Requiem

TONEHAMMER

ALL RIGHTS RESERVED © TONEHAMMER 2006 - 2010

INTRODUCTION

Welcome to Requiem

REQUIEM is the successful culmination of a dream we have had for several years. We always believed that
there was another way of sampling choir and vocals. We believed it would be possible to have completely
audiorealistic choir samples with a strong emotional connection. We believed that we needed to cover all the
basic articulations, but also add a variety of new dimensions to this powerful type of sampling.

REQUIEM is our dream come true - and now it is yours too.

REQUIEM is the next-generation virtual choir developed for professional composers. The library is based on
a variety of new recording- and sampling techniques some which have never before been deployed in choral
sample libraries. The library can literally sound like a real choir and includes both full choir (SATB), divisi
groups (males/females) and solo singers - all recorded in 24 bit / 44.1khz with 3 (5.1-compatible) microphone
positions.

The library contains true (polyphonic) legato intervals from piano to forte, sustains from piano to forte,
staccato with repetitions, ultra forte marcato, BPM (host-synced) based latin chants recorded at different
speeds across entire interval of choir, +1000 choral effects including whispers, shouts, clusters, demonic
chants, sweeps, consonants without tone, claps, snaps and over +50 different types of effects.

REQUIEM was recorded over a period of two weeks in one of the oldest and most known cathedrals in San
Francisco. The conductor, Robert Geary, is one of the leading choir conductors in the world and the choir
was made by members of his multi-award winning VOLTI choir and members from other renowned choirs.

Produced by M. Peaslee, T. B. Folmann, G. Stephens

INSTALLATION

The installation of Requiem is divided into two basic steps.

Step 1 Download/installation of source/samples files and Step 2 Download/installation of instrument files.

You need to complete both these steps to successfully use Requiem.

Step 1: Installation of Requiem source files

1. Please go to the download links you received in the mail called: “Requiem Source Files”

2. When you have downloaded the files successfully you have to uncompress them.

3. PC users should download UNRAR from http://www.win-rar.com/download.html

4. MAC users should downloaded from http://www.unrarx.com/

5. When you have uncompressed files you should have a director with three sub-directories:
“Documentation, Impulses, Samples”

6. It is important that you place all the source files in the same directory before you uncompress.

7. Once all files are placed in same directory. Please only extract the FIRST .rar file as the others will
automatically extract once you do this. Do NOT try to extract each single file.

8. When you have successfully extracted the files you will see a directory with four sub-directories.

9. You now need to proceed to extracting the patch files, which contain all the programs/patches for the
Requiem library.
INSTALLATION

The installation of Requiem is divided into two basic steps.

Step 1 Download/installation of source/samples files and Step 2 Download/installation of instrument files.

You need to complete both these steps to successfully use Requiem.

Step 2: Installation of Requiem instrument files

1. Please go to the download links you received in the mail called: “Requiem Program Files”

2. When you have downloaded the files successfully you have to uncompress them.

3. PC users should download UNRAR from http://www.win-rar.com/download.html

4. MAC users should downloaded from http://www.unrarx.com/

5. Please extract the files into the Requiem directory, which was created when you installed the source files

6. You should now see four sub-directories (documentation, impulses, instruments, samples). It is vital that
the directory structure has these elements - otherwise the library will not work.

7. After auto-extracting the "Tonehammer_Requiem_Choir" series and your instrument package, Drag the
"Instruments_xxxx" subfolder into the Tonehammer_Requiem_Choir folder. You should now be ready to
load the instrument files into Kontakt, using the standard File Load/Save tab at the top of Kontakt or the
main Files browser window on the left panel.
WATERMARKING

The Requiem Cinematic Choir Library is water marked in multiple ways and using a mixture of
conventional watermarking methods and proprietary watermarks, which means that both source and
instrument files are watermarked. There are multiple advantages to this process - first of all users don’t
have do deal with serial codes, complex registration systems or dongles.

The watermarks leaves the library in an open format and are virtually undetectable, which means they do
not affect the quality of the audio and are seamless to the end user.

The advantage of watermarking are not just an easier registration process, but it also allows the user to
duplicate the library onto multiple computers if they desire to. Customers are allowed to duplicate the
library on their own systems - as long as they adhere to our general licensing agreement.

But make no mistake - each user has a unique version of the library, which are solely theirs.

Tonehammer will use all remedies of law against anybody who illegally sells, shares or in any other way
distributes the Requiem library. We have invested an incredible amount of time and resources into this
library and we want to ensure that it stays in the hands of our loyal customers.

Please see licensing agreement (end of document) for general licensing information.
CORE ARTICULATIONS
The Requiem Cinematic Choir Library is 19.4GB and it contains 13,021 wav files, with an additional 142 custom-
captured impulse files. It includes 303 .nki instruments files and 80 .nkm multi-instrument banks.

It's difficult to estimate exactly how many playable "samples" there actually are in this library, since our method of
capturing programming legato resulted in each long series of legato intervals living in a single parent file. Therefore,
the number is likely somewhere closer to 20,000 distinct playable audio samples.

We captured a large range of articulations, both classic and unconventional. We recorded sustains and extended
sustains. We recorded a wide range of common long and short Latin and Germanic syllables in staccato (22),
power marcato (16) and fast (20) and slow poly-syllabic sustains (12 each for male/female/solo divisi sets). We
recorded a wide array of unique smooth vowel sustains at different dynamic levels and voicings. We captured true
legato intervals for each of our three main vowel sounds (Oh, Ah, Eh), at two dynamic levels (p and ff) and we
added a bonus of 3 solo singers (bass, tenor and soprano) each comprehensively sampled.

We also captured over 50 individual short common consonant sounds, as well as numbers. We have a broad range
of unison and dissonant slow and fast swells, sweeps, risers, falls, shouts, whispers, simple and complex clusters
and slow half-tone trills. There's even a complete collection of full choral body/ vocal percussion and breath effects
commonly used in modern and avant-garde choral arrangements.

The goal was to provide a choir library that excelled in areas critical to epic scoring, while also encompassing a
more general range of utility that would allow it be used as a fully stand-alone naked instrument within a mix, in
even the most critical applications, without any need for any additional instrumental or choral accompaniment.

This is a professional tool for experienced composers and arrangers that requires understanding and skill to
properly and fully utilize.

