
End User License Agreement 
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Contents: 
Page 1. Cover Art 
Page 2. License Agreement 
Page 3. Contents 
Page 4-5. Introduction 
Page 6. Credits 
Page 7-9. Producer Bios 
Page 10. Ocean Way Recording 
Page 11. Using RA 
Page 12. Microtuning and RA Controllers 
Page 13. RA Instrument List 
Page 14-77. Ethnic Encyclopedia 
Page 78-81. Abreviations Key 
Page 82-100. Programs List 
Page 101-117. Keyswitch/Live Articulations Tables 
Page 118. Cover Art

Introduction 
QUANTUM LEAP RA - RARE AND ETHNIC VIRTUAL INSTRUMENT 
In ancient Egypt, RA was regarded as the creator of everything, the god of the sun. 
RA is usually represented with the body of a man and the head of a hawk, holding an ankh & 
sceptre. The chief location of RA worship was Heliopolis (a Greek word meaning city of the 
sun). We thought RA would be an appropriate name for the largest, and most comprehensive 
rare and ethnic virtual instrument ever made. 
RA was born a few years ago, as a sample library called Rare Instruments. All of the 
sounds from Rare Instruments are included in RA, but this only represents approximately 
one-tenth of the content. We recorded the other ninety percent of RA at Ocean Way studios in 
Hollywood. Because of the size and complexity of the project, I brought in two talented producers, 
Pacemaker and Tony Austin to co-produce RA with me. They have worked on other 
Quantum Leap projects and had some great ideas for RA. We spent time hunting down the 
best ethnic artists on the West Coast. Los Angeles is so ethnically diverse and blessed with 
excellent institutions like Cal Arts, it is actually the ideal place to record a rare and ethnic collection. 
RA is a 14 Gigabyte virtual instrument that covers many typical, and some unusual 
instruments, from 6 areas of the World - 
1. Africa 
2. Americas and Australia 
3. Europe 
4. Far East 
5. India 
6. Middle East and Turkish Empire. 
So what is so special about RA compared to other ethnic collections? For a start, I think 
you will really love these sounds for the same reason that Rare Instruments was so popular. 
Every instrument or ensemble was sampled extensively, so the character of the instrument 
was preserved. Ethnic (or World) music is all about expression and how the instrument is 
played. To sample a Turkish wind instrument and not capture the bending, swelling and wavering 
of the notes is to miss the point completely. We made a big effort to keep things very 
organized, consistent and intuitive, which is necessary with a collection of this size. Every 
instrument has many articulations and fx that range from very controlled, to very expressive. 
This allows you to actually play the instrument with authentic results. We also came up with 
some innovative ideas for achieving realistic legato. We call this QLegato. 

Introduction Continued.. 
You will find RA has amazing sound quality. This is the famous Ocean Way sound: an 
amazing collection of vintage mics and a custom API console. RA was captured with a phase 
accurate 8-mic setup that gives a complete 3 dimensional image of the instrument. It is this 
type of sound that takes to artificial or sampled reverb extremely well. The sound is clear and 
broad. Mics used were Neumann U67 (U47s as alternates), Neuman M50, AKG C12 and 
Shoepps. 
Another cool aspect of this virtual instrument is the fact that we recorded ethnic ensembles. 
This was done with African drums, bagpipes, gamelan and a Middle Eastern string section. 
The sound of these ensembles cannot be realistically simulated by layering solo instruments. 
RA was a very expensive project, but well worth the cost. A lot of thought went into 
selecting instruments that would appeal to composers of all types, from dance music, to film. 
You might want to put the middle eastern string section in your next pop tune, or the hardanger 
fiddle in a sweeping romantic score ala LOTR. 
You might also be surprised at how little percussion is included in this giant ethnic collection. 
The reason is, we already covered much of this in Quantum Leap Stormdrum. Stormdrum 
is the ideal companion to RA. The percussion in RA compliments Stormdrum perfectly. 
You can have a lot of fun with RA. The possibilities are simply endless, especially when 
you mix the sounds of different cultures together. Load up the middle eastern string section, 
apply an Indian or Egyptian tuning from the micro-tuning presets and play octaves. Make 
a really cool groove with the didgeridoo fx and the Vietnamese jaw harp. Take a classical 
filmscore piece and replace all of the instruments with their ethnic counterparts: strings with 
middle eastern string section, solo violin or cello with electric baritone violin, hardangerfiddle 
or erhu, french horn with alpenhorn, flute with dizi, oboe with duduk, percussion with taikos 
and African percussion, harp with kora, trombones with rag dung etc. etc.... Or perhaps try 
the hurdy gurdy, hardanger fiddle, washburn guitar, mandolin and the dizi and make an interesting 
folk ensemble or the gamelan ensemble with the ney flute, duduk and esraj. And don't 
forget the reverb! 
Nick Phoenix - Producer 
QUANTUM LEAP 

Credits 
Produced by Nick Phoenix, Tony Austin and Pacemaker 
Executive Producer: Doug Rogers 
Engineering and Mastering: Nick Phoenix 
Editing: Pacemaker, Tony Austin, Jared Selter, Justin Harris, Jonathan Marmor, Arne Schulze, 
Claudia Phoenix, Nick Phoenix and James Rickabaugh 
Programming: Pacemaker, Jared Selter, Tony Austin, Justin Harris and Nick Phoenix 
Graphic Design: Steven Gilmore and Doug Rogers 
Photography: Claudia Phoenix and Tony Austin 
PDF Manual by Claudia Phoenix, Nick Phoenix, Doug Rogers, Pacemaker and Tony Austin 
Special Thanks to Ocean Way and the artists 
The Complete Line of 
QUANTUM LEAP VIRTUAL INSTRUMENTS: 
Hardcore Bass XP 
RA 
Stormdrum 
Symphonic Choirs 
Symphonic Orchestra Gold 
Symphonic Orchestra Gold Pro 
Symphonic Orchestra Platinum 
Symphonic Orchestra Platinum Pro 
Symphonic Orchestra Silver 
Symphonic Orchestra Silver Pro

Nick Phoenix 
Birthplace: London, England 
Age: 37 
Axe: Keyboards 
Hobbies: Concrete Pool Skating, Playing Grateful Dead Songs on a Yamaha GS-1 and Bush 
Bashing 
Nick is responsible for all of the Quantum Leap libraries to date, either as the sole 
producer or co-producer. The inspiration for these libraries has always come from experience 
as a composer. QL libraries to date: QL Guitar and bass, QL Brass, QL Rare 
Instruments, QL Voices of the Apocalypse, QL 56 Strat, QL Stormdrum, QL Hardcore 
Bass, QL Colossus, QL RA, EWQL Symphonic Orchestra Pro (Silver, Gold and Platinum) 
and Symphonic Choirs . Nick has scored over 500 film trailers and has recently begun 
scoring more TV and film. Look for Nightmare on Elm Street, Real Nightmares this 
spring on CBS. He has also begun collaborating with BT on film projects.

Tony digital-t Austin 
Birthplace: Los Angeles, California 
Age: 26 
Axe: Drums and computer 
Hobbies: Walking along quiet beaches 
contemplating the meaning of life 
through his urban poetry. 
Tony Austin began his journey to the 
digital world of music at the age of 
seven. It was at this age that Tony 
came in contact with one of the innovators 
of music technology Roger Linn 
(inventor of the Linn Drum and MPC60 
Drum machines). Roger Linn facilitated 
Tony's need to create and guided him 
through the complex world of midi and 
digital music production. It was through 
this experience that Tony Austin eventually 
realized his passion for composing, 
arranging, engineering, and producing. 
Currently Tony co-owns a company, 
in Los Angeles California, with Pacemaker 
called Soundwarrior. As a team 
they have many credits in film/tv composition, 
sound consulting, and sample 
library development.

Pacemaker 
Birthplace: N/A 
Age: N/A 
Axe: keytar 
Avocation: Shoegazer

Ocean Way Recording, Hollywood, CA, Studio B 
Custom-built 48 input Ocean Way/API console with GML moving fader automation and 
separate 24 channel monitor mix inputs returnable to stereo buss. Pro Tools HD. 
Control Room 15'w x 18'd x 9'h, Main Room 35'w x 45'd x 24'h

Using RA 
Programs in RA fall into 3 categories: 
1. Keyswitches 
2. Live 
3. Elements 
Keyswitches use keys at the bottom of an 88 key keyboard to switch programs within the keyswitch. 
The keys used to do the switching are always listed at the end of the program name. 
EXAMPLE: Washbrn GTR KS C0-D#0.nki 
Here KS stands for keyswitch, and C0-D#0 means that CO, C#0, D0 and D#0 are used to 
switch to a different program within this keyswitch program. Keyswitches in RA generally have 
all of the programs of the instrument wrapped up into one program. This is very useful, because 
it allows you to have instant access to the entire instrument, and only tie up one midi 
channel. There is a 17 page document at the end of this manual which describes every detail 
of all of the keyswitches and Live programs in RA. 
Live programs in RA are simple, very playable programs that generally use the most common 
and useful articulations of the instrument. They also tend to have cool articulations assigned 
to the higher velocities. They can be used in live situations, or any time you want 
something simple and playable, that captures the essence of the instrument. 
The Elements folder contains all of the basic programs of the instrument. It also contains 
other cool programs like round robin programs. If you don't like using keyswitches, use these. 
Also look here for FX programs. 
Notes: 
The programs in Africa are somewhat basic and do not use keyswitching or live programs. 
There are also no Elements folders, as they are unneccesary. 
Multis are not used in RA, but of course you can create and save your own multi setups.

Micro-tuning in RA 
Everything in RA has been meticulously tuned to a western, equal-tempered scale. This 
means that you can use these sounds with any other sounds you have, without any tuning 
problems. We have also offered a few programs in their un-tuned state as an alternative. 
These un-tuned versions retain more of the original character of the instrument, but may not 
mix well in your composition. If this is the case, use the tuned version. It was not possible to 
offer authentically tuned versions of each instrument, because that is a very complicated task. 
But we were dedicated to providing a way to easily apply alternate tunings to every program. 
The Kontakt/Kompakt engine supports micro-tuning, but we found that the NI presets generally 
did not work for RA, so we programmed our own. This was very difficult, so we concentrated 
on making a few very usable presets. We may offer more in the future. Please contact 
Nick at bunschel@aol.com, if you are interested in programming or sharing new micro-tuning 
presets. 
RA Micro-tuning Presets: 
Arabian in C F G.nkp 
Chinese Lu in B.nkp 
Chinese Lu in D.nkp 
Chinese Lu in G.nkp 
Egyptian in C G.nkp 
Egyptian in E A.nkp 
S. Muklund (Indian) In A.nkp 
S. Muklund (Indian) In D.nkp 
S. Mukund (Indian) in C.nkp 
Shruthi (Indian) In A.nkp 
Shruthi (Indian) in C.nkp 
Shruthi (Indian) In D.nkp 
West African in C.nkp 
Western.nkp 
Controllers in RA 
CC0- Volume 
CC1- Mod-Wheel controls filter 
CC7- Panning 
CC11- Expression 
Please enable CC0 and CC7 in the Kompakt options and restart Kompakt before using RA.

Africa 
African Dual Wooden Shakers (Ewe) 
African Metal Shakers (Ewe) 
Atsimevu 
Axatse 
Batas 
Berkete 
Dejembe Ensemble 
Ekpiri 
Ewe Drum Ensemble 
Ewe Bombshell 
FromTonFrom 
Gankokwe Large 
Gyil 
Kalimbas 
Kidi 
Kora 
Log Drums 
Ngoni 
Udu 
Americas And Australia 
1890 Washburn Guitar 
American Jaw Harp 
Banjo 
Berimbau 
Cuban Percussion 
Didjeridoo 
Dobro 
First Nations Cedar Flute 
Mandolin 
Pan Flute 
Ukelele 
Europe 
Alpenhorn 
Bag Pipe Ensemble 
Bass Recorder 
Frame Drums 
Gadulka 
Hardanger Fiddle 
Highland Pipes 
Hurdy Gurdy 
Irish Low Whistle 
Launeddas 
Uilleann Pipes 
Far East 
Dizi 
Erhu 
Gamelan Ensemble 
Gongs 
Koto 
Rag Dung 
Shakuhachi 
Shamisen 
Taiko Drums 
Vietnamese Jawharp 
India 
Bansuri 
Baritone Violin (Electric) 
Esraj 
Sarangi 
Sitar 
Tablas 
Tambura 
Mid East & Turkish Empire 
Armenian Duduk 
Bulgarian Duduk 
Mid East Fiddle 
Mid East String Section 
Ney Flute 
Oud 
Qandahar Dumbek 
Santoor 
Turkish Duduk 
Yali Tambur 
Zourna 
RA Instruments


Bata 
Origins 
Bata drums were first introduced in the Yorba Land region, what is now called Southwest Nigeria. 
They were invented during the reign of King Sango and were considered his royal drum. The Bata 
drums are mostly played in medium sized ensembles. They were traditionally used for a variety of 
purposes, including allowing a king to summon people to court, announcing visitors to the king, sending 
messages such as announcements or warnings to all within hearing range, and most importantly 
for ritual purposes to speak prayers. 
Construction 
The wood Shelled carved Bata is shaped mush like an hourglass. It is meant to be play parallel to the 
ground, hung from the shoulder of resting on the musicians lap. There are two animal skinned heads 
on either side of the drum. One is of lower pitch and the other is of higher pitch. Most Batas vary in 
size. A typical ensemble of Batas will normally consist of small, medium, and large sized drums. 
Techniques 
Because of the tonal nature of the Yoruba language, the Batas are typically played to speak certain 
phrases or passages in the Yoruban tongue. For the purpose of this sample library we have included 
two basic articulations that are most common to the Bata. The most basic articulation is the Open 
Tone. This is accomplished by striking the head of the drum with a bare flat hand and letting the 
sound sustain. When played correctly, the Open Tone produces a sound that is mostly comprised of 
the fundamental pitch of the drum. The second most common articulation is the Open Slap. This is 
accomplished by striking the head of the drum with a slightly curved bare hand. When played correctly, 
this articulation produces a brighter higher pitched sound.

Berkete 
Origins 
The Berkete, also known as the Gungon, is from the West African country Ghana. It can mostly be 
found in the central and northern regions of Ghana. The Berkete is usually played in medium sized 
ensembles and is accompanied by an ensemble of African talking drums. 
Construction 
The wood Shelled carved Berkete is shaped like a bass drum and varies in size, mostly 14 inches in 
diameter. The thin goatskin head is strung with a medium gauge gut string on the outside in order to 
produce a sustained raspy sound. 
Techniques 
There are two basic articulations played on the Berkete. The open hit and the mute hit. Striking the 
head with a stick while letting the drum fully sustain produces the open hit. The mute hit is produced 
by striking the drum with a stick while pressing the stick firmly into the head to cut of the sustain of the 
drum.

Djembe Ensemble 
Origins 
The Djembe originated from the Mali Empire around the time of the 12th century. The Mali Empire 
covered an area that encompasses significant portions of the present-day countries of Mali, southern 
and western Mauritania, Guinea and Senegal. It has been said that the Djembe was invented for King 
Sunjata Keita and was held as a shine for many years before it was publicly played. 
Construction 
The Djembe is carved from wood. It has a shape similar to a whine glass. Presently the drumheads 
are made from calf, deer, or goat skin. The heads are strung with rope in a very particular pattern 
around the drum in order to fasten the drum skin to its wooden body. As an option, some Djembe 
players attach metal fin shaped ornaments to the drum called Ksink-Ksink. These are usually made 
from tin or aluminum and have metal rings fastened to them. This produces a raspy rattling sound 
when the drumhead is struck. 
Techniques 
For the purpose of this sample library we have included three basic articulations and one extended 
articulation. The most basic articulation is the Open Tone. The Open Tone is accomplished by striking 
the drum with a bare flat hand toward the edge of the head while allowing the drum to fully sustain. 
When played correctly, the Open Tone produces a full, round and fundamental sound. The easiest 
articulation to play is the Bass Tone. This is accomplished by striking the drum with a flat bare hand in 
the center of the head while allowing the sound to sustain. This produces a sub harmonic bass sound. 
The most difficult articulation of the basic three is the Open Slap. This is accomplished by striking the 
drum towards the edge of the head with a slightly curved hand. When played correctly, this produces 
a brighter higher pitched sound. We have also included a Grace Note articulation. Many Djembe players 
use this articulation in order to quietly subdivide or keep time while playing patterns or solos. The 
Grace Note articulation is accomplished by quietly tapping the tips of the finger on the edge of the 
drumhead.

Ewe Percussion 
Instruments : Ewe Drum Ensemble , Atsimevu, Kidi, Axatse and Gonkowe 
Origins 
These instruments are from the West African country Ghana and are native to the Ewe tribe. The Ewe 
people mostly use these instruments for cultural ceremonies, rituals and celebrations and are accompanied 
by an ensemble of dancers and singers. 
Construction 
The drums (Atsimevu and Kidi) are constructed of wood, either as one solid carved piece or, as is 
more common, of wooden slats bound by metal rings. The drum heads are usually made out of a skin 
of a deer or antelope and are held on the drums by strings attached to a number of tuning pegs. The 
shaker (Axatse) is made out of a gourd, hollowed out by removing the seeds, and covered with a net 
of beads or seeds. They look very similar to the shekere but with one noticeable difference, the top of 
the gourd is not cut off. This is done to give the Axatse a brighter and sharper sound that makes it cut 
over the loud ensemble of drums that it accompanies. The Bells (Gonkowe) are made from iron hand 
forged in a distinct traditional shape by blacksmiths. The structure of the Gonkowe consists of a larger 
low pitch forged iron and a smaller high pitch one permanently stacked together. The larger forged 
iron bell is considered as the parent and smaller high pitch one is considered the child in the protective 
bosom of the parent. They look very similar and could even be considered relatives of the agogo 
bells. 
Techniques 
The drums are played by striking the head with a full bare hand and/or a stick. Striking different positions 
and manipulating the head by damping it with the hand produces a series of pitches, which form 
the basic vocabulary of the Ewe drums. The Axatse is played by striking it lightly on the thigh and the 
palm. When struck off of the thigh, a dry rattling sound is produced. When struck with the hand in a 
clap-like manner, it produces a rattling sound combined with a higher tonal component due to the vibration 
of the air inside the gourd. The Gonkowe is thought of as a substitute for the human voice and 
imitates the manner in which the mouth produces speech. It is played with a stick held in one hand 
and the larger bell resting on the thigh of the performer who usually sits.

