Download - WarpIV PRO Woodwinds Users Guide - warpivmusic.com PRO Woodwinds User… · Eric Marienthal is simply an amazing artist with an impeccable work ethic. We were extremely privileged

WarpIVMusicProduction WarpIVPROWoodwindUser’sGuide www.warpivmusic.com

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WarpIVPROWoodwindsUsersGuide

OverviewFirst,thankyouforpurchasingvirtualinstrumentsfromtheWarpIVPROWoodwind

samplelibrarycollection.Theseultra-high-endjazz/pop-orientedsamplelibraries(flute,clarinet,sopranosax,altosax,tenorsax,andbaritonesax)workwithKontakt5(oralaterversion),butdonotworkwiththefreeKontaktplayer.YoumustownafullylicensedversionofKontakttousetheseinstruments.

Allrecordingswereperformedbyjazz-greatEricMarienthal,oneofthemostwell-knownandrespectedsaxophoneplayersintheworld.EricplayswithGordonGoodwin,ChicCorea,WayneBergeron,andmanyotherrenownedartists.Ericisalsowell-knownforhischart-toppingsmoothjazzalbums,amazingabilitytocombineartisticmusicianshipwithmind-blowingtechnicalskill,andavarietyofinstructionalmaterialsforaspiringsaxophoneplayersatallskilllevels.EricMarienthalissimplyanamazingartistwithanimpeccableworkethic.Wewereextremelyprivilegedtohaverecordedhimfortheseuniquelibraries.FormoreinformationonEricMarienthal,pleasevisithiswebsite.

http://www.ericmarienthal.com


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AsinallsamplelibrariesdevelopedbyWarpIV,ourgoalwastoproducevirtualinstrumentswithgreatsoundquality,anoverwhelmingassortmentofhighlyexpressivearticulationsthatyouwillfindyourselfusinginyourmusiccompositions,efficientutilizationofmemory,lowCPUprocessingoverheads,robustoperation,andeaseofuseforbothliveplaying(keyboards,electronicwindinstruments,windcontrollers,etc.)anddetailedfineediting.ThelibrariesinthiscollectionreplacethepreviouslyreleasedHollywoodStudioWoodwindCollection(HSWC),whichwaspartofthelargerHollywoodStudioBrassandWoodwindCollection(HSBWC).Thesenewwoodwindlibrariesfeaturemanynewarticulations,avarietyofveryexpressivetrue-legatotransitions,realisticandcustomizablesimulatedlegato,allnewscriptingwithextremelylowoverheads,andadvancedwavfileaudioprocessingforvastlyimprovedtuning,accuratelegatotransitions,andperfectlyeditedreleases.ThesenewlyconstructedvirtualinstrumentsarenotbackwardcompatiblewiththepreviouslyreleasedHSWC.

Whatmakestheselibrariesuniqueistheirmyriadofarticulations,multipledynamics,round-robinstaccatos,awidevarietyofexpressivereleases,stereoinstrumentconfigurations,andbothtrue/simulatedlegatotransitionsbetweennotes.Normal(single-keyed)keyswitchingtoselectarticulationsand/orreleasesisnotpossiblewiththeselibrariesbecausetherearefartoomanyarticulationstofitevenonan88-notekeyboard.Instead,keyswitchingisprovidedviatwokeysbyspecifyingaprimaryarticulationgroupandthenanoptionalarticulationwithinitsbankofvariations.Virtuallyeverypossiblearticulationthatcouldbeplayedbyaliveperformerhasbeencapturedinthesewoodwindlibraries.Eachnotewasindividuallysampledtoproviderealisticsoundqualityacrosseachinstrument’sentirerange.Theselibrariesweredesignedtosupportboth:

1. Liveplayingwithpitchbend,mod-wheel(asavibratocontroller),aftertouch(asavibratocontroller),expressioncontrollerforlivedynamicsandforusewithelectronicwindinstruments,optionalautomatedreleases,extremelyrealisticnotetransitions(bothtrueandsimulatedlegato),andspecialexpressionkeysthatareveryeasytouseinlivesettingsandduringfineediting.

2. Composingwithmanualnoteentryand/ordetailededitingofindividualpartsusingthefullsetofkeyswitchedarticulationsandreleases,simulatedandtruelegato,andamyriadofotherexpressivefeatures.

Whileprovidinganoverwhelmingnumberofarticulations(morethan6,000individualsamplescapturedin150Kontaktgroupsforeachvirtualinstrument)andeffects,theselibrariesweredesignedtobeextremelyeasytouse,fastintermsofcomputationalperformance,extremelyreliable,andremarkablylightonmemoryconsumption.Unusedorunneededarticulationscanbeunloadedtodramaticallyreducethememoryfootprintwhennecessary.Eachlibraryprovidescarefullyrecordedsamplesthatwereoriginallycapturedinmonowithhighqualitystudiomicrophonesat96KHzand24bits,andthenafterhighfidelityaudioprocessing,reducedto48KHz.Eachinstrumentrequiresapproximately3-4GBofdiskspaceforinstallation.Whenfullyloadedwithallarticulations,eachlibraryconsumesapproximately340MBofRAMinKontakt.


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TheinstrumentsintheWarpIVPROWoodwindcollectioneachcontainthesamesetofarticulations,keyswitches,andprogramming,whichmakesitveryeasytocopytracksfromoneinstrumenttoanotherandhavethemplaycorrectly.AllinstrumentsbeginwiththeirlowestplayablenoteintheC2–C3range.AsshowninTable1,astaggering90articulationsareprovidedineachlibrary,representedbyapproximately150articulationgroups.Thesevirtualinstrumentlibrariesarehighlycapableofaccuratelyreproducingrealisticprofessionalqualitywoodwindtracks(seeTable3formoredetailedinformationontheactualarticulations).

Table1:Articulationgroups(primarykeyswitch)andtheirvariations(secondarykeyswitch).

