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1. SPITFIRE Welcome Thanks for purchasing Albion III Iceni Redux an exciting array of orchestral and cinematic tools made the Spitfire 2 way Reading manuals is a bore so stick this next to your loo and give a read whenever you can you may find a host of good tips and ideas on how to get the best out of your purchase About Spitfire Spitfire was formed in 2008 by a group of successful British composers as a means of producing the tools they needed for their busy work schedules Sick of dry humourless ugly unrealistic enormously untamable sounding libraries Spitfire set about redefining the way samples were created Our aim is to reproduce the conditions of top movie recording sessions and approach sampling as if we were recording a film score one note at a time To record performances and parts thereof not scientifically created samples To capture not only the timbre of a worldclass set of players but also to record the room in which they played If you are wanting perfectly tuned normalised or dry samples you have probably come to the wrong place For here you may find the odd string squeak a fruity trumpet note and lots and lots of room but put the whole package together write some beautiful music and suddenly this library and our approach will make perfect sense About Albion Albion I was the first comprehensive set of Orchestral tools produced by Spitfire for the world at large Having spent
2. GENERAL CONTROLS OPTIONS PRESETS This allows you to load predetermined sets of articulations affectionately called Brush Sets quickly and easily to optimise your system quickly for essential articulations or to start building templates using empty shells PURGE UNUSED This control keeps unloading any samples you are not using to keep your memory usage as low as pos sible TRANSPOSE Toggle this on and tweak the number to the right to transpose your instrument Note this is not the same as tuning the instrument will actually offset the samples to the selected pitch This is a great way of making Albion sound bigger Pull two of the same patches into the same Kontakt multi leave one as is then with the second transpose up 3 on the UI and then of course tune down by 3 Play together and hey presto double the players CC1 MAPPED VEL OCITY Click this to have velocity controlled dynamics for the shorts for instance mapped to CCI as it is with the longs ROUND ROBINS amp LEGATO ROUND ROBINS This refers to the number of round robins multiple recordings of the same notes that cycle around as you repeatedly play a note your instrument uses the number can be dragged up and down 1 8 to save you memory RESET FROM FO This enables you to control the round robin cycle so it sounds identical every time you play Toggle on amp play the key selected default FO to reset RESET ON TRANSPORT As above but resets
3. Hyped Ensembles Iceni is remarkably tight and agile considering the numbers of players The Hyped Ensembles offer a slightly less articulate produced take on these recordings which give more of a what youd expect from a band of this size e Stephensons Underbass A selection of vintage synths sampled for their sub bass qualities and designed to sit an octave below your basses for that modern Hollywood sound well we say sound it s more a feeling e Additional Stephensons Material including Hensons Underbelly and Warped Pads e Darwins Wipes Weve taken the orginal Darwin sessions and have morphed them into extraordi nary wipes and transitions Over 100 useful and inspiring hand crafted Ostinatum Presets designed by an Award Winning com poser EXTRA FUNCTIONALITY INCLUDES e ADDED New unified UI to match the latest Spitfire releases e ADDED Persistent releases Release triggers no longer fade out when moving the mod wheel e ADDED fp Hall trigger When moving from fp to lower dynamics in select articulations the hall reverb is retained e ADDED Round Robin layering to thicken the texture e ADDED Marcatos and leisurely staccatos can now be released early with an RT e ADDED Stereo Collapse for the close mic functionality e ADDED Per articulation mixing ability e UPDATED Moves the Albion series to the BML codebase with all its latest features and functional ity e UPDATED Lates
4. 21 THE STEPHENSON STEAM SYNTH Although these sound excellent out of the box we ve also given you an easy to use and ingenious front panel 1 Lo amp Hi Pass Filters LPF Low HPF Hi For some a counter intuitive industry standard in titling Adjust the graph on the LPF to chop off the top end HPF to chop off the bottom So if you want to reduce your fizzing synth sound to a muted sub tone drag the LPF graph from right to left 2 Wobble Amount Three modulator windows that give you wobble or sometimes WAB WAB WAB Adjust the AMT to effect the amount of WAB WAB 3 Wobble Frequency Adjust the graph to change the frequency or speed of your wobbles For tempo syncd modulators this will tune coarsely to provide you with 8th triplet 16th etc etc 4 A D S R Attack Decay Sustain Release envelope These knobs will adjust the shape of the sound from a volume point of view Adjust attack to make the sound come thudding in or gradually fade in Adjust release to make the sound go from a sharp end or off to a gradual decay For an 808 style bass pull up one of the subbier sounds and pull the attack all the way to the right The release to about mid way to taste and play some short notes 5 FX Parameter Display We ve pre loaded a selection of FX Activate by clicking the FX icons along this bar 6 Portamento Glide On Off Toggle Click this to make the sound monophonic so you only can play one note at a time and to activate the po
5. If there is a round robin you dont like or a long note where the tuning is a bit fruity Load in a Punch Cog instrument and switch to the articulation you were using Play until you find the Round Robin you dont like and then stop Observe the pictured cog bottom left of the front panel UI and click on it to get this dialogue String Lo Celli m e Tune Output st 1 ft Voices OF Moas 32 urge 0 00 G3 Midi Ch A 1 g Memory 34 53 MB M fle REMOVE Bear Tan ADJUST ADJUST AMPLE ALL HOTE TUNE SOL HELEASE TWEAKS HOW SHOULD WE TWEAK Your last note played will be displayed if this is correct get tweaking SKIP THIS RR Will simply make it always jump along to the next round robin in the cycle ADJUST TUNE VOL Will adjust the tuning and or volume of the last played note ADJUST RELEASE This will alter the level of the release trigger which will effect the percieved decay of that note SAMPLE START If it feels loose adjust to the right tight adjust to the left REMOVE ALL NOTE TWEAKS This removes all custom changes you have made with the Cog PAGE 25 ZZ NS H ej UNIVERSAL ARTICULATION 41 CONTROLLER CHANNEL wu uu BLA XA We finally admit that things have got out of hand here in the world of Virtual instruments Every sin gle one works differently responds differently to different key switches and controllers and thats just within our own library The UACC pron you ack project is
