Version 1.

0 1
 Two of the four ensembles that were recorded: Soprano girls, Soprano boys, Alto Girls, and Alto boys. 


The Genesis Children's Choir sample library described herein is supplied under a formal license agreement that you enter into when using
Genesis Children's Choir. Please refer to the Audiobro License Agreement PDF inside the documentation folder of Genesis Children’s Choir
Library folder.

The data contained in this user’s guide is for informational purposes only and may be changed without prior announcement. The contents, images
and information in the user’s guide does not constitute a legal obligation by Audiobro. Audiobro is not responsible for any eventual faulty or
inaccurate information contained in this user’s guide. The user’s guide and all parts thereof may not be reproduced or hosted on a website
for commercial or any other use without the prior and explicit written permission of Audiobro. All trademarks are acknowledged as the
property of their respective owners.

The entire Genesis Children's Choir sample library is based on the performances or “real singers” and the utmost care was taken in preserving the
human feel of these performances. It is these human “elements” (natural variances and imperfections in performance and sound) that create the
realistic sound you hear when using Genesis Children's Choir. Any imperfections in sound and performance are to be considered “by design” and
are subject to change only at Audiobro’s discretion.

© 2018 audiobro

2
 Table of Contents
Welcome to GENESIS .....................4
Quick Start Guide ............................ 5
Loading Instrument Patches.......... 5
Loading Snapshot Presets ............ 5
Patch Modes .................................6
Patch Conventions ........................7
Speed Pro .....................................7
Batch Re-save..................................9
Speed Up Loading .........................9
Patch List .........................................10
Instruments ....................................10
Snapshots .....................................10
Performance Page ........................... 11
Real-Time Controls ........................12
Dynamics .......................................12
Dynamics Editor ............................ 13
Volume ..........................................13
Filter (main filter) ........................... 13
Filter Editor (main filter) .................14
Brightness .....................................14
Detune ...........................................14
Detune Editor ................................15
Articulation Section ........................16
Ensemble Page ................................31
Phrase Area ...................................16
Transport .......................................17
Articulation Settings in General .....18
Sustain Settings ............................18
Legato ...........................................18
Legato Playing Style ......................19
Melisma ........................................19
Attack and Release Controls .........20
Syllable Length .............................20
Staccato Settings ..........................21
Short – Long – Both ......................21
Word Speed...................................21
Pads ..............................................22
Phrase Editor .................................23
Latin Syllables ...............................24
Prefixes .........................................24
Vowels ...........................................25
Suffix .............................................26
Custom Words ...............................26
Phrase Element Volumes ..............26
Release Trigger .............................27
Breath Key .....................................27
Switcher .........................................28
Switcher (basic) .............................28
Switcher Editor (advanced) ...........29
Look Ahead ...................................30
Stage .............................................32
Depth Control ................................33
Stage Type and Stage Preset ........34
Stage Editor ...................................34
Stage ............................................. 35
Divisi Section .................................36
Volume (divisi section) ...................36
Width ............................................. 36
Position.......................................... 37
Ensemble Section ......................... 38
Ensemble Menu ............................ 38
Ensemble Builder .......................... 38
Auto Divisi .....................................39
Humanization ................................39
Mixer .................................................40
Mixer Channel ...............................41
Insert’s List ....................................42
Sends ............................................ 43
Automation ....................................44
Modulation .....................................45
Signal Path ....................................46
Default CC Assignments.................47
CPU and RAM Considerations ....... 48
CPU Considerations ......................48
RAM Considerations .....................49
Specifications ..................................50
System Requirements ...................50
Supported Interfaces .....................50
Special Thanks ................................51
 Welcome to GENESIS
Welcome to the GENESIS Children’s Choir. We are very excited to bring you a new benchmark in children’s choirs.
The Genesis Choir is an elite 64 piece multi-ensemble (4 part divisi) children’s choir that is like having 4 choirs in 1: @@@@@@@@@@
@@@@@@@@@@
• 16 Soprano Girls @@@@@@@@@@
• 16 Alto Girls @@@@@@@@@@
• 16 Soprano Boys @@@@@@@@@@
• 16 Alto Boys
Introduction to GENESIS
Genesis is meticulously programmed with advanced features like:

• 4+ part Auto Divisi

• Polyphonic Legato and Melisma (all while staying true to Auto Arranged divisi weighting)
• Phrase builder — 100% customizable phrase builder with up to 32 “words” x 20 phrases.
• Intuitive phrase building — easily build your own Latin based and filmic phrases in no time or use 40 pre-made presets.
• 4 Ensembles — easily build your own ensembles that our Auto Divisi will transparently interpret.
• Stage — an intuitive and advanced ensemble and player stage positioning environment.
• Legato articulations for all vowel sounds (Ah, Eh, Ee, Oh, Oo, Mm)
• Look Ahead — auto-compensation for each syllable, vowel, and pitchless articulation for better playback.
• Multi dynamic recordings that are looped.
• Over 30 phrase building syllables sung both staccato and sustained.
• Prefix and Suffix pitchless articulations — easily combine pitchless articulations to vowels to create new words.
• Multi microphone mixes — choose any combination of close, stage, surround, and full (combined microphone) mixes.
• 100% recallable Mixer Insert Effects — create inspiring mixes that can be easily key switched.
• Switcher — a new 100% user definable switching system that allows you to switch phrases, mixes, Auto Arranging preset with ease.
• Over 50 high quality custom IRs to be used in our Stage engine in categories like: Score, Hall, Church, Cathedral, Small, Effects.
• Word Speed — either auto-speed or user definable playback speed of syllables.
• Round Robin La Las
• Realtime Tuning effects — easily change in real-time each divisi’s tuning to create wonderful Aleatoric effects using only 1 control.
• Delay & Humanization — a simple way to create even more inner-section humanization
• Effect Modulation with user assignable modulation sources (up to 4)
• Komplete Kontrol support — seamlessly integrate with Native Instruments’ Kontrol hardware.
• Pads — pre-mixed choir pads
• Sound design presets — effect chain presets (user changeable) that yield modern sound effects and synth sounds.
• Automatic RAM management — only the samples used in your patch will be loaded.




Genesis was recorded in a large state-of-the-art studio using one of the most elite children’s choirs in Europe between the ages of 8 and 14. 


4
 Quick Start Guide
Genesis Children’s Choir is really easy to use. You can simply load a patch and play. There are a few types of patches and we’ll discuss
where you can find them, their naming convention and how to load them.

Loading Instrument Patches

You start by loading one of our Instruments patches in the Instruments folder in the Browser:




Click on the Instruments

button to reveal the
Genesis instruments.

Make sure you have the MIDI channels set the way you want. If you don’t see the MIDI channel information, make sure to
click on the “i” icon as seen here to show the MIDI information.

Output and MIDI “i” information icon to show

channel fields. the MIDI and output fields.

