SONICCOUTURE GLASSWORKS USER GUIDE.

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2 SONICCOUTURE GLASS / WORKS CONTENTS : INSTALLATION A LITTLE ABOUT THOMAS BLOCH THE GLASSWORKS INSTRUMENTS : LE CRISTAL THE GLASS ARMONICA CLOUD CHAMBER BOWLS THE KONTAKT INSTRUMENTS CLOUD CHAMBER BOWLS BOWED CHAMBER BOWLS GLASS ARMONICA LE CRISTAL BASCHET LE CRISTAL SFX SUPPORT E.U.L.A

3 INSTALLATION If you do not own Kontakt 5, you will need to download and install the free Kontakt 5 player which you can do here ; Kontakt Player Download Link TO ADD THE LIBRARY AND AUTHORIZE IN KONTAKT 1. Start Kontakt or Kontakt Player in standalone mode (ie. not as a plug-in). Then open the Browser on the left (the folder Icon at the top). 2. In the Libraries tab at the top of the Browser click "Add Library" 3. Click and use the dialogue window to navigate to and point Kontakt to the location of the Library folder ( inside the main Soniccouture Glassworks folder). This will add it to the Kontakt Library list AND to the NI Service Center. 4. When Kontakt asks you to Activate the library, the NI Service Center program will launch and you will need your serial number to authorize Glassworks. If Kontakt doesn't ask you to authorize, you can force it to by clicking the little "Activate" button in the upper right corner of our Glassworks Library logo, in the Browser/Libraries list. It will then prompt you to launch the Service Center. (You will find your serial number in the you were sent when you purchased. If for some reason you haven't received this yet, you can run your library in demo mode until it arrives.) After authorization, you should restart Kontakt. TROUBLE SHOOTING If you get error messages or other problems when authorizing, there are a number of solutions on our FAQ page at soniccouture.com

4 ABOUT THOMAS BLOCH Thomas Bloch is a classical musician specializing in rare instruments. When beginning to research Glass / Works, we found that his name was ubiquitous in every line of enquiry. We quickly realised we had to talk to him, and once contact was made, we arranged to visit him in his studio between his many tours. In a suburb of Paris, down a quiet street in the freezing January weather, we found Thomas. A very charming and quiet man with the most incredible collection of exotic instruments - their rarity matched only by his virtuosity when playing them. In Thomas studio, everywhere you look there is memorabilia from his long and fascinating musical career. Photographs, CDs, concert programmes, movie posters. Among the exhaustive list he has worked with are : Radiohead, Gorrilaz, John Cage, Tom Waits, Milos Foreman and many more. Soniccouture would like to thank Thomas for allowing us to record his instruments and for his hospitality in Paris.

5 LE CRISTAL Surely one of the strangest instruments most of us will ever lay eyes on, Le Cristal, or The Cristal Baschet was designed in 1952 by Bernard and

6 François Baschet. It consists of about 4 octaves of chromatically tuned glass rods, which are rubbed with wet fingers. The vibration of the glass is passed to a heavy block of metal, which itself is tuned and in fact determines the final pitch. The entire mechanism is amplified by a large steel plate, called the flame. There are also three small fiberglass cones that amplify the higher frequencies. The glass rods connected to the tuned metal blocks ( top of picture ) Tuned metal blocks behind the Flame

7 Playing the Cristal Baschet is in fact surprisingly easy - at least, it is easier to produce a decent note than one might imagine. Simply dipping one s fingers in the waterbowl and stroking a glass rod immediately produces a sound, and it is quite intuitive to build up the oscillations in the rod to produce louder tones. Reflections in the Flame The Cristal Baschet was created in 1952 by the French instrument makers and artists Bernard and Francois Baschet. The Baschet brothers specialize in creating sculptures that can be "played" to produce music. They also invented the inflatable guitar and the aluminum piano, and created an "educational instrumentarium" for exposing young people to musical concepts. The instruments are still in production - see their website here :

8 THE GLASS ARMONICA The glass armonica, also known as the glass harmonica, bowl organ, hydrocrystalophone, or simply the armonica (derived from "harmonia", the Greek word for harmony), is a type of musical instrument that uses a series of glass bowls or goblets graduated in size to produce musical tones by means of friction (instruments of this type are known as friction idiophones ). Because its sounding portion is made of glass, the glass harmonica is a crystallophone. The phenomenon of rubbing a wet finger Water causes limescale build-up on the Armonica around the rim of a wine goblet to produce tones is documented back to Renaissance times; Galileo considered the phenomenon in his Two New Sciences.

