INSTALLATION. UNDERSCORE is a sample library for Native Instruments Kontakt 5.3 and later. It will NOT work with the free Kontakt Player.

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1 INSTALLATION UNDERSCORE is a sample library for Native Instruments Kontakt 5.3 and later. It will NOT work with the free Kontakt Player. Before loading any of the instruments in the Instruments folder, you must first load the (LOAD THIS PATCH FIRST).NKI. This is because the browser functions inside UNDERSCORE need to be directed to the correct folder on your hard drive, and this instrument will create a folder called Data in the install folder which contains the necessary files to achieve this. If you try to load a sequence with the (LOAD THIS PATCH FIRST).NKI loaded, you will notice that the browser appears black and empty. This is normal. After you have loaded this instrument, simply unload it, and if you wish, forget about it. It is not required again. If you accidentally loaded one of the instruments from the Instruments folder, simply delete the Data folder from your hard drive, and reload the (LOAD THIS PATCH FIRST).NKI.

2 MIX PAGE

3 1. Click here to expand/retract the interface. 2. "MIX Click to navigate to the mix page. 3. FX Click to navigate to the FX page. 4. MOD Click to navigate to the modulation page. 5. SEQ Click to navigate to the sequencer page. 6. Mute/Solo and Volume/Pan independent on all 5 layers. 7. Layer XFade Clicking disables velocity sensitivity on the selected layer, and turns the velocity response graph into one representing absolute volume. This is described in number 34, below. 8. Attack, which controls the onset of the selected envelope, measured in milliseconds. 9. Hold, which controls how long the envelope remains at its apex, measured in milliseconds. 10. Decay, which controls how long the envelope decays from its apex to the Sustain. 11. Sustain, which controls the level at which the envelope sustains. The envelopes will sustain until note off. 12. Release, which controls how long the envelope takes to move from Sustain back to the starting value, measured in milliseconds. 13. Semi and Cent. Semi is a MIDI transpose per layer, up or down 36 semitones (3 octaves). The Cent knob detunes each layer plus or minus 1 semitone, in 1 cent increments. 14. Start represents sample start, and determines where inside the audio sample the sound will be triggered from. Increasing this value means that the sample will not start from the beginning, but will start from the position within the sample selected with this knob. 15. Delay represents onset delay, and determines how long it takes for a layer to sound after it has been triggered by a MIDI or sequence note. This is variable up to 100 milliseconds. 16. View Layer Envelopes. This button displays the layer envelope buttons in the bottom centre of the MIX page. 17. Volume. Click to display the Volume AHDSR envelope. 18. Pitch. Click to display the pitch envelope and pitch LFO. 19. LP2 Cut. Click to display the envelope controlling the cutoff frequency of the layer LP2 filter, a 12dB/octave low pass filter. 20. LP4 Cut. Click to display the envelope controlling the cutoff frequency of the layer LP4 filter, a 24dB/octave low pass filter. 21. HP4 Cut. Click to display the envelope controlling the cutoff frequency of the layer HP4 filter, a 24dB/octave high pass filter. 22. View Playback Options. This button displays additional layer playback options and toggles number 16, above. 23. Round Robin button. This button enables cycle roundrobin for the sample layers. The cycle point can be set in the Global Settings. 24. Global Settings. Click to access the global settings for each including additional playback parameters as well as external MIDI continuous controller (CC) modulation setup using the Flex Modulators.

4 25. Decay, representing the Decay portion of the pitch AHDSR envelope, in milliseconds. 26. LFO Intensity, which determines the polarity and strength of the layer pitch LFO. 27. LFO Rate, which determines the speed of the pitch fluctuation. 28. Low Limit and High Limit, which limit the MIDI range over which each layer will sound.

5 29. Randomization control for layer volume. 30. Randomization control for layer pan. 31. Randomization control for layer pitch. 32. Randomization control for layer sample start. 33. Randomization control for layer onset delay. 34. Layer X Fader : Used in concert with the Layer X Fade buttons, this can be manipulated directly with your mouse, or modulated with a Phrase Envelope or Flex Modulator (allowing external MIDI CC control). When the Layer XFade button is enabled, this controls the referenced graph position used to determine individual layer volume. Simply draw the response on each layer, and use the "Layer X Fader" to fade between layers. 35. Velocity + XFade Response graphs. Freely drawable with your mouse, this controls the velocity response of each layer. When the Layer XFade button is enabled, this graph represents layer volume response. See 34, above. 36. The Load button, which allows you to load velocity curves from a file.

