes the Drone Duet Split minor phrase with slides - root: E4 (as grains in A and decreases the layer is transposed down an octave) Grain Speed in B Layer B: interval E - B, alternations in MW increases attack time slow 3 - root: E1 and randomizes the grains A fades out towards the low end, B in both layers fades out towards the high end and increases Grain Duration / Grain Spread / filter resonance in A

Morphable Nylon Layer A: concert guitar - vibrato note VEL reduces Gain Speed Plucker root: C4 (higher velocities -> longer decay phase) and LP filter Modwheel morphs the sounds from a cutoff guitar into something more weird AT detunes the grains MW totally changes the grain structure, reduces reverb time and modulates

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Acoustic Guitar Samples / Comments Controllers

other parameters as well, just move the wheel to see what‘s happening

Morphable Nylon Layer A: concert guitar - vibrato note VEL reduces Gain Speed Plucker XT root: C4 (higher velocities -> longer Layer B: concert guitar - vibrato note decay phase) and LP filter root: G#4, tuned down an octave via cutoff Formant, B gets louder towards the high AT detunes the grains end MW totally changes the grain structure, shifts the Modwheel morphs the sounds from a Formant pitch in B up an guitar into something more weird octave, reduces reverb time and modulates other parameters as well, just move the wheel to see what‘s happening

Nervous Steel Layer A: western guitar - ostinato loop PB only transposes B up a String Duet with grace notes, rattling string noises fifth and a falling gliss at the end - root: E2 AT introduces Noise- Layer B: classical guitar ostinato loop modulation of Grain Pitch / with grace notes - root: B3 Formant A gets louder towards the low end MW introduces filter cutoff B gets louder towards the high end modulation and adds distortion in both layers (also adds filter resonance modulation in B via LFO 2)

Octave Cloud Layer A: western guitar - alternating AT detunes the grains octave sequence (E2/E1/E3) MW -> MultiGrain, MultiFilter MW also adds distortion, increases attack time and adds chorus / delay FX

Octave Phrase Layer A: rising theme-like phrase MW - > Grain Position, Scanner played in double octaves with fret MultiFilter noises, processed with various FX - root: F#2 Layer B: dynamic tremolo playing the same pitch on 2 different strings moving the plectrum from the hole towards the bridge and back, root: C4 Grain Position in both layers is modulated by LFO 1 (with a lag via Filter Env), scan through the sample using MW, the more the wheel is engaged, the higher the amplitude of the position-

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Acoustic Guitar Samples / Comments Controllers

modulation becomes

Semitone Trills Layer A: long semitone trill - root: E3 AT reduces Grain Speed Layer B: long semitone trill - root: B3 MW -> MultiGrain, MultiFilter MW also increases the attack time and amount of delay FX

Steel String Cloud Layer A: repeating note sequence AT introduces Noise- alternating between 3 different strings - modulation of root: E2 Grain Formant Layer B: repeating note sequence MW -> MultiGrain, also alternating between 3 different strings - increases filter resonance root: E2 A gets louder towards the low end B gets louder towards the high end

Vibrato Accent Layer A: only uses the first note of the VEL reduces attack time in Cloud sample in B B Layer B: concert guitar - sequence of MW decreases Grain three processed vibrato notes, root: B3 Speed in A, increases Grain Speed in B, adds filter modulation and introduces Noise- modulation of Grain Formant in B

Wholetone Trills Layer A: long wholetone trill - root: A3 AT reduces Grain Speed Layer B: long wholetone trill - root: D2 (frozen grains with AT fully B fades out towards the high end engaged) MW -> MultiGrain, MultiFilter, also increases attack time, amount of delay FX and reverb time

Acoustic Scapes Acoustic Samples / Comments Controllers Scapes

Ambient Echo Layer A: classical guitar processed with AT decreases LP cutoff Tones Duet panning delays playing a repetition of MW introduces Noise- notes followed by a phrase and back to modulation of the repetition, only the first 4 notes are Grain Formant, adds used in A distortion and changes the Layer B: the phrase and ending-part of polarity of the filter the sample described above modulation (via LFO 2)

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Acoustic Samples / Comments Controllers Scapes

Beauty Chord Layer A: a sequence of 3 lush chords AT introduces Scape processed with various effects temposynced amplitude modulation (LFO 1) MW reduces LP cutoff and adds distortion

Big Tremolo Cloud Layer A: dynamic tremolo playing the AT detunes the grains same pitch on 2 different strings moving MW -> MultiGrain, the plectrum from the hole towards the MultiFilter bridge and back, root: C4

Chopstick Tremolo Layer A: tremolo played with chopsticks AT increases HP filter Scape on a steel string - root: E3 cutoff and resonance Layer B: octave tremolo played with MW -> MultiGrain, chopsticks on 2 steel strings - root: E2 eliminates filter modulation via Filter Env, increases attack time, adds distortion, increases amount of stereo phasing, introduces delay FX

Cinematic Morph Layer A: arpeggiated minor chord AT reduces Grain Speed Duet Split sequence and eventually reverses Layer B: concert guitar - repeating notes the grain stream with vibrato, some grace notes, MW totally changes the processed with reverb/delay FX - root: grain structure and B3 alienates the sound, A fades out towards the high end, B decreases attack time fades out towards the low end VEL decreases attack time (when MW is down)

Divine Octave Layer A: classical guitar - dynamic AT introduces Noise- Cloud octave sequence (A2-A1-A3) - root: A2 modulation of Grain Pitch / Layer B: classical guitar - dynamic Formant octave sequence (A2-A3) - root: A2 LFO 1 modulates Grain Position (via MW -> MultiGrain Filter Env) in both layers

Dual Sus Chord Layer A: processed arpeggiated sus AT detunes the grains in A Scape chord (no thirds) - Filter Env modulates Grain Speed MW introduces Layer B: another processed arpeggiated temposynced amplitude sus chord - the sample in B plays modulation in both layers reversed (temposynced LFO 1 assigned (double time in B) to Grain Position) adds stereo phasing FX in A Parameter change in Filter Env

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Acoustic Samples / Comments Controllers Scapes

Flageolet Cloud Layer A: dynamic flageolet sequence, AT shifts Grain Position octaves in the first part, fifths in the MW -> MultiGrain, adds middle part, octaves at the end - root: E3 distortion

Flageolet Ethereal Layer A: processed arpeggiated MW is assigned to Grain Duet flageolet chord - root C#3 Spread in both layers, +12 fades out towards the low end semitones with the wheel Layer B: alternating flageolet sequence fully engaged - root: C#3 LFO 1 modulates Grain Position (via Filter Env) in both layers

Flageolet Rain Layer A: alternating flageolet sequence AT shortens Grain Length - root: E3 - LFO 1 modulates Grain and adds distortion Duration MW -> MultiGrain

MalletString Flago Layer A: flageolet sequence AT introduces Noise- Cosmic Scape (root/fifth/octave) played with modulation of Grain Pitch / Glockenspiel beaters near the bridge of filter cutoff in A a western guitar shifts filter cutoff, Layer B: extremely processed mallet introduces Noise- tremolo modulation of Grain Pitch both layers use a tuned bandpass filter and LFO modulation of (key follow 100%) filter cutoff in B MW -> MultiGrain

MalletString Layer A: western guitar played with MW reduces Grain Spread Texture Glockenspiel beaters, rising octaves and Grain Random, adds (E1-E2-E3) - run though a tuned HP filter distortion, shifts filter cutoff (key follow 100%) up an octave and increases amount of chorus / delay FX / reverb send

Mellow Vamp Layer A: classical guitar - mellow AT introduces Noise- Cloud Scanner arpeggiated chord vamp, processed modulation of Grain Pitch / root: A2 - LFO 1 modulates Grain Formant and adds filter Position via Filter Env modulation (LFO 2) MW scans through the sample

Morphing Layer A: flageolet octave sequence MW -> MultiGrain, Flageolet Rain LFO 1 / 2 modulate various grain MultiFilter, adds distortion parameters morph the sound with the modwheel

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Acoustic Samples / Comments Controllers Scapes

Octave Doppler Layer A: western guitar - octave VEL slightly modulates Cloud XT sequence (E2-E1-E3) - root: E2 Grain Position Layer B: western guitar - octave AT fully engaged shifts the sequence (E2-E1-E3) processed with sound in B up an octave Doppler and other FX - root: E2 MW -> MultiGrain, MultiFilter adds slow amplitude modulation Adds distortion, introduces chorus / delay FX

Perseus Scape Layer A: resynthesized and further AT shifts Grain Position processed acoustic guitar - calm and reduces Grain Speed evolving drone (resynthesizing a picture of the Perseus galaxy and playing back MW introduces the resynthed data with various guitar temposynced amplitude and psaltery samples) modulation and detunes Layer B: resynthesized and further the grains processed acoustic guitar - shimmering texture

Resynthesized Layer A: resynthesizing an electric AT detunes the grains in A Beauty Cloud guitar scale and playing back the MW -> MultiGrain, retuned data with various guitar and MultiFilter harp samples Layer B: only uses the very end of the sample in A A gets louder towards the low end B gets louder towards the high end

Resynthesized Layer A: resynthesizing a scraped string AT shifts Grain Position Universe sound and playing back the quantized and reduces Grain Speed and retuned data with various guitar samples MW shortens Grain Length Layer A: a further processed version of and changes polarity / the sample used in A speed of the modulation of LFO 1 modulates volume in both layers Grain Duration (with opposite polarity) via LFO 2

Resynthesized Layer A: resynthesized and retuned AT shifts Grain Position in Wonderland guitar texture - always rising A Layer B: concert guitar - sequence of MW introduces three processed vibrato notes, root: B3 temposynced filter and pan modulation in A, temposynced, squareshaped pitch modulation and flanger FX in B

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Acoustic Samples / Comments Controllers Scapes

Spacetone Layer A: processed classical guitar, AT detunes the grains Scanner Split rattling low F, followed by the octave above, a down slide and the rattling root MW scans through the note again samples, increases Grain root: F1 Length in A, reduces amp Layer B: classical guitar processed with sustain level in B and panning delays playing a repetition of increases the amplitude of notes, some grace notes - root: C4 the LFO1-controlled LFO 1 modulates Grain Position in both modulation of Grain layers via Filter Env Position in A (decrement in A fades out towards the high end, B B) fades out towards the low end

Tonal Flageolet Layer A: muted flageolet sequence sus- VEL reduces attack time Cloud Scanner chord up and down, processed AT introduces Noise- Layer A: muted flageolet sequence sus- modulation of Grain Pitch / chord up and down, extended version, Formant processed MW introduces LFO 1 modulates Grain Position in both temposynced modulation layers of amplitude and Grain Length, adds distortion

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Acoustic Strangers Acoustic Samples / Comments Controllers Strangers

Alien Allen Wrench Layer A: bouncing an Allen wrench on AT increases Grain Speed, the high E-String (steel), then producing with MW down this a glissando by sliding the wrench produces glissando effects, towards the bridge as the grain size is extremely small MW -> MultiGrain, MultiFilter, increases amount of delay FX

Allen Wrench Layer A: a sequence of Allen wrench AT decreases Grain Scape bounces on the high E-String (steel), Duration varying the position of the wrench between hole and bridge which MW introduces produces different intervals during the temposynced random decay phase of each accent pitch modulation (LFO 2 -> Layer B: only uses the first accent of Grain Formant) and the sample used in A reduces Grain Length LFO modulates Grain Position in both layers (via Filter Env) I advise to insert a limiter on the instrument tack, as moving the MW can cause level peaks

Bouncing Bow And Layer A: a sequence of violin bow- AT decreases Grain Scrape Split bounces on the low E-String with a lot Speed and detunes the of pressure at the end of each bounce grains, with AT fully which produces a bowed tone - root: E1 engaged the grains almost Layer B: scraping the low E-String with freeze the tip of a sharp screwdriver - root: C4 (as the layer is transposed down an MW -> MultiGrain, adds octave) filter modulation, adds LFO 2 modulates Grain Speed via Filter delay FX Env in both layers A fades out towards the high end, B fades out towards the low end

Bouncing Bows Layer A: a sequence of three violin AT increases Grain Drone bow-bounces on the low E-String with a Duration lot of pressure at the end of each bounce which produces a bowed tone MW adds filter modulation with changing harmonics - root: E1 in both layers and Layer B: a sequence of violin bow- increases filter resonance bounces on the low E-String with a lot in A, detunes the grains of pressure at the end of each bounce and adds delay FX in A which produces a bowed tone - root: E2 (as the layer is transposed down an octave) Filter Env modulates Grain Duration in both layers

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Acoustic Samples / Comments Controllers Strangers

Bridge Arps Layer A: slowly plucking steel strings AT -> increases Grain Texture with a plectrum behind the fretboard Speed and Noise- modulates Grain Formant MW -> MultiFilter, adds filter modulation, increases reverb send

Bridge Arps Layer A: slowly plucking steel strings AT -> increases Grain Texture XT with a plectrum behind the fretboard Speed in A and Noise- Layer B: plucking steel strings with a modulates Grain Formant plectrum behind the fretboard a little in A+B faster MW -> MultiGrain, increases attack time, adds filter modulation in B

Counter Gliss Layer A: down slide classical guitar F2 AT shifts Grain Position in Stinger - F1 B Layer B: up slide F3 - F4, accenting the F4 after the glissando MW increases filter cutoff Filter Env modulates Grain Speed in and adds distortion both layers, both layers play the samples as one-shot (not looped)

Gliss And Pluck Layer A: up slide F1 - F2, accenting the AT detunes the grains Mix Split F2 after the glissando Layer B: down slide F4 - F3, accenting MW shifts the sample start the F3 after the glissando to the accent in each LFO 1 modulates Grain Position in both sample, so with the wheel layers looping the glissando phases fully up this patch turns A fades out towards the high end, B into a nice plucked fades out towards the low end instrument.

