Credits:

Chromatic Harmonica played by:

Berthold Matschat

Recording, Editing, Programming, Interface-Design:

Chris Hein

Additional Editing:
Ricarda Hein (Mrs. Melodyne)

Script-Programming :
Günter Hirscher

Produced For BestService, Munich

-02-
 Contents

04 Introduction / System Specs 15 Articulation Overview

05 The Interface
Small-Page 16 Settings
General Controls Fader Settings
Release FX
06 Basics Synamic
Meters
Edit-Tabs 17 Settings
Pitchbend
07 Basics Ensemble
Articulation select ADSR
Overview Micro-Tuner
Body & Room Convolutions
18 Vibrato
08 Articulation-Presets LFO-Vibrato
Overview Auto-Vibrato

09 Articulation-Presets 19 DSP Effects

Articulations Overview
Key-Switch Modes
Copy / Paste 20 DSP Effects
Main controls Reverb
Speed-Detection Delay
Chorus
10 Articulation-Presets
Volume Control 21 DSP Effects
Dynamic Modes Phaser
Flanger
11 Articulation-Presets Compressor
Transient Designer
Attack Controls 22 DSP Effects
Noise Solid G Equalizer
Legato Mode / Glide Mode Filter

12 Legato Settings 23 Midi-CC list

Legato Details
24 The Family of Chris Hein - Horns
13 Hot-Keys
Hot-Keys Overview 25 Chris Hein - Guitars

14 Hot-Keys 26 Chris Hein - Bass

Key-Vibrato
Hand-Damping 27 The Harmonica Player
Play Last Note and his Instrument
Play Fall
Attack 28 Chris Hein
Blow
Empty

-03-
Thank you for buying Chris Hein - Harmonica
With almost 7,000 samples, 14 articulations, up to eight dynamic layers and a full 4 octave range,
CH-Harmonica is definitely the most detailed sampled Chromatic Harmonica on the planet.

The user-interface holds tons of features on several pages to shape the sound the way you want it.
However, if you don‘t feel like editing, just play and explore the 26 pre-programmed Key-Switch
presets ranging from A-1 to A#1 on the lower keys on your midi-keyboard.

Thanks to the clever programming and intuative user interface, new and innovative features
like „Key-Vibrato“ or the „Hot-Keys“ are very easy to use.

One of the most unique features in CH-Harmonica are the Phase-Aligned samples.
After 6 months of research, Chris Hein found a solution to phase-synchronize the samples.
This enables an absolutely perfect blending between 6 dynamic layers.
During the developement, very much attention was spent on how to work with dynamics to provide
an extremly realistic and expressive instrument.

During the Phase-Align process, Chris had to separate the noise part of each sample, to
synchronize the phase of the pure tone. As a result we get four audio files for each sample:
- The original recorded sample used in the velocity sensitive dynamic mode „Keyboard“
- The processed phase aligned sample used for the „X-Fade“, „Key & X-Fade“, „Auto X-Fade“
- A pure tone sample
- A pure noise sample

The fader „Noise“ lets you can blend between the pure tone and the pure noise part.
This is a „never seen before“ technique to shape the sound from „clean“ to „crisp“

System Specs:
CH-Harmonica requires the full version of Kontakt 5.2 or better.
As this is NOT a Kontakt Player Library, you will not see the Harmonica
in the library pane. Simply navigate to the Harmonica.nki via the “File”
browser pane.

PCs:
Windows7 (latest Service Pack, 32/64 Bit), Intel Core Duo or AMD Athlon
64 X2,
2 GB RAM (4 GB recommended).

MACs:
Mac OS X 10.6.8, or better, Intel Core 2 Duo,
2 GB RAM (4 GB recommended).

CH-Harmonica is watermarked with your personal data and IP address

using proprietary watermarking techniques.
Do not distribute, resell or torrent.
-04-
 Interface
The Small-Page General Controls

The Edit-Pages
After loading an instrument, the first screen you’ll see is the Small-Page.
This screen has no edit features.
Click the „Open“ button to display some of the major controls.
Start playing right away and use the Key-Switch keys ranging from A-1 to A#1 to enter the
26 pre-programmed Articulation-Presets and Hot-Keys.
The actual selected articulation is diplayed in white at the bottom of the screen.

