SPITFIRE AUDIO
OACE
Ólafur Arnalds Chamber Evolutions
USER MANUAL
PAGE 2 OACE - USER MANUAL
CONGRATULATIONS
Thank you for purchasing Ólafur Arnalds Chamber Evolutions. We join forces with BAFTA-winning composer Ólafur Arnalds
(Broadchurch, Kiasmos, Erased Tapes) to record an all-star ensemble performing his latest set of awe-inspiring evolutions. Based in
Reykjavík, Iceland, Ólafur’s approach to sound and composition has inspired a new generation to enjoy and create orchestral music,
and following the success of his own Spitre libraries and our Symphonic Strings Evolutions, he became the obvious choice to
create Chamber Evolutions. Here, the 4,3,3,3,3 ensemble of British players (Violin I + II, Viola, Cello, Double Bass) led by long-term
collaborator Viktor Orri Árnason perform a range of fragile yet warm beautifully evolving phrases, recorded at the world-famous
Hall in Air Studios (London).
With our Evo Grid technology, this library makes it easy to create sophisticated chamber strings music from the most simplistic of
arrangements - just a few sustained notes is all you need to write inspiring dynamic textures.
We also introduce here Waves: a brand new innovation featuring notes that move along a wave-like dynamic arc, appearing from
nothing, swelling, and then dying away again to nothing. These are accessible via our classic interface, in various styles and lengths.
• 15156 samples
• 30.5 GB Uncompressed WAV
• 19.4 GB Disk space required
• 38.8 GB Disk space required during install
• NKS ready
• Compatible with Native Instruments hardware
• Free Kontakt Player Included
• New intuitive GUI with inline help
• Essential microphones (CTA)
• Detailed sampling:
- Multiple Instruments
- Multiple Evolutions
- Multiple dynamics
- Release Triggers
Table Of Contents
CONGRATULATIONS 2
WELCOME 3
DOWNLOADING & INSTALLING 4
NATIVE INSTRUMENTS KONTAKT 5
FOLDER STRUCTURE 6
THE EVO GRID 7
WAVES AND INDIVIDUAL EVOLUTIONS 9
THE ‘GENERAL OVERVIEW’ PANEL 10
THE EXPERT VIEW 11
APPENDIX A - RECOMMENDED TECH SPECS 15
APPENDIX B - KONTAKT vs KONTAKT PLAYER 15
APPENDIX C - PRESET/ARTICULATION LIST 16
APPENDIX D - MIC & MIX ACRONYMS 17
APPENDIX E - UACC 18
APPENDIX F - FAQS & TROUBLESHOOTING 19
Quick Specs
PAGE 3OACE - USER MANUAL
WELCOME
CHAMBER ENSEMBLE
Following the release of the Symphonic Strings Evolutions, Spit-
re were keen to explore what was possible with a chamber
ensemble - this became the motivation to recruit Olafur as a
collaborator and the results are truly exceptional. Capturing the
detail of individual players, the library has a greater intimacy
than its symphonic sibling, yet with enough oomph to hold its
own in scores and compositions.
As with his rst Evolutions product, Ólafur worked closely with
long-time violinist and ‘partner in sound’ Viktor Orri Árnason,
who led the ensemble made up of 16 of the best British players.
THE HALL
As with many Spitre libraries, we returned to the iconic Hall at
Air Studios. Scores such as Dunkirk, The Beauty and the Beast,
Wonder Woman and Paddington 2 were recorded there recent-
ly, as well as classics such as Harry Potter and the Philosopher’s
Stone, The Dark Knight and Gladiator. We captured the ensem-
ble with several mics/mixes: Close, Stereo Pair, Tree and Ambi-
ent, enlisting only the best classic high-end microphones and
pres - all piped through the one-of-a-kind Neve console to Pro
Tools and ¼” tape.
“You can feel the history. There’s something special and the play-
ers can hear it and feel it.” Ólafur Arnalds
EVOLUTIONS, ENHANCED
Described by Olafur as “a sample you can play for 3 minutes
that’ll never sound the same”, evolutions have become widely
adopted amongst the composer community as the most effec-
tive means of easily writing music that is able to subtly change
over time without variation in melodic content. Further to that,
the ability to generate randomised evolutions allow unexpected
results that are inspirational in their own right.
This library features two new evolutions innovations courtesy
of Ólafur:
Feathering - so that only half of the players are performing at
any one time. This allows you to play different chords and still
hear the detail of players.
Waves - one of Ólafur’s signature sounds are crescendo-dimin-
uendos, and in order to save having to manual draw-in or per-
form with a fader, a range of pre-recorded “Waves” have been
recorded for instant satisfaction.
THE EVO PROCESS
1. Orchestrate a series of Evos (very long notes that change
over time).
2. Record these from low in the register to high up.
3. Repeat this for the different Evos.
4. Each Evo is placed in one column of the Evo Grid, with each
row representing a pitch range (i.e. x = Evo, y = Pitch Range).
5. Select which Evo sits in which range by activating ‘pegs’ on the
Evo Grid (so that when a note is performed or programmed, it
triggers the Evos pegged into that range)
6. You needn’t select pegs yourself - randomise with the dice
function that gives you several criteria to play with.
7. Make sure you save as there are a near innite number of
possible combinations
PAGE 4 OACE - USER MANUAL
When you launch the app you will be prompted to login using
the same details you use at our site. Then you’ll see your avail-
able downloads:
Once you have selected what you wish to download on the left
pane and clicked the ‘download’ button you will have the option
to select a location.
A default location will be generated but you’ll most likely want
to change this. Here’s how! Click on the two little vertical arrow-
heads to the right of the default location. You will be presented
with the following options, and you’ll want to click ‘CHOOSE’.
Once you’ve selected the location you can proceed with the
download. NOTE THAT THE DOWNLOADER WILL CREATE
A SUB-FOLDER FOR YOUR LIBRARY IN THE LOCATION SE-
LECTED. This is important: if you have a multi part library, or an
update, it means that the Library Manager app will look INSIDE
the selected location for your library folder. If it’s not there,
it will create a new library folder. So, if you mistakenly select
the actual library folder itself, when adding content or doing an
update, instead of the location (one folder level up) that CON-
TAINS this library folder, you’ll end up with a nested mess!!
TOP TIP: You will need approx TWICE the amount of hard drive
space as the library uses (see the product page on our site for this
info) to download: this is because the zip les are all downloaded, and
then unzipped. This process takes a while so don’t panic if it looks
like it’s frozen!
TOP TIP 2: If you get in a total mess you can reset the download
of either the whole library or just the latest update from the ‘Library’
menu of the app. This is limited to a couple of downloads so please
only do this if you actually need to.
