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We l c o m e t o th e Ko n t a k t 4-In s t r u m e n t Et h n o Wo r l d 5 Pr o f e s s i o n a l & Vo i c e s produced by Marcel Barsotti

the Pivana & Tenor Pivana (Corsica), the very INTRODUCTION meticulously recorded and human whistling. The category Metal Type Instruments ETHNO WORLD 5 PROFESSIONAL & VOICES there is an all new large selection of Hi-End Crash, is by the renowned film composer Marcel Barsotti Splash, Ride & China with Hits, Swells (Die Päpstin, Deutschland. Ein Sommermärchen, and Loops, the Big Feng and fine glistening Das Wunder von Bern). This composer has already Windchimes. The string instruments category has won several awards. He has composed for been updated with a Bandura from the . more than 80 cinema, advertising and television ETHNO WORLD 5 PROFESSIONAL & VOICES films and his musicians have been placed in the charts has tapped into a new dimension with Kontakt 4 several times. and outstanding programming. A new instrument ETHNO WORLD 5 PROFESSIONAL & VOICES interface allows you via the new quick edit page contains more than 240 professionally recor- to directly access all the essential parameters and ded ethnic instruments and more than 18.000 thereby offers a more intuitive handling of ethno high quality samples in the following catego- world instruments. By integration of the convoluti- ries: Bowed Instruments, Stringed Instruments, on reverb the instruments sound more natural. The Woodwind & Brass, Key Instruments, Type realtime automation has been greatly simplified. Instruments, Metal Type Instruments, World Furthermore elastic audio Time Machine II lets you , World Percussion, & Bowls and the transpose any instrument phrase and playing style. new category of Voices & Choirs. Therefore, EW5 With sample start-shift you can determine when a PRO & VOICES with its 20 gigabytes of samples lick should begin. All - & percussion-loops is one of the most extensive ethnic library in the and every solo-loop can be synchronized by Beat- world. machine II to any tempo or by the host sequencer. ETHNO WORLD 5 PROFESSIONAL & VOICES Also every loop is individually programmable. contains the entire library „Ethno World 4 Profes- For solo instruments there is the new legato mode. sional“ and an additional 10 GB with about 5.500 With the humanize mode every note has a slightly new samples. Thereby ETHNO WORLD 5 PRO- different tone. And micro-tuning allows any type FESSIONAL & VOICES with its 20 GB content of tuning and ethnic scales. and more than 800 patches is one of the largest eth- All ETHNO WORLD 5 PROFESSIONAL & nic sample libraries in the world. VOICES instruments and voices are played by re- The latest addition to ETHNO WORLD 5 PRO- nowned musicians & singers under the direction of FESSIONAL & VOICES are 25 professionally re- Andreas Hofner and Marcel Barsotti. corded solo-voices from all over the world and an more info: www.bestservice.de. Ethnic Chamber Choir with over 3.800 new sam- Just listen to the Demo! ples and phrases. You will find voices from North America, Cameroon, Guinea, China, , , Bulgaria, Ukraine, North Afrika and Peru. I hope users all over the world will find With the highly improved Legato-Mode in com- much enjoyment, plenty of inspiration and bination with several voice-articulations you now have the possibility to record realistic vocal lines. musical creativity in the musical transfor- Another highlight for all film composers are the new mation of ethnic and other styles. Drums and Big Ethnic Tom Drums, consis- Marcel Barsotti ting of individual samples (left and right hand) and hundreds of inspiring loops. In the category wood- winds you will find the famous flute (Iran),

In t r o d u c t i o n 02 THe NeW INSTRUMeNTS HOW TO USe THe & VOICeS FROM eTHNO INSTRUMeNTS

WORLD 5 The instruments can be used as they would be in a „normal“ orchestra. For this reason there are different groups such as bell type instruments, bowed instruments, cons- truction sets, gongs and bowls, key instruments, voices, construction sets, metal type instruments, stringed instruments, woodwinds and brass, world drums and world percussion. The instruments sound extremely dynamic and natural. You will hear the swish of vibrating strings and in addition Native American Phrases, Cameroon Voices & there is an effects bank that lets you combine the Phrases, Guinean Voices & Phrases, Chinese specifi c noises of an instrument with the basic in- Opera Voices & Phrases, Iranian Voices & Phra- strument sound. ses, Turkish Voices & Muezzin Phrases, Bulga- In the main program many instruments are equip- rian Voices & Phrases, Ukrainian Traditional ped with dimension keys. Via keys they let you Phrases, Peruvian Voices & Phrases sowie Eth- select the different playing styles of the instrument. nic European Vocals, Boy Solo Voices & Phra- Some of the instruments are programmed with up ses, Gregorian Phrases and an Ethnic Chamber to 14 dimension keys and playing styles. For a cer- Choir, Human Whistling, Taiko Drums, Big Eth- tain instrument, the dimension keys allow you to nic Tom Drums, Ney Flute (Iran), Pivana & Te- change the playing styles like /forte, marcato, nor Pivana Flute (Korsika), , Crash, Splash, Ride , tremolo, glissandi, slides, mordent, trills & China Cymbals, Big Feng Gong, Windchimes, and many more. With precise programming, one Bandura (Ukraine). will no longer be able to differentiate between the Ethno World instruments and „real“ instruments. In addition, there are many different loops, licks and effects in all tempos. Ethno World 5 Profes- THe SOUND CONCepT sional can be used within many different stylistic contexts. Almost all instruments were recorded in stereo with various tempos. For sound reasons, several fl utes were sampled in mono. Very often fl utes do sound smoother and richer in mono. All instruments have ABBReVIATIONS been recorded with the fi nest state-of-the-art tube technology and then mastered with professional ALT Alternating Samples high quality plug-ins. Great care has been exercis- BM Beatmachine ed to transmit the authenticity of the instruments. TM Timemachine This sometimes means that original melodies are TM SYNC Timemachine with tempo sampled with some unavoidable sounds and noises. synchronisation The reference tuning is set at 440 Hz. P Piano F Forte Gliss Glissando FX Effect TR Tremolo VIB

03 ne W In s t r u M e n t s & so u n d co n c e P t & ho W t o us e VEL Velocity Switch MOD Modulation Wheel XFD Crossfade 3XFD Crossfade mit 3 Layern KEY Keyswitch Instrument CC Midi Control Change (C0) Key-Switches start from C0

BeLL & MeTAL Type Jews Harp INSTRUMeNTS th e sa r o n The is a from Lom- Here are some very unusual instruments from bok (1 octave). around the world. They all have varying dynamics, playing styles and loops.

Gamelan Crash & Saron & Gamelan Glockenspiel & Gamelan Wood Hugh Tracey Kalimba Ka l I m B a s The Kalimbas (African plucked instruments, here with 5 and 15 small metal rods) include program- mes in the original tuning and in the European half tone tuning.

Kalimba Kibirizi Tuning Plates The MONGOLIAN JEWS HARP and the Hunga- rian Jews Harp played by Sandro Friedrich, with unique loops. Bass Kalimba & Gopichand & Tamborcito

aBBreVIatIons & Be l l & Me t a l ty P e In s t r u M e n t s 04 VEL Velocity Switch mo r e Be l l In s t r u m e n t s MOD Modulation Wheel A selection of ethnic bell instruments is available XFD Crossfade as well as Tibetan singing bells, which are played 3XFD Crossfade mit 3 Layern with a rubber-coated stick. There are temple cym- KEY Keyswitch Instrument bals from China and Tibet and bells from Burma. CC Midi Control Change You will fi nd European instruments, such as a Me- (C0) Key-Switches start from C0 tallophone, a chromatic 2 octave Glockenspiel, and small . These too have varying dynamics. A few more unusual instruments are the baby piano (its little wooden clappers Jews Harp BeLL & MeTAL Type fall on to longer metal rods), a with synthetically produced tremolo. Tibetan Temple Cymbals INSTRUMeNTS th e sa r o n The Saron is a Gamelan Glockenspiel from Lom- Here are some very unusual instruments from bok (1 octave). around the world. They all have varying dynamics, playing styles and loops.

Tibetan Singing Bells

Shanghai Baby Piano (China) Also included are a Gamelan crashbell, where Gamelan Crash Bells & Saron & Gamelan four fi rmly fi xed cymbals are hit by two cymbals, Glockenspiel & Gamelan Wood Cowbell Hugh Tracey Kalimba and the Dreamcatchers, which are very much like Ka l I m B a s windchimes. The Kalimbas (African plucked instruments, here with 5 and 15 small metal rods) include program- mes in the original tuning and in the European half tone tuning.

Kalimba Kibirizi Tuning Plates Gamelan Crash Bells (Lombok) The MONGOLIAN JEWS HARP and the Hunga- Here are some very unusual instruments from rian Jews Harp played by Sandro Friedrich, with around the world. They all have varying dynamics, Bass Kalimba & Gopichand & Tamborcito Metallophon () & Chromatic Glockenspiel (Germa- unique loops. playing styles, loops and pitch programmes. ny) & Small Bamboo Vibraphon (Synth. Tremolo).