9 The instrument was invented by Benjamin Franklin, who called his invention the "armonica" after the Italian word for harmony. He worked with London glassblower Charles James to build one, and it had its world premiere in early 1762, played by Marianne Davies. A modern glass armonica built using Benjamin Franklin's design. Thomas Bloch playing the Armonica On Franklin's treadle operated version 37 bowls were mounted horizontally on an iron spindle. The whole spindle turned by means of a foot pedal. The sound was produced by touching the rims of the bowls with moistened fingers. Rims were painted different colors according to the pitch of the note. A's were dark blue, B's purple, C's red, D's orange, E's yellow, F's green, G's blue, and accidentals white. With the Franklin design it is possible to play ten glasses simultaneously if desired, a technique that is very difficult if not impossible to execute using upright goblets. Franklin also advocated the use of a small amount of powdered chalk on the fingers which helped produce a clear tone in the same way rosin is applied to the bows of string instruments. Mozart, CPEl Bach, Beethoven, Donizetti, Richard Strauss, and more than 100 other composers have composed for the glass harmonica.

10 Blochs latest, brand new Armonica - untarnished by limescale. Since it was rediscovered during the 1980s composers began writing for it again(solo, chamber music, opera, electronic music, popular music): Jan Erik Mikalsen, Regis Campo, Etienne Rolin, Philippe Sarde, Damon Albarn, Tom Waits, Michel Redolfi, Cyril Morin, Stefano Giannotti, Thomas Bloch, Guillaume Connesson... Thomas Bloch has two Armonicas - he has recently taken delivery of a stunning new model, gleaming clear glass unsullied by the limescale build-up that gives his older instrument a frosted appearance, like a rare crystal or stalactite. As with the Cristal Baschet, it is not hard to produce a note from the Armonica, but to witness the virtuoso playing of Bloch is breathtaking -his fingers dance across the spinning glass at great speed, producing spiraling staccato melodies of great beauty.

11 CLOUD CHAMBER BOWLS The Cloud Chamber Bowls are Soniccouture s recreation of an instrument built in the 1960s by maverick American composer Harry Partch. It consists of hanging bowls which are sections of 12-gallon glass carboys. Both tops and bottoms of the carboys are used. Partch had 14 (later 13) bowls hanging from a large wooden frame he called a tori. The name Cloud Chamber Bowls arose from the fact that Partch found the original carboys at a Radiation Laboratory at UC Berkeley in The bowls were originally as cloud chambers used in tracing paths of subatomic particles.

12 The pitches of the bowls are basically random, as were Partch s ( It has been impossible for me to tune the bowls - I must accept what I get. ). The varying thickness of the carboys and unpredictable overtone structure make it pretty much impossible to cut a carboy to an exact pitch. The Soniccouture Cloud Chamber Bowls were painstakingly cut and drilled by glass-working artisans, and the substantial wooden frame constructed as a custom order for the recording of Glass / Works.

13 THE KONTAKT INSTRUMENTS Although there are three physical instruments we used to create this library, there are five basic Kontakt instruments with slightly different controls. These are Cloud Chamber Bowls, Bowed Chamber Bowls, Glass Armonica, Le Cristal Baschet, and Le Cristal SFX. You ll find these on the top level of the Instruments folder when you open the Library in Kontakt s browser on the left. You ll notice there s also a folder called Sound Design. This contains experimental presets in which the instrument is processed to some degree. If you want a realistic instrument, or want to start creating your own presets from scratch, it is best to start from one of the five main instruments. Note that if you are inside a subfolder, like Sound Design, you can go back to up a level by double-clicking on the folder s title at the top. Let s have a look at the five main instruments.