Frontomfrom 
Origins 
The Frontomfrom is from the central region of Ghana. It is mostly played by the Ashanti tribe. 
Construction 
The wood shell carved Frontomfrom is a large cylindrical up right standing drum. Typically the Frontomfrom 
can range from 3 feet to 8 feet high. The head is made from goatskin and it tied by string to a 
number of tuning peg around the drum. 
Techniques 
The Frontomfrom is sruck by an angled stick or by bare hand. There are three basic ways to play the 
Frontomfrom. The open stick hit, the open hand hit, and the stick mute. The stick is produced by sticking 
the head of the drum while firmly pressing the stick against the head in order to mute the sustain 
of the drum. 

Gyil 
Origins 
The gyil is a 14-18 key xylophone played by the Dagara people in Ghana, Burkina Faso, and Cote 
D'Ivoire. It is the national instrument of the Lobi and Dagara people . Throughout West Africa, the 
people believe that its woody sound comes from a vibration of water that physically balances the water 
in the bodies of humans and animals. 
Construction 
The gyil's wooden keys resonate over gourds, which each have holes lined with papery spider eggsacks. 
These vibrating membranes create a buzzing sound, or spirit, around the melody that is a 
crucial element in music across Africa. The 14-18 wooden slats are suspended, on a frame, over the 
gourds. Its sound is like the Western marimba, yet more earthy in character. Gyil music is to the ear 
as a kaleidoscope looks to the eye - a dazzling matrix of consistent yet ever-changing interlocking 
elements engaged in dynamic conversation. 
Techniques 
South of the Sahara Desert in West Africa there is a long standing tradition of gyil artistry. In the gyil 
tradition, every rural community has its own style of playing, its own tonality, and its own musical masters. 
The instrument is played with a pair of large soft mallets or sometimes with sticks.

Kora 
Origins 
The Kora is found in all Mande cultures. It is played 
by the Mandinka in Gambia, Senegal and Guinea Bissau, 
the Malinke or Maninka in Guine, the Bambara 
or Bamana in Mali and the Dioula in Cte d'Ivoire (Ivory 
Coast). Though, it's Gambia and Casamance (South 
Senegal) where it has the greatest importance for social 
life. The Kora has a centuries-old tradition and has been 
played at royal courts, where the musicians and griots 
belonged to the personnel. The Kora was mentioned 
1799 for the first time in literature by Mungo Park. 
Construction 
The Kora is a West African harp of the family of bridge 
harps or harp-lutes. The Kora often said to be a mix 
between a harp and banjo/ lute/guitar. It's the highest 
developed string instrument of Africa. The construction 
of the instrument as well as the music are unique in the 
world.The Kora has a big hemispherical body, a long 
neck and two planes with 11 and 10 strings running in 
notches at the sides of an upright mounted bridge. Its 
body is traditionally made from a calabash cut in half 
and covered with cow-hide. Strings are commonly made 
from fishing line and are arranged into two planes - one 
for the right hand and one for the left hand. 
Techniques 
The playing style resembles the finger picking blues 
guitar, the placement of the strings allows for the playing 
of chords and harmonies and fast melodic runs. The 
strings are plucked by the thumb and forefinger of each 
hand. The Kora can also be tapped (like a drum) for 
rhythms and effect. It is played as a solo instrument, accompanying 
a singer, or as part of an orchestra. 

Log Drums 
Origins 
This particular Long Drum, natively called Ekwe, originates from the eastern region of Nigeria. 
Construction 
The Log Drum is made from a hollowed out wooded log with two rectangular holes carved out from 
the side of it. The piece of wood that separates the two rectangular holes is severed in the middle. 
This is done in order to produce two areas of the drum that vary in pitch. 
Techniques 
Typically, the Log Drum is played by striking the side of the drum over either of the two carved out 
rectangles. The Log Drum is most commonly play with a bare stick or a rubber tipped mallet.

Ngoni 
Origins 
The Ngoni is a lute. There is much confusion about this name. Ngoni signifies string instrument which 
can be a harp or a lute. Possibly this is the ancestor of the 5-string banjo (as some tunings and playing 
styles prove). The Ngoni is probably the oldest of the Jaliya instruments, older than the Balafon 
and the Kora. 
Construction 
The come in various sizes and pitch heights - Ngoni Ba, the big, deep one and Ngoni Micin, the 
small, highpitched one. The number of strings varies between 1 and 7. The most common type has 4 
strings, 2 long ones and 2 short ones. The long ones are shortened with left hand fingers like a guitar, 
the short ones are tuned to a certain note of the scale depending on the song being played. 
Techniques 
The playing technique specially for the right hand is very complicated and uses a lot of ornamentation, 
sound variations and also percussive knocking. Instruments with more than 4 strings have additional 
short strings to extend the tonal range. For every typical song there is a special tuning with 
separate fingering. The Ngoni has a huge repertoire of songs both pentatonic (i.e. Bambara music 
in Mali) and heptatonic (Jaliya music compatible to Kora and Balafon). As it is a fretless lute, there 
are many exotic microtonal modes being used that can be played without retuning the strings for the 
intervals second, third, sixth, seventh. The fourth is either pure or sharp, the fifth and the octave are 
always pure. Some players use finger picks for right thumb and forefinger.

Kalimbas 
Origins 
The Kalimba is a modern version of the African mbira. In the 1920's, Hugh Tracey came from England 
to Rhodesia (now Zimbabwe) to help his older brother run a tobacco farm. He became fascinated by 
the local music culture. Through the encouragement of prominent composers such as Ralph Vaughan 
Williams and Gustav Holst, he decided to make a study of African music and eventually create the 
International Library of African Music. The mbira was one of his greatest interests and created the Kalimba 
based on the African mbira. Introduced by Tracy in the early 1960's, Kalimba was the registered 
trademark for his diatonic instrument that soon became popular around the world. The word Kalimba 
literally means little music. It was well suited for Western music and made it easy for the performer to 
play harmony using both thumbs. As with the mbira, the name Kalimba is know throughout much of 
Africa, but regionally, the name mbira is more commonly used in Zimbabwe. 
Construction 
The basic Kalimba is a modern mbira with a sound box with metal keys or tongues (called lamellas) 
attached on the top. The keys or tongues are sometimes made from cane. The sound box is Kyatt 
wood (an African hardwood), with keys or tongues made out of European spring steel. The keys usually 
consist of 20 to 24 metal tongues mounted across two bars at one end attached to the sound box 
with a wooden dowel holding them in place. The bar closest to the sound hole serves as a bridge, the 
other to provide a means for the dowel to hold the keys (tongues) in place. The free ends of the keys 
(tongues) are positioned at different lengths to produce the variety of pitches. The length of the vibrating 
end of the keys (tongues) determines the pitch (a shorter key or tongue produces a higher pitch, 
and a longer key or tongue produces a lower pitch). 
Techniques 
The Kalimba produces a haunting, fluid percussive sound that is considered tranquil and enchanting. 
It can be a solo instrument or as an accompaniment to singers, musicians and dancers. The keys or 
tongues are plucked with the thumbs, or with combinations of thumbs and fingers. Since you can play 
either simultaneously or alternating between both thumbs, harmonic and rhythmic effects are possible. 
Many effects can be employed by plucking up or down on the keys (tongues). The Treble Kalimba 
has the same seventeen-note range, but it also has a sound box that provides deep resonance to 
distinguish it from the Celeste Kalimba. The Alto Kalimba features the same sound box as the Treble 
Kalimba, but has a more limited fifteen-note range.

Udu 
Origins 
The udu is a vessel drum originally from the Igbo people of Nigeria. Traditionally it was a water jug 
with another hole in the side, played by women for ceremonial music. The origins of the drum have 
been traced back to Central and Southern Nigeria, and it has been Found that, although we're using 
the term udu, the side hole pot drum is known by many different names, depending on the tribal areas 
and particular ceremonies in which it is used. 
Construction 
The traditional method for making an udu is to pound a lump of soft earthen clay over a firm spherical 
form known as a lump mould. The lump of clay is placed on the mould and tempted into shape 
around it with a large flat stone. It is then carefully beaten to uniform thickness with handmade paddles 
a little like huge wooden spoons or ping pong bats. Following this it is cut down to a half sphere 
on the mould. This half sphere becomes the bottom half of the drum. The top half is then constructed 
using the coil method, which involves building up long lengths of clay, one upon another, before 
squeezing, paddling, and shaping them up and into the sides of the drum. What follows is an elaborate 
drying and polishing process that is said to take at least one month. 
Techniques 
The drum can be played in a number of ways; for example, by sitting cross legged on the floor, one 
can put the drum in one's lap with one hand over each hole. The hand on the top controls the pitch 
while the other plays over the hole on the side. One can use the palms, finger tips, slap in the fashion 
of conga playing, or even play them with mallets or brushes. It is also possible to stand-mount Udu 
drums and play them standing up. For RA we sampled a very large udu played with a paddle.


Banjo 
Origins 
The Banjo was acquired into the traditions of many cultures through the African slave trade. African 
slaves, built the design of the early banjo on instruments native to their regions of Africa. It eventually 
reached America, where the instrument became popular among white men in the Minstrels. During 
the American parlour era, or .classical' era, there were many virtuoso banjo players, and it became 
popular as both a symphony orchestra member and solo instrument. Additionaly, the banjo became 
an essential instrument during the jazz era and was used in many jazz ensembles. The 1929 stock 
market collapse and following depression is credited with wiping out the banjo's popularity, because 
it's sound was so joyful, it was quickly replaced with the arch-top guitar. It was re-popularized into 
American country and bluegrass by Bill Monroe, where it is most commonly used to this day. 
Construction 
The modern construction is a metal body in the form of a drum and fretted wooden neck with five 
strings. A gut or animal skin is stretched across the top makes the resonator while a tone ring lines 
the inside of the top - the tone ring is made of brass, steel, or wood (birch maple) and is characterisitic 
of the banjo's tone -- each material used to create the ring results in a banjo with a very different 
tone one apart from the next. 
Techniques 
There are many different tunings used to play a banjo, the most common being the .Open-G' tuning, 
which is, gDGBD, the small .g' being an octave higher than the .G' on the third string. Traditionally, 
the banjo is played in seated and resting the body between the legs. Finger-picks are used to pluck 
the banjo, the most common being metal picks on the finger and plastic on the thumb. 

Berimbau 
Origins 
Much is unknown of the exact native origins of the Berimbau. However it is known that the African's 
brought the Berimbau to Brazil during the massive slave trade to South America. It was in Brazil 
where the Berimbau became closely associated with the Afro-Brazilian martial dancing art know as 
Capoeira. 
Construction 
The Berimbau is composed of a bow-like body with a metal string attached to both ends. Attaches to 
the bottom end of the bow, closest to the performers body, is a gourd shaped resonator made from 
Calabash know as the Cabaa. The Cabaa is used for amplification and produces the trademark 
wah-wah sound that uniquely identifies the instruments. 
Techniques 
The Berimbau is played by striking the metal string with a thin wooded stick. The performer then controls 
the timbre of the sound by moving the Cabaa against his/her body. Further control of the sound 
can be achieved by pressing a coin shaped stone against the vibrating string in order to produce a 
raspy muting sound that gradually chokes the sustain of the instrument. 

Cuban Percussion 
Origins 
The Cuban percussion, in this portion of the library, includes the Congas, Bongos, and the Timbales. 
The exact origins of these instruments are unknown due to the fact that they were brought to Cuba 
during slave trade to southern America around the 19th century. Many agree that these instruments 
derived from a mixture of African cultures. 
Construction 
The Congas are constructed of wood, either as one solid carved piece or of wooden slats bound by 
metal rings. The drumhead is fastened on the top of the drum by metal lugs. 
The Bongos are constructed by attaching two small circular drums to a small wooden block. Typically 
the two drums vary in size in order to create two differing pitches. 
The Timbales consists of two different sizes, one headed, tom-tom like, brass made drums suspended 
by a metal stand. 
Techniques 
For the purpose of this library, we have sampled the basic open tone technique of striking these 
drums. However, for the Conga we have included the following extra techniques: 
Marcha  A technique of rocking the palm on the hand and the fingers back and forth in order to produce 
a time marking or subdivision in between the various other techniques. 
Mute Slap  Achieved by muting the drumhead with one hand while striking with slightly curved finger 
with the other hand. 
Open Slap  Much like the Mute Slap only without muting the drumhead. 

Didjeridoo 
Origins 
The didjeridoo's ancient origins suggest that it 
is one of the oldest instruments in the world, 
with an aboriginal history that stretches back 
40,000 years. It is used by aboriginals in 
sacred ceremonies and healing rituals. They 
believe the continuous drone to be the voice 
of the earth, which reaches into the universe's 
collective subconsciousness. 
Construction 
A hollowed out cactus which is reversed 
-- traditionally a portion of eucalyptus tree hollowed 
out by ants is used. Resin or bees wax 
is formed into a mouthpiece at the end of the 
tube. 
Techniques 
Circular breathing is a fundamental technique. 
Tongue shape and momentum create 
variation in tone. 

Dobro 
Origins 
The early desire for a design such as the modern day dobro, was to create a guitar that could compete 
with the loud brass instruments used in popular music of the early 1900s. John Dopyera and 
Rudy Beauchamp are credited with the 1927 National tri-cone resonator design, body made of metal. 
One year later, John Dopyera had started his own company with the help and financial backing of 
the Beauchamp brothers, he debuted the patented .DOBRO', a singled cone resonator, with a spider 
bridge, and body made of wood. Not long after that, National manufactured its single resonator version 
of the .DOBRO'. After some legal battles, with each side suing the other, they formed the National-
Dobro company in 1932. Family members founded the Original Musical Instrument company in 
1967 and made resonators up until 1970 when they re-acquired the .DOBRO' name. Gibson musical 
instruments acquired Original Musical Instruments in 1993 and after that time, since they owned the 
patent to the .DOBRO' name, decided that these instruments should be referred to as .resophonic 
guitars'. 
Construction 
A wood or metal bodied guitar with one to three aluminum cone resonators to enhance amplification. 
Maple is the traditional wood of choice, but the construction will vary depending on the luthier, wood 
painted with steel enhances the tone. There is a resonator placed in the guitar which, depending on 
the guitar, can point out towards the top of the guitar, or back towards the back of the guitar. The .spider
' bridge is an eight legged support which spans the disc and helps in string vibration. 
6 strings are common 
Techniques 
Traditional dobro technique is to rest the guitar horizontally either on the lap, or with a strap to position 
the guitar at such an angle. The right hand uses finger-picks and the left hand holds a steel slide. 
Open tunings are the most common tunings, one common standard is the .Open-G' tuning - GBDGBD. 
String gauges are lighter and so a lighter touch is required to play the guitar.

First Nations Cedar Flute 
Origins 
Traditionally used by the Plains Indians in courting ceremonies and so it has been given the name of 
.love flute'. Men serenaded his intended bride in a ritual and some from time 
Construction 
Handcrafted double chamber cedar flute. The double chamber into chamber one which is blown 
into, the second chamber is sectioned off from the first and contains the finger holes. The blown air 
travels from first to second by the means of a joining totem animal carved on top of the flute, which 
guides the air through a passage and into the second. The totem animal compresses the air giving 
the unique tone to the flute. 
Techniques 
Since there is no embochure and no reed it is fairly simple to play and can be played by almost anyone. 
Tuning is often specific to key and so flutes in different keys are required.

American Jaw Harp 
Origins 
Being a member of the plucked idiophones family of instruments, its origins are unclear -- this jaw 
harp is a folk instrument common in many cultures throughout the world. Among early American 
settlements, it was commonly bartered and became a popular instrument among those voyaging 
west. In many countries it has significance as a ceremonial and religious instrument. In England it is 
called .Gewgaw', in Norway .munnharpa', in Italy .Scacciapensieri', France .Guimbarde', Germany 
.Maultrommel', in Russia .Vargan', in Siberia .Khomus', in Bali .Gengong'. Throughout the ages, the 
most common name is the .trump'. 
Construction 
The key-shaped frame is traditionally made from iron or silver, and occasionally bamboo -- a metal 
stem protrudes from the tip of the key. 
Techniques 
The base of the key shaped frame is placed in the mouth and the tip is left out of the mouth. The 
stem protruding from the key is plucked while manipulation of the size and shape of the the mouth 
changes pitch. The mouth cavity amplifies the sound of the harp.