Rattle Screw Hit Layer A: screw accent followed by a AT shifts Grain Position And Drone series of crossfaded rattle drones - MW -> MultiGrain, produced by combining several hits on MultiFilter, a steel string with a large screw and adds delay FX then removing all the accents from the Increases attack / release subsequent hits - root: A1 time Increases reverb send / time

Scrape Monster Layer A: scraping a steel string all the MW -> MultiGrain, way up to the bridge with the tip of a increases attack time sharp screwdriver Layer B: scraping a steel string with the tip of a sharp screwdriver with accents and direction changes

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Acoustic Samples / Comments Controllers Strangers

Scrape Scanner Layer A: scraping a steel string all the AT introduces Noise- Duet way up to the bridge with the tip of a modulation of Grain Pitch sharp screwdriver MW scans through the Layer B: scraping a steel string with the samples tip of a sharp screwdriver with fast A -> forward, B -> direction changes at the beginning reversed

Scraping UFO Layer A: an isolated loop from one of AT decreases Grain the scrape samples Speed in both layers, Layer B: scraping a steel string with the reversing the samples tip of a sharp screwdriver with accents, when fully engaged and speed and direction changes increases Grain Length in Filter Env modulates Grain Formant in B B MW -> MultiGrain, increases delay time in B (and reduces delay feedback)

Screw Wrench Hit Layer A: hitting the A-string with a large AT decreases Grain Duet screw - root: A 2 (as the layer is transposed down an octave) MW adds filter modulation Layer B: bouncing an Allen wrench on and introduces Noise- the high E-String (steel), then producing modulation of Grain a glissando by sliding the wrench Formant towards the bridge during the decay phase Filter Env modulates Grain Speed in both layers, both layers play the samples as one-shot (not looped) Tip: try playing some big tonal chord accents with this patch

Screwed Rattle Layer A: tremolating on the low E- AT reduces Grain Speed Attacker string of a western guitar with a Allen (and reverses the sample wrench-screw, moving the screw from when fully engaged), the hole towards the bridge and back increases Grain Duration, down which creates different intervals - adds distortion up / down 1 octave MW -> MultiGrain, MultiFilter, increases attack / release time, adds flanger FX

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Acoustic Samples / Comments Controllers Strangers

Screwed Rattle Layer A: tremolating on the D-string AT reduces Grain Speed Tremolo Split with an Allen wrench-screw, gliss up / (and almost freezes the down samples when fully Layer A: tremolating on the high E- engaged), increases Grain string with a Allen wrench-screw, 2x Duration gliss down / up – A fades out towards the high end, B fades out towards the MW -> MultiGrain, low end MultiFilter increases attack / release / reverb time Adds flanger / delay FX

Screwed Rattle Layer A: fast octave tremolo on the low VEL slightly shifts Grain Scape E-string with an Allen wrench-screw, Position sometimes hitting the guitar body AT increases Grain Speed, Layer B: dynamic octave tremolo with reduces Grain Length accel. / rit. on the low E-string with an MW -> MultiFilter, adds Allen wrench-screw, sometimes hitting stereo phasing the guitar body

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Acoustic Synced Acoustic Samples/Comments Controllers Synced

MalletString Flago Layer A: 8-bar flageolet sequence MW shifts the output Sequence played with a Glockenspiel beater near balance the bridge From A -> B temposynced - temposynced LFO 1 controls Grain Position Layer A: the same sample running at twice the speed Crossfade between Layer A-B using the Modwheel

Minor Euphoria Layer A: plucking steel strings with a AT introduces Noise- Sequence plectrum behind the fretboard modulation of Grain Pitch / LFO 1 (random / temposynced) Grain Formant modulates Grain Position MW -> MultiFilter, adds distortion, adds chorus FX

Morphable Layer A: bass sequence played with a MW -> MultiGrain, Chopstick Quencer chopstick on the low E-string of a eliminates temposynced western guitar - temposynced LFO 1 modulations, increases controls Grain Position attack / release, decreases MW morphs the temposynced sutain level, reduces sequence into a granular cloud amount of delay FX, adds Tip: also try very high notes for reverb sequencer lines

Morphing Minor Layer A: arpeggiated minor chord MW reduces Grain Sequence sequence Duration and randomizes temposynced LFO 1 controls Grain Grain Pitch so the tonality Position - temposynced LFO 2 with gets lost, also adds changing polarity (via Step Modulator) modulation of Grain creates amplitude modulation Length and Distortion via Step Modulator

Oud Sul Pont Layer A: oud - sequence of notes AT reduces LP filter cutoff Quencer plucked at the bridge temposynced LFO 1 controls Grain MW adds Bit-distortion, Position, temposynced LFO 2 amount modulated via modulates Grain Formant LFO 2

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Acoustic Samples/Comments Controllers Synced

Sequenced Layer A: 4-bar sequence with slapped MW shifts the stereo offset Gracenote Loop grace notes and a afling gliss at the end to 50% and introduces Duet - root: E2 Grain Formant modulation Layer B: 4-bar sequence with grace via Step Modulator notes root: B3 temposynced LFO 1 controls Grain Position, B plays in double time A gets louder towards the low end B gets louder towards the high end

Steel String Layer A: 8-bar sequence playing an E2 AT introduces Noise- Sequenced Duet on 3 alternating strings modulation of Grain Pitch / Layer B: 4-bar sequence playing an E3 Grain Formant on 3 alternating strings temposynced LFO 1 controls Grain MW introduces Position, temposynced LFO 2 temposynced amplitude modulates filter cutoff modulation via Step A gets louder towards the low end Modulator B gets louder towards the high end Tip: try using this patch as a temposynced pad sound

Synced Machinery Layer A: rising theme-like phrase AT increases Gran played in double octaves with fret Duration / Length which noises, processed with various FX - “tonalizes“ the sound root: F#2 MW controls Grain LFO 1 modulates Grain Position, MW Position and increases scans through the sample amplitude of LFO 1- controlled modulation of Grain Position PB is assigned to Grain Formant

Triplet Meth Layer A: only the last note of a MW increases filter Quencer sequence played with a large screw on resonance creating filter a steel string guitar glissando effects Layer B: single vibrato note Temposynced LFO 1 modulates Grain Position in both layers, Step Modulator creates the sequenced melody

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Electric Beds Electric Beds Samples/Comments Controllers

Beauty Bed Major Layer A: clean electric guitar with some AT introduces Noise- chorus playing an arpeggiated chord modulation of Grain Pitch sequence - root: A#2 (as the layer is and shortens Grain Length transposed down an octave) MW -> MultiGrain

Beauty Bed Major Layer A: clean electric guitar with some AT introduces Noise- XT chorus playing an arpeggiated chord modulation of Grain Pitch sequence - root: A#2 (as the layer is and shortens Grain Length transposed down an octave) in A+B, also shifts Grain Layer B: a long calm tonal texture Position in B (1:44) in major with subtle swells played with a volume pedal through various MW -> MultiGrain stompboxes, processed - root: E3 B gets louder towards the high end

Cinematic Guitar Layer A: heavy guitar accent & drone AT modulates Grain Pad Split with high decaying feedback at the end, Position, forwards in A, processed - root: E1 (as the layer is backwards in B transposed up 2 octaves) Layer B: same sample as in A with a MW -> MultiFilter, also different sample start ( at the beginning adds a little random pitch of the high feedback) - root: E4 (as the modulation layer is transposed down an octave) A fades out towards the high end, B fades out towards the low end LFO modulates Grain Poisition via Filter Env Tip: use this patch for “epic“ themes

Contemplation Layer A: clean electric guitar playing an AT detunes the grains in Cloud arpeggiated chord sequence - root: D3 both layers and reduces (as the layer is transposed down an Grain Length in A octave) Layer B: heavily processed electric MW -> MultiGrain, also guitar drone with falling glissando and shifts LP cutoff in B so the high note at the end, onle the high note sound becomes more at the end is used here - LFO 1 audible modulates Grain Position in B

Descending Major Layer A: calm descending chord AT detunes the grains Beauty texture in major7 with subtle swells MW -> MultiGrain, shifts played with a volume pedal through Grain Position to the various stompboxes, processed - root: middle of the sample, E3 increases amplitude of LFO 1 which modulates LFO 1 modulates Grain Position Grain Position, MultiFilter, also adds chorus FX

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Electric Beds Samples/Comments Controllers

Divine Bed Layer A: long calm tonal chord texture AT shifts Grain Position in (1:18) in minor with subtle swells played A with a volume pedal through various stompboxes, processed - root: E2 (as MW introduces the layer is transposed up an octave) temposynced amplitude Layer B: tonal flageolet texture in minor modulation in A (Step - root: E3 Modulator + LFO 1 via Bus Tip: great patch for creating ambient 1) and shifts the output rhythmical textures with the modwheel balance to A, so the up, or just fly away with the modwheel flageolet texture becomes down inaudible

Echo Chord Scape Layer A: long tonal arpeggiated chord AT shifts Grain Position Split texture (1:52), electric guitar played though echo stomp box, processed MW -> MultiFilter, root: F2 introduces Noise- Layer B: same sample as in A with a modulation of Grain Pitch / different starting point - root: F3 (layer is Formant transposed down an octave) adds chorus / delay FX, A fades out towards the high end, B increases reverb send fades out towards the low end Tip: use Aftertouch to dynamically scan through the textures

Epic Swells And Layer A: long calm tonal chord texture AT shifts Grain Position Flagos (1:13) with subtle swells played with a volume pedal through various MW -> MultiGrain, stompboxes, processed - root: E3 MultiFilter Layer B: muted flageolet texture - processed - root: B4 A gets louder towards the low end B gets louder towards the high end Tip: use Aftertouch to dynamically scan through the textures

Ethereal Floater Layer A: long, swelling drone texture VEL slightly shifts Grain on E1, processed - root: E1 - A fades Position and increases out towards the high end - Glide is filter resonance in A activated in A AT shifts Grain Position in Layer B: long, processed tonal swell both layers and also root: E3 reduces Grain Speed in A MW -> MultiGrain

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Electric Beds Samples/Comments Controllers

Feedback Layer A: heavy jackhammerd guitar. AT introduces Noise- Mysterious Pad playing a major scale upwards twice modulation of Grain Pitch / with a long feedback tone at the end, Formant only the last feedback tone is used in this layer MW increases volume of Layer B: heavily processed vibrato note layer B, adding an octave with some integrated hum from the above the main sound amps, only the decay phase of the sample is used in this layer LFO 1 via Filter Env modulates Grain Position Tip: this patch can be used as a mysterious lead or pad sound

Filterdancer Warm Layer A: a series of swells, single AT shifts Grain Position, Swell Pad sustained note - root: B2 reduces Grain Speed MW reduces LP filter cutoff and the amplitude of the temposynced filter modulation

Floating Swell Pad Layer A: calm tonal texture, octaves VEL slightly shifts Grain and fifths, processed - root: E3 Position and decreases attack time AT shifts Grain Position MW -> MultiGrain, increases amount of chorus FX

OD Wave Pad Layer A: a very short waveform AT introduces Noise- extracted from a feedback sound modulation of Grain Layer B: detuned feedback drone with Formant filter cutoff the tremolo function in the amps activated running at different speeds in MW shifts HP filter cutoff each amp, only the beginning of the sample is used in this layer both layers use a tuned HP filter (key follow 100%)

One Finger Layer A: guitar with amp tremolo - long AT increase Grain Speed Nostalgia (1:26) nostalgic chord sequence with MW -> MultiGrain, changing top notes - root: B2 increases attack time, Tip: control sequence speed with AT, introduces filter use MW to “cloudify“ the sound modulation, adds delay FX

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Electric Beds Samples/Comments Controllers

Swell Pad Duet Layer A: two processed swells, single VEL reduces attack time sustained note - root: E3 AT shifts Grain Position, Layer B: three processed swells, single reduces Grain Speed sustained note - root: E4 MW -> MultiGrain, Tip: use Aftertouch to dynamically scan increases filter resonance, through the swells adds chorus FX