Enter the different edit-pages by clicking one of the edit-tabs at the bottom of each page.

General Controls
1 Solo/Mute 2 Tune - (CC09)
3 Panorama - (CC10) 4 Volume - (CC07)
5 Level indicator

Saving Changes
CH-Harmonica has many features to customize the
instrument to fit you demands.
To save the settings you have made, use the Files
menu from the Kontakt top-menu.

-05-
 Basics
Meters / Edit-Tabs

Edit-Tabs
Five tabs at the bottom of the interface let you enter the edit modes.

Click the „Basics“ tab to enter the Basics page.

Meters
Several meters indicate the status
of the following functions:

Dynamic Mode - Shows the selected dynamic mode. Change it in the articulation preset page
Layer - Indicates the dynamic layer of the the last note played.
Velocity - Shows the velocity of the the last note played.
X-Fade - Shows the state of the X-Fade position. This graphic also works as a slider
Vibrato - Adjust the vibrato intensitiy
Vi. Speed - Adjust the vibrato speed

-06-
 Basics
Articulation Select / Overview / Body & Room

Articulation Display and Selector

The actual selected articulation is dislayed on top of the
virtual keyboard. Click any keyboard key on the graphic to
switch to the corresponding articulation-preset

Articulation Overview
An overview of all actual loaded articulations and
Hot-Keys is diplayed here.
The red border marks the selected articulation and
Key-Switch key.

Body and Room

CHH contains 40 fantastic, built-in convolution reverbs, as well as 23
very short impulse responsed to design the body of the instrument.
The combination of two convolution reverbs lets you design the body
and the room individually.

Controls for Body and Room

On/Off - Switches the Convolution Reverb on and off.
Presets - Choose from 21 specially-designed Impulse Responses.
Volume - Adjusts the amount of the Convolution Reverb.
Delay - Sets the pre-delay time before the reverb starts.

Recently, sampling (convolution) reverbs have become more and more in demand. With convo-
lution, we have an opportunity to capture the sound of anything in the world that can generate a
reverb and use these sound impulses freely in any sonic situation imaginable. This enables us to
use the sound of highend reverb units, real-world rooms, halls, cathedrals, synthetic reverbs and
other sources, including non-reverb ones, without any hassle and in a uniform way using only a
single program or a plug-in module.

-07-
 Articulation-Presets
Overview

You will probably spend most of your time with Chris Hein - Harmonica in the Articulation-Presets
Page. Everything you see on the Articulation-Presets Page is stored on a single Key-Switch.
Each setting of the functions on this page can be different for each of the 22 key switch keys.
A key-switch preset can be assigned as a Key-Switch or as a Hot-Key.

The new key-switch concept allows you to customize the instruments in every detail to suit your
needs. Let’s say you want to play chords with the sustain articulation and then you want to play a
solo line using the legato-mode. All you have to do is copy the articulation-preset, paste it to ano-
ther key-switch preset and change the legato setting from polyphon to legato.
Now, switching from polyphon to legato playing is done by just pressing a key-switch.
The same process works for all other functions on this page. For example, you can assign different
articulations to different keys, enabling you to change articulations on the fly. Or you can design a
bunch of different settings for only the sustains, enabling you to alter the behavior of the instrument.

It’s important to understand that all functions on this page are valid only for the selected key-switch.
If you want to make changes for other articulations, you will have to change every articulation you
plan to use.
The key-switch presets are allocated to the lower area of your keyboard, from A-1 to A#1.
Key-switches are displayed in red. Hot-keys are displayed in green.
There are several ways to select a key-switch preset:
- Hit the keys on your keyboard.
- Click the keys on the keyboard graphic in the interface.
- Right-click on the keyboard graphic and assign any midi-controller to select the key-switches.

