Orchestra & Choir Workstation
Sound Manual
IK Multimedia. Musicians First.
Miroslav Philharmonik
™
PLEASE NOTE:
PHILHARMONIK™ IS A TRADEMARK OF IK MULTIMEDIA.
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SPECIFICATIONS SUBJECT TO CHANGE WITHOUT NOTICE.
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I
Contents
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II
License and copyrights
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Chapter 1
Miroslav Philharmonik Sounds Collection
1.1 Historical notes
1.2 About Miroslav Vitous
1.3 The Dvorák Hall
1.4 Instrument positions
1.5 Instrument extensions
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Chapter 2
Instrument descriptions
2.1 Instrument categories
Woodwinds
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Brass
Percussion (Tuned)
Percussion (Untuned)
Piccolo
Flute
Alto Flute
Bass Flute
Oboe
English Horn
Clarinet in Bb
Bass Clarinet in Bb
Bassoon
Contra Bassoon
Trumpet
Flugelhorn
French Horn
Tenor Trombone
Bass Trombone
Tuba
Glockenspiel
Celeste
Vibraphone
Marimba
Crotals
Cowbell
Tubular Bells
Plate Bells
Gong
Timpani
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Keyed Elements
Strings
Choir
2.2 Articulations
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Organ
Piano
Harpsichord
Violin
Viola
Cello
Double-Bass
Harp
Guitar
Female Choir
Male Choir
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Chapter 3
Instrument Organization/Programming
3.1 Parents, Child and Combi presets
3.2 Folder organization
3.3 Child presets
3.4 Macro descriptions
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Chapter 4
Combis
4.1 Combi descriptions
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Chapter 5
Keywords
5.1 Keyword descriptions
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Chapter 6
Credits
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License Agreement
DO NOT USE THIS PRODUCT UNTIL YOU HAVE READ THIS LICENSE AGREEMENT. BY USING
THIS PRODUCT (OR AUTHORIZING ANY OTHER PERSON TO DO SO) YOU ACCEPT THIS LICENSE
AGREEMENT.
1. License grant. IK Multimedia Production grants to you, subject to the following terms and conditions, a nonexclusive, non transferable right to use each authorized copy of the enclosed sounds.
The enclosed sounds are property of IK Multimedia Production and are licensed to you only for use
as part of musical performance live or recorded. You may not transfer, license or sublicense your
rights as Licensee of the sounds or any IK Multimedia product, as licensed to you under this agreement without prior written consent of the rights owner. This license expressly forbids distribution
of these sounds or their derivatives, either as they exist on disc, reformatted for use in another
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any hardware or software sample playback device. You cannot sell them or give them away for use
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copies of the software and documentation to IK Multimedia Production. IK Multimedia Production
reserves all rights not expressly granted to you.
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3. Ownership. As between you and IK Multimedia Production, ownership of, and title to, the enclosed digitally recorded sounds (including any copies) will be held by IK Multimedia Production.
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Copies are provided to you only to enable you to exercise your right under the license. Only this
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Philharmonik™ is a trademark property of IK Multimedia Production.
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Chapter 1 Miroslav Philharmonik Sounds Collection
1.1
Historical Notes
Miroslav Philharmonik is the sequel to the legendary “Miroslav Vitous
Symphonic Orchestra Samples” orchestra library produced and recorded
by jazz prodigy Miroslav Vitous in the 1990’s (1993-1999). The original
Miroslav Vitous recordings were done by the Czech Philharmonic Orchestra
in the famous Dvorák Hall in Prague.
Originally released for AKAI® and the most popular sampler platforms of
that time, the collection comprised of six CDs between solo and ensembles
orchestral instruments and choirs.
Miroslav Philharmonik includes more than 1,300 orchestral and choir
sounds and over 7GB of sample material on 2 DVDs. It includes the full
sample content of the original “Miroslav Vitous Symphonic Orchestra
Samples” enhanced with previously unreleased sample material and additional instruments recorded at high resolution by Miroslav Vitous.
1.2
About Miroslav Vitous
The life of Miroslav Vitous (Figure 1.1) has been successfully invested in
musical pursuits from early childhood until present day. Bassist / guitarist /
composer, Miroslav Vitous was born in Prague on Dec. 6, 1947. From an early
age, his musical talent was instantly recognized and cultivated until he
became the living jazz prodigy and legend that we know now. Vitous began
his musical studies on violin when he was 6, followed by piano (ages 9-14)
and finally bass. Revered highly in the Jazz scene of the 60’s and 70’s, he is
best known for his work with musicians like Chick Corea, Miles Davis, Stan
Getz, Wayne Shorter, Tony Williams, Herbie Mann and Herbie Hancock.
He went on to become one of the founding members of the band Weather
Report and has worked with some of the greatest musicians of our time.
Figure 1.1 - Miroslav Vitous
Not only did Miroslav Vitous have the groovy heart of the bass-playing
jazz musician, but in his early years he was also touted as an Olympic
freestyle swimming contender and a classically trained exceptional scholar.
Originally attending school at the Prague Conservatory, Vitous won a scholarship to the Berklee School of Music and then moved to the United States.
Vitous won the scholarship as first prize in a jazz competition in Vienna in
1966. Almost immediately becoming unhappy in what he felt to be remedial studies at Berklee (compared to that of the high conservatory), Vitous
dropped out and practiced jazz techniques eight hours daily on his own for
a year. He studiously enhanced his skills playing bass, diligently perfecting
his craft to a record player and a tape recorder, energetically finessing his
playing ability and improvising to the music.
