The BoomWhackers cover a one octave range. I've mapped them out to span 2 octaves plus a major third bystretching the lowest C down an octave and the highest C up to E natural.
These are intended to be struck on anything that sounds good. Unfortunately for my body .... the best soundingstriking surface was my HEAD and my left HAND (the world of sampling is full of sacrifices). In the program names you will see HEAD and HAND listed, now you know why. The HAND samples have a fatter tone while the HEADhits are a bit more focused and sharp.
I've set these two articulations up as velocity switch programs with the HEAD samples in the lower velocity rangeand the HAND samples at the upper end of the velocity range. I have also tuned these samples down in someprograms which also sounds quite good.
In the past I've done separate readme files for each format of the Bolder Free Sounds. Since the program names reflect quite clearly what is going on in the programming - also coupled with the fact I'm a bit short on time, I will not list each program individually in this file for each format offered as I've done in the past.
Some programming is a bit more in depth depending on what that particular sample format offers. But I've only"scratched the surface" on programming possibilities. This might be a nice sample set to hone your "creative"sampler programming skills with.

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A most unusual bank of crystal glass samples; hit or played in a variety of manners and intensities. 11 different crystal glasses were recorded for this collection. Within each waveform are numerous articulations of that particular crystal. Each crystal was struck using a variety of items ranging from fingers to kitchen utensils. There are also sustained voices, created by the classic technique of running a wet finger around the rim of the crystal.

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13 course Baroque Lute - The word “course” means strings as a unit. Some of the courses on a baroque lute are 2 strings played as one (like a 12 string guitar) the higher courses are single strings. This wonderful instrument was made by Luthier Larry Brown. It was sampled by plucking with the flesh of the finger as well as a nail of the finger articulation.
The programs “flesh baroque lute” and “nail baroque lute” employ those articulations presented by themselves. “BL velocity switch @ 100” employs velocity switching at a midi velocity of 100. the nail samples are engaged once you exceed a value of 100. Also included is a program which has the velocity switch occur at 110 midi velocity There is also a velocity switch program which has the “nail” layer darkened by the use of a lowpass filter. The “velocity X-fade program subtly crossfades the 2 layers with the use of velocity. This instrument was the “last of the Lute family”. The Lute began with 6 courses and eventually expanded up to 13.. ...a real headache to tune!
Fortepiano - This instrument was previously released for Gigasampler as a stand alone volume. But since interest in it as a stand alone volume was somewhat “subdued” I thought it would be nice to include it in this collection so more people can simply get an idea of what this instrument sounded like. I think of it as the “missing link” between the harpsichord and the modern piano
- Fortepiano - This program is somewhat of a “default” program. It has a wide dynamic range and a moderate filter setting
- Fortepiano darker - The filter is set a bit darker than the above program. The dynamic range is also slightly reduced.
- Fortepiano darker bass -This version has a darker filter setting below C4.
- Fortepiano panning -This version has an exaggerated panning effect employed with the use left and right balance controls in the samples stereo output.
Harpsichord - from the Eclectic disc...... programs are labeled by the word “choir” also meaning “stops”, “registers” or “settings” depending on who you talk to. The “foot” number refers to the length of the string. Presented here are “8 foot choir”, “8 and 4 foot choir”, “full choir” and “lute stop” settings. Sometimes a lowpass filter is employed simply to give you a choice of a darker sounding instrument. this is not intended to be a “comprehensive” harpsichord sample with each note sampled chromatically in stereo...it is sampled in mono yet I feel it is quite effective none the less.
Hurdy Gurdy - The hurdy gurdy, known in France as the vielle a roue or vielle for short, is an ancient instrument which is undergoing a modern renaissance in Europe and America. First, to dispel a popular misconception: the hurdy gurdy was not played by the organ grinder or his monkey. They used a large music box operated by a crank. Today’s hurdy gurdy is roughly the same as those built in the middle ages. It has three to six strings which are caused to vibrate by a resined wheel turned by a crank. Melody notes are produced on one string, or two tuned in unison, by pressing keys which stop the string at the proper intervals for the scale. The other strings play a drone note. Some instruments have a “dog”, “trompette” or “buzzing bridge” A string passes over a moveable bridge, which by a clever movement of the crank in the open hand, can produce a rasping rhythm to accompany the tune by causing the bridge to hammer on the sound board. The instrument is held in the lap with a strap to hold it steady. The case can be square, lute back, or flat back with a guitar or fiddle shape. Forms of the vielle a roue existed not only in France, but in Germany, Italy, Britain, Russia, Spain and Hungary.
The origins of the hurdy gurdy are unknown but one theory says that when the Moors invaded Spain they brought with them many stringed and bowed instruments. There is no proof that the vielle a roue was one of them, but the possibility exists that something similar arrived in Spain at that time and dispersed throughout Europe along the pilgrim’s roads.
Beginning at C4, I’ve mapped out the basic melodic pitches. The keys below C4 I’ve mapped the various drones (the fly, little bumble bee and big bumble bee). A separate program maps out the trumpet drones with the melodic pitches. There is also a program with only drones mapped out. Obviously when an instrument with a drone is sampled it can be played at any pitch offering a great deal of flexibility. I think the titles of each instrument clearly convey what is programmed.
Renaissance Guitar- Yes... there was a guitar in the Renaissance period! Although it is often overshadowed by the massive amount of music for the lute, this instrument has a charming delicate quality to it. I sampled it with both a pluck of the flesh as well as the nail of the finger. As usual I combined these into a velocity switch program and presented the nail and flesh articulations as programs of their own. Thanks to my old college guitar professor Charles Wolzien for loaning me his Renaissance Guitar!
Renaissance Lute - This is my 8 course lute made by Luthier Larry Brown Sampled and presented with both flesh as well as nail attack and then combined into a velocity switch program. (I know I’m becoming predictable here with these plucked instruments... but it does seem to offer a nice bit of flexibility in tone color).