Like any sample-based library, it cannot truly replace a real choir and it cannot be used to replicate every possible
choral arrangement flawlessly. Like any instrument, it does take time to learn and explore, in order to successfully
create quality results in a finished piece of music. That said, it is also designed to be a powerful and intuitive tool
right out of the box for users who are familiar with and skilled at using complex orchestral sample libraries. It's fully
automated, efficiently scalable, logically arranged and totally user-controllable and customizable.
MICROPHONE POSITIONS
We captured the Requiem Cinematic Choir in 3 main mic
positions, including Stage, Mid and Far. Each independent
array of 2 - 4 large-diaphragm condenser microphones was
places at roughly 5 feet, 15 feet and 45 feet from the singers.
We also captured the soloists with a special "Close" mic
position, captured with a stereo line-gradient "shotgun" mic,
providing the optional option of a drier and more present
sound.
This library divides instruments and samples into 3 primary
groupings, one for each microphone position. Most
instrument programs include a unique version for each
position, located in the appropriately named Instrument sub-
directories. The additional Soloist "Close" mic programs are
included in the "Soloists" sub- folder, within the "Stage"
directory. The last Instrument Directory called "All" includes
the multi-instrument banks (.nkm), which incorporate all of
the microphone positions, as well as the special master
polyphonic legato programs.
A word of caution... This library was captured in a "small"
historic cathedral in downtown San Francisco. Though the
stone walls can keep out all outside noise pollution, the vast
expanses of stained glass windows absolutely cannot. This
old structure, with its vast wooden pews and tens of
thousands of square feet of stained glass, faces East-West.
While it created a mind-blowing visual effect as the sun
arced over us during the long, long days of recording, the
temperature changes also created an interesting effect on
the wooden pews, resulting in the occasional disembodied
wooden crack, pop, creak or groan. Or it could have been
the ghosts…
We worked to prevent outside sonic artifacts from getting
into the source, but recording in the real world always results
in occasional traces of that real world sneaking in to the
samples. The far mics are most prone to such impurities,
due to their greater distance from the choir and nearer
proximity to the outside world.
Likewise, we couldn't ask the 32 singers to show up
completely naked or reframe from ever breathing. Therefore,
the close mics can occasionally reveal the sounds of subtle
human movements and breathing. Recording in a real-world
environment with real world performers is by nature bound to
suffer impurities. Just like each and every other
Tonehammer library, the Requiem Cinematic Choir library
includes these "impurities". From our perspective, it's
actually one of the reasons that samples will always be
superior to synthesis. You cannot replicate "reality" without
including a little of all of it.
Please also note that the Soloists were recorded front and
center stage, using the exact same microphone
configuration that was used to capture the rest of the choir.
This was done to allow realistic placement and level
balancing. Because of the lower overall signal volume that
inherently comes with a single voice recorded at distances
typical of a choral setting, attempting to boost the volume of
the soloists above a natural level can cause natural
increases in the noise floor, especially in the mid and far
microphones. When attempting to push the soloists forward
in a mix, while still creating the impression of great distance,
we recommend relying on the close and stage mics and
using one of the Cathedral Impulses included in the drop-
down menu.
Our first and primary goal with this library was to capture
powerful epic choral sounds with a fat, broad and dynamic
sound that could be just as easily be stacked for body - or-
routed and mixed independently in surround sound
applications. Our mic placement directly reflected that goal.
Unfortunately, mic placement and gain-staging when
recording louder sounds is a very different art and science
from those needed for, especially from a distance, within a
large, reverberant space. As we branched out and began to
explore softer articulations during the sessions, we retained
a consistent recording configuration for the sake of continuity
and consistency. In general, we don't recommend mixing the
mid and far mics too much hotter than their natural levels for
any of the softer content in this library, as this can amplify
both the outside impurities and lift the inherent noise floor.
MAIN PROGRAM TYPES
Standard: These programs evenly balance memory use and disk streaming to provide all-around performance and system resource
use. These are ideal for users with average DAW systems (3GB system ram, dual-core, 32-bit OS).

Hi-Mem: These versions are intended only for 64-bit OS users multiple cores and large amounts of system ram (over 4GB). Using
these programs allows greater polyphony, lower latency, better overall performance and less hard drive wear.

DFD: These versions are intended for users with low available system ram. These rely heavily on hard disk streaming to efficiently
stream audio data from your hard disk only when it's needed as a note is playing. Therefore, they may require higher audio driver
latency settings, allow fewer voices before suffering audio drop-outs and put more strain on hard drives, especially when other
instruments or audio tracks are also streaming from disk.

Multi-Pos (nkm multi): These multi-instrument banks come pre-loaded will all three microphone positions to allow custom
layering, mixing and even surround sound output routing for users with capable systems. The Soloist multi-instruments also include the
4th "Close" mic position in their 3-pos multis.

Tri-Harm (nkm multi): These are special "tri-harmony" legato multi-instrument banks that are set up to allow 3 layers of
simultaneous but independent poly-phonic legato playing, using our range bracketing system. These multis allow the combing of
polyphonic legato playing with the dynamic layer swelling and trans-vowel morphing to create a truly realistic legato sound.

Time-Stretch: These programs allow basic playback speed adjustment in real-time, using Kontakt's built-in Time-Machine 2
engine. This speed control is automatically assigned to the pitch wheel, as well as an assignable front panel speed knob. Please see
Notes on Time Machine 2 Bugs. **

Tempo-Synch: These programs allow tempo-synchronization with Kontakt's internal BPM counter or your host's tempo control
automatically, using Kontakt's built-in Time-Machine 2 engine. Since these programs use Kontakt's built-in tempo synching functionality,
make sure to adjust your host or Kontakt settings to allow Kontakt and the host sequencer to self-synchronize. Please see Notes on
Time Machine 2 Bugs. **

** Time-Machine 2 Warning: Please note that this Kontakt engine sub-system can cause glitching, popping, distortion, aliasing and
other audio artifacts, due to flaws in the "Time-Machine 2" algorithm used by Kontakt. These programs are includes as a convenience
and create tool only. Users should expect frequent audio glitches and artifacts during normal use. Not all sample content is effected in
the same way or to the same degree. Higher notes tend to suffer more than mid-range notes. Artifacts can occur even when no time-
stretching is being applied. There's no known complete solution to this internal engine-related issue, but it can be minimized or hidden
fairly well by layering multiple notes and using reverb or other effects and mixing techniques.
PERFORMANCE CONTROLS
We've incorporated a wide range of performance controls and systems to provide maximum flexibility. We
chose to program this library in Kontakt 3.5 in order to allow use on a wider range of systems and we
chose to keep most of our controls knob-based in order to allow the simple real-time host automation
assignment of nearly ANY parameter. Please see the Instrument Program Descriptions section in this
manual for more details on articulation-specific control descriptions.