Loading Snapshot Presets

Aside from Instrument Patches, there are also presets called Snapshots. These can be seen when the Snapshot icon is on:
Or… you can load other presets from the presets Snapshot menu:

The Snapshot icon (camera)

here must be ON to reveal the
Snapshot presets.

5
 There are a lot of presets created by Audiobro that you can load from the menu located beneath the Instrument field as seen
below:

This is the Snapshot

menu, visible when
the Snapshot
(camera) icon is on
at the top right of the
image.

The Snapshots are a handy way to load and save presets without having to reload the patch or save the entire patch.
Snapshots typically load much faster than loading a new patch.

Patch Modes

No matter what patch or Snapshot you load, you can always change its mode to either Sustain, Staccato or Pads:

• Sustain — These can be sustains of different types: vowels, legato sustains, melisma, syllables, and can even include
pitchless articulations (like “t” , “k” and “s”).
• Staccato — These include short and longer staccato articulations as well as pitchless articulations. The idea here is to not
do legato transitions and focus on shorter articulations.
• Pads — These are longer looped textured sounds based on the children’s choir recordings.

6
Patch Conventions

There are various types of patches in Genesis as well as “Snapshots” of those patches as described above. One thing to
keep in mind is that the Snapshots are derived from the parent patch that you loaded. For example, if you load in the default
Genesis Children’s Choir patch, then all the snapshots located under the snapshots menu will be based on that patch. This
can be an important consideration when using our “Speed Pro” patches.

Speed Pro

Our Speed Pro patches use a better sounding time stretch algorithm but are also more taxing on your computer’s CPU. So, if
you load a Speed Pro patch, all the Snapshots will (when you set the patch to Word Speed ON) use the better (yet more
CPU intensive) speed algorithm. You’ll notice there are 3 types of Speed Pro patches: Low, Med, and Most voices. The
difference between these patches are that we reduced the maximum voice count on those articulations to help reduce CPU
overloads.

For best results, we’d recommend setting a Speed Pro patch to using only 1 ensemble at a time and load a separate
instance of Kontakt for each of the other ensembles. This will help with voice handling. For example, you could set up a
Soprano Girls Ensemble like this to get the best voice handling and least CPU when using Speed Pro patches:

Notice that all

the other Turn Auto Divisi
ensembles are Off when you
OFF (purged) have just one
except for the ensemble
Soprano Girls. loaded.

Caution: Speed Pro patches use a different and better sounding audio fidelity algorithm, however they will yield
different Look Ahead timings than the default Speed Control algorithms. We recommend using the Slider and not the
Auto mode of Speed Control when using Speed Pro presets.
continued…

7
Pro Tip: You can use the default patches (non Speed Pro patches) for composing, and then switch over to the Speed
Pro patches during mix-down while making sure you increase your Sample Latency to reduce the CPU load on your
computer. Upon mixdown, you can increase the latency to the maximum allowable amount of your audio interface. 



If you are unaware of reducing CPU by increasing sample latency, there is a lot of information about this on the
internet. This goes beyond the purview of the Genesis manual

CPU and ROM considerations: Please check out the CPU and RAM Considerations section in this manual for more
information.

8
 Batch Re-save
Speed Up Loading
If you find that patches are loading slower than you would like, it’s a good idea to Batch Re-save your library. To do this, do the following:

1. Open Kontakt in Stand-Alone mode (not hosted in a sequencer) and navigate to the File icon
(floppy icon) and click on it:








2. Navigate to the Batch re-save option:

















3. You will be prompted with this message… but don’t be too afraid:

… just click “Yes”.












4. Navigate to your Library folder (in this case Genesis Library folder) and select the folder. Then
click Open.




5. Wait patiently as Kontakt re-saves your instruments. After it’s done, your instruments will load much
faster.


9
 Patch List
Instruments
Instruments are like the master patches from which all Snapshots are derived. If you (for example) load a “Speed Pro” patch, then all the
Snapshots related to that patch will have the Speed Pro samples loaded into it. Click here for more information about loading patches.

Genesis Childrens Choir.nki

Genesis Childrens Choir (Speed Pro - Low Voices).nki
Genesis Childrens Choir (Speed Pro - Med Voices).nki
Genesis Childrens Choir (Speed Pro - Most Voices).nki

Snapshots
Snapshots are a fast and convenient way to load entirely new “patches”. A list of these are available below the patch name on the Genesis
interface. In order to see them, make sure the camera icon is highlighted to the right of the patch name. Click here for more information.

01 Genesis Performance (Mixer).nksn Pads

02 Genesis Performance (Stage Basilique).nksn Ah Ebb and Flow (Non-Retrig).nksn
03 Genesis Children's Staccato Syllables.nksn Ah Ebb and Flow (Retrig).nksn
04 Genesis Children's Staccato Syllables (Speed Ctrl Ah Transients Instant release (Non-Retrig).nksn
1.94GB RAM).nksn Ah Transients Instant release (Retrig).nksn
05 Girls Angelic Choir.nksn Astral Chopper (Non-Retrig).nksn
06 Boys Glorious Choir.nksn Astral Chopper (Retrig).nksn
07 Air and Dream Choir.nksn Astral.nksn
08 Aleatoric I (Use Detune CC3).nksn Ee Undulate (Sldr 1 Resonance).nksn
09 Aleatoric II (Use Detune CC3).nksn Low Dist Trance Reso (Sldr 1-2 Sat and Dist).nksn
10 Simple Sustains Slow and Fast.nksn Low S & H.nksn
11 Low RAM Starter.nksn Saturn (Ride Filter).nksn
12 Genesis 20 Phrases Staccato.nksn Trance Reso Non-Retrig (Sldr 1 & 3 Frq Sldr 2 & 4
13 Genesis 20 Phrases Sustained.nksn Res).nksn
Trance Reso Retrig (Sldr 1 & 3 Frq Sldr 2 & 4 Res).nksn
Aleatoric Vowels Transients Cleaner Non-Retrig.nksn
Aleatoric Ah (Use Detune).nksn Whispy Sliders.nksn
Aleatoric Ee (Use Detune).nksn
Aleatoric Eh (Use Detune).nksn
Aleatoric Mm (Use Detune).nksn
Aleatoric Oh (Use Detune).nksn
Aleatoric Oo (Use Detune).nksn
Aleatoric Oo-Oh (Use Detune).nksn
10
 Performance Page

The Performance Page is like your “home” This is where you might spend most of your time. We have made a concerted effort to bring the
most commonly used features and controls to this page — the most basic and often-used real-time controls are located here and many
users may not venture much further than this page. That said, the tweakers will have plenty to dig into in our deeper editors and other pages.

11
Real-Time Controls

All the real-time controls can be assigned to user’s choice of Continuous Controllers, however Audiobro has already programmed them in a
logical manner and to conventional industry standards where applicable.

Dynamics

The Dynamics control is probably the most prominent real-time controller on Genesis. This control
affects both the recorded performance dynamic and volume, and is the most critical control to
achieve an expressive performance. Notice the cog icon that you can click on to open the Dynamics
Editor (to the right of the word “Dynamics”). In this library, you will see this type of “cog” icon in
various places and in every case it will open an editor to the associated control.