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Shortly after musical stints with the likes of the Bob Brookmeyer-Clark
Terry quintet, Art Farmer and Freddie Hubbard, he was hired by Miles
Davis to play bass. Landing a gig with Miles Davis paved the way to break
his career wide open as a respected and serious jazz musician. Miroslav
Vitous combined elements of his native Czechoslovakia’s folk music with
the ever-evolving jazz canon. Vitous started playing in a recurring trio with
Chick Corea and Roy Haynes on Corea’s 1968 album Now He Sings, Now
He Sobs. 25 years later, after many successful hit records, Miroslav Vitous
went back to his classical roots and became chairman of the New England
Conservatory (a highly respected classical school with a jazz department),
contributing to the development of future musicians.
During a time when he was tired of playing, Miroslav Vitous expanded
his classical creative vision for the benefit of all musicians. Ultimately he
sought the larger musical vision of an orchestra, an environment where
all of the greatest musical pieces have emotional elements embedded into
them. Miroslav Vitous was able to capture this emotion when he recorded
his highly acclaimed orchestral library at the Dvorak Symphony hall in
Prague.
Discography:
2003 Universal Syncopations
2001 Infinite Search [Collectables]
1992 Atmos
1985 Emergence
1982 Journey’s End
1980 Miroslav Vitous Group
1979 First Meeting
1978 Guardian Angels
1977 Terje Rypdal - Miroslav Vitous - Jack DeJohnette
1977 Majesty Music
1976 Miroslav
1976 Magical Shepherd
1970 Purple
1969 Infinite Search [Embryo]
1969 Mountain in the Clouds
Also Appears On:
1999 Tones for Joan’s Bones/Mountain in the Clouds
1998 Bireli Lagrene and Special Guests
1997 Woodstock Jazz Festival, Vol. 1
1997 Woodstock Jazz Festival, Vol. 2
1996 Impressions of Paris
1995 The Rainbow Colored Lotus: A Big Hand for Hanshin
1995 Tom McKinley/Miroslav Vitous
1993 Polygram Classics & Jazz: May 93
1991 Star
1991 The Tomato Sampler
1990 Atlantic Jazz: 12 Volume Box Set
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1989 Oceans in the Sky
1984 Trio Music: Live in Europe
1981 Trio Music
1978 Rypdal, Vitous, DeJohnette
1977 Big City
1971 Works
1969 Atlantic Jazz: Fusion
With Weather Report:
1975 Tale Spinnin’
1974 Mysterious Traveller
1973 Sweetnighter
1972 Live in Tokyo
1971 I Sing the Body Electric
1971 Weather Report [1971]
And about 50 other records with many different musicians.
Awards
• Down Beat (U.S.A.), Swing Journal (Japan), and Jazz Forum (Europe).
• “Musician of the Year” Jazz Forum for Infinite Search album.
• Nominated for two Grammy awards (with Chick Corea).
• Every year since 1968, he has consistently been ranked in the top 3 for
“Best Bass Players in the World”.
1.3
The Dvorák Hall
The original Miroslav Vitous recordings were done by the Czech Philharmonic
Orchestra in the famous Dvorák Hall (Figure 1.2, 1.3) in Prague. This beautiful hall is located inside the Rudolfinum, and also serves as the home of the
Czech Philharmonic Orchestra, and the Dvorák Symphony Orchestra.
Figure 1.2 - The Dvorák Hall
The Dvorák Hall, world renowned for its elegant acoustics and exceptional
quality sound, was named after the great composer Antonín Dvorák (18411904).
Antonín Dvorák excelled as a highly revered and respected Czech composer
in his day because of his European tours and his time in the United States.
His eloquent music embodied the Romantic period and the awakening of
nationalism. His musical genius expressed itself in all genres: choral music
(Stabat Mater, 1877), symphonic (The 9th “New World” Symphony”, 1893
and 5 symphonic poems), opera (Rusalka, 1900), concertos (Concerto for
Violoncello, 1895), trios, quartets and quintets and the Slav Dances (1878).
The Dvorák name lends important significance to the Hall, as if it houses
the true spirit of the composer. The Dvorák Hall is also called “The House
of Artists”.
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Figure 1.3 - The Dvorák Hall
There are several concert halls in the Rudolfinum, the sumptuous Dvorák
Hall ranking among the finest creations for 19th century Czech architecture.
Built between 1876 and 1884 in the neo-Renaissance style, it initially
housed an art gallery and museum of decorative arts. It is an outstanding
example of Czech Neo-Renaissance style. The curving balustrade is decorated with statues of distinguished Czech, Austrian, and German composers
and artists. This superior architectural design adds a fine quality to the
acoustical elements of the hall, making them far more impressive and grand
when compared to that of any other concert hall. The seating capacity is a
little over 1,100 seats.
From 1918 to 1939 the Dvorák hall was the seat of the parliament of the first
Czech Republic. Today it is one of the city’s most prestigious concert halls
and now the home of the Czech Philharmonic Orchestra. Many of the major
concerts of the Prague Spring music festival are held here. The first concert
given by the Czech Philharmonic Orchestra took place on January 4th 1896
and was conducted by Antonín Dvorák at the Rudolfinum-Dvorák Hall.
1.4
Instrument positions
For immediate acoustic realism, the string, brass and woodwind sections
have been captured in the proper acoustic orchestral positions (Figure 1.4).
It's important to note that the orchestral instrument positions often vary
according to the choice of the conductor. The number of instruments can
vary as well but a complete symphonic orchestra generally includes thirty
violins divided in two groups (first and second), around ten violas, ten cellos
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Figure 1.4 - Instrument positions
and from four to eight basses. The woodwinds are almost always grouped in
twos, for example two flutes (with an piccolo), two oboes (with an english
horn), two clarinets and two bassoons. The brass normally consists of two
trumpets, from two to four horns, three trombones and a tuba. To these
instruments are added classical percussions and other classical instruments
according to the scoring needs.
1.5
Instrument extensions
Figure 1.5 shows the extensions of the instruments included in Miroslav
Philharmonik referred to the Piano keyboard.