Mandolin 
Origins 
The mandolin is a distant relative of the lute. The lute is a distant relative of the oud. Instruments of 
the lute lineage also begin to appear in 2000 B.C.E in Mesopotamia, they are small fretless stringed 
instruments used with a plectrum. Although, there are also depictions of the lute-type of instrument 
of cave paintings dated between 15000 B.C.E and 8500 B.C.E., which depict a man playing a one 
stringed instrument with a bow. In Europe, the mandolin has a 250 year history -- where it was used 
prominately in Italy -- and Antonio Stradivari, the famous violin maker, even made mandolinos for a 
time. Italian immigrants brought the mandolin to America, where it gained popularity as a both a folk 
and classical instrument. It was quite popular in the vaudeville circuit. Orville Gibson is responsible 
for making the mandolin popular in America today. His designs were of such quality that they inspired 
investors to create a company in his name called the .Gibson Mandolin-Guitar Mfg. Co. Ltd. Known 
today as Gibson Guitars. In 1940, mandolin began to be used by in bluegrass and country - and it 
was Bill Monroe that popularized the instrument to a hole new audience. 
Construction 
Traditionally, a small bodied instrument with a short neck and 4 pairs of strings. The pairs of strings 
are duplicated in octaves. Sound-holes or F-holes similar to those used on a violin located on either 
side of the strings on the body of the guitar project the sound. 
Techniques 
The standard tuning is the same as a violin - fifths - GDAE. It is played with a pick - and serious picking 
technique such as flat-picking and cross-picking is required.

Pan Flute 
Origins 
Panpipes date back to ancient civilizations, and are one of the oldest musical instruments according 
to archaeological record. Evidence is found in ancient Egyptian civilizations, as well as excavations 
throughout Europe, there is also evidence of the pan pipes in 3500 B.C.E. Mesopotamia and additional 
evidence of the design has been found in India, Asia, and Africa. There has also been evidence 
found in Viking civilizations dating to the 10th century and Roman excavations in France have uncovered 
7 pipes tuned to the ionian scale. .Pan' was a God of ancient Greek mythology who protected 
pastoral people and their herds. Pan lovesick over rejected love from a nymph name Syrinx, played 
sad songs on a flute that he had made from a cane. Today it is very popular in South America. 
Construction 
In ancient times the pan flute was made of hollow animal bones held together with calf rope. Today, 
Pipes are traditionally constructed of bamboo -- as the length of bamboo joint decreases the pitch 
increases. Some makers line the inner tube with a protective cover made of wooden ply. 
Techniques 
Longer pipes are traditionally held in the right hand and it is an end blown (vertical) flute.

1890 Washburn Guitar 
This guitar was bought on an ebay estate sale in 2003 for $200. On the inside, there is a wood 
press label which states .Lyon & Healy Of Chicago', and at the tip of the head there is .Patent Applied 
For' is stamped into the neck. It was in pretty rough shape, the finger board was damaged, the bridge 
decayed, several flathead screws used as pegs held three loose strings together -- it was unplayable. 
I called upon the services of Tim Frick, a gifted luthier friend of mine (and an excellent builder of electric 
basses) located in the san francisco bay area. After several months of life lived as a wallflower in 
his shop, he restored it for me, fashioning a new fingerboard (and a re-fret job) and bridge from brazilian 
rosewood. As always, he does excellent work -- it is the nicest guitar I have ever played -- the 
samples you have here are a taste of what it can do... -Pacemaker

Ukelele 
Origins 
Manuel Nunes together with Joao Fernandes and Augustine Dias migrated to Hawaii in 1879 to wok 
in the sugar cane fields. Nunes was a master instrument builder from Portugal and over time he, 
together with Fernandes and Dias, invented what is now known as the ukelele. Impressed with the 
beautiful timbre the instrument could create, Hawaiians gave the title Ukelele to the instrument meaning 
.jumping fleas'. This instrument is a symbol of Hawaiian identity and spirit. 
Construction 
4-stringed (some builders make between 4 and 10 string ukeleles) small shaped guitar. The wooden 
body, is traditionally constructed from wood harvested from the Hawaiian Islands such as Koa, Hawaiian 
Mahogany, Milo, Kulawood -- although wood varies dependent on the luthier. Different sizes are 
made as well, which are of different register - standard size, concert size, tenor and baritone. 
Traditionally, nylon strings are the strings of choice -- some makers prefer to use steel. 
Techniques 
The soprano, concert and tenor standard tunings are tuned as follows AECG, while the baritone is 
tuned as follows EBGD. Soft picks are sometimes used to create a unique mellow tone.


Alpenhorn 
Origins 
Also known as .alphorn', the instrument comes from Switzerland (and some other European countries) 
and is traditionally used by mountaineers. 2000 years or more ago, Celtic tribes first settling in 
the Northern Alps, used the Alphorn for everyday rituals boths sacred and secular. 
Construction 
Typically from 1 1/2 to 3 meters in length, the Alpenhorn is a wind instrument made of thin strips of 
birchwood fashioned into a tube. The thin strips are placed in water and soaked until they are tender 
and can be shaped into the tube, they are then meticulously covered with bark. The mouthpiece is 
wooden and cup-shaped. 
Techniques 
Since the only openings for the alphorn are at the mouthpiece and horn end, when blown, the resulting 
tone will be a natural harmonic series to the fundamental of the horn .Ranz des Paches' is the 
most famous melody of the alphorn, popularized by Beethoven in his Pastoral Symphony. 

Bass Recorder 
Origins 
Origins are the subject of a very passionate academic debate -- the end blown flute is as old as 
civilization itself -- but it is not known specifically when the recorder itself came into existence. Solid 
evidence, in the form of actual playable recorders, dates from the 16th century Renaissance. 
Construction 
Considered a member of the .fipple' flute family. A .fipple' is a block in the blowing ending which creates 
a narrow passageway compressing a stream of air into the bore -- this gives the recorder its 
characteristic clear sound. Crafted from the finer aged woods - the material used is dependent upon 
the maker - and although all sorts of exotic woods are used, ultimately the bore and windway design 
of each recorder is most important. 
Techniques 
End blown flute which has the range of two octaves to two and and one half octaves. Both left and 
right hands play the finger holes and the mouth is placed on the lip.

Frame Drum 
Origins 
Frame drums are amongst the oldest and most culturally represented drums of the world. The existence 
of the frame drum dates back well before recorded history and is depicted in sculptures and 
painting by a multitude of artists, throughout the world, throughout the history of humankind. For this 
library we have sampled the style of frame drum that was influenced by Western European culture. 
Construction 
The frame drum is very simple in its basic form. It is constructed of a wooden hoop, or frame, with a 
drumhead fastened on one end of it. Frame drums vary in size, typically from around 10  20 inches 
in diameter. A common embellishment to the construction of the frame drum is to fasten a gut string to 
the inside of the head in order to produce a raspy, vibrating sound to the sustain of the instrument. 
Technique 
Typically the frame drum is held upright by the performer. Classical frame drum technique relies 
heavily on the dominant hand (the one not always holding the drum) with the second hand uses only 
a couple of fingers to aid in filling and/or subdividing. The Frame Drum is typically played by combining 
various different finger, hand, and muting techniques in order to produce complex, conversational 
type, patterns. 

Gadulka 
Origins 
Origins are Bulgarian, it is found in central Bulgaria, the Balkans and Thrace. It is the most ancient 
folk instrument in Bulgaria. An older relative of the Gadulka is the Greek Lyra. 
Construction 
Pear-shaped, hollow, wooden, stringed instrument played with a bow. The entire instrument is carved 
from a single piece of wood cut from a sycamore, walnut or pear tree. 3 playable strings, 11 sympathetic 
strings. 
Techniques 
3 main strings are tuned AEA (I V I), although tuning will vary depending on the country of origin. 
Played held upright and rested on the knee or played horizontally and held with a strap rested in the 
center of the chest like a saxophone. The finger-tips of the left hand form the melody by playing the 
strings on the neck -- they slide up and down the neck without touching the fingerboard.

Hardanger Fiddle 
Origins 
A Norwegian violin, called .hardingfele' is recognized as the national instrument of Norway. The oldest 
known fiddle of this type was made in Ullensvaang, Norway in 1651 by Olav Jonsson Jaastad. 
There are over 1000 documented songs for the hardanger fiddle, each tune is individual and has a 
lineage as individual and as well-preserved as the melody itself. 
Construction 
Construction is similar to a violin, additionally there are four to five additional sympathetic strings and 
a slightly flatter fingerboard. Each fiddle is typically a great art piece, detailed inlays cover the body, 
mother-of-pearl inlays cover the fingerboard and the scroll is usually carved into the head of an animal 
or mythic being. 
Techniques 
Tunings vary greatly, and there are more than 20 ways to tune -- so there is no standard tuning. Traditional 
technique is polyphonic. Authentic technique is non-vibrato. We also recorded vibrato as in 
LOTR.

Hurdy Gurdy 
Origins 
First mentioned in 942 A.C.E and first depicted in Europe in the 12th century. 
The early designs were so large that it took two players to perform -- one cranking the wheel and one 
playing the keys. In the 13th century, it became popular in dance music, and the size of the instrument 
began to decrease, so flying solo was possible. In the 18th century, the French developed an 
interest for it and their design is standard today. 
Construction 
Wooden body in the shape of a small cello, in place of where the tailpiece of a cello might hang, a 
wheel which requires rosin, is turned by a crank which rests where the endpin might go in a cello. 
Strings rest on the wheel and as the crank is turned, the wheel vibrates the strings -- this simulates a 
bow gliding over strings. A box rests over where the neck of a cello may be, the box holds keys which 
press down on the strings to create pitches. Although certain strings have fixed pitches which are 
used as drone strings (much like how a bagpipe drones). 
Techniques 
The right hand turns the wheel while the left hand plays the tune on the keys. Continuously turning 
the wheel allows for continuous sound, much like a bag pipe -- to give the effect that it is one long 
continuous breath. It is easy to bang out a basic tune on the hurdy gurdy, but does take some time to 
develop advanced technique.

Irish Low Whistle 
Origins 
Irish traditional folk music. It is a descendent of the recorder family and of all end blown flutes, while 
exact origins are unclear. 
Construction 
Early designs were made of wood, later, metals such as nickel and brass were used. A end blown 
fipple flute, the .bore' the hollow main tube of the instrument has six finger-holes. The bore is either 
cylindrical or conical and contains a mouthpiece at one end which hoses the fipple a duct which draw 
air towards a cut in the side of the mouthpiece. 
Techniques 
Range is roughly an octave. Characteristic technique is very fast vibrato. 

Launeddas 
Origins 
Origins date back to 700 - 900 B.C.E in Sardinia where secular statuettes depict a player of the 
Launeddas. It is a symbol of Sardinian identity. 
Construction 
A polyphonic reed instrument made up of three different sizes of fen canes. The lowest and longest 
is called .tumbu', which is tuned to the tonic, .sa mancosa manna' and mancosedda' are the other two 
pipes -- they are both melodic pipes. On these two canes there are five finger holes each four fingered 
by the left and right hands simultaneously. 
Techniques 
The instrument requires a constant flow of air and so circular breathing technique is necessary. .sa 
mancosa manna' and mancosedda' are played simultaneously and different combinations of the holes 
creates different types of .cunzertus'.

Highland Pipes 
Origins 
Highland pipes' Scottish history dates back to the 14th century, by the 16th and 17th centuries, when 
elaborate decoration of pipes was commonplace. Historically played outdoors in secular events. 
Construction 
Historical design consists of an air bag, made of sheepskin with five pipes bound into it, a bass drone, 
two tenor drones the mouthpiece and a melody chanter. The chanter, a short pipe with eight holes 
and a thumbhole. 
Techniques 
The bag is filled with air by the player through the blow pipe, pressure from the left arm on the bag 
controls the flow of air to the melody chanter and drones. The range of the melody chanter is a ninth. 
The tonic is around a b-flat, and the scale includes a flat seventh. 

Uillean Pipes 
Origins 
Uilleann pipes' origins date back to the beginning of the 18th century, when they appeared in Ireland. 
True origin is probably mainland Europe, possibly France. 
Construction 
Modern uilleann design consists of the chanter, three drones and three regulators, seven actual 
pipes in all. The chanter plays the melody, the three drones, which toggle on or off are each an 
octave apart and the three regulators have 4 to 5 keys which play notes to harmonize with the drone 
and chanter. 
Techniques 
Traditionally played seated and indoors, uilleann pipes are played in all sorts of social situations and 
styles of music. Improvisation of tunes and ornamentation is par for the style of the music. The range 
is two full octaves on the chanter, playing chromatically is possible with the use of dry reeds.


Erhu 
Origins 
Evolved from the .Xiqin', an early Chinese form of bowed instrument popular in the 8th century, Chinese 
origins of the Erhu date back as early as the 18th century. The Erhu, together with the Zhonghu, 
GaoHu, and XiHu form the .Huqin' family of Chinese Instruments. 
Construction 
This 80 centimeter fiddle consists of two steel strings and is played with a horsehair bamboo bow. 
The bow hair, rosined on both sides, is attached to the main instrument and in performance is passed 
through the strings. The head of the neck, similar to the western violin's scroll, is often carved out of 
shapes such as a bat or dragon head. The base of the neck attaches to a mahogany, ebony or sandalwood 
body and is covered with a snakeskin membrane which helps to amplifies the sound of the 
fiddle. 
Techniques 
Played in a seated position, the Erhu rests vertically on the left thigh while the left hand holds the 
neck of the fiddle and the right hand holds the bow. Pushing the bow to sounds the lower string and 
pulling the bow to sounds the higher string. The Erhu is most commonly tuned in fifths, the lower 
string usually tuned to .D' while the upper string usually tuned to .A'. Performance range is anywhere 
from one octave to three octaves depending on skill level.

Dizi 
Origins 
.Di' is a term used to describe all Chinese flutes. .Hengdi' is a Chinese term used to describe a tranverse 
flute -- a flute which is slide blown. Chinese origins of the tranverse flute can be traced back 
to the Han Dynasty (206 B.C.E). The term .Dizi' is a Chinese term used to describe any flute with a 
membrane. This unique membrane addition -- the .Muo Kong' -- was added by Liu Xi during the Tang 
Dynasty (618-907 A.C.E). Aside from the Muo Kong, The transverse flute is found in many cultures 
around the world, and it's ancient origins can be traced back to paintings of the .Ney' Flute depicted in 
paintings in the pyramids of ancient Egypt. The Dizi is used to accompany in Chinese Opera. 
Construction 
The Dizi is most commonly constructed from bamboo, but is also fashioned from stone or jade. Consists 
of six finger holes and the unique additional hole, the .Muo Kong' located between the lip and 
other holes. The .Muo Kong' is a thin membrane made from the inside of the bamboo shoot (and 
sometimes said to be constructed of a thin piece of rice paper). When played, the membrane vibrates 
to create the characteristic buzzing, resonating sound of the flute which enhances sound projection. 
Techniques 
The most common range is about two and one quarter octaves. The instrument itself is tuned to a 
diatonic major scale with the seventh slightly lowered in pitch. Notes outside of the scale are accomplished 
by partially blocking holes. Many accomplished Dizi players own a set of seven flutes -- one 
for each key. Despite the limited technique of the instrument, the standard of technical ability is very 
high. 

Balinese Gamelan 
Origins 
The Balinese Gamelan is native to the Indonesian culture. There are two types of Gamelan orchestras. 
For the purposes of this sample library we sampled Gamelan instruments that originate from the 
country of Bali. The other type of Gamelan ensemble, which originates from the country of Java, differs 
slightly in construction, instrumentation and composition. Traditionally, gamelan is only played at 
certain occasions such as ritual ceremonies, special community celebrations, shadow puppet shows, 
and for the royal family. Gamelan is also used to accompany dances in court, temple, and village rituals. 
Construction 
The gamelan orchestra is comprised of a large variety of instruments. For this library we have sampled 
two instrument types. 
The Metallophones (Calung, Katana, and Pamade) are constructed much like a Vibraphone. They are 
made from a number of tuned metal bars suspended above an elaborately carved wooden stand. 
Continued on next page.......

Continued from previous page: 
The Gongs (Gamelan Gong & Kajar and Byeon) look like most brass made Chinese gongs with one 
distinct difference. Instead of having a flat striking surface, the Gamelan gongs have a bell or nipple 
shaped striking surface in the center of the gongs. This is done in order to produce a tone that is 
rich in the fundamental harmonic of the gong. The gongs are tuned to specific notes in the Gamelan 
scale. The Gamelan Gong and Kajar serve a time keeping purpose. It is because of this purpose that 
they are mostly tuned to the root note of the scale of the particular Gamelon composition. The Byeon 
is a group of scale-tuned gongs suspended horizontally on a wooed stand. 
Techniques 
The Metallophones are played by striking the tuned metal bars with a metallic hammer shaped stick. 
The larger gong is played by striking the nipped shaped center with a large soft circular mallet. The 
Kajar and Byeon are play by striking the nipple shaped center with a miniature bat shaped wooded 
mallet.

Gongs 
Origins 
According to Chinese tradition, gongs came from the country of Hsi Yu in the western region, between 
Tibet and Burma. The gong is mentioned in writings during the early sixth century, in the time of Emperor 
Hsuan Wu (AD 500-516). 
Constructions 
Most gongs are made from casting molten metal composites of brass, tin, copper, lead, zinc and iron. 
These molten composites are hammer into shape, smoothed by a lathing tool, then tuned. After tuning, 
some gongs are polishes and then decorated with paint and embroidery. 
Techniques 
The basic technique to playing a gong is quite simple. Striking the center of the gong with a large 
soft mallet produces the most recognizable sound. However, many extended techniques have been 
developed in order to produce sound effect type timbre. These techniques include scraping the gong 
with a metal claw or striking it with various odd shaped mallets. 