05 Be l l & Me t a l ty P e IInstruMnetsn s t r u M e n t s cy M B a l s

Cymbals consist of thin, normally round plates of various alloys. The greater majority of cymbals are of indefi nite pitch and used in orchestras, percussi- on ensembles, jazz bands, heavy metal bands, and marching groups...

Gong Besar 18“ There is also a large collection of Singing Bowls at your disposal: Big Rako Bowls, Big Tibetan Sin- ging Bowls from Tibet and Rin Bowls from in different playing styles and sizes. From is the Gong Besar with a deep curve at the back.

Military Cymbals

GONGS & BOWLS

From the instrument family of the Gongs, there are instruments such as the Wuhan Tam Tam from TamTam Besar & Wuhan am Tam & Java Gong China, the Java Gong with a diameter of 80 Centi- meters (approx. 31 inches) and the Tam Tam Besar from Indonesia. New in Ethno World 4 is the Mon- golian Gong.

Be l l & Me t a l ty P e In s t r u M e n t s - Go n G s & W l s 06 Big Feng Gong Rin Bowls

BOWeD INSTRUMeNTS

er h u

Big Tibetan Singing Bowls

Small Plectrum & Erhu Plectrum Violin & Ceylon . In China the Erhu, and (Chinese opera violin) are traditional bowed instruments. The Erhu is a two-string violin tuned in fi fths. It has no frets and no fi ngerboard and is being played with a fi xed bow stick.

BigRako Singing Bowls,

07 Go n G s & Bo W l s - Bo W e d In s t r u M n e t s JI n G h u oP e r a VI o l I n Ih kh u u r Ba s s

The little Jinghu is a Chinese soprano violin which is used in Beijing opera music. The bass morin khur is a bigger version of the and plays in range and in sound like Mo r I n kh u u r VI o l I n a traditional . dI l r u B a

Dra-Ngen (left) & Morin Khuur (right) The morin khuur sounds like a violin, but it has a trapezoidal body, a fretless neck and is strung with The dilruba is similar to the esraj, but has a lar- two horsehair strings. It was already being played ger resonance box, an angular body and is strung in imperial palaces in the 12th century. The instru- with 20 instead of 15 resonance strings. This gives ment is played with the fi ngernails or fi ngertips. It it a louder and fuller sound. As with the esraj, the sounds a bit like a viola or a , but it can also be ground base tone is tuned in between C and D. played in the higher violin ranges.

Bo W e d In s t r u M n e t s 08 es r a J We s t e r n FI d d l e The Western is a bowed instrument very similar to the Violin. The Fiddle differs from the classical Violin in the way that it is played and in the musical style in which it is played.

Ga o h u

Erhu & Gaohu The Esraj (also known as israj or dilruba) is a string The Gaohu is an Erhu which plays in a higher key. instrument found in two forms in India. Esraj and Dilruba have a very similar structure. Each has a si- -like neck with 20 metal frets, and the neck holds a wooden rack with 12-15 sympathetic strings. The dilruba has more sympathetic strings and a diffe- STRINGeD rently shaped body than the esraj, but they both have four main strings which are bowed. All strings INSTRUMeNTS are metal, and the soundboard is a stretched piece of goatskin. The neck is played with a bow, with the other hand moving along the strings above the frets. The player may the note up or down to achieve the portamento, or meend, characteristic of Indian music. eG y P t I a n FI d d l e

The Egyptian Fiddle does have a fi ngerboard and two strings but no frets. It has a high pitched sound and tends towards a hollow, nasal sound.

Contra Guitar F-Bass

09 Bo W e d In s t r u M n e t s - st r I n G e d In s t r u M e n t s Jo o c h I n (du l c I M e r ) Ba n J o & tr u x a Ma n d o l I n The Joochin is a larger , similar to the European . It is played with different hammers, which gives it the typical choral sound.

sM a l l er h u P l e c t r u M VI o l I n & Saz Seven Strings & ce y l o n e s e Gu I t a r There is also a banjo and a Truxa , which The Small Erhu plectrum violin and the Ceylonese can be used for East Asian, European and Arabian guitar (2 strings with fi ngerboard) behave similar- styles. ly, but they are more suited to an Arabian style. Zh e n G ha r P ka n t e l e

Kantele & Small-Kantele The Kantele (developed from the dulcimer) has 15 strings, and it has an F tuning. It is played by plucking or tapping with sticks (as is the small The Zheng Harp (Chinese curved base Zither) is Kantele). similar to the Japanese . It is a harp with a size of approximately 2 Meters and its 21 strings are tuned diatonically. The Zheng´s particular vibrato is produced with the left hand close to the bridge.

st r I n G e d In s t r u M e n t s 10 Ba n d u r a thetic strings for . The Tampura, used as an accompaniment instrument for Raga singing or together with Sitar, consists of 5 strings without a fi ngerboard. It is played with a glissando chord and tuned to keynote and fi fth (fourth).

Bo u Z o u k I The Bouzouk from Greece is a guitar-like instru- ment with 4 double courses, which is well known for its use of tremolo-style in Greek (Alexis Zorbas).

Bandura refers to a Ukrainian plucked string . It combines elements of a box zither and . Bouzouki & Zsoura sI t a r & ta M P u r a dr a -nG e n

Sitar (left) & Tampura (right) The Sitar and the Tampura are the most famous The Dra-Ngen is a 7 string kerb lute with matching stringed instruments from India. The standard Sitar half octave string originating from Bhutan. has 7 main strings and 11 freely vibrating sympa-

11 st r I n G e d In s t r u M e n t s Ba l a l a I k a & do M r a uk u l e l e The and the Domra are both from Rus- The from Hawaii is a small 4 string guitar tuned sia. The Balalaika is tuned in E-E-A and is mostly to A-D-F#-B (a soprano version is featured here). played with a tremolo. The accompaniment, the Domra, originally comes from . It is a small plucked guitar tuned in fi fths. It can be built in several different styles.

Banjolin (upper) Ukulele (Lower) Timple & Domra Ba n J o l I n tI M P l e The Banjolin has existed since 1885 and is also known as the Banjo Mandolin. It is mandolin with The Timple is the traditional 5 string guitar from 4 double courses tuned to G-D-A- E. It is played . It is similar to the Ukulele. with a banjo corpus. ou d sa n t o o r

Santoor Saberi The 72 string Santoor is a 4-voice zither from Per- sia which is played with two hammers over a tonal range of 3 octaves.

sI x -s t r I n G e d s t e e l G u I t a r There is a six-stringed steel guitar with slide notes and Effects The originally comes from the geographical area of Persia and is a short-necked lute with up to 6 double courses. Due to its fretless fi ngerboard it can be played in micro-intervals.

st r I n G e d In s t r u M e n t s 12 Ve s t e r acoustIcBass cÜ M B Ü s

The Cümbüs is a Turkish long-neck lute with a cir- cular metal bowl resonator covered with a screw- The Vester Acousticbass is an acoustic 4-string tensioned hide sound table. It resembles a Banjo, which is tuned to E-A-D-G. only with a deeper bowl resonator and a wider un- fretted neck; its sound is deeper. It has six double co n t I n e n t a l courses (pairs) of metal strings attached to metal re s o n a t o r Gu I t a r machine tuning heads. It is tuned (and played) with a quill or a plectrum, like the oud.

ta n B u r

Tanbur & Oud The Tanbur, a long-neck lute from the Middle This made by Continental from East, is played with a pick (plectrum) just like a Germany is a tin guitar which is brought to re- Mandolin. sonance with the „resonator cone“. Its sound is slightly tinny and aggressive. The instrument often Zs o u r a is played with the slide technique. The Zsoura is a small three voice Bouzouki which is very well suited as a solo instrument because of its higher pitch.

13 st r I n G e d In s t r u M e n t s co r a the Contexts of relaxation and wellness, birth pre- paration, in kindergartens and in schools. The 50 strings running over two well rounded frets found their way from the cembalo to this instrument; they guarantee a very warm, pleasant and deep sound with rich harmonics.

WOODWIND AND BRASS

The Cora, a harp-like stringed instrument from West Africa, features 8 to 16 strings that can be tu- ned over a bridge. The strings are fi xed without a fi ngerboard, and are plucked with several fi ngers. sa Z

Top to bottom: . Irish Low . Recorder Alto F. Dagoba Flute. Susato

The Saz or Baglama is a Turkish long-neck lute with h e I V a n a seven strings and frets. Despite its shape which is si- t P milar to the Greek Bouzouki, it is different in const- ruction, size and sound. The Saz is the most popular string instrument in Turkey. The word „Saz“ origina- tes in the and simply means „“. It is the traditional accompanying instru- ment of the bards who are called Asik in Anatolia and the Caucasian regionand is played in an open tuning. „Slaps“ is a further playing style available here.

Gr a n d Mo n o c h o r d

The pivana is a fi pple fl ute made from the of a mouffl on or goat. It originates in Corsica where it is played in traditional music. It is related to the better known , a medieval instru- ment.