6. Athlon 64 X2 2 GB RAM 4 GB recommended MACSs We recommend Mac OS X 10 6 10 7 or 10 8 latest update Intel Core 2 Duo 2 GB RAM 4 GB rec ommended DRIVES Firewire USBII or eSata 7200rpm Ask your dealer for drives that are suitable for AV use We always recommend as small a drive as possible unless you are using SSD as the platter will be smaller and the seek time less The library will take up around 24 Gig on your hard drive If using several large libraries or a number of Spitfire modules from the same machine we really recommend having your samples distributed over a number of drives Lacie eSata or Quadras 7200rpm we highly recommend Moreo ver an exciting development lies in the recent arrival of some amazing solid state SSD drives With seek times reduced to a fraction 0 1ms vs 6 9ms of what standard drives can offer we are certain you will be able to reduce your sampler pre load page 15 buffer tenfold meaning you ll be able to load enormous orchestral palettes into a single machine HOST The Kontakt 4 amp 5 platforms should work comfortably on most commonly found platforms and DAWs As always make sure youre as up to date as you can afford If youre planning on building or adding Spitfire to an already large orchestral palette we recommend running your library independently of your DAW either on your host computer e g via Re Wire or on a slave device e g via Midi or MOL This will assist y
7. Christian amp Paul PAGE 29
8. Controls and xFades the different dynamic layers recorded VIBRATO DEFAULT CC 21 Controls and xFades level of vibrato SPEED DEFAULT CC 16 Controls the speed of legato transitions Reduce when playing in expand when playing back for ease of use EXPRESSION DEFAULT CC11 Controls the volume of the articulation PAGE 13 MICROPHONE MIX SETTINGS Welcome to the wonderful world of Air Studios and the mixes of our chief engineer Jake Jackson Use the chips beneath the faders to load unload different microphones and the faders above to tweak the balance of them Turning a fader all the way down will also unload the mics conversely turning the fader back up will reload Right CTRL click on the faders to assign CC controllers so you can mix these live for fantastic shifts in the spacial nature of the samples MICROPHONES MIXES Right CTRL click on the mic letters to change Kontakt channel output assignment STANDARD ARRAY C Close mics a selection of valve mics placed for optimum focus close to the instruments This mic control is great to add in for added definition and at times a bit of rounding of sound in isolation it can be a way of achieving a more intimate or pop music style sound T Tree This refers to the Decca tree of three mics placed above the conductors podium In the case of Albion priceless vintage Neumann M50s These are placed to give the ultimate sound of the bandand the hall There are the d
9. KMS KONTAKT Memory Server Engin lar oad dling Ef Use Memory Seruer Initial activation requires restart and at least 4 GB RAM Please refer to the user manual for further information gce e mport j L 7 2 GB atabase Memory Seruer mode Memory Automatic KONTAKT will purge unused samples automatically and handle the server Manual Samples remain in Memory Server as long as possible Host projects will recall faster provided that samples are already loaded into the server Seruers are controlled uia KMS utilitu in the QS menu bar Instrument preload buffer size n Override Instrument s preload size You ll have to restart Kontakt to feel its benefits Another reason your system may be struggling is that youre using too many live mics for the spec of your machine Try cutting the mics as detailed on the front panel to see if this cures your problem If it does dont worry you can still use these mics just play in your parts with one active we recommend the T ree and then activate multiple mics and render down eg freeze function in Logic Studio If youre still suffering may we suggest you try and manage your pre load buffer Kontakt pre loads some sam ples into memory so that when you hit a note Kontakt plays it out from RAM whilst addressing the rest of your samples from your hard drive s The slower your drives the more you may want to rely on RAM The faster the drives or smaller RA
10. STEAM BAND We have strayed slightly from the previous incarnations of Stephensons band where these would be derived totally from these new Iceni recording with our recordings are processed our precious players through an awesome array of effects both virtual and outboard To create an alternative band at the very least at best an alternative universe There s a bit of that here but we didnt want to retread too much of a well trodden path in Albion I amp II If you dont plan on using A1 amp 2 you ll still have a good taster within Steam Synth Blake Robinson has delivered us an amazing synth UI here that has helped us to take raw orchestral material and batter it beyond all recognition into the speaker flexing tones you hear here Essentially a bass synth we are staggered at how you can take orchestral material and turn it into marauding dubstep crunk sounds and ef fects The sub harmonics that you get with the woodwinds for example can lend to a filthy sine like sub tone so even with the simplest of instruments nothing stays still A lot of the filters are syncd to the tempo of your host Steam Pads These are the most musical of the Steam Band section We have taken each individual choir across the pitch register and have given you an alternate take a very alternate take like an alternative universe We have made the Mod wheel do very different things for these sounds so to get the best go on give it a wiggle Steam Oc