Thank you for buying this Spitre product. If you are a total newbie to this kind of thing you can get up to speed here:
http://www.spitreaudio.com/info/basics/
First though, grab our ‘Library Manager’ app from this link: http://www.spitreaudio.com/info/library-manager/
This app will enable you to download the library
DOWNLOADING & INSTALLING
PAGE 5OACE - USER MANUAL
If you’ve never used one of our libraries before and you don’t own a copy of Native Instruments Kontakt, you’ll need to down-
load the free “Kontakt Player” here:
https://www.native-instruments.com/en/products/komplete/samplers/kontakt-5/downloads/
NATIVE INSTRUMENTS KONTAKT
If you’d like to nd out more about the differences between
Kontakt and Kontakt Player (we know, very confusing!) go to
Appendix B.
If you’d also like to know what we recommend as an optimal set
up please go to Appendix A.
1. Install Kontakt Player and Native Access (skip this step if you
already have them)
2. Open the player (or Kontakt 5 full version if you have that)
and click ‘manage libraries’ in the library browser window:
3. Native Access will open and you will need to log in or create
an account if you do not have one already.
4. Click on “Add a serial” and you will be promted to enter the
serial number in this format:
xxxxx-xxxxx-xxxxx-xxxxx-xxxxx
...This can be found in your ‘ready to download’ email.
6. Once you have added this you will be asked to browse to
the folder containing the library. Click on “BROWSE” to direct
Kontakt to the correct location.
7. Navigate to and select the Ólafur Arnalds Chamber Evolu-
tions library” folder.
8. Click on “Install” and your library is authorised. If the library
does not add to the libraries pane or disappears when you re-
open Kontakt, see Appendix F - Troubleshooting and common
problems
If you have never used Kontakt before we wholeheartedly rec-
ommend that you familiarise yourself with the basics of patch
(or instrument) loading, multi management, outputting and midi
routing detailed in the Kontakt user manual and native instru-
ments website:
https://www.native-instruments.com/en/products/komplete/sam-
plers/kontakt-5/downloads/
If you are an established Kontakt user please make sure you
absolutely have the latest version of it downloaded via NATIVE
ACCESS. Our libraries are frequently updated and often simply
won’t work on any previous versions. We cannot describe the
multitude of painful symptoms you will experience if you don’t
do this!
For more information about NKS and integration with Native
Instruments hardware controllers and keyboards please check-
out their online instructions:
https://www.native-instruments.com/en/specials/komplete/nks/
PAGE 6 OACE - USER MANUAL
FOLDER STRUCTURE
If you click the ‘Instruments’ bar to expand it you will see that
there are four patches: “Basses Grid”, “Basses Waves”, “Cham-
ber Grid” and “Chamber Waves” and an advanced folder.
The “Grid” patches contain the Evo Grid which is discussed on
the next page, the “Waves” patches are in our standard GUI and
are discussed in the “Waves” Chapter on page 9
In the Advanced folder there are three more folders:
Individual Evolutions - All of the separate sounds available in
our standard GUI
Individual Waves - All of the waves articulations available in
separate patches
Other Patches - This folder contains “Time Machine” patches
for the waves articulations allowing you to sync up the wave
with the tempo of your DAW
OPENING YOUR FIRST INSTRUMENT.
Double click an ‘nki’ le (this is Native Instruments’ le extension for a Kontakt instrument) to load, or indeed drag the instrument
(it’ll have the little keyboard icon and the sufx .nki) from the left pane into the right pane.
If you can’t hear anything double check rst that the MIDI channel you are transmitting on with your keyboard is the same as the
one in the Kontakt Instrument!
1. 2. 3. 4. 5.
6. 8. 9.7.
PAGE 7OACE - USER MANUAL
THE EVO GRID
1. The Grid or Pegboard
This is where all the action happens. A great way to instantly
create your own sets of string and warped Evos. The pegs be-
have like toggles, click on them to select and they’ll automatical-
ly disable any peg on the same X or Y axis. On the Y axis are the
pitch centres, on the X axis are the Evos.
2. Evos
What are Evos? Well they’re long evolutions, and when we say
long we mean long, running up to a minute in length these are
considerably longer than the longs you get in standard string
libs. This is because they evolve, change, mutate, and return to
their original state before looping. We’ve purposefully recorded
each Evo at a different tempo so when you start pegging up dif-
ferent Evos on your grid and playing them together after a while
the different evolutions will start to undulate against each other.
HOT KEYS
Holding down CMD while clicking an evo will assign that evo to
all note centres vertically
Holding down SHIFT while clicking an evo will draw a line from
the last selected evo (ie click D#2:evo1, then hold shift and
click A#6:Evo12; you’ll get a diagonal line from top-left to bot-
tom-right.)
The Dice
Clicking on this icon just to the right of the “Evo” title and se-
lecting “Randomise with any” creates a completely random pat-
tern with what we calculate to be 19 x 19 x 19… 12 times)
which is in the vicinity of 2.2 x 10^15 possibilities you’ll see that
our claim of ‘virtually’ innite is a fair one. Hit this key and it’s
likely no one else on the planet is using the same map of sounds
as you are.
HOT KEYS
The Dice - Click to assign pegs randomly to any of the 19 evo-
lutions, a few options are available. Among them are:
Click the dice and choose “randomise only visible” to limit the
random pegs to the evolutions currently shown on screen,
Click the dice and choose “randomise in column” to have a
more uniform vertical arrangement during randomisation.
Click the dice and choose “randomise with subtle, thrills, ep-
isodic or dissonants” in order to use only that section of the
Evolutions.
PAGE 8 OACE - USER MANUAL
3. Mixer
Ólafur Arnalds Chamber Evolutions has four different mic op-
tions: Close, Stereo, Tree and Ambient, these can all be con-
trolled with the mixer.
Click on the ROM tabs beneath the sliders to load/ purge mics/
mixes. CMD click on the mic acronyms to assign to a Kontakt
output... Especially useful when creating surround signals.
Controllers:
Two controllers that vary the sound as you play. These can be
assigned a unique controller number so you can automate or
adjust via an external controller. To un-assign, assign or just to
see what CC number is assigned to any control RIGHT or CTRL
CLICK. You can then alter the controller parameters in the “Au-
tomation pane” if for example you want your mod wheel to go
all the way from top to bottom but the control to have restrict-
ed bandwidth change from the default of 0-127 to 20-100. Or if
you want the controller to make the GUI control in the reverse
direction change from the default of 0-127 to 127-0.
4. Dynamics
On most of our string libs this would control the crossfade mix
between differing dynamic samples, loud and soft. But because
the timbral changes are handled within the original performanc-
es this is just an articial dynamic controller for those of you
who can’t hear a violin without reaching for your mod wheel
(CC#1).
5. Expression
A simple display that denotes any expression controller (CC11)
data. This controller is favoured by the composing fraternity as
the ‘loudness’ automation of choice, leaving volume (CC7) as
more of a trim controller when mixing.
6. Note Centre
We have recorded 12 separate samples for each Evo based
across the ‘amen’ intervals (perfect 4ths) across the keyboard.
