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20050410_ethnoworld3completebooklet15.qxp 03.06.2005 11:48 Seite 2

License agreement: The samples and software contained in this library are licensed to you for use in , multimedia and film productions only. Only the purchaser of this CD is authorized to use the sounds. Unauthorized copying, reproduction (including conversion and reproduction in other data formats) hire, rental, public performance, broadcasting and distribution is expressly prohibited. best service constantly monitors other soundware releases to check for copyright infringe- ments, and will prosecute all piracy and copyright violations to the fullest extent of the law. All rights by best service. 20050410_ethnoworld3completebooklet15.qxp 03.06.2005 11:49 Seite 4

Welcome to the Kompakt-Instrument ABOUT THE PRODUCERS HOW TO USE THE INSTRUMENTS ABBREVIATIONS: Ethno World 3 Complete Ethno World´s producers are The Virtual Instrument "Ethno World 3 Complete" is CH Chords DT Double Tone Marcel Barsotti and Andreas Hofner. available for Mac and PC/Win and includes a special by Marcel Barsotti version of Native Instrument´s KOMPAKT Sampler. You ESP Espressivo Living in Munich, Marcel Barsotti has for many years can use the instruments like in a "normal" orchestra, F Forte INTRODUCTION been composing film scores. He wrote the music for that´s why there are different groups like type FG Fingerstyle Marcel Barsottis Ethno World 3 Complete is one of the more than 40 films including "The Miracle of Bern - instruments, bowed instruments, construction sets, FX Effect biggest ethno libraries and contains 30 new rare ethnic Das Wunder von Bern" (Soenke Wortmann), „Kebab and bowls, key instruments, metal type instru- GL instruments plus the complete content of Ethno World Connection“, "The Poet" (Paul Hills), "Sirga" (Luc Bes- ments, stringed instruments, woodwind and brass, LK Lick 1 and Ethno World 2. A total sum of about 170 instru- son production), "Dolphins", "Green Desert" and world and world percussion. The instruments do LP Looped Programs ments. This collection sets new standards in sound "Always and Always". He was nominated for the Ger- sound extremely dynamic and natural. You will hear the MT Marcato quality and in the technical playing styles of ethnic man Television Award in 2004. Among many CD swish of vibrating strings and in addition there is an NV Non instruments. Within more than 5 Gigabytes of sample releases and music for commercials, he released his effects bank that lets you combine the specific noises ORIG Original Tune material, you will find instrument sounds in a variety of first CD-ROM library Ethno World in 1999. This product of an instrument with the basic instrument sound. P playing styles, loops in different tempi, licks and an became one of the best selling ethnic CD-ROM libra- PL played with Plectrum ries world wide. In the main program many instruments are equipped enormous selection of special effects. with dimension keys. Via keys they let you select the PLF Plectrum Forte EthnoWorld 3 Complete has amazing sound quality. Andreas Hofner is renowned as a composer of many different playing styles of the instrument. Some of the PLP Plectrum Piano Many renowned and famous instrumental artists from radio jingles and film scores for feature films and docu- instruments (e.g. the ) are programmed with up to PS Playing Styles all over the world have added their talent and skills to mentaries. He now works as a professional producer 11 dimension keys and playing styles. For a certain PT Pitched Version create this library. Great care has been exercised to and is an excellent musician in his own right. instrument, the dimension keys let you change the PZ transmit the sound of the instruments as naturally as THE SOUND CONCEPT playing styles like piano/forte, marcato, pizzicato, tre- S Solo possible. molo, glissandi, slides, mordent, trills and many more. SD Slide Down The library contains more than 5 Gigabytes of ethnic Given precise programming, one can no longer diffe- SL Slides Ethno World 3 Complete - one of the world´s largest instruments. Almost all instruments were recorded in collections of ethnic instruments from: Africa, Ameri- rentiate the Ethno World Volume 2 instruments from SP Slaps stereo with different velocities. For sound reasons (no the "real" instruments. STAC Staccato ca, Asia, Australia, , Bengal, Bhutan, Brasil, Burma, pun intended...), several were sampled in mono. Ceylon, , Cuba, Egypt, , , La In addition there is a lot of different loops, licks and STF Staccato Forte Very often flutes do sound smoother and richer in STK played with Sticks Gomera, Greece, Guinea & Mali, Hawaii, Himalaya, mono. All instruments have been recorded with the effects in tempi from 60 to 140 bpm. Ethno World 3 India, , Iran, Ireland, Italy, Japan, Kenja, Complete can be used in many different styles like folk, STP Staccato Piano finest state-of-the-art tube technology and then SU Slide up Korea, Lombok, Mexico, , Morocco, Nepal, mastered with professional high quality plug-ins. Great mainstream, film scores, avantgarde, ethno music and Nigeria, Persia, Peru, , Senegal, Slowakia, South pop/rock music. TR Tremolo care has been exercised to transmit the authenticity of TRL Trill Africa, South America, , , Sri Lanka, the instruments. This has sometimes meant that origi- V Version/Vibrato , Tansania, , Tibet, Tunesia, Turkey, USA nal tunes are sampled with some unavoidable sounds VB Vibrato and Vietnam. and noises. The reference tuning is set at 440 Hz. VF Vibrato Forte Credits VP Vibrato Piano Produced by Marcel Barsotti and Andreas Hofner. Photos by BAM Music. Wolfgang Lohmeier Recorded and mastered at BAM Music & Artman Music. Design & graphic realisation by Marcel Barsotti & pro-arte Richard Aicher Enrique Ugarte © 2005 best service. All rights reserved. Musicians: Marcel Barsotti Andreas Hofner Stringed instruments, drums & percussion, David Junior flutes and key instruments Xizhi Nie Erhu, , , , , , Marcel Barsotti - Producer Enrique Ugarte , Shenai Raoul Alvarellos Shiva , Pepe Rochas Kena, Mocéno Bassflute Xizhi Nie Fabian Roemer Moorin Khur, Egyptian David Junior World percussion and drums Andreas Zoellner Rag Dun horns, Hawaiian Shell Wolfgang Lohmeier Drums, Percussion, Monochord on EW3 Andreas Weidinger Flutes on EW1 Tom Hake and on EW3 Seref Dalyanoglu Saz, , Cümbüs & on EW3 Tom Hake Claus Gstatter Western Fiddle on EW3 Wolfgang Kotzowilis Drums on EW1 Special thanks to: Andreas Hofner Klaus Kandler, Gundi, Regina, Roland, Richard, the Music Shop crew, Andi, Christof and all the great musicians! Fabian Roemer Seref Dalyanoglu Raoul Alvarellos 20050410_ethnoworld3completebooklet15.qxp 03.06.2005 11:50 Seite 6

BELL & METAL TYPE INSTRUMENTS

Here are some very grammes. In the pitched from Lom- grammes in the original ging , which are You will find European These too have varying phone with synthetically unusual instruments from version some of the bok (1 octave). tuning and in the Europe- played with a rubber- instruments, such as a dynamics. A few more produced tremolo and a around the world. They instruments sound like The Kalimbas (African an half tone tuning. coated stick. , a chroma- unusual instruments are crashbell, all have varying dyna- large Tibetan bowls, plucked instruments, A selection of ethnic bell There are temple cym- tic 2 octave Glocken- the baby piano where four firmly fixed mics, playing styles, gongs or church bells. here with 5 and 15 small instruments is available bals from China and spiel, and small tubular (its little wooden clappers are hit by two loops and pitched pro- The is a Gamelan metal rods) have pro- as well as Tibetan sin- Tibet and bells from bells. fall onto longer metal cymbals. Burma. rods), a vibra-

Hugh Tracey Kalimba (South Afrika) Belltre + Fingercymbals (Iran) + Windbells

Gamelan Crash Bells (Lombok) Kalimba Kibirizi, Tuning Plates (Kenja)