14 CLOUD CHAMBER BOWLS Soniccouture s Cloud Chamber Bowls are comprised of 14 different bowls that were played with soft mallets, and 13 bowls hit with hard mallets (yes, we broke one). There are 10 velocity levels and three round-robins for each bowl. On the main front panel (Instrument tab, above) you can see which mallet is selected on the left. You can select these by clicking on them, or by using keyswitches (defined on the Options page, but by default B5 and C6). At the bottom left of the Instrument panel you have a stereo width knob. This is natural in the middle, enhanced to the right, and becomes mono when fully left. In the middle of this panel you have the Envelope section. At the very top the menu allows you to select whether you are editing the Amplitude or the Filter Envelope. Below this are four knobs for the Attack, Decay, Sustain, and Release of the selected envelope. Finally, below that is the Velocity sensitivity control. (Note that for the Amplitude envelope the velocity depth is unipolar, but for the Filter envelope the velocity depth is bipolar.)

15 Finally on the right, you have the Filter section. The filter can be bypassed completely with the LED at the top right. Below this we have the standard controls for the Filter Cutoff and Resonance, a High Pass Filter (HPF), and then Velocity and Envelope depth. The Velocity and Envelope depth are both bipolar and only affect the low pass filter with resonance (not the HPF). TIP: With all knobs you can Command-Click ( or Control-click in Windows) to instantly set a knob back to it s default position. Tuning The original pitches of the bowls are basically random, as were Partch s. But for ease of use, we have tuned the set chromatically by default. If you want to hear the bowls in their original tuning, you can change it on the Options page at the top left where it says Mapping (Chromatic to Original). Also on this Options tab you can set up your keyswitches, which are B5 and C6 by default (soft and hard mallets, respectively). You can change these if you like. There are other controls in the Options tabs, which vary slightly for each instrument, but in Cloud Chamber bowls the last one is the Jammer. This is the panel on the far right of the Options tab.

16 THE JAMMER The Jammer is turned on or off with the LED on the far right of the panel. The Jammer is a kind of random arpeggiator that chooses from the notes you hold down at random. Hold a chord down on your keyboard, and Jammer will randomly play notes from that chord. The RATE of the Jammer is set with respect to tempo, ie. you can choose 16th notes, or 8th notes, etc. The other controls are as follows: VEL controls the amount of randomization to the velocity. Jammer takes the velocity you played the notes in at, but it can vary from this initial value by a small amount or a lot depending on the setting of VEL. TIMING randomizes the timing of the Jammer. sometimes nice in small amounts. This is a bit strange, but NOTE randomizes the pitch of the notes you are holding down. This can be especially useful if the PITCH FILTER is on, which we ll mention in a moment. OCTAVE introduces random octave jumps upwards. This can be 0, 1, 2 or 3 octaves.

17 MW VEL allows you to adjust the velocity of the Jammer output, while it s playing, using the mod wheel. This is bipolar, so you can add or subtract from the playing velocity without re-playing your input notes. DOUBLE HITS on the bottom, to the right of the little keyboard, creates two hits on each repetition. This creates a denser output, or chords, depending on the situation. The PITCH FILTER is the little keyboard at the bottom. If you don t select anything, or select everything, the Jammer will output any of the 12 possible pitches. However, as soon as you select a note, or several notes, the output of the Jammer will be restricted to those pitches only. So you can fix it to a chord, or to a scale. If you click on LEARN, you can play the notes you want the PITCH FILTER to remember, but don t forget to switch it off again! There is also a Preset menu with some popular scales. TIP: If you want to record the output of the Jammer into a MIDI track, you need to turn on Send MIDI to outside world in Kontakt s Options page, under the Audio Engine tab. In the choose options drop down, you can turn on script generated notes, and Kontakt will then send Jammer s notes out. You then need to assign a MIDI track to record these notes as you play the Jammer. Be careful you don t route the generated MIDI thru your sequencer back into Kontakt again, or you ll get complete confusion and the universe might turn inside out