-08-
 Articulation-Presets
Articulations, KS-Mode, Copy/Paste, Main controls, Speed-Detection
Let’s start to customize your key-switch presets.
The first step is to assign the KS-preset as a key-switch or as a hot-key.
Key-Switches hold different articulations to be played on your keyboard.
Hot-Keys are special keys that don’t change the overall articulation, but can add multiple effects,
enable playing key-based vibrato, or work as repetition keys. Let’s call these guys KS and HK.
Articulations
Lets start building a key-switch preset.
Select an articulation from the drop down menu on top of the
keyboard graphics to be assigned to the selected KS-preset.
Click the “Overview” button to see and edit an overview of all
loaded articulation-presets and Hot-Keys.
KS-Key lets you change the key-switch presets via MIDI-CC.
Right click to assign any CC and use a hardware fader to control the articulations
Key-Switch Modes
There are three different key-switch options to choose
from, which determine exactly when and how the
articulation change takes effect:
KS-Permanent: The articulation remains active until another key-switch is pressed.
KS-While Hold: The articulation changes only for as long as the key-switch is held
and reverts to the previous articulation when the key-switch is released.
KS-Next Note: The articulation changes only for the note immediately following
the key-switch and then reverts to the previous articulation.
Copy - Paste
You can copy and paste a whole KS-Preset. This is useful if you want
a variation of an existing preset on another key to instantly switch between them.
Main Controls
Volume sets the volume for each KS-preset individually. To adjust the global
volume, use the volume slider at the top right of the interface.
Pan lets you pan each KS-presets individually from left to right.
Transpose lets you transpose the preset (36 semitones maximum) up or down.
Speed sets the overall speed of the selected articulation.
Changing the speed of the samples is useful for articulations such as crescendo, fall and doit. But
changing the speed for the sustains can also yield some interesting effects. Click the little red dot to
activate the speed-change. Since variable speed needs a lot more RAM, you should activate “time”
only when you need it. The speed change is only available if the dynamic mode is set to „Keyboard“

Speed Detection automatically selects a different version of the sustain arti-

culation when playing at faster speed. For example when playing the sustain
sound, the attack of the sound might be too long when playing faster melodies.
In this case, you can turn on Speed Detection, which triggers special versions of the sustain samples
that have faster attacks. Choose from different articulations to see what sounds best to you.
The knob sets the time between two notes required to perform the speed-control articulation
switch. The time range is shown in milliseconds. Only notes played within the selected time range
are performed with the sustain-speed articulation.
-09-
 Articulation-Presets
Volume Control / Dynamic Modes

Dynamic: Usually the dynamic of an instrument is just controlled only by the velocity of your midi
keyboard. CH-Harmonica offers different options to control the dynamic.The details on the next
page may sound a bit technical, but don’t hesitate to just experiment with the settings.

The button at the left side lets you switch between the four different dynamic-modes.

Keyboard - The articulation in CH-Harmonica have 3-8 dynamic layers. When set to „Keyboard“
these layers are available through the velocity of your midi keyboard. The actual played dynamic
layer and the midi velocity are diplayed.

X-Fade - When this is selected, the velocity is controlled via midi Control Change (CC11, Expres-
sion, by default). You can also use any other controller by changing the X-Fade CC.
Setting the controller to zero plays the lowest velocity layer, moving the controller up fades between
the velocity layers, while increasing the value crossfades between the velocity layers until the high-
est value of 127 is reached.

Key & X-Fade - This is a combination of Keyboard dynamic and X-Fade. Velocity is controlled
via keyboard velocity, but you can also use Expression (CC11) to crossfade between the velocity
layers. Key & XFade works in an intelligent way. Let’s say you play a note at velocity 100, then you
increase Expression (CC11), starting from zero. No change is audible until the Controller reaches
value 100. From here, Expression takes control of the velocity and lets you change the dynamic
even after the note is pressed. Key & XFade is perfect for playing realistic crescendos and decre-
scendos.

Auto X-Fade - This performs an automatic volume curve relative to the played velocity.
When Auto X-Fade is selected, the automatic volume curve starts at the velocity played on the
midi-keyboard, performing a volume change depending on the settings in the table.
You can draw your own volume curve in the table. To edit the curve in more detail, click the „Edit“
button to enter a fairly big table.
The length of the Auto X-Fade curve can be adjusted with the „Length“ fader

-10-
 Articulation-Presets
Transient Designer, Attack, Noise, Legato, Sustain Pedal
The Transient Designer is a compressor designed to control the attack and su-
stain of a sound. Instead of following the amplitude of the sound like a traditional
compressor, it follows the general envelope and is thus not as susceptible to
changes of input gain.
Attack controls the scaling of the attack portion of the input signal’s volume envelope.
Increasing this parameter will add more punch and decreasing it will reduce sharp attacks.
Sustain controls the scaling of the sustain portion of the input signal’s volume envelope. Increasing
this parameter will add more body to the sound and decreasing it will reduce the sound’s tail.