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Figure 1.5 - Instrument extensions
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Chapter 2 Instrument descriptions
2.1
Instrument categories
Below is the list of instrument types included in Miroslav Philharmonik:
Woodwinds
Piccolo
Flute
Alto Flute
Bass Flute
Oboe
English Horn
Clarinet in Bb
Bass Clarinet in Bb
Bassoon
Contra Bassoon
Brass
Trumpet
Flugelhorn
French Horn
Tenor Trombone
Bass Trombone
Tuba
Percussion (Tuned)
Glockenspiel
Celeste
Vibraphone
Marimba
Crotals
Cowbell
Tubular Bells
Plate Bells
Gong
Timpani
Percussion (Untuned) Agogos
Bass Drum
Bell
Bongos
Castanets
Chimes
Cymbals
Claps
Metal Plates
Shakers
Snare
Tambourine
Triangle
Woodstocks
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Keyed Elements
Organ
Piano
Harpsichord
Strings
Violin
Viola
Cello
Double-Bass
Harp
Guitar
Choir
Female Choir
Male Choir
WOODWINDS
The wind section is traditionally known as “woodwinds” even though not
all the instruments are made of wood. Philharmonik Woodwinds include
Piccolo, Flute, Alto Flute, Bass Flute, Oboe, English Horn, Clarinet in Bb,
Bass Clarinet in Bb, Bassoon, Contra Bassoon.
Piccolo
Piccolo
The Piccolo, or “Octave Flute”, is about the half the size of the flute, it is
made of two pieces and it’s tuned one octave above of the flute, which gives
it its characteristic brilliant sound. It is made of either metal or wood.
Flute
Flute
The western classical concert flute (or transverse flute) is a edge-tone
instrument with a body shaped like a cylindrical tube with holes and keys,
consisting of three pieces, and usually made of silver. In the top piece (head
joint), the “embouchure” is where the player blows air in the tube to emit
sounds. The desired sound is obtained by opening and closing the holes
therefore shortening or lengthening the air column vibrating in the tube,
producing different pitched sounds.
Alto Flute/Bass Flute
The bass flute and alto flute complete the transverse flute family. They
produce lower pitched notes generally used in slow orchestral movements
where more bodied sound can be easily heard.
Oboe
Oboe
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The Oboe is a double-reed instrument made of wood and has a cone-shaped
tube body with an aperture toward the end. The strong characteristics of its
sound make it one of the most important soloist instruments in the orches-
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English Horn
tra. The Oboe’s tone is produced by the player drawing the lips between the
teeth into the mouth. The player then focuses the air through the reed at
high pressure. This vibrates the reeds against each other and sets the air
in motion in the body of the instrument. Different pitches are produced by
changing the length of the tube, through the use of keys, and shortening or
lengthening the air column vibrating in the tube.
English Horn
The English Horn is technically an alto Oboe, tuned a fifth below the Oboe.
Like the Oboe it is a double reed instrument. Its sound is lower and richer
than the Oboe.
Clarinet
Clarinet
Clarinets are single-reed instruments, most commonly tuned to Bb or A.
The tone of a clarinet is usually a warm and rich sound however it can vary
widely. This is one of the many reasons the instrument has a wide range of
uses. The bass registry (“chalumeau”) has a darker sound, while the high
one is bright and expressive.
Bass Clarinet
This popular clarinet variation plays like the clarinet, only an octave lower.
It is usually made of blackwood. It is tuned in Bb.
Bass Clarinet
Bassoon
The Bassoon is double-reed instrument, the tenor of the oboe family, with
a cone shaped body generally made of rosewood or ebonite. It is very long
(more than 7 feet of tubing) and it is folded in two for easier handling. It has
a rich and deep sound character, especially in the bass register.
Contrabassoon
The Contrabassoon is a variation of the Bassoon. It is longer (16 feet) and
tuned one octave below the bassoon. It is the bass of the Oboe family.
Bassoon
BRASS
Contrabassoon
Included in this family of instrumentation are the trumpet, french horn,
flugel horn, trombone, and tuba. These are wind instruments made out of
metal with either a cup- or funnel-shaped mouthpiece. A vibration is produced by the performer’s lips which sets the column of air in motion through
the (usually) brass tubing and amplified by the bell. The pitch is determined
by the length of the tube. Notes are produced by closing valves or moving a
slide. This changes the length of the tube, shortening or lengthening the air
column vibrating in the tube, producing different pitched sounds.
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Trumpet
Trumpet
The trumpet can be considered the “soprano” of brass. The modern trumpet
has more than 4 feet of tubing wrapped into a compact shape. It has three
valves and a cylindrical bore ending with a bell shaped aperture. The standard orchestral trumpet, built in B-flat, has a range of about three octaves
It has both a piercing, brassy sound and a soft, muted sound.
Flugelhorn
The flugelhorn is a valved bugle developed in Germany. It has a conical
bore. The design pitch is typically middle C or B-flat. The flugelhorn has a
mellower sound than the trumpet.
Flugelhorn
French Horn
The French Horn (often called just “Horn”) is a brass instrument with a long
cone, spiral-shaped bore which ends with a large bell-shaped aperture.
Modern French horns have three valves which lower the pitch a semitone,
a tone, and three semitones (minor third) and the design pitch is generally
in F. Placing the hand in the bell lowers the tone and this way of playing is
called “stopping”. It is a very expressive instrument, capable of producing
a large variety of sound.
Trombone
French Horn
The modern trombone has not changed much since its invention, when it
appeared in the XV century’s orchestra with the name of “sackbut”. It has
9 feet of tubing and a cylindrical bore. There are seven playing positions
of the slide (“coulisse”). The slide is made from one tube tightly fitted over
another. There are two kinds of trombones. The Tenor member (usually
simply called Trombone) and the Bass Trombone. The trombone is the one
used in orchestras unless a lower sound is needed. The tone produced is
rich and mellow.