18 EFFECTS Finally we have the Effects panel, which is the third tab at the bottom of each instrument. This identical in all the Glass/Works instruments. The Effects page is divided into four sections; Tape, Phaser, Delay, and Reverb. Each of these can be bypassed with the LED at the top of each section. There is also a Limiter at the bottom right, under the Reverb tab which can be turned on or off with it s own LED. TAPE When the Tape section is activated, you can adjust the DRIVE and WARMTH of Kontakt s Tape Saturator algorithm. This is nice for a very subtle distortion. The COMP is a compressor, which is bypassed when all the way left, but as you move the knob clockwise lowers the threshold of the compressor. LO EQ and HI EQ are exactly that, gain controls for a low frequency and high frequency equalizer, Solid-G EQ in Kontakt. PHASER The Phaser gives you control over it s MIX level, the SPEED of modulation, the DEPTH of modulation, FEEDBACK and PHASE.

19 DELAY In the Delay section you can control the MIX level, the DAMPING, FEEDBACK and WIDTH of the delay. If the SYNC button is off, the TIME is in absolute time (milliseconds), if the SYNC button is on then the TIME is in 16th notes. SYNC is handy if you want your delays to be in time with your track. REVERB In the Reverb section you can control the MIX level, and adjust the SIZE and HPF (High Pass Filter) of the Reverb. The Reverb uses Kontakt s Convolution processor, and we therefore include a selection of our favourite convolution presets in a menu called REVERB TYPE. LIMITER The Limiter is either on or off, and this is at the end of the insert effects chain. It doesn t therefore affect the level of the Phaser, Delay, or Reverb as these are on sends. If you are getting output clipping and the Limiter is on, please check the levels of the Phaser, Delay, or Reverb MIX.

20 BOWED CHAMBER BOWLS The Bowed Chamber Bowls are the same 13 bowls as used in the Cloud Chamber Bowl instrument, but played with a cello bow. This resulted in a haunting sustained tone, as well as some strange harmonics, as we ll see. The Instrument panel is largely the same as the Cloud Chamber Bowls, with identical controls for the Envelope and Filter in the middle and on the right. (You can read about the Envelope and Filter here.) The main difference on this Instrument panel is that instead of Articulations, we have a small LAYERS panel on the bottom left. LAYERS includes a menu that can be set to Round Robin or Stack Detune. In Round Robin mode, the instrument plays one note at a time, but cycles through the five robins we recorded for the Bowed Bowls instrument. In Stack Detune mode, the instrument plays TWO of those robins at once

21 (different ones) and allows you to detune them slightly using the DETUNE knob. Note that this Knob is not available in Round Robin mode. Also notice that the knob labeled WIDTH has a slightly different function in Round Robin mode than in Stack Detune mode. In Round Robin mode, it functions as a Stereo Enhance knob (with the middle being natural, left being mono, and right being fully enhanced). In Stack Detune mode, the Width controls the spread between the two detuned voices. HARMONICS One of the unusual things we noticed when bowing the bowls was that each bowl would occasionally slip into a strange harmonic (we say strange, because the bowls are highly inharmonic, so the overtones are not predictable like on a guitar or a flute). Being great fans of all things strange, we sampled these harmonics as well, and you can crossfade into the harmonics using the Mod Wheel (by default). If you want to change the controller used to crossfade into the harmonics, you can do so on the Options tab: You see the X-FADE CC on the left-most panel. It s set to 1, the Mod Wheel, by default, but you can change this to another controller if you like.