1) Small (Asia). 2) Chi Balls (China) 1) Gamelan Crash Bells (Lombok). 2) Saron (Gamelan Glockenspiel/Lombok), 3) Hand Cymbals (Europe), Headless (Germ.), 3) Gamelan Wood (Indonesia) Big African Rice Shaker (Kenja), Pots (Europe) 4) Traditional Cowbells 1 (Europe), (Spain)

2

Tibetan Singing Bells (Nepal)

1) Metallophon (Germany). 2) Chromatic Glockenspiel (Germany), 3) Small Bamboo Vibraphon (Synth.Tremolo)

Tibetan Temple Cymbals (Nepal) Shanghai Baby Piano (China) 20050410_ethnoworld3completebooklet15.qxp 03.06.2005 11:51 Seite 8

From the instrument There is also a large From Indonesia is the In China the Erhu, The is family of the Gongs collection of Singing Gong Besar with a GONGS & BOWLS BOWED INSTRUMENTS Gaohu and Jinghu also called the Mongoli- there are instruments Bowls at your dispo- deep curve at the ( violin) an horse head violin. It like the Wuhan Tam sal: Big Rako Bowls, back, and the Dream- are traditional bowed originates from Mongo- Tam from China, the Big Tibetan Singing catchers, very much instruments. lia and is very similar to Java Gong with a dia- Bowls from Tibet and like windchimes. The Erhu is a two- our . This low meter of 80 Centimeters Rin Bowls from Japan string violin tuned in sounding violin has two (approx. 31 inches) and in different playing sty- fifths. It has no frets strings made from the Tam Tam Besar les and sizes. and no fingerboard and horse hair, again it has from Indonesia. is being played with a no frets and no finger- fixed bow stick. board. The Gaohu is a higher The Fiddle is a bowed pitch sounding Erhu instrument very similar and the little Jinghu is to the Violin. The Fiddle a Chinese soprano vio- is different from the lin which is used in Bei- classical Violin in the jing opera music. way it is played and in the musical style play- ed on this instrument.

Big Tibetan Singing Bowls

Big Rako Bowls 1) Small Erhu Plectrum Violin (China. 2) Erhu Plectrum Violin (China). 3) Ceylon (Ceylon)

Erhu & Gaohu Tam Tam Besar & Wuhan Tam Tam & Java Gong

Gong Besar 18" (Indonesia) Jinghu Opera Violin

Rin Bowls Egyptian Fiddle 20050410_ethnoworld3completebooklet15.qxp 03.06.2005 11:52 Seite 10

STRINGED INSTRUMENTS Stringed instruments is similar to the Japanese The and the to resonance with the have been recorded in Koto. It is a harp with a Domra both are from "cone". Its sound is whole and half tone size of approx. 2 Meters Russia. The Balalaika is slightly tinny and steps and consist of two (6 ft.) and its 21 strings tuned in E-E-A and is aggressive. The instru- stereo layers, tapering up are tuned diatonically. mostly played with a tre- ment often is played to 15 seconds. The bass The Zheng´s specific molo. The accompani- with the slide technique. neck of the contra guitar vibrato is produced with ment, the Domra, origi- The Tanbur, a long- was recorded plucked the left hand close to the nally comes from Mon- neck from the and also played with a bridge. golia. It is a small pluk- , is played plectrum. The Bouzouki from ked guitar tuned in with a pick (plectrum) The Chinese Erhu violin Greece is a four voice fifths. It is built in several just like a . (2 strings) was played guitar which is well different versions. with a plectrum and is known for its tremolo. The Timple is the tradi- The Saz or Baglama is a Turkish long-neck lute played in two different The Zsoura is a small tional 5 string guitar from ways: on the left half of Lanzarote. It shows simi- with seven strings and three voice Bouzouki frets. Despite its shape the keyboard (E1 to C3) which is very well suited larities with the . you can hear the first which is similar to the as a solo instrument The Ukulele from Greek Bouzouki, it is dif- string with varying dyna- because of its higher Hawaii is a small 4 mics, from C1 to D1 the Tanbur & Oud Sitar & Tampura ferent in construction, pitch. string guitar tuned to A- drone can be played; on size and sound. The Saz D-F#-B (featured here the right half of the key- The Sitar and the Tam- Dra-Ngen & Morin Khuur 1) , 2) Saz Seven Strings is the most popular as a soprano version). board (D3 to A4) you can pura are the most in Tur- play the melody line on famous stringed instru- The Banjolin, since key. The word "Saz" ori- the second string. ments from India. The 1885 also known as the ginates in the Persian standard Sitar has 7 Banjo Mandolin, is a 4 language and simply The Small Erhu plec- main strings and 11 free- means "musical instru- trum violin and the Cey- voice mandolin tuned to ly vibrating drone-strings ment". It is the traditio- lonese guitar (2 strings G-D-A-E. It is played for . The Tam- nal accompanying with fingerboard) behave with a banjo corpus. pura, used as an accom- instrument of the bards similarly, but they would panying instrument for 5 The 72 string Santoor is be used better for an a 4 voice from Per- who are called Asik in Raga singing or together Anatolia and the Cauca- Arabian style. with Sitar, consists of 5 sia and it is played with two hammers over a sian regionand is played The Kantele (developed strings without a finger- in an open tuning. from the dulcimer) has 15 board. It is played with a tonal range of 3 octa- 1) Mandolin Truxa. 2) Steel String Guitar Falcon ves. "Slaps" is a further play- strings, and it has an F glissando chord and 3) Contra Guitar F - Bass, 4) Saz Seven Strings . 5) Banjo Framus ing style available here. tuning. It is played by tuned to key note and 1) Kantele. 2) Small Kantele The Cora, a stringed plucking or tapping with fifth (fourth). instrument from West Monochord - The sticks (this goes for the Africa, depending on its sound bench on this The Dra-Ngen is a 7 recording is being used small Kantele too). string kerb lute with mat- version, features 8 to 16 strings that can be tuned in the areas of relaxation There is also a banjo and ching half octave string and wellness, birth pre- a Truxa mandolin, which originating from Bhutan. over a bridge. Without a fingerboard, the strings paration, in kindergar- can be used for East The Oud originally dens and schools. The Asian, European and are fixed and are pluk- comes from the Persian ked with several fingers. 50 strings running over Arabian styles. geographical area and is two well rounded frets Finally there is a six- a short neck lute with up The Vester Acoustic- found their way from the stringed steel guitar to 6 voices. Due to its bass with its 4 strings is Cembalo makers into with slide notes. fretless fingerboard it can tuned to E-A-D-G. this instrument; they be played in micro inter- A guarantee a very warm, The Zheng Harp (Chine- Cora Ukulele & Banjolin curved base Zither) vals. made by Continental pleasant and deep from Germany is a tin sound with rich harmo- guitar which is brought nics.