The sound bench on this recording is being used in

st r I n G e d In s t r u M e n t s - Wo o d W I n d & Br a s s 14 th e te n o r V a n a Ir I s h tr a V e r s e Fl u t e

The tenor pivana is a larger version of the pivana. It is made from a large goat horn instead of the re- A keyless Irish fl ute with an ebony body and a silver latively small mouffl on sheep horn. head with an ebonite lip plate, made in . This style of fl ute has become popular in Ireland in the Fu J a r a last 50 years, but was originally based on the German “reform fl ute”. Its rich sound has become an unmista- keable part of traditional Irish music.

th e ne y

The ney is an end-blown fl ute which is widely used in Turkish, Persian and . Its origins reach back as far as 3000 BC. The ney consists of a piece of hollow cane or with fi ve or six fi nger The Slovakian - like many fl utes an instru- holes and one thumb hole. ment of the cattle drovers - is made from elder. Af- ter removing the soft pulp, the two elder tubes (one up to 170 cm/67 inches long, the other signifi cantly PI n k I l l o shorter) are attached to each other. The long tube is fi tted with a labium and three gripholes, the shorter tube gets a mouthpiece which is used to blow the fl ute. dV o J a c k a The dvojacka is a double fl ute / fl ute from . It has a quarter of the length of the fuja- ra and therefore these instruments can be played together. The musical possibilities include double- fl ute-melodies and overtone fl ute techniques simi- lar to the ones used on the fujara. The pinkillo is a fi pple fl ute from the South American Andes. It is typically 30 - 40cm in length and made from bamboo or reed. The range is usually two octaves.

15 Wo o d W I n d & Br a s s oc a r I n a s sh a k u h a c h I

Ocarinas are fi pple fl utes made from clay with The is a Japanese end notch fl ute, usu- a non-cylindrical hollow which enables various ally made from bamboo. The open notch makes it fi ngering techniques. They originate in Italy, whe- more diffi cult to play but more versatile in sound re traditional instrument makers construct them variations. It was originally used by the members in many different sizes. The range is usually one of a sect of Buddhism as a part of their medita- octave and three tones. tion. The range is two octaves and three tones. du d u k dI d G e r I d o o The didgeridoo is a from the Australian Aborigines. By slightly changing the position of the mouth, the player can infl uence the overtone spectrum of the sound. The instrument is mostly played with , a technique which enables continuous sound.

ho t c h I k u

The is a double-reed instrument from Arme- nia. Its huge reed which gives the instrument its voice-like, mournful sound, is made from an indi- genous reed. The body of the instrument is usually made from aged apricot wood. The range is one octave.

This is the big brother of the shakuhachi. It requires the same playing techniques and has similar sound characteristics as the shakuhachi, but it is about 2.3 feet in length and therefore lower in pitch.

Wo o d W I n d & Br a s s 16 cI a r a M e l l a cr u M h o r n

The ciaramella is a from the Abbruzze The with its rather duck-like sound qua- mountains of Italy. It is a double- reed instrument lity is a double-reed instrument from the European of about 1 foot of length with an unmistakable loud Renaissance, where such instruments were often nasal sound and a range of one octave. Traditio- played in groups of different sizes. The doublereed nally it is played around Christmas time together itself is hidden in a closed cap. with the Italian zampogna (). tI n Wh I s t l e la u n e d d a s

The Sardinian launeddas consist of three single The tin whistle is an Irish fi pple fl ute made of metal pipes made of reed: two fi ve-holed chanters and a which usually has a range of two octaves and four drone. They are played with circular breathing and tones. The particular decoration techniques and are still used for religious ceremonies and . slurs make its sound unmistakeable. The range is one octave. lo W Wh I s t l e a n c o s e d d a M The might be encountered a bit less Like the launeddas, its origins lie in Sardinia. It is often than the tin whistle in traditional Irish mu- a single-reed instrument with similar sound cha- sic, but it has a richer sound. It is often used in racteristics, but unlike the launeddas it has up to slow airs. seven holes which makes it more useful for com- plex melodies and gives it an extended range of one octave.

17 Wo o d W I n d & Br a s s Ba W u sh e n G

The also known as mouth organ, comes from China as well, and its sound is similar to a blow organ. The sound is produced by 30 bamboo tubes with valves. The Sheng covers a tonal range The is a smooth and mellow sounding Chi- of approx. 3 octaves. nese bamboo fl ute with 5 holes. Its sound is produ- ced by a copper reed. hu l u s I

Qu e n a & Mo c e n o Fl u t e

The Chinese (pic2 Chinese Hulusi) is a 6 hole double tube fl ute with a bamboo body in the shape of a pumpkin. Its sound is warm and clear.

The and the Moceno Flute both are South Pe r u V I a n oc a r I n a s American end notch fl utes from Bolivia. Their characteristically powerful and airy sound is a bit similar to the Shakuhachi. sh I V a Fl u t e The Shiva Flute is played by Indian preachers. This brass fl ute has a very transparent and high pitch sound. eu r o P e a n te n o r re c o r d e r The European starts at C minor and The Peruvian are made from clay and are, belongs to the instrument family of recorders. as their name implies, from Peru.

Wo o d W I n d & Br a s s 18 ra G du n ho r n ha W a I I a n sh e l l h o r n The Hawaiian Shellhorn is a shell-like horn fl ute from Hawaii.

In d I a n sh e n a I The Indian Shenai is a fl ute and it is The Rag Dun Horn is often played at ceremonies. very similar to the Schalmei from Morocco. It It comes from the Himalayas and shows similari- starts at G# and sounds very loud and harsh. ties with the European Alphorn, but it sounds much louder and more metallic than its European coun- uI l l e a n n PI P e s terpart. There are Rag Dun Horn versions of up to 3 Meters (approx. 9 ft.) length. du n G dk a r co n c h tr u M P e t

Uilleann Pipes Irish & Overton is the name for the Irish bagpipe. The Dung Dkar Conch from the Himalayas Uilleann is the gaelic word for elbow. The name is a shell-like trumpet with rich ornamentation. came from the fact that the Uillean Pipes get sup- plied with air not with the mouth, but by a bellow Zu k r a Ba G P I P e which is compressed with the elbow.

Pa n Fl u t e

The Bagpipe, a Tunisian bagpipe, is a dou- ble reed fl ute with a kid-leather body. By power- fully blowing into the instrument it works like a bagpipe. Canira Panfl ute

19 Wo o d W I n d & Br a s s WORLD DRUMS

All drums have two or more dynamics on each key and all loops are in beatmachine-mode. Many programs contain single samples in addition to the loops to imitate a phrase realistically.

The Pan Flute - named after Pan, god of the she- perds. The sound of this instrument originates from an airstream which is directed to a sharp edge that cuts this airstream (on its cutting edge). All over the world Pan developed in different cul- tures more than 6000 years ago. Today the very airy sounding Pan Flutes from South America are famous, especially the ones from the Andes with their tubes aligned in one row. There are 2 different Panfl utes in this Library oV e r t o n Ir I s h Wh I s t l e s Derbuka & Small Derbuka & Iran Bongos Overton Whistles are handmade Irish aluminium whistles. Three whistles are combined to one inst- rument to achieve a greater range.

Va r I o u s Wo o d W I n d s All the woodwind instruments have tapered notes, some with and some without vibrato. The following instruments are included: an Indian and a Ceylone- snake charmer and a double neck recorder made from a pumpkin, which always plays two notes at once like a bagpipe. There is, however, a program- me that lets you play on just one recorder neck at a time. With its loop version you can imitate Irish pipes. There is a big bamboo fl ute from Indonesia for warm sounds and for a strong ethnic fl ute cha- racter, a Mexican , a clay from Peru, a Dagoba (temple) fl ute from Sri Lan- ka and an in F. In addition, there is a good selection of fl ute phrases and effects for the musical regions of East Asia and South America.

Talking Drum & Dolek & Fujara Flute

Wo o d W I n d & Br a s s - Wo r l d dr u M s 20 ta I k o dr u M s Mo n G o l I a n Fr a M e d r u M

These traditional drums stem from the classic inst- rument collections of Mongolian folk groups. The Mongolian Hengereg Drum, often sparkling with Japanese Taiko Drums are stick instruments and colour, is a played with wooden drum- used in both Japanese folk and classical musical sticks. traditions. They have heads on both sides of the drum body, and a sealed resonating cavity. Taiko Ma d a l dr u M are also characterized by a high amount of tension The Madal drum originally comes from Nepal. on the drums heads, with a correspondingly high It has different sized drum skins on each side pitch relative to body size. and can be tuned with wooden keys on interlaced skins. Mo n G o l I a n he n G e r e G dr u M BIG et h n I c to M dr u M s

21 Wo r l d dr u M s aF r I c a n do n n do n n Wa t e r dr u M s The African Donn Donn is a tin drum with a cow Water Drums are made of pumpkins with some hide skin and is especially recommended for Afri- amount of water to create a unique sound. can and Indian grooves.