11. every time you press play Genius NO EXTRA FUNCTIONALITY NEIGHBOURING ZONES Next to this lies a drop down menu with some amazing new functions e No extra Functionality Is the standard default where round robins are used as they were intended e Neighbouring Zones pulls from neighbouring zones so for an 8RR instrument you effectively cycle through up to 24 different sounding notes when pressing a key It s still just playing the one RR at a time though giving you more of them In legato mode this also alternates between 3 legato intervals to give a fake round robin e 2x Round Robin With Skip plays two RR simultaneously so you get a thicker sound it s the equivalent of plopping two notes on top of each other in your DAW and it drops the overall volume 6db so that the levels remain the same but it just sounds thicker NB THIS IS NOT AVAILABLE TO LEGATO TRANSITIONS This plays the pairs and moves ahead by 2 RR In this mode RR is effectively halved E g if you press a note it would play RR1 RR2 then RR3 RR4 etc e Layer 2x Round Robins With No Skip As above but this plays a pair but doesn t move ahead by 2 so that RR isn t halved So if you press a note it would play RR1 RR2 then RR2 RR3 then RR3 RR4 EXPRESSION CONTROLS Visual representation of the various expression controllers available to you Right ctrl click to reassign learn different controller assignments DYNAMICS DEFAULT CC1 MOD WHEEL
12. note into the computer at the length you desire Trash removes and scroll down different pre designed sequences to the right of this The cog allows you further fine tuning and configuration tools LENGTH This displays the note lengths in the sequence that you have selected from the Note Menu Drag down here to create rest versions of the note length KEY Under each note you can select which key displayed in real time in the Transport note is attached to Scroll up and down to select So in the sequence pictured a C triad will sound C E C C C C OFFSET Adjust these bars up and down to adjust the velocity levels of each note this will bring your rhythm sequence to life and provide you with all sorts of surprising syncopated accents NOW HIT PLAY ON YOUR DAW AND ENJOY PAGE 17 OSTINATUM FACTORY PRESET PATTERNS Our team of award winning composers and programmers have enjoyed making you over 100 pre made Osti natum patterns to give you a rich selection of diflerent start points from which to tailor your sequences First we need to make sure you ve tramsferred the file into the correct location so the Ostinatum can find it quick and easily Locate Ostinatum Presets in your Albion Redux folder and move them to MAC Documents Albion Data PC My Documents Albion Data If you have existing patterns saved in there you may want to move them into Users so its nice and clean To browse and load click on the little floppy dis
13. our attempt to unify articulation switch ing across our entire range and its one we hope other developers will also adopt It will mean greater integration between your VI set templates greater encouragement to venture into the darker less vis ited corners of your collection and a smoother workflow When selecting Articulation Locked To UACC you disable what we believe to be the soon outdated keyswitch method of articulation selection in favour of UACC which defaults to channel 32 change this by right clicking the CC slider next to the padlock This then gives you the option of using a MIDI controller to select articulations based on the list below We recommend a switch based controller or an iPad app Alternatively simply dial in event or automation data on your DAW The latter will give you the ability of always being on the correct articulation even if you havent rolled your sequence back before the MIDI event This list is a work in progress and we look to users and other developers to finalise it 1 Longs vib xFade CC21 2 Longs con sord 3 Longs alternate mute 4 Longs sul pont 5 Longs con sord sul pont 6 Longs sul tasto 7 Longs flautando 8 Longs artificial harmonics 9 Longs SUL lowest string 10 Longs sul pont heavy distorted 11 Longs Cuivre brass only 12 Longs vibl3 Longs flutter 14 Longs hollow flutes only 15 Longs overblow flutes only 16 Longs overblow flutter flutes only 17 Longs Mariachi if se
14. their associated keyswitches LOAD TOGGLES The little RAM chips beneath the notes denote load status of the articulations If you play an articulation that isnt loaded the front panel will alert you Click on the chip to load unload Make sure Kontakt displays the instrument load status as pictured If the left hand bar is illuminated and red its in a queue and hasnt started loading yet If the middle bar is lit and yellow the instrument is still loading up If you try to play before its loaded it may not be nice Purge ARTICULATIONS Click on these notes to select the different articulations or indeed press their associated key switches You can do this while you re playing for example if you want to switch from long articulation to a short hit the key whilst you re playing your last big not and the next note will be short A brief guide to these articulations is displayed overleaf SIDE BAR DISPLAY AND ADVANCE TOOLS On the left of your articulation stanza is a side bar that displays the name of the articulation youre cur rently playing Beneath it are three options KEYSWITCH SHIMMIER This shimmies the position of all the keyswitches left or right convenient if youre creating your own multi instruments and don t want to hit keyswitches by mistake KEYSWITCH TO CC SELECTOR Use this to assign a CC controller to act as an articulation key switcher Click on CC and you ll be prompted to move the contro
15. through fine ribbon and valves onto tape Ihat is until you include members of the Olympic opening ceremony drum corps playing the lowest and largest drums available to hire in London This is our greatest train set today and in addition to this rare selection of orchestral material we have had an absolute scream really utilising the talents of our team to take this orchestral material and urm mate the bejesus out of it cre ating mind warping bass synths and some of the most unpleasant creatively diverse loops on the market today With this library youre not going to be able to compare it This is a new start to your arsenal of compositional tools and one that will stand you out from the rest Congratulations on your purchase ABOUT THIS REDUX EDITION OF ALBION VOLUME 3 EXCLUSIVE NEW SAMPLE CONTENT often several gigabytes per product NEW PRESETS RE BUILT FROM CODE BASS UP WITH A HOST OF NEW FEATURES IMPROVEMENTS AND AD VANCEMENTS We love Albion and it seems that a lot of you do too Having worked with it on numerous films tv se ries and computer games for a couple of years now having gained new ground in developing our BML range and having received numerous ideas and comments from our extensive and passionate user base the Spitfire team has set about revising the entire range to keep Albion feeling fresh new and as cutting edge as if you had bought it yesterday EXTRA CONTENT e Freshly mixed Albion Orchestra