The Attack Controls can be used to alter the attack of each note.
Activate the attack-effect by clicking the little red on/off button.
Use the right-click Midi-Learn feature to assign a midi controller
to ride the attack effect manually.
To achieve more variation to the sound you can use the density and dynamic controls to perform
an automatic variation of the attack.
Density varies the amount of notes being played with the attack-effect. 100 means - all notes are
played with the attack effect, 20 means - only 20% of the notes are played with the attack.
Dynamic varies the volume of the attack effect. Set the volume knob to a certain level, then set
dynamic to, for example, 50% - The attack volume varies 50% randomly each note you play.

Noise Blow adds the natural attack sound of blowing hard into the instrument
Air adds the natural sound of air blowing into the instrument without producing a
note, which can be used to increase the ‘breathiness’ of the sound.
Noise This little fader provides a very powerful feature. It lets you blend between
the pure tone and the noise part of the sample. Setting the noise fader to -50
results in a pure tone without any noise.

Legato Mode / Glide-Mode

When playing a note, holding it and playing another note, the Legato or the Glide Mode performs a
smooth transition between the two notes. While Legato performs a smooth crossfade between the
notes, Glide-Mode plays the notes within the interval you played. Let’s say you play the note C4,
hold it and play E4 with Glide-Mode on. First you hear the note C4, and as soon as you press E4,
the notes C#4, D4 and D#4 are played and the run ends with a sustained note on E4. Glide-Mode
works up to 12 semitones up or down. Legato-Mode works with any interval you play. You can edit
the behaviour of the Legato-transition in detail in the Legato-Settings Page.

Legato / Glide-Mode
Polyphon lets you play polphonic chords, no legato transition is audible.
Legato lets you play monophonic lines with a legato transition.
Glide-Mode provides real played runs from one note to another.
Glide Speed sets the speed of the Glide-Mode transition.
Steps sets the maximum halftone steps to be played.
Scale choose from chromatic, major, different minor or pentatonic scales.
Key sets the key of the scale
Pedal If you have a sustain pedal connected to your midi keyboard, the legato settings allow you
to change the function of the pedal. If set to „Polyphon“ the pedal acts as a regular hold pedal
If no pedal is connected, you can use CC 64 to switch between Poly-, Legato- or Glide-Mode.

-11
 Legato Settings
Legato Mode, Legato Details

Legato Mode
When playing a note, holding it and playing another note, the Legato
performs a smooth transition between the two notes. You can edit the
behavior of the Legato transition in detail in the Legato-Settings Page. by
clicking the „Edit“ button. Playing in Legato Mode is always monophonic.

Activate legato playing in the Articulation Preset page.

Clicking the little icon brings you to the Legato Settings page to edit the details.
You can also enter the Legato Settings page through the tab on the left side of the interface.

Legato Details
The legato transition consists of four elements:
- Fade Out for volume
- Fade Out for tuning
- Fade In for volume
- Fade In for tuning

There are separate controls for volume-fade in/out and for tune-fade in/out:
Fade Out Offset (ms) Sets the time before the fade starts.
Fade Out Length (ms) Sets the length of the fade out.
Tune Out Offset (ms) Sets the time before the detuning starts.
Tune Out Length (ms) Sets the length of the detuning.
Tune (c) Sets the amount of detuning in cents.
Slope Spreads the amount of legato. A higher value results in a lower amount of legato when
playing small intervals, like a semitone, and a higher amount when playing larger intervals, like an
octave.

-12-
 Articulation-Presets
Hot-Keys

The Hot-Keys are special keys which are used to trigger different effects and articulations.
Each of the 26 keys from A-1 to A#1 can be assigned as a Key-Switch or as a Hot-Key Preset.

To assign a Hot-Key to a key on your midi keyboard, switch

from Key-Switch to Hot-Key and select one of the Hot-Key
function from the drop down menu.
You can also set a Hot-Key to ‘Play Last Note’, which will literally retrigger the last note you played.
This is particularly useful for playing legato repetitions which would otherwise not be possible by
simply re-playing the same note repeatedly.
In addition to repeating or retriggering the previous note played, hotkeys can also be used to mo-
dify the note currently playing. For example, a hotkey can be assigned to trigger a fall, which will
stop the note and play a realistic “fall”.