By default, the Dynamics knob is assigned to CC1. You can Right-Click

(Ctrl-Click on Mac) to assign another CC to this control. You can watch a @@@@@@@@@@
video on how to assign CCs to Genesis’ control here: @@@@@@@@@@
@@@@@@@@@@
@@@@@@@@@@
@@@@@@@@@@

How to assign CCs to Knobs

12
Dynamics Editor

The Dynamics editor allows you to decide how you want to control the dynamics of the
library. The Dynamics slider mirrors the position of the Dynamics knob on the front page
so you can see its level when the editor is open. By default, Dynamics are assigned to
CC mode, which means that the knob position (controlled by CC1 by default) is the sole
source of the dynamic and the dynamic can change fluidly during held notes.

In Velocity mode the strength of your notes down (velocities) is the determining factor for
your dynamic, and the dynamic is not fluid or controllable after the value has been set for
each note.

Scaled velocity is a powerful balance between the other two modes that lets you play
with velocity based dynamics and also play with a CC. So if you have your CC all the
way up, then you will get the full range of the velocity. If you have your CC at 50% then
you will only get a maximum velocity of 50%… and so on. This
is especially useful for those who wish to use continuous fluid
dynamics for sustains, but prefer velocity based control over shorts (while still respecting the @@@@@@@@@@
CC dynamic). @@@@@@@@@@
@@@@@@@@@@
When drawing your Dynamics curve, you can use the Shape slider to help you as well as @@@@@@@@@@
the smoothing button to smooth out the table. @@@@@@@@@@

Volume Dynamics Editor

The Volume Knob controls actual volume of the sound but does not alter the dynamic performance (p, mf, ff, etc.)
of the playback. It does not allow for the expressiveness of Dynamics, but can be very useful as a second level of
volume control. The Volume control is assigned to CC11 by default.

Filter (main filter)

The Filter control applies a user definable filter to the whole instrument and affects the sound before the sound
reaches the Mixer. The Filter is assigned to CC2 by default. Note, you can also add other filters to the sound and
modulate them using Modulation tables (see the Mixer section for this).


13
Filter Editor (main filter)

By clicking on the cog, you will open the Filter Editor. Here, you can choose the filter type
you’d like with the drop down menu. The Frequency and Resonance of the loaded filter are
both MIDI-assignable by right clicking on the knobs and assigning a Continuous Controller
(CC) to them. The Frequency knob in the editor is the same control that exists when the
editor is closed (the Main Filter knob) and any MIDI assignment made is present in both
views.

Brightness

The Brightness knob gives you easy access to making the overall sound brighter or a little darker. At 12 O’Clock,
the Brightness knob will yield no change to the sound. Turning the knob clockwise adds brightness, and turning it
counter clockwise makes the sound darker. With the choir this can be useful to bring out or reduce both breathiness
and clarity of pitchless consonants.This knob is MIDI-assignable by right-clicking on the knob and assigning a
Continuous Controller (CC) to it.

Detune

This Detune knob detunes each divisi section of the ensemble discretely, giving you a wonderfully controllable
Aleatoric choir sound. In practice, this is like telling the 4 sections of the choir each to do a different pitch bend.
Great for horror scores, tense moments, and more.

The Detune knob is assigned to CC3 by default.

14
Detune Editor

This slider mirrors the value (position) of the rotary knob on the front of the interface

These allow you to select which ensemble’s tuning table you would like to edit.

Here, you draw how each note of the octave (C to B) is to be detuned. Going above
there center line means tuning up, and below means tuning down.

Table Range – The maximum range that each table step allows tuning up or down.

Randomize – This button will automatically randomize the table for you.

This Pitch Motion section can be turned On/Off using the radio button. It assigns an LFO (low frequency oscillator) to the tables and
adds a lot of motion. It can range from very subtle to radical. The Range knob dictates how much frequency modulation there will be and
the Speed knob dictates the speed at which the modulation will oscillate.

@@@@@@@@@@
@@@@@@@@@@
@@@@@@@@@@
@@@@@@@@@@
@@@@@@@@@@

How to use the Detune feature

15
Articulation Section

This Articulation section is comprised of the phrase section, the transport section, and the articulation settings. All of the settings you see
above are saved within each Articulation Preset (seen above as named “Doh Mee Neh (divisi).” First, we will go over the front most controls,
and then we will delve into the Phrase Editor.

Phrase Area

This opens up the Phrase Editor This is the Articulation Menu. It stores up to 20
(discussed later). Phrases with all the settings from above saved.

Phrase display — This is where you can see the phrase that will be played as well
as what will be played next. In the editor, it also allows you to create phrases.
16
Transport

Tools — This menu gives you numerous options that affect the phrase:

Auto Rewind — When ON, this will automatically Pause Button — When ON, this will “park” the
put the phrase cursor to the beginning of the cursor on to whatever cell it is on so it plays back
phrase after a couple of seconds of non-activity. the same articulation repeatedly.

Direction — This menu allows you to choose the

direction of the phrase playback: Forwards,
Backwards, Ping Pong, Random.

Locator and Length — This control tell you what cell the cursor is on (where in the phrase) and lets you choose how long a
phrase you want (1-32 words);

First number — This is the current cell number the cursor is on.

Second number — Phrase length.

You can change both numbers with the mouse by click-dragging the mouse over the number.

17
Articulation Settings in General

There are 3 basic articulation classes (singing styles) in Genesis:

• Sustain — Each word/syllable/vowel is sung and held until you release the note.
• Staccato — Each pre-recorded syllable is sung at fixed length (with varying speeds) and the vowel-based words are
held until release.
• Pads — These are long and sustained mixes using various synthesis methods to create pads that sit well in the mix.
For each of these (Sustain, Staccato, and Pads) there will be varying controls.

Sustain Settings

Legato

Legato — Turns on or off the smooth connections between notes/chords. Audiobro uses its own proprietary
legato algorithms to give you realistic and compelling legato transitions. You can think of the legato setting as a
“Smart Legato” where it will know whether you have the Auto Divisi ON or OFF.

It is important to know the relationship between the Legato setting and Auto Divisi (please also refer to the
Auto Divisi section discussed later).

When Auto Divisi is ON:

• If Legato is ON — then there will be polyphonic legato. You will be able to play chords and have a predicable
legato sound between the notes of your chords.
• If Legato is OFF — then there will be a polyphonic non-legato sound. However, Auto Divisi will still divide your
notes among the loaded sections.

When Auto Divisi is OFF:

• If Legato is ON — then there will be monophonic legato. Ie: you will only be able to play one note at a time.
• If Legato is OFF — then there will be polyphonic non-legato sound with a much high voice count since there is
no Auto Divisi that is properly weighting the singers. This can give a big sound, but is not as realistic as using the
Auto Arranger.