Santoor Saberi Bouzouki & Zsoura Zheng Harp Vester Acousticbass Timple & Domra Grand Monochord 20050410_ethnoworld3completebooklet15.qxp 03.06.2005 11:53 Seite 12

WOODWIND AND BRASS

Uilleann Pipes Irish & Overton Whistles Chinese Bawu Chinese Hulusi Rag Dun Horn Sheng

All the woodwind instruments sound is produced by 30 The Hawaiian Shellhorn is a have tapered notes, some bamboo tubes with valves. shell-like horn flute from Uillean Pipes is the name for with and some without vibra- The Sheng covers a tonal Hawaii. the Irish bagpipe. Uillean is to. The following instruments range of approx. 3 octaves. The Rag Dun Horn is often the gaelic word for elbow. are included: an Indian and a The Chinese Hulusi is a 6 played at ceremonies. It The name came from the fact Ceylonese snake charmer hole double tube flute with a comes from the Himalayas that the Uillean Pipes get and a double neck recorder bamboo body in the shape of and shows similarities with supplied with air not with the made from a pumpkin, which a pumpkin. Its sound is warm the European Alphorn, but it mouth, but by a bellow which always plays two notes at and clear. sounds much louder and is compressed with the once like a bagpipe. The Kena and the Moceno more metallic than its Euro- elbow. There is, however, a program- Bassflute both are South pean counterpart. There are The Cümbüs is a Turkish Indian Snake Charmer me that lets you play on just American kerb flutes from Rag Dun Horn versions of up long-neck lute with a circular Dung Dkar Conch & Bhutan Bells one recorder neck at a time. Bolivia. Their characteristical- to 3 Meters (approx. 9 ft.) metal bowl resonator covered With its loop version you can ly powerful and airy sound is length. with a screw-tensioned hide imitate Irish pipes. a bit similar to the Shakuha- The Dung Dkar Conch soundtable. It resembles a There is a big bamboo flute chi. Trumpet from the Himalayas Banjo, only with a deeper from Indonesia for warm The Peruvian are is a shell-like trumpet with bowl resonator and a wider sounds and for a strong eth- made from clay and are, as rich ornamentation. unfretted neck; its sound is nic flute character, a Mexican their name implies, from Peru. The Indian Shenai is a double deeper. It has six double , an Irish aluminium courses (pairs) of metal The Shiva Flute is played by flute and it is very similar low in D, a Susato to the Schalmei from Moroc- strings attached to metal from the USA, a Indian preachers. This brass machine tuning heads. It is flute has a very transparent co. It starts at G# and sounds clay from Peru, a very loud and harsh. tuned (and played) with a quill Dagoba (temple) flute from and high pitch sound. or a plectrum, like the oud. The Zukra Bagpipe, a Tunisi- Zukra Bagpipe Sri Lanka and an alto recor- The Slovakian - like The Pan Flute - named after Mexican Piccolo Flute der in F. many flutes an instrument of an bagpipe, is a flute with a kid-leather body. Pan, god of the sheperds. The 1 In addition, there is a good the cattle drovers - is made sound of this instrument origi- from elder. After removing the By powerfully blowing into selection of flute phrases the instrument it works like a nates from an airstream which and effects for the musical soft pulp, the two elder tubes is directed to a sharp edge (one up to 170 cm/67 inches bagpipe. 2 regions of East Asia and that cuts this airstream (on its South America. long, the other significantly Overton Whistles are hand- cutting edge). All over the 3 shorter) are attached to each made Irish aluminium whistles. The Bawu is a smooth and world Pan Flutes developed in other. The long tube is fitted Three whistles are combined different cultures more than mellow sounding Chinese with a labium and three gri- to one instrument to achieve a 4 bamboo flute with 5 holes. Its 6000 years ago. Today the pholes, the shorter tube gets greater range. very airy sounding Pan Flutes 5 sound is produced by a cop- a mouthpiece which is used per reed. The Tin Whistle developed from South America are to blow the flute. from the Flute, which famous, especially the ones 1) Bamboo Flute (Indonesia) 2) Irish Low Whistle (Ireland) The Sheng, also known as The European Tenor Recor- got its name from its mouth- from the Andes with their Chinese Bawu 3) Recorder Alto F (Germany) 4) Dagoba Flute (Sri Lanka) , comes from der starts at C minor and piece (fipple). It directs a nar- 5) Susato Tin Whistle D (USA) tubes aligned in one row. China as well, and its sound belongs to the instrument row air stream to a sharp edge. is similar to a blow organ. The family of recorders. 20050410_ethnoworld3completebooklet15.qxp 03.06.2005 11:55 Seite 14

WORLD DRUMS All drums have two dynamics on racteristic sound is produced by each key of one programme. two cords inside the drum. There are programes for playing Also from Tunisia are the Tunis techniques and pitched pro- Ceremony Drum and the Tunis grammes and different loop and Tamburin. beat versions. Many program- mes contain single samples in The Gopichand is a plucked additon to playing styles to imi- drum from Bengal. It is made of tate a phrase realistically, i.e. the two longitudinal wooden sticks military snare or the Darabuka. and a body which changes its pitch whenever an internal string The African Donn Donn is a tin is being compressed. drum with a cow hide skin and is especially recommended for Afri- The and the African 1) Talking Drum. 2) Dolek 3) Fujara Flute Madal Drum (Ceylon/Nepal) can and Indian grooves. both are from Sene- Derbuka & Small Derbuka & Iran Bongos Moroccon & & Cuica Big African Donn Donn Drum (Tansania) gal, they are the counterpart to The Madal drum originally the European Xylophone. The comes from Nepal. It has diffe- Balafon exists in versions of dif- rent sized drum skins on each ferent size. The resonance of the side and can be tuned with woo- sound boards is transmitted over den keys on interlaced skins. pumpkins cut in half. From Bali comes the ceremonial The Bass Cajon and the Yambu drum. are two large drums from Peru Iranian bongos are very small and Cuba which both have a and made from solid wood. Their wooden head. They were used sound is loud and high pitched to urge slaves to work. and they are played with sticks. The Djembe is a drum origina- For typical ethnic grooves there ting from Guinea and Mali. It has is a metal Darabuka from Tur- a batter head made from goat key, not to be mistaken for Der- skin and it offers a rich sound Pitched (Taiwan) Military Snaredrum (USA) Kanjira bukas, which are from Morocco palette. and have a clay body (generally Kanjira - a simple South Indian higher pitched). frame drum which is hit only with The Small Cassa has a very low the right hand. Nevertheless it and mighty sound, well suited to provides an astounding variety of produce big drum grooves of all sounds. By keeping the skin moist styles. There is also the big one gets a remarkable bass hand drum for all playing styles, sound. a tambourine drum and a Surdo - the big drum with rolls from Brazil is played with heavy and crescendi, brass sticks. It provides the basic from India, low pitched timbales rhythm for the Samba and is and grooves, etc. constructed from a large alumini- The from Tunisia is simi- um kettle, stringed with two pla- Water Drums lar to the Irish Bodhran. Its cha- stic skins. Bass Cajon

Surdo Tunis Ceremony Drum & Tunis Tamburin & Bendir Flat Udo Indian Tablas (India) 20050410_ethnoworld3completebooklet15.qxp 03.06.2005 11:56 Seite 16

WORLD PERCUSSION KEY INSTRUMENTS Here are some very but can also be used for the African rice shaker Qi Gong balls from Additional instruments are: Moroccon Conga, The Scale Changer Harmonium was first unusual instruments like a kind of Russian bala- (a rice filled rectangular China, which are tradi- Military Cassa and Cymbals from Italy, Mini introduced to India by the missionaries. It is the from Indo- laika. bamboo board), an Afu- tionally used for hand Bells, Schellenkranz (Jingle Ring), Shell She- brought to resonance with a beam of air. The nesia. Varying woods in Furthermore there is the che with metal meditation, a Gamelan kere, Gon Bops Cuica, Wrist Jingles, a Bass whole keyboard can be shifted, and thereby diatonic tuning are wide selection of play- chains, South Ameri- wooden bell, two hand Skin Udu from Nigeria, Log drum, Ocean the key note is adjustable from G# to E. An shaken to achieve a ing techniques and can rainmakers in vary- cymbals from Europe drums with steel bullets, Bhutan and Vietnam organ sound can also be added. kind of tremolo sound. loops of shaker-like per- ing sizes, chicken eggs and many other percus- bells, Wooden bells, Bass Kalimba from Africa, The Dallape Accordion from Italy is a 3 octa- This instrument can cussion instruments like and from Afri- sion instruments from Tamborcito from Peru and Spring Drums. ve wide accordion with keys. sound quite East Asian, ca and America. around the world. The Hohner Melodica is a keyboard-like reed instrument from Germany and features a scale of 2 octaves.