22 GLISSANDO Another control panel we find in this Options tab is the Glissando. This includes a switch to turn it on or off, the LED on the right, as well as two knobs: AMOUNT and TIME. Glissando creates and endless pitch glide while a note is being held down... and we do mean endless! It can go down below the threshold of hearing or way up into some very nasty aliasing. The two controls decide how far to shift the pitch (AMOUNT), and how quickly to do it (TIME). AMOUNT is therefore bipolar. If it s in the middle, at 12 o clock, the pitch won t move at all, but if it s slightly to the right the pitch will start to rise, if it s slightly to the left the pitch will start to fall. TIME is unipolar, and the larger the value the slower the pitch will change. TIP: Remember that all knobs in our Instruments can be automated, either by MIDI or by host automation. Often the quickest way to automate a knob is to right-click on it and move the controller that you want to assign to that knob. Automating the Glissando can give you some quite bizarre results, and take your music into horror movie territory. The Bowed Chamber Bowls also includes the Jammer option. read about the Jammer here. You can The Effects tab is the same on all instruments, and is described here.

23 GLASS ARMONICA This Glass Armonica is a recreation of the original Ben Franklin instrument built by master glassblower Gerhard Finkenbeiner. It consists of 37 nested bowls that range from F3 to F6, although we ve mapped this an octave lower for convenience. There isn t a huge dynamic range on the Glass Armonica, so we sampled each note 3 times at two different dynamics, soft and loud. There are 3 round robins of each set. There are 3 sections to the main Instrument page (Instrument tab, above). In the middle of this panel you have the Envelope section. At the very top the menu allows you to select whether you are editing the Amplitude or the Filter Envelope. Below this are four knobs for the Attack, Decay, Sustain, and Release of the selected envelope. Below that is the Velocity sensitivity control. (Note that for the Amplitude envelope the velocity depth is unipolar, but for the Filter envelope the velocity depth is bipolar.) On the right, you have the Filter section. The filter can be bypassed completely with the LED at the top right. Below this we have the standard controls for the Filter Cutoff and Resonance, a High Pass Filter (HPF), and

24 then Velocity and Envelope depth. The Velocity and Envelope depth are both bipolar and only affect the low pass filter with resonance (not the HPF). On the left of the Envelope panel you can see a knob labelled KEY OFF. This allows you to control the level of the key-off, or release samples... the ringing of the bowls once Thomas fingers were removed. Remember this is slightly different from the Amplitude Envelope Release, which controls the release time of the rubbing sound. Below this you can see a small LAYERS panel near the bottom. LAYERS includes a menu that can be set to Round Robin or Stack Detune. In Round Robin mode, the instrument plays one note at a time, but cycles through the three robins we recorded for the Armonica instrument. In Stack Detune mode, the instrument plays TWO of those robins at once (different ones) and allows you to detune them slightly using the DETUNE knob. Note that this Knob is not available in Round Robin mode. Also notice that the knob labeled WIDTH has a slightly different function in Round Robin mode than in Stack Detune mode. In Round Robin mode, it functions as a Stereo Enhance knob (with the middle being natural, left being mono, and right being fully enhanced). In Stack Detune mode, the Width controls the spread between the two detuned voices. Crossfade or Velocity Control You can crossfade from the soft sample to the loud sample using Velocity or a MIDI Controller. Our instruments are generally set to use Velocity by default, but if you want to use a controller you can set that up on the Options panel.

25 The Glass Armonica Options Tab At the top left, under the heading DYNAMICS, there is a menu that allows you to choose between Velocity and Controller. If this is set to Velocity, then the incoming keyboard velocity is used to crossfade between the loud and soft Armonica samples. If you change this to Controller, then you can crossfade these sample sets dynamically. This defaults to the Mod Wheel (CC 1), but you can change that to any other controller. Note that this option handles only the crossfading of the two sample sets, the velocity sensitivity is still active on the Instrument/Envelope panel. The Glass Armonica Options tab also includes the Glissando control, which you can read about here, and the Jammer control which you can read about here. As with all Glass/Works instruments, the Effects tab is identical, and you can find the details of that page here.