-13-
 Articulation-Presets
Hot-Keys

The following functions are available through the Hot-Keys:

Key-Vibrato Up/Down: Rather than playing a static vibrato with

the modwheel, this enables you to perform the vibrato manually
on a key of your midi keyboard. You can choose between Vibrato
Up or Vibrato Down, which affects volume, pitch and EQ of the
note being heard.
A real vibrato, performed by a harmonica instrumentalist, consists
of a change in volume and pitch and a frequency change.
You can edit all these parameters separately.

Hand-Damping: Simulates a harmonica players hand

being used to change the color of the sound.
Its actually a filter which lets you edit volume and cutoff frequency.

Play last note: This Hot-Key simply repeates the last note you have played.
This is great for fast repititions. No special controls are needed for this effect.

Harmonize: Adds a second note with a different pitch.

The interval depends on the setting of the Transpose fader.

Play Fall 1,2: Pressing this Hot-Key while a note is being played, stops the sustain note and adds
a real played fall down of the note.

Attack 1.2: Adds a short and hard attack note to the sound.

Blow: Same as Attack, but add a natural sound of blowing into the instrument.
The volume of the attack and blow sounds can be adjusted but is also velocity sensitive.

Empty: Selecting the empty Hot-Key clears the key-switch preset to save memory.

-14-
 Articulation Overview

A list of all selected articulations and Hot-Keys is avalable through the Articulation Overview tab.
You can select from different articulations in the drop down menu and you can define if the preset
should be a Key-Switch (KS) or a Hot-Key (HK).
However, define the details of the selected articulation in the Articulation-Presets page.

The Articulation Overview page is also handy to unload articulations which you don’t need.
If you only need one or a few articulations, setting the unneeded preset to “Empty” saves a lot of
RAM.

All features in the CH-Harmonica which require RAM have an on/off switch.
Switching features you don‘t need to off can save you a lot of worthy computer memory.

-15-
 Settings / DSP FX
Fader Setting, Release-EFX, Dynamic

The functions on the Sound-EFX page work as global parameters for all articulation presets.
Use the upper right buttons to switch between general settings and DSP-FX

Fader Setting:
Adjust the behavior of your mouse with these controls
Most faders in CH-Harmonica are horizontally, but if you prefer to
control them with a vertical movement of your mouse, you can switch
to „Vertical“. You can also adjust the length of the mouse movement.
Check which settings works best for you.

Release EFX:
The Release EFX work on the release of a note. Play a note, raise the
knob and release the note at any time to hear the selected effect.
Release1 - Adds a natural release sound.
Release2 - Adds a very short fall when releasing the note.
Fall1 - Adds a fall sound when releasing the key.
Fall2 - Same as fall short but with a longer fall.
Dynamic:
Lets you control the Velocity Response of your midi keyboard.
Curve - Sets the curve for the Velocity Response.
Setting the curve to 0 results in a linear response.
Min - Sets the Minimum velocity.
Max - Sets the Maximum velocity.

-16-
 Sound EFX
Pitchbend, Ensemble, ADSR, Micro-Tuner

Pitchbend:
You can assign the Pitchbend range separately for Bend Up and Bend Down
from 1 to 12 semitones. You can also assign the Fall1 or Fall2 articulation to
Bend Up or Bend Down by using the dropdown menus.

Ensemble:
You can setup a group of Harmonica players here.
Voices: Select 1-5 instruments to play.
Spread: Sets the Stereo-Spread of the harmonized Sound
Detune: Detunes the harmonized sounds in cents.

ADSR:
Attack - Sets the Fade In time for the sound.
Decay - Sets the time until the Sustain level is reached.
Sustain - Sets the level maintained from the end of the Decay stage to
the start of the Release stage.
Release - Sets the Fade Out time after releasing the key.

Micro-Tuner:

All samples in CH-Harmonica are perfectly tuned to the standard chromatic scale with A at 440Hz.
However, real players usually don’t play perfectly in tune. You can edit the tuning in precise detail
using the Micro-Tuner. You can create your own tuning scales by shifting the tuning of each note
up or down, or you can use one of the pre-programmed tuning scales based on some of the most
famous historical scales.
Tuning Presets:
12 Micro-Tuning preset scales are available. You can build your
own tuning scales or use the pre-programmed scales and edit
them in order to create your own scales.
In addition to the Micro-Tuning scales, you can fine tune each in-
strument in its channel strip in the Mixer Page.