18
Legato Playing Style

In order for the legato feature to work, you must play in a certain way. Watching the video (link at @@@@@@@@@@
right) may be the best way to understand how to play legato. @@@@@@@@@@
@@@@@@@@@@
@@@@@@@@@@
@@@@@@@@@@
When Auto Divisi is ON:
How to play Legato and
• Without using sustain pedal — play chords naturally and sequentially. In order to Melisma
help create transitions between your notes, Auto Divisi adds a small amount of
extension on to your notes (definable in the Auto Divisi Release Window setting set
to 75ms by default). New notes played within this release window will be transitioned to with a legato articulation.

• While using the sustain pedal — You must release a note before playing the next note.
When Auto Divisi is OFF:

• Play monophonically, slightly overlapping your notes to create legato transitions.

Melisma

Melisma is a singing style whereby the vowel of each word is maintained as the active legato vowel and sung
until the end of the legato phrase. At that point, when you play a new note, the next word will be sung.

19
Attack and Release Controls

Attack Curve, Attack Time, and Release Time are only available on the Pads and Sustain sounds (Ah, Eh, Ee, Oh, Oo,
Mm) and only when not playing legato phrases (since the legato transitions will supersede the attack and release times).

In order to change the settings, simply click on the radio button (to turn the setting ON) and then click-drag the
curve or time controls boxes. These settings will not overwrite the default Attack / Release of the preset.



When these controls are OFF, then their settings will have no bearing on the patch. In other words, you won’t ruin
a patch’s legato and default settings by changing these controls since they will only be played back when set to
ON.

@@@@@@@@@@
@@@@@@@@@@
@@@@@@@@@@
@@@@@@@@@@
@@@@@@@@@@
@@@@@@@@@@

Attack and Release controls

Syllable Length

There are 2 lengths of pre-recorded Syllables: short and long. Using the Syllable Length control, you can
choose whether you hear the short, long, or both lengths (short and long) layered on top of each other. When
you are in sustain mode these syllables are held using their appropriate vowel (so the “ee” in “Bee” will be
held until your key release). However, you can still choose which of the pre-recorded lengths to use and this
can create more or less accent on the initial attack of the syllable.


20
Staccato Settings

The Staccato section primarily controls the performance of the Latin Syllables. These are the pre-recorded syllables that have been
performed as both short and long staccatos and can be seen in the Phrase Editor:

@@@@@@@@@@
@@@@@@@@@@
@@@@@@@@@@
@@@@@@@@@@
@@@@@@@@@@
@@@@@@@@@@

Staccato and Word Speed

Short – Long – Both

This is control lets you choose between the playback of Short, Long or Both types of Staccatos.

Note: In order for these settings to be heard, you must either have Latin Syllables or the combination
of suffix or prefix and sustains in the Phrase.

Word Speed

This is a powerful feature yet can be a RAM and CPU intensive feature. The Word Speed will allow
you to continuously or automatically change the speed of Latin Syllables as well as prefixes. You can
either change the speed manually using the slider or click on AUTO and the speed will adapt to your
playing. 


21
Pads

The pads are recordings of processed sustains that are ideal to be used as beds. There are 4 basic types of Pads:

• Neutral Pad
• Reverb Pad
• Harmonic Pad
• Low Pad

When you are in “Pads” mode, the Mixer page is updated to reflect the names of the processed sounds and not the traditional microphone
names used on the other articulations.

Here are the mixer channel names for the Pads:

By contrast, here are the mixer channel names for the other articulations:

Please take note of the differences above. The good news is that the Mixer will automatically know whether you are on a Pad or
other articulation and will update the Mixer accordingly.

22
Phrase Editor

The Phrase Editor is where you can build your own phrases. To access it, simply click on the triangle next to the word “PHRASE”:

This will open then Phrase Editor window below the Articulation Settings as seen here:

The Phrase Editor can be accessed in both Sustain mode and Staccato mode. To enter Vowels, Syllables, Prefixes etc., simply click on the
Phrase cell you want to edit and click the desired Vowel, Latin Syllable, Prefix, or Suffix in the lower window. The phrase can occupy up to
32 cells, and you can have up to 20 phrases giving you up to 640 occupied cells within a patch. 


23
Latin Syllables

All these are actual recordings of Latin @@@@@@@@@@

syllables that were performed in two ways: @@@@@@@@@@
@@@@@@@@@@
• Longer syllables with a pronounced @@@@@@@@@@
sustain. @@@@@@@@@@
• Short syllables with in a staccato @@@@@@@@@@
style.
Phrase Building

Please note that the La La round robins are an exception to this. They are recorded at one length but their speed
(length) can easily be changed using the Speed Control feature.

Simply click on a syllable and it will be applied to whatever cell is highlighted in the Phrase area. It’s that simple.

Experiment with it and take note whether you are in the Sustain mode or Staccato mode… and whether you are in
Auto Arranger Mode (ON / Off). All of those options impact how Genesis will respond especially when playing
chords.

Prefixes

These can be viewed as pitchless (no tonality) articulations that you can put in front of
a vowel. For example, you can put the vowel “ah” in a cell, and then add the Prefix “T” in
front of it and when you play back that cell, it will sound like “Tah”. We have taken care to
time-align the different prefixes with the vowels for optimal realism.

Some Prefixes have and underscore “_” before or after them. If the underscore comes
after the Prefix, then it was originally intended as a Prefix for that sound. If the underscore
comes before the Prefix, then it was originally intended as a Suffix (to be played after the
vowel) for that sound. However, we decided to include both Prefix and Suffix
recordings in the Prefix section in case you want to experiment with the different
“F”, “S”, or “Sh” sounds. 

24
 Vowels

Vowels might be considered the foundation of this library. They are all recorded with
their respective Legato articulations and are designed to blend with the Latin Syllables
as well as the pitchless Prefixes and Suffixes.

With the vowels, you can also create diphthongs (like ah-ee to sound like “I”).

If you wanted, you could set a Phrase to a length of 1 and simply assign the “oo” vowel to that cell and you would have a
beautiful “oo” patch capable of legato, Auto Divisi, etc. This might be considered the simplest form of a phrase and would look
like this (see below):

These are your typical vowels and by clicking on them, you will assign them
to the currently highlighted cell in the Phrase area.

Use these vowels to create diphthongs. “Diphthong” is a fancy word to

describe the combination of two vowels into a single syllable. This is what an
“oh” + “oo” diphthong cell would look like:

Play diphthong upon Attack — This will transition from one vowel to the next upon attacking a note. Sort of like this if
you played a note for a second: Ah-Eeeeeeeeeeeee

Play diphthong upon Release — This will transition from one vowel to the next upon release of a note. Sort of like this
if you played a note for a second: Ahhhhhhhhhhhh-Ee

25
Suffix
Like the Prefixes, these can be viewed as pitchless (no tonality) articulations that you
can put after a vowel. For example, you can put the vowel “ah” in a cell, and then add the
Suffix “T” after it, and when you play back that cell, it will sound like “At”. We have taken
care to time-align the different Suffixes with the vowels for optimal realism.