26 LE CRISTAL BASCHET Le Cristal Baschet consists of about 4 octaves of chromatically tuned glass rods, which are rubbed with wet fingers. The vibration of the glass is passed to a heavy block of metal, which itself is tuned and in fact determines the final pitch. The entire mechanism is amplified by a large steel plate, called the flame. There are also three small fiberglass cones that amplify the higher frequencies. Articulations We sampled each note in many different ways, and for most articulations were able to get data from C1 to D5, just over 4 octaves. Articulations include: Sustain, Accent, Soft Mallets, and Hard Mallets. You can select the articulations on the left of the main panel (shown above) or use keyswitches to select the articulations. The default keyswitches are C6 for Sustain, B5 for Accent, A#5 for soft mallet, and A5 for hard mallet. You can change these in the Options tab. NB. We also samples a selection of special effect hits, which are in a seperate instrument called Le Cristal SFX. We ll discuss that instrument later.

27 Note that in the above panel, to the right of the Articulations there is a control for WIDTH and for FLAME. The WIDTH is a stereo width control. The middle (12 o clock) being natural, left being mono, and right being fully enhanced. One of the unique sonic characteristics of the Cristal Baschet is the resonance of the huge metal FLAME that rings slightly differently for every note played. To try and approximate this in Kontakt, we took some impulse responses of the flame hit various ways, and loaded these into a convolution processor. On this panel you have access to Flame level, and to several Flame types, which we characterize in the pull-down menu as Low, Mid, High, and Thin. If you turn the FLAME all the way to zero, then the effect is bypassed, conserving CPU. In the middle of this panel you have the Envelope section. At the very top the menu allows you to select whether you are editing the Amplitude or the Filter Envelope. Below this are four knobs for the Attack, Decay, Sustain, and Release of the selected envelope. Below that is the Velocity sensitivity control. (Note that for the Amplitude envelope the velocity depth is unipolar, but for the Filter envelope the velocity depth is bipolar.) TIP: If you want to set the Amplitude Release differently for the Mallet articulations than the Sustain Articulations, you can do it using ALT or OPTION. When ALT or OPTION is held down, the Release knob only affects the Mallet articulations. If no control button is held down, all articulations are set to the same release. On the right, you have the Filter section. The filter can be bypassed completely with the LED at the top right. Below this we have the standard controls for the Filter Cutoff and Resonance, a High Pass Filter (HPF), and then Velocity and Envelope depth. The Velocity and Envelope depth are both bipolar and only affect the low pass filter with resonance (not the HPF). Let s have a look at the Cristal Baschet Options tab.

28 Le Cristal Baschet Options page. On the left we see the Keyswitches setup. By default we ve set this at the top of a 61 note keyboard, just slightly above the range of the Cristal itself (which we stretched to G5). You can change the keyswitches however to anything you like. Below the Keyswitches there is the SUSTAIN X-FADE control. The Sustain samples were recorded at two different volumes, soft and loud. Using this menu you can choose to control that crossfade with Velocity or with a Controller. We leave it on Velocity by default, but you can change this if you want to use a continuous controller instead. The Controller you want to use is set below in the box labelled X-FADE CC. Note that the SUSTAIN X-FADE only affects the Sustain articulation, and only controls the crossfading of the sample sets themselves. The velocity sensitivity on the Instrument page is still functional, no matter which method you use to crossfade the samples. Also on the Cristal Options page you can see our Glissando controller, which is explained in detail here, and our Jammer effect, which is explained here. As with all Glass/Works instruments, the Effects tab is identical, and you can find the details of that panel here.

29 LE CRISTAL SFX Le Cristal SFX Instrument Page. This instrument is a collection of 53 special effects made with the Cristal Baschet. These are mapped from C1 to E5, each key being a different special effect. However, this instrument is slightly different from the other instruments in the collection in several ways. Firstly, each key can be edited individually if you like. When EDIT SINGLE (on the left of the panel) is selected, the last key you played is the only key that is being edited. So you if you adjust the attack time on C3, you won t be changing the attack time on any of the other notes (SFX). If you turn this off, the text changes to EDIT ALL, and in that case you are editing all the sounds at once. This is very handy as well of course, especially if you want to reset everything to a natural starting point (remember Command/Control Click!). The other unique thing in this instrument (as opposed to the other instruments in Glass/Works) is the FOCUS button. When the FOCUS