The reason for this is to create an asymmetry across the oc-
taves to again increase the inspiring surprises you’re likely to
enjoy.
The only thing worth noting about this display is that if no peg
is assigned to the note centre region then the note centre name
will grey out. Just to help you diagnose a dead key or range!
7. FX, Volume, Pan
The FX peg is a simple toggle in/out affair that allows a nominal
send to the FX rack (8.) to the right.
The Volume trim pots allow balancing of Evos against each other.
Useful when using Evos that are simply louder by nature (sul
ponts etc).
The Pan pot allows you to pan within the stereo eld the dif-
ferent Evos, again especially useful if one part of the section is
speaking louder than the other.
HOT KEYS
Holding down CMD while clicking FX will toggle all evo FX on/
off.
Clicking an FX, then holding shift and clicking another will turn
those and all the FX between them on or off (ie. click evo 4 FX,
then hold shift and click evo 8 FX; you’ll get a line from evo FX
4-8).
Holding down ALT while changing pan/vol will affect all evos.
Holding down CMD while changing pan/vol/FX controls will re-
set them to default.
8. FX Deck
We have specially curated some easy to use and effective FX
from the Kontakt host FX engine. For more details on these
controls please consult your Kontakt user manual. If you wish
to punch out these effects and use your own in your DAW or
via outboard CMD click on the mic acronyms in the mixer to
assign channels to a Kontakt output and you can then send the
signal where you need it.
9. A.D.S.R.
Or Attack, Decay, Sustain, Release. A standard set of parameters
used in most synthesizers to control the “shape” of the sound,
turn attack up to really slow the sound’s entry, decay deter-
mines how quickly the sound dies off to the ‘sustain’ level which
is controlled by the next knob. Finally the release knob controls
how quickly the sampler ‘lets go’ of the sample when you let go
of the key.
Click on these to switch views or pages:
1. General Overview (the view shown above)
2. Expert View
3. Ostinatum (not used in this library)
PAGE 9OACE - USER MANUAL
WAVES AND INDIVIDUAL EVOLUTIONS
SWITCHING VIEWS
The Waves and individual evolution patches open up in our
standard GUI.
When you rst load up a waves or individual evolution you’ll be
greeted with this GUI. This is one of 2 pages that you can switch
between using the panel switcher...
All GUI controls can be assigned a unique controller number
so you can automate or adjust via an external controller (vital
when playing in virtual Orchestral parts). To un-assign, assign or
just to see what CC number is assigned to any control RIGHT
or CTRL CLICK.
You can then alter the controller parameters in the “Automa-
tion pane” if for example you want your mod wheel to go all
the way from top to bottom but the control to have restricted
bandwidth change from the default of 0-127 to 20-100. Or if
you want the controller to make the GUI control in the reverse
direction change from the default of 0-127 to 127-0.
1.
PAGE 10 OACE - USER MANUAL
THE ‘GENERAL OVERVIEW’ PANEL
1. ARTICULATION SWITCHER
The notes denote key articulations, display the current articula-
tion playing and act as switches between them (alongside their
associated keyswitches at the bottom of your keyboard).
If what you’re playing stutters, or feels delayed or cuts out make
sure everything is loaded, as some of these articulations are
very deep sampled.
LOAD STATUS:
Make sure Kontakt displays the instrument load status as pic-
tured. If the left hand bar is illuminated and red it’s in a queue
and hasn’t started loading yet, if the middle bar is lit and yellow
the instrument is still loading up. If you try to play before it’s
loaded it may not be nice!
ARTICULATIONS - Click on these notes to select the dif-
ferent articulations, whatever articulation is live is displayed in
the yellow sidebar on the left. You can also select different ar-
ticulations by hitting key switches, you can do this whilst you’re
playing so if you want to say switch from a “long” articulation to
a short, hit the key whilst you’re playing your last long and the
next note will be a short. For details of articulations recorded
go to Appendix C.
POWER TIP: SHIFT > CLICK to select and play multiple articula-
tions!
2. SIDE BAR
Tells you what articulation you have selected.
3. MIXER
There are four different mic options: Close, Stereo, Tree and
Ambient, these can all be controlled with the mixer.
Click on the ROM tabs beneath the sliders to load/ purge mics/
mixes. Click on the mic acronyms to assign to a Kontakt out-
put... Especially useful when creating surround signals.
4. EXPRESSIVE CONTROLLERS
Dynamics - On most of our string libs this would control the
crossfade mix between differing dynamic samples, loud and soft.
But because the timbral changes are handled within the origi-
nal performances, this is just an articial dynamic controller for
those of you who can’t hear a violin without reaching for your
mod wheel (CC#1).
Reverb - This library was recorded in the hall at Air Studios, so
it is already quite reverberant, but here there is the option to
add more reverb if you need it.
Release - Controls the speed of decay after the note is released
Expression - Instrument trim, so this adjusts the volume within
the dynamics.
3
2.
4.
PAGE 11OACE - USER MANUAL
THE EXPERT VIEW
3.
21.
4. 5.
1. SIDE BAR
On the ‘General Overview’ page this simply displays the artic-
ulation being played. In the ‘Expert View’ there are some addi-
tional functions:
1a. “KEYBOARD SHIMMIER” - This shifts your bank of
keyswitches left or right to suit your needs, preference or per-
formance. Simply click on the icon and drag your cursor left or
right and you’ll see the pink bank of keyswitches follow! Wher-
ever you stop, those will be the new keyswitches.
1b. “KEYSWITCH TO CC SELECTOR” - Use this to as-
sign a CC controller to act as articulation/ keyswitcher. Click on
“CC” and you’ll be prompted to move the controller you wish
to use in order for the instrument to “learn” how you’d like to
select articulations.
c. “ARTICULATION LOCKER” - We all like to select ar-
ticulations and use our templates in different ways. Many com-
posers like to have a single articulation loaded to each instance
of an instrument for example. So it’s worth locking off the ar-
ticulation switching once you’ve selected one so you don’t have
sounds disappearing from slaves way off in your machine rooms!
Unlocked Artic’ - Is the standard setting, select articulations via
the front panel or associated keyswitch.
Locked Artic’ - This locks your articulation so it doesn’t change
either via front panel or keyswitch.
Locked Keyswitch - This locks your articulation via keyswitch
but you’re free to switch via the front panel.
Locked to UACC - This is a new standard being developed by
Spitre and detailed in appendix E. The default controller chan-
nel is #32 but this can be changed by right/ CTRL clicking on
the padlock.
Locked to UACC KS - The functionality of UACC with the ex-
ibility of a keyswitch. When activated, a single keyswitch is avail-
able. Pressing this key at varying velocities (according to UACC
standards) changes articulation.
Shared Keyswitches - In larger libraries, this setting allows you
to spread keyswitches across multiple palettes of articulations.
a. b. c.