Key:
Sets the root key of the scale.

Amount:
Scales the overall amount of detuning.

Other Tuning Methods:

A Master tuning knob for all instruments is available in the header of the virtual instrument on the
Play-Page. Hold down the shift key (of your computer keyboard) while turning the on-screen knob
for fine-tuning.
-17-
 Vibrato
LFO-Vibrato / Auto-Vibrato

Two types of Vibrato are available in CH-Harmonia.

Choose between manual LFO-Vibrato, and Auto-Vibrato.
The vibrato type can be set individually for each articulation preset.

Vibrato:
These are the controls for the intelligent LFO-based Vibrato
available through CC01 (Modwheel).
You can Change the CC from 1 to any other CC.

The following controls are available for LFO-Vibrato:

Vibrato - Sets the amount of vibrato.
CC - Sets the midi controller to control the vibrato.
(CC1 - Modwheel by default)
Speed - Sets the speed of the volume and pitch change.
Volume - Sets the volume of the vibrato.
Tune - Sets the degree of pitch change.
Setting tune to 0 performs a tremolo.
EQ - Activates a filter to simulate a realistic hand-damping.
Works best in combination with Volume and Tune.
EQ Frequency - Sets the frequency for the filter.
EQ Bandwidth - Sets the bandwidth of the filter frequency.
Wave - choose from different waveforms to set the vibrato curve.

Auto - Vibrato:
performes an automatic vibrato curve.
Instead of using the Modwheel, you can draw different
curves to set the development of the vibrato over time.

The following controls are available for Auto-Vibrato:

Preset - Choose from different pre-programmed curves
Speed - Sets the speed over time.
Volume - Sets the volume curve over time.
Tune - Sets the amount of detuning over time.
EQ - Sets the amount of filtering over time.

Copy - Copy the curve to paste it into another table

Paste - inserts a copied curve
Clear - Resets the curve to a clear table

Vibrato can also be controlled via the innovative Hot-Key Vibrato (See page 13)

-18-
DSP Effects
.

-19-
 DSP Effects
Reverb, Delay, Chorus

Reverb
Preset: Different pre-programmed effects.
Volume: Level of the reverb effect.
Pre-Delay: Introduces a short delay between the direct signal and the
reverb trail build-up. This corresponds to the natural reverberation be-
havior of large rooms, where a short time elapses before the first reflec-
tion of a sound wave returns from a wall.
Size: Adjusts the size of the simulated room. This affects the duration
of the reverb trail.
Damping: Sets the amount of simulated absorption that takes place in
rooms due to furnishings, people, or acoustic treatments affecting the
reflection behavior.

Delay
Preset: Different pre-programmed effects.
Volume: Level of the delay effect.
Time: The delay time in milliseconds. To synchronize the time to your
host or Master Editor tempo, click on the Speed parameter’s unit dis-
play and choose a note length value from the drop-down list.
Feedback: Controls the amount of the output signal that’s being fed
back into the input of the delay line, thereby creating a series of echoes
that gradually fade into silence.
Damping: Attenuates high frequencies in the delayed signal. Turning
this control clockwise will increase the damping effect. If you have set
a feedback level, the signal will gradually lose more high frequency
content with each repetition.

Chorus
Preset - Different pre-programmed effects.
Volume - Level of the chorus effect.
Depth: Adjusts the range of modulated detuning. Higher values give a
more pronounced chorusing effect.
Speed: Adjusts the LFO speed. To synchronize the speed to your host
or Master Editor tempo, click on the Speed parameter’s unit display
and choose a note length value from the drop-down list.
Phase: Imparts an LFO phase difference between the left and the right
stereo channel. This can considerably increase the width of the output
signal’s stereo base.

-20-
 DSP Effects
Phaser, Flanger, Compressor

Phaser
Preset: Different pre-programmed effects.
Volume: Level of the phaser effect.
Depth: The amount of LFO modulation. Higher values cause the pha-
ser effect to sweep over a wider frequency range.
Speed: The LFO modulation speed. To synchronize the speed to your
host or Master Editor tempo, click on the Speed control’s unit display
and choose a note length value from the drop-down list.
Feedback: This control adjusts the emphasis of the peaks and not-
ches that the comb filter effect imparts on the signal.