16. 4 years sweating blood and tears over what is arguably one of the worlds best set of bespoke and exclusive orchestral librar ies Spitfire rolled its sleeves up to have some fun Albion was designed as a work horse cinematic orchestral palette designed to be used as the daddy of your main rig or simply a sketch pad on your laptop And so it proved many thousands of you adopted and approved of our approach So much so we were glad to introduce a whole raft of new features and content into our latest free update Some thing we always plan to do with all our libraries Where Albion I was designed to provide that enormous epic cinematic sound Albion II Loegria was designed to fill your 5 1 space with beautiful cinematic detail and beauty esoteric instruments and approaches and eccentric ideas All with an essential selection of additional orchestral voices not found in Albion I It is a delicate library full of pretty loveli ness About Iceni Albion III is none of those things It is a never before assembled lo end insult to the senses Featuring a selection of the most colon bothering disturbed bass frequencies yet to grace your lower intestine The orchestral content of this library is a staggering array of bottom disturbance a 32 piece string band comprising of 24 celli and 8 basses Extraordinary brass and woodwind sections bringing the total head count for this band to 45 all low all recorded in the hall at Air studios
17. M available the more you may want to rely or your drives If youre using the latest generation of SSDs you ll find you can radically reduce your pre load buffer Referring to the plate above tick the Instruments Default Pre Load Buffer Size and drag the fader to a setting you re happy with PAGE 28 A QUICK THANKS Christian amp Paul would like to thank Dominic Kelly of the English Session Orchestra Ali son Burton and the whole of the Air Studios team Jake Jackson for making everything sound so marvellous and the remarkable talents immense intellect and invention of James Bellamy Stanley Gabriel Andrew Blaney Blake Robinson and Stu Kennedy Wed also like to welcome Jess to the team You may have notice the grammer is much improved in this manual This is thanks to her Most of all we would like to thank the amazing support and loyalty of our user base our Face book and Twitter friends and everyone at VI Control We are in the same boat as all of you Were not software developers by trade so we appreciate your honesty in paying your way to be a part of our family and not distributing this illegally But more importantly if you have any ideas or criticism please let us know directly and in a con secutive manner via our help desk You never know you just may have thought of something that we hadnt considered We want to make our entire range the best there is and we rely on you to help us achieve that With thanks
18. REGISTER SECTION B RIGHT ARE SITUATED ON THE UPPER So to get both sections to play perform with both hands or over dub copy and transpose you MIDI up to these registers SHORTS EXTRAS We recorded the lower range of the tutti with a slightly shorter attack as the lower end had an enormous bloom that we feel may be difficult to control for more detailed work LONGS As the name suggests these are polyphonic so you can play more than one at a time The dynamics of these are modulation wheel controlled Weve done this so you can swell up or down during a sustained note without having to re trigger by hitting harder You ll not be getting the best out of the library if you dont use this function By hitting the notes harder you ll also be able to change the speed of attack of the note So try playing soft for those marauding dark pads and chords harder for more insistent and urgent phrases But for single lines we suggest you use LONGS CS Stands for Con Sordino this is essentially a practice mute that is moved up the string beneath the bridge to quieten the instrument For film music it was popularised by Bernard Herrmann and for smaller ensembles gives a thinner brighter more timid sound even uncomfortable But for these large sections it becomes a thing of sheer beauty like a large lake of custard Bird s of course sprinkled with icing sugar FINGERED LEGATO This is the big headache for us We exhaustively record every possible i
19. assy and very brassy so if you dont move that mod wheel on the longs legatos or play louder on the shorts youre not at the party One ar ticulation we havent mentioned is Longs Nasty the instruction given was blunt play at lip bleed levels it doesnt have to sound nice PAGE 7 DARWIN PERCUSSION III Darwin III continues its brand as a thunderous aneurysm of cinematic drumming There is no reason for this other than we just wanted more So we got out players to play for longer looser tighter and for more dynamic layers To make the success of our first two outings even more comprehensive Where Darwins first two creations were made from more traditional orchestral batterie bass drums and toms etc this selection is a wholly more calamitous and are you getting bored yet LOW selection wide screen percussion Played by the leader and members of the Olympic opening ceremony drum corps a selection of some of the largest deepest and in one case rarest drums available to hire in London Including A selection of Taikos and Daikos big Japanese drums Bass drums British Marching Toms and Bass Drums Available with 3 controllable mic positions recorded with numerous up to 6 dynamic layers theres lots of quiet stuff in there too and 5 round robins to give you fantastic realism BRUNEL LOOPS III Were so excited to present you with an exhaustive year long project Combining the talents of 3 sets of programmer producer composers to
