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«USER MANUAL Welcome. Thanks for purchasing Albion, an exciting new array of orchestral and cinematic tools made “the Spitfire way”. Reading ...»

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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 tacet 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.

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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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The basic principal is to load in several instances of the same patch routed to the same MIDI channel with different mics selected and each instance routed to a different out, or panning selection on your surround panner.

Each, and all microphone samples have been edited to sample accuracy together, so provided you give each instance identical MIDI information, or indeed the same channel, everything will remain true as recorded. If you are concerned that a round robin cycle may be out of sync, hit C0 on your keyboard controller to reset.

Here’s some suggestions:

Basic Quad (2 instances):

Output an instance with T(ree) to your L&R, A(mbient) to your Ls & Rs. If you need a slightly less widescreen surround image swap out your A(mbient) for O(utrigger).

Intermediate 5.0 (3 instances) Output an instance with T(ree) to your L&R, A(mbient) to your Ls & Rs. Bus a slightly smaller amount of Tree into your C alongside a final instance with C(lose).

Business Class 5.0 (4 instances):

Output an instance with T(ree) to your L&R, A(mbient) to your Ls & Rs. Bus a slightly smaller amount of Tree into your C alongside your 3rd instance with C(lose). Use your surround panner to output the O(utrigger)

mics to a point directly between L&R and Ls&Rs as pictured:

Posh 5.1 (4 instances + some clever routing):

It would be easy for us to suggest you simply pull up the LFE fader as found in Logic (pictured above) on one of your 4 instances. Indeed, the C(lose) mic would be a nice focussed signal for this task. But your dubbing engineer wont like your for it, and 9 times out of 10, he’ll simply cut all of your LFE tracks.

You can make his life easier by understanding the much misunderstood roll of the LFE track in cinemas. This is, as the title suggests, an “effects” track. It is for intermittent use (albeit these-days, often used!). This should never be part of your bass management and should be used in a selective manner. If you give them continuous program, they’ll strip it out as it will interfere with their room tones, nice bangs and thuds. And with a 60 piece orchestra all sorts of info gets into the sub range if you simply route your mix to it, even with instruments playing in a pitch range well clear of the sub.

Your C(lose) signal is a good starting point. Route this to a sub bass synthesizer, the Waves MaxxBass is a great plug, alongside many free plugs bundled with DAWs. But the DBX 120A is very much the industry standard, and inexpensive bit of outboard kit for this purpose. Send your C(lose) into this but also make sure you noise gate it. Judge a point that you feel is a loud peak, and set the threshold to that, with a nice slow attack and release. Hey presto, you just made friends with a dubbing engineer.





Oh, and don’t forget to introduce your Darwin “Subs” and “Easter Island Hits” to the LFE........

23.

AFAQs (Anticipated FAQs) Our first comment is to remind everyone that this is a manual to accompany v1.0 of a totally new line for Spitfire. With a totally new set of arrangements, samples, scripts, and UI. But more importantly a totally new selection of non-orchestral sounds and tools. We have used our experience as busy film composers to deliver something that we’d like. Certain areas may need expansion, certain areas may need improvements, and certain areas may prove to be “best left alone” as quirky ideas that no one used!

It is our hope that you keep in touch with us to let us know how you’re getting on, how you’re using Albion, how you’re finding it, and, if we were to consider looking at areas in the future, what you’d like us to look at. From this we’ll form a consensus and wholeheartedly pledge that we will act upon it wherever possible or practical.

Our private library is what we often refer to as a “living” library, that has embraced true legato among and other scripting technologies and will no doubt find new life in experiences we have earned in making Albion. We hope that Albion too can enjoy this kind of fluid feedback that will keep our tool-sets fresh and vibrant.

See you at v10.0!

• This library really isn’t behaving how I’d expect. - OK, so we’re now officially blue in the face. But before you go ANY further please check you are using the ABSOLUTE latest version of Kontakt. Visit your trusty service centre and we hope this page remains relatively under-thumbed.

• My instrument or patch seems to be playing just bits of sound, some keys are missing, and there’s lots of clicks and crackles. - Make sure that your patch is fully loaded (detailed on the front panel, page 16). Some of

these are biggies so can take a while. But if problems persist make sure Kontakt memory manager is activated:

–  –  –

You’ll have to restart this instance of Kontakt to feel it’s benefits.