Tuba
Trombone
The Tuba (or Bass Tuba), is the bass instrument of the brass, and it’s a metal
wind instrument with a folded tube of wide, conical bore and a flared bell.
It was designed to fill an urgent need in brass bands for a satisfactory bass
to the valved bugle. The Tuba, has 13 feet 9 inches of tubing wrapped in
the body, with four or five valves. It is usually played standing upright and
it is used in the orchestra to reinforce the harmony with its a full, rich and
powerful tone.
PERCUSSION (TUNED)
Tuba
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A percussion instrument is made of sonorous material, which produces
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sounds of definite or indefinite pitch when shaken or struck. Percussion
instruments can therefore divided into two categories: Tuned (defined
pitch), Untuned (undefined pitch).
Glockenspiel
Glockenspiel
The name glockenspiel comes from the German language and means “to
play the bells.” The glockenspiel resembles a small xylophone, but it is
made of steel bars. The glockenspiel is typically played with mallets, producing a high-pitched sound that is bright and penetrating.
Celeste
A Celeste looks like a small upright piano, however it consists of a glockenspiel-like xylophone which is struck when a key is pushed. Its tone is
delicate and ethereal.
Vibraphone
Celeste
Vibraphones belong to the Xylophone family which includes instruments
with wood or metal bars that are played with mallets. The vibraphone has
two rows of bars, arranged like piano keys with tubular resonators below
each bar, with lengths varying according to the pitch of the note. Vibrations
from the bars resonate as they pass through the tubes, which amplifies the
sound. The range of the instrument is usually four octaves.
Marimba
The orchestral marimba is pitched an octave lower than the xylophone, with
bars made of wood. It has a mellow tone.
Crotals
Bells with body entirely closed and hollow, with a metal pellet inside.
Vibraphone
Cowbell
A thin walled iron bell mounted on a frame, without its clapper removed,
used as an orchestral percussion instrument, often to mimic the dry sound
of bells worn by animals.
Tubular Bells
Tubular bells are sets of tuned metal tubes made of brass with different
lengths, suspended vertically from a large metal frame. The tubes are
arranged similar to a piano keyboard. Each bell is struck with hammers on
the top part. They are provided with dampers operated either by hand or by
a pedal connected to the damping bar.
Marimba
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Plate Bells
Musical plates usually made of bronze.
Gong
Gong
The gong is a percussion instrument shaped like a disk. It is made of hammered metal, like bronze, and it may be made in various sizes, having either
definite or indefinite pitch. Many gongs have a central dome, but some are
flat. Most also have a turned-down rim. Orchestral gongs have a diameter
of at least 3 feet.
Timpani
The timpani has a round head stretched over a bowl-shaped shell. The
shell is made of metal, usually copper, while the head is made of animal
skin or plastic. They are made in various sizes and they are usually tunable and played in pairs. The head tension may be altered by means of a
footpedal which actuates tensioning elements and it is played with mallets
often doing hits, rolls and glissandi for a dramatic dynamic effect in the
orchestra.
Timpani
PERCUSSION (UNTUNED)
Philharmonik includes the complete set of orchestral Percussion including:
Agogos, Bass Drum, Bell, Bongos, Castanets, Chimes, Cymbals, Claps, Metal
Plates, Shakers, Snare, Tambourine, Triangle, Woodstocks.
KEYED ELEMENTS
Organ
Triangle
The traditional pipe organ consists of many pipes, each single-pitched,
supplied with compressed air by mechanical bellows. Aside from the
manuals, or keyboards, which can be used to produce a note, there is also
a pedal board. When a key or pedal is pressed, valves are opened and the
compressed air is directed into the pipe associated with the key or pedal
pressed. The collection of pipes of a given type is called a “register”, and
the organist’s control knob for a rank is called a “stop”. “Pulling the stop”
means opening the valve to let air into that register of pipes, when the corresponding key on the keyboard is pressed. Some of the largest organs have
more than a hundred registers.
Organ
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Piano
Piano
One of the most popular and versatile of all modern instruments is the
piano. In the orchestra it is usually a soloist. Depressing a key on the piano
engages a complex mechanism called the “action” which causes the hammer to strike the string, from which dampers have been lifted, producing
sounds for as long as the dampers remain lifted or until the energy has dissipated. The grand piano has about 230 strings for the 88 keys which span
the frequency range 27.5 Hz (A0) to 4186 Hz (C8). The relatively soft hammer
structure, gives a dramatic attack to the tone without sounding harsh.
Harpsichord
A stringed keyboard instrument family including also Spinets and Virginals,
developed during the 14th and 15th century, widely used until the early
19th century when it was superseded by the piano. The metal strings are
sounded by plucking with a small piece of material called a plectrum which
is attached to the key mechanism. A stroke on the key raises the plectrum
on the other end so that it plucks the string.
Harpsichord
STRINGS
A string instrument is defined as an instrument that has strings that produces sound by a vibration made when rubbed by a bow, plucked, or struck.
This vibrates the wooden instrument, causing the air inside to vibrate as
well and act as a resonator. The pitch is determined by the length, tension
and density of the string. The notes are produced by shortening the vibrating length. This is done by pressing the string against the body of the neck
with the finger.
Violin
Violin
The Violin is the most commonly used member of the modern string family
and is the highest-sounding instrument of that group. Its four strings, tuned
a 5th apart with the notes G, D, A and E, are stretched over a high arched
bridge that permits the playing of one or two strings at a time, as well as
the nearly simultaneous sounding of three or four as chords. The wider end
of the instrument is placed between the player’s left shoulder and chin,
while the left hand encircles its neck, the fingers stopping the strings to
produce the various pitches. Sound is produced by drawing the bow across
the strings to make them vibrate, or by plucking the strings (“pizzicato”).
The violin is the most versatile and expressive stringed instrument because
it has a wide range of tones.