ArticulationGroup NumberofVariationsSustain 7Legato 6Staccato 3Turn 2Grace 6Rise 3Fall 5Bend 2Rip 3Growl 4Octave 6Swell 10

Crescendo 10Trill 7

Up/Down 7Release 9

Totals 90

LicenseAgreementPleasereadthelicenseagreementthatiscontainedintheDocumentsdirectoryofeach

virtualinstrumentbeforeinstallingthislibrary.WarpIVPROWoodwindinstrumentsareunprotectedbutindividuallycodedtoidentifyeachlicenseduser,whichallowsWarpIVtomaintainreasonablepricesforitscustomers.Italsomakesiteasyforyoutoinstallthislibraryonmultiplemachines.Weaskyoutohonortheagreementandnotredistributeorresellthislibrarytoanyoneelse.YouarenotpermittedtoreselltheselibrariesoneBayoranyothermarketplace.Youarealsonotpermittedtoreuseand/ordistributeourrawsamplesinothersample-relatedcommercialproducts.Otherthanthat,youhaveunrestricteduseofthislibrarytoproduceyourownmusicalcompositions.


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InstallationfromFTPDownloadInstallinganyoftheWarpIVPROWoodwindvirtualinstrumentsfromanFTPdownload

linkisstraightforwardonbothMacandWindowsplatforms.Afterpurchasingthelibrary,youwillbesentanemailcontaining(a)youruserkeyand(b)theftplinkforeachinstrument,whichyouwillcopyintoyourbrowsertodownloadallofthenecessaryfiles.Makesureyoudownloadallofthefilesandthenfollowtheinstructionsinthisuser’sguidetoinstalleverything.Onceinstalled,eachinstrumentwillbeprovidedinitsowndirectorythatcanbelocatedanywhereonyourharddrive.Youimplicitlyagreetothetermsofthelicensewhenyouinstalleachinstrument.Licensekeysareassignedtoeachinstrumenttotrackeachuser,sopleasedonotsharethisinformationwithanyone.Afterinstallation,yourlibraryisreadytobeused.

Ifyouhaveanyproblemsdownloadingthelargezipfiles,tryusinganftpclientsuchasFileZilla.Itisfreeandcanbeeasilyinstalledonyourcomputer.ThedownloadlinkforinstallingFileZillais:https://filezilla-project.org.

WarpIVPROWoodwinddirectoriescontainthefollowingsubdirectories:

Ø DemosØ DocumentationØ KontaktArticulationsØ KontaktInstrumentsØ Samples

TheDemosdirectoryprovidesvariousmp3demos.TheDocumentationdirectorycontainsthisuser’sguideandotherdocumentssuchasthelicenseagreement.Makesureyouunderstandandagreetothebasictermsofthelicenseagreementbeforeusingthelibrary.TheKontaktArticulationsdirectorycontainsmanysingle-articulationpatchesthatcanbeusefulwhenyouonlywanttoloadonearticulation.TheKontaktInstrumentsdirectorycontainstheactualwoodwindinstrumentwithallarticulationspreloadedandresourcedirectoriesthatprovidethegraphicsfilesusedbyKontakt.YouwillprobablyalwaysloadthevirtualinstrumentpatchthatisintheKontaktInstrumentsdirectoryforyourwork.Finally,theSamplesdirectorycontainsalltheactualwavfilesamplesusedbytheinstrument.

LicenseKeysandTrialVersionsAuniqueseven-characterlicensekey(charactersarenumberedlefttorightfrom0to6

intheinterface)willbesenttoyouinanemailmessagetofullyactivateyourinstrument.Whenyouloadtheinstrumentforthefirsttime,itfunctionsinatrialmodecapacitythatlastsfor30minutesbeforeallofthesoundsareturnedoff.Ifyouneedmorethan30minutestotryoutthevirtualinstrument,simplyreloadandyouwillhaveanother30minutes.Toenablefullfunctionality,youmustenterthe7-characterkeyintheLicensetaboftheinstrument(seeFigure1).Note,thefirstletterisKey0,thesecondletterisKey1,etc.Onceyouhaveenteredthe7-characterscorrectly(thetextinthedisplaywillindicatethatyourlicenseisnowvalid),youshouldresaveyourinstrument(usingtheKontaktfilesaving


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interfacenearthetopcenteroftheinterface)sothatthelicensewillalwaysbevalidforuseinfuturecompositions.Thelicenseinformationismaintainedwiththesavedinstrument,whichprovidesawayforustotrackdownillegalcopies.Eachuserhasauniquelicensekeythatcanbetraced.

Figure 1: Setting your license key is accomplished by setting Key 0, Key 1, etc. to the values sent to you by email.Remembertoresaveyourinstrumentsothatyouwillnothavetoreenteritagain.

LoadingInstrumentsTherearetwowaystoloadaWarpIVPROWoodwindinstrumentintoKontakt.Thefirst

wayistonavigateusingtheFileBrowserinKontakttoselecttheinstrument(seeFigure2).ThesecondwayistosimplydraganddroptheinstrumentintoKontaktdirectlyfromafinder(Mac)orexplorer(Windows)windowonyourdesktop.IfKontaktcannotfindsampleswhenloadinganinstrumentorpatch,simplydirectittotheinstrument’sSamplesdirectory.ResavingtheinstrumentinKontaktwillpreventthisissuefromhappeningagain.


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Figure 2: Loading an instrument (alto saxophone) into Kontakt from the Browser panel. Notice that the Browser isactivatedinKontaktbyclickingontheBrowseicon(upperleft)inKontakt.SelecttheFilestabandthennavigatetoviewdirectorystructuresandvariousfilesthatarestoredonyourmachine.

ControlsOnceyouarefamiliarwithitsfunctionality,theWarpIVPROWoodwindInstrument

interfaceisextremelyeasytouse.Mostofthetime,youwilljustusethedefaultsettings.However,eachcontroldescribedinthissectionoftheuser’sguideisveryeasytounderstandandmodifywhenevernecessary.First,twotabsareprovidedatthebottomleftcorneroftheinstrumentinterface:(1)Instrumentand(2)Help.TheInstrumenttab(shownontheleftinFigure3)providestheprimaryinterfacetotheinstrument,whiletheHelptab(shownontherightinFigure3)providesquickreferencehelptoallfeaturesinthelibrary.Inaddition,aone-linehelpmessageisprovidedatthebottomoftheKontaktinstrumentwindow(whenyouopenitup)byhoveringyourmouseoveranycontrol


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providedbytheinterface.NoticethatthepulldowncomboboxintheHelpinterface(locatedabovetheWarpIVlogo)allowsyoutoselectindividualhelptopics,whichare:KeySwitch,ReleaseTrigger,Legato,VoiceShifting,Controllers,Expression,Loading,andGeneralInfo.Onceyoubecomefamiliarwithusingthesewoodwindlibraries,youwillprobablyneverneedtoreadthisuser’sguideagainsinceeverythingyouneedtoknowisdescribedintheprovidedHelptab,one-linehelpmessages,and/orarticulationgroupandbankpulldownmenusinthemaininstrumentthatremindyouhowthekeyswitchesaremapped.

