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«by SPITFIRE Welcome. Thanks for purchasing Albion II - Loegria, an exciting new array of orchestral and cinematic tools made “the Spitfire way”. ...»

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Welcome to the most esoteric part of Loegria. There’s a keyboard instrument popular in the 60’s and 70’s that used real tape to playback sounds. As part of the sound package were 6 rhythms. Each playing different chords over around an octave of keys. Recorded near Birmingham these were the world’s first loops.

Over recent years these 6 loops have become miraculously popular and can be heard on everything from rap records to washing powder commercials.

Again in the spirit of Spitfire, we as a group of composers, thought it would be nice if there was some more. So we set about making some. As Loegria is a set of composer tools designed for smaller more sensitive work and possibly indy films we felt these loops would make an excellent inclusion.

We booked a band of Piano, String Bass, Percussion, Drums, Guitar, Violin and Cello to play some compositions by Christian in a very “British” vein. These were all recorded in the one room to tape via an exclusive selection of vintage mics running through a vintage Cadac desk. Just like the old days. These were then mixed and mastered on a vintage SSL at Hugh Padgam’s studio in west London with an impressive array of outboard screwing the bejesus out of the sound. They were then rendered to tape via some interesting sources.

Signals available are.

1/2” Tape, 1/2” Vinyl from tape, 1/2” mono, HDX, SSL Stereo, SSL Mono.

The latter two being the cleanest but by means least funky signals. Most interesting of the lot is the HDX feed.

This signal passes through a 60’s line mixer used bought in auction in London several years ago. It’s previous owner was Jimi Hendrix who used it both on the road and in the studio. It has the original valves and is simply filthy.

All titles state the BPM they were recorded at, and we’d recommend you pick a loop that’s close to what you need. Click on sync to tempo to lock to your host/ DAW.

We haven’t loaded the different takes into a single patch as they are just that; “takes” not stems and therefore aren’t strictly interchangeable.

Please feedback on these, we’d love to make some more and we’ll happily oblige if you get some use.

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We’ve designed these tools to help you deal with the inevitable 5/8 bar you’ve had to put into a cue to hit a cut that has inexplicably moved back a few frames. We find that having to suddenly switch from composing to music sound design can frustratingly slow up the process. So we’ve made an enormous bank of reversed and stretched Spitfire content designed to get you out of lumpy edit corners.

As all of these sounds start from silence it’s difficult to audition. Slide the audition slider to the right to advance the sample start and play through the different sounds we have designed from your controller keyboard.

They have been sampled at two pitch centres so you never have to stretch them too far. Select a pitch centre then course tune (using the tuning knob) to the desired exact pitch.

Pull the audition bar all the way to the left and then select how many bars (measures) you wish the reverser to stretch over. The trick then is to run these sounds loud! A bit of distortion really suits alongside a touch of splosh and delays if you so wish.

It’s a very cool and dramatic way to hit a cut when you’ve been hitting a lump all afternoon.

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This manual presumes that you have already used Kontakt. If the main Kontakt window is unfamiliar to you

please consult your Kontakt manual or the Native Instruments site. They explain it better than we ever could:


1. Front Panel, 2. Ostinatum, 3. FX Sequencer Selectors These tags toggle you between the 3 main pages of the front panel.

3a. Articulation Stanza.

This is your articulation menu. Highlight your choice of articulation and observe description to the left.

If you haven’t got the articulation loaded you will be prompted when you send it some note on information.

3b. Articulation Load/ Cut Buttons Use these to purge articulations from memory. Click on this toggle to reload.

4. Voices & Max.

The left numeral refers to how many voices are currently being processed in the Kontakt engine. Max.

Refers to the maximum number of voices assigned to this instance of Kontakt. If you’re experiencing dropouts, clicks or crackles you may want to have a look at these two numbers.

5. Samples Load Status.

Again, if you’re hearing clicks or crackles or if your sample is cutting out erratically check that the righter-most bar is illuminated. This signals that all the samples for your patch are fully loaded.

6. Mic Controllers One of the most exciting aspects of Albion. C(lose) T(ree) A(mbient) & O(utrigger) mics. Above these letters are the mic cut buttons that dial the mic signals in or out, this will unload or load the samples needed to keep your system lean. Above the cut buttons are fader controls that allow you to mix the mic signals to your liking.

C - Close mics, a selection of ribbon and valve mics placed for optimum focus close to the instruments.

This mic control is great to add in for added definition and at times a bit of “rounding of sound”, in isolation it can be a way of achieving a more intimate or pop-music style sound.

T - Tree. This refers to the “Decca” tree of three mics placed above the conductors podium. In the case of Albion; 3 priceless vintage Neumann M50s. These are placed to give the ultimate sound of the band, the hall and are the default mic position that loads in with each patch.

A - Ambient. A set of condenser mics placed high up in the gallery away from the band. This mic position gives a massive amount of stereo spread and room sound over the band. Great mixed in with the other mics but also ideal fed to your Ls & Rs speaker sends for true surround information (see page 23).

O - Outriggers, a set of vintage AKG C20s placed wide apart to the left and right of the tree. These give a similar balance of room and band but with a broader stereo spread. The effect of this mic is somewhere between the tree and ambient mics.

7. Transpose Unlike the “Tune” dial this is a course transposition tool that allows you to address different samples from your keyboard. We have included this function with the “Tune” dial in mind. Whereby if you dial up the transpose by say +3 and dial down the “tune” knob by -3 the pitch of your instrument remains at concert but is addressing a different order of samples. With this example of it’s use would be an excellent way of tracking an instrument or part with a duplicate sound, to make it even larger or “more stereo” without the two instances phasing. Or if you are slightly unhappy with the performance of a particular note (we encourage idiosyncrasy and variety between our notes throughout our sample sessions)or mix say of a woodwind group at a point in your melody or accompaniment this may be an easy fix without having to “get under the bonnet”.