Viola
The Viola is the alto of the violin family, and it also has the responsibility
of playing the tenor part in the string quartet. Larger and heavier than the
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violin, it is tuned a fifth lower and has a darker, somewhat nasal tone. The
strings are tuned a fifth apart at C, G, D, A.
Cello
Cello
The Cello, or Violoncello, is the second largest member of the Violin family
of musical instruments. It is tuned an octave below the Viola and serves
both as a melodic and bass instrument in chamber and orchestral music.
The body of the cello is approximately 30 inches long and is much deeper
than those of the Violin and Viola. The cellist is seated and supports the
instrument between his calves, with its lower end raised off the floor by
an endpin.
Double Bass
The Double Bass, also called Contrabass, is the largest and lowest-pitched
member of the orchestral string section. The standard double bass has four
strings and a range from E an octave below the bass staff, upwards for
nearly three octaves, although some instruments may have five strings in
order to extend the range downward. The strings are tuned a fourth apart.
The performer must stand to play this instrument or use a very high stool.
Harp
Double Bass
The concert Harp has six and a half octaves (about 47 strings) and is
approximately 6 ft high and 4 ft wide at the widest point. The notes range
from three octaves below middle C to three and a half octaves above. The
lowest strings are made of copper-wound nylon, the middle strings of gut,
and the highest of nylon. The concert Harp uses the mechanical action of
pedals to change the tuning of the strings.
Guitar
Harp
The classical Guitar is a hollow-bodied acoustic guitar with nylon strings.
The six strings are tuned to E, A, D, G, B, E, a fourth apart except for the
major third interval between B and G. Frets are placed to make them a
semitone apart. The classical guitar’s top plate is generally made of cedar
while rosewood is favored for the backs and sides because it is very hard
and tends to contribute to a brighter sound. A round hole 3 1/4” to 3 1/2”
in diameter in the top plate creates a cavity resonance which strengthens
the sound produced.
CHOIR
Guitar
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The human voice is the oldest and most spontaneous sound source that has
been used to create music. A singer generates sounds when airflow from
the lungs sets the vocal cords at a regular periodic oscillation. Frequency
is controlled by the tension of the vocal cords and the tone quality by the
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formation of the vocal tract. The four basic categories of voices in choirs are:
bass, tenor, alto and soprano.
Female Choir
Alto: the deepest female voice, a range from one octave above to one octave
below low E in the treble clef.
Soprano: soprano, the highest voice, usually extending from middle C to the
C two octaves higher.
Male Choir
Bass: lowest male voice. A typical bass has a range extending from around
the F below the bottom of the bass clef to the E above middle C.
Tenor: the highest normal male voice; A typical tenor will have a range
extending roughly from the C an octave below middle C to the A above
middle C. In a mixed-gender choir, females may also sing as tenors.
2.2
Articulations
Below is a list of the “articulations” (various playing techniques) included in
Philharmonik in alphabetical order. Sometimes they are related to a single
instrument while other times they apply to more than one instrument category (i.e. “Staccato” is used for strings, brass and winds while “Tremolo”
may only be for strings ). They appear in the name of the instrument fully
or abbreviated (between parenthesis).
Crescendo (CRESC)
Increasingly loud, a building up of volume and timbre.
Détaché (DET)
Term used for strings played with separated notes.
Expressivo (EXPR)
Notes played with more expression.
Flutter
A rolled ‘r’ tonguing used with brass and woodwinds.
Glissando (GLISS)
A glide up or down the pitch scale with individual notes being played and
heard.
Legato (LEG)
For woodwinds it means notes are played without tonguing. For Strings it
means smooth, slurred notes.
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Marcato (MARC)
With notes marked, accented.
Mute
The sound of the notes is reduced. Some instruments may be played with a
device called a “mute” or “sordina” which not only diminishes the volume
of the instrument but also changes its timbral character.
Pizzicato (PIZZ)
For strings it is the plucking of the string, as opposed to bowing.
Portato (PORT)
“Carried” note.
Spiccato (SPICC)
Very short notes.
Staccato (STACC)
Short and separated notes.
Sul Ponte
For strings played with the bow near the bridge.
Tremolo (TREM)
For strings it means a rapid up-down bowing.
Vibrato (VIBR)
Notes are played with modulated pitch.
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Chapter 3 Instrument Organization/Programming
3.1
Parent, Child and Combi presets
Miroslav Philharmonik sounds are organized into three different types of
presets: Parent, Child, and Combi presets. The Parent sounds are the first
displayed within the sound folder and contain the sample waveform data of
the sounds as well as its basic programming. Child Presets can be saved as
variations of a particular Parent sound, by changing its programming with
the powerful engine parameters and effects. When a Parent sound has Child
Presets linked to it a black arrow appears on its left in the browser window.
By clicking on the arrow the Child presets linked to that specific parent
sound are displayed in the browser and can be loaded by double clicking
on them. Since Philharmonik can load up to 16 Parent/Child sounds simultaneously, a Combi preset can be used to save any combination of them and
makes it possible to produce complex multi-layer patches as well as multitimbral set ups. Combi presets are used to load a complete Orchestra set
with one click or a complex single instrument type with all its articulations
and many other creative uses combining the various parts of the orchestra.
3.2
Folder organization
Here below is the folder organization of Miroslav Philharmonik sounds
and an explanation of special sections that are particular to this collection
(Figure 3.1).
Miroslav Philharmonik
• Brass
- Ens Brass
- Solo Brass
• Choirs
- Female Choirs
- Male Choirs
- Mixed Choirs. Sampled with a full choir of male and female together
overlapping for the full sound of mixed male and female voices as well
as an extended range across the keyboard.
Figure 3.1
- Split Choirs. Convenient ranges of male and female choirs split across
the keyboard for a wider range while retaining the separate character
of male and female voices.