Ir a n I a n Bo n G o s Iranian bongos are very small and made from so- lid wood. Their sound is loud and high pitched and they are played with sticks.

e t a l a r a B u k a a r a B u k a Big African Donn Donn Drum & Madal Drum & M d / d Ceremony Drum For typical ethnic grooves there is a metal Darabu- ka from Turkey, not to be mistaken for Derbukas, r a n I l I t a r y a s s a which are from Morocco and have a clay body (ge- G M c nerally higher pitched).

tu n I s ce r e M o n y dr u M & tu n I s ta M B u r I n Also from Tunisia are the Tunis Ceremony Drum and the Tunis Tamburin.

sM a l l ca s s a The Small Cassa has a very low and mighty sound, well suited to produce big drum grooves of all styles. There is also the big hand drum for all play- ing styles, a drum and a headless tam- bourine with rolls and crescendi, brass from India, low pitched and grooves, etc. Tunis Ceremony Drum & Tunis Tamburin &

Wo r l d dr u M s 22 Ba s s ca J o n & ya M B u ka n J I r a

Kanjira - a simple South Indian frame drum which is hit only with the right hand. Nevertheless it pro- vides an astounding variety of sounds. By keeping Bass Cajon the skin moist one gets a remarkable bass sound. The Bass Cajon and the Yambu are two large drums e n d I r from Peru and Cuba which both have a wooden B head. They were used to urge slaves to work. The Bendir from Tunisia is similar to the Irish Bodhran. Its characteristic sound is produced by dJ e M B e two cords inside the drum. su r d o

This big drum from Brazil is played with heavy sticks. It provides the basic rhythm for the Samba and is constructed from a large aluminium kettle, strung with two plastic skins.

Moroccon & & Cuica The Djembe is a drum originating from Moroccon Guinea and Mali. It has a batter head made from goat skin and it offers a rich sound palette.

23 Wo r l d dr u M s WORLD peRCUSSION Ba l a F o n & aF r I c a n xy l o P h o n e

Here are some very unusual instruments such as the from Indonesia. Varying woods in diatonic tuning are shaken to achieve a kind of tre- molo sound. This instrument can sound quite East Asian, but can also be used as a kind of Russian balalaika.

The and the African both are from Senegal, they are the counterpart to the Euro- pean Xylophone. The Balafon exists in versions of different size. The resonance of the sound boards is transmitted over pumpkins cut in half.

Rainmakers, Chicken Eggs, Afuche , Various Furthermore there is the wide selection of playing techniques and loops of shaker-like percussion in- struments such as the African rice shaker (a rice fi lled rectangular bamboo board), an Afuche Caba- Baobab Shaker & Cola Shaker & Rattle Shakers & Eggs sa with metal chains, South American rainmakers & Wood Shaker & Small Maracas & Metal Guiro Shaker in varying sizes, chicken eggs and maracas from Africa and America, Jews Harps and many more. Mo n G o l I a n Bo n e s sh a k e r Go P I c h a n d The Gopichand is a plucked drum from Bengal. It is made of two longitudinal wooden sticks and a body which changes its pitch whenever an internal string is being compressed. ch I Go n G Ba l l s Chi Gong balls from China, which are traditionally used for hand meditation, a Gamelan wooden bell, two hand cymbals from and many other percussion instruments from around the world.

Wo r l d Pe r c u s s I o n 24 Key INSTRUMeNTS ho h n e r Me l o d I c a sc a l e ch a n G e r ha r M o n I u M

The Hohner is a keyboard-like reed instrument from Germany and features a scale of 2 octaves.

VOICeS & CHOIRS The Scale Changer Harmonium was fi rst introdu- ced to India by the missionaries. It is brought to Besides the Khoomii , Ethno resonance with a stream of air. The whole keyboard World also includes various male and female solo can be shifted, and thereby the key note is adjus- voices from Mongolia and a Mongolian Choir. table from G# to E. An organ sound can also be added. da l l a P e ac c o r d I o n

Members of Egschiglen

kh o o M I I oV e r t o n e sI n G I n G Khoomii singing is the typical Mongolian overtone sin- ging. This unique, ethnic sounding way of singing is created by combining abdominal, diaphragm and chest breathing. By varying the resonance of the mouth cavity and with stronger air compression it is possible to create melodies. The three basic Khoomii techniques are chest khoomii, throat khoomii and kharkhira khoomii. The Dallape from Italy is a 3 octave wide accordion with keys.

25 ke y In s t r u M e n t s - Vo I c e s & ch o I r s Po n c h i & Gr e g o r i a n Ch a n t s Na t iv e Am e r i c a n Vo i c e s : Manfred Bogner Na t iv e Am e r c a n So l o So n g s Tu r k i s h Ma l e Vo i c e s Ambros Göller Seref Dalyanoglu Gr a n d m a - (No r t h e r n Ch e y e n n e ) Bu l g a r i a n Fe m a l e Vo i c e s Elva Stands in Timber Gergana Kushewa Pe r u vi a n Ma l e Vo i c e s Ol d Ma n - (La k o t a ) Yerar Gerardo Chávez Sonny Richards Bo y ´s Vo i c e s Wa r Ch a n t s - (La k o t a ) Ben Schädlich Chris Ravenshead and Friends Ca m e r o o n Ma l e Vo i c e s So l o Ch a n t s - (La k o t a -Ch e y e n n e ) Antoine Noah Jack Miller Ch i n e s e Vo i c e s LiLi + Xizhi Nie Gu i n e a n Ma l e Vo i c e s Th e Et h n i c Mori Dioubate Ch a mb e r Ch o i r : Uk r a i n i a n Tr a d i t i o n a l So n g s Wo m e n Valentyna Starenka Melanie Kuchling (SOPRAN) Ne d a Ir a n i a n & Ar a bi c Vo i c e s Tarja Kultalahti (SOPRAN) Neda Homayoon Steffi Albrecht (ALT) Judith Fröhlich (ALT)

Me n Fo u x i e Eu r o p e a n Et h n i c Vo i c e s Nicolai Kleinbauter (TENOR) Fouxie Andreas Gnyp (TENOR) Wolfgang Hansen (BASS) a u l o u r o p e a n t h n i c o i c e s P E E V Jakob Felchnerowski (BASS) Paulo Alves Wo l fg a n g Eu r o p e a n Et h n i c Vo i c e s Wolfgang Kotsowilis Eu r o p e an Et h n i c Ch o i r Na n i n a Eu r o p e a n Et h n i c Vo i c e s Nanina Ghelfi Hu m a n w h i s t l i n g Lip a Eu r o p e a n Et h n i c Vo i c e s Lipa Majstrovic

Vo i c e s & Ch o i r s 26 Besides his fi lm composing activities, he publis- BIOGRApHIeS hed his fi rst library for ethnic instruments, ‘Ethno World’, in 2000. Together with Ethno World Volu- me 4, this has become one of the most successful Ma r c e l Ba r s o t t I ethnic DVD Libraries in the world. th e Pr o d u c e r In 2010 Barsotti wins the German Record Critic Award, The Park City Filmmusic Award 2010 and was nominated for the German Film Critic Award and the Score of the Year 2009. . MARCEL BARSOTTI Filmmusic Composer BAM Music Publishing - Germany [email protected] www.marcelbarsotti.com

an d r e a s ho F n e r Marcel Barsotti has been one of the most successful fi lm composers in Germany for over 10 years. Many of his by now more than 60 fi lm compositions have become popular cinema music hits – „Pope Joan (Die Päpstin)“ ‘Das Wunder von Bern’, ‘Deutsch- land. Ein Sommermarchen’, ‘Rennschwein Rudi Russel, „Der Seewolf“ „Der Bibelcode“ 2’, ‘Kebab Connection’, ‘Wo ist Fred?’, ‘Grüne Wüste’ and ‘Dolphins’. On the international scene, he compo- sed music for the award-winning fi lm productions ‘Sirga the Lioness’ and ‘The Poet’. Barsotti has worked together with Luc Besson Production, Carl Schenkel, Caroline Link, Sönke Wortmann, Gunter Rohrbach, Josee Dayan, Paul Andreas Hofner has been working as an indepen- Hills, Hark Bohm, Gus Trikonis and Harold Falter- dent composer and music producer in Munich for meyer, among others. more than 20 years. After having piano, guitar and Marcel Barsotti is also responsible for many ad- saxophone lessons, he acquired his own music and vertising tunes and world wide corporate signature studio know how. tunes, such as ‘RTL2’, ‘SOS Children’s Villages’ He has written several radio jingles, music for and ‘Concorde Film Distribution’. many commercial fi lms and advertising spots, and Michael Barsotti holds fi lm music workshops in also title music and scores for several television Europe, and he is a member of the German compo- productions. In the pop sphere he has worked suc- sers’ association, the Composer Club, and a mem- cessfully with THE LES HUMPHRIES SINGERS, ber of the German Film Academy jury. He gained JURGEN DREWS and PETER SCHILLING, par- two nominations for the German Television Awards ticipating successfully in the 1986 Eurovision Song in 2004, and in 2005 the Designer Award for best Contest. advertising music. ARTMAN MUSIC In 2005, he founded the fi lm music label Andreas Hofner THE SCORE Record Company. www.artman-music.de