Swell: This knob controls volume/
intensity layer swelling, allowing you to
crescendo and decrescendo at will, or
simply set the intensity level you want and
leave it. The Mod Wheel (CC1) controls the
knob by default . Most instruments in this
library include this control. Programs that
feature multiple dynamic sample layers use
this knob to morph between the layers
smoothly, while single layer programs
Release: This knob controls sustain
gating of the release-trigger samples and/
or the release fade-out time on single-shot
or sustaining samples. This allows you to
minimize natural room decay after note
release and fade-out time on longer
samplers. CC93 also controls the knob by
default.
Speed: This control is specific to the
X-Blend: This is a custom cross-fading
control that has different uses in different
instruments within this library. In most
instruments that include real-time cross-
fading between multiple sample layers, this
is the default knob to use for blending. In
the 3-way legato morphing instrument, it's
used to cross-fade between Oh and Ah/Eh.
In instruments without internal cross-layer

utilize deep programming and scripting to Time-Stretch programs. It controls the time- morphing, this is used as a convenient

simulate realistic performance dynamics. stretch speed by up to +/- 25%. The knob control to allow cross-fading with an

can also be controlled by the Pitch Wheel. external source. This is best done by using

Offset: This knob controls that Sample Please note that even small speed the Kontakt Automation system and

Start Position Offset value, allowing you to adjustments can cause glitching, popping, assigning the same controller to the X-

shift the starting position farther in to a distortion, aliasing and other audio artifacts, Blend knob in both instruments, and

sample. This is ideal for making note due to flaws in the "Time-Machine 2" inverting the polarity of one of them. The

attacks smoother or sharper, or move algorithm in Kontakt. Not all sample content reason to use this knob, rather than the

between words/syllables in the case of the is effected the same way or to the same linear volume slider is that we've set up

poly-phonetic sustains. CC91 controls the degree. There's no known complete custom internal enveloping to provide

knob by default. Most DFD and Tempo- solution to this engine-related issue, but it smoother dip-free cross-fading. The

synching patches don't include this feature, can be minimized or hidden fairly well by default midi controller for this knob is CC11

or have a more limited range of offset layering multiple notes and using reverb or (expression pedal).

control. Please note: This control is often other effects and mixing techniques.
linked with the Attack control as well, with a Y-Blend: This is a custom cross-fading
minimum attack value automatically Stepping: This feature allows you to control that has different uses in different

activated whenever offset is used. This shift the tuning of the entire instrument up instruments within this library. In the 3-way

feature prevents popping/clicking at the or down in semitone steps (+/- 12). It can legato morphing instrument, it's used to

start of the note that is naturally caused by also be controlled by key-switches, to allow cross-fade between Eh and Ah. In most

cutting ahead into the audio. instant re-tuning. This feature is primarily instruments that include real-time cross-
found in the Choir FX section instruments, fading between multiple sample layers, this

Attack: This knob controls the in atonal or non-chromatically recorded is the secondary knob to use for blending.

sharpness/softness of initial note attack. content. The key-switch range is C-2 to C0 In instruments with only one pair of internal

When the attack value is set low and the (C-1 restores it to the center pitch). layer, this is used as a convenient control

Offset control is used, the attack setting is to allow cross-fading with an external

automatically increased to a default Key-Switch On/Off: This button ties source, in the same way as the X-Blend

minimum to prevent popping/clicking at the in to the Stepping Control. It activates/de- knob. The default midi controller for this

initial note start. However, if the attack is activates the key-switches that control the knob is CC74.

already over the minimum threshold when stepping knob.