Flanger
Preset: Different pre-programmed effects.
Volume: Level of the flanger effect
Depth: The amount of LFO modulation. Higher values cause the flan-
ging effect to sweep over a wider range.
Speed: The LFO speed. To synchronize the speed to your host or Ma-
ster Editor tempo, click on the Speed parameter’s unit display and
choose a note length value from the drop-down list.
Feedback: Feeds a certain amount of the delayed signal back into the
module’s input, thereby creating a more pronounced effect.

Compressor
Preset - Different pre-programmed effects.
Volume - Gain of the compressed signal.
Threshold - Sets a level threshold above which the Compressor starts
working. Only levels that rise above this threshold will be reduced by
the compression; signals that stay below it will be left unprocessed.
Attack - Adjusts the time the Compressor will take to reach the full
Ratio value after an input signal exceeds the Threshold level.
Ratio - Controls the amount of compression, expressed as a ratio of
“input level change” against “output level change”. A Ratio of 1:1 me-
ans that no compression will be happening. For example, a setting of
4 represents the ratio 4:1, which means for every 4 decibel increase
of amplitude above the threshold, the output will increase by only 1
decibel.
Release - Adjusts the time the compressor will take to fall back to non-
compression after the input signal falls below the threshold.

-21-
 DSP-Effects
Solid G Equalizer, Filter

Solid G Equalizer
The Solid G-EQ is a 4-band parametric EQ
and offers the choice of bell or shelf style
control of the low and high frequency bands.

LF Gain: Adjusts the amount of boost or cut at the LF Frequency.

LF Freq: Adjusts the center frequency of the low frequency band at which the boost or cut will
occur.
LF Bell: Toggles the bell shape of the low frequency band. If turned off, the band becomes a shelf.
LMF Gain: Adjusts the amount of boost or cut at the LMF Frequency.
LMF Freq: Adjusts the center frequency of the low-mid frequency band at which the boost or cut
will occur.
LMF Q: Controls the Quality (or Q) of the low-mid frequency band. For most EQs, the higher the
quality, the narrower the frequency band, but with this EQ the control is reversed to match the hard-
ware it emulates and becomes a bandwidth control.
HMF Gain: Adjusts the amount of boost or cut at the HMF Frequency.
HMF Freq: Adjusts the center frequency of the high-mid frequency band at which the boost or cut
will occur.
HMF Q: Controls the Quality (or Q) of the high-mid frequency band. For most EQs, the higher the
quality, the narrower the frequency band, but with this EQ the control is reversed to match the hard-
ware it emulates and becomes a bandwidth control.
HF Gain: Adjusts the amount of boost or cut at the HF Frequency.
HF Freq: Adjusts the center frequency of the high frequency band at which the boost or cut will
occur.
HF Bell: Toggles the bell shape of the high frequency band. If turned off the band becomes a shelf.

Filter
A high class filter can be used to limit the frequency of the sound.
when a harmonica player uses his hand to shape the sound, its actually the
same effect. The high frequencies are lowered in volume. To achieve this
effects you can use the Hand-Damping Hot-Key or use the filter.

The following controls are avalable:

Gain: Adjusts the volume of the filter effect.
Cutoff: Sets the frequency.
Resonace: Sets the bandwidth of the filter effect.
Type: Choose from different colors of the filter.