20. being some very very different patterns to the loop landscape These loops are designed predominantly to be part of a composition not ones in their own right Largely constructed from difficult to place sounds these loops will fit beautifully sic into orchestral arrange ments or indeed become thudding centrepieces to pop and dance tracks We ve reinvented the way to browse these loops so go to page 27 to find out how to get the best out of these unlock greater selections of loops portions of and sync them to your host tempo THE PRODUCERS The Flight are an exciting up and coming London based production team who have worked for and with the likes of Lana Del Ray Rufus Wainwright Skye Jess Mills Bjork there loops are very organic in nature sub zero cool and very simple Stanley Gabriel is an exciting young programmer producer who have worked for and with the likes of Kate Bush Ladyhawke Little Boots Stanley really has his finger on the dance pop scene in London his loops are fuller more electronic sounding Christian Henson is from a dance background having engineered and produced for acts such as LTJ Bukem and The Freestylers he broke into film composition by programming for the likes of Anne Dud ley Dario Marieanelli Patrick Doyle and HGW Other than the 35 film scores and numerous top end TV shows as composer in his own right Christians bleeps and beats can be found anywhere from Spy Game to Narnia PAGE 8 STEPHENSON S
21. chine via world class Neve mic pres and analogue Neve desk and finally via head of the class prism AD converters into the digital format you are now enjoying Its about to get very very fun e2 THE MOD WHEEL Without this you will be under using the entire Albion library by about 7596 Go on give it a wiggle All long patches use the mod wheel to dial in different dynamic layers Used in conjunction with a volume or expression fader you will get an extraordinary sense of dynamic headroom and timbral control SAMPLE STARTS To maintain reality we cut our samples earlier than others The start of a note often gives a sample its character By cutting its front off too much we feel you take away its personality If things are playing back a bit behind the beat even after quantizing dont be afraid of pulling that sequencer track pre delay down a few dozen milli seconds SHORTS STACCATO These are short stabby articulations they are velocity sensitive so the harder you play them the samples triggered will be played at a louder dynamic not only in volume but intensity of sound We have also recorded round robins ie a number of different performances of the note so that if you repeat the same note it doesn t produce a machine gun effect that gives the game away For the tutti together Low Strings all of these are situated on the lower register of the keyboard as you would expect FOR THE CELLOS SECTION A LEFT IS SITUATED ON THE LOWER
22. ditable tools 2 Sequencer Panel Strap on your jewellers loop and go in for some meticulous FX sequencing All your sequencing and automation will happen in this panel 3 Effects Selector Pick the FX youd like to dial in here from the drop down menu Instrument the top layer of basic patch parameters as pictured above EQ LoFi LPE Chorus Reverb Delay Distortion Phaser 4 Sequencer Launch Buttons This launches the sequencer for the selected FX parameter This will then be clearly displayed in 5 Loaded FX Parameter Display Identifies which FX parameter youre editing sequencing 6 Sequencer Matrix Here is where the fun happens drag up the columns from 096 to 10096 to shape your FX sequence 7 Time Determines what the Matrix represents Click on the drop down and select one of these options 4 3 2 amp 1 bar 2 beats and 1 beat 8 Lag Introduces a lag into the movement of the control you are automating The effect will be that the con trols respond more slowly and give you a smoother interpretation of the FX sequence you have made or in the other direction become much crunchier and brutal 9 Resolution Determines the resolution of the sample steps within the time frame that you have selected From lumpy crotchet steps suitable for gated phrases to finer smoother more detailed steps suitable for sweeps PAGE 20 SIEPHENSON S STEAM SYNTH N Destruction Wub Wubs Output st 1 keare Mae 256
23. e tutti low strings with A amp B cellos Suddenly you ll have 48 cellos and 8 basses We have also given you greater control with cello and bass close mics separated off on the mic controllers but more of that in Front Panel page BRASS amp WIND OK so the strings are good But we really think these sections are going to feel your love We recommend you really look into these bad boys as there really is nothing bar none NOTHING that sounds like this Two reasons 1 No one has sampled bands of this make up for commercial release 2 Certainly where the brass is concerned it is our opinion that Brits make this kind of noise the best I wont try and justify this comment but if you were to ask any A list film composer about the capabilities of our A list brass players and they will give you the same answer We ve even heard of clandestine brass sessions taking place for scores that are advertised as US union only scores For big pictures It is simply a tradition that the UK has and delivers on Its why JW wrote the theme tune for Star Wars with Maurice Murphy in mind Its why HZ did what he did on Inception Its not that we do it better Its just something about a combination of aching beauty bursting into something wholly unwholesome unruly it cuts through shocks and jolts So our winds WIND 2 contra bassoons 2 contrabass clarinets heckelphone 2 bassoons 2 bass clarinets 1 bass saxophone There is nothing in the orchestral ch
24. ed 3 Loop Lamps In menu mode play the different loops distributed along the keyboard A lamp will illuminate for each key loop played These loops will play at the tempo they were recorded Once you ve found a loop you like and click on the illuminated lamp This will unload the menu of loops and load up your desired loop mapped to C1 with alternative patterns mixes and single hits all syncd to your host tempo 4 LP Filter We ve mapped a low pass filter to your modulation wheel CC1 As these are predominantly bass end loops this will provide you with the opportunity of fading your loops down to marauding thumping pulses 24 THE PUNCH COG Available on Instruments saved in the Punch Cog or Tweakable folder As we record our samples like you would a film score we actively encourage our musicians to make every note sound different or play with the flair that would be expected from them on a score shoot We like tuning imperfections little squeeks the odd breath of a human We like our pizzicatos loose and for the odd rub between players when playing transitions However much we apply our exacting taste principals onto our range were never going to meet with everyones preferred quality bar or needs and expectations of a project So we present to you Blake Rob insons coupe de grace A way of punching notes in and out like we used to in the old days and a way of customising your library to fit your taste and needs
