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INTRODUCTION

Thank you for purchasing ‘You Know 6’. It’s a - kind of - recreation of a well-known 80s DCO polysynth but with a twist!

ABOUT YOU KNOW ‘You Know’ uses samples from the aforementioned famous DCO polysynth from the 80s. There’s a bank sampled with the legendary chorus unit and another without so the best of both worlds. But we’ve added some quirky additions that take this well-worn formula into different sonic areas… Detune between the various waveforms, multi-wave LFO, 12/24dB lowpass filter, two ADSR envelopes and more. I don’t make any claims that this is a totally authentic recreation of the original but it makes some truly epic sounds with a GUI that invokes the spirit of the original and its simple and clear user interface.

Stephen Howell, December, 2012

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INSTALLATION

No special installation is required. Once the .ZIP is downloaded, unzip it (if it doesn’t unzip automatically), open up the folder, open the ‘Instruments’ folder and double click on You Know 6.nki or any of the other program variations in the PRESETS folder. ‘You Know’ requires Kontakt 4.2.4 (or higher including K5) and uses new functionality introduced in this version such that all the graphics components, etc., are wrapped up in new ‘Resource Containers’. The only caveat is that these must be in the same folder as the instruments and samples…

Unless you really know what you are doing, it is unwise and not recommended to move anything out of this folder (apart from ‘Documentation’ perhaps … although what’s the point?) to different locations. As long as everything is kept together in the same folder, the library is fairly ‘portable’ and you can place it where you want … in with your other Hollow Sun or 3rd party library or in with the rest of the Kontakt library, whatever.

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CONTROL PANEL

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

ARPEGGIO This offers a fairly standard arpeggiator. The controls are fairly straightforward… ON/OFF Switches the arpeggiator on and off. HOLD Allows you to ‘latch’ the arpeggiator so that it will continue

without you having to hold the chord down. RANGE Sets the octave range for the arpeggiator. 1 = 1 octave, 2 = 2

octaves and 3 = 3 octaves. MODE Select from up, up and down and down to set the direction of

the arpeggiator. RATE Sets the speed of the arpeggiator when MIDI SYNC is OFF.

When unsynced (see below), the rate is modelled on the original – 1.5Hz – 50Hz.

MIDI SYNC Allows you to synchronise the arpeggiator to incoming MIDI

clock. You can use the drop down or the RATE slider to set the clock division.

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BEND Sets the pitch bend range and also the amount of pitch bend controller to the VCF LFO A straightforward low frequency oscillator that services pitch and filter and offers some extras that the original’s didn’t…

RATE Sets the speed of the LFO. The rate is modelled on the

original – 0.3Hz-20Hz. DELAY Sets a delay before the onset of the LFO effect. WAVE Selects the LFO waveform – triangle, sawtooth, square and

random/S&H. VIA Selects the route the LFO takes to get to its destination…

DIR Direct. LFO is permanently ‘on’ MW Wheel. LFO depth is controlled by the modwheel AT Aftertouch. LFO depth is controlled by after touch

pressure. TRG Trigger switch. Emulates the original’s big white button.

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

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DCO

This is a variation on the original’s oscillator – in fact, apart from cosmetic similarities, it’s quite a different beast. The controls are… DETUNE When more than one waveform is selected (see below), this

control detunes them against each other. On the original, the waveforms were phase locked and so, arguably, a little thin (so the original relied very much on the built-in chorus unit). On this, however, you can detune the waveforms against each other to create a ‘fatter’ (‘phatter’? How I loathe that word!!) sound – in fact, some very big and lush sounds can be created with this simple control.

LFO Sets the depth of pitch modulation by the LFO. The range is

+/-1 octave. WAVEFORMS These ‘look’ like the originals but are quite different. Click the

buttons to select/de-select them. Several can be selected simultaneously of course. They are…

PWM Pulse width modulation. Unlike the original, the rate

of the PWM cannot be changed so we have chosen a sensible and commonly used rate and depth when sampling it (not too fast or slow, not too extreme).

SQR A symmetrical square wave. SAW A sawtooth wave. SUB Introduces a symmetrical square wave an octave

down to add some depth. Great for bass sounds. NOISE White noise.

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Below the waveform select switches are small rotary controls which allow you to set the levels for each waveform. These are enormously useful for balancing the waveforms (and sadly lacking on the original). But it doesn’t end there! We have sampled two banks of waveforms. One bank contains the ‘raw’ samples whilst the other contains samples of the original’s waveforms with the original’s chorus unit switched on. The banks are selected using the WAVE button…

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

And when CHORUS is selected, the LEDs are yellow…

NOTES ON USING THE WAVEFORMS Because of the extra flexibility on offer here, it’s not a simple question of switching waveforms on and off as on the original. You can use the ‘raw’ waveforms for something approaching the original more closely except that you can balance the different waveforms and use the DETUNE control to create a thicker sound. You can also use the chorused waveforms for truly big sounds, especially when DETUNE is used – in fact, with all the waveforms on full tilt and some hefty detune, it should carry a health warning!!