-22-
 MIDI-CC
List of pre-programmed midi controller

Global controls Sound EFX

07 Global Volume 99 Release1 On/Off
10 Global Pan 100 Release1 Volume
09 Global tune 95 Release1 Density
70 ArticulationVolume 96 Release1 Dynamic
71 Articulation Pan
72 Articulation Transpose 101 Release2 On/Off
73 Articulation Speed On/Off 102 Release2 Volume
74 Articulation Speed 97 Release2 Density
98 Release2 Dynamic
75 Pitch
103 Fall1 On/Off
Live controls 104 Fall1 Volume
11 X-Fade Amount 68 Fall1 Density
69 Fall1 Dynamic
80 Transient Designer On/Off
81 Transient Designer Attack 105 Fall2 On/Off
82 Transient Designer Sustain 106 Fall2 Volume
107 Fall2 Density
85 Air On/Off 108 Fall2 Dynamic
86 Air Volume
ADSR
87 Noise On/Off 109 Attack
88 Noise Clean - Crisp 110 Decay
111 Sustain
89 Attack1 On/Off 112 Release
90 Attack1 Volume
91 Attack2 On/Off Section Maker
92 Attack2 Volume 113 Section Maker Voices
114 Section Maker Spread
93 Blow On/Off 115 Section Maker Detune
94 Blow Volume
LFO Vibrato
117 Vibrato Speed
118 Vibrato Volume
119 Vibrato Tune
120 Vibrato EQ
121 Vibrato EQ Frequency
122 Vibrato EQ Bandwidth

-23-
 The Family of
Chris Hein - Horns

CHH Vol.1 - XL-Solo Instruments

4 very deeply sampled Solo-instruments with up to 44 articulations
and up to 20 velocities. Approximately 4,000 samples per instrument
Alto Sax Solo, Tenor Sax Solo, Trumpet Solo,
Trombone Solo, Trumpet Section

CHH Vol.2 - Brass & Woodwind

3 x Alto Sax, 2 x Tenor Sax, 2 x Baritone Sax, 4 x Trumpet,
4 x Trombone, 2 x Bass Trombone, 3 x Sax Section,
3 x Trumpet Section, 3 x Trombone Section

CHH Vol.3 - Muted Brass

8 x Muted Trumpet, 8 x Muted Trombone,
7 x Trumpet Section, 5 x Trombone Section

CHH Vol.4 - More Brass & Woodwinds

Soprano Sax, Bass Sax, Contra Bass Sax, Clarinets,
Bass Clarinet, Fluegelhorn, Euphonium, Tuba

All instruments are available as a complete bundle, single volumes or as individual

downloadable instruments. Check www.chrishein.net for details.

As owner of any CHH version, you are eligible to upgrade to CHH-Complete

for a special price. Send an email to [email protected] for more info

-24-
 The Harmonica Player and his Instrument

Berthold Matschat - Chromatic Harmonica

We were very happy when BM consented to have his rare harmonica sampled. There are very few
chromatic harmonica players worldwide, and he is the leading player in Germany. BM is also an
accomplished jazz pianist and composer. Because he works extensively with sample instruments
in his own studio, he had a detailed concept of what needs to be played on the harmonica and
sampled.
His tone is particularly soulful and emotional. We recorded and old Hohner harmonica, that dates
back to those times, when Hohner could impress with the words “Made in Germany”.
BM has been touring and recording in Europe extensively. He is also specialized in recording via
internet. Feel free to contact him and have him play on your recording:
E-Mail: [email protected] Tel.: +491775985011

-27-
 Chris Hein
Recording / Programming

Chris Hein has almost 30 years of experience with sound samples. By 1986 he had already
produced the legendary “Studio-Sample” series for Metra-Sound.
In 1985 he was one of the first computer pioneers, to use the Commodore C-64 for computer
music. His work for Emagic (the C-Lab application) at the Frankfurt Music Exhibition set the
course for his successful work as a sound-arranger. With the SX-64, the world’s first laptop,
he traveled to various music studios in Europe.

From Atari to Mac, he eventually settled down with the foundation of “Hine-Studio” and cre-
ated innumerable sounds for CD-Productions, Film & TV music, industrial shows and musi-
cals. The focus of his work has always concentrated on the reproduction of real orchestras
with virtual instruments. The contract musicals “A World for Deinhard” (1994) and the great
horse-musical productions “The Enchanted Forrest” (1996), “Goa” (2000) and “Sudakan”
(2010) consist exclusively of sample sounds. Today his studio contains an impressive collec-
tion of 22 samplers of various types.

In 1997 Chris Hein established the Film & Media production company:
“Wizard Media GmbH”.

-28-
 Please Do Not Copy!
The Sounds and Samples of Chris Hein - Harmonica are licensed,
not sold to you for use in your music & media production only.
All copying, lending, duplicating, reselling or trading of this
product or its content, in any form, is strictly prohibited.
Please respect this agreement and do not copy.
Chris Hein - Harmonica © 2013 Wizard Media, All rights reserved