Roland Junoutyuty

8/20/2019 Roland Junoutyuty

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INTRODUCTIONThank you for purchasing ‘You Know 6’.

It’s a - kind of - recreation of a well-known 80s DCO polysynth but with a twist!

ABOUT YOU KNOW‘You Know’ uses samples from the aforementioned famous DCO polysynth fromthe 80s. There’s a bank sampled with the legendary chorus unit and anotherwithout so the best of both worlds. But we’ve added some quirky additions thattake this well-worn formula into different sonic areas…

Detune between the various waveforms, multi-wave LFO, 12/24dB lowpassfilter, two ADSR envelopes and more.

I don’t make any claims that this is a totally authentic recreation of the originalbut it makes some truly epic sounds with a GUI that invokes the spirit of theoriginal and its simple and clear user interface.

Stephen Howell, December, 2012


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INSTALLATIONNo special installation is required. Once the .ZIP is downloaded, unzip it (if itdoesn’t unzip automatically), open up the folder, open the ‘Instruments’ folder

and double click on You Know 6.nki or any of the other program variations inthe PRESETS folder.

‘You Know’ requires Kontakt 4.2.4 (or higher including K5) and uses newfunctionality introduced in this version such that all the graphics components,etc., are wrapped up in new ‘Resource Containers’. The only caveat is thatthese must be in the same folder as the instruments and samples…

Unless you really know what you are doing, it is unwise and not recommendedto move anything out of this folder (apart from ‘Documentation’ perhaps …although what’s the point?) to different locations.

As long as everything is kept together in the same folder, the library is fairly‘portable’ and you can place it where you want … in with your other Hollow Sunor 3 rd party library or in with the rest of the Kontakt library, whatever.


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CONTROL PANEL

The vaguely familiar panel provides all the main functions and they are …

ARPEGGIOThis offers a fairly standard arpeggiator. The controls are fairlystraightforward…

ON/OFF Switches the arpeggiator on and off.

HOLD Allows you to ‘latch’ the arpeggiator so that it will continuewithout you having to hold the chord down.

RANGE Sets the octave range for the arpeggiator. 1 = 1 octave, 2 = 2octaves and 3 = 3 octaves.

MODE Select from up, up and down and down to set the direction ofthe arpeggiator.

RATE Sets the speed of the arpeggiator when MIDI SYNC is OFF.When unsynced (see below), the rate is modelled on the

original – 1.5Hz – 50Hz.

MIDI SYNC Allows you to synchronise the arpeggiator to incoming MIDIclock. You can use the drop down or the RATE slider to setthe clock division.


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BENDSets the pitch bend range and also the amount of pitch bend controller to theVCF

LFOA straightforward low frequency oscillator that services pitch and filter and offerssome extras that the original’s didn’t…

RATE Sets the speed of the LFO. The rate is modelled on theoriginal – 0.3Hz-20Hz.

DELAY Sets a delay before the onset of the LFO effect.

WAVE Selects the LFO waveform – triangle, sawtooth, square andrandom/S&H.

VIA Selects the route the LFO takes to get to its destination…

DIR Direct. LFO is permanently ‘on’

MW Wheel. LFO depth is controlled by the modwheel

AT Aftertouch. LFO depth is controlled by after touchpressure.

TRG Trigger switch. Emulates the original’s big white button.This expects MIDI CC #29 to simulate the effect of theoriginal’s LFO button (greater than or equal to 64 totrigger the start of LFO modulation; less than 64 to stopit). With this selected, if you hold a note, then trigger theLFO with delay, it will work, but if you continue holding akey, release the trigger, then trigger again, the LFO willbe at full amplitude. The delay will happen only after anew key press, and cannot be retriggered in TRGmode.


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DCO

This is a variation on the original’s oscillator – in fact, apart from cosmeticsimilarities, it’s quite a different beast. The controls are…

DETUNE When more than one waveform is selected (see below), thiscontrol detunes them against each other. On the original, thewaveforms were phase locked and so, arguably, a little thin(so the original relied very much on the built-in chorus unit).On this, however, you can detune the waveforms againsteach other to create a ‘fatter’ (‘phatter’? How I loathe thatword!!) sound – in fact, some very big and lush sounds can becreated with this simple control.