Offset is used, then this feature isn't

applied.
REVERB CONTROLS
Impulse Drop-Down Menu: This
menu allows you to quickly load one of our
custom-captured real-world convolution
impulses, including several that were
captured in various mic positions in Saint
Paul's Church in San Francisco, CA. There
are a variety of classic and unique impulse
files, from churches and cathedrals, to
bunkers and underground parking garages.
We've also included a variety of self-
evolving special FX "mystery" impulses to
create extremely otherworldly effects.
Please note that these special mystery
impulses require significantly more CPU
power than the other impulses, due to their
length. Use them carefully.
The convolution system always defaults to
bypass mode when you first load an
instrument. When the convolution chain is
bypassed/disabled by choosing "none"
from the Impulse Response drop-down
menu, this knob is also disabled and only
fully dry signal is audible, with no signal
attenuation at all. If you save an instrument
while a convolution impulse is loaded, the
instrument will remember your settings and
automatically reload the sample impulse
next time you open the instrument.
Dry Mix: This knob controls the dry
signal returning from Kontakt's internal
convolution engine. Turning it up past ~36
increases the gain over the original signal
level and therefore may increase noise or
cause distortion in some cases.
Wet Mix: This knob controls the 'wet'
effected signal returning from Kontakt's
internal convolution engine. Turning it up
without balancing it against the dry level
can quickly increase the total combined
gain over the original signal level and
therefore may increase noise or cause
distortion in some cases.
Low Pass: This knob controls the built-
in low pass filters in the early and late
reflection modules of the convolution
engine. The value displayed reflects the
frequency cut off point, above which the
signal is sharply attenuated. This allows
you to shape the overall brightness of the
reverb.
About the Convolution Impulses:
We like to sample the world in every way
possible. We also liked our little cathedral
so much, we decided to share it with you
as literally as we possibly could. We
captured dozens of long 30-second sine-
wave convolution sweeps from different 5
microphone positions, in order to produce
the 108 unique impulse files included in this
library.
The sweeps were projected from dozens of
speaker locations and orientations
throughout the cathedral, creating a wide
variety of tonal and positional options to
choose from in the finished impulse files.
Once re-captured, the sweeps are
analyzed and encoded into stereo PCM
wav format by special software DSP tools.
The files contain 3-7 second long impulses,
which sound rather similar to a sharp crack
or snap that had been recorded in the
original location.
The actual encoded information is both
audible and inaudible, hidden deep within
the phase, frequency and reflection timing.
This humble-sounding "snap" actually
conveys all of the physical acoustic
properties of the location the sweep was
captured in. Each impulse is unique, due to
naturally chaotic variations in acoustic
reflections, even when the conditions
present during the two captures are
physically identical.
Rather than an effect, think of convolution
impulses as a colored camera lens. When
loaded into a convolution reverb plug-in
(such as the one built into Kontakt), these
impulse files are used to impart their tonal,
phase and reverberant characteristics onto
any audio signal that is sent through the
convolution plug-in. While software can
never duplicate a real recording in a real
space, they are remarkably life-like and can
be very helpful in creating authentic-
sounding reverb effects.
When mixing other instrumental source
material with the Requiem Choir, we
recommend trying some of these impulses
on your material to help naturally blend the
outside material with the choir. We don't
recommend using the impulses on the
choir itself, especially on similar mic
positions, since these impulses and choir
itself were both captured in the same space
and can therefore cause partial
cancelation, amplified resonance, phasing,
combing and other anomalies.
The impulses are organized so that they
roughly correspond to the choir's mic
position structure. Because of the nature of
impulse files, different sources respond
differently to each one when processed.
That's one of the reasons we provide such
a wide variety. You're sure to find an
impulse that sounds great with almost any
source material. Just experiment and try
lots of them.
We've also included a broad selection of
our classic impulses, captured in a variety
of unique locations, such as underground
military bunkers, churches, recording halls,
parking garages, stairwells and forest
valleys, as well as a variety of special effect
impulses that we designed in various ways.
You can find them all in this directory:
Tonehammer_Requiem_Choir\Impulses\
LEGATO CONTROLS
Legato recording is an important aspect of a choir library in
achieving the greatest possible sonic realism. Legato intervals are
the tiny slices of sound between any two legato notes. Even in the
most precise vocal performance humanly possible, there is always
a subtle pitch and tonal transition as the vocal chords adjust
tension to achieve and support the next note to be sung. The
transition can be smooth, but subtle flaws are equally important.
It's these tiny moments of sonic flavor and texture that help the
brain interpret realism. These micro-transitions are present in our
speech, just as they are in our singing. Without them, the brain
hears the notes, but doesn't believe the performance as having
been sung live by an actual human. This is an inescapable fact.
The technique of capturing and editing these small chunks of
transitional sound is often used in voice sampling, as well as other
instruments then require fluid playing to convince the brain of their
authenticity. A script detects the preceding note and destination
note and almost instantly determines which interval sample to play
between them. Our legato system takes it a few steps farther,
factoring in a complex interplay of blend time and blend slope
between the sustaining notes, as well as the hold duration,
volume, attack and decay of the interval itself.
The end result is a system that allows for multiple selectable
transition speed settings, from long, gentle and fluid to sharp, short to cross-fade between the two available vowel sounds. In the 3-
and tight. Or, you can instantly turn off the system momentarily
and play a passage of chords before returning to legato playing.
Speed: The Legato Speed knob is unrelated to the time-stretch
speed knob. This control uses complex scripting to re-shape the
apparent interval transition and blending speed, allowing for
precise yet intuitive control over legato behavior. When the knob is
set to "Slow", the legato transitions are gentle, smooth and fluid.
Increasing the knob to "Med", "Fast" and "Tight" incrementally
shorten the overall transition blending, making it more ideal for
faster playing styles. Setting the knob to "Off" disables legato
functionality, allowing standard polyphonic chord playing. This
knob can be automated for real-time speed changes.
Please Note: Extremely fast legato playing can overwhelm
Kontakt's scripting system, causing occasionally strange playback
behavior. It's best to take some time to get used to how the legato
system works as a whole and adopt specific playing styles that
work best with each speed setting.
Volume: This knob controls the volume of the true legato
interval samples.
Range Brackets ("High" and "Low"): These two knobs
limit the key-range range of the program, allowing you to restrict
the notes that the program will respond to. This is extremely useful
when loading multiple legato programs at once into Kontakt to
allow polyphonic legato playing. You can simply set multiple
instances of any of the legato programs to the same midi channel
and then set different ranges to each instance, allowing polyphonic
legato harmonies to be played simultaneously and independently
on a keyboard. We created several multi-instrument banks ("tri-
harm") with this system set up so you can jump right in and try it.
Dynamics: This knob controls the overall amount of dynamic
expressiveness in the legato programs, based on incoming note
velocity. The higher you set the Dynamics control value, the more
strongly volume and tone will be effected by how hard you hit the
keys.
X-Blend: In the 2-way legato morphing instruments, it's used
way legato morphing instruments, it's used to cross-fade between
Oh and the Ah/Eh pair. In legato instruments without internal
cross-vowel morphing, this is used as a convenient control to allow
cross-fading with an external source. The default midi controller for
this knob is CC11 (expression pedal).
Y-Blend: In the 3-way legato morphing instrument, it's used to
cross-fade between Eh and Ah vowels. You'll only hear these
vowels of the X-Blend knob is turned up to cross-fade over to them
from the default Oh vowel. In legato instruments with only one
pair of internal layer, this is used as a convenient control to allow
cross-fading with an external source. The default midi controller for
this knob is CC74.
INSTRUMENT PROGRAMS
Legato: Sustains Only:

Sustains_full_legato_3-way_oh-ah-eh.nki These programs features all of the vowel sustains we captured,