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• Elements
- Dyn Perf Elements. These dynamic performance sounds have velocity
switching between various orchestral ensemble combinations built
into the single patch. They are much larger in size than most patches
but they offer a convenient “instant dynamic orchestra” for making
orchestral Combis that use up less parts (and polyphony) to get a larger
interactive orchestral sound.
- Misc Elements
- Mono Elements. Most of the sounds in Philharmonik are stereo
and many of them were also designed to be preserving their
spacial positioning within a true orchestral set up. This folder has
a compilation of mono versions of many of these sounds for the
benefits of both flexibility in user panning as well as their ability
to take up half the amount of polyphony as stereo sounds. This is
ideal for adding them as layered instruments to Combis. In some
ways you can also consider these to be “light versions” since they
also take up half the amount of ram to load as their stereo version
counterparts.
- Special Ranges. There were some special low and high range maps
that were brought over from the original Miroslav libraries. These
are convenient and useful for loading and taking up only the ram
needed just for these specific ranges and they are especially useful
in Combi layers with other instruments and ensembles.
- Orchestral Player Noises. Real orchestral recordings often have the
sound of the players breathing, coughing, rustling and sometimes even
talking (especially in between performances). We went back to the
original Miroslav recording sessions and pulled out a variety of different orchestral player noises that you can add in for extra realism and
“fool the ear” into thinking they are hearing a REAL orchestra because
of the presence of these elements.
- Percussion Elements. Here you’ll find each individual percussion instrument sample on its own and mapped across the whole range of the
keyboard. It is initially set to be the same root pitch across the whole
range of the keyboard. This allows you to use the range functions of
Philharmonik to essentially “remap” the sound to wherever you want it
to play. This is ideal for Combis where you want to either layer certain
percussion in different areas of the keyboard or perhaps make your
own velocity switching up to 16 parts or other useful things. In addition
to this all of the Percussion Elements have a special macro knob called
Pscale which stands for “pitch scaling” (see 3.4) which allows them to
pitched in various ways across the keyboard.
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• Orchestral Sections
- Brass Wind Sections. These are mixed brass and woodwind sections
with various layers of trumpets, trombones, French horns, flutes,
oboes and more. The benefits of this are instant full brass and woodwind sections that work well on their own and are also ideal to use
within Combis for taking up less polyphony and CPU power to get a full
orchestral sound.
- Mixed Orchestra. These are mixed full orchestra sounds with various
layers of strings, brass, woodwinds and choirs in one sound. The benefits of this are instant orchestras that are fun to play on their own and
they also work well within Combi layers for taking up less polyphony
and CPU power to get a full orchestral sound.
- String Sections. These are mixed string sections with various layers of
violins, violas, celli and basses in one sound. The benefits of these full
string sections with different articulations are that they work well on
their own and they also work well within Combi layers for taking up
less polyphony and CPU power to get a full orchestral sound.
• Other Instruments
- Cathedral Organ
- Classical Guitars
- Classical Harps
- Concert Grand Piano
- Harpsichord
• Percussion
- Chromatic Percussion. Percussion instruments that are chromatically
tuned such as various mallet instruments, bells and other.
- Full Percussion Maps. Maps of various percussion instruments spread
across the keyboard in both general MIDI and other mappings. These
are ideal for sequencing and having access to many different percussion instruments at once.
- Percussion Menu Maps. These maps are for individual articulations of
one percussion instrument type. They are mapped chromatically starting from “C3” and offer a “menu” of the various individual samples of
that instrument. Each note in the map is set to its same root pitch and
the pitch does not track chromatically.
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• Miroslav Strings
- Ens Strings
- Solo Strings
• Miroslav Woodwinds
- Ens Woodwinds
- Solo Woodwinds
3.3
Child presets
Child presets use standard prefixes that describe particular sound programming and give information about the instrument character and how to use
it. Below a list of the suffixes used in Philharmonik.
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AMV
Aftertouch/Modwheel/Velocity, these are deluxe child presets
designed to be the most responsive to these three controllers.
Modwheel controls the volume swell with the full playing level
being when the modwheel is all the way up. Aftertouch is set to
“Push” the volume and brightness of the sound according to the
pressure of your fingers on the keyboard (if your midi keyboard
has “aftertouch” capability) and finally the velocity is set to vary
the speed of the attack (VSpeed) as well as the start point of the
sample (VStart) to allow for more animation of the expressiveness
of the instrument or ensemble.
BC1
Breath Control, for brass and woodwinds these patches are
designed to instantly respond to a breath controller affecting the
volume dynamics in real time if your midi keyboard or wind controller has this option.
BC2
Breath Control, for brass and woodwinds these patches are
designed to instantly respond to a breath controller affecting the
volume dynamics as well as the brightness tone in real time if your
midi keyboard or wind controller has this option.
EXPD
Expression Pedal, variation of the attack as well as a direct set up
for external expression pedal (CC#11) set to control the volume
“swell” (Macro A).
RNG
Range Optimized, an alternate version of the parent sound with
just the upper and/or lower zones ‘optimized’ using the Stretch
engine to enhance the sound’s playable range.
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STCH
Stretch, an alternate version of the sound using the STRETCH™
engine on all zones to allow advanced independent control of the
sound’s pitch, tempo and harmonics. In these patches the modwheel is often pre-assigned to adjust the “tempo” or speed of the
sample playback.
SLW
Slow, a version of the sound with a slower attack time and slightly
longer release. In these patches the modwheel is assigned to vary
the speed of the attack in subtle adjustments.
FST
Fast, a version of the sound with a faster attach time and slighter
shorter release.
THT
Tight, all samples are set to end shorter then the parent with a
tighter sync in decay and/or release via envelope programming.
This is often used for detache, portato and staccato sounds where
the player’s may naturally have played with subtle changes in
duration and this type of patch offers an alternative “tigher” version. Both can be useful. In these patches the modwheel is often set
to vary the degree of tightness in the release of the sound.