27 BI o G r a P h I e s THe MUSICIANS sa r a n G e l ts e r e V s a M B a FROM eTHNO WORLD

Ma r c e l Ba r s o t t I Stringed instruments, drums & percussion, fl utes and key instruments

an d r e a s ho F n e r Stringed instruments, drums & percussion, fl utes and key instruments

sa n d r o Fr I e d r I c h Various Ocarinas, Tin & Low Whistle Licks, (from the Egschiglen Ensemble) Shakuhachi, Pinkillo, Mancosedda, Launeddas, Joochin (Dulzimer), Vocals Crumhorn, , Fujara , Irish Traverse Flute, Dvojacka, Double Flute, Duduk, en r I Q u e uG a r t e Didgeridoo, Ciaramella, Ney Flute, Pivana, Tenor Pivana, Human Whistling

sa n d r o hu s s e l Esray, Dilruba

tu M e n B a y a r MI G d o r J (from the Egschiglen Ensemble) Morin Khuur, Vocals

tu M u r s a I h a n ya n l a V (from the Egschiglen Ensemble) Morin Khuur, Vocals

uu G a n B a a t a r ts e n d -oc h I r Accordion, Shenai (from the Egschiglen Ensemble) ra o u l al V a r e l l o s Ih Khuur Bass

aM a r t u W s h I n Ba a s a n d o r J (from the Egschiglen Ensemble) Khoomii Vocals, Morin Khuur

Shiva fl ute, Tenor Recorder

th e Mu s I c I a n s F r o M et h n o Wo r l d 28 da V I d Ju n I o r Pe P e ro c h a s Kena, Mocéno Bassfl ute

an d r e a s Zo e l l n e r Rag Dun horns, Hawaiian Shell horn

Wo l F G a n G lo h M e I e r Drums, Percussion, Monochord

an d r e a s We I d I n G e r Various Bamboo- and European Flutes

to M ha k e Overtone Whistles and Uilleann Pipes

World percussion and drums cl a u s Gs t a t t e r Western Fiddle Fa B I a n ro e M e r Be r n h a r d Ze l l e r Additional Didgeridoo

ca t a l I n tI r c o l e a Thank you to Catalin Tircolea, the Pan Flute Player, well known all over the world with his samples at EW 5.

sa n d r o hu s s e l

Moorin Khur Effects, Egyptian violin

re c o r d I n G se s s I o n

As a musician, producer and , Sandro Hus- sel has always had a special interest in string and percussion instruments from the Far East, Africa and Eastern Europe. It is these instruments which Enrico Coromines (Additional Recording), serve him as a source of inspiration, and meet his Andreas Hofner requirements for authenticity, originality and inten- and members of Egschiglen sity. Sandro Hussel’s main workshop is Woodstage

29 th e Mu s I c I a n s F r o M et h n o Wo r l d Studio in Zurich, an insider-tip for creative sound lines, the power of his rhythmic grooves and his production, which brings natural sound resources ability to competently and fl exibly support diver- and digital technology together in perfect harmony. se musical atmospheres. His technical knowledge Aside from his own projects, he also works with also enables recording jobs via internet in addition artists such as Lee “Scratch” Perry and Betty Leg- to traditional studio work. Please visit him at www. ler, and is also available for commercial and fi lm- powerfl ute.ch for further information. music projects. Im Bueeli 6 - 8864 Reichenburg Woodstage sound studio Sandro Hussel Switzerland Baslerstrasse 51 - 8048 Zürich Tel. & Fax: 0041 / 55 - 444 30 43 Mobile 0041 (0)78 912 45 79 info@powerfl ute.ch 0049 44 731 11 18 - 0049 44 492 95 19 www.powerfl ute.ch Email . [email protected] eG s c h I G l e n en s e M B l e sa n d r o Fr I e d r I c h

Sandro Friedrich started his education with early music. For over 20 years he has been working with Contemporary and traditional music and from instruments and music of many cultures. His skills Mongolia. The ensemble EGSCHIGLEN (“beauti- have grown to include an astonishing spectrum of ful melody”) was founded in 1991 in Mongolia by over 120 different wind instruments. His musical master-class students at the Ulan Bator Conservatory. styles vary from world music, rock, folk, and pop, The core of the ensemble still consists of four of its to techno/trance, from chill-out to fi lm music. For founder members. From the outset these artists have over 10 years he performed with his own band placed their country’s contemporary music at the fo- ACANTO (3CD‘s, awards, concerts, festivals, refront and have systematically explored the sound radio and TV appearances). As a studio musician dimensions of this repertoire with traditional instru- he has recorded with well-known Swiss musicians ments from Mongolia and with Central Asian song such as Andreas Vollenweider and Dodo Hug. He techniques. The name EGSCHIGLEN means “good has recorded fi lm music with composers such as sound” or “beautiful melody”. Tume (Tumenbayar Enjott Schneider („Die Flucht“), Andre Matthias Migdorj) and Tumru (Tumursaihan Yanlav) sing („The Drummer“), Sebastian Pille, Andreas Wei- and play the horse head violin, the morin khuur, a dinger („Rosamunde Pilcher: Wiedersehen am string instrument with two horse hair strings which Shannon River“) and others. A wide spectrum of is played like a cello. Uugan (Uuganbaatar Tsend- studio jobs on over 20 international CD‘s, and re- Ochir) bows and plucks the bass. Solo singer Amra cording sessions with Rue du Soleil (Café del Mar) (Amartuwshin Baasandorj) sings in the khoomii style and Uffe Savery from Safri Duo complete his stu- and plays the swan neck lute, the tobshuur. Khoomii dio experience. He also performs live in various is a specifi c kind of overtone singing, where lower bands and combinations. As musician and compo- tones and are simultaneously modulated ser his strength lies in the originality of his melodic into a melody. Sara (Sarangel Tserevsamba) plays virtuoso dulcimer and is the female voice in the en-

th e Mu s I c I a n s F r o M et h n o Wo r l d 30 semble. EGSCHIGLEN’s music impresses with its Wo l F G a n G ko t s o W I l I s variety and delicacy of expression. Khoomii singing, especially, is unbelievably amazing. Do these low and high notes really come from the throat at the same time? (indeed, they do!). The EGSCHIGLEN musicians transport us far away into the fascinating culture of their remote homeland, and at the same time into the common centre of human existence – beyond all cultural differences.

Ariunaa Tserendavaa: Tanz Taivan Chimeddoo: Moderation

Egschiglen Ensemble Management: Birgit Ellinghaus

Heaven and Earth - Label & Publishing (Big Ethno Drums, Military Snare and Voices) Zwirnerstr. 26 Born in Munich, Wolfgang took his fi rst guitar D - 50678 Cologne lessons at the age of 7 and violin lessons at the age of 10. After his 13th year of life he was a steady partici- f o n :0049.221.813211 pant at Joe Vieras jazz class in Burghausen (founder f a X : 0049.221.811053 of the int. Jazzwoche Burghausen), extending his knowledge in jazz dance, aural training, interplay, improvisation, voice, drums and percussion. High- e m a I l :[email protected] er education entrance qualifi cation was achieved at [email protected] the Gymnasium Burghausen (violin, piano, drums). www.albakultur.de Since then, numerous bands and projects covering jazz, pop, funk, soul, rock‘n roll, rock follwed. 1999 contribution to Ethno World 1. 2003 CD recording ch r I s t o P h Ma n h a r t for the German motion picture „Das Wunder von Bern“. Concert tours in Germany and Europe since 2004. 2009 CD recording for the German motion picture „Die Päpstin“. [email protected] www.wolfgangkotsowilis.com

(Taiko Drums)

31 th e Mu s I c I a n s F r o M et h n o Wo r l d THe VOICeS FROM Ma n F r e d Bo G n e r eTHNOWORLD

Fo u x I Fouxi is a Munich based actress, singer and songwri- ter. Her fi rst album with french pop-chansons was released in 2009 called „Les fl eurs de Fouxi“. One of her songs was not only covered by Françoise Hardy but gave also the name of her new album. Contact: [email protected] www.fouxi.com

I P a a J s t r o V I c l M For over 30 years singing has been his muse. wether its classic, jazz, pop or rock, every genre is covered by his musicality and open spirit. Auto-didactical learning with professional takes have given his ta- lent its extraordinary matureness over the years. Contact: [email protected], phone: ++49(0)801676, ++49(0)162/2997125

Mo r I dI o u B a t É É

Lipa Majstrovic was born in Paris and grew up in and Croatia. She works as a studio singer, vocal coach and live performer in Germany. Edu- cation: Kim Nazarian (New York Voices), Sheila Jordan. Current projects: www.cantarela.net , www.thedilorettes.de Contact: 0049(0)89/60013893 / ++49(0)173/3536392 [email protected] www.lipamusic.de