PAGE 12 OACE - USER MANUAL
2. ARTICULATION SWITCHER
This works the same as it does in the ‘General Overview’ pan-
el, with the addition of ‘load chips’ beneath each articulations.
These load them in and out of memory as you wish... Remem-
ber before playing an articulation, make sure it’s fully loaded!
LOAD STATUS
LAYERING ARTICULATIONS - To layer sounds within
the articulation set simply ‘SHIFT’ click on your next articu-
lation. Rather than introducing a multitude of more confusing
‘layered articulation’ options, the front panel shows (and edits)
only the most recently layered articulation.
TRIGGERING - For triggering options CTRL or COMMAND
click on the articulation icon:
“By CC Range” - This will allow you to use a single controller
channel to switch between artics. This allows you to ne tune
on your MIDI event list, or to use a midi controller fader or in-
deed button with a single range assigned to select your desired
artic’. Our default setting is guided by our UACC protocol.
“By KS” - The default setting. BML is scripted so it won’t switch
mid note but wait ‘til the next note-on event before switching.
This means you’re able to play the key switch say whilst playing
a long note and have it switch to a staccato on your next note.
“By Velocity Range” - This is great for designing intelligent
staccato patches that say become staccatissimo when you hit
the keyboard really hard. A second menu will open up giving you
options for this function.
“By MIDI Channel” - Ingeniously turns your single instance
of BML into a multi timbral instrument. MIDI channel lets the
instrument change articulation based on the incoming MIDI
channel. To use, pop the instrument Midi Ch. to ‘Omni’ mode
in Kontakt. The single instance can now be congured to play
based on the incoming MIDI channel. For example. Set staccatos
to channel 1, longs to channel 2 , legato to channel 3.
“By Speed Of Playing” - A revolutionary new function that
allows you to switch articulations based on the playing speed
of your performance. When selected, it provides options to
specify a triggering time-range in milliseconds. (See right hand
menu above). For example, you could specify that ‘fast legato’
should be activated if the time between playing each interval
is between 0 and 250ms (pictured above). Fully congurable to
suit the user’s playing style and needs and can be deactivated
by unchecking ‘Enabled’ (or if not in the artic switching screen,
simply holding ALT/MENU and clicking the articulation icon on
the stanza).
When an articulation has a ‘trigger’ assigned to it, it shows a
little short-cut icon above to let you know that it has been
customised.
Holding down ALT/MENU (PC/MAC) and clicking an articula-
tion with this short-cut above it will toggle the trigger between
enabled and disabled.
It’s a handy way to quickly turn off legato speed/velocity switch-
ing if the user doesn’t want it.
TRIGGER PANEL - Reset will clear the trigger for this ar-
ticulation, allowing you to set it to a different type or disable it
permanently. Legato intervals will only activate this trigger if the
notes played are legato intervals. Ignore if purged means that
this trigger will only occur if the articulation is not purged.
Group allows you to group together triggers. When set, the
trigger only occurs when an articulation in the same group is
currently active. For example, use this if you wanted to set up
speed triggers on legato articulations, but don’t want them to
trigger if you have staccatos/marc/shorts selected.
OTHER WAYS TO SWITCH ARTICULATIONS
Alongside switching your articulations manually by hand, via
keyswitch or via the advanced methods mentioned above you
may also want to try a new system we’ve dubbed UACC (uni-
versal articulation controller channel). Whereby each and every
possible style of articulation has been given a unique CC data
number. Simply use CC#32 and the table found in Appendix E to
see how this can work for you.
POWER TIP: Whilst there are many ways to switch between artic-
ulations, many pros still prefer to have a different articulation in a
single instance per track on their DAW. This enables them to assign
different reverb levels and bake helpful stems that can be used in
conjunction with live instruments (to work like this it’s best to load up
artics from the individual articulations sub folder).
PAGE 13OACE - USER MANUAL
3. MICROPHONE MIXER
Giving you greater control over the blends of microphone po-
sitions for your work.
Use the chips beneath the faders to load & unload different mi-
crophones and the faders above to tweak the balance of them.
Turning a fader all the way down will also unload the mics, con-
versely turning the fader back up will reload. Left click on the
faders to assign CC controllers so you can mix these live for
fantastic shifts in the spacial nature of the samples. Click on the
mic letters to change Kontakt channel/output assignment.
On the top right of the mixer controller section are some deep-
er mixing options.
3a VELOCITY RESPONSE
Pick from 4 different velocity curves to suit your controller.
3b PAN MIC COLLAPSER
This collapser allows you to rene how the stereo image is
handled per microphone. All our musicians are recorded in-situ,
ie. where they would be seated on a standard scoring session,
giving you a fantastic spectral spread when putting all the ele-
ments together, which helps dene the detail. This panning tool
helps you to manage and tweak this to your own tastes/ needs.
STEREO WIDTH - Allows you to control how far the stereo
image reaches. All the way to the right would be like having your
two pan pots panned hard. All the way to the left would be like
having both pots centre,
STEREO PAN - Then allows you to control where in the pan
eld the centre of this image is placed.
3c MIC MIX TO ARTICULATION LINKER
The small notation symbol locks the microphone mix or tweak
you’ve made to the articulation selected. This means if you want
to boost any perceived inconsistencies in volume between dif-
ferent types of Wave you can. Or indeed if you want to roll off
some of the hall ambience for one Wave versus another this is
how to ne tune.
3d MIXER PRESETS
A new way to transfer mixer settings between patches, or save
and load presets to disk.
AUTOMATING MIXER FADERS - Each mixer fader has a
dedicated #CC. To change this to suit your MIDI controller or
surface, simply right click (on PC) or command click (on Mac)
on the fader itself to “learn” the new controller.
ROUTING MIC MIXES - To route each mic mixer channel to
unique Kontakt channels simply click on the Mic acronym. Great
for putting your ambient mics in the surround for example. Also
good for tracklaying individual mics for your engineer to control
in your nal mix sessions.
a. b. c. d.
PAGE 14 OACE - USER MANUAL
4. GENERAL CONTROLS
OPTIONS
PRESETS - This allows you to load predetermined sets of ar-
ticulations affectionately called articulation sets (see General
Overview Panel) quickly and easily to optimise your system
quickly for essential articulations or to start building templates
using empty “shells”.
PURGE UNUSED - This control keeps unloading any samples
you are not using to keep your memory usage as low as pos-
sible.
TRANSPOSE - Toggle this on and tweak the number to the
right to transpose your instrument. Note this is not the same
as tuning, the instrument will actually offset the samples to the
selected pitch.
CC MAPPED VEL(OCITY) - Click this to control note veloci-
ty with the Dynamics slider. If a user has customised the dynam-
ics slider, that same customised CC will control velocity now.