Swelling Drones Layer A: guitar drone with some AT shifts Grain Position Mantra feedback played through an octaver stompbox - root: D1 - A becomes softer MW introduces towards the high end temposynced filter Layer B: processed swelling guitar modulation drone with strong harmonics - root: E2 Tip: great patch for long evolving drones and slow themes

Granular Guitars – Additional information Page 25 Steinberg Media Technologies GmbH

Electric E-Bow Electric E-Bow Samples/Comments Controllers

E-Bow Dream Layer A: E-Bowed electric guitar with AT adds distortion and Scanner Split slow vibrati and octave / fifth slides, introduces Noise- played through echo stompbox - root: modulation of Grain B3 Formant in A Glide is activated in A Layer B: E-Bowing the low E-string, MW -> Grain Position occasionally touching the string with the E-Bow for sizzle effects, strong harmonics root: E1 A fades out towards the low end, B fades out towards the high end LFO 1 modulates Grain Position via Filter Env Scan through the samples using MW

E-Bow Epic Phrase Layer A: E-Bowed electric guitar AT adds temposynced Scanner phrase with vibrato and feedback, amplitude modulation and distorted sound - root: E2 - Glide is detunes the grains activated LFO 1 modulates Grain Position via MW -> Grain Position Filter Env Scan through the phrase with MW

E-Bow Harmonics Layer A: E-Bowed electric guitar with AT reduces LP filter cutoff Folk Scanner vibrato speed transitions and interval and introduces Noise- slides, strong harmonics modulation of Grain LFO 2 modulates Grain Position via Formant Filter Env Tip: scan through the phrase with MW MW -> Grain Position to create folkloristic (overtone) melodies

E-Bow Lead Layer A: an expressive E-Bowed VEL slightly shifts Grain Monophonic phrase with strong vibrato - root: D4 Position (so you can skip Scan through the phrase with MW the grace note at the Monophonic sound with Glide activate, beginning of the sample playing overlapping legato notes will not with higher velocities) retrigger the sample form the start AT -> Grain Position MW detunes the grains

E-Bow Night Layer A: E-Bowed electric guitar VEL slightly shifts Grain Stranger phrase with subtle vibrato played Position in A and through echo stompbox - root: F#4 decreases attack time in B Layer B: E-Bowed electric guitar AT shifts Grain Position in upwards glissando (2x) played through A echo stompbox - root: E3 MW -> MultiGrain in both LFO 1 modulates Grain Position via layers, MultiFilter in A, Filter Env in both layers adds distortion in A increases delay FX amount in B

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Electric E-Bow Samples/Comments Controllers

E-Bow Phrase Layer A: E-Bowed electric guitar VEL slightly shifts Grain Scanner 01 phrase with vibrato, portamento style, Position very dynamic - root: E4 AT adds distortion and Glide is activated detunes the grains Scan through the phrase with MW MW -> Grain Position

E-Bow Phrase Layer A: E-Bowed electric guitar VEL slightly shifts Grain Scanner 02 Dual phrase with vibrato, some sizzle effects, Position played through echo stompbox - root: B3 AT adds distortion and Layer B: E-Bowed electric guitar detunes the grains phrase with vibrato, swells and slides, played through echo stompbox - root: MW -> Grain Position B3 Glide is activated LFO 1 slightly modulates Grain Position via Filter Env Scan through the phrases with MW or use this patch as a pad / lead sound when not touching the modwheel

E-Bow Phrase Layer A: E-Bowed electric guitar VEL slightly shifts Grain Scanner 03 phrase with subtle vibrato and a down- Position slide at the end, played through echo stompbox root: B4 AT adds distortion and Glide is activated detunes the grains LFO 1 slightly modulates Grain Position via Filter Env MW -> Grain Position Scan through the phrases with MW

E-Bow Sizzle And Layer A: E-Bowed electric guitar slides, AT introduces temposyced Slides fifths / octaves, with vibrato speed (triplets) amplitude transitions and some sizzle effects, modulation strong harmonics - root: A3 Layer B: sizzling E-Bow sound, single MW -> Grain Position note, strong harmonics - root: G3 B becomes louder towards the low end LFO 1 modulates Grain Position via Filter Env (higher amplitude in B) Scan through the samples with MW Tip: also try playing low bass drones with this patch

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Electric E-Bow Samples/Comments Controllers

E-Bow Sizzle Layer A: E-Bowing the low E-string, VEL decreases attack time Harmonics Drone occasionally touching the string with the in B E-Bow for sizzle effects interrupting the drone sound, strong harmonics root: E1 AT detunes the grains in A Layer B: electric mandolin, distorted fast slide followed by a swelling MW shifts Grain Position feedback sound - root: F2 in A and sets Grain LFO 1 modulates Grain Position (higher Position in B to the left amplitude in B) (towards the slide sound), Scan through the sample in A with MW also increasing the amplitude of LFO 1 which modulates Grain Position

E-Bow Slide Cloud Layer A: E-Bowed electric guitar slides VEL shifts Grain Position down / up, fifths / octaves, with vibrato AT shifts Grain Position, speed transitions, strong harmonics reduces Grain Duration root: D3 and detunes the grains MW adds distortion

E-Bow Slides And Layer A: E-Bowed electric guitar slides AT introduces temposyced Drone Scape down / up, fifths / octaves, with vibrato, amplitude modulation strong harmonics - root: D3 A gets softer towards the high end MW adds distortion, Layer B: swelling distorted drone with introduces Noise- strong harmonics, some vibrato towards modulation of Grain the end, processed - root: E2 Formant, adds chorus FX Tip: play some big chords spread out Also introduces filter over many octaves to achieve a huge modulation in A organ-like orchestral sound

E-Bow Slides Layer A: E-Bowed electric guitar slide VEL decreases attack time Morphable in the low instrument range, down / up, fifths / octaves, played through echo AT increases Grain Speed, stompbox - root: E2 (as the layer is with MW down AT creates transposed down an octave) glissando effects Layer B: E-Bowed electric guitar up- slide with feedback, root - fifth - octave - MW -> MultiGrain, adds root: D3 (as the layer is transposed distortion, increases down an octave) reverb send Tip: morph the sound from an alien texture to a rich tonal soundscape with the modwheel

E-Bow Vibrato Pad Layer A: E-Bowed electric guitar, single VEL decreases attack time note with two swells, strong vibrato MW adds distortion, increases filter resonance LFO 2 modulates Grain Position and introduces Noise- modulation of Grain Formant Also increases amount of flanger FX

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Electric E-Bow Samples/Comments Controllers

E-Bow Vibrato Layer A: E-Bowed electric guitar AT decreases Grain Phrase phrase with strong vibrato and glissandi Speed so you can freeze up /down, played through echo the sound at a certain stompbox point using AT Tip: freeze the sound with AT, then scan through the phrase with the MW -> Grain Position modwheel

EG EM E-Bow Layer A: E-Bowed electric guitar, single AT increases Grain Speed Sizzle Duet note with some sizzle, beginning with a in A, decreases Grain loud note followed by some softer single Speed in B, introduces accents, strong harmonics - root: G4 Noise-modulation of Grain Layer B: E-Bowed mandolin, single Formant in both layers note with sizzle accents - root: G3 MW introduces temposynced filter modulation

Ominous E-Bows Layer A: E-Bowed electric guitar, VEL slightly shifts Grain tremolating irregularly between E1-G1, Position in B some feedback effects, played through AT Noise-modulates Grain echo stompbox - root: E1 Position in B A fades out towards the high end MW -> MultiGrain in B, Layer B: E-Bowed electric guitar, high increases amplitude of swelling note followed by some low filter modulation in B, accents and an up-slide, played through eliminates chorus FX in B echo stompbox - root: F#4 adds Bit-distortion in both layers (amount modulated via LFOs)

Scraped E-Bow Layer A: E-Bowed electric guitar drone AT shifts Grain Position Monster with strong harmonic transitions and and reduces Grain Speed strange high glissandi, played through echo stompbox - root: E2 MW -> MultiGrains, adds A becomes softer towards the high end filter modulation in B, adds Layer B: simultaneously bowing an chorus FX in A electric guitar and scraping on the strings with a plectrum, played through echo stompbox - root: E3

Granular Guitars – Additional information Page 29 Steinberg Media Technologies GmbH

Electric Guitars Electric Guitars Samples / Comments Controllers

Accent And Slide Layer A: heavy electric guitar, high VEL slightly shifts Grain Split note with up slide on B3 followed by a Position so you can skip slide and a tremolating dark power the slides in both layers at drone on E1 with feedback mayhem, higher velocities, only the drone segment is used in A - amplitude /volume root: E1 therefore is not velocity Layer B: same sample as in A, only the sensitive in this patch high note and the slide segment is used AT shifts Grain Position in in B - root: B3 A and reduces Grain Speed / randomizes Grain A fades out towards the high end, B Pitch in B fades out towards the low end MW introduces temposynced amplitude modulation (via LFO 2 + Step Modulator)

Amp Burner Split Layer A: heavy guitar, long sample AT shifts Grain Position in (1:10) - a series of high glissando notes A followed by power chords with feedback transitions and whammy bar-vibrati MW introduces tempo- root: E5 (as the layer is transposed synced amplitude down 3 octaves) modulation Layer B: power chord with overdrive root: E1 FIlter Env modulates Grain Speed in B Scan through the powerchord mayhem in A using AT A fades out towards the low end, B fades out towards the high end

Arab Scale Cloud Layer A: heavy guitar, falling “Arabic“ AT introduces Noise- Split scale, 2 bars long followed by a power modulation of Grain Pitch, chord, 1 bar long, three repetitions create crazy random pitch root: E4 (as the layer is transposed clouds when MW is up down an octave) Layer B: heavy guitar, rising “Arabic“ MW -> MultiGrain scale, 2 bars long followed by a single note accent, 1 bar long, two repetitions - root: E2 (as the layer is transposed up an octave) A fades out towards the low end, B fades out towards the high end

Granular Guitars – Additional information Page 30 Steinberg Media Technologies GmbH

Electric Guitars Samples / Comments Controllers

Arab Scale Down Layer A: heavy guitar, falling “Arabic“ AT increases Grain Speed scale, 2 bars long followed by a power MW set L-R Offset to 35%, chord, 1 bar long - root: E3 with the wheel fully up you hear two guitars playing the scale in thirds Also adds filter modulation, increases filter resonance and increases amount of delay FX

Clean Strat Layer A: clean strat sound - min7 chord AT detunes the grains Whammy Chord with whammy bar glissandi - root: E2 MW adds tempo-synced filter and pan modulation

Detuned Flageolet Layer A: delicate flageolet picking- AT introduces Noise- Dreamer texture with some detuning effects modulation of Grain created with a pitchshifting stompbox Formant root: B4 - LFO 2 modulates Grain Position via Filter Env MW -> MultiGrain in both Layer B: same sample as in A layers, reduces amount of transposed up an octave with different filter / amplitude filter, grain and modulation settings, modulation in A, increases becomes softer towards the high end speed of LFO 2 in both Tip: as this is a very dynamic patch I layers which modulates advise to insert a limiter on the track to Grain Position tame the level peaks

Drone And Layer A: heavy guitar drone with AT increases Grain Speed Feedbacks Split feedback, short slide at the beginning, in A and shifts Grain processed - root: E2 Position in B Layer B: screaming feedback texture with glissandi played through a delay MW detunes the grains stompbox, processed - root: B4 and increases attack time B becomes softer towards the high end in both layers, adds filter modulation and slightly increases Grain Speed / Spread in B

Granular Guitars – Additional information Page 31 Steinberg Media Technologies GmbH

Electric Guitars Samples / Comments Controllers

Drone Smasher Layer A: guitar octave accent / decay AT detunes the grains played through phaser / wahwah stompbox - root: G2 MW adds tempo-synced Layer B: heavy guitar powerchord with modulation of LP cutoff whammy bar action and feedback and resonance, adds root: E2 delay FX in both layers, Filter Env modulates Grain Speed, eliminates chorus FX in A becoming slower over time A fades out towards the high end, B fades out towards the low end Glide is activated, both layers play in oneshot-mode (not looped) Tip: Interesting overtone / feedback modulations occur towards the end of the sound

Dual Power Chords Layer A: heavy powerchord, long AT -> MultiGrain, adds sustain with feedback building up, short temposynced amplitude slides at the beginning and end - root: modulation E2 Layer B: high note followed by slide MW changes sample start and power chord, whammy bar action position in both layers, and feedback building up - root: E2 with the wheel fully up the slides are lost

Dual Whammy Layer A: high note followed by slide AT decreases Grain Action and power chord, whammy bar action, Speed (with AT fully another softer accent, some feedback - engaged the samples play root: E2 backwards) and increases Layer B: high note followed by slide Grain Duration and power chord, whammy bar action, MW changes sample start strong harmonics, some feedback, position in both layers, noise at the end - root: E2 with the wheel fully up the slides are lost