6 FX PAGE 1. Layer selector determines which layer's filter controls are visible. Clicking the Star after number 5 activates the group edit mode, allowing one set of controls to control the cutoff frequency and resonance on all layers simultaneously. 2. Layer filter controls for the 3 layer filters: LP2 (resonant 12dB/octave low pass), LP4 (resonant 24dB/octave low pass), HP4 (resonant 24dB/octave high pass). 3. The controls for the tempo delay. 4. Filters section. Above are the layer filters, below are the master filters, which affect the summed output of all 5 layers together. 5. Sends section. Though labeled as Sends for clarity of purpose, the time based effects such as Delay, IR Reverb, and Reverb are routed in series to allow various dry/wet mix configurations and filtering at the end of the signal chain using the Post EQ. 6. FX Bypass. Click to bypass all of the effects (but NOT the layer filters!) 7. Inserts section. Insert FX are enabled by clicking the blue light next to each. The controls of each insert effect are accessed by clicking on the name of the effect itself. This will display the controls in the black window at the bottom centre. 8. Impulse selector, which determines which Impulse Response the IR Reverb convolution will use. This can be used as a reverb, or as a guitar cabinet simulator.

7 MOD PAGE

8

9 1. The Layer Envelope selector. Choosing a layer above and an envelope name below (Pitch, LP2 Cut, LP4 Cut, HP4 Cut) will select that particular envelope for editing with the Intensity and Base Level controls to the right. 2. The MOD page display window, which displays a readout of the values for controls modified on this page. 3. The Max and Min controls (click and drag to change, double click for numeric entry), which control the maximum and minimum value used when drawing envelope shapes with the drawing tools, and the Steps knob, which determines over how many steps the shape is drawn. 4. The shape selector used when drawing envelopes. 5. Draw Segment, which when clicked will reference the values of number 3, and 4 above, and draw a graph segment starting from the selected step. 6. Count Base determines the duration of each step. 7. Inc/Dec is used to offset the values of the Phrase Envelope, up or down. This does not redraw the graph, it merely offsets the values internally. 8. Fine Shift is used to push the Phrase Envelope forward or backward in time, plus or minus 3 ticks. As each step is equal to 4 ticks, if a larger offset is required, the Shift Left and Shift Right buttons can be used, which will redraw the graph by shifting its contents (see 13). 9. In and Out knobs controlling the loop range. Using these controls you can adjust the position and duration of the Phrase Envelope loop. 10. Step Position selector. Click these buttons to set where the Draw Segment button will begin drawing. The lights below each number are representative of the current playback position. 11. Phrase Envelope selector. There are 4 Phrase Envelopes in each instrument, and these can be adjusted by clicking on the number which corresponds to each. 12. Phrase Envelope graph. Click and draw directly with your mouse, or rightclick and draw to create perfect lines. Other shapes can be created using the draw tools (3, 4, 5, above) 13. Shift Right button. Using this and the corresponding Shift Left button, you can move the contents of each envelope left or right. 14. Loop Range. Click to set loop start, and ALT click to set loop end. Alternately, you can use the Loop Range knobs (see 9). 15. Routings button. Click here to display the modulation routings. 16. Copy and Paste. These are used to copy/paste the Phrase Envelopes. 17. The Load and Save buttons to save your custom Phrase Envelope shapes, as well as load them into each of the 4 Phrase Envelope slots. 18. The internal Kontakt modulator Velocity, which always references the layer velocity itself AFTER the per layer velocity transfer curve. (MIX 35, above). 19. The Phrase Envelope selection buttons. 20. The Flex Modulator selection buttons. The Flex Modulators themselves are set up on the Global Settings page, accessed at the bottom right of any page. 21. The modulation assignment knobs. Selecting a modulator on the left and a destination on the bottom right, you can direct each modulator to alter various layer and global parameters with variable bipolar assignment. 22. The selection buttons for which layer is being modulated, and the selection button for Global modulations.