ROUND ROBINS & LEGATO
NO EXTRA FUNCTIONALITY(NEIGHBOURING ZONES)-
Next to this lies a pop-down menu with some amazing new
functions:
• “No extra Functionality” - Is the standard default where
round robins are used as they were intended.
• “Neighbouring Zones” - pulls from neighbouring zones, so
for an ‘8RR’ instrument, you effectively cycle through up to 24
different sounding notes when pressing a key. It’s still just playing
the one RR at a time, though giving you more of them. .
• “2x Round Robin With Skip” - plays two RR simultaneously,
so you get a thicker sound, it’s the equivalent of plopping two
notes on top of each other in your DAW (and it drops the
overall volume ~6db so that the levels remain the same but it
just sounds thicker). NB THIS IS NOT AVAILABLE TO LEGATO
TRANSITIONS. This plays the pairs and moves ahead by 2 RR. In
this mode RR is effectively halved. eg, if you press a note it would
play RR1/RR2 then RR3/RR4 ,etc.
• “Layer 2x Round Robins With No Skip” - As above but this
plays a pair but doesn’t move ahead by 2 so that RR isn’t halved.
So if you press a note it would play RR1/RR2, then RR2/RR3,
then RR3/RR4.
ROUND ROBINS - This refers to the number of round robins
(multiple recordings of the same notes that cycle around as you
repeatedly play a note) your instrument uses, the number can be
dragged up and down (1-8) to save you memory.
RESET FROM F0 - This enables you to control the round robin
cycle (so it sounds identical every time you play) toggle on &
play the key selected (default F0) to reset.
RESET ON TRANSPORT - As above but resets every time
you press play! Genius!
5. EXPRESSION CONTROLS
We curated some of these for the general controls view, here is
the full complement, dial these cc’s into your midi controller for
an innite choice of emotional and human responses.
DYNAMICS - CC#1 This slider displays and controls which
dynamic layer is live. Also controlled via the modulation wheel.
REVERB - CC#21 This library was recorded in the hall at Air
Studios, so it is already quite reverberant, but here there is the
option to add more reverb if you need it.
RELEASE - CC#17 Dialled in all the way, this helps blur the
transitions when using long articulations in slow passages in a
natural and musical way. Dial back for more focus and detail..
EXPRESSION - CC#11 Displays the overall instrument vol-
ume (0-100%). Remember you can also trim your instrument
volume with CC#7.
PAGE 15OACE - USER MANUAL
APPENDIX A - RECOMMENDED TECH SPECS
THIS LIBRARY IS ONLY COMPATIBLE WITH KONTAKT 5.6.8
OR LATER
RECOMMENDED SPEC:
The better your computer, the better the performance of any
Spitre module. But not to worry if you’re not spec’d up to the
hilt. All programs are provided with a set of parameters that
enable you to dial back the CPU demands of any given patch.
But moving forward, we’re condent this module will keep your
computer busy for many years to come! We recommend a com-
bination of high processor speeds, a good chunk of memory
and a devoted 7200rpm eSata, USB2 or 3, or Thunderbolt au-
dio drive. The more memory you have, the less demand placed
on your drive, and having a totally devoted drive gives you the
chance to load less into memory and reduce load times. The
higher the speed of your CPU, the more capable your comput-
er will be to deal with some of the amazing, but complicated
scripts we’ve written.
PCs:
We recommend Windows 7 or later (latest Service Pack, 32/64
Bit), Intel Core Duo or AMD Athlon 64 X2, 4 GB RAM (8 GB
recommended).
MACs:
We recommend Mac OS X 10.10 or later (latest update), Intel
Core 2 Duo, 4 GB RAM (8 GB recommended).
DRIVES:
USB2 or USB3, Thunderbolt, or eSata, 7200rpm. Ask your dealer
for drives that are suitable for “AV use”. If you can afford an
SSD drive, this will massively increase the power of your system.
Instead of 7-9ms seek time, the usual seek time is <0.1ms. These
are fast enough to run a patch ‘Purged’ of all its samples, and
they can load on the y as you play the notes. You can also re-
duce your sampler’s “pre-load” buffer tenfold meaning you’ll be
able to load enormous orchestral palettes into a single machine.
HOST:
The Kontakt 5 platform should work comfortably on most
commonly found platforms and DAWs. As always make sure
you’re as up-to-date as you can afford! If your main DAW is not
a newish machine, or has a limited spec, and you’re planning on
building or adding Spitre to an already large orchestral palette,
you could consider running your library independently of your
DAW, either on your host computer (e.g. via Re-Wire) or on a
slave device (e.g. via Midi or MOL). This will assist your loading
times, and will allow your DAW to do what it does best, sort
out all your note ons and note offs! We heartily endorse Plogue
Bidule (http://www.plogue.com) as a virtual rack/ routing sys-
tem.
Kontakt Player is a free version of the Kontakt sample playback
engine available to download:
https://www.native-instruments.com/en/products/komplete/sam-
plers/kontakt-5/downloads/
It works with libraries that the developer has paid a license fee
for. Essentially, you’ve bought this playback engine along with
your library.
The Kontakt player gives you full access to all the sounds and all
the editable parameters on the front panel. Also, unlike non-Play-
er libraries, these libraries will also have a banner that appears
on the Kontakt Libraries pane.
If you want to go deeper into editing you’ll need a full version.
As you will already own the free Kontakt player and have bought
one of our ‘player’ libraries you will be eligible for a discount up-
grade to Kontakt via the NI website. See here for more details:
https://www.native-instruments.com/en/products/komplete/sam-
plers/kontakt-5/pricing/crossgrade-offer/
If the library you want to use is NOT a ‘Player’ library then you
need to buy the full retail version of Kontakt.
Then you can also load ‘non-Player’ libraries like some of our
other ranges, Spitre LABS, Harp, Piano, Harpsichord, Solo
Strings etc. Please note that non-Player library instruments will
not appear on the Kontakt libraries pane and so can’t be added
as a library as Player libraries need to be. Instead, these libraries
will simply need to be loaded via the Kontakt les browser or
alternatively you can add the library as a favourite to the Kon-
takt Quick Load window.