EG EM Layer A: heavy electric guitar - a series VEL controls the attack Powerchord Orgy of different consonant and dissonant time of the filter envelope Split power chords - root: E1 controlling the LP filter, at Layer B: heavy electric mandolin - a the highest velocity the series of power chords and single notes envelope immediately root / fifth / octave - root: G3 reaches the highest point A fades out towards the high end, B before decaying, therefore becomes softer towards the low end velocity does not control the amplitude / volume of the samples AT detunes the grains MW introduces tempo- synced amplitude modulation (LFO 2 and Step Modulator) and adds

Granular Guitars – Additional information Page 32 Steinberg Media Technologies GmbH

Electric Guitars Samples / Comments Controllers

stereo phasing FX

Epic Lead Cloud Layer A: lead guitar - a series of AT shifts Grain Position shorter question and answer solo licks and feedback swells, the answer given MW -> MultiGrain, by the delays created in the stompbox, eliminates filter modulation processed with some external reverb and modulation of root: D3 distortion amount Tip: with MW fully up the sound “declouds“ (Grain Spread is eliminated), use AT to scan through the phrases

Epic Lead Texture Layer A: Lead guitar - a series of VEL decreases attack time shorter question and answer solo licks of Filter and Amp Env in B and vibrato notes, the answer given by the delays created in the stompbox, AT shifts Grain Position in processed with some external reverb A root: D3 - A becomes a little softer towards the high end MW -> MultiGrain in A Layer B: Heavy guitar - single vibrato (Grain Speed / Position), note - root: C3 with the wheel fully up the LFO 1 modulates Grain Position in B sample plays reversed, also increases attack time in A

Ethereal Flago Layer A: ethereal flageolet picking with AT detunes the grains Texture chorus FX, processed - root: E3 MW increases amplitude LFO 1 modulates Grain Position of Grain Position- modulation via LFO 1, shifts Grain Position, changes polarity of filter modulation via LFO 2, increases HP filter cutoff

Expressive Lead Layer A: lead guitar - expressive note AT introduces Noise- Phrase with glissando up / down followed by an modulation of Grain Pitch interval with changing top notes, some on A and Grain Formant in feedback - root: F3 B, also reduces LP filter LFO 1 modulates Grain Position in A, cutoff in B only looping back and forth the first note with MW down, scan towards the MW shifts Grain Position second part of the sample with MW in both layers and Layer B: single sustained note with transposes B down a strong vibrato and a lot of feedback semitones so the last followed by a falling wholetone gliss, notes in each sample played through echo stompbox - root: compose the desired D3 interval Also increases attack time in A

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Electric Guitars Samples / Comments Controllers

Feedback and Layer A: heavy guitar, feedback drone AT detunes the grains Slidehammer Split followed by a high note with down-slide and a strong power chord with whammy MW -> MultiGrain in A, bar action and feedback building up shifts Grain Position in B, root: E2 eliminates filter-modulation Layer B: high feedback harmonics over via Filter Env and a low E-drone followed by a sustained decreases attack time in A vibrato drone with feedback building up, loud feedback swell at the end - root: E3 A fades out towards the high end, B fades out towards the low end

Feedback Drone E- Layer A: E-Bowed guitar - a series of AT shifts Grain Position to Bow Gliss Split falling octave glissandi played through the right in A and to the left an echo stompbox followed by a (backwards) in B sustained sizzling note with the E-Bow touching the string and some scraping MW -> MultiGrain glissandi - root: E4 Layer B: long processed feedback drone with some dissonant swells and strong harmonics - root: E1 A fades out towards the high end, B fades out towards the low end

Feedback Phone Layer A: lead guitar with a lot of AT reduces Grain Speed feedback, falling fourth interval followed by a sustained note with feedback MW -> MultiFilter, also building up, at the end of the sample the randomizes Grain Position, feedback is being perforated reminding adds delay FX increases of telephone bleeps, only the end of the reverb send / time sample is used in this layer in one-shot mode (not looped) - root: A2

Feedback Vibrato Layer A: dissonant chord swell followed AT introduces Duet by a sustained feedback note with slow temposynced amplitude vibrato - root: D3 modulation (via Step Layer B: high feedback note with small Modulator) glissandi up / down with the tremolo function in both amps activated, running MW shifts Grain Position at different speeds in each amp towards the beginning of root: F#3 the samples and reduces LFO 1 modulates Grain Position via modulation amplitude of Filter Env (back / forth - higher Grain Position in B, also amplitude in B) reduces LP filter cutoff in both layers

Granular Guitars – Additional information Page 34 Steinberg Media Technologies GmbH

Electric Guitars Samples / Comments Controllers

Flageolet Beauty Layer A: processed flageolet texture, VEL reduces attack time Cloud accent on the lowest string followed by a falling arpeggio of all six strings AT detunes the grains root: E2 Layer B: rising flageolet arpeggio of all MW shifts Grain Position six strings, processed - root: E2 and adds flanger FX LFO 1 modulates Grain Position via Filter Env

Flageolet Dancer Layer A: fast rising flageolet arpeggio AT Noise-modulates Grain of all six strings, processed - root: E2 Formant MW introduces square- Filter Env modulates Grain Speed shaped pitch modulation +/- 1 octave with MW fully engaged, introduces filter modulation, adds distortion

Flageolet Fiesta Layer A: delicate flageolet picking- AT detunes the grains texture in minor - root: B3 MW -> MultiGrain, Layer B: delicate flageolet picking- eliminates modulation of texture in minor - root: E3 filter cutoff via Filter Env in B

Flago Texture Layer A: slow flageolet picking texture, AT shifts Grain Position in Meets Feedback very pure sound - root: E4 A Gliss Layer B: very long dissonant drone texture (2:21) with whammy bar MW -> MultiGrain in A, glissandi followed by a dark feedback adds filter modulation and drone, high feedback notes with distortion in A, shifts pitch glissandi then build up, played through in B up an octave and echo stompbox, processed - only a segment of this sample with high feedback glissandi is used in this layer root: D6 (as the layer is transposed down 2 octaves) - LFO 1 modulates Grain Position in B via Filter Env

Guitars On Fire Layer A: heavy electric guitar, down- AT shifts Grain Position Split slide and power chord, followed by a and reduces Grain Speed high tremolating note and another down-slide with power chord - root: E4 MW introduces tempo- (as the layer s transposed down 2 synced modulation of octaves) Grain Position via Step Layer B: heavy guitar - a series of high Modulator and shortens glissando notes, sometimes tremolated Grain Duration / Length / followed by power chords with feedback Shape, also adds filter transitions and whammy bar-vibrati modulation root: E2 A fades out towards the low end, B fades out towards the high end

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Electric Guitars Samples / Comments Controllers

Scan through the samples using AT

Harmonics Layer A: picked and muted flageolet AT shifts Grain Position Transition Droner repetitions with overtone transitions and reduces Grain Speed root: A3 Layer B: same sample as in A using MW -> MultiFilter, adds only the last note - LFO 1 modulates distortion Grain Position via Filter Env in B Tip: scan through the harmonics using AT

Hit And Fly Split Layer A: heavy guitar - power chord AT shifts Grain Position with short down-slide at the beginning, whammy bar glissandi, feedbacks MW -> MultiGrain, adds building up - root: E2 filter modulation in B, Layer B: lead guitar - high feedback increases attack time in A note with glissandi decreasing in speed followed by a lower feedback note played through an echo stompbox root: C4 A fades out towards the high end, B fades out towards the low end Scan through the samples using AT

Jackhammer Major Layer A: heavy jackhammerd guitar AT decreases Grain Scale Duet playing a falling major scale 6 beats Speed (with AT fully long followed by a power chord 2 beats engaged the sample in B long, two repetitions - root: E2 play reversed) Layer B: heavy jackhammerd guitar playing a rising major scale 6 beats MW-> MultiGrain, long followed by a high vibrato note 2 eliminates filter beats long, short down-slide at the end modulation, reduces of the sample - root: E3 reverb time A becomes softer towards the high end B becomes softer towards the low end Tip: MW “declouds“ the sound unfolding the original rhythms in the phrases

Jackhammer Scale Layer A: heavy jackhammerd guitar AT decreases Grain Morpher playing a falling major scale 6 beats Speed, increases Grain long followed by a power chord 2+ Duration and introduces beats long Noise-modulation of Grain Tip: Morph the scale into a cinematic Duration grain cloud using MW, with the wheel MW -> MultiGrain, down control scale speed with AT MultiFilter, adds distortion increases amount of delay FX and delay time, adds reverb FX, increases attack /release time, reduces sustain level

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Electric Guitars Samples / Comments Controllers

Jackhammer Scale Layer A: heavy jackhammerd guitar. AT decreases LP filter Scanner Playing a major scale upwards twice cutoff with a long feedback tone at the end LFO 1 modulates Grain Position via Filter Env Scan through the samples using MW

Kairo Metal Layer A: heavy lead guitar sound AT -> MultiGrain, playing an “Arabic“ scale upwards, 2 MultiFilter bars in triplets, resting on the target note with vibrato for one bar, 1 repeat MW controls L-R Offset, root: E3 with the wheel fully up you hear two guitars in sync chasing each other

Lead Phrase Duet Layer A: lead guitar - expressive AT shifts Grain Position phrase with feedback and some chord forwards when MW is inserts down and backwards root: D3 when MW is up more than Layer B: lead guitar - expressive 50% phrase MW alters Grains Speed / root: D3 playback direction, changes sample start Tip: reverse the phrases using MW points and changes the polarity of the AT- controlled modulation of Grain Position Increases attack time

Lead Phrase Layer A: lead guitar - expressive AT detunes the grains, Scanner phrase followed by a down-slide and adds distortion power chord with feedback - root: E3 LFO 1 modulates Grain Position via MW shifts Grain Position FIlter Env - Glide is activated Scan through the sample with MW

Minor Powerslide Layer A: heavy guitar - down-slide and AT decreases Grain Drone power chord in minor, 1 repeat - root: Speed in A (with AT fully E2 engaged the grains A fades out towards the high end freeze), introduces Layer B: low E-drone, rich harmonics modulation of Grain with feedbacks building up followed by Length via LFO 1 in A and another strong attack on the low E with detunes the grains in both a lot of feedback - root: E2 (as the layer layers is transposed down 1 octave) B gets a bit louder towards the high end MW shifts Grain Position Tip: shorten / skip the opening slide with in A, with the wheel fully MW up the opening slide gets lost

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Electric Guitars Samples / Comments Controllers

Wahwah Layer A: distorted guitar accent with VEL reduces attack time in Meditation Drone wahwah stompbox, slow overtone A transitions during decay phase - root: G2 AT shifts Grain Position Layer B: distorted guitar octave accent (forwards in A, backwards with wahwah stompbox, slow overtone in B), decreases / transitions, some of the clean DI-box increases Grain Speed in signal is mixed in - root: G3 (as the A / B layer is transposed down 1 octave) A fades out towards the high end, B MW introduces tempo- fades out towards the low end synced amplitude Tip: create dynamic swells using AT modulation (LFO 2), introduces filter modulation in A

Granular Guitars – Additional information Page 38 Steinberg Media Technologies GmbH

Electric Scapes Electric Scapes Samples / Comments Controllers

Alien Dome Split Layer A: heavily processed rising VEL shifts sample start phrase, long decay phase - root: B3 point and increases attack Filter Env modulates Grain Speed in A time in A (when MW is (when MW is down) down) Layer B: heavily processed guitar drone AT shifts Grain Position in root: A1 (as the layer is transposed up both layers, reduces Grain 1 octave) Speed in B, enables AT- A fades out towards the low end, B modulation of Grain Speed fades out towards the high end in A Tip: scan through the FX-mayhem using AT MW-> MultiGrain, adds filter modulation

Brushed Chord Layer A: rhythmically brushing an VEL shifts sample start Cloud electric guitar - open strings - long point cresc./ decresc. AT shifts Grain Position, root: E2 reduces Grain Speed Scan through the sample using AT MW introduces filter modulation and adds stereo phasing FX

Brushed Drone Layer A: 2 players treating an electric AT shifts Grain Position Cloud guitar - one rhythmically brushing the and decreases Grain open strings - the other one quickly Speed tremolating on the high E-string with a violin bow, the brushing fades out MW -> MultiGrain, also towards the end reduces high frequencies root: E3 and enhances low mid frequencies (EQ FX), increases depth in chorus FX

Dark Stranger Layer A: heavily processed guitar - VEL slightly shifts sample dark mysterious drone sound with start point accents and swells - root: E2 in A Layer B: bowing electric guitar with AT shifts Grain Position violin bow creating different harmonics MW introduces tempo- with each bow - root: G1 synced amplitude Scan through the samples using AT modulation (via Step Modulator and LFO 2), introduces modulation of distortion amount (via LFO 1)

Granular Guitars – Additional information Page 39 Steinberg Media Technologies GmbH

Electric Scapes Samples / Comments Controllers

Dissonant World Layer A: heavily distorted guitar - a AT shifts Grain Position series of dissonant / consonant chords - MW -> MultiGrain, root: E3 increases attack time and Layer B: same sample as in A with a LFO 2-modulates Grain different sample start point, transposed Pitch reduces LP filter down an octave - root: E4 cutoff in A Increases filter resonance, Scan through the samples using AT adds distortion and introduces pan-modulation via LFO 1 in B