This legato patch allows for real-time morphing between the
primary "OH", "EH" and "AH" vowel sounds, as well as morphing
between the low and high intensity layers of all three. This
program requires a large number of voices to play and a very
significant amounts of ram and CPU power to operate, even in dfd
mode. Use with caution. If you're not sure if your system can
handle it, stick to the 2-way or 1-way legato programs. (standard,
dfd, hi-mem and 3-mic position and tri-harmony multi nkm)
Sustains_full_legato_2-way_eh-ah.nki
This legato patch allows for real-time morphing between the
primary "EH" and "AH" vowel sounds, as well as morphing
between the low and high intensity layers. (standard, dfd, hi-mem
and 3-mic position and tri-harmony multi nkm)
Sustains_full_legato_2-way_oh-ah.nki
This legato patch allows for real-time morphing between the
primary "OH" and "AH" vowel sounds, as well as morphing
between the low and high intensity layers. (standard, dfd, hi-mem
and 3-mic position and tri-harmony multi nkm)
Sustains_full_legato_2-way_oh-eh.nki
This legato patch allows for real-time morphing between the
primary "OH" and "EH" vowel sounds, as well as morphing
between the low and high intensity layers. (standard, dfd, hi-mem
and 3-mic position and tri-harmony multi nkm)
Sustains_full_legato_ah.nki
This patch focuses on the "AH" vowel, with modwheel morphing
between the low and high intensity layers. (standard, dfd, hi-mem
and 3-mic position and tri-harmony multi nkm)
divided into just women and just men. There are 14 unique
sustaining vowel sounds for the women and 15 for the men.
Legato intervals are not featured in these instrument.
Vowel Layer Knobs: This pair of knobs allows you to quickly
select any two vowel sustain sounds and cross-fade smoothly
between them. The Low layer selects the vowel that is at full
volume with an X-Blend (CC11/expression pedal) setting of 0. The
High layer selects the vowel that is at full volume with an X-Blend
(CC11/expression pedal) setting of 127. Choosing "Off" on either
one of the knobs will disable that knob's particular layer
completely, allowing you to save voices if you don't need to cross-
fade between the two layers.
Sustains_women_2-way_vowel-select.nki
This program features all of the vowel sustains we captured, with
just the women. Includes: ooh 1, ooh 2, ooh soft, oh soft, uhm,
uum, ahh, ah, aw, ae, ehh, eh, ee, ih. (standard, dfd and hi-mem
nki and 3-mic position multi nkm)
Sustains_men_2-way_vowel-select.nki
This program features all of the vowel sustains we captured, with
just the men. We captured an additional Om "vowel" for the men.
We've programmed it to allow a setting for an "Ommmmm"
sustaining sound as well as simply just "mmmm". Includes: ooh 1,
ooh 2, ooh soft, oh soft, uhm, uum, ahh, ah, aw, ae, ehh, eh, ee,
ih, ohm, mm. (standard, dfd and hi-mem nki and 3-mic position
multi nkm)

Sustains_full_legato_eh.nki

This patch focuses on the "EH" vowel, with modwheel morphing

between the low and high intensity layers. (standard, dfd, hi-mem
and 3-mic position and tri-harmony multi nkm)

Sustains_full_legato_oh.nki

This patch focuses on the "OH" vowel, with modwheel morphing

between the low and high intensity layers. (standard, dfd, hi-mem
and 3-mic position and tri-harmony multi nkm)
Staccato:
Staccato words and syllables are a classic and fundamental part
of any choral library. We captured a total of 22 legato syllables,
based on commonly used Latin and Germanic sounds.
Staccato Syllable Knob: This knob allows you to select the
staccato syllable you want to play. There are 19 staccato syllables
in the main staccato patch. It can also be switched on the fly using
dedicated key-switches. The knob can also be automated using
Kontakt's built-in automation router or most using internal host
automation systems. The last setting is "Off" allowing you to mute
the patch as soon as any currently playing note finishes.
In the Staccato program, the key-switches range from C-1 to G0.
The key-switch at G0 sets the Syllable to "Off" mode. In the h La-
Meh Staccato program, the key-switches range from C-1 to D-1.
The key-switch at D-1 sets the Syllable to "Off" mode. There are 2
unique short staccato syllables in this patch. There is also one
more additional staccato syllable in the" La Dissonant" program.
Staccato_full.nki
The Staccato Full patch includes 19 different staccato articulations
with round robin (Ag, Cre, Cru, Do, Fah, Fis, Glo, Ky, La, Mus, Nis,
Nus, Rhi, Rru, Sanc, Sart, Sin, Son and Tus) featuring the full
choir. The patch is chromatically tuned from G#2 to G#4 and the
modwheel controls the "Swell" of the patch. (standard and dfd nki
and 3-mic position multi nkm)
Staccato_women_spizz_La_dissonant.nki
The Staccato Women Spizz La Dissonant patch includes 25
different dissonant "La" articulations featuring the women section
of the choir. The articulations aren't tuned and are spread from low
to high intensity starting on C1 and ending on C5. The modwheel
controls the "Swell" of the patch. (standard and dfd nki and 3-mic
position multi nkm)
Staccato_women_spizz_La-Meh.nki
The Staccato Women Spizz La-Meh patch includes two alternate
staccato articulations (La and Meh) featuring just the women
section of the choir with 8 round robin each. The patch is
chromatically tuned from F2 to G#4 and the modwheel controls the
"Swell" of the patch. (standard and dfd nki and 3-mic position multi
nkm)
Marcato:
This section is a unique feature to this library. Often completely
overlooked in orchestral and choral sampling, Marcato notes are
longer staccato notes (usually 3 beats) that are sung at maximum
volume, usually close to FFF. These are powerful articulations to
use in conjunction with both sustains and shorter staccatos. They
can provide powerful emphasis and dramatic emotional energy
and momentum. We recorded all of the same staccato syllables for
this articulation.
Marcato Layer Controls: These controls are specific to the
Marcato programs. They allow you to choose two independent
layers of Marcato syllables/words. There are 16 syllables/words to
choose from and each of the two layers is independently
selectable.
The X-Blend knob allows real-time cross-fading between the two
layers as they play, so that you can morph between any two
syllables/words at any time. The "Low" Knob selects the layer that
is at full volume when X-Blend is set to 0. The "High" Knob selects
the layer that is at full volume when the X-Blend is set to 127.
Choosing "Off" on either one of the knobs will disable that knob's
particular layer completely, allowing you to save voices if you don't
need to cross-fade between two layers.
Marcato_full_2-layer-blend.nki
The Marcato Full 2-Layer-blend patch includes 16 different
marcato articulations (Ar, Cre, Cru, Do, Fah, Fis, Glo, Ky, Mus,
Nis, Nus, Rhi, Sanc, Sin, Son, and Tus) featuring the full choir. The
patch is chromatically tuned from E1 to A#4 and the modwheel
controls the "Swell" of the patch. (standard, dfd and hi-mem nki
and 3-mic position multi nkm)
Poly-phonetic/Multi-syllabic Sustains:
These are special sustaining articulations that can be used in
multiple ways. One of the main weaknesses of traditional choral
vowel sustains is that they don't convey direct thematic, emotional,
dramatic or lyrical elements and therefore don't actually represent
the majority of commonly required sustaining choral articulations.
Neutral vowel-based sustains don't offer any pulse or purpose and
lack the power to inspire the same kind of emotional and aesthetic
reactions from the listener.
In the vast majority of choral music, these is lyrical content. The
listener natural expects to here this, above all else, whether or not
it's understandable. Just the suggestion of lyrical meaning can
convey purpose, mood and soul in ways that a simple vowel
cannot, regardless of key, chord structure, tempo or melody alone.
The meaning and intent may be there, but words magnify in a
unique way.
Our Poly-phonetic sustaining chants can be used like normal
sustains. They hold true to a singular unison pitch and are
is a slightly improvised feel to emotion and timing, rather than
being locked to a specific bpm and dynamic. This was allowed in
order to evoke greater emotional intensity, character and realism.
Therefore, you may need to massage the timing, mix and tuning a
little to fit your specific needs on occasion. For best results, try to
work with the samples' natural flow, rather than against them.
Chant Layer Control Knobs: These two controls can
be found in the Poly-Sustains. They function exactly the same as
the Marcato layer controls. There are 20 fast ensemble poly-
phonetic sustaining chants to choose from in each layer in the
Fast Poly-Sustains. There are 12 slow poly-phonetic sustaining
chants to choose from in each layer in the Slow Divisi Men,
Women and Solo Poly-Sustains.
140 BPM Fast Chants:
poly-sustains_full_fast_2-layer.nki