APPENDIX B - KONTAKT vs KONTAKT PLAYER
PAGE 16 OACE - USER MANUAL
APPENDIX C - PRESET/ARTICULATION LIST
PRESETS / ARTICULATIONS
MAIN INSTRUMENTS
Basses Grid
Basses Waves
Chamber Grid
Chamber Waves
INDIVIDUAL EVOLUTIONS
a - Chamber - 01 Sul Tasto Long
a - Chamber - 02 Sul Tasto Wave (Long)
a - Chamber - 03 Sul Tasto Wave (Short)
a - Chamber - 04 Sul Tasto Ord
a - Chamber - 05 Sul Tasto Pont
a - Chamber - 06 Detached Waves
a - Chamber - 07 Sul Tasto Pulse (Trem)
a - Chamber - 08 Sul Tasto Trem
a - Chamber - 09 Art Harm Trills
a - Chamber - 10 Sul Tasto Episodic Trems
a - Chamber - 11 Sul Pont Tast Trems
a - Chamber - 12 Sul Tasto Pulse
a - Chamber - 13 Sudden Molto Vib
a - Chamber - 14 Sudden Trem
a - Chamber - 15 Sudden Sul Pont
a - Chamber - 16 Sul Tasto Pitch (Slow)
a - Chamber - 17 Episodic Pitch
a - Chamber - 18 Wow Effect
a - Chamber - 19 Slow Flurry Pitch
b - Basses - 01 Sul Tasto Long
b - Basses - 03 Sul Tasto Wave (Short)
b - Basses - 05 Sul Tasto Pont
b - Basses - 08 Sul Tasto Trem
b - Basses - 12 Sul Tasto Pulse
b - Basses - 13 Sudden Molto Vib
b - Basses - 16 Sul Tasto Pitch (Slow)
INDIVIDUAL WAVES
a - Chamber - Waves Ord Long
a - Chamber - Waves Ord Longest
a - Chamber - Waves Ord Short
a - Chamber - Waves Ord Shortest
a - Chamber - Waves Trem Long
a - Chamber - Waves Trem Longest
a - Chamber - Waves Trem Short
a - Chamber - Waves Trem Shortest
a - Chamber - Waves Vib Long
a - Chamber - Waves Vib Longest
a - Chamber - Waves Vib Short
a - Chamber - Waves Vib Shortest
b - Basses - Waves Ord Long
b - Basses - Waves Ord Longest
b - Basses - Waves Ord Short
b - Basses - Waves Ord Shortest
b - Basses - Waves Trem Long
b - Basses - Waves Trem Longest
b - Basses - Waves Trem Short
b - Basses - Waves Trem Shortest
OTHER PATCHES
Basses Waves (TM Pro)
Chamber Waves (TM Pro)
TIME MACHINE INDIVIDUAL
a - Chamber - Waves Ord Long (TM Pro)
a - Chamber - Waves Ord Short (TM Pro)
a - Chamber - Waves Trem Long (TM Pro)
a - Chamber - Waves Trem Short (TM Pro)
a - Chamber - Waves Vib Long (TM Pro)
a - Chamber - Waves Vib Short (TM Pro)
b - Basses - Waves Ord Long (TM Pro)
b - Basses - Waves Ord Short (TM Pro)
b - Basses - Waves Trem Long (TM Pro)
b - Basses - Waves Trem Short (TM Pro)
MICS & MIXES
MICS
C(lose)
T(ree)
A(mbient)
St(ereo Mix)
PAGE 17OACE - USER MANUAL
APPENDIX D - MIC & MIX ACRONYMS
STANDARD ARRAY:
(available as part of the ‘core’ product)
C - Close mics, a selection of valve mics placed for optimum
focus close to the instruments. This mic control is great to add
in for added denition and at times a bit of “rounding of sound”,
in isolation it can be a way of achieving a more intimate or
pop-music style sound.
T - Tree. This refers to the “Decca” tree of three mics placed
above the conductors podium. In the case of this Library; 3
priceless vintage Neumann M50s. These are placed to give the
ultimate sound of the band, the hall and are the default mic po-
sition that loads in with each patch.
A - Ambient. A set of condenser mics placed high up in the
gallery away from the band. This mic position gives a massive
amount of stereo spread and room sound over the band. Great
mixed in with the other mics but also ideal fed to your Ls & Rs
speaker sends for true surround information.
St - Stereo. An RCA 44 BX stereo pair set up at the front of
the string band.
PAGE 18 OACE - USER MANUAL
APPENDIX E - UACC
With the development of Spitre’s BML Sable it was proving quite difcult to standardise how to access the ever-growing number
of articulations contained within instruments and libraries. While they worked adequately, Keyswitches and CC32 were inconsist-
ent between sections and instruments and it could prove a pain to do something as simple as substituting a Viola for a Violin section.
To address the problem, Spitre developed UACC , a specication that hopes to standardise articulation control between instru-
ments and libraries. UACC is turned on via the Keyswitch locking option ( ) and utilises the same CC as above (and can be
customised identically). When UACC is activated you can change articulation by setting CC32 to specic values that correlative
with different articulations. Here’s the latest (v2) spec:
Long (sustain)
1 Generic
2 Alternative
3 Octave
4 Octave muted
5 Small (1/2)
6 Small muted
7 Muted
8 Soft (aut/hollow)
9 Hard (cuivre/overb)
10 Harmonic
11 Temolo/utter
12 Tremolo muted
13 Tremolo soft/low
14 Tremolo hard/high
15 Tremolo muted low
16 Vibrato (molto vib)
17 Higher (sultasto/bells up)
18 Lower (sul pont)
19 Lower muted
Legato
20 Generic
21 Alternative
22 Octave
23 Octave muted
24 Small
25 Small muted
26 Muted
27 Soft
28 Hard
29 Hramonic
30 Tremolo
31 Slow (port/gliss)
32 Fast
33 Run
34 Detache
35 Higher
36 Lower
Short
40 Generic
41 Alternative
42 Very short (spicc)
43 Very short (soft)
44 Leisurely (stacc)
45 Octave
46 Octave muted
47 Muted
48 Soft (brush/feather)
49 Hard (dig)
50 Tenuto
51 Tenuto Soft
52 Marcato
53 Marcato Soft
54 Marcato Hard
55 Marcato Long
56 Plucked (pizz)
57 Plucked hard (bartok)
58 Struck (col leg)
59 Higher
60 Lower
61 Harmonic
Decorative
70 Trill (minor2nd)
71 Trill (major 2nd)
72 Trill (minor 3rd)
73 Trill (major 3rd)
74 Trill (perfect 4th)
75 Multitongue
76 Multitongue muted
80 Synced - 120bpm (trem/trill)
81 Synced - 150bpm (trem/trill)
82 Synced - 180bpm (trem/trill)
Phrases & Dynamics
90 FX 1
91 FX 2
92 FX 3
93 FX 4
94 FX 5
95 FX 6
96 FX 7
97 FX 8
98 FX 9
99 FX 10
100 Up (rips/runs)
101 Downs (falls/runs)
102 Crescendo
103 Decrescendo
104 Arc
105 Slides
Various
110 Disco up (rips)
111 Disco down (falls)
112 Single string (Sul C/G/etc.)
For example, turning on UACC and changing CC32 to 26 will change the current articulation to Legato - Muted. Setting it to 52
would change to Short - Marcato. You can set these manually in your DAW but it’s much easier to utilise DAW functionality such
as VST Note Expression, or a dedicate tablet app such as Lemur, TouchOSc, LiveControl, etc.
The advantages of UACC are that it’s consistent between all supported libraries (ie. setting CC32 to 52 will change to Marcato
regardless of the library or patch) and easily congurable on tablet apps such as Lemur. It remains consistent between updates (any
product using v2 will have the articulations mapped to the above spec). It also takes up no space on the keyboard.