Doom Scape Layer A: heavily distorted guitar drone AT shifts Grain Position with tremolating swishes - root: A1 and decreases Grain Layer B: long processed guitar drone Speed texture with several accents on different pitches - root: E3 MW -> MultiGrain, A becomes softer towards the high end introduces filter and pan B becomes softer towards the low end modulation (LFO 1+2) Scan through the samples using AT

Drama Queen Layer A: lead guitar - short excerpt / AT increases Grain Speed loop from a long solo phrase - root: F3 in B (as the layer is transposed down 3 semitones) MW Noise-modulates Layer B: lead guitar - solo phrase Grain Pitch played through echo stompbox with long high vibrato note at the end, processed with external reverb - root: F3

Dusk till Dawn Duet Layer A: distorted guitar playing a AT shifts Grain Position in multi-voices phrase / riff in minor - root: both layers and decreases A2 Grain Speed in B Layer B: E-Bowed guitar playing a rising arpeggiated minor chord, some MW introduces tempo- trills at the end, played through echo synced amplitude / filter stompbox modulation (triplets) root: E4

Epic Abyss Split Layer A: arpeggiated octave accent AT reduces LP filter cutoff with whammy bar glissandi, heavily processed MW shifts Grain Position root: A#2 and increases attack time Layer B: a series of pitch-modulated in Filter and Amp single-note accents, processed - root: Envelope D#4 Glide is activated in B LFO 1 modulates Grain Position via Filter Env - A fades out towards the high end, B fades out towards the low

Granular Guitars – Additional information Page 40 Steinberg Media Technologies GmbH

Electric Scapes Samples / Comments Controllers

end Scan through the samples using MW

Feedback Abyss Layer A: dissonant drone texture with AT shifts Grain Position Split plenty of feedback played through echo stompbox - root: E2 MW -> MultiGrain, Layer B: processed feedback texture MultiFilter, Noise- with glissandi and a high decaying note modulates Grain Pitch / at the end - root: B4 Formant A fades out towards the high end, B fades out towards the low end Scan through the samples using MW

Guitar Cinema Split Layer A: heavy guitar - 3x falling VEL slightly shifts sample glissandi with high feedback followed start point by a dark drone and arpeggiated in B flageolet accents, long processed decay phase, only the drone part is AT shifts Grain Position in used in this layer - root: E2 (as the layer both layers, increases is transposed up 2 octaves) volume in A, decreases Layer B: same sample as in A using Grain Speed in B only the high note at the beginning - root: E4 MW introduces tempo- A fades out towards the high end, B synced amplitude fades out towards the low end modulation

Guitarland Layer A: long calm tonal texture (1:21) AT shifts Grain Position in with rising and falling chord swells, A played with a volume pedal through various stompboxes, processed - root: MW introduces E2 (as the layer is transposed up 1 temposynced amplitude / octave) filter modulation in A Scan through the sample in A using AT introduces Noise- Layer B: muted arpeggiated chord modulation of Grain Pitch / sequence / riff - root: A#1 Formant LFO 2 slowly modulates filter shifts the output volume resonance so sometimes filter sweeps towards A occur adds delay FX in A (permanent in B) Adds chorus FX in both layers

Modulated Monster Layer A: heavily processed drone with AT introduces Scape whammy bar-glissandi - root: E2 temposynced amplitude Layer B: two pitch-modulated single- modulation note accents, processed - root: A#3 Noise-modulator modulates / MW -> MultiFilter, shifts randomizes Grain Position via LFO 1 Grain Position, increases A becomes softer towards the high end attack time

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Electric Scapes Samples / Comments Controllers

B becomes softer towards the low end

Morphing Angel Layer A: heavy lead guitar sound MW -> MultiGrain, Dust Guitars playing a rising 2-bar “Arabic“ scale, increases attack time, legato, target note lasts for 2 beats - adds filter modulation, root: E3 detunes the grains, shifts Layer B: heavy lead guitar sound output balance towards the playing a falling 2-bar “Arabic“ scale, center (set more to layer B legato, followed by a 2-bar power chord with MW down), eliminates with some “screams“ at the end - root: pan modulation, adds E3 reverb FX, adds low LFO 1 modulates Grain Position via frequencies in B (EQ FX) Filter Env Morph the alien texture into a tonal guitar cloud using MW

Murder And Crime Layer A: detuned accents (detuning VEL decreases attack time Drone one of the strings while playing), high in B feedback, with the tremolo function in both amps activated running at different AT adds distortion speeds, tremolo speed increases towards the end of the sample - root: MW -> MultiGrain, shifts F#1 Grain Position (to the right Layer B: brushing and bowing an in A, to the left in B) electric guitar simultaneously - open Increases attack time strings, plenty of strange noises occur, glissando at the end of the sample, played through an echo stompbox - root: E3 - LFO 1 modulates Grain Position via Filter Env in B

Raining Guitar Layer A: texture produced by hitting AT Noise-modulates Grain Textures muted open strings with a drumstick - Formant in both layers and root: F#3 also filter cutoff in A (tuned A fades out towards the low end bandpass filter) Layer B: rising interval accents played MW -> MultiGrain (shifts through echo stompbox - root: F#3 Grain Position in A)

Rising Sun Texture Layer A: falling arpeggiated min7/11 AT modulates Pitch in B, chords and accents played through an +7 semitones with AT fully echo stompbox with high feedback, engaged increasing echo speed towards the end - root: F3 (as the layer is transposed MW -> MultiGrain in both down 1 octave) layers reduces modulation LFO 1 modulates Grain Position via of filter resonance in A, Filter Env in A decreases filter cutoff in B Layer B: texture produced by hitting open strings with a drumstick - root: B3 LFO 1 modulates Grain Speed

Granular Guitars – Additional information Page 42 Steinberg Media Technologies GmbH

Electric Scapes Samples / Comments Controllers

Shadow And Light Layer A: heavily processed electric AT detunes the grains Scape guitar drone with falling glissando and MW shifts Grain Position, high note at the end - root: C2 increases Grain Length LFO 1 modulates Grain Position via and transposes the sound Filter Env down 6 semitones when fully engaged also adds filter modulation and increases Gain

Synced Epic Layer A: processed guitar drone played MW introduces tempo- Sweller through octaver stompbox with sharp synced amplitude accents towards the 2nd half of the modulation and adds sample, strong harmonics - root: D1 stereo phasing FX Layer B: heavily processed guitar drone with some hum from the amp preserved - root: G4 (as the layer is transposed down 1 octave) Temposynced LFO 1 modulates LP filter cutoff

Wahwah Cloud Layer A: 8-bar long picked funk loop AT detunes the grains played through wahwah stompbox MW -> MultiGrain, root: E2 changes polarity / speed of Grain Length-modulation via LFO 2

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Electric Strangers Electric Samples / Comments Controllers Strangers

Alien Gamelan Layer A: gamelan-like picking texture AT Noise-modulates Grain Cloud played behind the fretboard through a Pitch lowfi amp setting - root: E4 LFO 1 modulates amount of bit- MW -> MultiGrain, distortion via Filter Env MultiFilter, adds chorus FX, reduces modulation amplitude of Bit-distortion amount

Bowed Electric Layer A: bowing an electric guitar with VEL slightly shifts sample Split a violin bow, some feedback, filter start point modulations enhancing the harmonics AT shifts Grain Position root: G1 and reduces Grain Speed Layer B: bowing an electric guitar with MW -> MultiGrain, a violin bow, processed - root: G4 MultiFilter, adds chorus FX A fades out towards the high end, B fades out towards the low end Glide is activated - scan through the samples using AT

Bowed Flautato Layer A: bowing a distorted electric VEL decreases attack time guitar with a violin bow near the AT shifts Grain Position fretboard with small glissandi occurring MW adds distortion and - root: G2 decreases LI filter cutoff Glide is activated Tip: uses this sound either as a mysterious pad sound or as a lead for slow themes

Bowed Flautato Layer A: bowing a distorted electric VEL slightly shifts sample And Tremolo guitar with a violin bow near the start point and decreases fretboard with small glissandi occurring attack time - root: G2, A becomes softer towards AT shifts Grain Position in the high end A and increases / Layer B: tremolating on an electric decreases Grain Speed / guitar string with a violin bow - root: C4 Length in B MW detunes the grains and reduces LP filter cutoff in B, adds chorus FX in B

Granular Guitars – Additional information Page 44 Steinberg Media Technologies GmbH

Electric Samples / Comments Controllers Strangers

Bowed Tinkle Layer A: electric guitar with 2 players - VEL slightly shifts sample Drone slow bowing tremolo combined with start point and decreases high tinkling accents picked behind the attack time in A fretboard, played through echo stompbox AT shifts Grain Position in root: E3 A Layer B: short swelling E-Bow-drone with a slide-in - root: E1, LFO 1 MW -> MultiGrain and filter modulates Grain Position via Filter Env modulation in A, also adds in B chorus FX in A B fades out towards the high end Scan through the tinkle-Bows in A in using AT

Bowed Tinkle Layer A: electric guitar with 2 players - AT shifts Grain Position in Scape slow long bowing combined with high A tinkling accents picked behind the fretboard, played through echo MW -> MultiGrain in A, stompbox decreases HP filter cutoff root: G#3 - Glide is activated in A in A Layer B: only the end of a vibrato note with feedback is used in this layer root: D3, LFO 1 modulates Grain Position in B - scan through the sample in A in using AT

BrokenNess Layer A: electric noise-texture through AT introduces modulation echo stompbox, crackling, hum, of Grain Length via LFO 2 scratches, remains of a feedback and Noise-modulates root: F#3 Grain Formant Layer B: totally trashed electric mandolin texture with feedback drone - MW increases HP filter root: G2, B becomes softer towards the cutoff, introduces Rate KF- high end distortion and adds chorus LFO 1 modulates Grain Position via FX Filter Env

Cave Tinkler Layer A: processed and retuned VEL decreases attack time tinkling texture - root: E4, run through a tuned lowpass filter (key follow) AT shifts Grain Position in Layer B: same sample as in A, B transposed up an octave, different grain settings - root: E3 MW -> MultiGrain

Granular Guitars – Additional information Page 45 Steinberg Media Technologies GmbH

Electric Samples / Comments Controllers Strangers

Cowbell Rain Duet Layer A: electric guitar strings prepared VEL decreases attack time with various objects, playing a rhythmical sequence with drumsticks - AT Noise-modulates Grain reminding of Asian percussion - root: Pitch and decreases Grain C2 (as the layer is transposed up 1 Duration octave) Layer B: electric guitar strings prepared MW -> MultiGrain, with various objects, playing a MultiFilter, adds flanger FX rhythmical syncopated sequence with drumsticks, hitting an open string towards the end - root: C3

Detune Conjuration Layer A: detuned feedback drone AT shifts Grain Position created by playing two equally tuned strings, then detuning / tuning one of MW -> MultiGrain, also them, the tremolo in the amps is detunes the grains in A activated running at different speeds in (Grain Spread) each amp - root: F#2 (as the layer is transposed down 1 octave) Layer B: long detuned feedback drone (1:16) created by playing two equally tuned strings, then detuning / tuning one of them, harmonic transitions occur, the tremolo in the amps is activated running at different speeds in each amp root: F#2 - scan through the samples using AT

Detune Duet Split Layer A: accent played on two detuned MW introduces strings, then tuning the detuned string temposynced amplitude with the root note, feedback building up, and filter modulation the tremolo function in both amps is activated running at different speeds root: F#1 - Filter Env modulates Grain Position in A Layer B: same sample as in A transposed down 2 octaves, different grain settings and sample start point - root: F#3 A fades out towards the high end, B fades out towards the low end

Granular Guitars – Additional information Page 46 Steinberg Media Technologies GmbH

Electric Samples / Comments Controllers Strangers

Detune Monster Layer A: accent played on two detuned AT shifts Grain Position in Split strings, then tuning the detuned string both layers, reduces Grain with the root note, high feedback note Speed in B building up then vanishing again, more detuning towards the end, the tremolo MW -> MultiGrain, function in both amps is activated introduces modulation of running at different speeds - root: F#1 distortion-amount via LFO Layer B: high detuned feedback drone 2, increases attack time in with slow glissandi, amp tremolo A, adds chorus FX activated root: G#3 - LFO 1 modulates Grain Speed A becomes softer towards the high end B becomes softer towards the low end Scan through the samples using AT

Feedback Stranger Layer A: wave-loop isolated from a MW -> MultiGrain, high feedback drone - root: E2, eliminates filter modulation becomes softer towards the high end and filter resonance, adds chorus FX (with a very fast modulation)

Frozen Mallet Layer A: rhythmical texture played with AT shifts Grain Position Strings Split Glockenspiel beaters on alternating muted strings - root: E1 MW -> MultiGrain, Layer B: rhythmical texture played with MultiFilter, increases time Glockenspiel beaters on alternating in delay FX, increases half-muted strings - root: B3 release time Tip: scan through the frozen grains using AT, animate the grains with MW A fades out towards the high end, B fades out towards the low end