Some Suffixes have and underscore “_” before or after them. If the underscore comes
after the Suffix, then it was originally intended as a Prefix for that sound. If the underscore
comes before the Suffix, then it was originally intended as a Suffix (to be played after the
vowel) for that sound. However, we decided to include both Prefix and Suffix
recordings in the Prefix section in case you want to experiment with the different
“F,” ,“S,” or “Sh” sounds.

Custom Words
This menu lets you save a list of custom “words” that you created for easy re-integration
into a phrase. Use the “+” (plus) button to add a word, and use the “-“ (minus) button
remove a word from the list. Use the “Custom Words” menu to choose the word you want
to add to the highlighted cell in the Phrase area.

Phrase Element Volumes

This is a very useful and important part of the library. This allows you to find your preferred volume balance for the different
phrase element volumes. These levels are also saved to each Phrase preset. You could have one preset where the short
syllables are lower and another where they are louder to give you a different dynamic performance when combined with
vowels.

Feel free to fine-tune the preset to your liking using these volumes controls. When you Save Over a preset, your new volumes
will also be saved to the preset.


26
Release Trigger
Release Triggers are the sounds that are played back when you release a note. They usually capture the end
of a note and its associated ambiance. There is a Release Trigger On/Off switch and volume control in the
Phrase Elements Section. If you are using Genesis’ Stage simulator, you may not feel the need to use the
Release Triggers thereby saving you voices. This will result in less Disk Usage and CPU.

Breath Key
This control allows you auto assign a key that will trigger breath sounds. There are a few breath sounds
that cycle to the next every time you play the breath key. You can use the Breath Volume knob (on
previous page) to adjust its level.


27
Switcher

The Switcher is Audiobro’s new and advanced way of switching Phrases, Mixes, and Ensemble @@@@@@@@@@
presets in a very customizable and intuitive fashion. There are 2 views for the Switcher, the Basic @@@@@@@@@@
View, and the Advanced Editor. @@@@@@@@@@
@@@@@@@@@@
@@@@@@@@@@
@@@@@@@@@@

Switcher (basic) Switcher

There are 4 Switcher banks that can be assigned to switch either Phrase presets, Ensemble
presets or Mix presets. Each Preset can be controlled by a MIDI note (Key Switching) or Continuous Controller (CC
switching). Further more, you can overlap Switching Banks’ switching assignments so that you can switch (say) a Phrase
preset and a Ensemble Preset AND a Mixer preset all with 1 key… or 1 CC. First, let’s first take a look the basic view:

Switcher type — this shows you what type of preset the Switcher will MIDI Value— this shows you the type of MIDI event and its current
switch. This is chosen in the Advanced Switcher editor. assignment. For example, here the MIDI key C0 was assigned to
the “Do Mee Neh" phrase preset.

Switcher bank On/Off button. When off,

this Switcher bank has no affect.

Preset Name — this shows you the current preset’s name. These Status Lights— these little lights show you what Switch you are
presets are saved in their respective pages (ie. Phrase, Mixer, on. When lit, you are on that Switch. When outlined, you have
Ensemble). You can easily choose a preset from the menu here. assigned a preset to that switch. When dark, nothing is assigned to
that switch.

28
 Switcher Editor (advanced)
This is accessed using the cog icon next to the word “SWITCHER”.


Switcher bank On/Off button. When Switcher type — With this menu you can assign whether a Switcher
off, this Switcher bank has no affect. Bank controls presets related to the Phrase, the Ensemble or the Mixer.

MIDI Type — This menu allows you to choose between MIDI note
keys or MIDI CCs.

Switch If Values — Based on your “Switch If” choice,

you will have different options to create a logical
algorithm.

Switch If: — This lets you choose the criteria to

be used when switching.

Status Lights — These little Preset Name — this shows you the current preset’s name. These
lights show you what Switch presets are saved in their respective pages (ie. Phrase, Mixer,
you are on. When lit, you are Ensemble). In this example the preset menu is derived from the Phrase
on that Switch, when menu.
outlined, you have assigned
a preset to that switch, when
dark, nothing is assigned to
MIDI Value — what is shown here is predicated upon the “Switch Using”
that switch.
menu. If you have Key Down selected, it will show you a MIDI note. If you
have MIDI CC selected, then you will have a CC number.

29
Look Ahead
This is a simple control that does an enormous amount of work for you under the hood. When
activated, Genesis looks ahead 300 milliseconds (about 350 milliseconds if you include the Auto
Arranger look ahead too) in order to time-align all syllables, prefixes and suffixes so that you phrases
sound natural. Anyone who has worked with a choir that handles word building knows how hard it is to
get words to sync and feel like they are in the “pocket” time-wise. This is a very tedious process in a MIDI sequencer…
involving having to move around syllables so that when played back, they sound in time with what precedes them and what
follows them. Put simply, if Look Ahead is turned on and your adjust your DAW to offset this timing, your performance
should perform properly when quantized regardless of the variations in syllables, consonants, etc.

When Auto Divisi is turned on, it too has a “latency” which is controllable by
the “Chord Window” setting. By default this is 50ms, but is user controllable
to customize the performance behavior. So your true offset time is the Look
Ahead time (if enabled) + Auto Divisi Chord Windows time (if Auto Divisi is
enabled). The Look Ahead readout always shows you the total latency of your
settings so that you can adjust your DAW’s MIDI track to match.

When using Look Ahead, set your DAW’s MIDI track to play earlier by the amount reported in the Look Ahead
readout. This will make the Genesis MIDI track play in time with the rest of your MIDI.

If you experience late MIDI (as if everything was running 1/2 a second behind), check to make sure you have Look
Ahead turned off if you are not using it.

@@@@@@@@@@
TIP: I find it a good idea to have 2 MIDI tracks assigned to the Genesis @@@@@@@@@@
instrument: one for regular MIDI input and realtime playing (a real-time track), @@@@@@@@@@
and another with a negative MIDI delay of 300-350ms assigned to it (a Look- @@@@@@@@@@
Ahead track). This way you can switch tracks instead of turning the delay @@@@@@@@@@
ON/OFF when recording your parts. When you are done recoding, simply @@@@@@@@@@
copy the MIDI part you just recorded to the “Look Ahead” track.
Look Ahead Video

30
 Ensemble Page
The Ensemble page which holds the Stage and Ensemble sections is where all the magic begins. That is why it is the first page button at the
bottom of the interface. It you want to understand Genesis’ signal flow, it generally goes from the Ensemble/Stage settings → Performance
settings → Mixer/Sends settings.

The Stage is where you place the ensembles, adjust their relative volume and set the stereo width of the ensembles. It is also where you
build the ensembles, set the Auto Divisi attributes, and access the Humanization settings. 