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Some purists will argue that sampling the chorused waveforms is unnatural because every note will have chorus rather than all voices being summed and passed to a single chorus unit. Well, this is true I suppose but frankly, I don’t care – it sounds great and able to create some wonderfully lush and spacious sounds that quite bely their modest origin. But anyway, moving on… HPF The waveforms pass to a simple, static highpass filter. This can be used to remove low frequency components and make the sound thinner. This might seems daft in a world obsessed with big rumbling basses, sub-basses and ‘pHatT’ (there’s that word again … groan) pads, etc., but it CAN be very useful sometimes to thin a sound out to either make a more delicate sound or to prevent conflicts with other instruments in the mix. There’s just one control - FREQ - the further you increase it, the more LF is removed until, at maximum, the sound is very thin (in some cases, can disappear altogether so watch that!). VCF

This a lowpass filter. Obviously, it’s not ‘voltage controlled’ (just using the labelling from the original) but it behaves like a voltage controlled filter. The controls are… FREQ Sets the cutoff frequency of the filter.

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

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RES This boosts the area around the cutoff frequency and has the

effect of emphasising harmonics

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

ENV2 Sets the amount of modulation by Envelope 2 (see later). It’s a

bi-polar control which allows you to set positive and negative going modulation.

LFO Sets the amount of modulation by the LFO. It’s a bi-polar

control that allows you to set positive and negative going modulation.

KEYB Sets the amount of keyboard tracking. This is usually set to a

positive amount but can be set negatively for special effects. VEL Sets the amount that velocity will control filter cutoff. Again,

normally set positive but can be set negatively so that hard strikes make the sound more muted.

ENV

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

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The controls are… ENV1/ENV2 This switch selects between Envelope 1 and Envelope 2. A(ttack) Sets the attack time of the selected envelope. The times are

modelled on the original – 1ms to 3s D(ecay) Sets the time it takes for the selected envelope to die away to

the sustain level. Again, the times are based on the original – 2ms to 12s

S(ustain) Sets the level at which sustained notes will sound. R(elease) Sets the time it takes for the sound to die away after you take

your fingers off the keyboard. The times are modelled on the original – 2ms to 12s

SHAPE Although not labelled as such, this allows you (as on the

original) to switch between the ADSR times set for the selected envelope and a simple organ-style ‘on/off’ envelope.

This was necessary on the original and a clever way to

overcome the limitation of having only one envelope but on this, it’s a handy convenience.

VCA

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

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CHORUS

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

CAVEAT We make no pretence that the chorus effect in Kontakt is anything like that found on the original. It’s a very good chorus but – sorry, NI – it can’t compare with the crusty, analogue ‘bucket brigade’ chorus used on the original. And let’s face it, that Japanese manufacturer really had chorus effects nailed – they pretty much created it with their CE1 pedal in 1976…

And then with the CE2, the Jazz Chorus amps and, of course, their synths. We make no apologies for our implementation – it’s close but, as they say, no cigar!

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MULTI-FX

This is arranged as a chain of ‘stomp boxes’, namely … FLANGER > PHASER > ROTATOR > DELAY > REVERB. In turn… FLANGER A simple flanger with RATE and AMOUNT. Rate sets the speed and AMOUNT sets the depth of the effect. FEEDBACK accentuates the effect. The effect can be switched on and off by clicking the ‘baseplate’. PHASER A phase shifter with RATE and AMOUNT. Rate sets the speed and AMOUNT sets the depth of the effect. FEEDBACK accentuates the effect. The effect can be switched on and off by clicking the ‘baseplate’. ROTATOR A rotary cabinet simulator. BALANCE sets the, ermmm, balance between low and high frequencies while AMOUNT sets the depth and width of the effects. The horizontal switch allows you to switch between fast and slow. Note that when switched, the inertia of the rotary cabinet is maintained so that the speeds gradually speed up and slow down as on an actual rotary cabinet. The effect can be switched on and off by clicking the ‘baseplate’.

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DELAY An echo ‘pedal’. TIME sets the delay/echo time and AMOUNT sets the depth of the effect. FEEDBACK sets the amount of repeat echoes. The LED in the middle…

… allows you to switch between mono and stereo echo/delay. The effect can be switched on and off by clicking the ‘baseplate’. REVERB This is a convolution reverb with three impulses - spring, plate and hall (SPR, PLT and HALL) - selected from the slider switch…

SIZE allows you to increase of decrease the size and density of the selected reverb impulse (counter clockwise, shorter; fully clockwise, longer) while AMOUNT sets the amount of reverb applied. The effect can be switched on and off by clicking the ‘baseplate’.

