Designed by Dickie Chapin & Andrew Aversa

Kontakt Programming by Iain Morland & Andrew Aversa

Editing by Anthony Mena, Iain Morland, Andrew Aversa & Elan Hickler

Created by Impact Soundworks - http://impactsoundworks.com/

INTRODUCTION

Welcome to Rhapsody: Orchestral Percussion. Our goal in creating this beautiful symphonic
instrument was nothing less than creating the most versatile and affordable percussion library ever. With
50 instruments, 100+ articulations, and 21+ gigabytes of recordings, calling this collection
‘comprehensive’ is an understatement! Each instrument has been exhaustively sampled with up to 10x
RR and 5x velocity layers, captured across three mic positions in a gorgeous orchestral hall.

Rhapsody: Orchestral Percussion goes beyond the standard suite of drums (i.e. bass drum, snare, toms,
cymbals) to include a wide variety of aux percussion (i.e. shaker, sleigh bells, castanets, chimes, metals,
wood & temple blocks), hand drums (i.e. djembe, bongos, cajon, darbuka), and chromatic
instruments(i.e. glockenspiel, xylophone, marimba, crotales, tubular bells).

Besides its scope and affordability, what else sets this library apart? Most orchestral percussion libraries
strive for the ideal of “epic” through big halls and lots of reverb: a huge sound for a huge
price. Rhapsody: Orchestral Percussion was instead recorded & designed to function in any musical
context, from small, emotional pieces, to tense underscores, and even bombastic, loud, and – yes – epic
tracks.

As always, we hope this instrument will inspire and enhance your music. Enjoy!
 INSTALLATION

Rhapsody: Orchestral Percussion can be installed using 16bit or 24bit audio. Before downloading
anything, we recommend deciding on which version of the library you want to install. The 24bit version
takes up approximately 50% more memory and hard drive space, but offers more 'digital headroom'
which may be useful if you are composing & mixing very dynamic pieces. For most users, we
recommend the 16bit version.

Step 1: Using the download link sent to you via email, download all of the relevant 16bit or 24bit
Rhapsody RAR files. These are compressed archives that can be extracted using UnRarX on a Mac, or
WinRAR on PC (both free). All files should be the same size (1000mb) except for the final RAR, which
should be smaller.

Step 2: Double-click on the Part1 RAR file to extract it. You only need to extract part 1!

Step 3: Move the newly-created Rhapsody Orchestral Percussion folder to the desired location on your
computer. This is where the library will reside. For best performance with Kontakt, we recommend an
internal hard drive as opposed to an external (USB / Firewire / Thunderbolt).

Step 4: Open Kontakt either in your DAW, or in standalone mode. Using the Browser on the left side,
navigate to the Rhapsody Orchestral Percussion folder and go to the Instruments folder. From here,
you can load any of the instrument patches (.NKI files).

Step 5: You're ready to use the library!

CONTENT OVERVIEW
All instruments within Rhapsody are accessible through the following patches:

ROP Aux Percussion

ROP Cymbals and Gongs
ROP Drums and Ensembles
ROP Hand Drums
ROP Marimba
ROP Timpani
ROP Tubular Bells and Crotales
ROP Xylophone and Glock

As the names of these patches might suggest, some contain single instruments while others contain
multiple instruments. We have also provided a folder of "Single Instrument" .NKI patches which have
the same mapping as the patches above, but load only one instrument at a time by default - thus
improving loading times and saving memory usage.

All instruments were recorded with three microphone positions - close, decca, and hall. These can be
enabled, disabled, and mixed to your taste. All instruments are captured in great detail, with up to 10x
RR variations and 5x dynamic layers, and all include a useful script for mixing - read on for more info.
 INSTRUMENT LIST
Many of the instruments below contain multiple articulations and variations. For example, hand
drums include various different strokes and playing techniques. Ride cymbals can be played with mallet
or stick. Woodblocks, temple blocks and claves have two distinct pitches, etc.