Figure3:ExampleofthealtosaxInstrumentandHelpinterfaces.

ThetwomostimportantInstrumentcontrolsaretheArt.Group(i.e.,articulationgroup)andBankcomboboxes.ClickingtheArt.Groupboxshowsallthearticulationgroupsthatareprovidedbythelibraryalongwiththeirkeyswitchmappings.SpecificarticulationswithineachgroupcanbeselectedfromtheBankcomboboxthatisrightbelowit(seeFigure4).Thesetofbankarticulationsiscontextsensitiveinthatitchangeswhenyouchooseadifferentarticulationgroup.TheBankpulldowncomboboxshowsyouthesecondarykeyswitchforeacharticulationwithinthechosenarticulationgroup.Tomaximizeperformance,theKeySwitchandBankcomboboxesdonotreflectkeyswitchesthataredynamicallysetduringliveperformancesorplayback.So,youwillnotseethesevalueschangeduringnormaloperationoftheinstrument.

Forauditioningthesoundofanarticulation,youcanselecttheprimaryarticulationgroupfromtheArt.GrouplistandthenselecttheactualarticulationwithinitsBankusingthecomboboxthatisrightbelowit.Thisarticulationselectionistemporarybecausewhenyouplaykeyswitchesinyourmusicalcomposition,theyoverridethegraphicalinterfacesettings.Banksarealwaysrepresentedasasecondnoteinhalfstepincrementsabovetheprimarykeyswitch.So,forexampletheSustainarticulationgroup(showninFigure4)hassevenarticulationsinitsbank.PressingtheC-2key(lowestnoteonafull88-notekeyboards)enablesthestandardSusarticulation.SimultaneouslypressingC-2andC#-2enablestheVibarticulation.Inthesamemanner,simultaneouslypressingC-2andD-2enablesHeavyVib,C-2andD#-2enablesHeavyVibDel,C-2andE-2enablesMarcato,C-2andF-2enablesBreathy,andC-2andF#-2enablesBreathyChop.


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Figure4:KeySwitch(left)andBank(right)comboboxescanbeusedtomanuallyselectarticulationsfromtheinterface,as a reference that isused to lookuparticulationkey switchandbank settings, or for loading/unloadingarticulationsfromtheinstrument.

Asyoucansee,therearesomanyarticulationsineachWarpIVPROWoodwindvirtualinstrumentthatwithouthavingatwo-keyarticulationgroupandbankmechanism,wewouldquicklyrunoutofkeyswitchesonthekeyboard.Withthistwo-keyarticulation-group/bankselectionsystem,anyarticulationorreleasecanbeselectedwithinaboutanoctaveandahalfsetofkeyswitches.NoticethattheredkeysontheKontaktkeyboardindicatetheprimaryarticulationgroups,whilethegreenkeysindicatetheextendedkeyswitchrange,whichincludesbanks.AsetofalternatingredandyellowExpressionkeysthenfollow,whichwillbedescribedlaterinthisuser’sguide.TheTurquoisekeystowardstherightsideofthekeyboardrepresenttherangeofplayablenotesintheinstrument.Notethatduetophysicallimitationsrelatedtoeachinstrument,notallarticulationshavesamplesthatcoverthefullrange(forexample,itisimpossibletoplayaDoitarticulationstartingonthehighestnoteoftheinstrument).Nevertheless,eacharticulationwasrecordedwiththegoalofcapturingthefullrangeoftheinstrument.

Becausesomekeyboardsdonotcoverthefull88-keyrange,WarpIVPROWoodwindinstrumentsallowyoutomovethekeyswitchesupanoctaveusingtheArt.GroupRangecombobox,whichistotherightoftheArt.Groupcombobox.Ifyoudothis,youwillnoticethatthered,green,andyellowkeysmoveupanoctave,justbelowthefirstplayablenoteinthelibrary.Thisallowsyoutotightenuptherangeofkeyswitchandplayablekeys.MostuserswillchoosetousekeyswitchingthatstartsatC-2becauseitiseasytoremember(andfindduringliveplaying)thatkeyswitchingbeginswiththelowestnoteonthekeyboard.

ASnapBackbuttonisprovidedtomakeliveplayingeasier.Itallowsyoutoenable(i.e.,whenthebuttonisbright)whicharticulationscansnapbackafterplayingotherarticulationswhereSnapBackisdisabled(i.e.,whenbuttonisdark).ThesnapbackfunctionalityremembersthelastplayedSnapBackarticulationtoallowittosnapbackfromanon-SnapBackarticulation.So,forexamplesupposeyouenabledSnapBackforSustainsandShortStaccatos.IfyouplayedasustainarticulationandthenlaterselectedaVibratoarticulation,theinstrument’sarticulationwouldsnapbacktoSustainaftertheVibratonote


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ends.Ifafterthat,youselectedShortStaccato,allotherarticulations(exceptSustain)wouldsnapbacktoShortStaccatoaftertheirnotesareplayed.ThedefaultsettingisthatSnapBackisdisabledforallarticulations.Itisuptoyoutodefinewhicharticulations(ifany)youwanttoenableforSnapBack.

TheDefaultReleasecontrolallowsyoutoselecthowsustainednotesautomaticallyendwhennoothernotesimmediatelyfollow.Optionsare:None,KeyClicks,Umph,FallRoughLong,FallRoughShort,FallSmoothLong,FallSmoothShort,Rip1,Rip2,andDoit.Toavoidproducingdoublyreleasedendings,defaultreleasesdonotapplytoshortnotessuchasstaccatos,articulationsalreadycontainingexpressivereleases,andmanuallyselectedreleases.YouwillprobablywanttoselectNoneorperhapsKeyClicksmostofthetimewhenyouplaylive.IfyouselectKeyClicksasthedefaultrelease,simulatedlegato(describedlaterinthisuser’sguide)automaticallyplayskeyclicksduringlegatotransitionsbetweennotestoprovidearealisticeffect.TheloudnesslevelforautomaticreleasescanbecontrolledbytheReleaseknob,describedlaterinthisuser’sguide.