NOTES ON USING THE EFFECTS As you add effects and set certain controls , there can be an increase in gain (level) which could, under certain circumstances, give rise to distortion. In this event, you should back off the levels on the waveforms or, for a quick fix, back off the master level slider in the top panel.

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SAVING SOUNDS

You can save your own sounds simply using Kontakt’s normal SAVE function to save .NKIs.

PRESETS In the PRESETS folder (in INSTRUMENTS), you will find some program/NKI variations that should help to give you a taste of what’s possible with ‘You Know’. It’s not an extensive collection by any means but should give you a flavour of the possibilities. Feel free to us these as the basis for your own sounds.

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SOME CAVEATS

When using ‘You Know’, there are a few things to be aware of. Some aspects of Kontakt’s operation are not strictly real-time. For example, if you play and hold a note and adjust envelope parameters, you won’t hear the changes until you play another note. There are other parameters that behave this way where new settings only become active when a new note is played. When selecting some reverb types, there can sometimes be a brief delay as the new impulse is loaded. This is typically only when selecting the very long reverbs. There are other aspects of operation that aren’t exactly real-time either.

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MIDI LEARN

You can map the effects controls to your MIDI controller using the MIDI ‘learn’ function… Right click (or, if using a single button mouse on a Mac, hold the CMD key and click) on a control. Click on ‘Learn MIDI CC# Automation’ (it will highlight in orange) and move the appropriate control on your controller. Job done! If you change your mind, repeat the above and you’ll see a contextual menu which adds a ‘cancel’ function. Click on that to remove the automation.

RESETTING CONTROLS

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

HELP TEXT If INFO is enabled in Kontakt…

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

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The small print… Once you have bought and downloaded HS products, they are yours to use as you wish and you have an unlimited license to use the sounds within any musical production you are involved in. If you have several computers or samplers, you are free to copy your purchase to use on those. However...

WHAT YOU DO FOR YOUR OWN PRIVATE USE WITH THE SAMPLES CONTAINED WITHIN THIS PRODUCT IS NO CONCERN OF MINE. HOWEVER… HOLLOW SUN SOUNDS/SAMPLES CANNOT BE USED IN ANY COMMERCIAL PRODUCT (HARDWARE OR SOFTWARE) AND/OR SOUND LIBRARY. YOU CANNOT GIVE COPIES TO YOUR FRIENDS, COLLEAGUES, BAND MEMBERS, COLLABORATORS, ETC.. THESE PRODUCTS ARE LICENSED TO YOU FOR YOUR USE AND YOUR USE ALONE. IF A PROJECT REQUIRES THAT YOUR COLLABORATORS REQUIRE THE SOUNDS, THEY SHOULD BUY THEM. YOU CANNOT RE-DISTRIBUTE FOR FREE OR SELL HOLLOW SUN PRODUCTS. NEITHER CAN YOU CONVERT THEM TO SOME OTHER FORMAT IN ORDER TO RE-DISTRIBUTE OR SELL THEM. SORRY, BUT DOING THE WORK TO CONVERT THEM TO (SAY) SOUNDFONT FORMAT, WHATEVER, DOES NOT GIVE YOU THE RIGHT TO RE-DISTRIBUTE/SELL THEM IN THAT FORMAT!! YOU CAN, HOWEVER, MAKE THE NKI PROGRAMS AVAILABLE TO OTHER USERS IF THIS PRODUCT BUT YOU MUST NOT INCLUDE THE SAMPLES, ONLY THE NKI. HOLLOW SUN WILL FOLLOW UP ANY CONTRAVENTIONS TO THE FULL EXTENT OF THE LAW TO PROTECT ITS COPYRIGHT. PLEASE RESPECT MY COPYRIGHT AND THE WORK THAT HAS GONE INTO THE CREATION AND PRODUCTION OF THESE SOUNDS. SUPPORTING HOLLOW SUN HONESTLY ENSURES THE FUTURE DEVELOPMENT OF OTHER PRODUCTS. THANK YOU.

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USING THIS WITH THE FREE KONTAKT PLAYER

You CAN use Hollow Sun sound library with the free Kontakt Player and it will play and work perfectly but with the following restrictions: • There is a time limit. This varies according to the version of the Player

you have but is typically 10-15 minutes before it shuts down. • You can edit the sounds to your requirements exactly as though you have

a full working copy of Kontakt but you cannot save any edits or tweaks you make.

• When the Player times out, you can restart it immediately and continue

(although you will, of course, have to reload everything).

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

All company/trade/brand names shown or implied in this guide are the property of their respective owners. Copyright HOLLOW SUN ©

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