* = Instrument includes modwheel-controlled ROLL articulation

Drums Aux Percussion

Bass Drum 1* Castanets*
Bass Drum 2* Claves
Gong 1* Chimes
Gong 2 Cowbell
Snare 1* Finger Cymbals
Snare 2* Guiro
Snare 3* Metals
Snare 4* Shaker*
Snare Ensemble* Sleigh Bells*
Timpani* Tambourine*
Tom 1 Temple Blocks
Tom 2 Triangle*
Tom 3 Vibraslap
Tom Ensemble* Woodblocks

Cymbals & Gongs Hand Drums

Cymbal Scraped Bongo High*
Gong 1* Bongo Low*
Gong 2* Cajon 1*
Piatti Cajon 2*
Piatti Mute Conga High*
Ride Cymbal* Conga Low*
Tam Tam* Conga Muted
Viennese Cymbal* Darbuka 1*
Darbuka 2*
Chromatic Percussion Djembe 1*
Crotales Djembe 2*
Glockenspiel
Marimba
Tubular Bells
Xylophone
 INSTRUMENT & ARTICULATION MAPPING
All mapping described below uses Kontakt's internal reference for MIDI pitches / notes. You can click
the wrench icon in the Kontakt interface and look at the "Mapping Editor" to see labeling for all the keys.

All roll articulations have dynamics (volume) controlled by the modwheel.

Choke keys are used to quickly mute the tail / decay of any instrument.

ROP Auxilliary Percussion A2 = Cowbell A

C0 = Shaker (L) B2 = Cowbell B
C#0 = Shaker Roll
D0 = Shaker (R) C3 = Temple Block A
D#0 = Shaker Choke D3 = Temple Block B

F#0 = Sleigh Bells Slow Roll E3 = Woodblock A

G0 = Sleigh Bells (L) F3 = Woodblock B
G#0 = Sleigh Bells Fast Roll
A0 = Sleigh Bells (R) F#3 = Castanets Roll p
A#0 = Sleigh Bells Choke G3 = Castanets (L)
G#3 = Castanets Roll f
C1 = Tambourine (L) A3 = Castanets (R)
C#1 = Tambourine Roll
D1 = Tambourine (R) B3 = Claves A
D#1 = Tambourine Choke C4 = Claves B

E1 = Finger Cymbals D4 = Guiro Up

F1 = Finger Cymbals E4 = Guiro Down
F#1 = Finger Cymbals Choke
F4 = Vibraslap Short
G1 = Triangle G4 = Vibraslap Long
G#1 = Triangle Roll
A1 = Triangle Mute A4 = Chimes 1
A#1 = Triangle Choke B4 = Chimes 2
C5 = Chimes 3
C2 = Metal 1 D5 = Chimes 4
D2 = Metal 2 E5 = Chimes 5
E2 = Metal 3 F5 = Chimes 6
F2 = Metal 4 G5 = Chimes 7
G2 = Metal 5 A5 = Chimes 8
ROP Cymbals & Gongs D1 = Tam Tam (L)
C0 = Ride Cymbal (L) D#1 = Tam Tam Roll
C#0 = Ride Cymbal Roll E1 = Tam Tam (R)
D0 = Ride Cymbal (R)
D#0 = Ride Cymbal Choke F1 = Gong Hit (L)
E0 = Ride Cymbal Stick F#1 = Gong Roll
G1 = Gong Hit (R)
F0 = Viennese Cymbal (L) G#1 = Gong Choke
F#0 = Viennese Cymbal Roll A1 = Gong Choked Hit
G0 = Viennese Cymbal (R)
G#0 = Viennese Cymbal Choke B1 = Gong Hit 2 (L)
C1 = Gong Hit 2 (R)
A0 = Piatti (Crash)
B0 = Piatti Mute 1 D1 = Gong Scrape
C1 = Piatti Mute 2 E1 = Cymbal Scrape 1
F1 = Cymbal Scrape 2
D#1 = Tam Tam Choke G1 = Cymbal Scrape 3

ROP Drums & Ensembles

C0 = Bass Drum (L) A1 = Snare 4 (L)
C#0 = Bass Drum Roll A#1 = Snare 4 Roll
D0 = Bass Drum (R) B1 = Snare 4 (R)

F0 = Gran Cassa (L) C2 = Snare Ensemble (L)

F#0 = Gran Cassa Roll C#2 = Snare Ensemble Roll
G0 = Gran Cassa (R) D2 = Snare Ensemble (R)

A0 = Snare 1 (L) E2 = Tom 1 (L)