7a. CC1 Mapped Velocity Control the note velocity with the mod wheel rather than key velocity. Especially handy for riding the mod wheel while the ostinatum machine is on.

8. Purge Unused This control keeps unloading any samples you are not using.

9. Presets Another new feature that enables you to load in a selection of articulations from a useful preset list. If you wish to quickly build a palette/ template using a number of different articulations placed on a number of tracks launch VIs from the “palette shells” sub folder in the library navigator.

10. Round Robin x 4 This refers to the number of round robins your patch uses, the number can be dragged up and down (1-4) to save you memory.

11. Reset From F1 Enable/Disable and configure the note that the Round Robin selection starts at. eg, if it’s set to F1, F1 will set RR to 1, F#1 to 2, G to 3, etc.

11a. Lock Articulation This function disables articulation selection via keyswitches. Useful for palette building where you require one articulation per track, especially via a slave. This selection is also recommended if building multis across different ranges.

12. Reset On Transport An ingenious device that ensures uniform playback every time you run your DAW. Click this on and Kontakt will start the round robin cycle from either RR1 or the selected RR from F1 above every time you hit play on your DAW.

13. Dynamics A visual/ front end depiction of your modulation wheel or CC1 input. You can also use this to fine tune direct from the UI.

14. Speed This speeds up and slows down the legato transitions. For ease of playability you may want to leave as default then adjust on playback to achieve the desired effect.

15. Neighbouring Zones This will fake round robins based on neighbouring zones, this can be used in conjunction with the true round robins (10.) to give you a real variety of samples when playing fast or repetitive phrases.

** TOP TIP ** If you wish to select different articulations by other methods, say with your modulation wheel, try command

clicking on the articulation for a series of advanced options:

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OSTINATUM FRONT PANEL A.K.A. “Your Orchestrator’s Next Headache”.

This tool can be used in a very scientific manner so you can very carefully design your ostinati, or in a random manner that will, we’re sure, provide you with acres of inspiration.

This tool is designed primarily for short articulations. Producing anything from a structured melodic Ostinato to a shimmering tremolando effect.


1. Note length.

Click on the notes or rests you want to produce a micro rhythmic sequence.

2. Key Order Use this to select how “note numbers” are assigned (if at all) to each of the keys you’ve depressed. You can then use these note numbers in any order to form your ostinato. Simply pull down the menu arrow and select one of these


Order pressed - This will assign note numbers to your key strokes in the order you play them.

Ascending - This selection will assign note numbers from lowest in pitch first through to highest last.

Descending - This selection will assign note numbers from highest in pitch first through to lowest last.

Chords - This selection will ignore assigning any note numbers and will simply play the chord you’re playing in unison at the frequency determined and with the dynamics you have programmed.

2a Chord Short Cut A quick short cut button to switch to chord mode detailed above. This mode is excellent when used with fast rhythms to create interesting shimmering effects but also very believable measured trems.

3. Keys Held Simply displays the keys you have depressed and how the engine has assigned the note numbers.

4. Sequence Notation Display A notation display of the note frequency selected and the length of the sequence/ ostinato.

5. Note Number Assignments Selects which notes you wish to be played in the sequence. You do this by scrolling up or down. Scrolling down all the way produces a hyphen which denotes tacit for this step in the sequence. Enabling you to make dotted and more complex rhythmic phrases.

6. Velocity Dynamic Controls As with the Note Number Assignments, scroll up or down to vary the velocity, volume or accent your sequence.

Please note, on all short articulations (ie non Ostinatum patches) you also have velocity control as per usual, ie by hitting your keyboard louder or softer. These dynamic controls will alter micro velocities in relation to the dynamic you’re playing at.

7. Trash Can This acts like a backspace tool for the sequence notation display.

8. Ostinato Settings Use this to get even deeper into your Ostinato.

9. Ostinato Playlists Toggle between your favorite ostinati.

10. Load/ Save Once you have created your masterpiece make sure you have saved it!

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We’ve designed this tool so you can punk things further to your heart’s content either in a quick brash way by pinging FX in or by carefully designing amazing FX sequences with this highly intuitive tool.

1. FX Panel Here lies all your hands-on non sequenced parameters. The top layer provides some basic patch tweaks you can make, overall volume, pan, tuning, and a simple ADSR envelope. So you don’t have to press the scary spanner button if you don’t want to and our Kontakt Player users also have a wide range of editable tools.

2. Sequencer Panel Strap on your jewellers loop and go in for some meticulous FX sequencing. All your sequencing and automation will happen in this panel.

3. Effects Selector Pick the FX you’d like to dial in here from the pop down menu: Instrument (the top layer of basic patch parameters as pictured above), EQ, LoFi, LPF, Chorus, Reverb, Delay, Distortion, Phaser.

4. Sequencer Launch Buttons This launches the sequencer for the selected FX parameter. This will then be clearly displayed in.....

5. Loaded FX Parameter Display Identifies which FX parameter you’re editing/ sequencing.

6. Sequencer Matrix Here’s where the fun happens, drag up the columns from 0% to 100% to shape your FX sequence.

7. Time Determines what the Matrix represents, click on the pop down and select one of these options: 4,3,2 & 1 bars, 2 beats and 1 beat.

8. Lag Introduces a lag into the movement of the control you are automating. In English, the effect will be that the controls respond more slowly and give you a smoother interpretation of the FX sequence you have made or, in the other direction, become much crunchier and brutal.

9. Resolution Determines the resolution of the sample steps within the time frame that you have selected. From lumpy crotchet steps suitable for gated phrases to finer smoother more detailed steps suitable for sweeps.

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