The disadvantages are that it’s difcult to control for live playing (unless using a tablet) and it does not support articulation layering.
UACC KEYSWITCH
UACC keyswitching is a new feature in Spitre products and updates. It is a mixture of keyswitching and UACC to provide the
advantages of both methods. When UACC Keyswitch is activated via the lock panel menu ( ) a single keyswitch is available. Using
the UACC spec outlined above, this keyswitches velocity is used to switch articulation.
For example pressing the keyswitch at velocity 70 would switch to the Trill (minor 2nd) articulation while pressing at velocity 56
would switch to Short Pizzicato. As with UACC, you can manually input these velocity values but it’s easier to use your DAW or
tablet app’s functionality.
The main advantage of UACC KS over UACC is that you can layer articulations by overlaying the keyswitch’s notes on the piano
roll.
PAGE 19OACE - USER MANUAL
APPENDIX F - FAQS & TROUBLESHOOTING
Q: HOW DO I DOWNLOAD AND AUTHORISE A
KONTAKT FULL LIBRARY ONTO MY MAIN RIG IF
IT ISN’T CONNECTED TO THE INTERNET?
Simply use our download manager on a computer that IS con-
nected, transfer over either over your LAN or via a shuttle
drive. No further authorisation is required.
Q: “NO LIBRARY FOUND” ERROR MESSAGE
If you are getting the error message “No Library Found” in Kon-
takt when trying to add a new library, it’s because the product
you have purchased isn’t a “Player” library (also see appendix B)
You will therefore need to load the les manually into Kontakt
to load them. This can be done via the ‘Files’ browser, top left
hand side of Kontakt, or by simply dragging the instrument les
over the Kontakt window to load them.
Q: WHAT IS THE DIFFERENCE BETWEEN KON-
TAKT AND KONTAKT PLAYER?
See appendix B
Q: HOW CAN I REDOWNLOAD A PRODUCT?
With the continuous improvements to our Library Manager
app, we have incorporated the ability to reset your own down-
loads, be it the entire library or the most recent update!
This can easily be done via your Library Manager app. To reset
both your entire library download or the latest update;
Open up the Library Manager app and log in with your account
email and password.
• Select the download you wish to re-download
• In the toolbar under Library > Reset Download > Entire
Download/Latest Update
• This will reset your whole download/your latest update
You can repeat this process for any of the libraries you own.
Note that there is a limit to how many times you can reset your
downloads in a certain time frame. If you do exceed your reset
limit please get in touch.
Q: DIFFICULTIES IN DOWNLOADING / INSTALL-
ING
Customers may nd that they have some difculties in the
downloading process. If you nd that you are having some trou-
ble, please check the list below for possible causes.
• The formatting of your drive, if it is FAT32 this will cause er-
rors, because there is a maximum le size with this format of
4GB and our download les will exceed this limit. To solve this
problem, reformat your drive to a more modern format, or use
a different drive. We recommend NTFS on PC and Mac OS Ex-
tended (journalled) on Mac.
• Free space on your hard drive, please allow at least double the
space for the respective library. This is because your library is
downloaded compressed, then uncompressed into a separate
location, then the original is deleted. So briey during install,
there are two copies of the library on disk. To solve this problem
use a drive with more space (the size you’ll need during install is
listed on the website page of the product you bought).
Other issues;
• Library Manager freezes in the “Extracting” stage for hours.
This may be because our libraries are often very large les, and
this is the stage where the compressed les are extracted and
placed in their nal locations on the hard drive. There could be
hundreds of GB of content to unpack, so it really can take hours.
If you’re unsure whether it has crashed or is simply extracting
les, visit the installation folder you chose when you started the
install. If everything is working normally you’ll see various les
appearing in the folder (or one of its sub-folders).
• If you see a “Download interrupted” message, this may be
caused by a change in IP, usually the case with people using a
VPN, or people who for some reason started a download in one
country and tried to resume it in another. In this case, please
submit a support ticket and we can unblock you.
• If your download gets stuck and is continually cycling and not
resuming, please get in touch with us, giving us as much detail as
possible about your set up. It would be helpful if you can tell us:
Your operating system, where you are downloading from (your
country, and also whether you’re at home or work), your ISP,
and whether there are any proxy servers or rewalls between
your computer and the internet.
Q: I’VE LOST MY INSTRUMENT FILES.
In some cases, instrument les may get lost when transferring
libraries from one place to another, or if an update has gone
wrong. If this happens, the best way forward is to re-download
the library in question. It will ensure you will get all of the con-
tent you are missing
PAGE 20 OACE - USER MANUAL
Q: I HAVE FAST INTERNET, WHY IS MY DOWN-
LOAD SLOW?
We have no direct inuence on your actual download speeds,
our libraries are hosted on Amazon S3 servers which are nor-
mally very quick but it may well be that at certain times of the
day when trafc is particularly busy, your ISP may throttle your
connection speeds.
We would advise you to leave your download running overnight
as speeds should ramp up at less busy times. Our Library Man-
ager downloader aims to use as much of the available bandwidth
as possible to give you the quickest possible speeds, and may
take several minutes to reach its peak.
Q: CAN I INSTALL ON MORE THAN ONE COM-
PUTER?
With our products you have two licenses. This means that you
are allowed to download and install on two computers you own,
say your main rig and your mobile rig. The best way to get your
library on both of your machines is to copy it from one to an-
other via an external HDD. It saves you from having to re-down-
load the whole library again!
Q: CAN I TRY BEFORE I BUY?
No - it is not currently possible to demo our products.
If you go to our YOUTUBE CHANNEL you’ll see many many
walkthroughs containing detailed info about all our products --
you can hear them being played in real time with no smoke and
mirrors!
Q: MY LIBRARIES ARE NOT SHOWING UP IN MY
LIBRARY MANAGER
A handful of customers may nd that when they log into their
Library Manager, some of their previous purchased products do
not show up in the ‘Installed’ section or in the ‘Download Ready’
section either. It may be that you have purchased these under
another email address. Checking other possible email address-
es for your previous purchases may help to nd these missing
products. If this is not the case, and these missing products were
purchased a few years ago, please create a support ticket telling
us your account email address, and any serial numbers you may
have to go with these missing products. Our support team can
also merge one or more accounts together if you’d like to con-
solidate all your purchases in one place.
The more information, the quicker we can get you back up and
running!
Q: HOW DO I UPDATE MY PRODUCTS?
The main premise of downloading our products is that our li-
brary manager downloads into the folder you choose, so it is
always good to choose the folder above where you want the
download to go. The best le path for our products is something
very simple, a long le path will cause errors as there is a char-
acter limit on how far the library manager can read. We advise a
le path of something along the lines of:
Samples Drive > Spitre Audio - always point the downloader
to the folder ‘Spitre Audio’ (the folder above the library) for all
downloads and updates.