Another reason your system may be struggling is that you’re using too many mics live for the spec of your machine. Try cutting the mics as detailed on the front panel to see if this cures your problem. If it does, don’t worry you can still use these mics, just play in your parts with one active (we recommend the T(ree)) and then activate multiple mics and render down (eg. freeze function in Logic Studio).

If you’re still suffering may we suggest you try and manage your pre-load buffer. Kontakt pre-loads some samples into memory so that when you hit a note Kontakt plays it out from RAM whilst addressing the rest of your samples from your hard drive(s). The slower your drives, the more you may want to rely on RAM, the faster the drives, or smaller RAM available, the more you may want to rely or your drives. If you’re using the latest generation of SSDs you’ll find you can radically reduce your pre-load buffer. Referring to the plate above tick the “Instruments Default Pre-Load Buffer Size” and drag the fader to a setting you’re happy with.

24.

• I’m a media composer, and my cues take an age to load between cues. - Ha ha, we too wish that some DAWs handled memory a bit better. Make sure the Kontakt Memory Manager is on (detailed above), and try and create a palette from which all your cues derive. But most importantly, if you’re using a lot of our sounds. Try and run your orchestral palette in the background, either via rewire using Plogue Bidule for example, or indeed from an entirely different “slave” computer. We’d recommend loading the Brunel Loops into your host however so you can enjoy the beat-matching. You can beat match in Plogue, using the MIDI Clock To SYNC bidule.

• These samples are sounding a little cold and still. - If it has a MW suffix in the title you really want to wiggle your mod wheel or program some CC1 information so that you can feel the true life of this sample-set.

• Why can’t I play more than one note on the “Legato” patches. - These are strictly for monophonic use and are designed for lead lines.

• Do you have any non octave high brass or lo legato strings, and the v1v2 legatos don’t go down all the way to the open G? - Developing this module has been a battle of content vs a desire to make this a library that can be used quickly and easily on a multitude of set-ups and at a price point that wont break the bank in these difficult times. With legato patches in particular, the wider we go the larger the library grows, but at an exponential rate. We have leaned extensively on our experience as film composers and have carried out extensive research with classic movie scores to provide you with a set of “go to” tools. We hope you enjoy the broad brush that is Albion, that your orchestral palette doesn’t need to be scrolled, but also we’d love it if you could check back with us for many anticipated updates and additions.

• Some of these notes sound a bit.... fruity? Some of the tuning isn’t perfect, and the pizz’s are a bit loose at points? - This is where we stand steadfast. We design our recording process to embrace such imperfections.

Having blind tested a control group with demos made on Spitfire vs other libraries we have unanimously found that people feel our library sounds the most convincing. We too are utterly convinced that this is not only due to the magnificent environment and talent involved in the recording, but that we allow a degree of humanity to permeate through our entire library. These imperfections exist in our bespoke range and we have arguably the greatest user-base of any independent sample enterprise. If something is unacceptable to you, the brilliance of Kontakt allows you to delete the “offending” article and stretch across a neighbouring zone. Or more simply try using the transpose function detailed in the front panel outline (page 16.). For help on this you may also want

to refer to the Kontakt manual found here:

http://www.native-instruments.com/#/en/products/producer/kontakt-4/?page=975

• When I play these ensemble multis in the mid range they make my computer wig out. - That’s because there is a crossover point of some 6-8 samples where your lo and hi sections are playing on top of each other.

These have been carefully crafted to crossover so you don’t here where the violins start and cellos end for example. So when you play in this region, you double the number of voices playing. Try reducing the number of mics you have active.

But more importantly check back with us at Spitfire whenever you can. We may have some mixed-down ensemble patches for you soon....

25.

A QUICK THANKS

Christian & Paul would like to thank the cabal of genius assembled herein. To Dominic Kelly and the searing talents of the English Session Orchestra, to Alison Burton and the whole of the Air Studios team. To Jake Jackson for brushing the dust off the Studer and making everything sound so marvellous. To James Bellamy, Sam Bohn, Ben Foskett, and the remarkable talents, immense intellect and invention of Andrew Blaney, Blake Robinson and Stu Kennedy.

Most of all we would like to thank the amazing support and loyalty of our user-base, our Facebook friends and everyone who has contributed to that extraordinary thread on VI Control.

We are in the same boat as all of you. We’re not software developers by trade, so appreciate your honesty in paying your way to be a part of our family and not distributing this illegally. But more importantly, if you have any ideas or criticism please let us know directly via our website and in a constructive manner. You never know, you just may have thought of something that we hadn’t considered. We want to make our entire range the best there is, and we rely on you to help us achieve that..... With thanks.

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