Baobab Shaker & Cola Shaker & Rattle Shakers & Eggs Bass Kalimba & Gopichand & Tamborcito & Wood Shaker & Small Maracas & Metal Guiro Shaker Scale Changer Harmonium

1) Rainmakers (South America/Bali).2) Chicken Eggs (Europe). 3) Afuche Cabasa (Europe). 4) Various Maracas (Global),

Mixed Wood Hohner Melodica

Gran Military Cassa

I hope all users will find a lot of enjoyment, plenty of inspiration and musical creativity in the musical transformation of ethnic and Xylophon & Balafon Military Cymbals other styles.

www.marcelbarsotti.com www.bestservice.de Marcel Barsotti Dallape Akkordion 20050410_ethnoworld3completebooklet15.qxp 03.06.2005 11:56 Seite 18

BURMA BELLS LP C0-C7 B E L L T Y P E I N S T R U M E N T S BURMA BELLS PT C0-C7 BURMA BELLS S1 C0-C7 Instrument Otiginal Tune Range Size EW Volume BURMA BELLS S2 C0-C7 BAMBOO VIBRAPHON 1 BURMA BELLS S3 C0-C7 BAMBOO VIBRA C3 - C#4 G1-D4 11 BURMA BELLS V2 C3-G4 BAMBOO VIBRA 2 G1-D4 SMALL TUBULAR BELLS (Asia) 1 BAMBOO VIBRA PT C1-C6 TUB BELLS D4-D5 G3-G5 33 BAMBOO VIBRA STK G1-D4 TUB BELLS PT C2-D6 BELLTREE (Tibet) F1-A4 31,4 3 TIBETAN TEMPLE CYMBALS (Nepal) 1 BELLTREE TUNED PLAY A1-G6 TIB-CYMBALS C3-E4 29 BHUTAN BELLS (Bhutan) G2-A5 15,3 2 TIB-CYMBALS PT C0-C7 BHUTAN BELL TUNED 1 C0-C6 TIB-CYMBALS S1 C0-C7 BHUTAN BELL TUNED 2 C0-C6 TIB-CYMBALS S2 C0-C7 BHUTAN BELL TUNED 3 C0-C6 TIB-CYMBALS S3 C0-C7 CHINA FINGER CYMBALS (China) 1 TIB-CYMBALS V2 C2-A4 CHINA FG CYMBALS C3-A3 6 TIBETAN SINGING BELLS (Nepal) 1 CHINA FG CYMBALS PT C0-C7 TIBETAN SINGING BELLS C3-D4 32.2 CHINA FG CYMBALS S1 C0-C5 TIB. SINGING BELLS LOOPS C3-F4 CHINA FG CYMBALS S2 C0-C5 ca. 158/121/3x123/120/112/123/122/2x164 CHINA FG CYMBALS V2 C0-C5 TIBETAN SINGING BELLS PT C2-D4 DREAM CATCHER (Windchimes/Asia) ! TIBETAN SINGING BELLS S1 C0-C7 DREAMCATCHER C3-G5 27.6 TIBETAN SINGING BELLS S2 C0-C7 DREAMCATCHER F TIBETAN SINGING BELLS S3 C0-C7 DREAMCATCHER PT C0-C7 VIETNAM BELLS (Vietnam) C3-B5 18,5 2 DREAMCTCH STK VIETNAM BELLS HIGH C3-B5 WINDCHIMES LOOPS D#4 - C5 C3-D4 VIETNAM BELLS LOOP 1 C0-C5 WINDCHIMES LP 1 C0-C7 VIETNAM BELLS LOOP 2 C0-C5 WINDCHIMES LP 2 C0-C7 WINDBELLS (Tibet) C3-D4 16,4 3 WINDCHIMES LP 3 C0-C7 WINDBELLS PLAY C1-C5 GAMELAN CRASH BELLS (Lombok) 1 WINDBELLS LAYER D0-C7 GAMELANBELLS C2-A3 7.9 GAMELANBELLS PT C2-A3 GAMELANBELLS S1 C0-F5 GAMELANBELLS S2 C0-F5 BOWED INSTRUMENTS GAMELANBELLS S3 C0-F5 Instrument Otiginal Tune Range Size EW Volume GAMELANCRASH C0-F5 GLOCKENSPIEL, CHROMATIC (Germany) 1 EGYPTIAN FIDDLE (Egypt) D2-D4 E1-E4 15,9 2 GLOCKENSPIEL G3 - G5 C3-C6 36.1 EGYPTIAN FIDDLE LOOPS 100-140 C3-D4 GLOCKENSPIEL GL C3-F3 ERHU (China) B2-B4 A2-C5 69,9 2 GLOCKENSPIEL PT C0-C6 KEY: VP / ESP / VF / TRL / LK / SU / SU2 / SD / STP / STF / PZ GLOCKENSPIEL STK C3-C6 ERHU KEY+VEL IRAN FINGERCYMBALS (Iran) C3-C5 23,5 3 KEY: VP-VF / ESP-VF / ESP-LK / VF-TRL / SU-LK / SU2-LK / SD-SU2 / STP-STF ERHU LICKS ALL METALLOPHON (Germany 1 ERHU LICKS 100 C3-B3 METALLOPHON C3 - Bb4 C2-D5 55.5 ERHU LICKS 120 C3-A#3 METALLOPHON PT C1-C6 ERHU LICKS 140 C3-D#3 METALLOPHON STK C2-D5 METALLOPHON F C2-D5 GAOHU (China) A3-D5 G3-D5 77,3 2 METALLOPHON P C2-D5 KEY: VP / VF / ESP / LK / TRL / SU / SD / SD / PZ GAOHU ALL LICKS C1-C#5 MINI BELLS (Morocco) C3-A4 15,6 2 GAOHU LICKS 100 C3-F#3 MINI BELLS LOW C3-A4 GAOHU LICKS 120 C3-G#3 SARON (Gamelan Glockenspiel/Lombok) 1 GAOHU LICKS 140 C3-D4 SARON C#4 - F#5 C3-A5 11.3 JINGHU OPERAVIOLIN (China) A3-G5 A3-A5 25,9 2 SARON GL C3-E3 KEY: V / NV / LK / PT / MT / ST / V-LK / MT-ST SARON PT C0-C7 JINGHU OPERAVIOLIN ALL LICKS C3-A#5 SARON STK C3-A5 JINGHU OPERAVIOLIN LICKS 100 C3-C4 SHANGHAI BABY PIANO (China) 1 JINGHU OPERAVIOLIN LICKS 120 C3-D4 BABYPIANO E3 - E5 C3-E5 25.4 JINGHU OPERAVIOLIN LICKS 140 C3-F#3 BABYPIANO PT C1-C6 MORIN KHUUR (Mongolia) A1-E3 G1-E3 40,4 2 SMALL BURMA BELLS (Burma) 1 KEY: P-F / ST BURMA BELLS C3-A3 7.2 MORIN KHUUR DOUBLE TONES C3-D5 20050410_ethnoworld3completebooklet15.qxp 03.06.2005 11:56 Seite 20