31
Stage
The Stage feature allows you emulate many different stages and locations by taking any or all the ensembles (divisi sections)
and arranging them on a virtual stage. Based on the Stage Type that you choose, you can have the choir sound like it is
located at the back of a cathedral or up-close-and-personal on a scoring stage… or anywhere in between. The Depth Control
does all the work behind the scenes, taking into account proximity, reverb, right-left placement (stage panning), microphone/
ambience mix, and other things to make it sound beautifully inspiring and realistic.

It is as simple as grabbing the rectangular divisi sections and moving them where you want on the virtual stage. You can also
move them all together using the circular Mover tool.


@@@@@@@@@@
@@@@@@@@@@
@@@@@@@@@@
@@@@@@@@@@
@@@@@@@@@@
@@@@@@@@@@

Stage

32
Depth Control
This control turns ON/OFF the Stage feature. When ON, the Stage emulates the depth of a physical
space based on what you choose as your Stage Type and Stage Preset. When OFF, the ensembles
disappear from the stage and there will be no ambiance added to the sound. When Depth Control is
OFF, you use the Positions panner to adjust the panning of the different divisi sections.

Below are 2 different pictures. The first shows what the interface looks like when the Depth Control feature is ON, the second
shows what it looks like when OFF.

Depth Control ON Depth Control OFF

Notice the Divisi sections are gone from the stage on the second picture. Also (as seen below), the Position control at the
bottom right is different:

When the Depth Control is ON, When the Depth Control is OFF,
then the Position Panner is an X/Y then the Position Panner becomes a
panner. traditional L-R panner.

33
Stage Type and Stage Preset

This is where you choose the “sound” of the stage you want. There are 6 different stage types to choose from:

• Scoring
• Halls
• Churches
• Cathedrals
• Small
• Effects
• Dry Simulations – This allows you to use the stage without adding reverb from the stage… great for using the stage panner.

Within those sections and contained under the Stage Preset menu, there are a combine 52 different states to choose from —
the likes of: Basilique Cathedral, Film Stage, Lucid Dream, Adagio, and 48 others.

Stage Editor

When you click on the chevron to the left of the Stage

Type caption, you will see the Stage Editor (left).

Room Size — Reduces or increases the size of the

currently loaded room ambience

Room Tone — Darkens or brightens the tonal

quality of the currently loaded stage preset.

34
 Mic Depth Influence — These knobs control the amount of influence the stage depth simulation has over the individual
mic mixes. There are a few ways this can be used to your advantage.

First, it allows a quick mixing of the naturally recorded mics and the stage simulation. One example would be when you
like the sound of a preset but would prefer a little more of the natural sound than we’ve set up.

Second, by having discrete control over each mic’s simulation you can more carefully craft a layered mix that responds to
3D stage positioning. For instance, if using a Close sound, it might be quite natural to move that sound in 3D space with a
high level of simulation. Conversely, a Far mic recording already has considerable ambience and spacial ambiguity and
you may want to do less space simulation. The discrete controls allows you to do this with ease.

Stage

When Depth Control is ON, here you

can move the different Divisi sections
on the virtual stage to create your own
sonic landscape.

Note the Mass Mover tool at the bottom

right of the stage. You can grab this and
move all the divisi sections at the same
time and they will all retain their relative
positions with each other.

You can also use the Position dots in the lower portion of the Stage area (seen here at the right) to
position the divas sections (although we feel this will be easier to interact with and more visually
informative).

35
Divisi Section
This is where you can purge and load sections to help with RAM savings. For example, if you are working
on a project and you know that you won’t be needing Alto Boys, then you can purge them and save on
RAM space.

To Purge a section, simply click on the button to the left of the name.

Volume (divisi section)

Here, you can control the volumes of each section independently. This behaves differently than the
Mixer channel volume because the Mixer channel affects the volume of a particular microphone
mix, whereas this controls the volume of the actual divisi section (regardless of mic mix).

Width
Here, you can control the stereo width of each divisi section. Great care was taken in the recording
and mixing process to maintain phase coherence when changing the width and panning of the
recordings. 


36
Position

The Position control takes on 1 of 2 forms depending on the Depth Control state. When the
Depth Control State is ON, then you will have an XY Panner, when the Depth Control is OFF,
then you will have a traditional L-R panner.

When the Depth Control is ON, When the Depth Control is OFF,
then the Position Panner is an X/Y then the Position Panner becomes a
panner. traditional L-R panner.

The Position control behaves like a traditional X/Y panner or stereo panner.

If you find yourself in a situation where you have placed one or more divisi sections on top of each other in the Stage
section, you can use these Position dots to navigate the hidden divisi sections. 


37
Ensemble Section
This is where you can control how the 4 ensembles (Soprano Girls, Soprano Boys, Alto
Girls, Alto Boys) interact and whether they will be heard. This is a very powerful section
that allows balanced divisi voice weighting when playing chords, lines and multiple note
phrases.

Ensemble Menu
At the top right you will see the Ensemble Menu. Here you can load or store the
entire Ensemble section’s settings.

Note: The presets you save in this menu are accessible via our Switcher on the
Performance page. This allows you to change Ensemble settings in real-time via
Key Switching or CC switching.

Ensemble Builder
This is where you set up what ensembles you want to hear, and how they are
played back.

Divisi Section(s) — This lets you choose how many divisi sections you will hear
back when playing. Based on this number, you will see the same amount of Divisi
sections cited below.

Divisi A-D — Here you can choose which ensembles are assigned to the
difference Divisi sections. The higher sections sing the higher notes when you
play chords. You may want to experiment with having the Soprano Boys on Divisi
A for a different sound than when Soprano Girls are assigned to Divisi A. So, in
essence, this is where you decide the order of your divisi sections.

Transposition — The last menu (seen here with the word “loco” on it) is where you can transpose a section by up to 2
octaves (up or down) from where it is being played. The term “loco” means that it is to be heard at its originally intended pitch
(non-transposed). “loco” is the default setting. 


38
Auto Divisi
Based on the setting of the Ensemble Builder (discussed in the previous section), this
section will let you set up how the Ensemble will be interpreted and played back.

Automatically Assign Loaded Sections — this is a “smart” control that tells our divisi
algorithm to figure out the divisi assignments automatically… based on the loaded
sections.

Auto Divisi — This is a simple On/Off switch for the Auto Divisi feature.

Chord Window — this allows you to set the “window” by which our Auto Divisi algorithm
will interpret the intention of multiple notes played within (in this example) 50 ms. When
played within 50 seconds, those notes will be considered a “chord” and therefore will not
try to play a legato transition.

Release Window — This allows you to adjust the time by which our Auto Divisi engine will allow you to release a note and
still consider it a legato note and therefore play a legato transition to the new note. So, in other words, if you play a note,
release it, and then play a second note with the 75 ms window, the second note will be played back as a legato note.