Ge r G a n a ku s h e W a

Mori Dioubaté is a professional musician born 1959 in Conakry, West Africa, as Griot (traditional musi- cians and story tellers). He started his career as solo balafonist in the „Ballet national de guinée“, the „ensemble coteba d`abdjan“, and the „Orchestre de la RTI“, and worked with Mori Kante, Miriam Makeba and Mamady Keita later on. Since several years he is living in Munich, where he started the band „Jobarteh-Kunda“ (CDs „Ali Heya &“Ab- araka“), and played f. ex. with Hannes Beckmann, and Klaus Kreuzeder. He worked as “Gastdozent” Bulgarian Female Voices

th e Vo I c e s F r o M et h n o Wo r l d 32 (lecturer) for African vocals at the “Akademie für na n I n a Gh e l F I gesprochenes Wort (Staatliche Musikhochschule Stuttgart)” from 1996 to 1999 and is now starting two projects of cross cultural music, one in Vienna (Afro Mandeng) and one in Stuttgart together with the classical pianist Stefan Charisius (TASUMA). Instruments: vocals, balafon, djembe, guitar, per- cussion, (, ngongoma…) Contact: [email protected] Website: mori-dioubate.de ++49(0)171 3871678 / ++49(0)89 608 55 683

se r e F da l y a n o G l u

Nanina Ghelfi , born in 1971 (CH) , singer, Naked Voice teacher, vocal therapist, Off-Speaker (TV). She has released 3 CDs and has performed interna- tionally (CH,D, UK). She intensively studies Ethno- singing, chants and mantras from all over the world. Her latest album from 2009 „Powerchant“ can be he- ard at www.klangfeld.ch. her Album „Powerchant“ was recorded partly with Ethno World Software. Contact: Nanina Ghelfi , Ringwilerstrasse 21, Turkish Male Voices, Saz, Oud, Cümbüs & Tanbur 8620 Wetzikon, Schweiz (CH) Seref Dalyanoglu born in Turkey has lived in ger- Hm. 0041 (0)44- 930 14 74, many since he was 8. He has played in several Mob. ++41 (0)79- 505 69 39 international groups, orchestras and formations. nghelfi @bluewin.ch Specialized in UD and old oriental sing-styles. He is also a soloist and has been performing for many Website: www.klangfeld.ch years with his group Scirocco-Oriental. an t o I n e no a h Contact: [email protected], www.scirocco-music.de

Pa u l o al V e s Paulo European Ethnic Voices

ne d a ho M a y o o n Iranian and Arabic Voices [email protected]

Cameroon Male Voices Contact: ++49 (0)260-99573852 ++49 (0)8205-777820

33 th e Vo I c e s F r o M et h n o Wo r l d Be n sc h Ä d l I c h lI lI

Chinese Female Voices Boy´s Voices Born on the 16th may 1996 in Starnberg and a gifted xI Z h I nI e pupil of the Pestalozzi Gymnasium Munich. Boy so- prano in the ViVaVocina choir Munich. Loves to play the piano, sing and dance. Contact: [email protected]

Va l e n t y n a st a r e n k a

Erhu, Gaohu, Jinghu, Bawu, Sheng, Hulusi, Melodica NIE, Xizhi was born in 1953 in the Shandong pro- vince of China. 1977 he went to peking to study mu- sicology at the central music-academy. In the years of his teaching activity Mr. Nie published several technical and exercise book as well as some essays about chinese music and chinese instruments. He also became a member of the national „association for chinese traditional music“. 1989 he joined the „Chinese music association peking“ that consisted of musicologists and musicians. Since 1995 he‘s Ukrainian Traditional Songs toured internationally and recorded several CDs with the music ensemble „Embryo“ from munich. As a musician he performance with various instru- ments such as the chinese string instrument „Erhu“ or the mouth organ „Sheng“

th e Vo I c e s F r o M et h n o Wo r l d 34 ye r a r Ge r a r d o ch Á V e Z Ambros Göller comes from near Bamberg. In 1999 in the BLACK HILLS of South Dakota he met the northern Cheyenne fl ute player Joseph Fire Crow who became his teacher, mentor and brother. 2002 Ambros released the album „Through my dreams“. His music can be heard in several indi- an radio-stations. On Stage he doesn‘t only play solo but also opens for the Slide-Visions of Dirk Rohrbach and Peter Hinz-Rosin. With his fl utes Ambros brought back the fundamental Sound and a lot of good energy in SIO Steinberg‘s ERDE & MENSCH project against violence.

so n n y rI c h a r d s

The Peruvian Male Voices Born: 11.11.1974 - Peru, Contact: D-82166 Gräfelfi ng - Pasingerstr, 15 Music Producer, Singer, Musician, Composer of Shavez & La banda Fantastica mail: [email protected] - www.shavez.com Old Man - (Lakota)

aM B r o s GÖ l l e r Ja c k MI l l e r

Native American Solo Songs Solo Chants - (Lakota-Cheyenne)

35 th e Vo I c e s F r o M et h n o Wo r l d el V a st a n d s I n tI M B e r CReDITS

Produced by Ma r c e l Ba r s o t t I an d r e a s ho F n e r

Recorded and mastered at BaM Mu s I c & ar t M a n Mu s I c

Additional Recording en r I c o co r o M I n e s

Design & graphic realisation by Ma r c e l Ba r s o t t I rI c h a r d aI c h e r

Photos by Ma r c e l Ba r s o t t I an d r e a s ho F n e r rI c h a r d aI c h e r Photo Native American (Title left) by le c a r o | dr e a M s t I M e .c o M Grandma - (Northern Cheyenne) NI Kontakt Script programming by ch r I s ra V e n s h e a d a n d Fr I e n d s kl a u s Ba e t Z War Chants - (Lakota) [email protected] www.coldsteelmusic.de th e et h n I c ch a M B e r ch o I r GUI Developement and graphics Me l a n I e ku c h l I n G Sopran In G o he r M e s ta r J a ku l t a l a h t I Sopran Eigelstein 72 50668 Köln st e F F I al B r e c h t Alt 0176-67477444 [email protected] Ju d I t h Fr Ö h l I c h Alt nI c o l a I kl e I n B a u t e r Tenor SIpS Legato Script an d r e a s Gn y P Tenor o r I G I n a l l y B y …BIG Bo B o l F G a n G a n s e n Bass W h Panfl ute Canira Ja k o B FelchneroWskI Bass ca t a l I n ra s V a n The Pan Flute Canira Istrument is from the Essence of Panfl ute album made by Canira Music Interna- tional from Romania, in the original conception of the musician Catalin Rasvan licenced by

th e Vo I c e s F r o M et h n o Wo r l d - cr e d I t s 36 th e es s e n c e o F Pa n F l u t e c o l l - e c t I o n , P r o d u c e d B y s.c ca n I r a Mu s I c InternatIonal s.r.l

sP e c I a l t h a n k s t o : kl a u s ka n d l e r , Gu n d I , re G I n a , al e x , ro l a n d , rI c h a r d , t h e Mu s I c sh o P c r e W , an d I , ch r I s t o F , Jo s e F , Fe l I , Fr a n Z , In G o , kl a u s Ba e t Z a n d a l l t h e G r e a t Mu s I c I a n s .

LICeNSe AGReeMeNT The samples and software contained in this library are licensed to you for use in music, multimedia and fi lm productions only. Only the purchaser of this CD is authorized to use the sounds. Unautho- rized copying, reproduction (including conversion and reproduction in other data formats) hire, rental, public performance, broadcasting and distribution is expressly prohibited. best service constantly mo- nitors other soundware releases to check for copy- right infringements, and will prosecute all piracy and copyright violations to the fullest extent of the law. All rights by best service.

© 2003 2010 best service. All rights reserved

37 cr e d I t s - lI c e n s e aG r e e M e n t QUICK START MANUAL: • BM: The Beat-machine-patches have the advantage that the loops automaticly sync to the Op e r a t i o n : tempo but the samples are sliced, meaning they are cut into fragments. The Speed-fader displays the In order to load a new instrument simply doublek- BM-Sound lengths in quarters. If you divide these, lick the .nki file in the Kontakt-Browser or drag it for example the loop doubles in speed. to the right with the mouse. • The “Normal”-patches without prefix mostly If you drag on to an existing instrument then this use the DFD-Mode (HD Streaming) and load very one will be overwritten. The instrument interface fast and use up the least resources. of EW5 always boots with the quick Edit Page. For most applications this page is sufficient. • KEY-Patches: With the lower keys of your master-keyboard (usually E0) you can select vari- To changing the value of the faders at a finer reso- ations of the instrument. The particular description lution simply hold the shift-key. With Cmd-Click of the variation is displayed on the Quick Edit Page (MAC) or Strg (PC) you can reset every fader to in “active Key-group”. its default setting. The value-window above the tune-fader has two arrows to transpose in semi-tone steps. By double- With instruments that contain Licks or Loops, eve- clicking the window you can manually enter the ry note is assigned to its individual Group, so that number. every phrase can be edited in Group-Edit and Sam- ple Start Parameters. To get a description of the fader functions just activate the INFO button in the top bar. This dis- plays helpful information in the bottom bar during mouse-over. BELL TYPE + METAL TYPE Also it is recommended to activate the keyboard- + GONGS & BOWLS: view in Kontakt in order to see where the sample • Since metal instruments sound especially keys (grey) and the key switches (pink) are loca- interesting when tuned down, there are patches ted. Newly loaded instruments are not displayed where the samples cover a wide range called LOW immediately. First you must click the interface to or WIDE RANGE.. select it. You can change to a smaller view of the instruments VOICES AND CHOIR, by clicking the Ethno World 5 Icon (red circle). BOWED INSTRUMENTS: If thats not small enough click the minus-symbol at • Also there are many TM and TM SYNC Sounds, the top right of the instrument. but also Pad- and Solo Sounds. In order to play Solo Sounds authentically you should activate Th e In s t r u m e n t s : the new Legato Function (Performance – Legato - Start-offset) and also with the sustain pedal the There are various types of instruments which beco- Glide-Effect. The Legato-Function enables very mes apparent in the layout of the Quick Edit Page: real note transitions, because it skips the attack- • TM SYNC: musical phrases and licks are synced phase of the following samples in order to ele- to the tempo automaticly. Be mindful that extre- gantly lead into the next Note. me deviation from the original file leads to distor- • With many VOICES there are Pad-Sounds or tion of the audio signal. The more overtones and Playback Tracks in the lower range of the key- polyphony a signal has, the sooner the distortion board in order to put the sung phrases in con- occurs. text.. • TM: The TM-Patches also have Time-machine, but all samples play in original tempo and tuning. However you can edit every note separately.