recorded chromatically over the whole key range of the choir. As

The Poly-Sustain Full Fast 2-Layer patch includes 20 different fast
the sustain is held, the choir pulses through the successive
marcato articulations (Adoramus, Apocalypse, Credodium,
syllables of the word being sung. We captured common and yet
Crucifixus, Dominum, Incarnatus, Lumine, Morisuri, Omega,
powerful and spiritually meaningful Latin and Germanic words.
Origin, Resurecte, Scripturas, Apastulus, Demanus, Exmustamus,

There are three main types of poly-sustains in the library. We Extraspection, Lahdighagah, Pisces Pisces, Apocalypse Dissonant

recorded full-ensemble fast chants as 140 BPM. These are and Demanus Dissonant) featuring the full choir. The patch is

articulated as a fluid series of connected staccato syllables. They chromatically tuned from D#1 to A4 (note that Resurecte is

are intended to be powerful, driving and intense. extended to B4) and the modwheel controls the "Swell" of the
patch. (standard, dfd, time-stretch and tempo-synch nki and 3-mic
There are also divisi male and female slow chants, captured at position multi nkm)
100 BPM. These are more subtle, subdued and expressive. These
smoothly pulse through the syllables of each word before holding
on the final open vowel. This final vowel can be held indefinitely.
As soon as the note is released, the final consonant or vowel
sound in the word is played as a release. Because of the dual-
layer cross-fading and independent layer selection, any two chants
can be blended and morphed together.

Obviously, this requires a certain amount of creative timing and not

every possible moment of note release or cross-fade can sound
completely natural or flawless. However, with a little bit of
experimentation, the realism and flexibility allowed by this system
can be rather remarkable. In addition, full control over sample start
offset position allows for even broader phrase splicing and
blending possibilities.

The final type is the Soloist collection. These are a subset of the
various Latin/Germanic words as sung by a single soprano, tenor
and bass soloist. They're ideal for layering along with the slow
divisi and fast full choir poly-syllabic sustains, or on their own. A
few of the Latin/Germanic words have been substituted and there
100 BPM Slow Chants: poly-sustains_solo_bass_2-layer.nki

poly-sustains_men_slow_2-layer.nki The Poly-Sustains Solo Bass 2-Layer patch includes 12 different

The Poly-Sustain Men Slow 2-Layer patch includes 12 different
slow marcato articulations (Adoramus, Apocalypse, Credodium,
Crucifixus, Dominum, Incarnatus, Lumine, Morisuri, Omega,
Origin, Resurecte, and Scripturas) featuring the men section of the
choir. The patch is chromatically tuned from D#1 to G#3 (note that
not all articulations extend to G#3. Adoramus, Apocalypse,
Crucifixus, and Lumine extend to E3 and Dominum, Incarnatus,
Origin, Resurecte and Scripturas extend to F#3) and the
modwheel controls the "Swell" of the patch. (standard, hi-mem,
expressively sung articulations (Adoramus, Apocalypse,
Credodium, Crucifixus, Dominum, Incarnatus, Lumine, Morisuri,
Omega, Origin, Resurecte, and Scripturas) featuring a solo bass
vocalist. The patch is chromatically tuned from C#2 to C4 and the
modwheel controls the "Swell" of the patch. (standard, dfd, and
time-stretch nki and 4-mic position multi nkm)
poly-sustains_solo_soprano_2-layer.nki
The Poly-Sustains Solo Soprano 2-Layer patch includes 10

dfd, and tempo-synch nki and 3-mic position multi nkm)
poly-sustains_women_slow_2-layer.nki
The Poly-Sustain Women Slow 2-Layer patch includes 12 different
slow marcato articulations (Adoramus, Apocalypse, Credodium,
Crucifixus, Dominum, Incarnatus, Lumine, Morisuri, Omega,
Origin, Resurecte, and Scripturas) featuring the women section of
the choir. The patch is chromatically tuned from E#2 to A4 and the
modwheel controls the "Swell" of the patch. (standard, hi-mem,
dfd, and tempo-synch nki and 3-mic position multi nkm)
Soloists:
(located in the Soloists sub-directories)
different expressively sung articulations (Adoramus, Apocalypse,
Credodium, Crucifixus, Dominum, Incarnatus, Resurecte,
Secundum, Scripturas and Spiritus) featuring a solo soprano
vocalist. The patch is chromatically tuned from G#2 to G#4 and the
modwheel controls the "Swell" of the patch. (standard, dfd, and
time-stretch nki and 4-mic position multi nkm)
poly-sustains_solo_tenor_2-layer.nki
The Poly-Sustains Solo Tenor 2-Layer patch includes 10 different
expressively sung articulations (Adoramus, Apocalypse,
Credodium, Crucifixus, Dominum, Incarnatus, Resurecte,
Secundum, Scripturas and Spiritus) featuring a solo tenor vocalist.
The patch is chromatically tuned from A1 to A#3 and the
modwheel controls the "Swell" of the patch. (standard, dfd, and
time-stretch nki and 4-mic position multi nkm)