Koto 
Origins 
Ancient origins are traced back to China 
while the Koto was introduced into Japanese 
culture between the 7th and 8th 
century. Repetoire was passed down by 
apprenticeship. Originally reserved for the 
royal court, Yatsuhashi Kengyo, a blind 
Koto player made much effort to make the 
instrument more accessible to common 
people. 
Construction 
The Koto is an appoximately 180cm table 
zither with 13 strings. The hollow body is 
made of Paulownia wood (a deciduous 
tree native to Asia). Sound resonates from 
sound holes carved on the side of each 
end of the body. Each string is the same 
length, and are connected to each end of 
the body by means of anchored bridges 
while adjustable bridges for every string 
called .ji' elevate each string from the body. 
Tuning is created by adjusting positions of 
the .ji' along the body to create variations 
in fundamental pitch for each string. 
Techniques 
Traditionally, it is played seated on the floor. The player uses small picks called .tsume', attached to 
the thumb, index and middle finger of the right hand to pluck the string on the right hand side of the 
.ji'. While the left hand, pushes away (to decrease pitch) and pulls towards (to increase pitch) the 
strings on the left hand side of the .ji' to create melody. 

Rag Dung 
Origins 
Used in a specific ritual by a mysterious sect of the Karma Kaputa Tibetan monks. 
Construction 
Constructed from copper and range anywhere from 1 to 6.5 meters. They are 
built in sections so that they can be telescoped for easier transportation. The shorter horns are used 
to create higher tones, while the longer drones are used to create the fundamental drones. 
Techniques 
Circular breathing creates the drones which are played in intervals of thirds or fifths. 

Shakuhachi 
Origins 
Ancient origins of the Shakuhachi can be traced to Korea and China -- although centuries of tradition 
have resulted in an instrument with construction and technique much different from its ancestors. 
The shakuhachi is depicted in japanese sacred art as far back as the 8th century. It earned a reputation 
as a spiritual meditation instrument of the travelling Komoso (a Fuke sect of Zen Buddhist monks 
), who's meditation pieces for the Shakuhachi were called .honkyoku'. While honkyoku songs are 
arrhythmic, many are very technically demanding. During the Mejii Period, the Fuke sect was abolished, 
and so Shakuhachi performance was temporarily forbidden. However, modern performance 
consists of both solo and ensemble Shakuhachi performance. 
Construction 
The shakuhachi is hollowed-out bamboo tube with 4 holes in front and one in back. The word Shakuhachi 
can be divided into two words .shaku' and .hachi' and both are definitions of measurement. 
One .shaku' is equal to 30 centimeters (1 shaku = .994 feet) -- .Hachi' means 8. 1.8 shaku equal to 
54 centimeters is the most common length of the Shakuhachi. While most bamboo shoots are cut 
at 1.8 shaku, the bamboo shoots vary in length between joints and so graduated sizes are manufactured 
in tenths of a shaku (1.8, 1.6(E), 2.1 (B), and 2.4(A) ) -- The larger the instrument the lower the 
pitch. There lip which the player blows out of is sharped so as to achieve maximum precision in pitch 
definition. 
Techniques 
The Shakuhachi, similar to the recorder is held vertically and end blown. The most common range 
is 2 octaves plus a fifth The five holes are tuned to a pentatonic scale while any whole can be bent 
in pitch by up to a tone and so it is possible to play a complete chromatic scale. Additional tones 
outside the range of the instrument are obtained by partially covering the holes of the instrument and 
changing blowing angle.

Shamisen 
Origins 
Ancient origins can be traced to China -- it evolved from the Chinese instrument called the Sanxian 
-- and was brought from China to the Southern Islands of Ryukyu and then imported into Japan. 
Shamisen is the principle instrument of the Japanese musical theater called Kabuki. The Shamisen 
is played in the debayashi (the main music ensemble of the Kabuki) on a raised platform on the 
right side of the stage. Shamisen is found in both the Nagauta and Joruri styles of Japanese music. 
In the latter part of the seventh century Nagauta, known as long song, consisted of a lyrical and 
simple style. Joruri accompanies a narrator during a play of the Joruri theatre. The modern style of 
Shamisen playing -- Tsugaru-jamisen -- evolved in the early part of the 20th Century from a blind 
man's -- Chikuzan Takahashi --interpretation of traditional folk songs. Tsugaru-jamisen's style is very 
improvised and has a bluegrass flavour with much flashy fingerwork. 
Construction 
A three stringed instrument almost one meter in length. The top, similar to the violin's scroll is called 
a .tenjin' which connects to a neck called the .sao', which is joined with the body called a .dou'. The 
.dou' is a drum-like shape manufactured of wood and covered on either side with cat or dog skin, amplifies 
the sound of the Shamisen as it is Both neck and body are detachable to assist in transportation. 
The strings are manufactured from silk. .Sawari' is a characteristic buzzing sound created when 
the bottom string travels over a hump. The .bachi' is the pick used to strike the strings and can be 
fashioned from a variety of different sources -- wood, plastic and other natural sources. 
Techniques 
Shamisen is most commonly used to accompany a singer as described in the styles above, although 
in more modern eras, it has evolved into a solo classical instrument. There are three main tunings: 
1.) .Hon chosi' (main tuning): I - IV - I 
2.) .Niagari' (raising the second string): I - V - I 
3.) .San sagari' (lowering the third string): I - V - VII

Taiko Drums 
Origins 
Taiko drums are native to the Japanese culture and date back to well before the 6th century. One 
of the first uses of Taiko was as a battlefield instrument. They were primarily used to intimidate and 
scare the enemy. The modern version of the taiko is a design that is only about 100 years old. 
Construction 
Literally, the Japanese word Taiko means fat drum, although there is a vast array of shapes and 
sizes of Taiko drums. Typically the Taiko drum is made from a wood carved, barrel like, shell with animal 
skin on both sides of the drum. 
Techniques 
The Taiko drums are typically played with wooden sticks that are heavy and large in diameter. There 
are two basic ways to strike the Taiko drum. Most tradition Taiko drum patterns require the player 
strike the drum on the animal skinned head and on the wood shelled body. RA contains taiko samples 
from one large drum. More taikos can be found on Stormdrum and EWQL Symphonic Orchestra Pro.

Vietnamese Jaw Harp 
Origins 
Dan Moi (Vietnamese Brass Hmong Harps) are made by a Hmong tribe of the northern mountains of 
Vietnam. Dan Moi means Lip instrument. It is made of Curled brass and is much lighter gauge than 
the Chong Moua Lee design. The Dan Moi is a courting instrument. It has a delightful sound as lovers 
would play music to communicate with each other. 
Construction 
It is made out of a thin piece of brass with a flexible tongue in the middle. When you finish playing 
you tuck it into a bamboo case decorated with colorful ribbon. 
Techniques 
It is played against the lips instead of the teeth. It gives a rewarding sound, full of brilliant 
harmonics, but it is fragile and must be treated with care.


Bansuri 
Origins 
Being a tranverse flute, the bansuri, is one of the most ancient of musical instrument designs. In 
India, the bansuri has a rich history of the folk musics of India sacred and secular. It has a special 
connection to Lord Krishna, as the legend is depicted, Krishna is a sheepherder with magical powers 
who plays the flute. 
In modern Indian times, it is used in folk, popular, religious, and in classical music. Panna Lal Ghosh 
earned a great deal of credit for making the bansuri flute popular this century in Indian Classical 
music, and also in his additions to design of the modern bansuri. The name .bansuri' comes from two 
Hindi words: .banse' which means bamboo, and .sur', which means .melody'. 
Construction 
Made of bamboo (occasionally made of reed) and sealed on one end with six uniformly placed holes. 
Due to its ability to create overtones where a metal flute cannot bamboo is the preferred source of 
material. Traditionally close to 33 centimeters in length, longer lengths create lower pitches. In more 
modern times, many bansuris have an added seventh fingerhole, which adds flexibilitiy, control and 
extends the upper registers into a third octave. 
Techniques 
In Hindustani music, the range is two octaves. Essential elements of flute technique include proper 
breath and tongue techniques. Modulation of tone, timbre such glissando, and half tones, can be 
achieved by partially covering holes. Recently, the bansuri has been used in film scores, to achieve 
Shakuhachi-type overblown effects. 

Electric Baritone Violin 
Origins 
The electric baritone violin is a 7-string instrument of recent origin. It is very popular in modern South 
Indian music. 
Construction 
7 string violin with a wide bridge and a pickup. 
Techniques 
Technique is similar to a violin, except more chordal music can be achieved, because of the extra 
strings. The extended scale (low notes) is well suited to the mysterious melodies of India. In RA we 
used the pickups, Neumann mics and a guitar amp to get the sound you hear.

Esraj 
Origins 
Of Indian origin, approximately 200 years old. The esraj is used in central and eastern regions of 
India, while the Dilruba is found throughout the north. The esraj is used in a wide variety of musical 
genres -- it happens to be Sri Chinmoy's selection of choice! 
Construction 
The esraj is half sitar (the neck) and half sarangi (the resonator and body). 
It is also considered twin sibling to the dilruba -- the main differences in construction are tuning peg 
construction, and sympathetic strings. It is made entirely of wood, and has a resonator on the body 
made from a stetched animal skin. It's long-neck has 20 frets, 4 playable metal strings, and 12 to 15 
sympathetic strings. It is played with a violin or sarangi bow. 
Techniques 
The esraj is so similar to the dilruba that if you learn either, you can trade off easily between the two. 
The frets on the esraj are used primarily as pitch guidelines, proper technique does not require that 
they be played. The left hand rests on the strings lightly above the fret. The right hand holds the 
bow. It is played sitting on the floor, and rests between the legs much like a cello.

Sarangi 
Origins 
Many of India's musical instruments -- especially those ones that are bowed -- are said to originate 
from the .Dhanuryantram' otherwise known as the bow and arrow. The reverberating sound of the 
arrow leaving the bow is said to have inspired many early native tribes to create bowed instruments. 
The sarangi has a deep history, the instrument is so old that there are many theories as to its origins 
-- although, many are grandiose -- there are none which are exact. There is a legend which tells of a 
physician who one day, weary from travelling, and seeking shelter from the hot sun, lay down under 
the shade of a tree to rest. As he was drifted asleep, he heard an enticing musical sound from the 
forest. Leaving his shady resting spot, he sought out to the find the roots of this sound. After travelling 
into the forest for a while, the physician came upon the skin of a dead monkey gently caressing 
the branch of a tree in the breeze. Inspired by the soulful nature of this phenomenon, the physician, 
created the sarangi. Other tales describe Boo Ali Ibn Sina, an Egyptian disciple, in place of the physician. 
Whatever the ancient origin, the sarangi is the most notorious bowed instrument of Indian music 
-- today it is played in North Indian (Hindustani) music. 
Construction 
The sarangi has a neck and body constructed from tun wood, a resonator made from animal skin, 3 
playable metal strings, and 30 - 40 sympathetic strings. 
It is played with a bow which looks similar to a violin bow but the horse hair tapers towards the wood 
the closer it reaches towards the tip and is heavier. 
Techniques 
Traditionally played seated, the instrument rests on the thigh, the left hand holds the neck and plays 
melodies, the right hand holds the bow palm upwards. The left hand plays the playable strings with 
the top of the fingernails, talcum powder is used to ease sliding up and down the string.

Sitar 
Origins 
The sitar came from the Indo-Pakistan subcontinent during the collapse of the Mughal Empire in 
the 17th. Persian lutes were used in the Mughal courts for centuries, and it is evident that the sitar 
evolved from these. 
A 18th century fakir named Amir Khursru is accredited with the first sitar design said to be developed 
from the Pesian .Sehtar'. Khursru's grandson, Masit Khan, continued in the family tradition. Khan 
is recognized as one of the most influential musicians in the development of this early sitar design, 
and his style of compositions are remembered today as .Masitkhani Gat'. In modern times, the sitar is 
used in Hindustani (Northern) Classical Indian music. 
Construction 
Fretted, long-necked, stringed instrument made of tun or teak wood with a resonator typically made of 
a gourd. Most designs have 20 strings: 7 playable and 13 sympathetic. The 20 Frets are raised -- to 
allow room underneath for sympathetic strings to pass -- and adjustable for more accurate tuning. 
Fine tuning is accomplished via beads at the base of the bridge and with the pegs -- It is characteristically 
difficult to tune. A plectrum called a .mezrab' is used by the right hand to pluck the strings, while 
the left hand plays the neck. 
Techniques 
The 7 playable strings are divised as follows: 3 strings cover the upper three octaves, 3 strings called 
.cikari', are designated rhythm strings, a fourth string, covers the lower bass octave. Sitar, as with 
most all Indian Classical instruments, is learned by apprenticeship with a master of the instrument 
over a long period of time.

Tabla 
Origins 
The Tabla is the most popular percussion instrument used in North Indian Classical music. The exact 
origin of the Tabla is not known for sure. It is surrounded in mystery and there are many theories as to 
its birth. The tabla is shown in temple carvings which date to around the second century AD. It is dif- 
ficult to know how the Tabla was invented as there are so many stories about its origin. 
Construction 
The name tabla describes the arrangement of two drums; the Danya, made of wood, is the high 
pitched one, and the Baya, made of metal, is the low pitched one. Both of the bowl shaped drums 
feature a very complex drumhead, made from five section of membrane, fastened to the body with 
rawhide straps. Wooden dowels are inserted in between the rawhide straps and the drum shell in 
order to change the tension on the head, there by affecting the overall pitch of the drum. 
Techniques 
Each movement or position of the hand on the Tabla produces a different sound and has a specific 
name or syllable (these are called .bols'). For this library we have included a variety of sounds that 
almost make up the entire tabla alphabet.

Tambura 
Origins 
Used in both Hindustani (Northern) and Carnatic (Southern) Indian Classical musics. In Northern 
India it is known as .Tanpura', in Southern India it is called .Tambura'. 
Construction 
ong-necked, four stringed wooden instrument with no frets. The .jawari' or flat bridge which the 
strings rest on, increases the width of the string vibration which is charactersitic of the warm drone of 
the Tambura. Three of the four strings are made of steel, the fourth is made of brass. 
There are three different constructions of the Tambura: 
1.) The Northern Indians use the .Miraj' style, between 1-2 meters, the main body made of teak or tun 
wood and the resonator section is made from a gourd. 
2.) The Southern Indians use the .Tanjore' style, between 1-2 meters, the main body made of teak or 
tun wood. The .Tanjore' style differs in that the long neck narrows at the head and the resonator section 
is constructed from wood. 
3.) The .Tampuri' style is smaller in size, less than 1 meter. The resonator is smaller, and construction 
made entirely from wood increases its durability. The smaller size makes it easier to transport. 
Techniques 
Tuning for the four strings are in the dominant, tonic, tonic, tonic order and are plucked very 
softly to create a drone. The Tambura is the main instrument to accompany vocal performance in Indian 
classical music. In performance, the resonator is placed on the right thigh and held upright while 
playing. 


Qandahar Dumbek 
Origins 
Arabian in origin, the Dumbek is commonly found in Turkey, the Balkan countries, and North Africa. 
This large and deep sounding dumbek comes from Iraq. 
Constructions 
The body of the Dumbek is shaped like an hourglass and typically made from nickel, ceramic, or compress 
aluminum. The Dumbek we sampled for this library was made of metal and much larger then 
most typical Dumbeks, thus giving a much lower fundamental pitch. 
Techniques 
The name Dumbek is derived from the two basic techniques of striking the drum. Dum is the bass 
tone and Bek is the high-pitched crack sound made by striking the drum towards the edge of the 
drumhead. We have also sampled a number of non-traditional techniques for the purposes of this 
library. 

Duduk 
Origins 
The Armenian Duduk (.Dziranapogh' is the traditional 
Armenian name meaning apricot pipe) 
has perhaps the richest and oldest history -- of 
all of the double-reeded woodwind instruments 
-- stretching back before the common era. .Duduk' 
is the adopted name taken a Russian pipe instrument 
called .dudka'. The Duduk design emigrated 
from Armenia to many other countries. In Turkey, 
it is called .Mey', in Iraq and Iran it is called .Balaban
', in Georgia it is called .dudki', in Azerbaijan it 
is called .balamam', and it is also found in derivatives 
throughout areas such as Persia and the Balkans. 
Many consider the Duduk the heart and soul 
of Armenian music. For RA, we sampled 3 duduks. 
One from Armenia, one from Turkey and one small 
duduk from Bulgaria. 
Construction 
In ancient times it was constructed from bone, today the double-reeded wind instrument is most commonly 
constructed from aged apricot wood. There are 8 holes on the front and on the back there is a 
thumb hole. An additional tuning hole is constructed on the horn end of the instrument which depending 
on the maker can be on front or back. Sizes vary -- the most common being 28, 33 and 40 cm. 
The .ramish' (name for the double reed) is anywhere from 9-14 cm in length and consists of two pieces 
of cane cut from a reed of the shores of the Arax River in Armenia. The reeds are assembled in 
a duck-billed configuration. Tuning the Duduk is accomplished by an adjustable wood binding which 
surrounds the .ramish'. Sliding this binding along the .ramish' opens or closes the reeds. 
The reed is generally wider than most reeds which gives it its characteristic mournful sound 
Techniques 
Diatonic in scale and has the range of one octave. Notes outside of the pentatonic range are 
achieved with special fingering techinqes. The width of the reeds demands more breath from the 
player. An adjustment in pressure from the lips and adjustment in finger position creates variation in 
dynamics. 
Most commonly Duduk is performed in pairs. One player performs the melody of the song, while 
another player, called .the damkash', uses circular breathing to perform the .dam', a constant tonic 
drone.