TheVoiceShiftingcontrolcombinespitchshiftingwithsampleselectioninhalfstepincrementsaboveorbelowtheactualnotebeingplayed.So,forexample,voiceshiftingupahalfstepplayssamplesahalfstephigherthantheactualnotebeingplayed.Thelogicwithintheinstrumentthencompensatesbyretuningthenotedownhalfastep.Thistechniquecanbeusedtocreaterealisticstereounisonpartswheretwoinstrumentsplaythesamekeyboardnotes,yetwithdifferentsamples.Onecaution,however,isthatthetimbreoftheinstrumentchangesslightlywhenyouvoiceshift,whichwhenoverdonecansometimessoundartificial.Youprobablywillneverwanttovoiceshiftmorethanupordownbyahalfstep.

TheVibratocontrolallowsyoutoselectthemodulationratethatisusedtosimulatevibratousingtheModwheeloranexpressionkey(describedlater).Itrangesfrom3.0Hz(veryslow)to6.0Hz(veryfast)at0.25Hzincrements.Itcanalsobesyncedtothetempoofyourcomposition.Arealisticvibratoisachievedwithintheinstrumentviaacombinationofpitchmodulationandtremolo.Ifyouwanttofine-tuneyourvibratofurther,thosecontrolscanbeeditedmanuallyinKontaktbyopeningtheplayer(i.e.,clickonthewrenchiconintheupperleftportionoftheinterface),butyouwillprobablyneverneedtodothis,especiallysincetherearemanynaturallyplayedvibratoarticulationsinthelibrarytocomplimenttheveryrealisticsoundingcontrolledmodulatedvibrato.

TheHumanizecontrolallowstheinstrumenttoslightlyrandomizethestarttimesofnoteswhentheyareplayed,whichcanhelpalleviateartificial-soundinghand-editedpartsthataretooperfect.Itloosensupatrackbyrandomlydelayingnotestarttimesbetween0andwhateversettingisselected.So,forexample,ifyouselect20ms,eachnoteisrandomlydelayedanywherefrom0to20milliseconds.Thesedelaysareautomaticallydisabledfortruelegatoarticulations,whereprecisestarttimesarerequiredtoproducerealisticsoundingtransitionsasonenoteconnectstothenext.

TheTonecontrolprovidesfourequalizationsettingstosettheoveralltoneoftheinstrument.


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1. Naturalplaysthesampleswithoutapplyinganyequalizationoffilters.YouwillwanttousethisortheFilteredsettingsifyouplantoapplyyourownequalization.

2. Filteredprovidesahigh-passfiltertoremovepotentialrumbleandahighfrequencycutofftoremovepotentialhiss.

3. Warmprovidesaslightboostinthe300Hzrangetoprovideawarmertonetotheinstrument.Itcanbeveryhelpfulforbigbandusagewherewoodwindinstrumentsneedtoblendtogether.Itcanalsobeusefulforballadsthatrequireasmoothertone.

4. Brightappliesaboostinthe1500Hzrangetoprovideabrightertonetotheinstrument.Itcanbeeffectiveforjazzandpopusagewherebrassandwoodwindinstrumentsneedtocutthroughthemix.

SelectingFiltered,Warm,orBrighttonesettingsalsoactivatesalow-passfrequencyfilterwithavariablefrequencycutoffthatbrightenstonesthatareplayedloudanddarkenstonesthatareplayedsoft.Thevariable-cutofffilterisactivatedbythevelocityforplayednotes,volume,andexpressioncontrollers.

SimulatedLegatocombinescross-fadingwithpitch-bendingtosmoothlyplaytransitionsfromonenotetoanotherinaslurredlegatomanner.Itisactivatedbyoverlappingsuccessivenotessothattheendofthefirstnoteoccursafterthestartofthenextnote.Thelegatotransitionbeginsatthestartofthesecondnote.Youwillprobablyfindyourselfusingsimulatedlegatoquiteoftenfornotetransitionsthatoccurbetweenexpressivearticulationsotherthantrue-legatoarticulations.Forsoloinstruments,youwillalwayswantsimulatedlegatoenabled.Ifyouchoosetoplaychords(i.e.,multipletonesplayedsimultaneouslywithinthesameinstrument),thenyoumustdisablesimulatedlegatointheSimLegatoSpeedcontrol(i.e.,setittoOff).Formaximumfunctionality,werecommendsettingupeachinstrumentasasoloinstrumentinitsowntrack.So,ifyouneedtohavetwoaltosaxesinyourcomposition,youwouldcreatetwotracks(perhapswithdifferentvoiceshiftingtoallowthemtoplayinunison),eachpotentiallypanneddifferently,andwiththeirowneffects.Simulatedlegatohasthreeuser-settablecontrols:

1. SimLegatoSpeed2. PortamentoType3. Max.PortStep.

SimLegatoSpeedcontrolsthedurationofthetimewindowwherethecross-fadingandportamentopitchbendingoccur.TheSimLegatoSpeedcontrolprovidesanOffoptiontocompletelydisablesimulatedlegato,whichaspreviouslymentioned,mustbeusedwhenplayingchordswithinthesameinstrument.EachSimLegatoSpeedsettingprovidestwovalues(inmilliseconds)thatdefinethesmallesttimeintervalandthelargesttimeintervalforthelegatotransitiontooccur.Toprovidearealisticlegatoeffect,timeintervalsareautomaticallyselectedbasedonhowfastsuccessivenotesareplayed.Thismeansthatfasternotetransitionscanhaveasmallertimeintervalthanslower(andsmoother)notetransitions.Transitiontimesarecomputedasthedurationofthefirstnotetothestartofthesecondnotedividedby4.Toputthisintocontext,aquarternoteinacompositionat120beatspersecondhasadurationof500milliseconds.Sixteenthnotesthereforehavea


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durationof125milliseconds.So,thecomputedlegatowindowforsixteenthnoteswouldbe31.25milliseconds.Minimumandmaximumtimewindowvaluescanbespecifiedtorangefrom20to100milliseconds.Windowsettingssuchas30-50millisecondstypicallyworkverywellformostcompositions.

ThePortamentoTypeusedduringsimulatedlegatocanbeusedtocontrolhowthepitchbendingoccurs.Asshownin Table2,pitchbendingcantakeonavarietyofshapesthatverysubtlyemphasizehowthetuningoccursduringthelegatotransition.Itcan(a)occurmorequicklyatthestart(orhead)ofthetransition,(b)inalinearmanner,or(c)besomewhatdelayedwiththemajorityofthetuningbetweennotesperformedatthetailendofthetransition.Theyallhaveslightlydifferentcharacteristicssoyouwillhavetoselectwhichoptionsoundsbestinyourcomposition.Notethatasyoumovefurtherawayfromlineartransitions,thetransitionitselfappearstobequickerbecausethetuningemphasisisplacedoneitherthehead(wherethefirstnotedominatesthecrossfade)ortail(wherethesecondnotedominatesthecrossfade).Forexample,theAcuteTailsettingoftenworksverywellforfastlegatopassages.