ReVoice Upon Key Release — This tells your Auto Divisi algorithm to re-analyze and re-voice the chord when a note is
released. This is set to ON by default.
@@@@@@@@@@
@@@@@@@@@@
@@@@@@@@@@
@@@@@@@@@@
@@@@@@@@@@
@@@@@@@@@@

Auto Divisi
Humanization
This feature allows you to add a little more of the “human element” into the
playback of the sounds. Humans do not play back in time as accurately as
computers do. Some players play a little late (behind the beat) or do not play
entirely in sync with the music. This section allows you to control how much each
section will play behind the beat (Delay) and how much randomization will be
heard in their timing. 


39
 Mixer @@@@@@@@@@
@@@@@@@@@@
The Genesis mixer is unique in several ways. It allows:
@@@@@@@@@@
@@@@@@@@@@
• 100% real-time recallable presets via Key Switching or CC Switching.
@@@@@@@@@@
• All Insert parameters can be modulated by 1 of 4 different user-definable modulators (lots of cool FX).
@@@@@@@@@@
• Chopping of all channel for hypnotic rhythms and textures.
• Purging of microphones to save RAM.

 Mixer

St. Out 1 St. Out 1 St. Out 1 St. Out 1

40
 Mixer Channel
The Mixer channel is organized by microphone mix (Close, Stage, Far, Mix) and also by Pad type (when Pads are enabled). 


Chopper — When ON (orange when on) the Cog — Use the cog to open up the editor of the
Chopper will “chop up” the sound based on the associated effect.
time unit of your choice (ms or musical note
values).

Occupied Insert Slot — When an insert slot is

occupied, it will show the Insert’s name. If it glows
blue, then it is ON.

Empty Insert Slot — When an insert slot is

empty, there is no name attached to it.
Group Button — When ON, this channel will be
grouped with other channels whose Group button
is also ON. This allows you to move the volume
across all channels identically.
Pan Slider — This will pan the auto to the right or
left. This is a separate panner than the Stage
panner on the Ensemble page.
Volume Slider — This is the volume slider for the
channel

Mute Button — This button mutes the channel

(stops audio from passing through it).
▼ St. Out 1
Kontakt Output — Use this menu route the mixer
channels to the different Kontakt outputs. This will
Solo Button — This button solos the channel by only show the Kontakt outputs available when you
muting all the other channels. loaded up Kontakt. If you make changes to
Kontakt’s output preferences, the mixer will only
show these changes after you either restart the
engine using the “ ! ” button at the top of the
Channel On/Off — This button not only turns off the
Kontakt interface or after reloading the patch.
channel, but also purges all the samples associated
with that channel.

41
Insert’s List

--- Dynamics ---- -- Low Pass Filters-- AR BP2-4
Compressor AR LP2 Ladder BP2
Opti Comp. AR LP4 Ladder BP4
Solid Comp. AR LP2-4 Daft Filter — Use this Legacy BP2
Limiter Daft LP filter with caution. A Legacy BP4
Transients Ladder LP1 higher resonance will SV BP1
Ladder LP2 cause self oscillation SV BP2
--- EQs ---- Ladder LP3 and can yield loud SV BP4
EQ1 Ladder LP4 pitches. You must
EQ2 Ladder Filt -- Band Reject Filters--
tame the beast 😀
EQ3 Legacy LP1 Ladder Peak
Solid EQ Legacy LP2 Ladder BR
Legacy LP4 Legacy BR4
--- Effects ---- Legacy LP6 SV Notch 4
Phaser Pro-53 LP
Chorus SV LP1 -- Multi Filters--
Flanger SV LP2 3x2 Filt
Reverb SV LP4 SV Ser LP-HP
Delay SV Par BP BP
Convolution -- Hi Pass Filters-- SV Par LP-HP
AR HP2
--- Routing ---- AR HP4 -- Effect Filters--
Sends AR HP 2-4 Daft Filter — Use this Formant 1
Daft HP filter with caution. A Formant 2
--- Channel Ops ---- Ladder HP1 higher resonance will Philter
Gainer Ladder HP2 cause self oscillation Vowel A
Panner Ladder HP3 and can yield loud Vowel B

Inverter Ladder HP4 pitches. You must
Legacy HP1
tame the beast 😀
--- Distortion ---- Legacy HP2
Saturation Legacy HP4
Lo-Fi SV HP1
Distortion SV HP2
Skreamer SV HP4
Rotator
Twang
Cabinet -- Band Pass Filters--
Tape Dist. AR BP2
Jump Amp AR BP4

42
Sends
There are 6 effect sends in addition to all the inserts on each mixer channel.
This gives you enormous creative latitude, mixing, and sound design
flexibility.

There are 7 effects to choose from that can be assigned to the Sends
section. They are:

• Delay
• Chorus
• Flanger
• Phaser
• Convo (Convolution Reverb)
• Reverb
• Gainer (simply for gain staging)

You may arrange the Send Effects in any order you choose.

Important: In order to use the Sends, you must have a Sends insert in
the mixer channel you wish to route to the Sends (as seen at left).

You can change the Send effect to any of the effects in the dropdown
list. You are not obligated to use the order or setting with which the
library came.

Send — You must insert a Send into a mixer channel in order to route
the single to the Sends section.

Notice how the Delays and Reverb have signal sent to the sends. You
can see the available routing when you click on the cog of the Sends
insert.

43
Automation
This section allows you to assign a slider to modulate any Insert Parameter. That can be a very powerful and creative tool.
With a single slider you could control a myriad of effect parameters giving you tremendous realtime sound control.

Modulation Source — As you can see Lag and Lag time — Automation Slider — This is one of 4 color
from the selected menu option “ Sld: This helps smooth out coded Automation Sliders that you can
1” (which means “Slider 1”), the slider to the MIDI slider since assign to any Insert effect parameter. Note
the right is assigned to the Frequency standard MIDI is only the blue line in the slider channel will reflect
parameter. You can assign “Sld: 1” or any 128 step. If you hear the Lag speed. If you have a really long Lag
of the 4 sliders to any insert parameter for zipper noise in your time, you’ll notice the blue horizontal line
creative realtime control. Also notice that slider moves, try trail behind the fader head.
the “Sld: 1” is color coded blue to match turning on the Lag and
the color of the Blue slider on the right. choose the lowest
This is to help you better see your setting that gets rid of
automation assignments. it.

Note that some real-time automated effect parameters will create zipper noise or other artifacts We have carefully
chose our presets to play nicely. However, if you want to create your own realtime modulation of parameters using
either the sliders or the modulators, please test whether the assigned parameter “plays nicely” with realtime control.

44
 Modulation
The Modulation section allows you to assign almost any Insert effects parameter to 1 of 4 available modulators. These
modulators are 100% user definable and save-able. They can have up to 64 steps and each step can be as short as a 1/32
note or as long as 4 bars!

There is also a Lag button that allows you to make the sharp nature of a step modulator as smooth as you’d like. The lag will
slow down the “jump” to a smooth transition based on how many milliseconds you want the transition to take.

On/Off — Turns the Modulator On /Off. Preset Menu — Save your presets here.

Rate — Choose how fast the modulator will Steps — Choose from 1 to 64 steps.
go from one step to the next.