Middle Eastern Violin 
Origins 
European strings were first introduced to the Middle East during Napolean's rather failed attempt in 
capturing Egypt in 1798. 
Construction 
Same construction as the European Violin and Cellos. 
Techniques 
Violin techniques include the European under-the-chin-style of playing, and a knee-style called .gamba
' style. Turkish tuning for the violin, GDAD, slightly differs from the European GDAE style tuning. 
Arabic tuning differs slightly still being GDGD. Characteristic performance techniques are very decorative 
with melismas, slurs and slides, trills, wider vibrato, and double stops. Because of the fretless 
design of the violin, it is easily able to adapt to playing in the quartertone structures of the .Maqam'. 
The ensemble in RA was recorded with 4 violins on the left and 3 cellos on the right playing one octave 
down. 

Ney Flute 
Origins 
Tomb paintings of the pyramids of Ancient Egypt dating between 3000-2500 B.C.E depict Ney flute 
players while Archealogical excavations at Ur, an ancient city in Mesopotamia -- know known as present 
day Iraq -- have uncovered early specimens of the Ney flute. The Ney is common through the 
Arabic world, Persia and Turkey. .Ney' is the Farsi word for reed, named after a plant from which it is 
fashioned. 
Construction 
Traditionally cut from a nine segment section of the Arundo Donax plant take from the Nile River, the 
Ney is an end-blown flute with six finger holes on the front and one thumb hole on the back. On the 
front of the Ney, the hole closest to the mouthpiece end is opened partially, while the rest are fully 
opened. The embouchure is bevelled, and in modern times is fitted with turned wood, bone, and 
horn. Traditional Egyptian Neys have wire wrapped at the mouthpiece end of the flute to add decoration 
and support to the flute's construction. Emblems at the mouthpiece end signify the flute's key 
signature and/or signature of the flute maker, these are etched and ink filled or burned in. 
Techniques 
Different lengths determine pitch and most players have a set of flutes to play in different keys, although, 
accomplished players through advanced finger and blowing techniques can achieve a 3 
octave range on one Ney. The .Rast' mode is the Arabic .Maqam' (mode) easiest to achieve from 
the Ney: for those of you out there with more a Euro-centric worldview, the .Rast' is the same as the 
.Dorian' mode. The .Bridge' is a characteristic polyphonic mode of the Ney, it is achieved when the 
Ney player plays the same note an octave apart. Characteristically, the player plays notes within the 
musical range of the instrument and a sub-harmnonic to achieve the .Bridge'.

Oud 
Origins 
The Oud is an short-necked, half pear-shaped, plucked lute of the Arab world, the direct ancestor of 
the European lute. The oud first appears in Mesopotamia during the Kassite period (1600-1150 B.C.) 
with a small oval body. Oud's name derives from the Arabic for .wood', and this refers to the strips of 
wood used to make its rounded body. It is the principal instrument of the Arab world, and is of secondary 
importance in Turkey (ud), Iran, Armenia and Azerbaijan. It is known both from documentation 
and through oral tradition, as the king, sultan or emir of musical instruments, the most perfect of those 
invented by the philosophers. 
Construction 
There are five pairs of strings on an oud, each pair tuned to the same pitch, and a single string which 
is also the thickest and known as the bamteli in Turkish. The most common way to tune the oud is to 
tune each string a fourth apart. The neck of the oud, which is short in comparison to the body, has no 
frets and this contributes to its unique sound. The most common string combination is five pairs of 
strings tuned in unison and a single bass string, although up to thirteen strings may be found. Strings 
are generally made of nylon or gut. 
Techniques 
Different tunings are used and the Turkish-style oud has a brighter tone than its Arab counterpart, 
partially because of higher tuning. In Ra, we use the Arabic oud. The strings of the oud are traditionally 
plucked using an eagle's feather, known in the Arab world as a risha (and in Turkey as a mizrap). 
However, eagle feathers are not readily available nowadays, so modern players have looked to other 
materials from which to fashion a pick. Many professional players use a risha made from horn (of a 
cow, for example). To ensure that the oud is at a comfortable height, many players use a footstool of 
the type used by classical guitarists, but you could simply cross one leg over the other. The face of 
the oud should be vertical and the strings/neck horizontal.

Santour 
Origins 
.Santoor' is a persian word meaning one-hundred strings, .shata tantri veena', it's Sanskrit name, 
means .a hundred-stringed lute'. Ancient origins can be traced back to the Sufi mystics who used the 
100-stringed instrument as an accompaniment to the sacred hymns of the music they called .Sufiana 
Mausiqi'. Addtionally, the early Persian origins date back to the 16th century and depict a plucked 
instrument. By the 17th century the modern design still in use today, is the 72-string .Santour' as it is 
called in Iran, Iraq and Turkey. Being a member of the hammer dulcimer family of instruments, derivatives 
found around the globe include the 45-stringed Chinese .Yang-Qin', the 135 stringed German 
Hackbrett, the Grecian .Santoori', the Finnish .Kentele', the Hungarian .Cimbalon' and the Indian 
.Santoor'. 
Construction 
A wooden instrument with steel strings, the frame is most commonly constructed from walnut or 
maple while the top and bottom consist of veneer or plywood. Most commonly, 29 wood bridges (although 
31 and 33 bridged .Santours' exist) rest on the soundboard (top) of the instrument and support 
the strings. Strings are attached to either side of the soundboard by pins. The Persian .Santour' has 
adjustable bridges to aide in tuning, while others, such as the Indian .Santoor' have fixed bridges and 
tuning pins for each string on the right side of the soundboard aides tuning in others. In the Indian design, 
each bridge holds 3 strings which are tuned to the same pitch. The frame is trapezoid in shape, 
so string length at the base are longer and therefore lower in pitch than strings at the top. Light wood 
mallets are used to strike the string. 
Techniques 
Mallets are held by both left and right hands, and are used to lightly strike the string. Playing the mallets 
in close or far proximity to the bridges can create very different timbre. Mute tones are created 
when one hand mutes the strings in various postions while the other strikes creating different timbre 
at each position. 

Yali Tambur 
Origins 
Turkish instrument of ancient origin. 
Construction 
The soundbox is of a drum-like banjo design, a round metal body covered with a animal skin. It is a 
stringed instrument with sympathetic strings in addition to the playable strings. 
Techniques 
Played with a bow or plucked. Often the drone string is plucked repetitively, while the other strings are 
bowed.

Zourna 
Origin 
Ancient origins date back to the 9th century where the Zourna is mentioned in the Armenia tale .David 
of Sasoun' which has become symbolic for the struggle for emanicipation of the Armenian nation. 
It is widely used in Armenia and Bulgaria. Derivatives are found in many places including India 
(.Shenay'), Greece (.Zourna'), Yugoslavia (.Zurla'), France (.Bombarde'), Tunis (.Zokra'), Iran (.Tzurnay
'), Lebanon and Iraq (.Zamr'), Morocco (.Ghaytah' or .Raita'), and Turkey. 
Construction 
In Armenia, Zourna is traditionally constructed from the wood of an apricot tree, while derivatives in 
other countries are constructed from the woods of plum, walnut and saber trees. Seven holes in front 
and one in back, an additional tuning hole is found at the horn end (.Kalak') of the Zourna. Wider 
finger holes allow for one to achieve chromatic tones more easily. Zourna is constructed in different 
sizes ranging from 30 to 60 centimeters. Different lengths of the instrument determine different 
ranges of pitch. The .Metem' is the protruding tube at the reed end of the horn. On the .Metem', the 
.Avurtluk' is hollowed-out circular tube designed to assist the player in circular breathing. The .Ramish' 
or reed consists of two elements. A piece of flattened cane consists of the reed portion which attaches 
to a circular tube of metal forming the mouthpiece. 
Techniques 
Characteristically a very loud instrument, proper technique requires heavy air pressure and circular 
breathing. Due to the loud volume of the instrument it is traditionally played outside during festive and 
celebratory events. With an approximate range of one octave, partially covering finger holes or .halfholing
' allows the performer to obtain chromatic pitches outside the range of the horn. Similar to the 
Duduk, the Zourna is often played in pairs: one player, called the .damkash', sustains a .dam' (drone) 
while the other performs the melody. Traditionally, it is almost always accompanied by the Armenian 
.Dhol' drum.

EWQL RA - Instrument Articulation Abbreviation Key 
Abbreviation Definition Notes/Examples 
5ths Perfect 5th Interval A slide or chord sampled in Perfect 
Fifth intervals 
Acc Accent Accent made by bow biting string or 
tongue tightening on windhole 
Arp Arpeggio Broken ascending or descending 
chord inverted in any sequential 
order 
Basic Basic Articulation Most commonly performed articulation 
of instrument 
Big Big Simulates a performance of more 
players than sampled 
Bnd Bend of Note An adjustment of the fundamental 
without pause 
BODY Body Generated A ceremonial shaker worn on the 
body in performance 
Bow Horse Hair and 
Wood 
Stringed instrument performance 
with bow direction down or up 
Bridge Wooden Object 
supporting strings 
Performed close to the bridge to 
give a more nasal or harsh timbre 
Chrom Chromatic Pitched percussive peformance 
- where pitches are stretched to accomodate 
twelve tones 
Dbl Double Doubled articulation 
DN Down A stringed instrument's bow or pick 
direction 
Drn Drone A looped fundamental performed by 
a string or wind 
Exp Expressive An exaggerated crescendo followed 
by a decrescendo 
f Forte An Italian term used to describe a 
louder dynamic 
Fall Fall An expressive drop in pitch at the 
end of phrase 
Flutter Flutter Tongue An expressive vibration created by 
a fast moving tongue 
Fst Fast A shorter phrase

Abbreviation Definition Notes/Examples 
FX Effects Characteristic or uncharacteristic performance 
of the musical qualities of the 
instrument 
Gliss Glissando An Italian term used to describe an ascending 
or descending musical phrase 
perfomed in a rapid and gliding manner 
Grace Grace note Arrhythmic embellishment above or below 
the fundamental 
Groove Looped Phrase A Looped musical phrase establishing a 
continuous pocket of rhythym 
Harm Harmonic A frequency integral to the fundamental 
established by lightly touching the string 
or overblowing wind 
Hi Hi Higher pitched articulation 
Hrd Hard A more aggressive attack 
HT Half-Tone (Semi- 
Tone) 
The interval between a tone in the western 
twelve tone scale 
KS Keyswitch A switch between multiple articulations 
by the stroke of specific keys called .keyswitches
' 
Leg Legato Designed to create quick and smooth 
musical phrases 
Live Live A velocity switching program which 
simulates more realistic and charateristic 
performances 
Lng Long A longer phrase of any given articulation 
Low Low Lower pitched articulation 
Lyrical Lyrical A sweeter phrase 
Med Medium A medium dynamic 
mf Mezzo Forte An Italian term used to describe a moderately 
loud dynamic 
Maj3rd Major 3rd An articulation consisting of Major 3rd 
intervals 
Min3rd Minor 3rd An articulation consisting of Minor 3rd 
intervals

Abbreviation Definition Notes/Examples 
Mldy Melody A program consisting of melismas characteristic 
of the native musical qualities 
of the instrument 
MOD Modulation Crossfade 
Modulation crossfades between more 
than one articulation 
mp Mezzo Piano An Italian term used to describe a moderately 
soft dynamic 
Mute FX Effects Effect muting the string 
Neck Neck An articulation where pick, finger or bow 
is positioned over the fretboard or neck 
of the instrument 
NV/NVB/Non Vib Non Vibrato An articulation where the fundamental 
maintains consitent pitch for its duration 
Oct Octave The fundamental stretches one octave 
higher or lower during the phrase 
Open Open Most commonly performed articulation 
of instrument 
Ornament Ornament A small embellishment characteristic 
of the native musical qualities of the 
instrument 
Ovrblwn Overblown The wind instrument is overblown to 
create an overtone or harmonic in place 
of the fundamental 
P Piano An Italian term used to describe a softer 
dynamic 
P4th Perfect 4th Interval A Slide or Chord sampled in Perfect 
Fourth Intervals 
PK Pick Pick on string 
RT/Resonance Release Trail Decay of the articulation in the sampled 
space 
RR Round Robin The press of every key Alternates 
between Up and Down Bow or Pick, or 
Left and Right Hand Strokes 
Scrape Scrape Pick is scraped across the string creating 
a harsh timbre 
Sft Soft Soft articulation

Abbreviation Definition Notes/Examples 
sFz/sF Sforzando An Italian term used to descibe a strongly 
accented note 
Sht Short A short phrase 
SLD Slide A transition in pitch from one fundamental 
to another 
Slur Slur , smooth 
Slw Slow A longer phrase 
Spic Spiccato An Italian term used to describe short 
articulations of the bow bouncing off the 
string 
Spit Spit Short accents, course in timbre, created 
by saliva forced through a wind instrument 
Stac Staccato An Italian term used to describe stiff and 
detached performance 
Strum Strum Designed to simulate the charatersitic attack 
of a pick strumming 
Sus Sustained A sustained phrase 
Trem/Trm Tremolo An Italian term used to describe rapid 
repetition of the fundamental 
Trl/Trill Trill An Italian term used to describe the rapid 
repetition between the fundamental and a 
note above or below 
Turn Turn A small embellishment 
UP Up Describes the direction of the bow or pick 
VB/VIB Vibrato An Italian term used to describe the perpetual 
but expressive change in pitch of 
the fundamental 
VS Velocity Switch A program which uses velocity to switch 
between multiple articulations 
Western Western Feel feel not necessarily charactersitc of the 
native musical qualities of the instrument 
Wide Wide Slower and wider vibrato 
WT Whole-Tone (Full- 
Tone) 
The interval representing one tone in the 
western twelve tone scale

Quantum Leap RA Program List 
Africa 
Bells 
Ewe Large Bombshell.nki 
Ewe Medium Bombshell.nki 
Gankokwe Large.nki 
Gankokwe Small.nki 
Drums 
3Ft FromTonFrom.nki 
5Ft FromTonFrom.nki 
Atsimevu.nki 
Batas.nki 
Berkete.nki 
Dejembe Ensemble.nki 
Ewe Drum Ensemble.nki 
Kidi.nki 
Large Udu.nki 
Log Drums.nki 
Pitched Percussion 
Gyil Mallet + Stick.nki 
Gyil Mallet Untuned.nki 
Gyil Mallet.nki 
Gyil Stick.nki 
Kalimba Low Untuned.nki 
Kalimba Low.nki 
Kalmiba Hi Untuned.nki 
Kalmiba Hi.nki 
Kalmiba Hi-Wah Untuned.nki 
Kalmiba Hi-Wah.nki 
Log Drums Melodic.nki 
Plucked 
Kora.nki 
Ngoni RR.nki 
Shakers and Rattles 
African Dual Wooden.nki 
African Metal.nki 
Axatse.nki 
Ekpiri Shelled BODY.nk 
Ekpiri Shelled Sht.nki

Americas And Australia 
Percussion 
Berimbau 
Berimbau Basic.nki 
Berimbau Chrom.nki 
Berimbau FX.nki 
Berimbau RR Chrom.nki 
Cuban Percussion 
Cuban percussion RR.nki 
Plucked 
1890 Washburn Guitar 
Washbrn GTR KS C0-D#0.nki 
Washbrn GTR Live.nki 
Elements 
Washbrn GTR Finger.nki 
Washbrn GTR Harm.nki 
Washbrn GTR Pick RR.nki 
Washbrn GTR Strum DN.nki 
Washbrn GTR Strum RR.nki 
Washbrn GTR Strum UP.nki 
American Jaw Harp 
American Jawharp VS.nki 
American Jawharp.nki 
Banjo 
Banjo Bridge.nki 
Banjo Neck.nki 
Banjo RR.nki 
Dobro 
Dobro KS C0-D1.nki 
Dobro Live 1.nki 
Dobro Live 2.nki 
Dobro Live 3.nki 
Dobro Live 4.nki 
Dobro Live 5.nki 
Dobro Live 6.nki 
Elements 
Dobro Mute FX.nki 
Dobro Open.nki 
Dobro Slide Fst DN.nki

Dobro Slide Fst UP.nki 
Dobro Slide Full DN.nki 
Dobro Slide Full UP.nki 
Dobro Slide P4th NV.nki 
Dobro Slide P4th VIB.nki 
Dobro Slide Pwr UP A.nki 
Dobro Slide Pwr UP B.nki 
Dobro Slide Slw DN.nki 
Dobro Slide WT UP Fall.nki 
Dobro Slide WT UP.nki 
Dobro Slur UP DN.nki 
Dobro Trem FX WT UP.nki 
Dobro Trem FX.nki 
Mandolin 
Mandolin KS C0-E0.nki 
Mandolin Live 1.nki 
Mandolin Live 2.nki 
Elements 
Mandolin Noises.nki 
Mandolin Slide UP.nki 
Mandolin Sus RR.nki 
Mandolin Trm Fst.nki 
Mandolin Trm Slw.nki 
Ukelele 
Ukelele PK DN.nki 
Ukelele PK RR.nki 
Ukelele PK UP.nki 
Wind 
Didjeridoo 
Didj Drones A.nki 
Didj Drones C#.nki 
Didj Drones D.nki 
Didj Drones F#.nki 
Didj Drones Live.nki 
Didj Fx A.nki 
Didj Fx C#.nki 
Didj Fx D.nki 
Didj Fx F#.nki 
Grooves 
Didj Loop A 100bpm.nki 
Didj Loop A 135bpm.nki 
Didj Loop A 160bpm.nki 
Didj Loop A 165bpm.nki