25. efault mic position that loads in with each patch A Ambient A set of condenser mics placed high up in the gallery away from the band This mic position gives a massive amount of stereo spread and room sound over the band Great mixed with the other mics but also ideal when fed to your Ls amp Rs speakers as it sends for true surround informa tion O Outriggers a set of vintage mics placed wide apart to the left and right of the tree These give a similar balance of room and band but with a broader stereo spread The effect of this mic is some where between the tree and ambient mics PAGE 14 ADVANCED STUFF MICROPHONE MIX TO ARTICULATION LINKER 5n The small notation symbol locks the microphone mix or tweak you ve made to the articulation selected This means if you want to boost any perceived inconsistencies in volume between say pizzicato and col legno you can Or indeed if you want to roll off some of the hall ambience for a short versus the long articulations this is how to fine tune CLOSE MIC PAN COLLAPSER To the right of the above is a selector that opens the mic collapser The close mics are a stereo mix and this collapser allows you to refine how the stereo image is handled All our musicians are recorded in situ I e where they would be seated on a standard scoring session Giving you a fantastic spectral spread when putting all the elements together which helps define the detail This panning tool he
26. k icon We ve tried to make some kind of sense in our titling and have cre ated a selection that are better suited to Ascending Descending or Chord Mode So if you fancy an ascending pattern look out fr this in the suffix of the name We ve also created a selection of different meters and speeds so if you load up something suffixed with 8s this will get you a quaver or 8th pattern If this feels too slow you may want to go up to 16s to give you a semiquver pattern Most are designed for 2 to 5 finger patterns with the two hands signifying that they have been designed for both hands to be on the keyboard PAGE 18 THE ALBION FX SEQUENCER l LJ d r A Dirty Dream m ns z Output st 1 MH Voices Maos 32 Purge 0 00 AUX 3 Midi Ch A 1 f Memory 1 29 MB TARI NE SEQUENCER Tuning mend i Time 2bars a il Rasolution ili Ml PAGE 19 THE ALBION FX SEQUENCER KEY We ve designed this tool so you can punk things further to your heart s content either in a quick brash way by pinging FX in or by carefully designing amazing FX sequences with this highly intuitive tool 1 FX Panel Here lies all your hands on non sequenced parameters The top layer provides some basic patch tweaks you can make overall volume pan tuning and a simple ADSR envelope This is so that you don t have to press the scary spanner button if you don t want to and our Kontakt Player users also have a wide range of e
27. l music please dont be afraid Were about to make it very very easy and a whole lot of fun There is a great number of ways a stringed instrument can be played from bowing the string to plucking it These are called articulations Iceni is very limited in this respect and by design The production costs on this library are focused on getting the biggest band possible to play the most useful selection of articulations This library is not a stan dalone orchestra But a low one If all you want to do is low this is all you ll need But having been recorded in the same room as Albion 1 amp 2 is designed to sonically and perfectly integrate with those more detailed libraries All three will provide you with a seriously expressive dynamic and detailed set of tools with this latest incarnation seriously sorting out your bottom Instead of being recorded in situ ie fanning out to the right of the conductor cellos then basses this string band has been recorded with the cellos forming a horse shoe around the conductor with the basses in a line behind The cellos are organised into two sections A being to the left of the conductor B to the right We have given you a degree of control over the arrangement possibilities of this extraordinary section by giving you tutti all together and A amp B cello sections where A is mapped to the left hand of your keyboard B to the right These are all totally different recordings so please dont hesitate to overdub th
28. ller you wish to use in order for the instrument to learn how youd like to select articulations ARTICULATION LOCKER We all like to select articulations and use our templates in different ways For example many composers like to have a single articulation loaded Its worth locking off the articu lation switching once you ve selected one so you don t have sounds disappearing from slaves way off in your machine rooms Unlocked Artic Is the standard setting select articulations via the front panel or associated keyswitch Locked Artic This locks your articulation so it doesnt change either via front panel or keyswitch Locked Keyswitch This locks your articulation via keyswitch but youre free to switch via the front panel Locked to UACC This is a new standard being developed by Spitfire and detailed on page 22 The de fault controller channel is 32 but this can be changed by right CTRL clicking on the padlock Please also see advanced articulation selection on page 15 for more articulation switching options PAGE 11 A BRIEF GUIDE WELCOME TO THE SPITFIRE ORCHESTRAL EXPERIENCE When you start playing these patches you will be triggering some ofthe greatest players playing the greatest some priceless instruments in one of the greatest recording studios in the world Produced by successful film composers and orchestra tors through a selection of unique vintage mics onto a meticulously serviced Studer 2 tape ma
29. lps you to manage and tweak to your own tastes needs STEREO WIDTH Allows you to control how far the stereo image reaches All the way to the right would be like having your two pan pots panned hard All the way to the left would be like having both pots centre STEREO PAN This allows you to control where in the pan field the centre of this image is placed ADVANCED ARTICULATION SELECTION Activate with Note E3 For those of you who want to tweak your articulation selection further If you want to create setups that closely integrate with notation software or performance patches that react to the way you play then this deep editor may be for you Its accessed by holding CMD or CTRL on PC and clicking the articulation icon Can be closed by clicking the X to the bottom right of the UI LATCH TOGGLE Switches this way of selecting the articulation on WITH SELECTOR Selects how you would like to select PARAMETERS Edit these to select a range in which this articulation would be selected PAGE 15 THE OSTINATUM Access via the icon beneath the spanner SETTINGS RHYTHM COMPUTER E NN ane Output st 1 l Voices O Max 32 Purge E nn Midi Ch A 1 Q Memory 34 53 MB e T TRANSPORT PAGE 16 OSTINATUM FRONT PANEL Best used with short articulations this ever evolving device can offer instant chaotic inspiration It can be used to create scientifically de