Table2:Portamentopitchcurvesdescribe thecontinual tuning thatoccursonbothnotesduring the legato transition.Assumingfullportamentotuning,thestartingpitchforbothnotesbeginsasthepitchofthefirstnote.AsthePortamentoCurvereachesavalueof1,thepitchforbothnotestransitionstothepitchofthesecondnote.

AcuteHead

ExtremeHead

ModerateHead

SlightHead

Linear

SlightTail

ModerateTail

ExtremeTail

AcuteTail

0

0.1

0.2

0.3

0.4

0.5

0.6

0.7

0.8

0.9

1

0 0.1 0.2 0.3 0.4 0.5 0.6 0.7 0.8 0.9 1

Porta

mentoCurve

SimulatedLegatoTime

0

0.1

0.2

0.3

0.4

0.5

0.6

0.7

0.8

0.9

1

0 0.1 0.2 0.3 0.4 0.5 0.6 0.7 0.8 0.9 1

Porta

mentoCurve

SimulatedLegatoTime

0

0.1

0.2

0.3

0.4

0.5

0.6

0.7

0.8

0.9

1

0 0.1 0.2 0.3 0.4 0.5 0.6 0.7 0.8 0.9 1

Porta

mentoCurve

SimulatedLegatoTime

0

0.1

0.2

0.3

0.4

0.5

0.6

0.7

0.8

0.9

1

0 0.1 0.2 0.3 0.4 0.5 0.6 0.7 0.8 0.9 1

Porta

mentoCurve

SimulatedLegatoTime

0

0.1

0.2

0.3

0.4

0.5

0.6

0.7

0.8

0.9

1

0 0.1 0.2 0.3 0.4 0.5 0.6 0.7 0.8 0.9 1

Porta

mentoCurve

SimulatedLegatoTime

0

0.1

0.2

0.3

0.4

0.5

0.6

0.7

0.8

0.9

1

0 0.1 0.2 0.3 0.4 0.5 0.6 0.7 0.8 0.9 1

Porta

mentoCurve

SimulatedLegatoTime

0

0.1

0.2

0.3

0.4

0.5

0.6

0.7

0.8

0.9

1

0 0.1 0.2 0.3 0.4 0.5 0.6 0.7 0.8 0.9 1

Porta

mentoCurve

SimulatedLegatoTime

0

0.1

0.2

0.3

0.4

0.5

0.6

0.7

0.8

0.9

1

0 0.1 0.2 0.3 0.4 0.5 0.6 0.7 0.8 0.9 1

Porta

mentoCurve

SimulatedLegatoTime

0

0.1

0.2

0.3

0.4

0.5

0.6

0.7

0.8

0.9

1

0 0.1 0.2 0.3 0.4 0.5 0.6 0.7 0.8 0.9 1

Porta

mentoCurve

SimulatedLegatoTime


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TheMaxPort.Stepallowsyoutocontrolthemaximumamountofpitchbendingthatcanoccurduringatransition.Iftoomuchpitchbendingisusedduringlargenoteintervals,transitionscansoundsomewhatsynthetic.Forexample,usingafull12-stepportamentoeffectforanoctavetransitionmightsoundveryunnatural.A2-stepportamentoeffectmightsoundmuchbetterthanthefull12-stepportamentoeffect.YoucanbypassthesettingintheKontaktinterfaceforindividualnotetransitionsthatrequirespecialconsiderationusinganexpressionkey,whichwillbediscussedlaterinthisuser’sguide.

ArticulationswiththewordChopintheirname(e.g.,growls,trills,breathy,etc.)weredesignedtobeusedwithsimulatedlegato,astheirnormalattackshavebeenchoppedofftosmoothoutthelegatotransition.Choppedarticulationsareautomaticallyselected(vs.theircounterpartarticulationsthathavenaturalattacks)whensimulatedlegatoisused.Truelegatocanbeusedwithoutoverlappingnotes.However,truelegatocombinesaspeciallytunedsimulatedlegatomechanismwithactualrecordedlegatotransitionstoachieveanextremelyrealisticslureffect.Feelfreeinyourcompositionstotrybothoverlappingnotesandnotoverlappingnoteswhenusingtruelegato.

TheLegatodialspecifiesthemaximumtimegapinmicrosecondsbetweensuccessivenotesrequiredforautomaticallytriggeringtruelegatoarticulationswhenselectedbytheirkeyswitches.Ifatimegaplongerthanthespecifiedamountoccursbetweensuccessivenotes,anormalsustainarticulationisusedforthesecondnoteinstead.ThisfeatureallowsliveplayingorevenElectronicWindInstruments(EWIs)tousetruelegatoarticulations.Unlikesomelibraries,thereisnorequirementtooverlapnoteswhentriggeringtruelegato.ThismakestheWarpIVPROWoodwindlibrariesmucheasiertouse,especiallywhenplayingliveandoverlappingnotesmaynotbeeasytodo.However,ifyoudooverlapnotestoactivatesimulatedlegato,truelegatocanactuallyworkevenbettertosmooththetransition.Theminimumtimegapis1millisecond,whichtranslatestoavery-quick0.001seconds,butitcanbeincreasedallthewayto1000milliseconds(i.e.,1second)toaccommodatelesspreciseliveplaying.Tominimizedelayartifactsthatarerequiredindeterminingifnotesareconnected,youshouldkeeptheLegatodialatitsdefault(5ms)settingifyouarehand-editingtracks.

TheReleasedialallowsyoutospecifytherelativevelocityof(a)defaultor(b)key-switchedreleases.Avalueof100%meansthatdefaultreleasesamplesareplayedatthesamevelocityasthecurrentlyplayednote.Automaticnotereleasescreatedbykeyswitchesusethevelocityofthereleasetriggerkeyswitchitselfmultipliedbythedialvaluetosetitsvelocity.Valueslessthan100%oftenprovideamoresubtleandsmoothersoundingrelease.Youwillwanttoexperimentwithwhatworksbestforyourtracks.Automaticreleasesresetthearticulationandbanksettingstoitspreviousvalueafterthereleaseisplayed,whichmeansthatyoudonotneedtoreselectthepreviousarticulationafterusinganautomaticreleasetrigger.Thismakestheuseofautomaticreleasetriggersmuchsimplertouseduringliveplaying.TheReleasedialdoesnotaffectmanuallyselectedreleasevelocitiestoprovidefullcontroloverhowthereleaseisplayed.