Didj Loop A 95bpm.nki 
Didj Loop C# 100bpm.nki 
Didj Loop C# 115bpm.nki 
Didj Loop C# 120bpm.nki 
Didj Loop C# 125bpm.nki 
Didj Loop C# 139bpm.nki 
Didj Loop C# 140bpm.nki 
Didj Loop C# 160bpm.nki 
Didj Loop C# 165bpm.nki 
Didj Loop C# 185bpm.nki 
Didj Loop C# 201bpm.nki 
Didj Loop C# 73bpm.nki 
Didj Loop C# 74bpm.nki 
Didj Loop C# 80bpm.nki 
Didj Loop D 100bpm.nki 
Didj Loop D 103bpm.nki 
Didj Loop D 122bpm.nki 
Didj Loop D 128bpm.nki 
Didj Loop D 130bpm.nki 
Didj Loop D 150bpm.nki 
Didj Loop D 156bpm.nki 
Didj Loop D 170bpm.nki 
Didj Loop D 77bpm.nki 
Didj Loop D 80bpm.nki 
Didj Loop D 88bpm.nki 
Didj Loop F# 105bpm.nki 
Didj Loop F# 115 6-4.nki 
Didj Loop F# 115bpm.nki 
Didj Loop F# 130bpm.nki 
Didj Loop F# 74bpm.nki 
Didj Loop F# 80bpm.nki 
Didj Loop F# 85bpm.nki 
Didj Loop F# 95bpm.nki 
First Nations Cedar Flute 
FNC Flute KS C0-G#0.nki 
FNC Flute Live.nki 
Elements 
FNC Flute Exp Mldy 1.nki 
FNC Flute Exp Mldy 2.nki 
FNC Flute Flutter.nki 
FNC Flute Leg Non Vib.nki 
FNC Flute Leg Vib Exp.nki 
FNC Flute Non Vib Exp.nki 
FNC Flute Stac.nki 
FNC Flute Vib Exp 1.nki

FNC Flute Vib Exp 2 RR.nki 
Pan Flute 
Pan Flute KS C0-D#0.nki 
Elements 
Pan Flute Non Vib.nki 
Pan Flute NV VB MOD Acc.nki 
Pan Flute NV VB MOD.nki 
Pan Flute Stac NV RR.nki 
Pan Flute Stac.nki 
Pan Flute Sus Vib.nki 
Europe 
Bowed 
Gadulka 
Gadulka KS C0-F0.nki 
Gadulka Live.nki 
Elements 
Gadulka Bow DN.nki 
Gadulka Bow UP.nki 
Gadulka Dbl Bow Exp.nki 
Gadulka Non Vib 1.nki 
Gadulka Non Vib 2.nki 
Gadulka Resonance.nki 
Gadulka Stac.nki 
Gadulka Sus Vib 1.nki 
Gadulka Sus Vib 2.nki 
Gadulka Trem.nki 
Hardanger Fiddle 
Hardanger KS C0-G#0.nki 
Hardanger Live.nki 
Elements 
Hardanger 5ths.nki 
Hardanger Exp NV.nki 
Hardanger Exp Vib.nki 
Hardanger Legato NV RR.nki 
Hardanger Mldy.nki 
Hardanger NV VB MOD.nki 
Hardanger Short RR.nki 
Hardanger Spic RR.nki 
Hardanger Sus Vib.nki 
Hardanger Trl HT.nki 
Hardanger Trl WT.nki

Hurdy Gurdy 
Hurdy Gurdy KS C0-F0.nki 
Hurdy Gurdy Live.nki 
Elements 
Hurdy Gurdy Dbl Hi.nki 
Hurdy Gurdy Dbl Low.nki 
Hurdy Gurdy Drone 1.nki 
Hurdy Gurdy Drone 2.nki 
Hurdy Gurdy Drone 3.nki 
Hurdy Gurdy Drone 4.nki 
Hurdy Gurdy Drone 5.nki 
Hurdy Gurdy Non Vib f.nki 
Hurdy Gurdy Non Vib mf.nki 
Hurdy Gurdy Non Vib mp.nki 
Hurdy Gurdy Non Vib p.nki 
Hurdy Gurdy Nov Vib VS.nki 
Grooves 
Hurdy Gurdy Groove 01.nki 
Hurdy Gurdy Groove 02.nki 
Hurdy Gurdy Groove 03.nki 
Hurdy Gurdy Groove 04.nki 
Hurdy Gurdy Groove 05.nki 
Hurdy Gurdy Groove 06.nki 
Hurdy Gurdy Groove 07.nki 
Hurdy Gurdy Groove 08.nki 
Hurdy Gurdy Groove 09.nki 
Hurdy Gurdy Groove 10.nki 
Percussion 
Frame Drum 
Large Frame Drm Basic.nki 
Large Frame Drm FX.nki 
Medium Frame Drm.nki 
Small Frame Drm.nki 
Winds & Reeds 
Alpenhorn 
Alpenhorn KS C5-G5.nki 
Elements 
Alpenhorn Exp Fst.nki 
Alpenhorn Exp Slw.nki 
Alpenhorn Exp.nki 
Alpenhorn Non Vib.nki 
Alpenhorn Slide Oct DN.nki 
Alpenhorn Slide Oct UP.nki

Alpenhorn Stac.nki 
Alpenhorn Sus Vib.nki 
Alpenhorn Sus.nki 
Bag Pipe Ensemble 
Bag Pipe Ens VS Untuned.nki 
Bag Pipe Ens VS.nki 
Bass Recorder 
Bass Recorder KS C0-D0.nki 
Elements 
Bass Recorder Exp Fst.nki 
Bass Recorder Exp Vib.nki 
Bass Recorder Sus Vib.nki 
Highland Pipes 
Highland Pipes VS.nki 
Irish Low Whistle 
IRL Lo Whs KS C0-B0.nki 
IRL Lo Whs Live 1.nki 
IRL Lo Whs Live 2.nki 
IRL Lo Whs Live 3.nki 
Elements 
IRL Lo Whs Bnd HT UP.nki 
IRL Lo Whs Bnd WT UP.nki 
IRL Lo Whs Exp Mldy 1.nki 
IRL Lo Whs Exp Mldy 2.nki 
IRL Lo Whs Exp Mldy 3.nki 
IRL Lo Whs Exp Mldy 4.nki 
IRL Lo Whs Exp Mldy 5.nki 
IRL Lo Whs Irish Vib.nki 
IRL Lo Whs Non Vib.nki 
IRL Lo Whs Sht.nki 
IRL Lo Whs Stac 1.nki 
IRL Lo Whs Stac 2.nki 
IRL Lo Whs Stac RR.nki 
IRL Lo Whs Sus Acc.nki 
IRL Lo Whs Western Vib.nki 
Launeddas 
Launeddas KS C0-D0.nki 
Launeddas Live.nki 
Elements 
Launeddas Exp Mldy.nki 
Launeddas Grace.nki

Launeddas Non Vib.nki 
Uilleann Pipes 
Uilleann Pipes KS C0-D#0.nki 
Uilleann Pipes Live.nki 
Elements 
Uilleann Drn and Regulators.nki 
Uilleann Pipes Vib VS.nki 
Uilleann Pipes Exp Bend VS.nki 
Uilleann Pipes Basic VS.nki 
Far East 
Bowed 
Erhu
Erhu KS C0-A0.nki 
Erhu Live.nki 
Elements 
Erhu Exp Vib Sft.nki 
Erhu Stac DN.nki 
Erhu Non Vib Sft.nki 
Erhu Non Vib Hrd.nki 
Erhu Exp Vib Fst.nki 
Erhu Non Vib Med.nki 
Erhu Slide DN 2.nki 
Erhu Stac RR.nki 
Erhu Exp Vib Slw.nki 
Erhu Leg.nki 
Erhu Slide UP 2.nki 
Erhu Trill.nki 
Erhu Slide UP 1.nki 
Erhu Slide DN 1.nki 
Erhu Sus Vib.nki 
Erhu Stac UP.nki 
Perc 
Gamelan 
Byeon FX.nki 
Byeon Group Tuned.nki 
Byeon Group Untuned.nki 
Calung Tuned.nki 
Calung Untuned.nki 
Gamelan Ensemble Tuned.nki 
Gamelan Ensemble Untuned.nki 
Gamelan Gong & Kajar.nki

Katana Group Tuned.nki 
Katana Group Untuned.nki 
Pamade Tuned.nki 
Pamade Untuned.nki 
Gongs 
Chinese Gong 34 Inches.nki 
Chinese Gong VS.nki 
Thai Gong 23 inches.nki 
Thai Gong VS.nki 
Taiko Drums 
Taiko Drums ALL.nki 
Elements 
Dragon Taiko 1.nki 
Dragon Taiko 2.nki 
Taiko Bass Drum.nki 
Taiko Big and Bassy.nki 
Taiko Big Punch.nki 
Taiko Big Resonance.nki 
Taiko Deep And Woody.nki 
Taiko Earthquake.nki 
Taiko Ensemble.nki 
Taiko Hands.nki 
Taiko Light And Bassy.nki 
Taiko Light Sticks.nki 
Taiko Medium Room.nki 
Taiko Medium Sticks.nki 
Taiko Punchy 2.nki 
Taiko Punchy.nki 
Taiko Room ambient.nki 
Taiko Soft 2x Hits.nki 
Taiko Thunder.nki 
Plucked 
Koto
Koto KS C0-F#0.nki 
Koto Live 1.nki 
Koto Live 2.nki 
Elements 
Koto Arp.nki 
Koto DBL.nki 
Koto Exp Vib.nki 
Koto HT UP.nki 
Koto Non Vib.nki 
Koto Pick Scrape.nki

Koto Sus Vib.nki 
Koto Trem.nki 
Shamisen 
Shamisen KS C0-E0.nki 
Shamisen Live.nki 
Elements 
Shamisen Pick Sft.nki 
Shamisen Slur Vib Fst.nki 
Shamisen Slur.nki 
Shamisen Sus.nki 
Shamisen Vib Fst.nki 
Shamisen Vib Sft.nki 
Vietnamese Jawharp 
Vietnamese Jawharp RR.nki 
Vietnamese Jawharp.nki 
Wind 
Dizi
Dizi KS C0-A#0.nki 
Dizi Live 1.nki 
Dizi Live 2.nki 
Elements 
Dizi Exp Vib 1.nki 
Dizi Exp Vib 2.nki 
Dizi Flutter.nki 
Dizi Legato.nki 
Dizi Mldy 1.nki 
Dizi Mldy 2.nki 
Dizi Non-vib.nki 
Dizi Stac Trill.nki 
Dizi Sus Vib.nki 
Dizi Trem.nki 
Dizi Trill.nki 
Rag Dung 
Rag Dung KS C0-D0.nki 
Elements 
Rag Dung Non Vib 1.nki 
Rag Dung Non Vib 2.nki 
Rag Dung Non Vib 3.nki 
Rag Dung Non Vib 4.nki 
Rag Dung NV 4-Way RR.nki 
Rag Dung Stac 1.nki 
Rag Dung Stac 2.nki

Rag Dung Stac 3.nki 
Rag Dung Stac RR.nki 
Rag Dung Sus Vib Slw.nki 
Shakuhachi 
Shakuhachi KS C0-C#1.nki 
Shakuhachi Live.nki 
Elements 
Shakuhachi Exp NV.nki 
Shakuhachi Harm FX.nki 
Shakuhachi Leg NV.nki 
Shakuhachi Leg Vib.nki 
Shakuhachi Lg NV VB MOD.nki 
Shakuhachi Mldy 1.nki 
Shakuhachi Mldy 2.nki 
Shakuhachi Mldy 3.nki 
Shakuhachi Mldy 4.nki 
Shakuhachi Non Vib.nki 
Shakuhachi Ovrblwn 1.nki 
Shakuhachi Ovrblwn 2.nki 
Shakuhachi Spit 2RR.nki 
Shakuhachi Spit 4RR.nki 
Shakuhachi Spit 6RR.nki 
Shakuhachi Sus Vib.nki 
Shakuhachi Trill.nki 
India 
Bowed 
Baritone Violin 
Baritone VLN KS C0-A0.nki 
Bartione VLN Live 1.nki 
Bartione VLN Live 2.nki 
Elements 
Baritone VLN Exp Vib.nki 
Baritone VLN Lyrical.nki 
Baritone VLN Marc.nki 
Baritone VLN Ornament.nki 
Bartione VLN Fls Harm.nki 
Bartione VLN Leg Exp.nki 
Bartione VLN Leg NV RR.nki 
Bartione VLN Spic RR.nki 
Bartione VLN Stac RR.nki 
Bartione VLN Sus Leg RR.nki

Esraj 
Esraj KS C0-E1.nki 
Esraj Live 1.nki 
Esraj Live 2.nki 
Elements 
Esraj Leg 1.nki 
Esraj Leg 2.nki 
Esraj Leg 3.nki 
Esraj Leg 4.nki 
Esraj SLD 4th DN.nki 
Esraj SLD 4th UP.nki 
Esraj SLD HT DN.nki 
Esraj SLD HT UP fst.nki 
Esraj SLD HT UP.nki 
Esraj SLD Maj3rd DN.nki 
Esraj SLD Maj3rd UP.nki 
Esraj SLD Min3rd DN.nki 
Esraj SLD Min3rd UP.nki 
Esraj SLD WT DN.nki 
Esraj SLD WT UP.nki 
Esraj Sus.nki 
Esraj Trill HT UP.nki 
Esraj Trill WT DN.nki 
Sarangi 
Sarangi KS C0-C#1.nki 
Sarangi Live.nki 
Sarangi Mldy KS C0-A0.nki 
Sarangi RT.nki 
Elements 
Sarangi Bend DN.nki 
Sarangi Bend UP.nki 
Sarangi Leg Vib 1.nki 
Sarangi Leg Vib 2.nki 
Sarangi Mldy 01.nki 
Sarangi Mldy 02.nki 
Sarangi Mldy 03.nki 
Sarangi Mldy 04.nki 
Sarangi Mldy 05.nki 
Sarangi Mldy 06.nki 
Sarangi Mldy 07.nki 
Sarangi Mldy 08.nki 
Sarangi Mldy 09.nki 
Sarangi Mldy 10.nki 
Sarangi Mldy 11.nki 
Sarangi Non Vib 1.nki

Sarangi Non Vib 2.nki 
Sarangi Non Vib 3.nki 
Sarangi Non Vib 4.nki 
Sarangi Non Vib 5.nki 
Sarangi Non Vib 6.nki 
Sarangi Non Vib 7.nki 
Sarangi Trem.nki 
Sarangi Vib.nki 
Perc 
Tablas 
Tabla & Baya.nki 
Tabla Funky.nki 
Tabla Only.nki 
Tablas Basic.nki 
Plucked 
Sitar 
Sitar KS C0-G0.nki 
Sitar Live 1.nki 
Sitar Live 2.nki 
Elements 
Sitar Bends.nki 
Sitar Drone.nki 
Sitar Drop FX.nki 
Sitar FX 1.nki 
Sitar Fx 2.nki 
Sitar FX 3.nki 
Sitar Gliss.nki 
Sitar Slide HT UP.nki 
Sitar Slide WT UP.nki 
Sitar Sus DN.nki 
Sitar Sus RR.nki 
Sitar Sus UP.nki 
Sitar Trem.nki 
Sitar Trill HT.nki 
Sitar Trill WT.nki 
Tambura 
Tambura 4-Way RR.nki 
Wind 
Bansuri 
Bansuri KS C0-B0.nki 
Bansuri Live 1.nki 
Bansuri Live 2.nki

Elements 
Bansuri Bnd Lng.nki 
Bansuri Bnd WT UP.nki 
Bansuri Exp Harm 1.nki 
Bansuri Exp Harm 2.nki 
Bansuri Flutter Exp.nki 
Bansuri Flutter.nki 
Bansuri Harm FX.nki 
Bansuri Leg.nki 
Bansuri Short Spit 1.nki 
Bansuri Spit Lng 1.nki 
Bansuri Spit Lng 1+2 RR.nki 
Bansuri Spit Lng 2.nki 
Bansuri Spit Sht 1+2 RR.nki 
Bansuri Spit Sht 2.nki 
Bansuri Sus Non Vib.nki 
Bansuri Sus Vib.nki 
Bansuri Turn.nki 
Mid East & Turkish Empire 
Bowed 
Mid East Fiddle 
Mideast FDL KS C0-A0.nki 
MidEast FDL Live 1.nki 
Elements 
MidEast FDL Exp sFz.nki 
MidEast FDL Mldy Slw.nki 
MidEast FDL Non Vib F.nki 
MidEast FDL Non Vib M.nki 
MidEast FDL Non Vib P.nki 
MidEast FDL Non Vib VS.nki 
MidEast FDL Slur DN 1.nki 
MidEast FDL Slur DN 2.nki 
MidEast FDL Slur UP 1.nki 
MidEast FDL Slur UP 2.nki 
MidEast FDL Sus Vib.nki 
MidEast FDL Turn 1.nki 
MidEast FDL Turn 2.nki 
Mid East String Section 
MidEast Strings BIG 1.nki 
MidEast Strings BIG 2.nki 
MidEast Strings BIG 3.nki 
MidEast Strings KS C0-F0.nki

MidEast Strings Live 1.nki 
MidEast Strings Live 2.nki 
Elements 
MidEast Strings Exp Vib.nki 
MidEast Strings Leg.nki 
MidEast Strings Slur DN.nki 
MidEast Strings Slur UP.nki 
MidEast Strings Sus Vib.nki 
MidEast Strings Turn.nki 
Yalli Tambur 
Yalli Tambur Live 1.nki 
Yalli Tambur Live 2.nki 
Yalli Tambur KS C0-A0.nki 
Elements 
Yalli Tambur Drone.nki 
Yalli Tambur Exp Non Vib.nki 
Yalli Tambur Exp Vib.nki 
Yalli Tambur Exp.nki 
Yalli Tambur Grace HT.nki 
Yalli Tambur Leg Fst.nki 
Yalli Tambur Leg Sht.nki 
Yalli Tambur Leg.nki 
Yalli Tambur Mldy HT.nki 
Yalli Tambur SLD FX.nki 
Yalli Tambur SLD UP HT.nki 
Yalli Tambur SLD UP WT.nki 
Yalli Tambur Trill HT.nki 
Yalli Tambur Trill WT.nki 
Hammered Plucked 
Oud
Oud KS C0-F#0.nki 
Oud Live 1.nki 
Oud Live 2.nki 
Oud Live 3.nki 
Oud Live 4.nki 
Oud Live 5.nki 
Elements 
Oud Non Vib RR.nki 
Oud SLD DN.nki 
Oud SLD UP.nki 
Oud Trem Vib.nki 
Oud Trem.nki 
Oud Vib RR.nki 
Oud Wide Vib.nki