MORIN KHUUR ALL LOOPS C2-F#5 BOUZOUKI CHORDS + LOOPS 80-140 C2-A#4 MORIN KHUUR LOOPS 80-100 C3-A#4 BOUZOUKI SAKIS FX C-F4 MORIN KHUUR LOOPS 120 C3-F#4 CEYLON GUITAR (Ceylon) 1 WESTERN FIDDLE (USA) G1-A4 57 3 CEYLON GUITAR Ab3 - Gb4 R:D3-C5 13.5 (C-tunes start C1, G-tunes start C3) (left + right String) L:C1-C3 WESTERN FIDDLE LICKS 80 (C start C2) C2-G3 Ceylon Guitar Loops E ca. 149/118/101/93 E5-A5 WESTERN FIDDLE LICKS 100 C1-C#4 Original Tune: Ab3 - Gb4 / Well suited for Arab Musicstyle WESTERN FIDDLE LICKS 120 C1-B4 CONTINENTAL RESONATOR GUITAR (Germany) E1-A#4 A0-C6 86,5 2 WESTERN FIDDLE LICKS 140 C1-B4 KEY: P-F / SL / SD / P-F-SL-SD RESONATOR GUITAR LOOPS 80-120 C3-C4 RESONATOR GUITAR FX C3-D4 CONSTRUCTION SETS CONTRA GUITAR F - BASS (Germany) 1 CONTRAGUITAR F1 - F2 D1-A2 32 Instrument Otiginal Tune Range Size EW Volume CONTRAGUITAR FG D1-A2 MID EAST SETS CONTRAGUITAR PL D1-A2 Contain Drums & Percussion-Loops (start C2), CORA (Sansibar) F#2-D#3 C0-G#4 15,6 2 Saz, Cümbüs & Tanbur-Licks in G (start C3) CORA LOOPS 100-120 C3-G#3 Saz, Cümbüs, Tanbur & Oud-Licks in C (start C4) CORA FX C3-F#4 MID EAST SET 80 C1-G#5 35,6 3 CÜMBÜS (Tukey) E1-E4 D1-D5 78,8 3 MID EAST SET 100 C3-C#6 35,5 3 CUMBUS LICKS 80-140 C2-D5 CUMBUS OPEN STRINGS C1-D5 MID EAST SET 120 C1-B5 23,2 3 DOMRA (Russia) D2-B4 C1-G5 61,3 2 MID EAST SET 140 C1-G#5 28,6 3 KEY: FGP-FGF / PLP-PLF / TR / PLP-TR CHINA SETS DOMRA CHORDS + LOOPS 80-140 C3-G5 Contain Drums & Percussion-Loops (start C2), DOMRA FX C3-G3 Zheng Harp Loops (start C3) DRA-NGEN (Bhutan) A1-C4 C0-C#6 35,5 2 Erhu, Gaohu or Bawu-Licks (start C4) DRA-NGEN LOOPS 60-120 C3-D#4 CHINA SET 100 C2-A#4 22,1 3 DRA-NGEN FX C3-A#4 CHINA SET 120 C2-F5 24,8 3 GRAND MONOCHORD (Germany) C#1 67,0 3 CHINA SET 140 E2-A4 18,9 3 GRAND MONOCHORD PLAY LAYER G0-C7 GRAND MONOCHORD PLAY 1 G0-C7 GRAND MONOCHORD PLAY 2 G0-C7 GRAND MONOCHORD GLISS C1-G#5 KEY INSTRUMENTS GRAND MONOCHORD GLISS PT G0-F#6 DALLAPE ACCORDION (Italy) C1-A5 B1-B5 73,4 2 GREG BENNETT UKULELE (Indonesia) C3-A4 C1-B5 49,4 2 KEY: P+F / ST / ESP / ESP + F UKULELE CHORDS + LOOPS 100-140 C2-B5 HOHNER MELODICA (Germany) B2-B4 A2-C4 38,2 2 KANTELE (Russia) 1 KEY: ESP+V / NV / ST / NV+V KANTELE FG F3 - F5 C3-C6 78.4 SCALE CHANGER HARMONIUM (India-Kalkutta) A#1-D6 G1-C5 14,8 2 KANTELE PT C1-C6 HARMONIUM + REGISTER A#1-D6 G0-C5 KANTELE STK C3-C6 KANTELE GLISS C3-G4 Kantele Loops ca. 97/139/181/x/116/116 MANDOLIN TRUXA (Ireland) 1 S T R I N G E D I N S T R U M E N T S MANDOLIN E2 - G4 E2-B4 16.8 Instrument Otiginal Tune Range Size EW Volume OUD (Iran) F1-D#4 C0-G5 36,3 3 OUD LOOPS 80-140 C3-G3 BALALAIKA (Russia) A1-E4 C1-G#5 45,0 2 OUD FX C3-C#4 KEY: P-F / TR / P-TR / P-F-TR OUD LICKS (Turkey) F1-D#4 41,1 BALALAIKA LOOPS 80-120 C3-G#3 OUD LICKS 80-140 C1-F#5 BALALAIKA FX C3-B3 SANTOOR SABERI (India) D#2-E4 C2-F#4 66,4 2 BANJO A FRAMUS (Germany) 1 SANTOOR SABERI FX C2-G4 BANJO FRAMUS A1 - Db5 A1-D5 47.9 SAZ LICKS (Turkey) E1-E4 C1-C#6 39,3 3 BANJO FRAMUS FX C3-E5 SAZ LICKS ALL 80-140 F0-C7 BANJOLIN (Ex DDR) E2-G#4 E1-F6 44,1 2 SAZ LICKS C 80-140 C1-C5 BIG ERHU PLECTRUM VIOLIN A (China) 1 SAZ LICKS G 80-140 C1-G#4 BIG ERHU PL Eb3 - D4 R: D3-A4 17.9 SITAR (India) D2-D#4 C1-F#6 81,8 2 (Playing Styles: C1+D1 / left + right String) L: C1-C3 KEY: P-F / SL / SD / P-SL / P-SD / F-SL / F-SD / P BOUZOUKI SAKIS (Greece) C2-A#4 C1-B5 92,2 2 SITAR VEL (P- F - SU -SD) C1-F#6 KEY: P-F / TR / SU / TRL / P-SU / P-TRL / P-TR / F-TR SITAR GLISS + FX C2-F4 BOUZOUKI SAKIS VEL (P / F / SU / TR) C1-B5 20050410_ethnoworld3completebooklet15.qxp 03.06.2005 11:57 Seite 22