Lag Time — Control how quickly or slowly

Lag On/Off — This turns On/Off the Lag and smoothly the steps will transition from
feature. one to the next. This is in milliseconds.

Caution - Use caution when

assigning any modulator to a
Daft Filter insert. Daft can self
oscillate with higher Resonance
values and create unexpected
loud pitched feedback. 



The Daft filter is a great
sounding beast of a filter, but
like all beasts, it must be
handled with care. 


45
Signal Path

To the left you will notice a signal path diagram. Because of the
way that Kontakt is designed, there are some things we do not
have control over. Ideally we would have had the stage depth
feed directly in to the Mixer but because of routing limitations we
had to optimize the signal path as displayed here.

The main thing to understand here is that when you are using
the Stage Depth control on the Ensemble page (when it is
ON), the ambience/reverb will be sent directly to the outputs
while some of the non-reverberated signal that has been
processed with air absorption processing will be fed into
the Mixer.

46
 Default CC Assignments
CC# Explanation
CC1 This controls the dynamic layers of the patch (ppp through fff) and also the volume of those layers.

CC3 This lets you ride the Tune Amount knob in the Tuning script. Great for subtle or drastic tuning effects.

CC7 This controls the master volume of the patch.

CC11 This adds one more level of volume control for added flexibility.

CC12 Cutoff of the Filter on the Performance Page.

CC13 Resonance of the Filter on the Performance Page

CC14 Brightness knob on the Performance Page — adds or subtracts brightness to the overall sound.
This (Sustain Pedal) forces whatever you play to be played “legato”. Note, that if you are using syllables in conjunction
CC64 with vowels while using the sustain pedal, you may sustain the syllable portion of the sound to its full length even if
you have already played a subsequent legato note.
CC90 This turns On/Off the Detune feature.

CC52 Do Not Use! These CCs are used internally by the instrument and we recommend NOT assigning them.

CC53 Do Not Use! These CCs are used internally by the instrument and we recommend NOT assigning them.

CC54 Do Not Use! These CCs are used internally by the instrument and we recommend NOT assigning them.
CC55 Do Not Use! These CCs are used internally by the instrument and we recommend NOT assigning them.

47
 CPU and RAM Considerations

CPU Considerations
Although Audiobro takes the utmost care in trying to create efficient and lean patches, there may be times when one will want to further
maximize their CPU efficiency. Here are some tips to help you get the most out of your computer’s CPU.

High CPU in general — If you find that a patch or a few patches are on the edge of overloading your system’s CPU, try creating another
instance (or 2) of Kontakt and distributing the patches onto the different instances of Kontakt. The idea behind this approach is to use
multi-threading to more evenly distribute the CPU load amongst your CPU cores. Cramming as any patches as you can into an instance
of Kontakt is not a good approach when the patches require a decent amount of CPU.

Pads — If you are using Pads, chances are you don’t need to use all the Ensembles (Sop. Girls Alto Girls etc.). Choose one and that
should be plenty. Then Turn off Auto Arranger, Legato and Melisma. Although there are different version of the pads amongst the
different ensembles, they are very subtle. So by only using (say) the Alto Boys, you will quarter your voice count. 


Release Triggers — If you are using reverb, you may not need RTs (Release Triggers). Go into the Phrase Editor and turn OFF the Rel.
Trigger control. This will reduce your voice count upon release of notes (when not performing a legato transition).


Multiple Ensembles — If you are using multiple ensembles (Sop. Girls, Alto Girls, etc.), then it’s a good idea to keep the Auto Arranger
ON since it will both trigger a natural number of voices and distribute them evenly amongst the ensembles. Otherwise, you would be
assigning 4 voices (or however many ensembles you have ON) per note no matter how many notes you are playing. 


Modulators and Lag — When using Modulator Tables on the Mixing page, having a high lag setting (especially on multiple active
modulation tables) can raise the CPU substantially. Consider reducing the Lag to the minimum about needed. 


Effects — When no signal (as in zero amount) is going through an effect, then that effect is taking up zero CPU. However, if just a tiny
little sound is running though an effect, it will make that effect use it’s resources just as much as if there were a lot of signal running
through that effect. Therefore, if you are running signal through effects that you can barely hear or is not needed, either turn those effects
OFF or reduce the amount of signal to those effects to zero.

48
RAM Considerations
Genesis Children’s Choir uses a smart RAM algorithm to determine what you have in your patch and load only the samples that are
necessary. Generally you don’t have to think about this. Just set up your choir the way you want and we take care of the management. But
this works in a few ways that may be worth exploring if you are looking to maximize your performance:

Articulation Presets — The 20 presets saved as articulation presets are the most important automated factor for what samples are
used. We assume that anything stored within those 20 presets should be recallable via menu or key switch WITHOUT loading or purging
samples. So anything required to satisfy those 20 phrases is always kept in RAM.

Speed Control Shorts — This critical settings changes between a RAM-intensive speed-control mode or the traditional and less-costly
disk-streamed mode.

Divisi Sections — Each divisi section can be manually purged or loaded decreasing or increasing RAM.

Mic/Pad Mixes — Each mix/pad-mix can be loaded/purged decreasing or increasing RAM.

We include a very light empty startup patch that is ideal to use if you want to program your own settings without the extra RAM
usage required by our other fully-loaded patches.

49
 Specifications

System Requirements
 Mac OS X 10.11, Mac OS 10.12 or 10.13 (latest update), i5

 Windows 7, Windows 8, or Windows 10 (latest Service Pack, 32/64-bit) Intel Core 2 Duo or AMD Athlon 64 X2

An internet connection and a graphics card that supports OpenGL 2.1 or higher are required to download and activate this
product. Once installed and activated, the product can be used offline.

4 GB RAM (6 GB recommended for large KONTAKT Instruments)

Supported Interfaces
 Mac OS X (64-bit only): Stand-alone, VST, AU, AAX

 Windows (32/64-bit): Stand-alone, VST, AAX

50
 Special Thanks
The creation of Genesis was a labor of love, dedication and many, many hours of hard work. I’d like to thank all those who participated in
helping Genesis get made.

A special thanks to Sebastian Katz for the many days away from home you spent to help record this beautiful choir (and other libraries with
me). Thanks to your wife and kids for their patience in all of this. Also, thanks for your awesome coding capabilities.

Special thanks to Gabor Valasek for the insanely complex coding involved with this new engine. Thank you for taming the beast! Also,
thanks to Andi for her patience too as we would throw last minute fixes at you.

A special thanks to Katie Robinson for her expertise and guidance with the Latin language and in helping us choose useful syllables in
creating Latin sounding phrases. Gratias tibi ago.

And last but certainly not least… my wife and kids. A special thanks to my wife, Jennifer, for her help in the business, all that she does on a
daily basis to help me stay on task, and for her patience in putting up with my crazy scheduling of sample libraries and all that it involves. A
special thanks to my kids for keeping me humble and grounded. Love you!

51