Close_poly-sustains_solo_bass_2-layer.nki

The Close Poly-Sustains Solo Bass 2-Layer is set up exactly like

the standard Poly-Sustains Solo Bass 2-Layer and features a
closer, more intimate microphone position. (standard, dfd, and
time-stretch nki and 4-mic position multi nkm)

Close_poly-sustains_solo_soprano_2-layer.nki

The Close Poly-Sustains Solo Soprano 2-Layer is set up exactly

like the standard Poly-Sustains Solo Soprano 2-Layer and
features a closer, more intimate microphone position. (standard,
dfd, and time-stretch nki and 4-mic position multi nkm)

Close_poly-sustains_solo_tenor_2-layer.nki

The Close Poly-Sustains Solo Tenor 2-Layer is set up exactly like

the standard Poly-Sustains Solo Tenor 2-Layer and features a
closer, more intimate microphone position. (standard, dfd, and
time-stretch nki and 4-mic position multi nkm)
Full Choral Effects:
Word/Phrase Construction Tools:
Consonant Select Knob: The Consonant Letters selection knob
in the Choir FX Consonant Quick-Select program allows you to
trigger any one of 54 simple and compound vocal consonant
sounds. You can also use Key-Switches from C-1 to F#3 to switch
between the different consonants on the fly.
Choir_FX_full_consonants_quick-select.nki
This primary Consonants patch is a series of 54 alphabetized
consonants, mostly non-voiced. There are 20 different types of
consonant sounds, with multiple natural sub-variants and
pronunciations of each one, covering most of the primary simple
and compound consonant sounds. There are two main zones in
this program. The left side of the key range (C-1 - F#3) is
dedicated to the key-switches that control which consonant is
played. The right side of the key range (C4-C6) triggers the actual
note, with a pitch range of +/- 12 semitones. You can also
manually control or automate the consonant sound selector knob
located on the front control panel.
This program is designed for users who want to see which
consonant sound is at their fingertips ready to play and/or want
direct automatability for use in complex word or phrase
construction. (standard and dfd .nki and 3-mic position multi .nkm)
Choir_FX_full_consonants.nki
This version of the Consonants patch arranges the individual
consonant sounds over the key range alphabetically from left to
right, ranging from C2 to F6. You can change the tuning in
semitone steps by using our pitch stepping key-switches, from C-2
to C0. C-1 resets pitch to default. Essentially, this program is the
same as the quick-select program, but with the play control
systems conceptually inverted. This is ideal for users who want
instant access to all consonant sounds simultaneously. (standard,
dfd and time-stretch .nki and 3-mic position multi .nkm)
Choir_FX_full_numbers.nki
The Numbers patch includes the numbers 0 through 10 sung in
monotone by the males section of the choir only and includes
round robin. The patch ranges from C2 to A#2 and the modwheel
controls the "Swell" of the patch. (standard, dfd and time-
stretch .nki and 3-mic position multi .nkm)
Choir_FX_full_words_fah-free-su.nki
The Full Words patch is somewhat of an extension of the
consonants patch, providing greater variation, intensity and length
to three select words, "fah", "free" and "su." Also included are
three bonus effects of the choir singing "Tonehammer." The patch
ranges from C2 to D5 and the modwheel controls the "Swell" of
the patch. (standard & dfd .nki and 3-mic position multi .nkm)
Choral Percussion:
Choir_FX_full_body_percussion.nki
The Full Body Percussion patch consists of a variety of
percussive, mostly non-tonal sounds, including stomps, claps,
snaps, hand rubbing, teeth clattering, tongue clicking, and breaths
as well as loops of many of those effects. The mapping ranges
from C1 to G5 and includes three bonus improvisational
"compositions" performed live by the choir. The modwheel controls
the "Swell" or volume of the patch. (standard & dfd .nki and 3-mic
position multi .nkm)
Clusters:
Choir_FX_men_dissontant_clusters_long.nki
The FX Men Dissonant Clusters Long patch includes a variety of
long clusters ranging in intensity and expression, slowly blending
from unison to dissonance and vice versa. A zombie or 16 may
have snuck in there somewhere in the upper register. The patch
ranges from C2 to F3 and the modwheel controls the "Swell" of the
patch. (standard & dfd .nki and 3-mic position multi .nkm)
Choir_FX_men_dissontant_clusters_shrill.nki
Wanna hear the most annoying sound in the world? Ok, not really,
but the FX Men Dissonant Clusters Shrill patch features some
masterfully horrific dissonant looping clusters. The loops are
presented in two distinct ways: 1.) The five different layers of shrill
loops are cross-blended from low to high intensity and pitched
from C1 to G#2. 2.) From B2 to B7 and rooted at B4 , the five
layers are blended through intensity using the modwheel.
(standard & dfd .nki and 3-mic position multi .nkm)
Choir_FX_men_dissontant_clusters_sustain.nki
The FX Men Dissonant Clusters patch features five layers of
dissonant looping clusters. The loops are presented in two distinct
ways: 1.) The five different layers of loops are cross-blended from
low to high intensity and pitched from C1 to E3. 2.) Rooted at C5
and pitched down to F3 and up to A6, the five layers are blended
through intensity using the modwheel. (time-stretch .nki only)
Choir_FX_full_tonehambiences.nki
Toneambiences includes three improvisational "compositions", the
first rooted at C3, pitched down to C2 and pitched up to F#3. The
second is rooted at C4, pitched down to G3 and up to C5. The
third is rooted at G5, pitched down to C#5 and up to F#6. Also
included is a multi-layered whispering loop rooted at C1, pitched
down to C0 and up to B1. The modwheel cross-fades through
layers of intensity for the whispers and controls the "Swell" of the
compositions. (standard & dfd .nki and 3-mic position multi .nkm)
Sweeps and Swells:
Choir_FX_full_swell_woo-ahh.nki
The Swell Woo-Ahh patch features the entire choir swelling from
"woo" to "ahh" over a couple seconds. It is chromatically scaled
from B1 to G#4. The modwheel controls the volume of the patch.
(standard & dfd .nki and 3-mic position multi .nkm)
Choir_FX_full_dissontant_sweeps_down.nki
The Dissonant Sweeps Down patch features 10 downward full
choir sweeps from dissonance blending into unison. They are
arranged from shortest/quickest to longest/slowest starting from
C2 to A2. The modwheel controls the "Swell" of the patch.
(standard & dfd .nki and 3-mic position multi .nkm)
Choir_FX_full_dissontant_sweeps_fast.nki
The Dissonant Sweeps Fast patch includes 13 dissonant full choir
sweeps, 9 up and 4 down. The up sweeps are arranged from
shortest to longest starting at C2 to G#2 and the down sweep are
arranged from short to longest starting at A2 to C3. The modwheel
controls the "Swell" of the patch. (standard & dfd .nki and 3-mic
position multi .nkm)
Choir_FX_full_dissontant_sweeps_up.nki
The Dissonant Sweeps Up patch features 29 full choir sweeps of
varying intensity, length, clustering and unison. The sweeps are
grouped with similar sounds together, such as unison sweep ups
of different lengths ranging from C2 to G2. The patch covers from
C2 to E4 and the modwheel controls the "Swell" of the patch.
(standard & dfd .nki and 3-mic position multi .nkm)
Choir_FX_men_dissontant_sweeps.nki
This patch features three different types of sweeps: short, mid and
long. 11 down sweeps from C2 to A#2 are arranged from shortest
to longest. 10 up sweeps from C3 to A3 are also arranged from
shortest to longest and the modwheel controls the "Swell" of the
patch. (standard & dfd .nki and 3-mic position multi .nkm)
Choir_FX_women_dissontant_sweeps.nki
The Women Dissonant Sweeps patch features three different
types of sweeps: short, mid and long. 13 up sweeps from C2 to C4
are arranged from longest to shortest. 12 down sweeps from C#4
to C5 are arranged from shortest to longest and the modwheel
controls the "Swell" of the patch. (standard & dfd .nki and 3-mic
position multi .nkm)
Slow Trills:
Choir_FX_full_slow_trill.nki
The Full Slow Trill patch features the full choir slowly trilling and is
scaled chromatically from A1 to D4. The modwheel controls the
"Swell" of the patch. Note that with the time-stretch version of the
patch, you can adjust the speed of the trilling. (standard, dfd and
time-stretch .nki and 3-mic position multi .nkm)
Choir_FX_men_slow_trill.nki
This is just like the Full Slow Trill patch but only includes the men
section. (standard, dfd and time-stretch .nki and 3-mic position
multi .nkm)
Choir_FX_women_slow_trill.nki
This is just like the Full Slow Trill patch but only includes the
women section. (standard, dfd and time-stretch .nki and 3-mic
position multi .nkm)
LICENSING AGREEMENT
By installing the product you accept the following
product license agreement:
LICENSE GRANT
The license for this product is granted only to a
single user. All sounds and samples in this product
are licensed, but not sold, to you by Tonehammer,
Inc. for commercial and non-commercial use in
music, sound-effect, audio/video post-production,
performance, broadcast or similar finished content-
creation and production use.
Tonehammer allows you to use any of the sounds
and samples in the library(s) you've purchased for
commercial recordings without paying any
additional license fees or providing source
attribution to Tonehammer, Inc. This license
expressly forbids any unauthorized inclusion of
content contained within this library, or any any
Tonehammer library, into any other sample
instrument or library of any kind, without our
express written consent.
This license also forbids any re-distribution method terms or conditions of this agreement, or request a
of this product, or its sounds, through any means,
including but not limited to, re-sampling, mixing,
processing, isolating, or embedding into software
or hardware of any kind, for the purpose of re-
recording or reproduction as part of any free or
commercial library of musical and/or sound effect
samples and/or articulations, or any form of
musical sample or sound effect sample playback
system or device. Licenses cannot be transferred
to another entity, without written consent of
Tonehammer, Inc.
RIGHTS
Tonehammer retains full copyright privileges and
complete ownership of all recorded sounds,
instrument programming, documentation and
musical performances included in this product.
REFUNDS
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you've downloaded it, you can't return it.
RESPONSIBILITY
Using this product and any supplied software is at
the licensee’s own risk. Tonehammer holds no
responsibility for any direct or indirect loss arising
from any form of use of this product. You are
responsible for the library based on guidelines
established by watermarking principles.
Tonehammer will use all remedies of law against
anybody who illegally shares/distributes this library.
TERMS
This license agreement is effective from the
moment the product is installed by any means. The
license will remain in full effect until termination.
The license is terminated if you break any of the
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to destroy all copies and contents of the product at
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VIOLATION
We don't use any form of DRM software,
registration, license keys or other anti-piracy
technology. We do this because we love you.
That's also one of the reasons our prices are so
low, even though it takes a long time to make these
libraries. The other reason is because we love
music almost as much as we love you. If you've
done any “deep sampling” and the labor-intensive
programming that comes with it, you know that it is
very hard work. Remember, the more you support
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CREDITS