SMALL ERHU PLECTRUM VIOLIN A+LOOPS (China) 1 FLUTE PHRASES C1-D6 31 1 SM. ERHU A3 - E4 R: E3-C5 12.5 FUJARA FLUTE (Slowakia) F2-F4 C1-C6 7,2 3 (Playing Styles: C1+ D1 / left + right String) L: C1-D3 KEY: NV / V / NV-V Small Erhu Loops A ca. 156/159/126/130 FUJARA STEREO C1-C6 STEEL STRING GUITAR FALCON (Japan ) 1 FUJARA FX C3-G4 FALCON GUITAR E1 - A4 E1-B4 72 HAWAIIAN SHELLHORN (Hawaii) A#2-A3 C2-C4 19,2 2 FALCON GUITAR FG E1-B4 KEY: V / NV / NV-V SMALL KANTELE E (Hungaria) 1 HAWAIIAN SHELLHORN LICKS C3-G3 SMALL KANTELE E4 - D5 A3-D5 24.2 HULUSI (China) G3-A4 C2-C5 35,2 2 SMALL KANTELE GLISS C3-F4 KEY: V / NV / LK / DT / DT LK / DT ST SMALL KANTELE LOOPS C3-G4 HULUSI VEL (V-LK) C2-C5 ca. 127/100/76/142/162 127/104/141/162/162/125/102 HULUSI LICKS C3-F3 TAMPURA P. & BROTHERS (India) G1-G2 F1-G4 42,7 2 INDIAN SNAKE CHARMER DB (India) 1 TAMPURA P & BROTHERS SLOW F1-G4 SNAKECHARMER Dd3 - A3 A2-C4 31.6 TANBUR (Turkey) A1-A3 F#0-G#4 74,1 3 SNAKECHARMER LP A2-C4 TANBUR LICKS 80-140 G0-D5 SNAKECHARMER LAYER C2-C4 TIMPLE (Lanzarote) G2-E4 C2-G5 18,2 2 SNAKECHARMER ORIG A2-A3 TIMPLE LOOPS 100-120 C3-G3 IRISH LOW WHISTLE VB (Ireland) 1 TURKEY SAZ, SEVEN STRINGS 1 LOW WHSTLE VB D3 - C#5 C3-D5 28 SAZ A1 - C4 E1-E4 42 LOW WHSTLE VB+STAC C3-D5 SAZ LOOPS+CHORDS ca. 76/59/93/92/66/67/112 C3-A4 LOW WHSTLE VB STAC C3-D5 Saz Chords in E Irish Low Whistle AT (Ireland) VESTER ACOUSTIC BASS (Korea) E1-C#4 D1-E5 90,8 2 LOW WHSTLE D3 - C#5 C3-D5 23.5 KEY: FGP-FGF / PLP-PLF LOW WHSTLE STAC C3-D5 ACOUSTIC BASS FINGERED D1-E5 LOW WHSTLE+STAC C3-D5 ACOUSTIC BASS PLECTRUM D1-E5 KENA (Peru) E3-A5 C1-B5 57,7 2 ZHENG HARP (China) G0-G4 A0-C#6 110,7 2 KEY: V1 / V2 / NV / ST / TRL / NV-V1 / V1-V2 / V2-TRL KEY (C0 - D#0): P-F / V / SU / SD KENA LICKS C3-D#4 ZHENG HARP VEL (P / F / V / SU) A0-C#6 MEXICAN PICCOLO FLUTE F# (Mexico) 1 ZHENG ORIGINAL TONES ( P / F / V / SU) G1-C#6 MEXICAN PICCOLO F#4 - C#5 E4-G5 8.1 ZHENG HARP LOOPS 60 - 100 C3-C4 MEXICAN PICCOLO+STAC E4-G5 ZHENG HARP GLISS C3-C#4 MEXICAN PICCOLO STAC E4-G5 ZSOURA SAKIS (Greece) C2-E4 C1-C#6 60,1 2 MOCENO BASSFLUTE (Peru) F2-D3 A1-G4 13,7 2 KEY: P-F / TR / P-TR / P-F-TR KEY: V / NV / TRL / V-TRL ZSOURA CHORDS + LOOPS 100-140 C3-C#6 MOCENO BASSFLUTE SLOW A1-G4 ZSOURA FX C3-E4 KEY: V- TRL / NV-V MOCENO BASSFLUTE LICKS C3-G3 OCARINA (Peru) 1 WOODWIND AND BRASS OCARINA VB D3 - A4 C3-D5 15.6 OVERTON WHISTLE LICKS (Ireland) D3-C5 122,9 3 Instrument Otiginal Tune Range Size EW Volume IRISH WHISTLE LICKS NO BPM C1-F#4 IRISH WHISTLE LICKS 80 C2-G#3 BAMBOO FLUTE G (Indonesia) 1 IRISH WHISTLE LICKS 100 C1-F#5 BAMBOO FLUTE G3 - A4 D3-E5 25.6 IRISH WHISTLE LICKS 120 C1-B4 BAMBOO FLUTE STAC D3-E5 IRISH WHISTLE LICKS 140 C1-B4 BAMBOO FLUTE VB 2 C3-A4 OVERTON IRISH WHISTLE (Ireland) A2-C5 C1-G5 49,9 3 BAWU (China) D3-E4 C2-F4 36,4 2 KEY: NV / SU / LK / ST KEY: V / ESP / NV / LK / TRL / SU / SD / ST BAWU KEY VEL C2-F4 PANFLUTE (Peru) F#1-C4 F1-D4 95,7 3 KEY: ESP-V-LK / ESP-V-SU KEY: NV / V1 / V2 / ST BAWU LICKS C3-A#3 PANFLUTE LICKS 80-140 C1-B5 CEYLON SNAKE CHARMER (Ceylon) 1 PERUVIAN DOUBLE OCARINA (Peru) C#4-E4 C1-C5 11,6 2 CEYLON SNAKECHARMER Gb3 - G4 C3-A4 13.3 PERUVIAN DOUBLE OCARINA FX C3-D5 PERUVIAN OCARINA (Peru) G2-F3 F2-C4 20,6 DAGOBA FLUTE D (Sri Lanka) 1 KEY: V / NV / ST DAGOBA FLUTE D3 - Ab3 F2-E4 10.5 PERUVIAN OCARINA FX C3-F#4 DAGOBA FLUTE LP F2-E4 RAG DUN HORNS (Tibet) C1-C#3 C1-C5 14,3 2 DUNG DKAR CONCH TRUMPET (Tibet) F#3-C4 E2-A4 4,1 2 RAG DUN BASS HORN C1-D4 F#1-F2 KEY: P-F / F-SL RAG DUN TENOR HORN C1-C5 C1-C#3 Flute Phrases (Ethnic) & Effects RAG DUN ALT HORN E2-A4 D2-F#3 (Phrases + Effects from various Flutes) 20050410_ethnoworld3completebooklet15.qxp 03.06.2005 11:57 Seite 24