Santoor 
Santoor KS C0-G#0.nki 
Santoor Live 1.nki 
Santoor Live 2.nki 
Elements 
Santoor Exp HT Hrd.nki 
Santoor Exp HT Sft.nki 
Santoor Exp Lng.nki 
Santoor Exp sFz.nki 
Santoor Exp Sht.nki 
Santoor Exp WT Hrd.nki 
Santoor Exp WT Soft.nki 
Santoor Mute.nki 
Santoor sFz Exp.nki 
Santoor Sus 1.nki 
Santoor Sus 2.nki 
Santoor Sus RR.nki 
Santoor Trem.nki 
Percussion 
Qandahar Dumbek 
Qandahar Dumbek.nki 
Wind 
Armenian Duduk 
A Duduk KS C0-C#1.nki 
A Duduk Live 1.nki 
A Duduk Live 2.nki 
A Duduk Mldy KS 1 C0-C2.nki 
A Duduk Mldy KS 2 C0-B0.nki 
Elements 
A Duduk Drone Exp Vib.nki 
A Duduk Drone Non Vib.nki 
A Duduk Drone Sus Sft.nki 
A Duduk Drone Sus Vib.nki 
A Duduk Exp Lng HT UP.nki 
A Duduk Exp Mldy 1.nki 
A Duduk Exp Mldy 2.nki 
A Duduk Exp Mldy 3.nki 
A Duduk Exp Sht HT UP 1.nki 
A Duduk Exp Sht HT UP 2.nki 
A Duduk Exp Vib Grace.nki 
A Duduk Exp Vib SHT 1.nki 
A Duduk Exp Vib SHT 2.nki 
A Duduk Exp Vib SHT 3.nki

A Duduk Exp Vib.nki 
A Duduk Exp WT UP.nki 
A Duduk Non Vib 1.nki 
A Duduk Non Vib 2.nki 
A Duduk Sus Vib 1.nki 
Melodies 
A Duduk Mldy 01.nki 
A Duduk Mldy 02.nki 
A Duduk Mldy 03.nki 
A Duduk Mldy 04.nki 
A Duduk Mldy 05.nki 
A Duduk Mldy 06.nki 
A Duduk Mldy 07.nki 
A Duduk Mldy 08.nki 
A Duduk Mldy 09.nki 
A Duduk Mldy 10.nki 
A Duduk Mldy 11.nki 
A Duduk Mldy 12.nki 
A Duduk Mldy 13.nki 
A Duduk Mldy 14.nki 
A Duduk Mldy 15.nki 
A Duduk Mldy 16.nki 
A Duduk Mldy 17.nki 
A Duduk Mldy 18.nki 
A Duduk Mldy 19.nki 
A Duduk Mldy 20.nki 
A Duduk Mldy 21.nki 
A Duduk Mldy 22.nki 
A Duduk Mldy 23.nki 
A Duduk Mldy 24.nki 
A Duduk Mldy 25.nki 
A Duduk Mldy 26.nki 
A Duduk Mldy 27.nki 
A Duduk Mldy 28.nki 
A Duduk Mldy 29.nki 
A Duduk Mldy 30.nki 
A Duduk Mldy 31.nki 
A Duduk Mldy 32.nki 
A Duduk Mldy 33.nki 
A Duduk Mldy 34.nki 
A Duduk Mldy 35.nki 
A Duduk Mldy 36.nki 
A Duduk Mldy 37.nki

Bulgarian Duduk 
B Duduk KS C0-C#1.nki 
B Duduk Live 1.nki 
B Duduk Live 2.nki 
Elements 
B Duduk Exp Slw Trill.nki 
B Duduk Exp Vib Fst 2.nki 
B Duduk Exp Vib Fst.nki 
B Duduk Exp Vib SLW.nki 
B Duduk Exp Vib.nki 
B Duduk Fst Bnd Up.nki 
B Duduk Leg.nki 
B Duduk Ornament.nki 
B Duduk Sht HT UP.nki 
B Duduk Stac RR.nki 
B Duduk Sus Non Vib.nki 
B Duduk Sus Vib Slw.nki 
B Duduk Vib Bnd Up 1.nki 
B Duduk Vib Bnd Up 2.nki 
B Duduk Vib Bnd Up 3.nki 
Ney Flute 
Ney Flute Live 2.nki 
Ney Flute Live 1.nki 
Ney Flute KS C0-A0.nki 
Elements 
Ney Flute Exp Mldy.nki 
Ney Flute Exp VIb.nki 
Ney Flute Grace 1.nki 
Ney Flute Grace 2.nki 
Ney Flute Grace 3.nki 
Ney Flute Leg.nki 
Ney Flute Non Vib.nki 
Ney Flute sFz.nki 
Ney Flute Sus Slur.nki 
Ney Flute Sus Vib Fall.nki 
Ney Flute Sus Vib.nki 
Turkish Duduk 
T Duduk KS C0-D1.nki 
T Duduk Live 2.nki 
T Duduk Live 1.nki 
Elements 
T Duduk Bnd Up Fst 1.nki

T Duduk Bnd Up Fst 2.nki 
T Duduk Bnd Up Fst 3.nki 
T Duduk Bnd Up Slw.nki 
T Duduk Exp Mldy 1.nki 
T Duduk Exp Mldy 2.nki 
T Duduk Exp Mldy 3.nki 
T Duduk Exp Vib Slw.nki 
T Duduk Leg Exp 1.nki 
T Duduk Leg Exp 2.nki 
T Duduk Slur DN.nki 
T Duduk Slur Up.nki 
T Duduk Stac 2RR.nki 
T Duduk Stac 3RR.nki 
T Duduk Sus Bnd DN.nki 
T Duduk Vib Bnd UP.nki 
Zourna 
Zourna KS C0-A#0.nki 
Zourna Live.nki 
Elements 
Zourna Exp Mldy 1.nki 
Zourna Exp Mldy 2.nki 
Zourna Exp Mldy 3.nki 
Zourna Exp Mldy 4.nki 
Zourna Exp.nki 
Zourna Grace.nki 
Zourna Leg 1.nki 
Zourna Leg 2.nki 
Zourna Non Vib.nki 
Zourna Sus Vib RR.nki 
Zourna Trill.nki

Quantum Leap RA - Keyswitch and Live Programs Ingredients List 
Americas and Australia 
Instrument Keyswitch/Live Program Order - Velocity Layer 
Washburn GTR 
Washburn GTR .KS C0-D#0' 
Washburn GTR .Finger' C0 
Washburn GTR .Pick RR' C#0 
Washburn GTR .Strum RR' D0 
Washburn GTR .Harm' D#0 
Washburn Guitar .Live' 
(VS + RR) Washburn GTR .Pick RR' 1 
Washburn GTR .Slide' 2 
Dobro 
Dobro .KS C0-D1' 
Dobro .Open' C0 
Dobro .Slide Slw DN' C#0 
Dobro .Slide P4th UP NVB D0 
Dobro .Slide P4th Up Vib' D#0 
Dobro .Slur UP DN' E0 
Dobro .Slide WT UP Fall' F0 
Dobro .Slide WT UP' F#0 
Dobro .Trem FX WT UP' G0 
Dobro .Trem FX' G#0 
Dobro .Slide Fst DN' A0 
Dobro .Slide Fst UP' A#0 
Dobro .Slide PWR UP A' B0 
Dobro .Slide PWR UP B' C1 
Dobro .Slide Full DN' C#1 
Dobro .Slide Full UP' D1 
Dobro .Mute FX' Always 
Dobro .Live 1' 
(VS) Dobro .Open' 1 
Dobro .Slide P4th UP NVB 2 
Dobro .Live 2' 
(VS) Dobro .Open' 1 
Dobro .Slide WT UP Fall' 2 
Dobro .Live 3' 
(VS) Dobro .Open' 1 
Dobro .Slide WT UP' 2 
Dobro .Live 4' 
(VS) Dobro .Open' 1 
Dobro .Slur DN UP 2

Americas and Australia Cont'd 
Instrument Keyswitch/Live Program Order - Velocity Layer 
Dobro Cont'd Dobro .Live 5' 
(VS) Dobro .Open' 1 
Dobro .Trem FX' 2 
Dobro .Live 6' 
(VS) Dobro .Open' 1 
Dobro .Trem FX WT UP' 2 
Mandolin 
Mandolin .KS C0-E0' 
Mandolin .Sus RR' C0 
Mandolin .Slide UP' C#0 
Mandolin .Trm Slw' D0 
Mandolin .Trm Fst' D#0 
Mandolin Live 2 E0 
Mandolin .Live 1' 
(VS + RR) Mandolin .Sus RR' 1 
Mandolin .Trm Slw' 2 
Mandolin .Live 2' 
(VS + RR) Mandolin .Sus RR' 1 
Mandolin .Slide UP' 2 
Didjeridoo 
Didj .Drones Live' Selected Drones A, C#, D F# 
FNC Flute 
FNC Flute .KS C0-G#0' 
FNC .Leg Vib Exp' C0 
FNC .Leg Non Vib' C#0 
FNC .Leg Exp 2 RR' D0 
FNC .Non Vib Exp' D#0 
FNC .Exp Vib 1' E0 
FNC .Stac' F0 
FNC .Exp Melody 1' F#0 
FNC .Exp Melody 2' G0 
FNC .Flutter' G#0 
FNC Flute .Live' 
(VS) FNC .Leg Vib Exp' 1 
FNC .Exp Melody 2' 2 
Pan Flute 
Pan Flute .KS C0-D#0' 
Pan Flute .Sus Vib' C0 
Pan Flute .Non Vib' C#0 
Pan Flute .NV VB MOD' D0 
Pan Flute .Stac RR' D#0

Europe 
Instrument Keyswitch/Live Program Order - Velocity Layer 
Gadulka 
Gadulka .KS C0-F0' 
Gadulka .Sus Vib 1' C0 
Gadulka .Non Vib 1+2 RR' C#0 
Gadulka .DBL Bow Exp' D0 
Gadulka .Bown DN+UP RR' D#0 
Gadulka .Trem' E0 
Gadulka .Stac' F0 
Gadulka .Live' 
(VS) Gadulka .Leg Vib 1' C0 
Gadulka .DBL Bow Exp' C#0 
Hardanger Fiddle 
Hardanger .KS C0-G#0' 
(RR) Hardanger .Sus Vib' C0 
Hardanger .Leg Non Vib RR' C#0 
Hardanger .Exp Vib' D0 
Hardanger .Exp Non Vib' D#0 
Hardanger .Short RR' E0 
Hardanger .Spic RR' F0 
Hardanger .Melody' F#0 
Hardanger .Trill HT' G0 
Hardanger .Trill WT' G#0 
Hardanger .Live' 
Hardanger .Exp Vib' 1 
Hardanger .Sus Vib' 1 
Hurdy Gurdy 
Hurdy Gurdy .KS C0-F0' 
Hurdy Gurdy .Non Vib VS' C0 
Hurdy Gurdy .DBL Low' C#0 
Hurdy Gurdy .DBL Hi' D0 
Hurdy Gurdy .Drone 1' D#0 
Hurdy Gurdy .Drone 3' E0 
Hurdy Gurdy .Drone 5' F0 
Hurdy Gurdy .Live' 
Hurdy Gurdy .Drone 1' 1 
Hurdy Gurdy .Drone 2' 2 
Hurdy Gurdy .Drone 3' 3 
Hurdy Gurdy .Drone 4' 4 
Hurdy Gurdy .Drone 5' 5 
Hurdy Gurdy .DBL Low' 1 to 3 
Hurdy Gurdy .DBL Hi' 4 to 5

Europe Cont'd 
Instrument Keyswitch/Live Program Order - Velocity Layer 
Alpenhorn 
Alpenhorn .KS C5-G5' 
Alpenhorn .Sus Vib' C5 
Alpenhorn .Sus' C#5 
Alpenhorn .Non Vib' D5 
Alpenhorn .Exp' D#5 
Alpenhorn .Exp Fst' E5 
Alpenhorn .Slide Oct DN' F5 
Alpenhorn .Slide Oct UP' F#5 
Alpenhorn .Stac' G5 
Bass Recorder Bass Recorder .KS C0-D0' 
Bass Recorder .Sus Vib' C0 
Bass Recorder .Exp Vib Fst' C#0 
Bass Recorder .Exp Vib' D0 
Irish Low Whistle 
IRL Lo Whs .KS C0-B0' 
IRL Lo Whs .Irish Vib' C0 
IRL Lo Whs .Western Vib' C#0 
IRL Lo Whs .Non Vib' D0 
IRL Lo Whs .Bnd WT UP' D#0 
IRL Lo Whs .Bnd HT UP' E0 
IRL Lo Whs .Short' F0 
IRL Lo Whs .Stac 3RR' F#0 
IRL Lo Whs .Exp Melody 1' G0 
IRL Lo Whs .Exp Melody 2' G#0 
IRL Lo Whs .Exp Melody 3' A0 
IRL Lo Whs .Exp Melody 4' A#0 
IRL Lo Whs .Exp Melody 5' B0 
IRL Lo Whs Live 1 
(VS) IRL Lo Whs .Sus Vib Fst' 1 
IRL Lo Whs .Bnd WT UP' 2 
IRL Lo Whs Live 2 
(VS) IRL Lo Whs .Sus Vib Fst' 1 
IRL Lo Whs .Exp Mldy 1' 2 
IRL Lo Whs Live 3 
(VS) IRL Lo Whs .Sus Vib Fst' 1 
IRL Lo Whs .Exp Mldy 5' 2

Europe Cont'd 
Instrument Keyswitch/Live Program Order - Velocity Layer 
Launeddas 
Launnedas .KS C0-D0' 
Launneddas .Non Vib' C0 
Launneddas .Grace' C#0 
Launneddas .Exp Mldy' D0 
Launnedas .Live' 
(VS) Launneddas .Non Vib' 1 
Launneddas .Grace' 2 
Launneddas .Exp Mldy' 3 
Uilleann Pipes 
Uilleann Pipes .KS C0-D#0' 
Uilleann Pipes .Basic VS' C0 
Uilleann Pipes .Vib VS' C#0 
Uilleann Pipes .Exp Bend VS' D0 
Uilleann Pipes .Live' D#0 
Uilleann Pipes .Live' 
(VS) Uilleann Pipes .Basic VS' 1 
Uillian Pipes .Exp Bnd VS' 2 
Far East 
Erhu 
Erhu .KS C0-A0' 
Erhu .Sus Vib' C0 
Erhu .Exp Vib Sft' C#0 
Erhu .Exp Vib Slw' D0 
Erhu .Exp Vib Fst' D#0 
Erhu .Leg' E0 
Erhu .Non Vib Hrd' F0 
Erhu .Slide Dn 1' F#0 
Erhu .Slide Up 2' G0 
Erhu .Stac RR' G#0 
Erhu .Trill' A0 
Erhu .Live' 
(VS) Erhu .Exp Vib Sft' 1 
Erhu .Sus Vib' 2 
Erhu .Slide UP 1' 3

Far East Cont'd 
Instrument Keyswitch/Live Program Order - Velocity Layer 
Koto 
Koto .KS C0-F#0' 
Koto .Sus Vib' C0 
Koto .Exp Vib' C#0 
Koto .Non Vib' D0 
Koto .HT UP' D#0 
Koto .Pick Scrape' E0 
Koto .DBL Hit' F0 
Koto .Trem' F#0 
Koto .Live 1' 
(VS) Koto .Non Vib' 1 
Koto .Sus Vib' 2 
Koto .HT UP' 3 
Koto .DBL Hit' 4 
Koto .Live 2' 
(VS) Koto .Non Vib' 1 
Koto .Sus Vib' 2 
Koto .HT UP' 3 
Koto .Pick Scrape' 4 
Shamisen 
Shamisen .KS C0-E0' 
Shamisen .Pick Soft' C0 
Shamisen .Sus' C#0 
Shamisen .Vib Fst' D0 
Shamisen .Sft Vib' D#0 
Shamisen .Slur' E0 
Shamisen .Live' 
(VS) Shamisen .Pick Soft' 1 
Shamisen .Sus' 2 
Shamisen .Slide Up' 3 
Dizi 
Dizi .KS C0-A#0' 
Dizi .Sus Vib' C0 
Dizi .Exp Vib 1' C#0 
Dizi .Exp Vib 2' D0 
Dizi .Legato' D#0 
Dizi .Non Vib' E0 
Dizi .Stac Trill' F0 
Dizi .Trill' F#0 
Dizi .Trem' G0 
Dizi .Flutter' G#0 
Dizi .Melody 1' A0 
Dizi .Melody 2' A#0