A#0 = Snare 1 Roll F2 = Tom 1 (R)
B0 = Snare 1 (R) G2 = Tom 2 (L)
A2 = Tom 2 (R)
C1 = Snare 2 (L) B2 = Tom 3 (L)
C#1 = Snare 2 Roll C3 = Tom 3 (R)
D1 = Snare 2 (R)
D3 = Tom Ensemble (L)
F1 = Snare 3 (L) D#3 = Tom Ensemble Roll
F#1 = Snare 3 Roll E3 = Tom Ensemble (R)
G1 = Snare 3 (R)
ROP Hand Drums F1 = Djembe 2B
Note: A/B/C refer to different strokes/techniques F#1 = Djembe 2 Roll
G1 = Djembe 2C
C0 = Cajon 1
C#0 = Cajon 1 Roll A1 = Lo Conga Open (L)
D0 = Cajon 2A A#1 = Lo Conga Roll
D#0 = Cajon 2 Roll B1 = Lo Conga Open (R)
E0 = Cajon 2B C2 = Hi Conga Open (L)
F0 = Cajon 2C C#2 = Hi Conga Roll
D2 = Hi Conga Open (R)
G0 = Djembe 1 E2 = Hi Conga Mute A
G#0 = Djembe 1 Roll F2 = Hi Conga Mute B
A0 = Djembe 2A
A#0 = Djembe 2 Roll G2 = Low Bongo (L)
B0 = Djembe 2B G#2 = Low Bongo Roll
C1 = Djembe 2C A2 = Low Bongo (R)
A#2 = Bongo Roll
D1 = Darbuka 1 B2 = Bongo (L)
D#1 = Darbuka 1 Roll C3 = Bongo (R)
E1 = Djembe 2A

ROP Marimba
A0 to B4: Chromatic Marimba played with felt mallets

ROP Timpani
C0 to A1: Chromatic Timpani played with mallets - left hand
A#1: Timpani mute
C2 to A3: Chromatic Timpani - right hand
A#3: Timpani mute
C4 to A5: Timpani roll

ROP Tubular Bells & Crotales

C0 to G1: Chromatic tubular bells

C2 to C3: Chromatic crotales

ROP Xylophone & Glock

D#0 to D4: Chromatic xylophone

F4 to C7: Chromatic glockenspiel

 SCRIPT & USER INTERFACE
Rhapsody: Orchestral Percussion features a streamlined, intuitive interface giving you access to
important mixing tools without any extra fluff or bells & whistles.

Starting from the top and moving from right to left:

Instrument Dropdown Menu

In the example above, we can see the "Bass Drum" instrument is selected. Using this menu, you can
select which instrument you would like to edit. You can also use the arrows (left/right) to switch to
different instruments quickly.

Vol (Volume)
Sets the volume of the selected instrument.

Tune
Sets the coarse tuning of the selected instrument in increments of 50 cents (half semitone).

EQ High / Mid / Low

Adjusts the gain of the pre-set EQ bands for the selected instrument.

Info Display
The box showing "Bass Drum L" in the screenshot above will display useful information at any time. For
example, if you adjust a knob like Volume, you will see the current value of that knob in the Info Display.
Playing any given articulation will display the current articulation in the box as well.

Instrument Picture (Enable / Disable)

The picture of the selected instrument on the interface is not just for show. You can click on it to disable
the instrument, unloading all samples from memory.
Volume Envelope (A/D/S/R)
These familiar Attack, Decay, Sustain, and Release controls can be used to adjust the volume envelope for
the selected instrument. For example, if you think the attack of the instrument is too harsh, try slightly
adjusting the A (attack) slider. If you want to reduce the tail / ring-out of the instrument when you let go
of each key, try adjusting the R (release) slider.

Set Global
This button applies the current instrument settings to ALL instruments.

Undo Button
Pressing this will reset the current instrument settings to defaults.

Output Menu
Set to Master in the example, you can use this menu to assign the selected instrument to its own
Kontakt output. For more information on using Kontakt outputs, please consult the Kontakt manual &
Native Instruments website, as the method of using multiple outputs depends on your DAW.

Patch Save Menu

Showing "Patch" in the screenshot above, this menu selects what part of the current patch you would like
to save or load. If "Patch" is selected, you will save/load all data from the current patch. If "Inst" is
selected, you will only save/load settings for the instruments you have loaded - not the mic mix. "Mic
Mix" saves/loads only the mic settings.

Save (Disk Icon) / Load (Folder Icon)

Saves or loads current patch data to an .NKA file on your hard drive. Note that the kind of data saved or
loaded depends on what is selected in the Patch Save Menu above.

Reverb On/Off, Wet, Size

This control enables or disables added reverb to the entire patch. The wetness and size (length) can be
adjusted. Note that this does use extra CPU.

Mic Mixing (Close, Stage, Hall)

The bottom of the interface features a handy mixer for the microphone positions.

The Close, Stage, and Hall buttons will enable or disable those mic positions and load/unload them from
memory.