Recorder Alto F (Germany) No VIB 1 139/137/137/135/135/136/136/131/134/90 (9/8-8/8)/90 (9/8-8/8)/ RECORDER F F3 - G4 D3-D5 18.8 129/127/129/143/143/142/128 Recorder Alto F (Germany) VIB CEREMONY DRUM (Indonesia/Bali) 1 RECORDER VIB F3 - D5 F3-G5 23.1 CEREMONYDRUM C2-B4 22 RECORDER VIB+STAC F3-G5 CEREMONYDRUM LOOPS ca. 95/94/94/125/142/ C3-A4 RECORDER STAC F3-G5 79/80/180/69/69/70/72/99 SHENAI (India) F#2-F#3 C1-G#4 46,2 2 (The Ceremony Drum has a left and a right Drumpad) KEY: V / NV / TRL / ST DARABUKA (Turkey) 1 SHENAI LICKS C3-B4 DARABUKA C1-C6 40 SHENG (China) B2-F#5 C1-G5 62,3 2 DARABUKA PT C1-C6 KEY: V / NV / ST / DT / DT V DARABUKA V2 A-0-B5 SHENG KEY VEL C1-G5 DARABUKA LOOPS ca. 152/101/129/102/ C3-A4 KEY: NV-V / V-ST 118/122/117/131/135/136/100/101/102 SHENG LICKS 120-140 C3-G4 DERBUKA (Morocco) 1 SHIVA FLUTE (India) C4-C6 C2-D6 37,9 2 DERBUKA C2-A5 29.2 Key: V / NV / ST / Smooth V DERBUKA LOOPS ca. 121/119/99/99/ C3-G5 SHIVA FLUTE LICKS C3-B4 101/132/135/131(13/8)/133/93/93 SUSATO TIN WHISTLE D (USA) No VB 1 DJEMBE (Guinea) C1-E4 21,2 2 SUSATO D D4 - C#6 C4-D6 29.5 DJEMBE LOOPS 80-140 C3-D#4 SUSATO D+STAC C4-C6 DOLEK (Sri Lanka) C1-C6 21,1 3 SUSATO D STAC C4-C6 DOLEK LOOPS 80-140 C3-G4 Susato Tin Whistle D (USA) VB FLAT UDU (Australia) C1-D6 18,2 3 SUSATO VB D4 - B5 C4-C6 18.9 FLAT UDU LOOPS 80-140 C3-G4 SUSATO VB+STAC C4-C6 SUSATO VB STAC C4-C6 GRAN MILITARY CASSA (Italy) C1-B5 54,3 2 GRAN MILITARY CASSA LOOPS 60-100 C3-B3 TENOR RECORDER (Germany) C3-D5 C1-D5 42,8 2 KEY: V / NV INDIAN TABLAS (India) 1 TENOR RECORDER LICKS C3-G#4 INDIAN TABLAS C2-B5 19.7 ULLEANN PIPES (Ireland) D1-B4 G0--C5 53,8 3 IRAN BONGOS (Iran) 1 KEY: ATT / LEG / LK IRAN BONGOS C2-E3 15 ULLEANN PIPES LICKS 80-100 D1-B3 IRAN BONGOS LOOPS C3-C4 ULLEANN PIPES LICKS 120-140 D1-D#5 ca. 143/130/103/108/162/167/168/139/ IRAN BONGOS PT C2-E3 ZUKRA BAGPIPE 1 (Tunesia) A2-E3 G#0-C#5 10,2 2 ZUKRA BAGPIPE 2 G#0-C#5 KANJIRA (India) C1-C6 12,9 3 ZUKRA BAGPIPE 3 G#0-C#5 KANJIRA LOOPS 80-140 C3-F4 ZUKRA ONEPIPE C3-C#5 MADAL DRUM (Ceylon/Nepal) 1 MADALDRUM C1-C6 19.8 MADALDRUM LOOPS C3-G3 ca. 138/82/160/172/72 WORLD DRUMS (The Madal Drum has a low left- and a high right Drumpad) Instrument Otiginal Tune Range Size EW Volume MILITARY SNAREDRUM (USA) 2D 1 MILITARY SNARE D1-B4 12 African Donn Donn Drum (Tansania) 1 MOROCCON CONGA (Morocco) C1-B6 25,1 2 DONN DONN C1-D5 37.8 MOROCCON CONGA LOOPS 80-140 C3-G4 DONNDONN PT F2-G5 DONN DONN LOOPS C2-G5 OCEANDRUM (Africa) C1-F5 26,2 2 ca. 150/115/115/99/144/144/71/111/148/150/60/61/ OCEAN SHAKER C3-F4 147/149/131/133/101/112/105/108/110/109/132/127/100/81/160 OCEAN WAVES C3-B3 BASS CAJON (Cuba) C1-A5 15,6 2 PICCOLO MILITARY SNAREDRUM (Japan) 1 BASS CAJON LOOPS 80-140 PICCOLO MILITARY SD C2-G4 8 BASS SKIN UDU (Nigeria) C0-B5 22,2 2 PITCHED TIMBALES (TAIWAN) 1 BASS SKIN UDU LOOPS 80-140 C3-E4 PT TIMBALES C1-D6 39.5 PT TIMBALES V1 C1-D6 BENDIR (Tunesia) C1-G5 43,6 2 PT TIMBALES V2 BENDIR DRUM C1-F#6 PT TIMBALES LOOPS C2-D5 Left Hand Samples - Right Hand Samples ca. 140/141/146/119/151/151/151/153/152/151/149/99/103/104/104/107/110/110/111/106/106/153 BENDIR LOOPS 60-140 C2-F#4 SMALL CASSA (Taiwan) 1 BIG HAND DRUM (Germany) 1 SMALL CASSA C2-G5 63.2 HANDDRUM C2-B5 49.1 SMALL CASSA HIGH C3-D4 HANDDRUM PT C2-B5 SMALL CASSA PT HANDDRUM LOOPS ca. 98/98/104/ C2-G5 SMALL CASSA S1-S7 F2-C4 128/129/130/125/127/98/129/129/129/129/129/139/ SMALL CASSA V1 F0-C7 20050410_ethnoworld3completebooklet15.qxp 03.06.2005 11:57 Seite 26

SMALL CASSA V2 F0-C7 BAMBOO WINDCHIMES (Bali) 1 SMALL CASSA LOOPS C3-A3 BAMBOO WINDCHIMES C2-C5 5.8 ca. 80/105/131/85/ BAMBOO WINDCHIMES LOOPS C0-C7 SMALL DERBUKA (Morocco) 1 BAMBOO WINDCHIMES PT C0-C6 SMALL DERBUKA C3-G5 17.5 BAOBAB SHAKER (Gomera) C1-B3 10,8 3 SMALL DERBUKA LOOPS C3-C4 BAOBAB SHAKER LOOPS 80-140 C3-G4 ca. 105/105/105/142/142/99/98/100 CASTANETS (Spain) 1 SURDO (Brasilia) C1-D#55 30,2 3 CASTANETS C3-C4 0.9 SURDO LOOPS 80-140 C1-B4 CHI GONG BALLS (China) 1 TALKING DRUM (Nigeria) C1-C#6 11,7 3 CHIGONG C3-F3 12.1 TALKING DRUM LOOPS 80-140 C3-C4 CHIGONG LOOP1 C0-C7 TAMBOURINE DRUM (Thailand) 1 CHIGONG LOOP2 C0-C7 TAMBOURINE DRUM F2-D5 12.1 CHIGONG LOOP3 C0-C7 TAMBOURINE DRUM LOOPS C3-D4 CHIGONG LOOPS C3-F4 ca. 105/105/105/142/104/74/62/127/145 CHIGONG PT C0-C7 TRADITIONAL BONGOS (China) 1 CHICKEN EGGS (Europe) 1 TRAD BONGOS C3-B3 4 CHICKENEGGS C2-E4 18.1 TRADBONGO PT C3-E3 CHICKENEGGS PS1 C0-C7 TUNIS CEREMONY DRUM (Tunesia) C1-D#5 19,6 2 CHICKENEGGS PS2 C0-C7 Left Hand Samples - Right Hand Samples CHICKENEGGS LOOPS C2-E5 TUNIS CEREMONY DRUM LOW C1-D#5 ca.98/102/100/115/132/141/99/116/132/146/103/ 112/125/145/130/147/148/109/109/140/155/174/PS/PS TUNIS CEREMONY DRUM LOOPS C3-G#4 COLA SHAKER (USA) C3-C#5 5,6 3 WATERDRUMS (America) C1-C#44 11,6 3 COLA SHAKER LOOPS 80-140 C3-C#4 WATERDRUMS LOOPS 80-140 C3-C4 DRUM POTS (Europe) 1 YAMBU (Cuba) C1-E5 17,1 2 DRUMPOTS +LOOPS F2-A4 3,3 YAMBU LOOPS 80-140 C3-F#4 ca. 150/124/151/147/147/150 DRUMPOTS PLAY C1-C6 DRUMPOTS PT C0-C6 WORLD PERCUSSION GAMELAN WOODEN COWBELL (Indonesia) 1 GAMELANCOWBELL C3-D4 3 Instrument Otiginal Tune Range Size EW Volume GAMELANCOWBELL PLAY C0-C7 AFRICAN RICE SHAKER (Kenja) 1 GAMELANCOWBELL PS C0-C7 AFRICAN RICESHAKER C2-C5 13.8 GAMELANCOWBELL PT C0-C7 African Rice Shaker Loops GLASSES (Global) 1 ca. 93/99/132/122/132/133/152/123/135/152/109/116/116/ GLASSES C2-G5 8.5 AFRICAN XYLOPHONE (Nigeria) G#3-E5 C1-F#6 11,2 2 GLASSES PT C0-C7 KEY: P+F / P+F+TRL / TRL GLASSES S1 C0-C7 AFRICAN XYLOPHONE ORIGINAL TUNE KEY GLASSES S2 C0-C7 KEY: P+F / P+F+TRL / TRL G#3-E5 C1-F#6 GLASSES S3 C0-C7 AFRICAN XYLOPHONE LOOPS 100-140 C3-C#4 GON BOPS CUICA (Brasilia) C3-G5 14,4 2 AFRICAN XYLOPHONE FX C3-F#3 GON BOPS CUICA DRUMS A2-D#5 AFUCHE CABASA (Europe) 1 GOPICHAND (India) C1-E5 27,2 2 AFUCHE CABASA+LOOPS C3-C5 8.3 KEY: P+F / SU / P+F+SU ca. 100/124/126/116/117/136/160/196/119/119/152/167/PS/PS/PS GOPICHAND LOOPS 80-120 C3-G3 AMERICAN WOODBLOCKS (USA) 1 GOPICHAND FX C3-B3 AM WOODBLOCKS C3-B3 3 HEADLESS TAMBOURINE (Germany) 1 ca. 109/158/122 HEADLESS TAMB + LOOPS C2-F4 4.6 AM WOODBLOCKS PT C1-C6 ca.110/111/90/134/155/164 A-WOODBLOCK S1 C0-C7 LOGDRUM KEY (Africa) C1-D#6 21,7 2 ANGKLUNG GAMELAN (Indonesia) 1 KEY: P+F / TRL / P+F+TRL / P+F Hardsticks ANGKLUNG C3 - C4 A2-C4 16.2 LOG DRUM LOOPS 100-140 C3-C#4 ANGKLUNG LOOP C1-C4 LOG DRUM FX C3-C#4 ANGKLUNG STAC A2-C4 METAL GUIRO SHAKER (USA) C1-A#3 6,7 3 BALAFON (Africa) C3-G#4 C1-D#5 15,2 2 METAL SHAKER LOOPS 80-140 C3-C#4 KEY: P+F / P+F+TRL / Soft P + Soft F + F / TRL MIXED WOOD (Global) C3-D#4 5,9 3 BALAFON ORIGINAL TUNE KEY C3-G#4 C1-D#5 NUT SHAKER (Nigeria) C3-F4 5,0 3 KEY: P+F / P+F+TRL / SOFT P + SOFT F + F / TRL BALAFON LOOPS 100-140 C3-C4 RAINMAKERS (South America/Bali) 1 BALAFON FX C3-D#3 RAIMAKERS C2-G4 26.1 RAIMAKER FX C0-C7 20050410_ethnoworld3completebooklet15.qxp 03.06.2005 11:58 Seite 28