30 button is turned on, the last sound effect you played is spread across the entire keyboard and centred on middle C. If you have the Keyboard display enabled, it will turn green, like this: This helps remind you you re in FOCUS mode. While in FOCUS mode you play a single sound effect as if it were an instrument. You can save an Instrument in FOCUS mode. Aside from the Envelope and Filter sections on the right of the panel, you can see this Instrument also has a TUNE knob at the bottom. This of course controls the PITCH of the sample you re hearing (or all samples if EDIT ALL is displayed.) The WIDTH knob controls the stereo width of the sound effect. Now let s have a look at the Options page, which also has another new feature.

31 Le Cristal SFX Options page. Here you ll find two buttons on the left, SHUFFLE and RESET. SHUFFLE randomizes the order in which the sound effects are laid out on the keyboard. Since each sound effect is basically unrelated to the others, this can be a fun way to explore and to find new sounds. RESET simply puts them back to the default order. Note that if you re in FOCUS mode (on the Instrument page), you won t hear the results of SHUFFLE or RESET, since the instrument is currently still FOCUSED on a given sample. This Options page also includes the Jammer effect, which is covered in detail here. The Cristal SFX Effects page is identical to the others in the collection and is covered in detail here. Please note that EDIT ALL and EDIT SINGLE only affect the Instrument parameters, not those on the Effects page.

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33 SUPPORT If you have any problems or questions relating to the use of this product, please feel free to contact us. You can either us at : customerservices@soniccouture.com or we have a support forum within the KVR Audio community, which can be found here : Soniccouture Support Forum We will always endeavour to reply to any enquiry within 12 hours, but do bear in mind the differences in time zones, so please be patient!

34 E.U.L.A. END USER LICENSE AGREEMENT PREFACE: This End-User License Agreement ("EULA") is a legal agreement between you and Soniccouture LTD for the Soniccouture product accompanying this EULA, which includes computer software and may include associated media, printed materials, and online or electronic documentation ("Software"). By installing, copying, or using the software, you agree to be bound by the terms of this EULA. If you do not agree to the terms of this EULA, you may not use the software. The software is protected by copyright laws and international copyright treaties, as well as other intellectual property laws and treaties. The software is licensed, not sold. Soniccouture Ltd grants the Owner of a Soniccouture product the right to create finished musical works and performances using the sounds and software that comprise the Soniccouture product. The making of sample libraries in any form, commercial or otherwise, using Soniccouture audio or software (be they single hits, loops, fully mixed audio clips, or scripts) is STRICTLY FORBIDDEN without express written agreement of Soniccouture Ltd, and violations will be prosecuted to the full extent of international and local copyright law. The ownership of all title and copyrights in and to the Software (including but not limited to any images, photographs, animations, video, audio, music, text, and "applets" incorporated into the Software ) is fully asserted by Soniccouture Ltd. The Owner may only install and use Soniccouture libraries and software on multiple computers strictly under the following conditions: where multiple computers comprise part of a single composition workstation for a composer; or where the Owner has two non-concurrent sites of work, for example a studio desktop and a laptop for live performance.

35 The Owner may not transfer, modify, rent, lease, loan, resell, distribute, network, electronically transmit or merge the Software. DISCLAIMER OF WARRANTY: The software is provided "as is" and without warranty of any kind. The entire risk arising out of the use or performance of the software and documentation remains with user. To the maximum extent permitted by applicable law, Soniccouture further disclaims all warranties, either express or implied, including, but not limited to, implied warranties of merchantability and fitness for a particular purpose, with regard to the software, and any accompanying hardware. To the maximum extent permitted by applicable law, in no event shall Soniccouture be liable for any consequential, incidental, direct, indirect, special, punitive, or other damages whatsoever (including, without limitation, damages for loss of business profits, business interruption, loss of business information, or other pecuniary loss) arising out of this EULA or the use of or inability to use the software, even if Soniccouture has been advised of the possibility of such damages.