30. nterval between notes chop these transitions and put them between the notes you play All you have to do is make sure you either play joined up where one note overlaps the other you cant play more than one note it wont let you Or simply go into your editor on your DAW after playing lasso all the notes and drag there ends so they overlap If you want the band to sound like they re re bowing at the head of a note just put a small gap between the notes For the celli remember you have two sections on the left and right of the keyboard so these two legato engines will work simultaneously and independently of each other You can also have polyphonic legato control this is not really a live feature but more of a post production editing tool You can have up to 4 voices which are selected by velocity If you wish to use the polyphonic legato function we would suggest you play in with one of the longs articulations Then activate a legato artic and its polyphonic legato switch Go into your event editor and make all notes the same vel Then in a matrix or piano roll editor select each voice group by lassoing notes events and shift all the velocities to 0 31 for the 1st group 32 63 for the second 62 95 for the third and 96 127 for the 4th PORTAMENTO LEGATO Is a transition where the note is changed without re bowing and by sliding the finger up or down on the same string to the note This articulation works just as above PAGE 12
31. on sord Quad tonguing con sord PAGE 27 ITI 112 113 114 115 116 117 118 119 120 121 122 123 124 125 FX 1 FX 2 FX 3 FX 4 FX 5 FX 6 FX 7 FX 8 FX 9 FX 10 Disco falls Rips Falls Rips con sord Falls con sord TROUBLESHOOTING This is a manual to accompany v4 0 of a favourite line for Spitfire with a totally new set of scripts and UI We have used our experience as busy film composers to deliver something that wed like It is our hope that you keep in touch with us to let us know how youre getting on how youre using Albion how youre finding it and if we were to consider looking at areas in the future what youd like us to look at From this well form a consensus and wholeheartedly pledge that we will act upon it wherever possible or practical But heres a couple of commonly asked questions e This library really isn t behaving how Id expect OK so were now officially blue in the face But before you go ANY further please check you are using the ABSOLUTE latest version of Kontakt Visit your trusty service centre and we hope this page remains relatively under thumbed e My instrument or patch seems to be playing just bits of sound some keys are missing and there s lots of clicks and crackles Make sure that your patch is fully loaded detailed on the front panel page 9 Some of these are biggies so can take a while But if problems persist make sure Kontakt memory manager is activated iTert
32. oral range that transmits low sub harmonics more than the Contrabassoon It s just a big oboe isnt it No no its not When you have nightmares tonight its this that will come rasping at you not a tuba This section will make you think differently about woodwinds The heckelphone well that IS just a big oboe bass oboe a really big one We ve concentrated on articulations that we think are useful for these types of ensemble So have gone a little further than the strings There are plenty of fantastic FX for strings in Albion I but as these brass and wind libraries are so unique we felt that we wouldnt be cluttering you hard drive with a duplication of efforts In addition to the longs shorts and legatos found in the strings we have Ripps A quick flurry of notes up or down to a short note Great for punctuation and accents Staccato A shorter short good for lines of notes FX Orchestrated by the warped mind of Ben Foskett these speak for themselves and we look forward to hearing them on a multitude of projects coming to a multiplex near you soon BRASS 2 tubas 2 cimbassi 2 contra bass bones 3 bass bones Tubas like you ve never heard the rare and ancient Cimbasso the rasp of which you ll be blown away by Contra Bass Bones of which in one famous orchestration book recommends you dont write for as they re too difficult to play and some good old bass trombones We ve sampled these at dynamics that sound closed and not too br
33. our loading times and will allow your DAW to do what it does best and sort out all your note ons and note offs We heartily endorse Plogue Bidule www plogue com as a virtual rack routing system For more advice and information about setting up please check our website PAGE 5 INSTALLATION 1 Download the free Kontakt Player application from here and install it http www native instruments com en products producer kontakt player 2 Open the Player or Kontakt 4 full version if you have that and click Add Library in the library browser window Instruments Multis cen Gm 7 UN Fr Spitfire Percussion 3 Navigate to the library folder For example the Spitfire Albion Library folder that contains your library s Instruments and Samples folders and also has the info nkx file 4 Now you have added the library to the Service Centre and you will be prompted to open the application to enter your Serial Number 5 Open the service centre application and enter the Serial Number in this format XXXXX XXXXX XXXXX XXXXX XXXXX This is the same number you used to download your library 6 Restart Kontakt and your library is authorised 7 Blow the dust off your ModWheel and enjoy NB TO ENJOY THE OSTINATUM FACTORY PRESET PATTERNS YOU WILL NEED TO MOVE THIS FOLDER SEE PAGE 19 FOR MORE DETAILS PAGE 6 ALBION III CONTENT THE ALBION ICENI ORCHESTRA STRINGS If this is your first foray into orchestra