LNG
Long, slow attack and long release which can be great for a washy
atmospheric sound with lush ensembles. In these types of patches
the modwheel is assigned to control the release length.
DRK
Dark, a version of the sound that is darker via the use of on board
EQ or filter. In these types of patches the modwheel is often
assigned to adjust various levels of darkness in the timbre.
BRT
Bright, a version of the sound that is brighter via the use of on
board EQ or filter. In these types of patches the modwheel is often
assigned to adjust various levels of brightness in the timbre.
CRS1
Crescendo 1, a crescendo and swell with a slow attack and decay
fade to a lower sustaining level. In these types of patches the
modwheel is often set up to adjust the decay time of the crescendo
envelope.
CRS2
Crescendo 2, a cressendo that either has a building attack to a high
peak sustain level or other crescendo variations. In these types of
patches the modwheel is often set up to adjust the speed of the
crescendo’s build-up or other.
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3.4
Macro descriptions
Macros are used in Philharmonik to give instant access to custom soundshaping performance controls, pre-defined by Sonic Reality, the sound
designer of these sounds. These allow the user to modify the sound in realtime through the simultaneous activation of several parameters within the
powerful IK sound engine.
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Swell
Swell, volume expression with a smooth control of the level
of the sound ideal for creating interactive swells and other
time-based volume performances via a MIDI controller such as
expression pedal or modwheel. The default is set to 120 with 0
being the quietest and 127 being the loudest. Default MIDI CC
is 12 although in some combis it is also set to respond to CC#11
which is expression pedal.
VSpeed
Variable Speed, this controls the velocity to attack amount of the
amp envelope. This allows a range of slower to faster attack to
be controlled by the velocity. It also works relative to the attack
setting of envelope 1 so that the more you increase the attack of
envelope 1 the slower it is at the lowest velocities. Increasing
the VSpeed makes the attack faster at the higher velocities.
Since real orchestra instruments have variation of the speed of
each attack, this parameter can be used for more variation in
the performance expression of the sound and you’ll find it used
often in “EXP” child presets as well as in peformance combis.
The default of this macro is 0 in the parent sound which is “off”
with the range up to 127 being the highest. Default MIDI CC is
13 although in some combis such as the “articulation control
switches” it is also controllled by Modwheel.
ATPush
Aftertouch “Push”, with real orchestral instruments a player can
use more force and get a louder sound and often brighter timbre
as well. By turning up this macro this can be simulated using a
keyboard’s “aftertouch” control (if the keyboard controller has
aftertouch which not all keyboards do, check your keyboard’s
user manual for details). So, when it is turned up the sound
becomes initially slightly darker and can be made to be brighter
and louder in your performance using your keyboard’s aftertouch or “pressure on the keys” as you play. The default is set to
0 which is no effect and from the ranges 1-127 with 127 being
the highest you can increase the amount of “afterouch to filter
and amplitude”. Default MIDI CC is 14.
VStart
Velocity to Start Point, turning up this macro allows the sound
to start at a different point within the sample and it gradually
plays closer to the true beginning of the sound the harder your
velocity. This can be great for timbral variety in the attack of the
sound since with orchestral and choir sounds there is often a lot
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of sonic variation at the beginning of the sample. Most of the
sounds in Philharmonik with the exception of the percussion,
piano and some other sharp attack instruments have settings
with the necessary compensations for VStart to be used on its
own without hearing clicks on attacks that could happen due to
playing at various start points. However, if you are experimenting with VStart settings and you hear unwanted clicks on the
attack then you can avoid them by adjusting the VSpeed and/or
Attack of envelope 1 parameters for a smooth “taper” of the
beginning of the sound. The default setting is 0 which is off with
ranges from 1-127 and 127 being the highest for increasing the
velocity to sample start amount. Default MIDI CC is 15
Pitch
Pitch, this macro is for real time control of the pitch via a MIDI
controller. This is often used for percussion instruments to be
able to use the pitch in a different way than the pitch bender
which is often spring loaded. Using a modwheel or expression
pedal you can simulate the pitch pedal of timpani and other
sounds. Default setting is 64 which is normal pitch and going
from 64 to 0 goes down one octave and from 65 to 127 goes up
one ovtave. Default MIDI CC is 14.
PScale
Pitch Scale, this macro is usually used for sound such as percussion elements and other material that is meant for layering in
combi performance patches. It allows for the sound to be set
to trigger the same root pitch on all of the keys when it is at its
default of 64 to a full chromatically tuned version across the
keyboard when set to 127. When set to zero it does a reverse
tuning where higher notes get lower going up the keyboard. The
settings in between 0 and 64 and between 64 and 127 offer “in
between” pitch scaling which can be useful for special effects or
more subtle pitch variance from key to key. Default MIDI CC is
14.
This is useful for having multiple pitches in a variety of degrees
and directions for example on percussion instruments. This
way you can “play” a percussion instrument now as a “tuned
chromatic instrument” such as the case with bells or timpani.
Other times you can just use as a layer in a Combi with flexibile
polyphony settings when triggering from multiple keys (tip:
when used in a Combi layer at 64 which is root pitch across the
keys you may want to set the polyphony to 1 so that a chord does
not trigger the same pitched sample multiple times which would
sound odd or phased. Sometimes even just turning the PScale
knob up a little bit can avoid this if you want a polyphony setting
higher than one and want to have a bigger sound with multiple
percussion playing at once).
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Chapter 4 Combis
4.1
Combi descriptions
The Combis included in Philharmonik are organized the following way:
- Advanced Ensembles
- Multi Setups
- Dynamic Layers
- Orchestral Splits
- Advanced Ensembles. These are multi-layered Combis that have various
key range, velocity, aftertouch and other controllers interacting with different orchestral instruments and textural parts. They are designed to be
inspirational as “instant orchestras” for live performance or composition.