Choir: Ethan Geary

Conductor: Jesse Buddingon

Robert Geary John Burgdorf

Jennifer Granat

Choral Director: Judith Murio

Alan Kleinschmidt James Schenkel

Janet Scott

Singers: Kristina Ashley

Michael Mendelsohn Kathleen Leones

Kristen Brown Mark Sumner

Lindsey McLennan Nona Baker

Verah Graham Philip Buonadonna

Emily Ryan Roger Fong

David Kurtenbach Roger King

Chip Grant Rachel Thompson-Ray

Robert Huber Susan Kalman

Barton Thomte Sulpicio Mariano

Cynthis Adams Sydni Roberson

Carlin Black Stephanie Small

Catherine Heagerty Thomas Huckaba

C. Christine Stuart William Chiles

David Schermerhorn William Langley

Ella Bacon
CREDITS
The production of Requiem is not only a product of our own vision, but also a product of patience from friends
and family - and a product of countless discussions with a variety of great composers, producers and so forth.

We would like to sincere thank the following people for everything they have done for us - we owe you all sushi,
beer, back rubs and lots of love and hugs.

Jennifer Peaslee, Xenia Contreras, Tawnia Knox, Chris Marshall, Steve Tavaglione, Alex Pfeffer, Frederick Russ, Gabe
Shadid and the powerful solipsism of Thomas Bergersen.

We also throw our appreciation to all great people supporting us on facebook, vi-control, twitter, northernsounds, KVR and
so forth - you guys are an endless source of inspiration and occasional frustration. The hive mind is powerful.