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LoadingandUnloadingArticulationsToreducememoryconsumption,WarpIVPROWoodwindinstrumentsallowyouto

loadand/orunloadspecificarticulations(i.e.,aspecificbankarticulationwithinanarticulationgroup),groupsofarticulations(i.e.,allbankarticulationswithinanarticulationgroup),orallarticulationsfortheinstrument.Thedefaultinstrumentcomeswithallarticulationsloaded.Youcantellwhicharticulationsareloadedbyselectingarticulationgroupandbankcombinations.TheLoadedbuttonisbrightwhenthespecificarticulationisloadedanddarkwhenthearticulationisnotloaded.

Tounloadallarticulations,selectthevalueUnloadAllfromtheArt.LoadTypemenuandclicktheLoadedbutton.Itshouldbecomedarkandremaindarknomatterwhatarticulationgroupandbankisselected.YoushouldalsoseethememoryusedbyKontaktgotozero.Toloadbackallarticulations,selectthevalueLoadAllfromtheArt.LoadTypemenuandclicktheLoadedbutton.Itshouldnowbecomewhiteforallarticulationandbankselectionschosen.ThememoryusedbyKontaktwillalsoincreasetotheinstrument’sfullvalue.Toloadorunloadaspecificarticulation,selectBankfromtheArt.LoadTypemenuandclicktheLoadedbutton.Ittogglesloadingandunloadingthespecificarticulationdenotedbythearticulationgroupandbank.Toloadorunloadallarticulationswithinaselectedarticulationgroup,selectArt.GroupfromtheArt.LoadTypemenuandclickLoaded.Ittogglesloadingandunloadingallbankarticulationswithintheselectedgroup.

ThearticulationsconsumingthelargestamountofmemoryaretheChrom,ChromPretty,andSmoothtruelegatos.Theyconsumenearly40%oftheinstrument’smemory.Eachnoteintheseexpressivearticulationshaveupto24samples,whichcanquicklyeatupmemory.Ifyouarenotusingtheseveryexpressivearticulations,youmightconsiderunloadingthemtofreeupmemoryforotherinstruments.Ontheotherhand,theFastandFastVibtruelegatosdonotconsumeverymuchmemoryatallbecausetheyarebasedonhalf-steplegatotransitions.YouwillprobablyusetheFastandFastViblegatosfrequentlyinyourtracks,astheygenerallysoundmorerealisticthansimulatedlegato.So,youwillalmostneverwanttounloadthosearticulations.

Tosavetime,ifyoufindyourselfrarelyusingcertainarticulations,youmightconsiderunloadingthosearticulationsandthensaveyourowncustominstruments.Butifyouhaveenoughmemoryonyourcomputer,itisprobablybesttokeepyourinstrumentsfullyloadedsothatallarticulationsareavailableatanytimeduringthemusic-makingcreativeprocess.

Controllers:PitchBend,ModWheel,Aftertouch,Expression,andVolume

Thepitchbendcontrollercanbeusedtobendpitchesupordownbyasmuchasawholetone.Themodwheelenablesaslightlydelayedvibratothathasbeenconfiguredtocombineamoderatetremolo(loudness)withpitch-basedmodulationatarealistic(butselectable)ratetoproduceaconvincingsound.ForadvancedKontaktusers,pitchbendandmodwheelparameterscanbedirectlychangedintheKontaktplayer.Tokeepthingsas


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simpleaspossible,themodwheelonlycontrolstheamountofvibratoused.Aftertouchprovidesanalternativewaytocontroltheamountofvibratousedwhilesustainingnotes.Theexpressionandvolumecontrollerscanbeusedtodynamicallycontrolthevolume(i.e.,loudness)andbrightnessofsounds,whichcouldbeveryusefulwhenaninstrumentisplayedwithfootpedals,breathcontrollers,orElectronicWindInstruments(EWIs).Alow-passfilterisappliedtoexpressionandvolumecontrollerstobrightenloudtonesanddarkensofttoneswhentheTonesettingiseitherFiltered,Warm,orBright.

ElectronicWindInstruments(EWIs)andWindControllers(WC)Electronicwindinstrumentsandwindcontrollersarespeciallysupportedbyselecting

theC#-2LegatoArt.GroupandthentheEWI/WC(F#)BankfromtheKontaktinstrumentinterface.ThislocksintheEWI/WCarticulationsothatkeyswitchesaccidentlyplayedbyanEWIorkeyboardaredisabled.Thismodealsolocksthevelocityofplayednotestoafixedvalueof100.Sustainsareplayedwhenthereisameasurabletimegap(seetheLegatodial)betweennotes.Otherwise,thefast-legatoarticulationisusedtosmoothlyconnectslurredpassagesinarealisticmanner.Theloudnessofeachtoneisdeterminedbyeitherthevolumeorexpressioncontrollers.Alow-passfilterisautomaticallyappliedtobrightenuploudtonesand/ordarkensofttonesduringplayingiftheselectedTonesettingontheKontaktinterfaceiseitherFiltered,Warm,orBright.

SpecialExpressionKeysWarpIVPROWoodwindinstrumentshaveagroupofspecialexpressionkeys(located

betweenstandardkeyswitchesandplayablenotes)thatcanoftencomeinhandyduringliveplayingand/orfineediting.Theirpurposeistocontrolavarietyofexpressivefunctionswithoutrequiringtheuseofcontrollers.Inthedefaultkeyswitchsetting(whichstartsatC-2),thesespecialkeysstartatD0.Likeallkeyswitches,theyshiftupanoctavewhentheArt.GroupRangeC-1toE0isselected.