The Mix knob controls the volume for each position.

The Pan knob controls panning (left/right).

The Wide knob controls stereo width - useful to expand the stereo field of the mic, or collapse it down to
mono.

Mic Offset Controls (via MIDI CC)

This feature is not actually part of the interface, but can be accessed using MIDI CCs sent from your DAW
or MIDI controller. By using MIDI CCs 85, 86, and 87, you can control the sample offset times for the close,
stage, and hall mics, respectively. Increasing the offset will reduce the lead-in time for each sample, which
can yield a better touch and reduce the perceived distance from the listener to the mic.
 USAGE & MIXING TIPS
* As with any orchestral library, the music you write is the most important thing to achieving a realistic
sound. Even with lots of round robin (RR) variations, rigid percussion with no velocity or timing variation
may sound somewhat mechanical. Try playing in percussion parts with your keyboard, and don't
quantize 100%.

* For best results blending with other libraries, consider primarily using the close mic position with
external reverb, and applying that same external reverb to the other libraries. If the sound is still too dry,
slowly add stage and/or hall mics to taste.

* Remember that you can adjust the sample offset of each mic using MIDI CCs 85, 86, and 87. Higher
offset values will reduce the lead-in time for each sample, making them 'respond' faster to keyboard
playing and sequencing. Be aware that too much offset on the close mic may start eating into the
transients of the hits. We recommend using an offset of no more than 10-12ms on the close mic -
however, offsets for the other mics can be higher as there is more distance between each mic and the
sound source.

* For a nice full orchestral sound, the default mic mix is a great place to start. Most of the mix should
come through the close mics, with stage / hall providing extra reverberance and tail decay. You may
consider widening the hall mic as well.

* Having trouble with high CPU and memory usage? Try disabling instruments you're not using (click
the instrument picture within the active patch), or disable mic positions. You might also use the 16-bit
samples instead of 24-bit. If you're using internal reverb, try turning that off as well. You may also be
interested in our three part blog series on optimizing Kontakt - click here to read!

CREDITS
Library Concept & Art: Dickie Chapin
Design: Dickie Chapin & Andrew Aversa
Kontakt Programming: Iain Morland & Andrew Aversa
Scripting: Iain Morland & Andrew Aversa
Editing: Anthony Mena, Iain Morland, Elan Hickler, and Andrew Aversa
Recording & Engineering: Strezov Music Productions

Beta Testing: Henning Nugel, Jason Cullimore, Brad Jerkins, Blake Ewing, Abel Vegas, Daniel Szwedek,
Will Bedford, and Dmitry Selipanov.

A special thanks to Blake Robinson, Mario Kruselj, and the VI-Control community for assistance with
KSP!
 TROUBLESHOOTING & FEEDBACK
Have you used Rhapsody: Orchestral Percussion in a project recently? Got an awesome track you'd like
to share? Drop us a line (admin@impactsoundworks.com) and we might post it on our website! Or, tell
the world at our Facebook page here: http://www.facebook.com/ImpactSoundworks

We encourage all our users to share and promote their work. Word of mouth is the #1 way people find
our samples, so it also helps us to produce more great libraries for you!

For any technical support issues regarding the library, don’t hesitate to email
support@impactsoundworks.com.

COPYRIGHT & LICENSE AGREEMENT

All sound recordings, performances, scripting and/or code contained in this product is the property of
Impact Soundworks unless otherwise noted, and remain the property of Impact Soundworks after the
product is purchased.

This license extends only to the individual who purchases this product, unless that individual is
purchasing on behalf of another individual, in which case it is the actual user of the product who is
granted this license.

The licensee is entitled to the use and unlimited editing of the product within the scope of music
production and composition. The product may be installed on as many computer systems used by the
licensee as desired, but in no case does a single license allow multiple individuals to use the product.

The licensee may not use the product in the creation of other sample, sound effect, or loop libraries.

The licensee may not use sound recordings contained in the product as individual sound effects for sound
design work, unless the sounds are significantly processed, layered, and otherwise altered beyond
recognition.

The licensee may use the product in the creation of music for production libraries.

Redistributing, reselling, electronically transmitting, uploading, sharing, or renting the product in any
way, shape, or form is prohibited by law.

The licensee may create a physical backup copy of any digitally purchased and downloaded product. This
backup copy is subject to the same limitations as the original copy of the product, and may not be
transferred to any other individual for any reason.

Copyright © 2014 Impact Soundworks, LLC. All Rights Reserved.