SONICCOUTURE TINGKLIK USER GUIDE

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SONICCOUTURE TINGKLIK USER GUIDE

SONICCOUTURE

TINGKLIK
CONTENTS :
INSTALLATION
INTRODUCTION
INSTRUMENTS
TECHNICAL DATA
SUPPORT
E.U.L.A

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SONICCOUTURE TINGKLIK USER GUIDE

INSTALLATION
KONTAKT 3.5 OR LATER

Copy the entire “SC Tingklik” folder anywhere you like on your hard drive.
Make sure you keep that folder structure as it is, so that the Kontakt
instruments can find their samples. (If you don’t need the EXS24 instruments
you can erase that folder… never erase the Samples folder ).

LOGIC EXS24
1. Move the included EXS Instrument files (.exs) or the folder called
“Tingklik” to your Sampler Instruments folder, which is located here:

user/Library/Application Support/Logic/Sampler Instruments

The first time you load either an Instrument or Channel Strip, your Mac may
take a moment to find the waveforms it needs. After that, it will remember
and load much more quickly.

N.B. Keep a copy of the included “Samples” folder somewhere on your hard
drive. This folder has all the sample data that the EXS24 instruments need,
so keep it somewhere safe.

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SONICCOUTURE TINGKLIK USER GUIDE

INTRODUCTION

A Tingklik is a bamboo percussion instrument from Bali. It’s often used for
“Rindik” music, so is sometimes referred to as a Rindik itself. Rindik music
usually involves two Tingklik players and a single Suling (bamboo flute).
A Tingklik typically has 11 bamboo tubes, although ours has 12. The longest
bamboo is about a metre long for the lowest
pitch. With five notes per octave, the range is
just over 2 octaves. The tubes are
suspended using string over a brightly
coloured wooden frame.

The player sits on the ground and strikes the

bamboo tubes with rubber-tipped mallets.
The player uses both hands, bouncing the
mallets in a constant rhythm. The left hand
usually plays the melody and the right hand
plays an accompaniment to it. If there are
two players, the right hand parts are often
interlocking (a technique called kotekan),
giving an illusion of very extremely fast
playing. A “bubbling chatter of bamboo
brilliance”.

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SONICCOUTURE TINGKLIK USER GUIDE

Rindik music is usually played at public gatherings or just for entertainment.

It’s not associated with any of the religious or cultural festivals where we
usually hear the gamelan. The pieces are secular, and usually named after
animals, such as “Chasing a female pig”, or “Frog climbing a leaf”.

The tuning of a
Tingklik is also quite
different from most
Balinese gamelan.
A Tingklik is usually
tuned to a slendro
scale (in which each
“step” of the scale is
approximately
equal), with 5 notes
to the octave. Also,
although Tingkliks
are usually played in pairs, there is no deliberate detuning of the pair. The
bamboo doesn’t ring very long, and is therefore allowed to ring freely. No
damping is used.

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SONICCOUTURE TINGKLIK USER GUIDE

INSTRUMENTS
KONTAKT INSTRUMENTS
On the top level of the Kontakt 3+4 folder you’ll find two instruments: Tingklik
Chromatic, and Tingklik Original Tuning. (The Original Tuning preset uses
just the black notes and only includes the 12 original notes of the Tingklik.
This is for purists.) The Tingklik Chromatic has been tuned to western
standard tuning, and is much easier to use with other instruments in a track.
There is also a subfolder named “Sound Design”, which includes another set
of Tingklik presets that have been processed in various ways. These will
hopefully provide some inspiration and creative ideas about different ways
you can manipulate the raw Tingklik sound. All the sound design presets are
in chromatic mode.

THE KONTAKT FRONT PANEL

There are three tabs at the bottom of the instrument. The following explains
the functionality on each of these front panel pages.

PERFORMANCE

The left tab is called Performance. Click this tab to access the Performance
front panel.

At the top right of the Performance page you’ll see two buttons, one for
Jammer and one for Doubling.

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SONICCOUTURE TINGKLIK USER GUIDE

The Jammer page provides access to our Jammer function, which is a bit
like an arpeggiator. It repeats notes based on chords you hold down on the
keyboard at the rate you select with the Rate knob on the far left.

NB. The Rate knob also includes an OFF position, in which case the Jammer
is turned off. Otherwise the Jammer is always synched to Kontakt’s tempo
(in standalone mode) or to your host DAW’s tempo.

The Velocity Knob introduces some random velocity changes to the Jammer
output, so that the result can sound more natural.

The Note Knob introduces random note offsets to the chord you’re holding
down.... this can be kind of weird, but sometimes useful, especially if you
have a pitch filter included somewhere else in your chain.

The MW Vel knob introduces an offset to the Jammer’s velocity output, so

you can adjust the velocity without lifting the chord you’re holding. It can be
both positive and negative. Try it out, and it should become apparent how it
affects the Jammer output.

Timing : This introduces some random timing offsets to the Jammer’s output.
This is best kept very low unless you’re aiming at some quite avant-garde
special effects.

The last knob is called Octave, and this introduces random octave
displacements to the Jammer output. This is really fun, since the output is
always in tune with the chord you’re holding down.

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SONICCOUTURE TINGKLIK USER GUIDE

The Doubling KSP Module

This now separates the Tingklik into two instruments (they’re built from the
same samples, but will never use the same sample at the same time). This is
quite handy and authentic, since Tingkliks are usually played in pairs.

On the left, you’ll see there’s a switch to turn the Doubling On or Off.
Then there are four knobs that control various aspects of the doubling.

Width controls the stereo separation of the two virtual Tingkliks.