34. parated off 21 Legato 22 Legato con sord 23 Legato SUL lowest string 24 Legato half section 25 Legato half section con sord 26 Legato sul pont 27 Legato fast run if separate patch 28 Legato flautando 29 Legato harmonics CONTINUED PAGE 26 CONTINUED 41 42 43 44 45 46 47 48 49 50 51 52 53 54 55 56 57 58 61 62 63 71 72 73 74 75 81 82 83 84 85 86 67 88 89 90 91 92 93 94 95 96 Spiccato strings only Shorts spiccato Staccato Staccato dig Spiccato con sord Feathered spiccato Staccatissimo Tenuto shorts Marcato shorts Combined shorts via velocity with dyn on MW Staccatissimo con sord Tenuto shorts con sord Marcato shorts con sord Combined shorts via velocity with dyn on MW con sord Staccatissimo con sord ALT Tenuto shorts con sord ALT Marcato shorts con sord ALT Combined shorts via velocity with dyn on MW con sord ALT Pizzicato Pizz Bartok Col legno battuto Trills min 2nd Trills maj 2nd Trills min 3rd Trills maj 3rd Trills perf 4th Trems unmeasured Trems unmeasured con sord Trems unmeasured sul pont Trems unmeasured con sord sul pont Trems measured 180 bpm Trems measured 150 bpm Trems measured 120 bpm Trems measured TM 180 bpm time machine Trems measured TM 150 bpm time machine Trems measured TM 120 bpm time machine Double tonguing Triple tonguing Quad tonguing Double tonguing con sord Triple tonguing c
35. rtamento glide function 7 Portamento Glide Amount Now that your Glide toggle is on hold one key down and whilst holding press another Because you re in monophonic mode the sound will transition from the first pitch you depressed to the second this fader controls the time this transition takes 8 Yoke X amp Y FX Selector The yoke 10 is a dual FX controller that adjusts your FX parameters in real time for fantastic sequenc ing options Y vertical controller X horizontal Scroll down to select which FX you wish to control 9 Yoke X amp Y FX Parameter Selector Determines which parameter from your selected FX you wish to map to the X or Y yoke controller You can also alter the FX parameters further and map them direct to the Yoke controller right ctrl click by accessing the additional FX parameter Bar Command Right Click on the FX Icon youd like to acces addi tional parameters for Mop ta Yoke s 2 BRUNEL LOOP BROWSER 2 The Flight B Loops Tune Output 00 fh Vaices OF Poe a2 Purge LI LIL Midi Ch A 1 g Memory 342 06 kB um Tr 23 THE BRUNEL LOOP BROWSER An ingenious way of browsing through loop content 1 Menu Loop Title Window This window will display the loop name once you ve selected it 2 Menu Icon Click this icon to return to the menu this will automatically unload the loop you have selected and load up all the menu versions of the loops available in he patch you have load
36. signe rhythms from ostinati and arpeggiated sequences to shimmering tremolando effects SETTINGS LOAD SAVE Allows you to store your preciously made Ostinati see overleaf for information about Ostinatum Factory Presets MODE Selects how the Ostinatum will interpret your playing Ostinatum will sequence a maximum of 10 notes one for each of your fingers It needs to arrange them into a note order 1 10 and this determines how it does that OFF The default postion Ostinatum remains dormant ORDER PRESSED This will organise the notes in the order you pressed them ASCENDING From bottom to top DESCENDING From top to bottom CONTROL KEYSWITCHES Allows you to set up a section of the keyboard that controls the state of the ostinatum These keyswitches let you turn it off or set the Mode SOLO KEYSWITCHES Allows you to dedicate a section of the keyboard to keyswitches that solo each ostinatum track he first KS turns all tracks on the following KS solos each individual track CHORD MODE This ignores any note order and simply plays everything polyphonically Great for measured trem style effects his is a real time note order display So with Ascending mode activated a C major triad played from middle C up will show up 1 C4 2 F4 3 G4 These note numbered assignments are processed in THE RHYTHM COMPUTER Ll J J 4J J LENGTH J FSAA KEY 1 ERE EIE AB NOTE MENU Click these to place a
37. t version of the FX sequencer and Ostinatum machine e UPDATED Latest UACC specification implemented CONTENTS SPECIFICATIONS LETS GET STARTED ALBION CONTENT THE FRONT PANEL THE ARTIGULATIONS GENERAL amp EXPRESSION MICS amp MIXES ADVANCED OSTINATUM THE FX SEQUENCER STEPHENSON STEAM SYNTH BRUNEL LOOP BROWSER THE PUNCH COG UACC TROUBLESHOOTING PAGE 4 10 11 14 15 16 19 21 23 25 26 28 SPECIFICATIONS KONTAKT PLEASE MAKE SURE YOU HAVE THE LATEST VERSION OF KONTAKT OR HAVE KONTAKT PLAYER 4 2 4 OR 5 INSTALLED RECOMMENDED SPEC he better your computer the better the performance of any Spitfire module But not to worry if youre not specd up to the hilt All programs are provided with a set of parameters that enable you to tone back the CPU demands of any given patch But moving forward were confident this module will keep your computer busy for many years to come We recommend a combination of high processor speeds a good chunk of memory and a devoted 7200rpm eSata USBII Thunderbolt or Firewire audio drive he more memory you have the less demand placed on your drive and having a totally devoted drive gives you the chance to load less into memory and reduce load times The higher the speed of your CPU the more capable your computer will be to deal with some of the amazing but complicated scripts we ve written PCs We recommend Windows 7 latest Service Pack 32 64 Bit Intel Core Duo or AMD
38. tavium and Gabriel s Auditorium This huge selection of fantastic arpeggiatted and step sequenced sounds exhaustively designed by programmer producer supremo Stanley Gabriel These will automatically sync to your host and will provide you with arcing ribbons of inspiration out of the box Stephenson s Underbass We took a selection of the greatest classic analogie synths including a Roland Juno 6 SH101 TB303 Roland JX3P MiniMoog SE1X and a classic Wurlitzer via neve line amps and a Cranesong AD converter To create pure and round but eminently mixable sub bass patches designed to sit under you celli and contrabasses rec ommended you copy MIDI data and transpose down an octave for that ultra modern movie theatre shudder ing sound IN ADDITION TO THE ABOVE THE NEW REDUX VERSION OF ICENI HAS A HOST OF NEW SYNTH PATCHES WHICH FURTHER MUTATES MORPHS AND WARPS THE ICENI CONTENT PAGE 9 THE ERONT PANEL GENERAL CONTROLS MIC MIX POSITIONS EXPRESSION CONTROLS l String Lo Celli bO Tune Output st I Voices OF Pax 32 Purge 0 00 6 Midi Ch A 1 Mernory 34 53 MB DEFAULT CCs Expression 0 100 fade ARTICULATIONS Close Mic slider PAGE 10 ARTICULATIONS BRUSH sets ARTICULATION STANZA On the the diagram above you will see a line of musical notes These actually denote key articulations display the current articulation playing and act as switches between them alongside

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