RAIMAKER LOOPS C2-D5 JAVA GONG (Indonesia) C3-C6 31,4 1 ca. 96/109/118/134/98/117/127/81/83/99/117/130/111/128/140/126/109134/152/109/130/159/155 JAVA GONG LOW C2-E3 RATTLE SHAKER (Brasil) C1-C#4 7,6 3 RIN SINGING BOWLS (Japan) C1-F#4 68,7 2 RATTLE SHAKER LOOPS 80-140 C3-B4 RIN SINGING BOWL TUNED 1 C0-G6 SCHELLENKRANZ Germany) C1-F5 23,5 2 RIN SINGING BOWL TUNED 2 C0-G#6 SCHELLENKRANZ HIGH C1-F5 RIN SINGING BOWL TUNED 3 C0-C7 SCHELLENKRANZ LOOPS 80-140 C3-F4 TAM TAM BESAR (Indonesia) C1-C#6 45,4 2 SHAKER SET 80 (Global) C2-C#4 9,1 3 TAM TAM BESAR LOOPS 80-120 C3-C4 SHAKER SET 100 (Global) C2-D#4 9,7 3 TAM TAM BESAR FX C3-C#4 SHAKER SET 120 (Global) C2-G4 10,0 3 THAI GONG 14" (Asia) 1 THAI GONG C3-G4 26.3 SHAKER SET 140 (Global) C2-G4 9,7 3 THAI GONG 1 C0-C7 SHELL SHEKERE (Africa) C1-C6 16,1 2 THAI GONG 2 C0-C7 SHELL SHEKERE LOOPS 80-140 C3-A4 THAI GONG 3 C0-C7 SMALL CHICKEN EGGS (Germany) C1-A#3 6,7 3 THAI GONG LOOPS C3-B3 SMALL CHICKEN LOOPS 80-140 C3-F4 ca. 134/134/131/127/126/127/PS Loop SMALL MARACAS (USA) C1-B3 6,9 3 THAI GONG PT C0-C7 SMALL MARACAS LOOPS 80-140 C3-F#4 WUHAN TAM TAM (China) C2-D6 69,5 2 SPRING DRUMS (USA) F0-B5 40,3 2 WUHAN TAM TAM LOOPS 80-120 C3-B3 SPRING DRUMS LOW FX F0-F6 WUHAN TAM TAM FX C3-A3 TAMBORCITO (Peru) C1-G6 11,5 2 TAMBORCITO LOW C1-G6 TRADITIONAL COWBELLS (Europe) 1 METAL TYPE INSTRUMENTS TR COWBELLS 1 C1-C5 7.6 TR COWBELLS 2 C1-C5 Instrument Otiginal Tune Range Size EW Volume TR COWBELLS 3 C1-C5 BASS KALIMBA (Tansania) D2-D3 C1-B6 23,7 2 TR COWBELLS LOOPS C3-G3 BASS KALIMBA FX C3-B3 ca. 153/135/137/128/123 BASS KALIMBA LOOPS 80-140 C3-G3 TUNIS TAMBURIN (Tunesia) C1-D6 22,4 2 HAND CYMBALS (Europe) 1 TUNIS TAMBURIN LOOPS 60-140 C3-G4 HANDCYMBALS C3-D5 38 VARIOUS MARACAS (Global) 1 HANDCYMBALS LOOPS C3-A3 MARACAS C3-D5 20.3 HANDCYMBALS PT C1-C7 MARACAS LOOPS C3-G5 HUGH TRACEY KALIMBA (S-Africa) A2-A4 C1-A6 26,4 3 ca. 97/116/145/163/94/117/125/137/140/96/110/132/120/137/149/92/97/130/129 KEY: NV / V WOOD SHAKER (USA) C1-F4 9,1 3 KALIMBA LOOPS 80-140 C3-D4 WOOD SHAKER LOOPS 80-140 C3-D#4 KALIMBA KIBIRIZI 5 TUNING PLATES (Kenja) 1 WOODEN BELLS (USA) C1-C#6 5,8 2 KALIMBA 05 C3 - A3 C2-C4 7 WOODSTICK 1 C1-G4 KALIMBA 05 FX C0-C7 WOODSTICK 2 C1-G4 KALIMBA 05 ORIG C3-G3 WOODEN BELL LOOP C1-G6 Kalimba Kibirizi 15 tuning Plates (Kenja) WRIST JINGLES (Germany) C3-G#5 14,0 2 KALIMBA15 D#2 - G#3 A1-D4 11 1 WRIST JINGLES LOW C3-G#5 KALIMBA15 FX C2-F2 KALIMBA15 ORIG C3-C5 METAL SQUARES (Europe) 1 METALSQUARES C3-D4 3 GONGS AND BOWLS METALSQUARES PT C1-C7 Instrument Otiginal Tune Range Size EW Volume METALSQUARES S1 C0-C7 METALSQUARES S2 C0-C7 BIG RAKO BOWLS (Tibet) C3-A4 42,9 2 LOOPS ca. 118/128/96 BIG RAKO BOWLS TUNED B1-C#5 MILITARY CYMBALS (Italy) C1-A6 86,6 2 BIG TIBETAN SINGING BOWLS (Tibet) C2-F#5 109,3 2 MILITARY CYMBALS ROLLS C3-A3 BIG TIBETAN BOWLS TUNED 1 C0-G#5 BIG TIBETAN BOWLS TUNED 2 C0-C6 BIG TIBETAN BOWLS TUNED 3 C0-D6 GONG BESAR 18" (Indonesia) 1 GONGBESAR C3-G4 36.5 GONGBESAR 1 C0-C7 GONGBESAR 2 C0-C7 GONGBESAR PS+LOOPS C3-A4 Loops ca. 137/118/122/164/112/112/145