10 SEQ PAGE

11

12 1. Step Position selector. 2. The velocity graph for steps in each sequence. 3. Shift Right button, which is used in combination with the Shift Left button, allowing you to shift the contents of each sequence left or right. 4. The graphical keyboard. This is used to select the note on which a sequence is programmed. Monophonic sequences are always programmed on middle C, represented by the black dot on the key itself. 5. The gate control for each step. Values above 0 will sustain the step, values below 0 will clip the length of the step in ever smaller increments. 6. Monophonic trigger mode. Sequences will only trigger with one note at a time (play legato to maintain bar position), though the sequence itself can be polyphonic. 7. Polyphonic trigger mode. This allows the polyphonic triggering of patterns, that will always stay in time at bar position regardless of when each new note is triggered. 8. Poly Retrigger trigger mode. This allows the polyphonic triggering of patterns, but in contrast to Polyphonic above, Poly Retrigger retriggers the pattern from the BEGINNING for each new note played. It also plays the first step of the pattern with the velocity of the TRIGGER note, not the velocity programmed in the pattern itself. 9. First Step Hold trigger mode. When enabled, the first step of the pattern is sustained for as long as you hold a note. This can be played polyphonically, but will always reference programmed velocity. This is important in the case of chords where each note may need slightly variant velocity to blend properly. 10. Chord Split trigger mode. This mode splits incoming chords into constituent notes, the order of which is determined from the bottom up. The playback order is then selected using the numbers below each step's velocity graph. Click to increase the number (up to 6), ALT/OPTION Click to decrease. 11. SEQ Bypass. This bypasses the FluidPhrase Engine, allowing UNDERSCORE to work in a traditional keyboard playable instrument mode. This can be toggled with the top C on an 88 note controller (MIDI note 108). Importantly, this also bypasses the Phrase Envelopes. If you wish to still use the Phrase Envelopes without an attached note sequence, use First Step Hold mode above, and DO NOT press SEQ Bypass. 12. The value knob for the various pattern settings. Each setting can be selected by clicking on the name. The value knob and display above it will then update to reflect the current value for each. 13. Chord View. In this mode, the velocity graph still represents velocity, but instead of representing velocity over the length of a pattern, it now represents velocity on the notes within a pattern on a SINGLE step. As patterns are polyphonic, this allows you to quickly see all of the notes on a single step. 14. The Edit Pattern button, which opens the pattern editing controls and enables the editing keyswitches at the top of your 88 note MIDI controller. 15. The Load Pattern button, for loading patterns. Select a pattern key switch, and double click to load a pattern, once you are happy, click Save + Close, or click Cancel + Close to cancel and revert back to the existing pattern. 16. The Save Pattern button, which opens a file save dialogue from which you can save custom patterns for reuse with other UNDERSCORE instruments. 17. Velocity Inc/Dec knob. This redraws the velocity in the sequence by increasing or decreasing all values by the same amount. 18. Sculpt knob. This knob is enabled by clicking on the light to the right of knob, and when enabled, controls the absolute velocity of ALL notes in a pattern. This can be used to ride velocity manually. Right click to assign a MIDI CC directly to control this knob. 19. The Chord View display. Here, each step is connected to the pitch directly below it on the graphical keyboard, and is the preferred display mode when working with polyphonic patterns. 20. The editing controls for patterns. 21. The editing controls for steps. When Chord View is disabled, these controls work per note across the entire length of a pattern.

13 GLOBAL SETTINGS PAGE 1. The Flex Modulator selection buttons. 2. The transfer curve for the selected Flex Modulator 3. The MIDI CC (continuous controller) assigned to the selected Flex Modulator. 4. The pitch bend range for the entire instrument, which is adjustable in both up and downward directions independently up to 12 semitones. 5. The Sequencer Slop knob. This introduces a variable timing randomness within the sequencer itself, allowing patterns to trigger with imprecise timing. 6. The Round Robin Loop knob, which controls which layers are included in the round robin cycle when Round Robin is enabled on the MIX page. When set to a value of 5, all layers are included in the cycle. When set below 5, the layers NOT in the cycle will sound on EVERY note. This is useful for creating wave sequencing effects when set to 2 or 4, as well as working with the layer randomization controls to add infinite variation using a smaller subset of round robin samples combined with layers that are not included in the cycle. 7. The Load button for loading custom transfer curves. 8. The Output MIDI Notes button. This bypasses the internal sound engine, and sends all notes generated by the FluidPhrase Engine out of Kontakt itself, where they can be routed to other MIDI channels and 3rd party instruments in your host sequencer. 9. The Shape EQ controls. Each layer includes a 2 band Shape EQ. The gain of each band can be connected to modulations, allowing a range of dynamic tonal control options.

14 FAQ 1. UNDERSCORE seems to be triggering out of sync with my sequencer. How can I fix this? I n some cases, the sequencer will trigger 1/64th note late. You can fix this simply by applying a negative track delay to the MIDI channel that is triggering UNDERSCORE, or sliding that particular part VERY slightly to the left. This should resolve all sync problems. 2. Some patches are STILL lagging behind! This is not a sync problem, but rather a physics problem. Some sounds have a longer attack, and consequently need to be advanced ahead of the downbeat somewhat in order to land in time. Unfortunately, our clairvoyant note sniffing script is not yet ready for prime time, so in this case, you ll have to trigger your notes slightly early. 3. Are there any limitations on the use of UNDERSCORE in games/web/film/theatre/etc? No. We ask that you don t sell loop libraries of the sounds (because why?) but other than that, there are no restrictions. Go crazy. : ) 4. This library is small. Small libraries are cheap and bad. Your library is bad. The sample content included with UNDERSCORE is indeed quite light weight. This is by design. I m tired of bloated libraries chewing up unnecessary RAM and hard drive space. So I got obsessive about efficiency and scripted in all of the real time sound mangling features. If bloat is what you re looking for, you won t find it here. Sorry. 5. You say I can load my own sounds? Yes! Because it s built in Kontakt, Underscore is very easy to load with your own sounds. You can find a video tutorial on how to do this (as well as several other video tutorials) at:

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