Qu i c k s t a r t m a n u a l 38 World druMs tu n e : a n d World PercussIon Sets the tuning in semitones. For exact settings and • In World Drums and World Percussion most fi ne-tuning use the data-entry fi eld. Just double- of the patches are a mix of loops, rolls, fl ams and click and enter your data or use the mouse (high single hits. Whereby most of the loops where resolution with shift). programmed as Beat-machine Sounds (sliced). Many rolls and fl ams however are Time-machi- sa M P l e st a r t : ne-Sounds identifi able by the 100 (middle set- Sets the point where the sample begins to play. ting) of the Speed-Fader. With this you can easily With the Sample Start Range, you can adjust a wi- sync turnarounds and breaks to your song-tempo der range of this slider. or integrate these sounds into your loops. With single hits the Speed-Fader is useless. sa M P l e st a r t ra n G e : • Tipp: Try playing several loops at once, but vary Here you can adjust a wider range of the Sample them in panorama, Tuning and fi lter settings. By Start slider. doing this you can create very interesting and in- dividual rhythms. a c t I V e ke y G r o u P : shows the selected keygroup-articulation. You can switch the keygroups in most „KEY“-instruments THe eTHNO WORLD 5 with the lower keys, starting on E0. Vo l u M e : INSTRUMeNT INTeRFACe: Sets the volume of the selected group or the enti- re instrument, depending on the EDIT ALL button status.

Pa n : Sets the panning of the selected group or the entire in- QUICK eDIT pAGe: strument, depending on the EDIT ALL button status.

This page gives you easy access to the most impor- at t a c k : tant parameters of your instrument. Sets the attack time of the selected group or the en- tire instrument, depending on the EDIT ALL button status.

re l e a s e : Sets the release time of the selected group or the entire instrument, depending on the EDIT ALL button status.

Ve l o c I t I y : Adjusts the amount that the velocity changes the volume of the selected group or the entire instru- ment, depending on the EDIT ALL button status.

PI t c h B. ra n G e : sP e e d : Sets the pitch bend range in semitones of the selec- Controls the speed in Timemachine-Mode (TM) or ted group or the entire instrument, depending on Beatmachine-Mode (BM). the EDIT ALL button status.

39 Qu I c k s t a r t M a n u a l lo W Pa s s / hIPa s s on/oFF sW I t c h le G a t o on/oFF sW I t c h : Enables Low Pass or HiPass Filter. Enables the the Legato effect. Yon can fi nd more Legato-Controls in the Performance Section. lo W Pa s s s l I d e r : Sets the Low Pass Filter Frequency of the selected group or the entire instrument, depending on the EDIT ALL button status. eFFeCTS: hI G h Pa s s s l I d e r : This is the section where you can enable and adjust Sets the High Pass Filter Frequency of the selected effects for the whole instrument. group or the entire instrument, depending on the The effects are Convolution, Reverb, Delay, EDIT ALL button status. Phaser, Equalizer, Compressor and Saturation. co n V o l u t I o n on/oFF sW I t c h Enables the Convolution effect. The Convolution Reverb requires a lot of CPU-power, so depending on the power of Your computer switch it off when you hear distortion in the audio path. co n V o l u t I o n Pr e de l a y : Sets the Pre Delay Time of the Convolution Effect. This effect concerns the whole instrument. co n V o l u t I o n sI Z e : Sets the impulse response fi le size of the Convo- lution Effect. This effect concerns the whole ins- trument. co M P . / sa t u r . The compressor reduces the dynamic range of your co n V o l u t I o n ou t P u t : instrument. Reducing volume-peaks gives you the Sets the output level of the Convolution Effect. possibility to raise the overall volume of the instru- This effect concerns the whole instrument. ment. This can help you to bring out an instrument in the mix. Saturation makes the sound ‘thicker’.

eQ u a l I Z e r QUICK eDIT pAGe The EQ enables you to change the sound of your (FOR Key-INSTRUMeNTS): instrument subtly or drastically. de l a y In conjunction with reverb, the delay can produ- ce nice echoes or very realistic sounding room ef- fects.

Ph a s e r /ch o r u s Here you can add a Phaser or Chorus to your in- a c t I V e e y G r o u P k : strument. shows the selected keygroup-articulation. You can switch the keygroups in most „KEY“-instruments re V e r B with the lower keys, starting on E0. The Reverb is agorithmic and does´nt need as much

Qu I c k s t a r t M a n u a l 40 CPU power as the Convolution, a high quality ef- Ve l o > at t . fect using impulse response recordings. Sets the amount of the Velocity to Attack Time mo- dulation. GROUp eDIT: lFo on/oFF Bu t t o n Enables the Low Frequency Oscillator. In this section you can adjust volume, tuning, fi lter lFo dr o P do W n and envelopes for each group or playing style. Here you can select the Volume LFO waveform. You can fi nd everything to manipulate the tone and response of your instrument. lFo In t e n s I t y VoluMe: Sets the intensity of the Volume LFO effect. lFo Fr e Q u e n c e Sets the frequency of the Volume LFO effect .

pITCH LFO:

Vo l u M e Sets the volume of the selected group or the entire instrument.

Ve l o c I t I y Adjusts the amount that the velocity changes the volume. lFo on/oFF Bu t t o n at t a c k Enables the Low Frequency Oscillator. Determines how fast the Attack effect reaches its maximum volume after you hit the key. lFo dr o P do W n de c a y Here you can select the Pitch LFO waveform. Determines how fast the Attack effect’s volume drops to sustain level. lFo In t e n s I t y Sets the intensity of the Pitch LFO effect. su s t a I n Adjusts the volume level the sample should reach lFo Fr e Q u e n c e after the decay phase. Sets the frequency of the Pitch-LFO, and therefore the speed of the pitch modulation. re l e a s e Sets the time the Attack-sample continues to sound after you release the key.

41 Qu I c k s t a r t M a n u a l LOW pASS / (HI pASS) lFo on/oFF Bu t t o n Enables the Low Frequency Oscillator. In this sec- By using the Low Pass / High Pass fi lter you can tion it is used to modulate the cutoff fre- quency. manipulate your instrument’s sound drastically. lFo dr o P do W n Low Pass cuts all the high frequencies, whereas High Pass cuts the low frequencies. Here you can select the Filter-LFO waveform. lFo In t e n s I t y Controls the intensity of the fi lter modulation.

lFo Fr e Q u e n c e Sets the frequency of the LFO, and therefore the speed of the fi lter modulation.

MICROTUNING:

This section enables to you to fi ne tune individual cu t o F F keys of an octave. You can fi nd tunings from diffe- This knob sets the cutoff frequency. It determines rent epochs and can even create your own tunings. the point from which either the high frequencies or the low frequencies get cut. re s o n a n c e Boosts the frequencies around the cutoff frequency. at t a c k Determines how long it will take the fi lter to reach the cutoff frequency after you hit.

You can draw the fi ne-tuning with your mouse. de c a y e y Sets the time the fi lter will take to drop to sustain level. k Select the root note of the scale. su s t a I n Pr e s e t Sets the level the fi lter reaches after the decay phase. Select a microtuning preset. re l e a s e us e r Adjusts the time the fi lter takes to stop affecting the sound after you have released the key. Save your own tuning. The saved user-tunings are not available in other instruments due to Kontakt´s In t e n s I t y scripting - architecture. Determines how much the ADSR curve affects the Low/High Pass Filter.