Gamelan Wash Layer A: electric guitar strings prepared VEL slightly shifts sample with various objects, playing a start point rhythmical sequence with drumsticks - AT decreases Grain reminding of gamelan percussion - root: Duration / Length C3 MW introduces Noise- Run through a tuned highpass filter (key modulation of Grain follow) Formant / filter cutoff, reduces grain pitch- randomization, increases reverb send

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Electric Samples / Comments Controllers Strangers

Humdrone Duet Layer A: heavily processed guitar AT Noise-modulates Grain drone with some hum from the amp Pitch preserved root: G3 Layer B: processed guitar drone with MW -> MultiFilter, changes amp humming - root: F#3 EQ FX frequency-settings LFO 1 modulates Grain Position (via in A, adds chorus FX in Filter Env in B) both layers

Mallet String Duet Layer A: hitting the string with a AT shifts Grain Position in Split Glockenspiel beater, some bouncing B sounds during the decay phase - root: B1 MW introduces filter Filter Env modulates Grain Speed in A modulation and adds Layer B: rhythmical texture played with chorus FX in B Glockenspiel beaters on alternating half-muted strings - root: B3 LFO 1 modulates Grain Position via Filter Env in B - shift Grain Position in B using AT - A fades out towards the high end, B fades out towards the low end

Mallet String Rain Layer A: tinkling rhythmical texture in AT shifts Grain Position in Split the high range created by brushing and both layers, reduces Grain hitting the strings simultaneously - root: Speed in A E4 LFO 1 modulates Grain Duration in A MW -> MultiGrain, Layer B: rhythmical texture created by eliminates Noise- brushing and hitting the strings modulation of Grain simultaneously - root: E1 Formant via LFO 1 in A LFO 1 modulates Grain Position in B A fades out towards the low end, B fades out towards the high end

Meandering Field Layer A: lead guitar - solo phrase with VEL decreases attack time feedback - root: A#2 in B Layer B: lead guitar - solo phrase and MW -> MultiGrain, reduces interval progression with feedback reverb send, decreases root: D3 time-parameter in delay FX

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Electric Samples / Comments Controllers Strangers

Mysterious Mallet Layer A: arhythmical texture played AT Noise-modulates Grain Strings Duet with drumsticks on muted strings, some Pitch in A bouncing sound - root: D4 Filter Env modulates Grain Duration in MW-> MultiGrain (also A shifts the sample start Layer B: hitting the string with a point in A to the beginning Glockenspiel beater, some bouncing of the sample) sounds during the decay phase - root: adds chorus FX and E1 increases reverb send in sample in B plays in one-shot mode A, increases sustain level (not looped) - Filter Env modulates in B, adds delay FX in both Grain Speed in B layers A becomes softer towards the low end B becomes softer towards the high end Tip: play wide-spread arpeggiated chords with sustain pedal engaged

Ominous Bridge Layer A: high atonal tinkling texture AT shifts Grain Position Tinkler plucked behind the fretboard through a and decreases Grain lo-fi amp setting - root: D5 Speed MW -> MultiGrain, adds chorus FX

Psycho Trems Split Layer A: high detuned feedback drone AT shifts Grain Position with slow glissandi, amp tremolo activated MW -> Filter worx, adds root: F#3 distortion, introduces pan Layer B: accent played on two slightly modulation detuned strings, then detuning / tuning the detuned string with the root note creating more / less beat frequencies, the tremolo function in both amps is activated running at different speeds - root: F#1 A fades out towards the low end, B fades out towards the high end LFO 1 modulates Grain Length via Filter Env

Reverse Machinery Layer A: strange echo-loop with VEL slightly shifts sample sustained feedback note and various start point (to the left) guitar and amp noises - root: F#3, AT increases Grain Speed sample plays reversed (reversed) Tip: increase machine tempo with AT, MW -> MultiGrain, adds let the grains fly around using MW pan modulation adds stereo phasing FX

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Electric Samples / Comments Controllers Strangers

Ring Mod Layer A: ringmodulated guitar texture PB modulates Grain Organism root: C4 - key follow modulates Grain Formant / Speed Position so each key will have a AT adds Rate KF- different sample start point distortion MW randomizes Grain Pitch, introduces modulation of Grain Length (via LFO 1), increases time parameter in delay FX

Ring Mod Space Layer A: ringmodulated guitar texture AT modulates Grain Morpher with accents - root: C4 Formant (especially Tempo-synced LFO 1 modulates Grain interesting when MW is Position via Filter Env down) MW -> MultiGrain, Noise- modulates Grain Pitch

Ring Mod Stranger Layer A: ringmodulated guitar texture AT modulates Grain with accents and pitchshifting delays - Formant root: C4 MW -> MultiFilter (tuned LFO 1 modulates Grain Duration in A highpass filter with MW full Layer B: ringmodulated and granulated up), decreases amplitude guitar texture with accents and tremoli of Grain Duration / Speed- root: D3 (as the layer is transposed up modulation (LFO 1), 10 semitones) - LFO 1 modulates Grain randomizes Grain Position Speed in B (via Filter Env) in A, adds distortion in A, increases attack time in A, adds chorus FX in A, increases time parameter in delay FX Increases reverb send in B and reverb time

Space Transmitter Layer A: processed guitar texture AT Noise-modulates Grain reminding of intergalactic transmissions Pitch root: F#3 - LFO 1 modulates Grain MW -> MultiGrain, Duration introduces Noise- modulation of Grain Formant

Stutter Loops Duet Layer A: glitchy stuttering loop texture AT introduces modulation root: E4 of Grain Position via LFO 1 Layer B: strange loop texture with (random) some stuttering and pitch modulations - MW increases Grain root: E4 Speed and randomizes Grain Duration

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Electric Synced Electric Synced Samples/Comments Controllers

Guitar Percussion Layer A: prepared electric guitar strings AT decreases Grain Sequence Straight prepared with various objects, playing a Length rhythmical sequence with drumsticks - reminding of Asian percussion - root: MW increases Gain, adds C3 Rate KF-distortion and Tempo-synced LFO 1 modulates Grain introduces modulation of Position, synced LFO 2 modulates distortion amount via Grain Formant via Step Modulator tempo-synced Step Modulator

Guitar Percussion Layer A: prepared electric guitar strings AT decreases Grain Sequence Triplets prepared with various objects, playing a Length rhythmical syncopated sequence with drumsticks, hitting an open string MW increases Gain, adds towards the end - root: C3 Rate KF-distortion and Tempo-synced LFO 1 modulates Grain introduces modulation of Position, synced LFO 2 modulates distortion amount via Grain Formant via Step Modulator temposynced LFO 2 and filter modulation via Step Modulator

Metal Morph Loop Layer A: heavy guitar, falling 8-bar riff, AT introduces Down jackhammered notes, monophonic (no temposynced amplitude chords) - root: D3 modulation Tempo-synced LFO 1 modulates Grain Position MW -> MultiGrain, Tip: morph the tempo-synced guitar MultiFilter, increases loop into an evolving grain cloud with attack time, increases MW amount of delay FX and delay feedback, adds reverb

Metal Morph Loop Layer A: heavy guitar, falling 8-bar riff, AT introduces Up jackhammered single notes with temposynced amplitude occasional power chords - root: D3 modulation Tempo-synced LFO 1 modulates Grain Position MW -> MultiGrain, Tip: morph the tempo-synced guitar MultiFilter, increases loop into an evolving grain cloud with attack time, increases MW amount of delay FX and delay feedback, adds reverb

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Electric Synced Samples/Comments Controllers

Palm Mute Triplets Layer A: palm-muted sequence / vamp AT introduces Morph Loop in minor with some reverb from the amp temposynced amplitude 4 bars of 3/4 - root: D2 modulation (double speed Tempo-synced LFO 1 modulates Grain triplets) Position MW -> MultiGrain, Tip: morph the tempo-synced guitar MultiFilter, detunes the loop into an ethereal grain cloud with grains, increases attack / MW release time, increases amount of delay FX and delay feedback, adds stereo phasing FX, adds reverb

Sequenced Stutter Layer A: glitchy stuttering loop texture AT decreases Grain Loops root: E4 Length Layer B: glitchy stuttering loop texture with wahwah stompbox - root: E3 MW -> MultiFilter, Tempo-synced LFO 1 modulates Grain increases Grain Length, Position via Filter Env, synced Step detunes the grains, Modulator modulates volume increases Gain, randomizes Grain Position

Sequenced Triplet Layer A: 4-bar heavy metal guitar lick, AT Noise-modulates Grain Phrase “Arabic“ scale, triplet based - root: E2 Pitch Tempo-synced LFO 1 modulates Grain Position, synced LFO 2 modulates MW shifts L-R Offset, with volume (double time triplets) MW fully up you hear 2 guitars chasing each other Also adds stereo phasing FX

Slice Machine Layer A: octave accent played through MW -> MultiFilter (wahwah wahwah, phaser and octaver stompbox, like modulations are strong octaver modulations, long decay introduced) phase, some original DI-box signal is mixed in - root: G2 Layer B: heavy guitar, 4-bar syncopated power chord sequence - root: E3 (as the layer is transposed down 1 octave) Tempo-synced LFO 1 (running in Beat- mode) modulates Grain Position in B, synced LFO 2 / Step Modulator modulate volume in A / B

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Electric Synced Samples/Comments Controllers

Trance Quencer Layer A: heavy guitar, 4-bar MW shifts L-R Offset, syncopated power chord sequence with increases Grain Duration, less muting towards the end of the reduces amplitude sample - root: E2 modulation via LFO 2 Layer B: heavy guitar, 4-bar syncopated power chord sequence - root: E1 Tempo-synced LFO 1 modulates Grain Position, synced Step Modulator / LFO 1 modulate filter cutoff, synced LFO 2 modulates volume Tip: a good patch for synced chord sequences in the higher register

Trash Gamelan Layer A: electric guitar strings prepared MW introduces Sequence Straight with various objects, playing a temposynced modulation rhythmical sequence with drumsticks - of Grain Formant via Step reminding of gamelan percussion - root: Modulator and filter C3 modulation via Tempo-synced LFO 1 modulates Grain LFO 2, also adds distortion Position and delay FX

Trash Gamelan Layer A: electric guitar strings prepared MW introduces tempo- Sequence Triplets with various objects, playing a synced modulation of rhythmical sequence with drumsticks, Grain Formant via Step 16 bars of 3/4 plus end accent - Modulator (double time) reminding of gamelan percussion - root: and filter modulation via C3 LFO 2, also adds distortion and delay FX

Triplet Loop Minor Layer A: palm-muted picking sequence MW -> MultiGrain, Morph / vamp in minor - 8 bars of 3/4 - root: D2 increases release time, Tempo-synced LFO 1 modulates Grain adds chorus FX, adds Position, synced LFO 2 modulates reverb volume (double time triplets) via Step Modulator, L-R offset is set to 50% Tip: morph the tempo-synced guitar loop into a delicate grain cloud with MW

Wahwah Funk Layer A: 8-bar long picked funk loop AT detunes the grains Picker played through wahwah stompbox root: E2 – tempo-synced LFO 1 MW -> MultiFilter, modulates Grain Position introduces tempo-synced Tip: this patch also works for chord amplitude modulation, sequences adds synced delay FX

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Mandolin Mandolin Samples/Comments Controllers

E-Mando Bridge Layer A: electric mandolin - heavily VEL slightly shifts sample Gamelan distorted, arhythmical texture plucked start point behind the bridge - root: A#3 AT shifts Grain Position Layer B: the sample used in A heavily and detunes the grains processed with various effects, totally MW -> MultiGrain, deranged - root: A#3 decreases attack time, reduces amount of delay FX and decreases delay time-parameter

E-Mando Slide Layer A: electric mandolin - tremolating VEL decreases attack time Mayhem down-slide with atonal chord accent at AT Noise-modulates Grain the end - root: B2 Pitch Layer B: electric mandolin, high MW -> MultiGrain, feedback - accent with feedback eliminates Grain Length- followed by a tremolating down-up slide modulation via LFO 1 with fast swishes towards the end of the sample root: D3 LFO 1 modulates Grain Length, key follow controls Grain Position

E-Mando Trash Layer A: electric mandolin - very AT Noise-modulates Grain Monster distorted powerchords followed by a Pitch in both layers and high note accent and rumbling noises also Grain Formant in A root: G3 Layer B: electric mandolin - fast MW shifts Grain Position tremolo and slide - root: G2, B becomes and increases attack time softer towards the high end in A LFO 1 modulates Grain Duration (via Filter Env in A)

E-Mando Trem Pan Layer A: slowly panning mandolin VEL slightly shifts sample Split tremolo on G2, recorded via pickups, start point slowing down towards the end AT decreases Grain Layer B: slowly panning mandolin Speed, with AT fully tremolo with accel. / rit. on E4 engaged the grains almost freeze MW -> MultiGrain, MultiFilter, reduces Gain, adds chorus and delay FX