D0andD#0disableandenableglobalvoiceshifting.Thiscanbeextremelyusefulwhenmultipletracksplaybothdifferentandunisonparts.TheideaisthatoneinstrumentsetsitsVoiceShiftingtoNormalwhiletheothersetsittosomethingelse(e.g.,HalfStepDownorUp).ByselectingD0whenthetwotracksplaydifferentnotes,whichdisablesVoiceShifting,eachtrackwouldusethenatural(andbestsounding)sampledsound.Butwhenthetwotracksplaythesamenote,D#0wouldbeselectedatthestartofthepassagesothateachtrackplaysadifferentsample.Thesetwokeysarelatchedinthesensethattheyretaintheirvaluesuntilchanged.So,afour-barunisonphraseonlyneedstoplayD#0atthestartofthephrase.Afterwards,D0wouldbeplayedtodisablevoiceshiftingandswitchbacktonormalbest-soundingvoicesforplayingphraseswithdifferentnotesineachinstrument.

E0andF0providemanual(upanddown)voiceshiftingtooccuronanote-by-notebasis,whichcanbeveryhelpfulinprovidingmultiplearticulationchoiceswhileeditingaphrase.Sometimes,thenaturallyplayedarticulationdoesn’tquiteworkrightinaphrase,butaneighboringsample(say,ahalfstepupordown)does.E0andF0allowyoutousedifferentrecordedversionsofthesamearticulation(playedonneighboringnotes)insuch


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cases.EachtimeanE0isplayed,itlowersthevoiceofthenextnotebyhalfastep.Similarly,eachtimeanF0isplayed,itraisesthevoiceofthenextnotebyhalfastep.Themanualvoiceshiftingisresetaftereachnoteisplayed,soyoudonotneedtoworryaboutitaffectingothernotesinapassage.

F#0andG0decreaseorincreasethevolume(i.e.,loudness)onaper-notebasis.So,whileanoteisbeingplayed,youcandecreaseorincreaseitsloudnessbyplayingF#0orG0asmanytimesasyouwant.TheamountofloudnesschangedisproportionaltothevelocityoftheF#0orG0played.YoucandirectlyseetheeffectofthesetwokeysonthevolumesliderthatisintheupperrightpartoftheKontaktinterface.Thesekeysallowyoutocreatedynamicallyexpressivepartswithouthavingtousecontrollers.Theinstrumentvolumeisresettoitsdefaultvaluewhenthenextnotestarts,soyoudonothavetoworryabouttheseexpressionkeysaffectingothernotesinapassage.

G#0andA0decreaseorincreasetheamountofvibrato(i.e.,modulationbasedonpitchandloudness)onaper-notebasis.So,asanoteisbeingplayed,youcandecreaseorincreaseitssimulatedvibrato.TheamountofmodulationisproportionaltothevelocityoftheG#0orA0played.YoucanhavemultipleG#0orA0notesoccurringwithinasustainednotetodynamicallyaffecttheamountofvibratousedasthenoteisplayed.Themodulationisresetwhenthenextnoteisplayed,soyoudonothavetoworryabouttheseexpressionkeysaffectingothernotesinapassage.

A#0temporarilysetsthemaximumnumberofstepsusedforportamentotuningduringsimulatedlegatotransitions.ThemaximumnumberofstepsiscomputedastheA#0velocity(whichrangesfrom1to127)dividedby10.Forexample,avelocityrangingfrom1-9producesamaximumnumberofstepsequalto0(i.e.,itisturnedoff);10-19producesamaximumnumberofstepsequalto1(halfstep),20-29producesavalueof2(wholestep),etc.Thiscanbehelpfulforhandlingnoteintervalsinlegatopassagesthatarelargeandwouldotherwisesoundsynthetic.Regardlessofhowmanyportamentotuninghalf-stepsareusedduringthetransition,crossfadingstilloccurstosmooththelegatotransition.ThisexpressionkeyautomaticallyresetstotheMaxPort.Stepsettingaftereachsimulatedlegatotransition,soyoudonothavetoworryaboutthisaffectingotherlegatonotesinapassage.

Finally,B0isastopkeythatturnsallnotesoff.Itcanbehelpfulwhenusingautomatickey-switchedreleasetriggerstostopplayingareleasethattakestoolongtocomplete.Itcanalsobeusedtojuststopanythingthatiscurrentlyplaying.Releasetriggers,suchasaFallRoughLong,normallyplaytheentirereleasesample.Youmightrunintosituationswhereyouneedtostopalongfalljustbeforethenextnoteisplayed.Otherwise,thephrasewouldnotsoundnatural(i.e.,afallcontinuingtobeplayedwhilethenextnotebegins).TheA#0expressionkeystopsallcurrentnotesthatarebeingplayed,butdoesnotaffectfuturenotes.

ConstructingStereoInstrumentsAsshowninFigure5,stereoinstrumentsareeasilyconstructedby(a)loadingtwo

identicalinstrumentsintoKontaktandthen(b)applyingthefollowingsettings.


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Figure5:Creatingastereoinstrument.


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1. Panthetopinstrumenthardleftandthenpanthebottominstrumenthardright.ThepancontrolislocatedrightundertheTuneknobnearthetopoftheinstrument.

2. ModifythebottominstrumentVoiceShiftingtoanythingotherthanNatural.ProbablythebestchoicesareeitherHalfStepUporHalfStepDown.

3. Selectanon-zerovalueforHumanizeononeoftheinstrumentssothatthenotesplayedbyeachinstrumentarenotperfectlysynchronized.

4. MakesurethatthesecondinstrumentMidiCh:settingisthesameasthefirstinstrument(i.e.,setitto[A]1)sothatbothinstrumentsusethesameMIDIinputchannel.Thatway,bothinstrumentswillplaytogetheronthesametrack.

Youshouldnowheartwodifferentsamplesactivatedforeverynoteplayed,therebycreatingaconvincingstereoinstrumenteffect.

ExampleofaTrackFigure6illustrateshowtheWarpIVPROWoodwindinstrumentsmightbeusedina

musicalcomposition.

Figure6:AnexampleofanaltosaxtrackinCubase.

Thefirstimportantthingtonoticeisthekeyswitchandbanksettings(i.e.,whenoneortwonon-musicalnotesonthelowerpartofthekeyboardareplayedsimultaneously),whichareusedtospecifythearticulationforthemusicalnotesplayedintheupperpartofthekeyboard.Second,noticethereleasetriggers(articulationgroupactivatedbykeyswitchE-1anditsbankofoptions)thatareusedtoapplyanexpressiveending(suchasaFallorUmph)toanote.Thethirdthingtonoticeishowsomeofthenotesoverlap,which


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activatesthesimulatedlegatocapabilities.KeyswitcheswherethelownoteisC#-2activatetruelegatoarticulations.Thevelocitiesareshowninthelowercontrollerlane.Also,noticetheexpressionkeysbeingusedinafewplacestocontrolvolumeduringthephrase.