LFO Sets the depth of pitch modulation by the LFO. The range is+/-1 octave.

WAVEFORMS These ‘look’ like the originals but are quite different. Click thebuttons to select/de-select them. Several can be selectedsimultaneously of course. They are…

PWM Pulse width modulation. Unlike the original, the rateof the PWM cannot be changed so we have chosena sensible and commonly used rate and depth whensampling it (not too fast or slow, not too extreme).

SQR A symmetrical square wave.

SAW A sawtooth wave.

SUB Introduces a symmetrical square wave an octavedown to add some depth. Great for bass sounds.

NOISE White noise.


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Below the waveform select switches are small rotary controls which allow you toset the levels for each waveform. These are enormously useful for balancingthe waveforms (and sadly lacking on the original).

But it doesn’t end there!

We have sampled two banks of waveforms. One bank contains the ‘raw’samples whilst the other contains samples of the original’s waveforms with theoriginal’s chorus unit switched on. The banks are selected using the WAVEbutton…

When RAW is selected, the LEDs above the waveform select buttons are red…

And when CHORUS is selected, the LEDs are yellow…

NOTES ON USING THE WAVEFORMSBecause of the extra flexibility on offer here, it’s not a simple question ofswitching waveforms on and off as on the original.

You can use the ‘raw’ waveforms for something approaching the original moreclosely except that you can balance the different waveforms and use theDETUNE control to create a thicker sound.

You can also use the chorused waveforms for truly big sounds, especially whenDETUNE is used – in fact, with all the waveforms on full tilt and some heftydetune, it should carry a health warning!!


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Some purists will argue that sampling the chorused waveforms is unnaturalbecause every note will have chorus rather than all voices being summed andpassed to a single chorus unit. Well, this is true I suppose but frankly, I don’tcare – it sounds great and able to create some wonderfully lush and spacioussounds that quite bely their modest origin.

But anyway, moving on…

HPF

The waveforms pass to a simple, static highpass filter. This can be used toremove low frequency components and make the sound thinner. This mightseems daft in a world obsessed with big rumbling basses, sub-basses and‘pHatT’ (there’s that word again … groan) pads, etc., but it CAN be very usefulsometimes to thin a sound out to either make a more delicate sound or to

prevent conflicts with other instruments in the mix.There’s just one control - FREQ - the further you increase it, the more LF isremoved until, at maximum, the sound is very thin (in some cases, candisappear altogether so watch that!).

VCF

This a lowpass filter. Obviously, it’s not ‘voltage controlled’ (just using thelabelling from the original) but it behaves like a voltage controlled filter. Thecontrols are…

FREQ Sets the cutoff frequency of the filter.

As the control is moved downwards, upper harmonics are removed and thesound becomes more muted.


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RES This boosts the area around the cutoff frequency and has theeffect of emphasising harmonics

TYPE Selects a 12dB/Octave or 24dB/Octave response slope. The12dB/Octave (also known as a 2-pole filter) has a slightly‘fizzy’ while the 24dB/Octave (also known as a 4-pole filter) is‘punchier’. Use either as appropriate.

ENV2 Sets the amount of modulation by Envelope 2 (see later). It’s abi-polar control which allows you to set positive and negativegoing modulation.

LFO Sets the amount of modulation by the LFO. It’s a bi-polarcontrol that allows you to set positive and negative goingmodulation.

KEYB Sets the amount of keyboard tracking. This is usually set to apositive amount but can be set negatively for special effects.

VEL Sets the amount that velocity will control filter cutoff. Again,normally set positive but can be set negatively so that hardstrikes make the sound more muted.

ENV

This is another departure and, in my opinion, a major improvement over theoriginal in that two envelopes are available rather than just the one on theoriginal. This allows for far greater flexibility.


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The controls are…

ENV1/ENV2 This switch selects between Envelope 1 and Envelope 2.

A(ttack) Sets the attack time of the selected envelope. The times aremodelled on the original – 1ms to 3s

D(ecay) Sets the time it takes for the selected envelope to die away tothe sustain level. Again, the times are based on the original –2ms to 12s

S(ustain) Sets the level at which sustained notes will sound.