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Mandolin Samples/Comments Controllers

Mandolin E-Bow Layer A: E-Bowed mandolin - VEL slightly shifts sample Conjuration tremolating with the E-Bow at different start point in A speeds on one string, touching the string with the E-Bow for sizzle effects - AT increases Grain Speed root: G3 in A Layer B: slowly changing harmonics with strong sizzle effects in the middle MW -> MultiGrain of the sample - root: G4 (as the layer is transposed down 1 octave) - LFO 2 modulates Grain Speed in B

Mandolin E-Bow Layer A: E-Bowed mandolin - soft VEL slightly shifts sample Detuned Pad accent followed by a long sustained start point and decreases note (reminding of a flute sound) with attack time in A slow detune-modulations (detuning one of the double-strings while playing), AT detunes the grains, some vibrato and occasional sizzling - adds some distortion and root: G3 increases filter cutoff in B Layer B: E-Bowed mandolin - strong sizzle accent at the beginning followed MW -> MultiGrain, adds by a slowly modulating sustained note chorus FX in A root:G3

Mandolin E-Bow Layer A: E-Bowed mandolin - flute-like VEL slightly shifts sample Flute sustained note with vibrato transitions start point and some sizzling later in the sample, strong accent at the end - root: D3 AT shifts Grain Position Scan through the sample using AT, and decreases Grain Glide is activated Speed Tip: use this patch as a soft flute lead or as an evolving pad sound MW -> MultiFilter, adds distortion

Mandolin E-Bow Layer A: E-Bowed mandolin - flute-like VEL slightly shifts sample Flute XT sustained note with vibrato transitions start point in A and some sizzling later in the sample, strong accent at the end - root: D3 AT shifts Grain Position Scan through the sample using AT and decreases Grain Layer B: E-Bowed mandolin - Speed in A increases sustained note with swells - root: G3 (as volume, detunes the grains the layer is transposed up 1 octave) and adds some distortion Glide is activated in B

MW -> MultiFilter, adds distortion in A

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Mandolin Samples/Comments Controllers

Mandolin E-Bow Layer A: E-Bowed mandolin - semitone AT shifts Grain Position Fret Trill trill with fret noises and some sizzling MW -> MultiGrain, when the E-Bow touches the string - eliminates modulation of root: D4 Grain Position via Filter Only the second half of the sample is Env, MultiFilter, slightly used in this patch - Filter Env modulates detunes the grains, Grain Position introduces modulation of Tip: morph the sizzling trills into an distortion amount via LFO animated graincloud with MW 1, increases attack / release time, adds chorus FX

Mandolin E-Bow Layer A: E-Bowed mandolin - semitone VEL slightly shifts sample Fret Trill Scape trill with fret noises and some sizzling start point in A when the E-Bow touches the string - AT increases Grain Speed root: D4 MW -> MultiGrain in A, Layer B: same sample as in A with increases Grain Duration different grain and filter settings, in B, adds distortion in A, transposed up an octave - root: D3 increases filter resonance B becomes softer towards the high end in B, adds chorus FX in A (permanent in B)

Mandolin E-Bow Layer A: E-Bowed mandolin - sizzling VEL shifts sample start Gliss Drones sustained note with slow harmonic point in A transitions - root: D3, A becomes softer AT decreases Grain towards the high end Length in A, Noise- Layer B: E-Bowed mandolin - modulates Grain Pitch in B sustained note with semitone glissandi MW -> MultiFilter, up / down, shifting to the next overtone randomizes Grain Position towards the end of the sample - root: in A, Noise-modulates D4 Grain Pitch / Formant in A, LFO 1 modulates Grain Position in B introduces modulation of distortion amount via LFO 1 in A, randomizes Grain Pitch in B

Mandolin E-Bow Layer A: E-Bowed mandolin - AT shifts Grain Position Gliss Duet sustained note with harmonics and up / and decreases Grain down glissandi, sizzle accent at the end Speed in A root: D4, scan through the sample in A MW -> MultiGrain, using AT MultiFilter, adds distortion Layer B: E-Bowed mandolin - sliding in B, adds chorus FX in B, notes notes with harmonic transitions alters various parameters and sizzle noises - root: G4 in delay FX in both layers, increases reverb send

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Mandolin Samples/Comments Controllers

Mandolin E-Bow Layer A: E-Bowed mandolin - swelling AT detuned the grains Gliss Scanner note G3, fast falling gliss to D3 Layer A: E-Bowed mandolin - swelling MW shifts Grain Position, note G4, slow gliss to D4 with sizzle increases Grain Duration, noises introduces filter LFO 1 modulates Grain Position modulation, increases filter Scan through the glissandi with MW resonance and increases amount of delay FX

Mandolin E-Bow Layer A: E-Bowed mandolin - long VEL slightly shifts sample Gliss Scape sustained note with strong sizzling start point in B noises and slow harmonic transitions - AT introduces distortion root: D3 (Rate KF in A, Tube in B) LFO 1 modulates Grain Position via MW increases Grain Filter Env in A Duration and introduces Layer B: same sample as in A with a Grain Spread (Pitch) +/- 7 different sample start point and different semitones in A / B with grain settings - Filter Env modulates MW fully engaged Grain Position in B

Mandolin E-Bow Layer A: E-Bowed mandolin - a series AT introduces pitch Hypnotic Duet of glissandi, trills, tremoli, sizzling notes, modulation in A (via LFO strong harmonic transitions - root: D4 2) and detunes the grains Key Follow controls Grain Speed in A in B (higher notes play faster), A becomes MW -> MultiGrain in A, softer towards the high end shifts Grain Position Scan through the sample in A using MW Layer B: long sustained note with vibrato, semitone trill up / down, some sizzling noises - root: D3, only the the first part of the sample is used in this layer

Mandolin E-Bow Layer A: E-Bowed mandolin - sizzling AT detunes the grains Morph Harmonics note G3 followed by harmonic MW -> MultiGrain, reduces transitions HP filter cutoff / resonance Tip: Morph the animated grain cloud in A, introduces Grain into an alienated texture with MW Formant / Grain Length- Layer B: Layer A: E-Bowed mandolin - modulation via LFO 1 in A, sizzling note G3 followed by strong increases amount of harmonic transitions and a soft decay flanger FX in A, shifts phase output balance to A so you only hear A with MW fully engaged Reduces reverb send / time

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Mandolin Samples/Comments Controllers

Mandolin E-Bow Layer A: E-Bowed mandolin - swelling MW introduces SciFi Scanner note D4 followed by next overtone and temposynced modulation fret glissandi, only the first half of the of LP filter cutoff and sample is used in A distortion amount, Layer B: the second half of the sample increases filter resonance, described above is used in B modulates Grain Spread Tempo-synced LFO 2 modulates Grain In A Position scanning though the samples forwards / backwards, synced LFO modulates Grain Formant

Mandolin E-Bow Layer A: E-Bowed mandolin - sizzling VEL (very) slightly shifts Sizzle Abyss sustained note with small glissandi and sample start point detune effects - root: D4, only the AT increases Grain Speed second half of the sample is used in A MW -> randomizes Grain Layer B: same sample as in A using Position, decreases LP only the first part of the sample filter cutoff in A, adds Tip: animate the sound using MW delay FX, increases reverb time

Mandolin E-Bow Layer A: E-Bowed mandolin - slow AT detunes the grains Sizzle Gliss sizzling falling glissando from C#4 -> Scanner G3, sizzle accent and gliss after MW shifts Grain Position reaching target note, harmonic (to the left), increases transitions occur - root: G3 Grain Duration / Length LFO 1 modulates Grain Position via Filter Env, scan through the sample (backwards) with MW

Mandolin E-Bow Layer A: E-Bowed mandolin - long VEL decreases attack time Sizzle Pad sustained note (0:58) with sizzling AT detunes the grains noises when the E-Bow touches the MW introduces tempo- string and harmonic transitions - root: synced amplitude / filter D4 modulation via Step LFO 1 modulates Grain Position Env in Modulator / LFO 2, A increases amount of delay FIlter Env modulates distortion amount FX (via velocity)

Mandolin E-Bow Layer A: E-Bowed mandolin - AT detunes the grains Tale sustained note with harmonic MW randomizes Grain transitions, some stops, soft fret Position and introduces glissandi and occasional sizzling noises filter modulation when the E-Bow touches the string - root: G3 Step Modulator modulates Grain Speed

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Mandolin Samples/Comments Controllers

Mandolin E-Bow Layer A: E-Bowed mandolin - a strong AT introduces Wheelgliss Pad sizzling G3 crossfaded with a softer temposynced amplitude sustained D4 with fret glissandi modulation (LFO 2) Layer B: accented G4 swelling, sizzle MW shifts Grain Position gliss followed by the next overtone and modulates Pitch in LFO 1 modulates Grain Position both layers to reach the Use MW for glissando effects desired target note when MW is fully engaged

Mandolin Layer A: electric mandolin, 4-bar AT detunes the grains Sequence Duet sequence, root - fifth - octave, recorded via pickup with external chorus effects - MW introduces tempo- root: G2 synced amplitude / filter Layer B: electric mandolin, 4-bar modulation double-octave sequence (G4 / G2), recorded via pickup with external chorus effects root: G4, tempo-synced LFO 1 modulates Grain Position A fades out towards the high end, B fades out towards the low end

Metal Mando Layer A: electric mandolin - heavy AT Noise-modulates Grain Accent Overdrive power chord accent with lots of Pitch in both layers and overdrive followed by another accent also Grain Position in A with falling arpeggio - root: G3 MW fully engaged shifts Layer B: processed version of the Grain Position to the sample used in A second accent in each sample, increases attack time in A, decreases attack time in B, introduces filter modulation (and decreases amount of HP cutoff-modulation via Filter Env in B)

Metal Mando Layer A: electric mandolin - a series of VEL shifts sample start Broken Chord Slide dissonant chord accents with plenty of point in B overdrive and feedback - root: F2 Layer B: electric mandolin - feedback AT shifts Grain Position in swell followed by fast down / up fret- both layers and also slides root: G3 reduces Grain Speed in B A fades out towards the high end B becomes softer towards the low end MW controls Grain Speed, Scan through the samples using AT, reversing the sample when reverse the sample with MW > 50% fully engaged and (freeze them at 50%) changing the polarity of the AT-modulation of Grain Position, also decreases Grain Duration in B

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Mandolin Samples/Comments Controllers

Metal Mando Layer A: electric mandolin - dissonant AT decreases Gain Collateral Damage power chord accent with plenty of Duration and Grain Speed overdrive and feedback followed by two (sample reverses with AT more accents, the pickup actually got fully engaged) totally displaced during this recording MW -> modulates Grain and the mandolin was a little broken Spead (Pitch, +7 afterwards - root: F2 semitones with MW fully engaged), slightly Noise- modulates Grain Pitch, introduces filter modulation, adds modulation of distortion- amount (via LFO 2)

Metal Mando Layer A: electric mandolin - a series of AT shifts Grain Position Feedback Orgy single note and power chord accents with plenty of feedback building up MW -> MultiGrain, between the accents - root: G3 (as the introduces tempo-synced layer is transposed down 1 octave) amplitude (and filter Layer B: a processed FX version of the resonance) modulation, sample used in A - root: G3 (as the introduces modulation of layer is transposed down 1 octave) filter cutoff via Filter Env Scan through the samples using AT

Metal Mandolin Layer A: electric mandolin - rising AT increases Grain Speed Rising Chord accents: root - fifth - octave - fifth - root MW -> MultiGrain, plenty of overdrive, feedback building MultiFilter, increases up attack time, Noise- root: G3 modulates Grain Pitch in Layer B: a processed FX version of the both layers and also Grain sample used in A Formant in B, reduces high frequencies in B (EQ FX), increases reverb send in B

Psycho Mandolin Layer A: processed mandolin plucking VEL decreases attack time Texture an arhythmical / atonal texture behind (when MW is down) the bridge - root: D4 AT Noise-modulates Grain Key Follow modulates Grain Formant Pitch when MW is up MW -> MultiGrain, introduces filter / pan modulation, decreases attack time, modulates various parameters in delay FX, decreases reverb send

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Ethnic Strings Ethnic Strings Samples / Comments Controllers

Bowed Psaltery Layer A: bowed psaltery - repeating AT shifts Grain Position Beijing Emperor falling pentatonic scale, slowing down and increases volume in A Split during the repeat, long decay - root: when MW is up, Noise- F#4 (as the layer is transposed up 4 modulates Grain Formant semitones) in both layers Filter Env modulates Grain Speed in A MW -> MultiGrain, (when MW is down) eliminates Grain Speed- Layer B: psaltery - strong plectrum modulation via Filter Env, accent followed by crossfaded decay activates Grain Position / phases with the fingernail touching the Level-modulation via AT string creating sizzling noises - root: C4 (as the layer is transposed down 1 octave) A fades out towards the low end B becomes softer towards the high end