Far East Cont'd 
Instrument Keyswitch/Live Program Order - Velocity Layer 
Dizi 
Dizi .Live 1' 
(All) Dizi .Trem' All 
Dizi .Legato' All 
Dizi .Live 2' 
(VS) Dizi .Sus Vib' 1 
Dizi .Sus Vib' 2 
Dizi .Stac Trill' 2 
Rag Dung 
Rag Dung .KS C0-D0' 
Rag Dung .Non Vib 1,2,3' C0 
Rag Dung .Sus Vib Slw' C#0 
Rag Dung .Sus Vib 1,2,3' D0 
Shakuhachi 
Shakuhachi .KS C0-C#1' 
Shakuhachi .Sus Vib' C0 
Shakuhachi .Exp Vib' C#0 
Shakuhachi .Leg Vib' D0 
Shakuhachi .Leg Non Vib' D#0 
Shakuhachi .Non Vib' E0 
Shakhuachi .Overblown 2' F0 
Shakuhachi .Overblown 1' F#0 
Shakuhachi .Spit 4RR' G0 
Shakuhachi .Harm FX' G#0 
Shakuhachi .Trill' A0 
Shakuhachi .Mldy 1' A#0 
Shakuhachi .Mldy 2' B0 
Shakuhachi .Mldy 3' C1 
Shakuhachi .Mldy 4' C#1 
Shakuhachi .Live' 
(VS + RR) Shakuhachi .Sus Vib' 1 
Shakuhachi .Exp Vib' 2 
Shakuhachi .Leg Vib' 3 
Shakuhachi .Spit 4RR' All

India 
Instrument Keyswitch/Live Program Order - Velocity Layer 
Baritone Violin 
Baritone VLN .KS C0-A0' 
Baritone VLN .Leg NV RR' C0 
Baritone VLN .Sus Leg RR' C#0 
Baritone VLN .Leg Exp' D0 
Baritone VLN .Lyrical' D#0 
Baritone VLN .Exp Vib' E0 
Baritone VLN .Fls Harm' F0 
Baritone VLN .Marc' F#0 
Baritone VLN .Stac RR' G0 
Baritone VLN .Spic RR' G#0 
Baritone VLN .Ornament' A0 
Baritone VLN .Live 1' 
(RR) Baritone VLN .Exp Vib' 1 
Baritone VLN .Sus Leg DN' 2 
Baritone VLN .Live 2' 
(VS) Baritone VLN .Sus Leg DN' 1 
Baritone VLN .Ornament' 2 
Esraj Esraj .KS C0-E1' 
Esraj .Sus' C0 
Esraj .Leg Fst' C#0 
Esraj .Leg 2' D0 
Esraj .Leg 3' D#0 
Esraj .Leg 4' E0 
Esraj .Slide HT UP' F0 
Esraj .Slide HT DN' F#0 
Esraj .Slide WT UP' G0 
Esraj .Slide WT DN' G#0 
Esraj .Slide Min3rd UP' A0 
Esraj .Slide Min3rd DN' A#0 
Esraj .Slide Maj3rd UP' B0 
Esraj .Slide Maj3rd DN' C1 
Esraj .Slide P4th UP' C#1 
Esraj .Slide P4th DN' D1 
Esraj .Trill HT UP' D#1 
Esraj .Trill HT DN' E1 
Esraj .Live 1' 
(RR) Esraj .Sus' 1 
Esraj .Leg 1' 2 
Esraj .Leg 3' 3 
Esraj .Leg 4' 4 
Esraj .Leg 2' 5

India Cont'd 
Instrument Keyswitch/Live Program Order - Velocity Layer 
Esraj 
Esraj .Live 2' 
(VS) Esraj .Leg Fst' 1 
Esraj .Sus' 2 
Esraj .Slide HT UP Fst' 3 
Esraj .Trill HT UP' 4 
Sarangi 
Sarangi .KS C0-C#1' 
Sarangi .Vib' C0 
Sarangi .Leg Vib 1' C#0 
Sarangi .Leg Vib 2' D0 
Sarangi .Non Vib 2' D#0 
Sarangi .Bend DN' E0 
Sarangi .Bend UP' F0 
Sarangi .Trem' F#0 
Sarangi .Mldy 1' G0 
Sarangi .Mldy 2' G#0 
Sarangi .Mldy 3' A0 
Sarangi .Mldy 4' A#0 
Sarangi .Mldy 6' B0 
Sarangi .Mldy 7' C1 
Sarangi .Mldy 8' C#1 
Sarangi .Mldy KS C0-A0' 
Sarangi .Mldy 1' C0 
Sarangi .Mldy 2' C#0 
Sarangi .Mldy 3' D0 
Sarangi .Mldy 4' D#0 
Sarangi .Mldy 6' E0 
Sarangi .Mldy 7' F0 
Sarangi .Mldy 8' F#0 
Sarangi .Mldy 9' G0 
Sarangi .Mldy 10' G#0 
Sarangi .Mldy 11' A0 
Sarangi .Live' 
(VS) Sarangi .Vib' 1 
Sarangi .Bend UP' 2

India Cont'd 
Instrument Keyswitch/Live Program Order - Velocity Layer 
Sitar 
Sitar .KS C0-A#0' 
Sitar .Sus RR' C0 
Sitar .Slide HT UP' C#0 
Sitar .Slude WT UP' D0 
Sitar .FX 3' D#0 
Sitar .FX 1 E0 
Sitar .Trem' F0 
Sitar .Trill HT' F#0 
Sitar .Trill WT' G0 
Sitar .Live 1' 
(VS + RR) Sitar .Trem' 1 
Sitar .Bends' 2 
Sitar .Drone' All 
Sitar .Sus RR' All 
Sitar .Live 2' 
(VS + RR) Sitar .Bends' 1 
Sitar .Trill HT' 2 
Sitar .Drone' All 
Sitar .Sus DN' All 
Bansuri 
Bansuri .KS C0-B0' 
Bansuri .Sus Vib' C0 
Bansuri .Leg' C#0 
Bansuri .Sus Non Vib' D0 
Bansuri .Exp Harm 1' D#0 
Bansuri .Exp Harm FX' E0 
Bansuri .Bnd Lng' F0 
Bansuri .Bnd WT UP' F#0 
Bansuri .Flutter Exp' G0 
Bansuri .Flutter' G#0 
Bansuri .Spit LNG RR' A0 
Bansuri .Spit SHT RR' A#0 
Bansuri .Turn' B0 
Bansuri .Live 1' 
(VS) Bansuri .Leg' 1 
Bansuri .Sus Vib' 2 
Bansuri .Exp Harm FX' 3 
Bansuri .Live 2' 
(VS) Bansuri .Leg' 1 
Bansuri .Sus Vib' 2 
Bansuri .Spit SHT 1' 2

Mid East & Turkish Empire 
Instrument Keyswitch/Live Program Order - Velocity Layer 
MidEast Fiddle 
MidEast FDL .KS C0-A0' 
MidEast FDL .Sus Vib' C0 
MidEast FDL .Non Vib' C#0 
MidEast FDL .Exp sFz' D0 
MidEast FDL .Slur UP 1' D#0 
MidEast FDL .Slur UP 2' E0 
MidEast FDL .Slur DN 1' F0 
MidEast FDL .Slur DN 2' F#0 
MidEast FDL .Turn 1' G0 
MidEast FDL .Turn 2' G#0 
MidEast FDL .Mldy Slw' A0 
MidEast FDL .Live' 
(VS) MidEast FDL .Sus Vib' 1 
MidEast FDL .Slur HT UP' 2 
MidEast Strings 
Mideast Strings .Big 1' 
MidEast Strings .Sus Vib' All 
MidEast Strings .Leg' All 
Mideast Strings .Big 2' 
MidEast Strings .Exp Vib' All 
MidEast Strings .Leg' All 
Mideast Strings .Big 3' 
MidEast Strings .Exp Vib' All 
MidEast Strings .Sus Vib' All 
MidEast Strings .KS C0-F0' 
MidEast Strings .Sus Vib' C0 
MidEast Strings .Exp Vib' C#0 
MidEast Strings .Leg' D0 
MidEast Strings .Slur UP' D#0 
MidEast Strings .Slur DN' E0 
MidEast Strings .Turn' F0 
MidEast Strings .Live 1' 
(VS) MidEast Strings .Sus Vib' 1 
MidEast Strings .Leg' 1 
MidEast Strings .Slur UP' 2 
MidEast Strings .Live 2' 
(VS) MidEast Strings .Sus Vib' 1 
MidEast Strings .Leg' 1 
MidEast Strings .Turn' 2

Mid East & Turkish Empire Cont'd 
Instrument Keyswitch/Live Program Order - Velocity Layer 
Yalli Tambur 
Yalli Tambur .KS C0-A0' 
Yalli Tambur .Leg' C0 
Yalli Tambur .Leg Fst' C#0 
Yalli Tambur .Exp' D0 
Yalli Tambur .Exp Vib' D#0 
Yalli Tambur .Grace HT' E0 
Yalli Tambur .Slide WT UP' F0 
Yalli Tambur .Trill HT' F#0 
Yalli Tambur .Trill WT' G0 
Yalli Tambur .Mldy HT' G#0 
Yalli Tambur .Slide FX' A0 
Yalli Tambur .Live 1' 
(VS) Yalli Tambur .Exp Vib' 1 
Yalli Tambur .Trill HT' 2 
Yalli Tambur .Drone' All 
Yalli Tambur .Live 2' 
(VS) Yalli Tambur .Leg' 1 
Yalli Tambur .Trill HT' 2 
Yalli Tambur .Drone' All 
Oud 
Oud .KS C0-F#0' 
Oud .Non Vib RR' C0 
Oud .Vib RR' C#0 
Oud .Wide Vib' D0 
Oud .Slide UP' D#0 
Oud .Slide DN' E0 
Oud .Trem' F0 
Oud .Trem Vib' F#0 
Oud .Live 1' 
(VS + RR) Oud .Non Vib DN' 1 
Oud .Non Vib RR' 2 
Oud .Vib RR' 2 
Oud .Wide Vib' 3 
Oud .Live 2' 
(VS + RR) Oud .Non Vib DN' 1 
Oud .Non Vib RR' 2 
Oud .Vib RR' 2 
Oud .Slide UP' 3 
Oud .Live 3' 
(VS + RR) Oud .Non Vib DN' 1 
Oud .Non Vib RR' 2 
Oud .Vib RR' 2 
Oud .Slide DN' 3

Mid East & Turkish Empire Cont'd 
Instrument Keyswitch/Live Program Order - Velocity Layer 
Oud 
Oud .Live 4' 
(VS + RR) Oud .Non Vib DN' 1 
Oud .Non Vib RR' 2 
Oud .Vib RR' 2 
Oud .Trem Vib' 3 
Oud .Live 5' 
(VS + RR) Oud .Vib RR' All 
Oud .Trem' 2 
Santoor 
Santoor .KS C0-G0' 
Santoor .Sus RR' C0 
Santoor .Mute' C#0 
Santoor .sFz Exp' D0 
Santoor .Exp SHT' D#0 
Santoor .Exp Lng' E0 
Santoor .Exp sFz' F0 
Santoor .Exp WT Hrd' F#0 
Santoor .Exp WT Sft' G0 
Santoor .Trem' G#0 
Santoor 
Santoor .Live 1' 
(RR) Santoor .Sus RR' All 
Santoor .Exp SHT' All 
Santoor .Live 2' 
(RR) Santoor .Sus RR' All 
Santoor .Trem' All 
A Duduk 
A Duduk .KS C0-C#1' 
A Duduk .Sus Vib 1' C0 
A Duduk .Non Vib 1' C#0 
A Duduk .Non Vib 2' D0 
A Duduk .Exp Vib' D#0 
A Duduk .Exp Vib SHT 1' E0 
A Duduk .Exp Vib SHT 2' F0 
A Duduk .Exp Vib SHT 3' F#0 
A Duduk .Exp Vib Grace' G0 
A Duduk .Exp SHT HT UP' G#0 
A Duduk .Exp Lng HT UP' A0 
A Duduk .Exp WT UP' A#0 
A Duduk .Exp Melody 1' B0 
A Duduk .Exp Melody 2' C1 
A Duduk .Exp Melody 3' C#1

Mid East & Turkish Empire Cont'd 
Instrument Keyswitch/Live Program Order - Velocity Layer 
A Duduk 
A Duduk .Live 1' 
(VS) A Duduk .Exp Vib' 1 
A Duduk .Exp SHT HT UP' 2 
A Duduk .Live 2' 
(VS) A Duduk .Exp WT UP' 1 
A Duduk .Mldy 1' 2 
A Duduk .Mldy KS 1 C0-C2' 
A Duduk .Mldy 1' C0 
A Duduk .Mldy 2' C#0 
A Duduk .Mldy 3' D0 
A Duduk .Mldy 4' D#0 
A Duduk .Mldy 5' E0 
A Duduk .Mldy 6' F0 
A Duduk .Mldy 7' F#0 
A Duduk .Mldy 8' G0 
A Duduk .Mldy 9' G#0 
A Duduk .Mldy 10' A0 
A Duduk .Mldy 11' A#0 
A Duduk .Mldy 12' B0 
A Duduk .Mldy 13' C1 
A Duduk .Mldy 14' C#1 
A Duduk .Mldy 15' D1 
A Duduk .Mldy 16' D#1 
A Duduk .Mldy 17' E1 
A Duduk .Mldy 18' F1 
A Duduk .Mldy 19' F#1 
A Duduk .Mldy 20' G1 
A Duduk .Mldy 21' G#1 
A Duduk .Mldy 22' A1 
A Duduk .Mldy 23' A#1 
A Duduk .Mldy 24' B1 
A Duduk .Mldy 25' C2

Mid East & Turkish Empire Cont'd 
Instrument Keyswitch/Live Program Order - Velocity Layer 
A Duduk 
A Duduk .Mldy KS 2 C0-B0' 
A Duduk .Mldy 26' C0 
A Duduk .Mldy 27' C#0 
A Duduk .Mldy 28' D0 
A Duduk .Mldy 29' D#0 
A Duduk .Mldy 30' E0 
A Duduk .Mldy 31' F0 
A Duduk .Mldy 32' F#0 
A Duduk .Mldy 33' G0 
A Duduk .Mldy 34' G#0 
A Duduk .Mldy 35' A0 
A Duduk .Mldy 36' A#0 
A Duduk .Mldy 37' B0 
B Duduk 
B Duduk .KS C0-C#1' 
B Duduk .Sus Vib Slw' C0 
B Duduk .Sus Non Vib' C#0 
B Duduk .Leg' D0 
B Duduk .Exp Vib Slw' D#0 
B Duduk .Exp Vib Fst' E0 
B Duduk .Exp Vib' F0 
B Duduk .Stac' F#0 
B Duduk .Fst Bnd UP' G0 
B Duduk .SHT HT UP' G#0 
B Duduk .Exp Slw Trill' A0 
B Duduk .Vib Bnd UP 1' A#0 
B Duduk .Vib Bnd UP 2' B0 
B Duduk .Vib Bnd 3' C1 
B Duduk .Ornament C#1 
B Duduk .Live 1' 
(VS) B Duduk .Exp Vib Fst' 1 
B Duduk .Exp Vib' 2 
B Duduk .Live 2' 
(VS) 
B Duduk .Exp Bnd UP 2' 1 
B Duduk .Exp Slw Trill' 2

Mid East & Turkish Empire Cont'd 
Instrument Keyswitch/Live Program Order - Velocity Layer 
Ney Flute 
Ney Flute .KS C0-A0' 
Ney Flute .Sus Vib' C0 
Ney Flute .Exp Vib' C#0 
Ney Flute .Leg' D0 
Ney Flute .Non Vib' D#0 
Ney Flute .sFz' E0 
Ney Flute .Sus Vib Fall' F0 
Ney Flute .Grace 1' F#0 
Ney Flute .Grace 2' G0 
Ney Flute .Grace 3' G#0 
Ney Flute .Exp Mldy' A0 
Ney Flute .Live 1' 
(VS) Ney Flute .Sus Vib' 1 
Ney Flute .Leg' 2 
Ney Flute .Live 2' 
(VS) Ney Flute .Sus Vib' 1 
Ney Flute .Grace 1' 2 
T Duduk 
T Duduk .KS C0-D1' 
T Duduk .Vib Bnd UP' C0 
T Duduk .Leg Exp 2' C#0 
T Duduk .Exp Vib Slw' D0 
T Duduk .Leg Exp 1' D#0 
T Duduk .Bnd UP Fst 3' E0 
T Duduk .Bnd UP Fst 2' F0 
T Duduk .Sus Bnd DN' F#0 
T Duduk .Slur DN' G0 
T Duduk .Slur UP' G#0 
T Duduk .Stac RR' A0 
T Duduk .Exp Mldy 1' A#0 
T Duduk .Exp Mldy 2' B0 
T Duduk .Exp Mldy 3' C1 
T Duduk .Bnd UP Slw' C#1 
T Duduk .Bnd UP Fst 1' D1 
T Duduk .Live 1' 
(VS) T Duduk .Leg Exp 2' 1 
T Duduk .Vib Bnd 2' 2 
T Duduk .Bnd UP Fst 3' 3 
T Duduk .Live 2' 
(VS) T Duduk .Leg Exp 2' 1 
T Duduk .Vib Bnd UP' 2 
T Duduk .Exp Mldy 1' 3

Mid East & Turkish Empire Cont'd 
Instrument Keyswitch/Live Program Order - Velocity Layer 
Zourna 
Zourna .KS C0-A#0' 
Zourna .Sus Vib RR' C0 
Zourna .Non Vib' C#0 
Zourna .Exp' D0 
Zourna .Leg 1' D#0 
Zourna .Leg 2' E0 
Zourna .Grace' F0 
Zourna .Trill' F#0 
Zourna .Exp Mldy 1' G0 
Zourna .Exp Mldy 2' G#0 
Zourna .Exp Mldy 3' A0 
Zourna .Exp Mldy 4' A#0 
Zourna .Live' 
(VS + RR) Zourna .Leg' 1 
Zourna .Sus Vib RR' 2 
Zourna .Trill' 3