R(elease) Sets the time it takes for the sound to die away after you takeyour fingers off the keyboard. The times are modelled on the

original – 2ms to 12s

SHAPE Although not labelled as such, this allows you (as on theoriginal) to switch between the ADSR times set for theselected envelope and a simple organ-style ‘on/off’ envelope.

This was necessary on the original and a clever way toovercome the limitation of having only one envelope but onthis, it’s a handy convenience.

VCA

This allows you to set velocity sensitivity for the instrument. Simple really – thehigher the value, the more sensitive the instrument is to velocity. At zero, thesound is not velocity sensitive (like the original).


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CHORUS

We’ve already seen the purpose of the WAVE switch. The other two switchesselect two different types of chorus – one mild, the other a bit stronger and theycan be used together to create a stronger chorus effect (like the original).

CAVEAT

We make no pretence that the chorus effect in Kontakt is anything like thatfound on the original. It’s a very good chorus but – sorry, NI – it can’tcompare with the crusty, analogue ‘bucket brigade’ chorus used on theoriginal. And let’s face it, that Japanese manufacturer really had choruseffects nailed – they pretty much created it with their CE1 pedal in 1976…

And then with the CE2, the Jazz Chorus amps and, of course, their synths.

We make no apologies for our implementation – it’s close but, as they say,

no cigar!


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MULTI-FX

This is arranged as a chain of ‘stomp boxes’, namely …

FLANGER > PHASER > ROTATOR > DELAY > REVERB. In turn…

FLANGERA simple flanger with RATE and AMOUNT. Rate sets the speed and AMOUNTsets the depth of the effect. FEEDBACK accentuates the effect. The effect canbe switched on and off by clicking the ‘baseplate’.

PHASERA phase shifter with RATE and AMOUNT. Rate sets the speed and AMOUNTsets the depth of the effect. FEEDBACK accentuates the effect. The effect canbe switched on and off by clicking the ‘baseplate’.

ROTATORA rotary cabinet simulator. BALANCE sets the, ermmm, balance between low

and high frequencies while AMOUNT sets the depth and width of the effects.The horizontal switch allows you to switch between fast and slow. Note thatwhen switched, the inertia of the rotary cabinet is maintained so that the speeds

gradually speed up and slow down as on an actual rotary cabinet. The effectcan be switched on and off by clicking the ‘baseplate’.


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DELAYAn echo ‘pedal’. TIME sets the delay/echo time and AMOUNT sets the depth ofthe effect. FEEDBACK sets the amount of repeat echoes.

The LED in the middle…

… allows you to switch between mono and stereo echo/delay.

The effect can be switched on and off by clicking the ‘baseplate’.

REVERBThis is a convolution reverb with three impulses - spring, plate and hall (SPR,PLT and HALL) - selected from the slider switch…

SIZE allows you to increase of decrease the size and density of the selectedreverb impulse (counter clockwise, shorter; fully clockwise, longer) whileAMOUNT sets the amount of reverb applied.

The effect can be switched on and off by clicking the ‘baseplate’.

NOTES ON USING THE EFFECTS

As you add effects and set certain controls , there can be an increase in gain

(level) which could, under certain circumstances, give rise to distortion. Inthis event, you should back off the levels on the waveforms or, for a quick fix,back off the master level slider in the top panel.


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SAVING SOUNDSYou can save your own sounds simply using Kontakt’s normal SAVE function tosave .NKIs.

PRESETSIn the PRESETS folder (in INSTRUMENTS), you will find some program/NKIvariations that should help to give you a taste of what’s possible with ‘YouKnow’. It’s not an extensive collection by any means but should give you aflavour of the possibilities. Feel free to us these as the basis for your ownsounds.


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SOME CAVEATSWhen using ‘You Know’, there are a few things to be aware of.

Some aspects of Kontakt’s operation are not strictly real-time. For example, ifyou play and hold a note and adjust envelope parameters, you won’t hear thechanges until you play another note. There are other parameters that behavethis way where new settings only become active when a new note is played.