Bowed Psaltery Layer A: bowed psaltery - rising AT shifts Grain Position in Diminished Scape diminished scale - root: C3 both layers and Layer B: bowed psaltery - short bow decreases Grain Speed in accents improvising around a B diminished scale - root: C3, LFO 1 modulates Grain Position via Filter Env MW -> MultiGrain in B Scan through the samples using AT

Bowed Psaltery Layer A: bowed psaltery - falling minor AT shifts Grain Position Minor Melodic melodic scale in E - root: E4 and decreases Grain Scale Scan through the scale using AT Speed Tip: lay out many octaves and slowly MW -> MultiGrain, move MW to create huge church-organ MultiFilter, increases like grain clouds attack time, detunes the grains, adds distortion, adds Chorus FX

Bowed Psaltery Layer A: bowed psaltery - slow bowing, AT shifts Grain Position New Age Cloud rising pentatonic phrase - root: C#3 (as and decreases Grain the layer is transposed up 1 octave) Speed Layer A: bowed psaltery - sequence of rising and falling octaves - root: C#4 MW -> MultiGrain, LFO 1 modulates Grain Length when increases speed in LFO 1 MW is down (via Filter Env in B) which modulates filter Scan through the samples using AT resonance via Filter Env

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Ethnic Strings Samples / Comments Controllers

Bowed Psaltery Layer A: bowed psaltery - fast bowing, AT detunes the grains Penta Scape falling pentatonic phrase slowing down towards the end - root: D#4 MW -> MultiFilter, Layer B: bowed psaltery - slow bowing, introduces fast random rising pentatonic phrase - root: D#4 (as filter modulation the layer is transposed down 2 semitones) LFO 1 modulates Grain Position via Filter Env

Bowed Psaltery Layer A: bowed psaltery - medium AT shifts Grain Position Pentatonic Sunrise bowing, rising and falling pentatonic MW -> MultiGrain, phrase introduces filter root: C#3, scan through the scale using modulation, adds chorus AT FX Tip: calm down the animated grain cloud with MW

Bowed Psaltery Layer A: bowed psaltery - medium AT shifts Grain Position Pentatonic Sunrise bowing, rising and falling pentatonic XT phrase MW -> randomizes Grain root: C#3, LFO 1 modulates Grain Position, increases filter Speed resonance, adds chorus Layer B: a processed FX version of the FX in A and flanger FX in sample used in A B Tip: play the grain cloud dynamically using AT

Celtic Harp Falling Layer A: Celtic harp - falling major AT introduces tempo- Gliss Scanner glissando with the 7 strings in each synced amplitude octave tuned to Cmj - root: C3 modulation via Step Modulator Scan through the glissando with MW MW shifts Grain Position and introduces modulation of Grain Position via LFO 1, MultiFilter, detunes the grains, adds chorus FX

Celtic Harp Lever Layer A: Celtic harp - accent, then AT adds distortion, Noise- Gliss moving the tuning leaver of the string up modulates Grain Pitch / / down during the decay phase which Formant creates semitone glissandi - root: C2, in B Filter Env modulates Grain Speed in A, sample is running in one-shot mode MW randomizes Grain (not looped) Position / Pitch in A, A becomes softer towards the high end introduces filter modulation Layer B: Celtic harp - three octave and increases filter accents, C3 - C4 - C2 - root: C3, LFO 1 resonance in both layers modulates Grain Position via Filter Env

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Ethnic Strings Samples / Comments Controllers

in B

Celtic Harp Major Layer A: Celtic harp - falling major AT detunes the grains Descender glissando with multiple strides, slowing MW -> MultiGrain, down towards the end - root: C3 MultiFilter, increases attck time, adds chorus / delay FX

Celtic Harp Minor Layer A: Celtic harp - falling minor AT detunes the grains Descender melodic glissando with multiple strides, MW -> MultiGrain, slowing down towards the end - root: A3 MultiFilter, increases attck time, adds chorus / delay FX

Celtic Harp Minor Layer A: Celtic harp - rising minor AT shifts Grain Position (to Gliss Reverse melodic glissando with multiple strides - the left) Scanner root: A3 LFO 1 modulates Grain Position via MW Noise-modulates Filter Env (scanning the sample forth Grain Pitch / Formant, and back) adds chorus FX Scan through the glissando using AT

Celtic Harp Octave Layer A: Celtic harp - octave tremolo AT Noise-modulates Grain Cloud E3-E2 with accent and decay at the end Pitch /Grain Formant - root: E3 Layer B: Celtic harp - three octave MW -> MultiFilter, reduces accents, C3 - C4 - C2 - root: C3 Grain Length, increases LFO 1 modulates Grain Position via Gain Filter Env, LFO 2 modulates Grain Duration via Filter Env

Celtic Harp Layer A: Celtic harp - slowly rising AT modulates Grain Plectrum Gliss minor melodic glissando played with a Speed, samples reverse Duet Split wooden plectrum creating loud picking when AT > 50% noises root: A2 (as the layer is transposed up MW -> MultiGrain 1 octave) Layer B: Celtic harp - falling minor melodic glissando played with a plastic plectrum, medium tempo - root: A3 A fades out towards the low end, B fades out towards the high end

Conjuring Harp Layer A: Celtic harp - rubato sequence AT shifts Grain Position Texture in minor with accent and decay at the end root: E3 MW Noise-modulates Layer B: Celtic harp - octave tremolo Grain Pitch /Grain Formant E3-E2 with accent and decay at the end - root: E3

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Ethnic Strings Samples / Comments Controllers

Scan through the samples using AT

Harp Guitar Keys Layer A: Celtic harp - octave accent AT detunes the grains root: D3 Layer B: classical guitar - vibrato note MW modulates Grain root: D4 Formant, increases filter Filter Env modulates Grain Speed, resonance, adds distortion samples play in one-shot mode (not and increases depth in looped) chorus FX

Oud Double Layer A: oud - irregular tremolo on two AT shifts Pitch, +3 Detune Strings equally tuned strings, then detuning / semitones with AT fully retuning one of the strings during the engaged tremolo - root: B2 MW -> MultiGrain, LFO 2 and Key Follow modulate Grain introduces filter Speed (higher notes play a little faster) modulation, adds distortion, adds chorus FX

Oud Dynamic Layer A: oud - tremolo on the lowest AT detunes the grains Tremolo Split string tuned to B0 MW -> MultiGrain, Layer A: oud - tremolo on the B2- introduces temposynced strings amplitude and filter A becomes softer towards the high end modulation B becomes softer towards the low end

Oud Octave Mantra Layer A: oud - long arhythmical octave VEL decreases attack time texture (1:18) on three different open AT shifts Grain Position strings all tuned to B (B0/B1/B2) - root: MW -> MultiGrain, B1 MultiFilter, Noise- LFO 1 modulates Grain Length modulates Grain Pitch / Scan through the octave texture using Grain Formant AT

Oud Octave Mantra Layer A: oud - long arhythmical octave VEL decreases attack time XT texture (1:18) on three different open AT shifts Grain Position strings all tuned to B (B0/B1/B2) - root: MW -> MultiGrain, B1 MultiFilter, Noise- LFO 1 modulates Grain Length in A modulates Grain Pitch / Layer B: a processed FX version of the Grain Formant sample used in A - root: B1 Scan through the samples using AT

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Ethnic Strings Samples / Comments Controllers

Oud Plucker Split Layer A: oud - single note accent, long VEL decreases Grain decay - root: B0 Speed (slower at higher Layer B: oud - single note accent, long velocities) and LP filter decay - root: B2 cutoff Samples play in oneshot-mode (not AT detunes the grains looped) MW alters the Amp Env A fades out towards the high end (decreases sustain / B becomes softer towards the low end release levels), reduces LP filter cutoff, increases Tip: morph the oud sound into a dirty filter resonance, adds pluck sound using MW, play distortion, eliminates delay dynamically to modulate the filter cutoff FX, increases amount of and sample speed chorus FX, decreases reverb time

Oud Stumbling Layer A: oud - slow fret slides up / AT increases Grain Speed Slide Trill down between F#1 - G1, plenty of MW introduces square- fretting noises, long decay phase shaped temposynced pitch following the last accent and Grain Speed- root: F#1 modulation via LFO 2 LFO 1 modulates Grain Duration / Grain Introduces tempo-synced Length via Filter Env, Filter Env filter modulation via Step modulates Grain Speed Modulator, adds distortion, Control overall trill-speed with AT reduces reverb send

Oud Sul Pont Layer A: oud - rhythmical 12-bar long VEL decreases attack time Tremolo Cloud sequence on A2 played near the bridge of Filter / Amp Env in A Layer B: oud - same sample as in A, and increases LP filter using only the last accent and decay, cutoff in B Filter Env modulates Grain Speed in B AT Noise-modulates Grain Formant in A MW only affects A: decreases Grain Duration and Grain Width, decreases sustain level in Filter Env, introduces filter modulation, increases filter resonance adds chorus FX

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Ethnic Strings Samples / Comments Controllers

Psaltery Bowed Layer A: bowed psaltery - dynamic AT increases Grain Speed Trill Meets Mallets semitone trill, short accented bowing, and decreases Grain accel. / rit - cresc. / decresc. - root: A#3 Duration Layer B: psaltery - long tremolo (0:54) played with Glockenspiel mallets on C3, MW -> MultiFilter, detunes rich harmonics, LFO 2 modulates Grain the grains, Speed via Filter Env in B, B becomes adds chorus + delay FX softer towards the high end also reduces amplitude of Tip: increase trill / tremolo speed using Grain Speed-modulation in AT B

Psaltery Layer A: plectrum-plucked psaltery, AT increases Grain Speed Countergliss fast diatonic glissando up (Cmj) - root: MW randomizes Grain Diatonic C4 Position, increases attack Layer B: plectrum-plucked psaltery, time, increases amount of fast diatonic glissando down (Cmj) - chorus FX, decreases root: C4 chorus time-parameter Tip: control glissando speed with AT

Psaltery Layer A: plectrum-plucked psaltery, AT increases Grain Speed Countergliss pentatonic glissando up (only the Pentatonic “black“ strings), medium tempo, long MW randomizes Grain decay Position, increases attack root: C#4 time, increases amount of Layer B: plectrum-plucked psaltery, chorus FX, decreases fast pentatonic glissando down, medium chorus time-parameter tempo, long decay - root: C#4 Tip: control glissando speed with AT, create beutiful pentatonic clouds with MW up playing several octaves and fifths

Psaltery Detuned Layer A: plectrum-plucked psaltery, VEL decreases attack Pluck Synth single accent and decay - root: C4 time, when MW is up it Filter Env modulates Grain Speed also modulates LP filter Tip: when MW is up you can modulate cutoff filter cutoff with velocity MW decreases filter cutoff, adds distortion, adds temposynced Delay FX

Psaltery Detuned Layer A: plectrum-plucked psaltery, VEL decreases attack Pluck Synth XT single accent and decay - root: C4 time, when MW is up it Layer A: plectrum-plucked psaltery, also modulates LP filter single accent and decay - root: F3 cutoff Filter Env modulates Grain Speed MW shifts Pitch in B Tip: when MW is up you can modulate (scaled in semitones, +1 filter cutoff with velocity, shift the pitch in octave with MW fully B using MW engaged)

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Ethnic Strings Samples / Comments Controllers

Decreases filter cutoff, adds distortion, adds temposynced delay FX

Psaltery Double Layer A: plectrum-plucked psaltery, VEL decreases Grain Octave Piano single accent and decay, double octave Speed (slower at higher (C3/C5) root: C4 velocities) and increases LP filter cutoff Filter Env modulates Grain Speed AT detunes the grains MW introduces pitch modulation via LFO 1 and increases amount of chorus FX

Psaltery Filter Layer A: plectrum-plucked psaltery, MW -> MultiGrain, Scape series of rising octaves, F3-4-5 - root: changes the shape of F4 temposynced LFO 1 Layer B: plectrum-plucked psaltery, Also eliminates amplitude series of falling octaves, F5-4-3 - root: modulation in B (Step F4 Modulator via LFO 2) Filters in both layers are tuned (key follow 100%), bandpass in A, lowpass in B

Psaltery Minor Layer A: bowed psaltery - falling minor AT shifts Grain Position Scale Cloud Duet melodic scale in E - root: E4 and decreases Grain Layer B: plectrum-plucked psaltery, Speed processed texture in Bbmin - root: A#3 MW -> MultiGrain, Scan through the samples using AT MultiFilter, increases attack time, adds distortion, detunes the grain in A, Noise- modulates Grain Formant in B Also adds chorus FX in A and redusces sustain level in B

Psaltery Rattle Layer A: psaltery - plucking the C3- PB controls pitch and filter Scape string with the fingernail near the bridge, cutoff tremolating rapidly with a fingernail from the other hand on the string without AT decreases Grain muting it root: C3 Duration / Length Layer B: same sample as in A with a different filter and envelope setting MW reduces Grain both layers use tuned filters (key follow Random / Spread 100%)

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