ArticulationsTheextensivelistofarticulationsprovidedbytheWarpIVPROWoodwindlibrariesare

summarizedinTable3.Remember,thearticulationsareselectedbysimultaneouslyplayingthearticulationgroupandbankkeyswitchestogether.Thefirstarticulationinagroup(i.e.,bank0)requiresonlyplayingthesinglearticulationgroupkeyswitch.

Table3:ArticulationList.

E-1 AutoRelease

Bank8(C-1)–DoitBank7(B-1)–Rip2Bank6(A#-1)–Rip1Bank5(A-1)–FallSmoothShortBank4(G#-1)–FallSmoothLongBank3(G-1)–FallRoughShortBank2(F#-1)–FallRoughLongBank1(F-1)–UmphBank0(N/A)–Keyclicks

D#-1 ManualRelease

Bank8(B-1)–DoitBank7(A#-1)–Rip2Bank6(A-1)–Rip1Bank5(G#-1)–FallSmoothShortBank4(G-1)–FallSmoothLongBank3(F#-1)–FallRoughShortBank2(F-1)–FallRoughLongBank1(E-1)–UmphBank0(N/A)–Keyclicks

D-1 UpDown

Bank6(G#-1)–ScaledownBank5(G-1)–UpdowntransitionBank4(F#-1)–UpdownchromaticBank3(F-1)–UpdownsmoothlongBank2(E-1)–UpdownsmoothshortBank1(D#-1)–UpdownroughlongBank0(N/A)–Updownroughshort

C#-1 Trill

Bank6(G-1)–MinorthirdwithdynamiccrescendoBank5(F#-1)–WholestepwithdynamiccrescendoBank4(F-1)–HalfstepwithdynamiccrescendoBank3(E-1)–Wholestepwithchoppedattack(forusewithsimulatedlegato)Bank2(D#-1)–WholesteplongBank1(D-1)–Halfstepwithchoppedattack(forusewithsimulatedlegato)Bank0(N/A)–Halfsteplong

C-1 Crescendo

Bank9(A-1)–CrescendoverylongwithvibratoBank8(G#-1)–CrescendolongwithvibratoBank7(G-1)–CrescendoMediumwithvibratoBank6(F#-1)–CrescendoshortwithvibratoBank5(F-1)–CrescendoveryshortwithvibratoBank4(E-1)–CrescendoverylongBank3(D#-1)–CrescendolongBank2(D-1)–CrescendoMediumBank1(C#-1)–CrescendoshortBank0(N/A)–Crescendoveryshort

B-2 Swell Bank9(G#-1)–Swellverylongwithvibrato


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Bank8(G-1)–SwelllongwithvibratoBank7(F#-1)–SwellMediumwithvibratoBank6(F-1)–SwellshortwithvibratoBank5(E-1)–SwellveryshortwithvibratoBank4(D#-1)–SwellverylongBank3(D-1)–SwelllongBank2(C#-1)–SwellMediumBank1(C-1)–SwellshortBank0(N/A)–Swellveryshort

A#-2 Octave

Bank5(D#-1)–SmoothslidedownBank4(D-1)–ChromaticdownprettywithvibratoBank3(C#-1)–ChromaticdownBank2(C-1)–SmoothslideupBank1(B-2)–ChromaticupprettywithvibratoBank0(N/A)–Chromaticup

A-2 Growl

Bank3(D-1)–BendUpMultiphonics(fluteonly)Bank3(C#-1)–MultiPhonicsChop(fluteonly)Bank3(C-1)–MultiPhonicsBank2(B-2)–GrowlwithbenduponattackBank1(A#-2)–Growlwithchoppedattack(forusewithsimulatedlegato)Bank0(N/A)–Normalgrowl

G#-2 RipBank2(A#-2)–Doit(up)Bank1(A-2)–Rip2(updown)Bank0(N/A)–Rip1(updown)

G-2 Bend Bank1(G#-2)–BenddownwithtwodynamiclevelsBank0(N/A)–Benddownandupwithtwodynamiclevels

F#-2 Fall

Bank4(A#-2)–SmoothshortBank3(A-2)–SmoothLongBank2(G#-2)–RoughshortBank1(G-2)–RoughlongBank0(N/A)–Umph

F-2 RiseBank2(G-2)-LongBank1(F#-2)-MediumBank0(N/A)–Short

E-2 Grace

Bank5(A-2)–WholestepmordentBank4(G#-2)–HalfstepmordentBank3(G-2)–SlurupBank2(F#-2)–WholestepwithshortsustainandtwodynamiclevelsBank1(F-2)–HalfstepwithshortsustainandtwodynamiclevelsBank0(N/A)–Halfstepwithlongsustain

D#-2 Turn Bank1(E-2)–ShortwithbigvibratoBank0(N/A)–Shortwithsmallvibrato

D-2 StaccatoBank2(E-2)–Legato(softattack)Bank1(D#-2)–LongwithtwodynamiclevelsBank0(N/A)–Shortwith4-wayround-robinandthreedynamiclevels

C#-2 Legato

Bank5(F#-2)–EWI/WC(electronicwindinstrumentsandwindcontrollers)Bank4(F-2)–SmoothBank3(E-2)–Chromaticpretty(withvibrato)Bank2(D#-2)–ChromaticBank1(D-2)–FastlegatowithvibratoBank0(N/A)–Fastlegato

C-2 Sustains

Bank6(F#-2)–Breathywithchoppedattack(forusewithsimulatedlegato)Bank5(F-2)–BreathyBank4(E-2)–MarcatowithtwodynamicsBank3(D#-2)–HeavyvibratodelayedBank2(D-2)–HeavyvibratoBank1(C#-2)–vibratowiththreedynamiclevelsBank0(N/A)–Sustainswithfourdynamiclevels


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WarpIVContactInformationPleasefeelfreetocontactJeffSteinmanatWarpIVMusicProductionifyouhaveany

questionsorissuesworkingwiththeWarpIVPROWoodwindlibraries.Wewilldoourbesttoprovidepersonal,prompt,andhelpfulservice.

v JeffreyS.Steinman,Ph.D.v President&CEOWarpIVMusicProductionv 5230CarrollCanyonRoad,Suite306v SanDiego,CA92121v [email protected] www.warpivmusic.comv (858)605-1646