When selecting some reverb types, there can sometimes be a brief delay as thenew impulse is loaded. This is typically only when selecting the very longreverbs.

There are other aspects of operation that aren’t exactly real-time either.


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MIDI LEARNYou can map the effects controls to your MIDI controller using the MIDI ‘learn’function…

Right click (or, if using a single button mouse on a Mac, hold the CMD key andclick) on a control. Click on ‘Learn MIDI CC# Automation’ (it will highlight inorange) and move the appropriate control on your controller. Job done!

If you change your mind, repeat the above and you’ll see a contextual menuwhich adds a ‘cancel’ function. Click on that to remove the automation.

RESETTING CONTROLSIf you tweak a control and want to reset it to its default, on a Mac, press andhold the ‘Apple key’ when you click on the control; on a PC, press and hold theCTRL key when you click on a control. The control will reset to its default value.

HELP TEXTIf INFO is enabled in Kontakt…

When you hover over a control, a simple description of its function is shown inthe info bar at the bottom of the Kontakt window…


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The small print…

Once you have bought and downloaded HS products, they are yours to use asyou wish and you have an unlimited license to use the sounds within anymusical production you are involved in. If you have several computers orsamplers, you are free to copy your purchase to use on those. However...

WHAT YOU DO FOR YOUR OWN PRIVATE USE WITH THE SAMPLESCONTAINED WITHIN THIS PRODUCT IS NO CONCERN OF MINE.

HOWEVER…

HOLLOW SUN SOUNDS/SAMPLES CANNOT BE USED IN ANYCOMMERCIAL PRODUCT (HARDWARE OR SOFTWARE) AND/ORSOUND LIBRARY.

YOU CANNOT GIVE COPIES TO YOUR FRIENDS, COLLEAGUES,BAND MEMBERS, COLLABORATORS, ETC.. THESE PRODUCTS ARELICENSED TO YOU FOR YOUR USE AND YOUR USE ALONE. IF APROJECT REQUIRES THAT YOUR COLLABORATORS REQUIRE THESOUNDS, THEY SHOULD BUY THEM.

YOU CANNOT RE-DISTRIBUTE FOR FREE OR SELL HOLLOW SUNPRODUCTS. NEITHER CAN YOU CONVERT THEM TO SOME OTHERFORMAT IN ORDER TO RE-DISTRIBUTE OR SELL THEM.

SORRY, BUT DOING THE WORK TO CONVERT THEM TO (SAY)SOUNDFONT FORMAT, WHATEVER, DOES NOT GIVE YOU THE RIGHTTO RE-DISTRIBUTE/SELL THEM IN THAT FORMAT!!

YOU CAN, HOWEVER, MAKE THE NKI PROGRAMS AVAILABLE TOOTHER USERS IF THIS PRODUCT BUT YOU MUST NOT INCLUDE THESAMPLES, ONLY THE NKI.

HOLLOW SUN WILL FOLLOW UP ANY CONTRAVENTIONS TO THEFULL EXTENT OF THE LAW TO PROTECT ITS COPYRIGHT.

PLEASE RESPECT MY COPYRIGHT AND THE WORK THAT HAS GONEINTO THE CREATION AND PRODUCTION OF THESE SOUNDS.SUPPORTING HOLLOW SUN HONESTLY ENSURES THE FUTUREDEVELOPMENT OF OTHER PRODUCTS.

THANK YOU.


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USING THIS WITH THE FREE KONTAKT PLAYERYou CAN use Hollow Sun sound library with the free Kontakt Player and it willplay and work perfectly but with the following restrictions:

• There is a time limit. This varies according to the version of the Playeryou have but is typically 10-15 minutes before it shuts down.

• You can edit the sounds to your requirements exactly as though you havea full working copy of Kontakt but you cannot save any edits or tweaksyou make.

• When the Player times out, you can restart it immediately and continue(although you will, of course, have to reload everything).

To enjoy Hollow Sun’s sound library to its full, it is recommended you buy a fullversion of Kontakt.

All company/trade/brand names shown or implied in this guide are the propertyof their respective owners.

Copyright HOLLOW SUN ©

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Roland Junoutyuty