Detune controls the tuning difference between the two copies of the
instrument. (Although Tingkliks are not generally detuned like gamelan,
some natural variation is inevitable, and this helps the simulation.)

Velocity controls the random velocity difference that can occur between the
two virtual Tingkliks since they’re playing the same note.

Timing controls the random timing differences between the two virtual
Tingkliks.

Note that the above timing and velocity randomization is ADDED to the
randomization used by the Jammer if both Jammer and Doubling are used
together.

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SONICCOUTURE TINGKLIK USER GUIDE

INSTRUMENT

The middle tab is called Instrument. Click this tab to access the Instrument
front panel.

Here there are eight knobs that provide access to eight commonly used
synthesis parameters in Kontakt.

Cutoff is the main Low Pass Filter cutoff frequency.

Resonance is the resonance of that same filter.

F Attack is the Attack of the Filter Envelope Generator.

F Decay is the Decay and Release of the Filter Envelope Generator.

Attack is the Attack time of the Amplitude Envelope Generator.

Release is the Release time of the Amplitude Envelope Generator.

FEG is the Depth of the Filter Envelope Generator to the main Low Pass
Filter. Notice this control can be either positive or negative.

HPF is a static High Pass Filter to remove some of the bass frequencies. It is
not affected by the envelope.

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SONICCOUTURE TINGKLIK USER GUIDE

EFFECTS

The right tab is called Effects. Click this tab to access the Effects front panel.

Here you have control of some of Kontakt’s built in effects.

Saturation - a tape saturation style effect. Use this to fatten up the sound.

Delay : the send for the delay processor. You can change delay times and
feedback by editing the insert effect in the kontakt editor.

Skreamer : (Distortion) effect. You turn this on with the switch at the top, and
have control over both the Drive amount and the Tone.

Reverb : This is a convolution Reverb. We provide a menu to choose from

some of our favourite convolution effects. And the Reverb amount (send
level) is the bottom knob on the right.

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SONICCOUTURE TINGKLIK USER GUIDE

EXS24 INSTRUMENTS

After installing the Tingklik folder (page 3 of this guide), you should see two
Tingklik presets appear in your EXS24 menu next time you launch Logic.

Tingklik Chromatic is a preset that includes all notes and is tuned to a

standard western equal temperament.

Tingklik Original Tuning is the 12 original notes, tuned as they were on the
original instrument, and mapped to just the black notes (for convenience).

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SONICCOUTURE TINGKLIK USER GUIDE

TECHNICAL DATA

The 12 notes of our Tingklik were each sampled at 14 velocities, with 6

variations (round robins) of each velocity.

470 MB Library
1008 stereo samples
44.1 Khz, 24 bit Stereo Sampling
14 Velocity layers
6 Round Robin layers

Recorded at Studio You, Osaka, Japan, using B&K 4006 microphones

Hiroshi Murakami, engineer

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SONICCOUTURE TINGKLIK USER GUIDE

SUPPORT
If you have any problems or questions relating to the use of this product,
please feel free to contact us. You can either email us at :

customerservices@soniccouture.com

or we have a support forum within the KVR Audio community, which can be
found here :

Soniccouture Support Forum

We will always endeavour to reply to any enquiry within 12 hours, but do

bear in mind the differences in time zones, so please be patient.

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SONICCOUTURE TINGKLIK USER GUIDE

EULA
END USER LICENSE AGREEMENT

PREFACE: This End-User License Agreement ("EULA") is a legal agreement

between you and Soniccouture LTD for the Soniccouture product
accompanying this EULA, which includes computer software and may
include associated media, printed materials, and online or electronic
documentation ("Software"). By installing, copying, or using the software,
you agree to be bound by the terms of this EULA. If you do not agree to the
terms of this EULA, you may not use the software.
The software is protected by copyright laws and international copyright
treaties, as well as other intellectual property laws and treaties. The software
is licensed, not sold.

Soniccouture Ltd grants the Owner of a Soniccouture product the right to

create finished musical works and performances using the sounds and
software that comprise the Soniccouture product.

The making of sample libraries in any form, commercial or otherwise,

using Soniccouture audio or software (be they single hits, loops, fully
mixed audio clips, or scripts) is STRICTLY FORBIDDEN without express
written agreement of Soniccouture Ltd, and violations will be prosecuted
to the full extent of international and local copyright law.

The ownership of all title and copyrights in and to the Software (including
but not limited to any images, photographs, animations, video, audio, music,
text, and "applets" incorporated into the Software ) is fully asserted by
Soniccouture Ltd.

The Owner may only install and use Soniccouture libraries and software
on multiple computers strictly under the following conditions: where
multiple computers comprise part of a single composition workstation for
a composer; or where the Owner has two non-concurrent sites of work,
for example a studio desktop and a laptop for live performance.

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SONICCOUTURE TINGKLIK USER GUIDE

The Owner may not transfer, modify, rent, lease, loan, resell, distribute,
network, electronically transmit or merge the Software.

DISCLAIMER OF WARRANTY: The software is provided "as is" and without

warranty of any kind. The entire risk arising out of the use or performance of
the software and documentation remains with user. To the maximum extent
permitted by applicable law, Soniccouture further disclaims all warranties,
either express or implied, including, but not limited to, implied warranties of
merchantability and fitness for a particular purpose, with regard to the
software, and any accompanying hardware. To the maximum extent
permitted by applicable law, in no event shall Soniccouture be liable for any
consequential, incidental, direct, indirect, special, punitive, or other damages
whatsoever (including, without limitation, damages for loss of business
profits, business interruption, loss of business information, or other
pecuniary loss) arising out of this EULA or the use of or inability to use the
software, even if Soniccouture has been advised of the possibility of such
damages.

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