Try playing them at different velocities and adjusting the modwheel and/
or pressure on your keyboard for a variety of different timbres and dynamics that can make you feel like you are the conductor of a live symphony!
- Multi Setups. This section includes COMBIs that have a variety of different performance articulations such as staccato, pizzicato, tremolo etc. for
more diversity and realism in midi performance. Each performance articulation is assigned to a different Part, so using these different performance
articulations is as simple as switching to another midi channel in your
sequencer. This is the easiest way to access multiple types of articulations
from a single instrument type in a MIDI performance.
They are some of the more advanced types of patches in Philharmonik and
require more CPU power to run. The reason it takes up more CPU power
is because each COMBI makes up the performance variations of a single
instrument. So if you wanted to use these multi-setups for all your orchestral sections, it would take multiple instances of Miroslav Philharmonik
if you did not first bounce each COMBI to audio before loading the next.
They are ideal for bouncing to audio tracks within your host sequencer
which would make it possible to use multiple patches of this type within
one piece of music without as much added strain on the CPU.
The user is able to play up to 8 different articulations, depending on what
the Combi has loaded from that instrument category. The following is a list
of common articulation types that can be found in the slots of part 1-8.
Philharmonik Multi Setups:
- Part 1
- Part 2
- Part 3
- Part 4
- Part 5
4 - Combis
Regular or Legato
Staccato
Short (2nd Staccato, short Détaché or Portato, Pizzicato...)
Medium (Détaché, Portato, Fast Legato...)
Complex (Tremolo, Flutter, Trill...)
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- Part 6 Alternate Timbre or Dynamic (Mute, Soft, Harmonics, Sul Ponte...)
- Part 7 Misc. performance articulation
- Part 8 Misc. performance articulation
- Dynamic Layers. These are layers that take advantage of Philharmonik’s
Combi velocity range features which allow multiple parts to be set to
play at designated dynamics. They offer easy and flexible control of the
timbre and volume of soft to loud or other variations of the sounds in
Philharmonik via midi velocity.
- Orchestral Splits. These are Combis that take advantage of Philharmonik’s
fast and easy way of setting ranges of layered instruments so they can be
split across the keyboard. This allows two or more sounds to be played
simultanously from different areas of your keyboard or other midi controller which opens up more potential for seemless combination of two
different instrument or performance articulation types.
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Miroslav Philharmonik
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Chapter 5 Keywords
5.1
Keyword descriptions
All Philharmonik instruments have a set of hidden keywords which can be
used to locate any instrument directly.
Each Philharmonik sounds can contain to up to 32 hidden keywords which
have been incorporated by the sound-designers.
Examples of searchable keywords:
Acoustic, Agogo, Altoflute, Arpeggio, Bass, Bassclarinet, Bassdrum,
Basses, Bassflute, Bassons, Bassoon, Basstrombone, Bell, Bellplay,
Bells, Belltree, Bongos, Brass, Castanets, Cathedral, Celeste, Cello,
Cellos, Chimes, Choir, Claps, Clarinet, Clarinets, Classical, ClassicalGuitar,
Congas, Contrabassoon, Cowbell, Crescendo, Crotals, Cymbals, Detache,
Drums, Englishhorn, Expressivo, Fastbow, Femalechoir, Flugelhorn,
Flute, Flutes, Flutter, Frenchhorn, Frenchhorns, Full, Gliss, Glockenspiel,
Gong, Grandpiano, Guiro, Harp, Harpsichord, Horn, Legato, Long,
Malechoir, Marimba, Metalplates, Miroslav, Mute, Noises, NoVibrato,
Oboe, Oboes, Orchestra, Orchestral, Orchestralperc, Perckit, Percussion,
Piccolo, PipeOrgan, Pizzicato, Portato, Rolls, Shaker, Shakers,
Short, Slow, Snare, Spiccato, Staccato, Stoneplay, Strings, SulPonte,
Sulponticello, Tambourine, Timpani, Tremolo, Triangle, Trombone,
Trombones, Trumpet, Trumpets, Tuba, Tubularbells, Vibraphone, Vibrato,
Viola, Violas, Violin, Violins, Woodblocks, Woodwinds.
5 - Keywords
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Chapter 6 Credits
Miroslav Philharmonik created by IK Multimedia and Sonic Reality.
Original data from “Miroslav Vitous Symphonic Orchestra Samples” collection.
Philharmonik sound programming by:
Dan Dashnaw
David Kerzner
Mark Hinebrook
Davide Barbi
Dustin (Lupus SM) Crisman
Jeff (Zamplebot) Brown
Alex Dingley
Jimmy Blankenship
Tone Curl
Ivan Landron
Robert Mirabelle
Thanks to:
Miroslav Vitous and the many musicians and engineers who have made the
product so great.
The Czech Philharmonic Orchestra and MUSA Ltd. for the photos of the
Dvorák Symphony Hall.
Garth Hjelte for help with translations.
Miroslav name used under license from Universal Syncopation Ltd.
Photos courtesy of Czech Philharmonic Orchestra and MUSA Ltd.
Philharmonik™ is a trademark property of IK Multimedia Production.
Miroslav name used under license from Universal Sincopation Ltd.
All other trademarks property of their respective owners.
www.philharmonik.com
IK Multimedia Production, via dell’industria 46, 41100, Modena, Italy.
Phone: +39-059-285496, Fax: +39-059-2861671
IK Multimedia US LLC, 1153 Sawgrass Corporate Pkwy. Sunrise, FL 33323
Phone: (954) 846-9101, Fax: (954) 846-9077, Tech Support Phone: (954) 846-9866
www.ikmultimedia.com
6 - Credits
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PN: MNU-MP-0002
IK Multimedia. Musicians First.
www.ikmultimedia.com