When it comes to downloading / updating - if you have a folder
called ‘Spitre Audio’ always point the library manager to the
folder Spitre Audio - never go into this folder and choose the
actual library in question.
Q: HOW DO I REDOWNLOAD THE LATEST UP-
DATE?
With the continuous improvements to our Library Manager app,
we have incorporated the ability to reset your own downloads.
This can easily be done via your Library Manager app.
Open up the Library Manager app and log in with your account
email and password.
- Select the download you wish to re-download
- In the toolbar under Library > Reset Download > Latest Up-
date
- This will reset your latest update
You can repeat this process for any other updates you wish.
If you do not see the option to reset your download in your
Library Manager App, we would advise downloading the latest
version of the library manager from from spitreaudio.com/
info/library-manager/.
Q: I’VE BEEN WAITING AGES FOR MY DOWN-
LOAD LINKS...???
We run all our orders through a fraud checking process. The
automatic fraud check takes 25 minutes (but can take up to an
hour during a very busy period, eg. Black Friday), but if your or-
der gets caught at this stage, we run a manual order check, and
this can delay the processing of your order for up to 24 hours
(though this would be a rare and exceptional case).
You should however receive an order conrmation email IM-
MEDIATELY upon placing your order. This conrms that your
order has successfully been logged in our system and that
your payment was successfully taken. Please check your junk
folders before contacting our support. The message will come
from do_not_reply@spitreaudio.com if you’d like to add us to
your whitelist.
Q: CAN I DOWNLOAD ON A PC, THEN TRANS-
FER TO A MAC OR VICE VERSA?
All of our libraries are compatible on both PC and Mac com-
puters (as they run inside Kontakt). You can download all of our
libraries on either PC or Mac and they will work if you need to
transfer them across to the other operating system. We advise
to do this by copying the library you want to move across to an
external HDD and then copying it to your other machine.
PAGE 21OACE - USER MANUAL
Q: ‘SAMPLES MISSING’ ERROR MESSAGES
In some cases, samples les may get lost when transferring li-
braries from one place to another, or if an update has gone
wrong. You may also get this error in some cases if you installed
your library on a drive with just under the minimum necessary
amount of space to install the library (remembering that you
need DOUBLE the size of the nal library to install success-
fully - see above). If this happens, the best way forward is to
re-download the library in question. It will ensure you will get all
of the content you are missing. For more information on how to
re-download a product, please see the question above.
Q: HOW DO I DOWNLOAD PRODUCTS ON MAC
OSX 10.8?
Our Library Manager only supports Mac OSX 10.9 and upwards.
If you do not have a system with 10.9 upwards installed, or do
not wish to update your system there is a way of creating an ex-
ternal boot drive that will work with our Library Manager app.
Alternatively, you can download the library to any other Mac or
PC that is compatible with the Library Manager and then simply
copy everything over to your own machine. We suggest doing
this via an External Hard drive.
Q: NON PLAYER INSTRUMENT OPENING IN
‘DEMO’ MODE?
If you are seeing the ‘demo’ button and your patches are timing
out, it means you are trying to run a non-player library in the
Kontakt Player software. You need to upgrade your Player to
the full version of Kontakt. We try very hard to ensure at all
stages of our website that everyone understands which libraries
need full Kontakt and which need the Player only. Essentially our
Player libraries don’t need the full Kontakt because we have paid
the license fee on our customers’ behalf. This is more nancially
viable on our higher priced libraries. If you have any of our Play-
er libraries you can qualify for a discount on the full version of
Kontakt. See the following page for more information: https://
www.native-instruments.com/en/products/komplete/samplers/
kontakt-5/pricing/crossgrade-offer/
HOW TO BATCH RESAVE A LIBRARY
There are two main reasons to batch resave: Firstly it greatly
speeds up the loading of patches once you have batch resaved
them. Secondly, it can help you nd missing samples and relink
them to the patches so that you don’t need to search every
time you load a patch. Bear in mind that it can sometimes take
a few attempts to batch resave, and if Kontakt crashes the rst
time you try, you could go into the instruments folder and batch
resave a bit at a time -- go by sub folders for example, just to
lessen the load on Kontakt.
Q: I WANT TO BUY A COLLECTION, BUT I AL-
READY OWN ONE OR MORE OF THE PRODUCTS
IN IT
Our cart will intelligently deduct the proportional cost of any
products you already own from the total price when you get to
the checkout.
Q: I’VE LOST MY SERIAL NUMBER FOR PRODUCT
ACTIVATION
Emails get misplaced and you might nd that you are out of luck
when you need to nd a past serial number. The best place to
nd all of your serial numbers would be to log into your Native
Instruments account here: https://www.native-instruments.com/
en/ , and traverse to the My Products, Serials, And Downloads
section. Under there you will nd all of your serial numbers,
including your Spitre Audio serial numbers. If you nd that the
serial number you are looking for is not there, please contact us
with all of the relevant information.
Q: I HAVE FOUND A BUG
In some cases we can’t squash them all and bugs shamefully
make their way through. If you think you have found a bug,
please contact us at spitreaudio.com/support with all the rel-
evant information;
• A description of the bug you have found
• A screencast (video) of the bug happening, or an audio example
• The exact patch name (or patches) in question and also the
library giving us as much detail as possible will help us get to the
bottom of the issue.
Q: WHAT IS THE NCW COMPRESSED FORMAT?
This is Native Instrument’s new lossless compressed sample
format – we have managed to reduce the sample data pool by
around 55% and this also shows a benet in streaming for you,
along with reduced hard disk space required.
Q: WHAT IS YOUR REFUNDS / RETURNS POLICY?
If you have NOT completed the download / installation process,
then we CAN refund / return your product, please contact sup-
portwith your account email address and order number so we
can handle this quickly. If you HAVE completed the installation
process (even if you’ve not yet registered your serial number),
please see our EULA in regards to why we do not accept re-
funds and returns. We can refund hard drive orders up until
the point when the drive is dispatched from our ofce. This is
usually 2-4 days after you order.
Q: I’VE FORGOTTEN MY PASSWORD?
If you have forgotten your password, please go to spitreau-
dio.com/my-account/login, and click ‘Forgotten Password’. If at
some point in the past you asked us to merge two or more
accounts but have since forgotten, you MAY nd that the forgot-
ten password isn’t working for the email address you asked us
to merge FROM. In this case, please contact support with your
name, and any email addresses you think we might know about,
and we’ll work out what has happened.
Q: VEP - CONTROLS / GUI HAS DISAPPEARED!?
You need to ‘connect’ the instance of VEP to your sequencer,
and send it some MIDI - then the controls will reappear. Un-
less the instance of VEP is ‘booted up’ by actually connecting it,
Kontakt will not complete the setup of the instrument which
includes drawing the GUI.
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