Qu I c k s t a r t M a n u a l 42 peRFORMANCe: eQ aM o u n t Sets the amount of the EQ Humanizing. Each note This section contains specifi c playing options that gets a slightly altered 1-band EQ-setting, depen- can alter your performance: Legato mode, Huma- ding on the chosen Humanize Setting. This very nize and Harmonize. All these effects concern the subtile effect concerns the whole instrument. whole instrument. hu M a n I Z e se t t I n G d r o P d o W n Select the EQ setting for the EQ Humanizing. This effect concerns the whole instrument. harMonIZe

ad d n o t e If pressed, one additional note is created. Adjust it´s tuning with the tune data-entry below. This ef- fect concerns the whole instrument.

tu n e leGato: Sets the tuning of the additional note. With the ar- rows on the right side of the fi eld you can adjust the Legato ON/OFF Switch tuning in semitones. Enables the Legato function. If Legato is on, the Harmonize function can’t be used and the instru- ment is set to a monophonic Solo-Mode. eDIT ALL BUTTON: st a r t oF F s e t Sets the Sample Start Offset of the legato played This button is as powerful as it is dangerous. Not notes. This effect concerns the whole instrument. for your life or your studio – but for the settings of For Instruments in DFD mode (disk streaming) like your instruments. drums and percussions, the offset is not working. If the Edit All button is enabled, all changes you make are applied to all groups, keyswitches or le G a t o x-Fa d e loops that are part of the instrument. That inclu- Sets the Crossfade Time of the legato played notes. des Time-and Beatmachine, fi lter, volume and tune This has no effect when you play with the Legato settings. No matter what group you have been wor- Glide Effect while pressing the sustain pedal (CC64). king on before, the settings are applied to all parts This effect concerns the whole instrument. of the instrument. If the Edit All button is disabled, the changes are l I d e I M e G t only applied to the currently selected group, loop Sets the Legato Glide Time of the legato played or phrase. In KEY-Instruments, this is the active notes. Press the sustain pedal (CC64) to hear the Keygroup, in the other instruments, the selected effect. This effect concerns the whole instrument. group is the last played note or sound. Effects from the effects- and the performance sec- huManIZe: tion are always affecting the whole instrument and are not affected by the Edit All button. tu n I n G And if you really get stuck, you can always reload Randomly detunes each note. If set to 100%, the your instrument. maximum detune value is 100 cents in both direc- tions. This effect concerns the whole instrument.

43 Qu I c k s t a r t M a n u a l In s t r u m e n t Li s t Bell Type Instruments China Set 120 3 China Set 140 3 Instrument EW-Vol. Mid East Set 100 3 Bamboo Vibraphone 1 Mid East Set 120 3 Belltree 3 Mid East Set 140 3 Bhutan Bells 2 Mid East Set 80 3 China Finger Cymbals 1 Dream Catcher 1 Gamelan Crash Bells 1 GONGS & BOWLS Glockenspiel 1 Iran Fingercymbals 3 Instrument EW-Vol. Metallophon 1 Big FengGong 5 Mini Bells 2 Big Rako Bowls 2 Saron Gamelan 1 Big Tibetan Singing Bowls 2 Shanghai Baby Piano 1 Gong Besar 18“ 1 Small Burma Bells 1 Java Gong 2 Small Tubular Bells 1 Mongolian Gong 4 Tibetan Cymbals 1 Rin Singing Bowls 2 Tibetan Singing Bells 1 Tam Tam Besar 2 Vietnam Bells 2 Thai Gong 14“ 1 Windbells 3 Wuhan Tam Tam 2 Windchimes Ethno World 5 KEY INSTRUMENT

BOWED INSTRUMENTS Instrument EW-Vol. Dallape Accordion 2 Dilruba 4 Melodica 2 Egyptian Fiddle 2 Scale Changer Harmonium India 2 Erhu 2 Esraj 4 Gaohu 2 METAL TYPE INSTRUMENTS Ih Khuur Bass 4 Jinghu Operaviolin 2 Instrument EW-Vol. Morin Khuur Strings Ensemble 4 Bass Kalimba 2 Morin Khuur Violin 4 Cymbals 5 Small Morin Khuur 2 Hand Cymbals 1 Western Fiddle Licks 3 Jews Harp 4 Kalimba Kibirizi 15 tuning Plates 1 Kalimba Kibirizi 5 tuning Plates 1 CONSTRUCTION SETS Kalimba Hugh Tracey 3 Metal Squares 1 Instrument EW-Vol. Military Cymbals 2 China Set 100 3 Mongolian Jews Harp 4

In s t r u m e n t Li s t 44 STRINGED INSTRUMENTS Ethnic Chamber Choir 5 European Ethnic Choir 5 Instrument EW-Vol. Fouxi European Ethnic Voices 5 Acoustic Bass Vester 2 Gregorian Chants 5 Balalaika 2 Guinean Male Voices 5 Bandura 5 Human Whistling 5 Banjo Framus 1 Lipa European Ethnic Voices 5 Banjolin 2 Mongolian Female Solo Vocals 4 Big Erhu Plectrum Violin 1 Mongolian Male Khoomii Overtone Vocals 4 Bouzouki Sakis 2 Mongolian Male Solo Vocals 4 Ceylon Guitar 1 Mongolian Male Subtone Vocals 4 Contra Guitar F - Bass 1 Mongolian Vocal Ensemble 4 Cora 2 Nanina European Ethnic Voices 5 Cümbüs 3 Native American Original Chants 5 Domra 2 Native American Style Chants 5 Dra-Ngen 2 Neda Iranian & Arabian Voices 5 Grand Monochord 3 Paulo European Ethnic Voices 5 Joochin Dulcimer 4 Peruvian Male Voices 5 Kantele 1 Ponchi European Ethnic Voices 5 Mandolin Truxa 1 Turkish Male Voices 5 Oud 2 Ukrainian Traditional Songs 5 Oud Licks 3 Wolfgang European Ethnic Voices 5 Resonator Guitar 2 Santoor Saberi 2 Saz Licks 3 WOODWINDS & BRASS Sitar 2 Small Erhu Plectrum Violin 1 Instrument EW-Vol. Small Kantele 1 Bamboo Flute 1 Steel String Guitar Falcon 1 Bawu 2 Tampura 2 Ceylon Snake Charmer 1 Tanbur 3 Ciaramella 4 Timple 2 Dagoba Flute 1 Turke Saz 1 Didgeridoo 4 Ukulele 2 Duduk 4 Zheng Harp 2 Dung Dkar Conch 2 Zsoura Sakis 2 Dvojacka Doubletone Flute 4 Flute Phrases 1 Fujara Flute 3 VOICES & Choirs Fujara Overtone Flute 4 Hawaiian Shellhorn 2 Instrument EW-Vol. Hotchiku 4 Boy´s Voices 5 Hulusi 2 Bulgarian Female Voices 5 Indian Snake Charmer 1 Cameroon Male Voices 5 Irish Low Whistle 1 Chinese Voices 5 Irish Traverse Flute 4

45 In s t r u m e n t Li s t Kena 2 Dolek 3 Krumhorn 4 Flat Udu 3 Launeddas 4 Gon Bops Cuica Drum 2 Low Whistle Licks 4 Gran Military Cassa 2 Mancosedda 4 Indian Tablas 1 Mexican Piccolo Flute 1 Iran Bongos 1 Moceno Bassflute 2 Kanjira 3 Ney Flute 5 Madal Drum 1 Ocarina 1 Military Snaredrum 1 Overton Irish Whistle 3 Mongolian Framedrum 4 Overton Irish Whistle Licks 3 Mongolian Hengereg Drum 4 Panflute 3 Moroccon Conga 2 Panflute Canira 5 Oceandrum 3 Peruvian Double Ocarina 2 Piccolo Military Snaredrum 1 Peruvian Ocarina 2 Pitched Timbales 1 Pinkillo Flute 4 Small Cassa 1 Pivana Flute 5 Small Derbuka 1 Rag Dun Horns 2 Surdo 3 Recorder 1 Taiko Drums 5 Shakuhachi 4 Talking Drum 3 Shenai 2 Tambourine Drum 1 Sheng 2 Traditional Bongos 1 Shiva Flute 2 Tunis Ceremony Drum 2 Susato Whistle 1 Waterdrums 3 Tenor Pivana Flute 5 Yambu 2 Tenor Recorder 2 Tin Whistle LIcks 4 Uilleann Pipes 3 WORLD PERCUSSION Various Ocarinas 4 Zukra Bagpipe 2 Instrument EW-Vol. African Rice Shaker 1 African Xylophone 2 WORLD DRUMS Afuche Cabasa 1 American Woodblocks 1 Instrument EW-Vol. Angklung Gamelan 1 African Donn Donn Drum 1 Balafon 2 Bass Cajon 2 Bamboo Windchimes 1 Bass Skin Udu 2 Baobab Shaker 3 Bendir Framedrum 2 1 Big Ethnic Tom Drums 5 Chi Gong Balls 1 Big hand Drum 1 Chicken Eggs 1 Ceremony Drum 1 Cola Shaker 3 Darabuka 1 Drum Pots 1 Derbuka 1 Gamelan Wooden Cowbell 1 Djembe 2 Gon Bops Cuica 2

In s t r u m e n t Li s t 46 Gopichand 2 1 Log drum 2 Metal Guiro Shaker 3 Mixed Wood Percussion 3 Mongolian Shaker 4 Nut Shaker 3 Rainmakers 1 Rattle Shaker 3 Schellenkranz 2 Shaker Sets 3 Shell Shekere 2 Small Chickeneggs 3 Small Maracas 3 Spring Drums 3 Tamborcito 2 Tambourine Drum 1 Traditional Cowbells 1 Tunis Tambourine 2 Various Maracas 1 Wood Shaker 3 Wooden Bells 2 Wrist Jingles 2

47 In s t r u m e n t Li s t