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Accordions - Two accordions sampled here were given the colorful names of #1 and #2. They are presented by themselves as well as in layers with each other. Accordion 2 was sampled with 2 register settings labeled 2a and 2b. The MW-mixer program mixes accordion 1 and 2a together.
Bagpipes - This sample set was originally made for the Kurzweil version of Eclectic Expanded. I recorded these pipes in both mono and stereo. I present them as individual programs and then combined the mono and stereo version into one program which are called “bagpipe bands”. You’ll see a reference to “long loops” and “short loops”, what does this mean? “Short loops” mean the loop point is located a ways into the sample (perhaps 2 to 3 seconds). This gives what I believe to be a more realistic sound of a piper. The pitch and overtones vary over time and this is somewhat audible.....it’s more human sounding. The “short loops” have the loop point kicking in very quickly, thus making the pitch and harmonic content a bit more stable as well as “perfect” sounding. So I took advantage of these 2 approaches and combined them together to get a fatter sound as well as combining stereo and mono samples. Some of the “band” programs involve some detuning which fattens it up a bit. The “drones” are usually presented in the bass range of the keyboard as well as being presented in a program by themselves. One flexible thing about sampling drones is you can play them back at any pitch, which cannot be done on the real instrument. Bass, Tenor and Chanter drones were sampled.
Bassoon - This bassoon was sampled in mono with 3 articulations - no vibrato, with vibrato and “lyrical bassoon”. The Lryical Bassoon is is with a very warm tone as well as a delayed vibrato which I feel is very expressive. The “MW=3way bassoon” uses the mod wheel to switch between these 3 articulations - 1st MW position, no vibrato - 2nd MW position, lyrical bassoon - 3rd MW position bassoon with vibrato.. “Lyric MW=attack speed” uses the mod wheel to control the attack speed of the amplitude envelope. This way you can have a very slow attack or a fairly quick one depending on the position of the modulation wheel.
Celtic Harp - This stereo sample set was originally made for the Kurzweil. Nothing too tricky here in the programming...pretty self explanatory. The detuned program simply has the harp duplicated as another layer and then tuned slightly sharp to give a more synthetic feel to it. The “velocity = attack speed” program uses the above explained technique.
Classical Guitar - This is my personal guitar made by Agostino Lo Prinzi in Clearwater Florida. This bank begins with a velocity switch between nail and flesh attacks. Then those articulations are presented alone. Harmonics are also presented. The program “velocity switch darker nail attack” simply employs the nail layer being darkened further by use of a lowpass filter as compared to the previous velocity switch program. This stereo instrument was recorded with a set of Nuemann Km 183 omni microphones.
Electric Guitar Volume Swells - These 2 pad-like sounds were created with my Fender Stratocaster played through a Korg A1 multi effects unit. Various filter settings are employed as well as layering the 2 sample sets together with control of mixing via the Mod Wheel.
James Taylor used this sample on his Grammy award winning “Hour Glass” CD (track 1, “Line Em’ Up”). This sound is created by striking a note with the volume knob on zero, then quickly swinging the volume to maximum position thus missing the attack sound of the guitar all together for a somewhat violin-like effect

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From pdf: "To call these “loops” might be a bit misleading though. I did create this
sound-set while playing against a World Music groove at 120 bpm in Logic Pro. They have a Arabic/Phrygan/Spanish flavor to them outlining the chords A, Dm, Gm, Bbmaj7 and Bb7. But they are not loops in the traditional sense of 2 or 4 bar phrases that fill up most of the rhythmic space within the measures. Many of the loops are “one shot”, not meant to loop at all!
This collection has 23 MB of phrases in 2 categories - Chordal and Riffs. My web-wizard
guy has been bugging me for some time to make some Apple Loops, so I have also put these in Apple Loop format as well. All though it is the first time I’ve created Apple Loops I must say that the process of creating them with the tools which Apple currently offers is a less than
satisfying experience in my humble opinion.
I’ve added no effects so you may add you own (although I suggest you try a bit of chorus combined with some stereo delay, or perhaps some Amp simiulators from NI’s Guitar Rig or Guitar Amp Pro in Apple’s Logic.)
I’ve also set them up in NI Konatkt 2 and Apple EXS 24 sampler formats for those who prefer to trigger phrases from a software sampler environment.

These are very simple instrument set ups. The chordal loops are mapped chromatically from C0 up to D#3. The riffs are mapped chromatically from C4 up to F6. You can create new phrases by interrupting one phrase with the begginning of another with a little bit of experimentation. Also in the wave editor of each of these software samplers you have freedon to redefine start, end and loop points of each sample if you desire."

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One day last year I was doing some gardening with a shovel and a steel rake. I banged the shovel accidentally somehow and it went "ka-ching...." and I thought it was a very pleasing sound! I thought "If I could really extend that sound I'd probably have a very interesting and some what dissonant pad sound. So I brought it into my studio and recorded the shovel and rake, then I played some havoc on those poor gardening implements with Granular synthesis and Viola!
I originally posted these at the Bolder site shortly after sampling them as free S.O.W.'s for the Kuzrweil and I also posted them as looped .wav files for other to indulge themselves. But now since I'm living part time in the Giga world and since people seemed to have really like the last Granular set I did for Giga (Ice Cream & Sugongs) I thought I'd post another.
So what you have here are a bunch of GigaStudio programs and at the end of the list is a program called "source files". These are the original samples with which I worked from to create this bank just in case you are curious.
Here are the notes:
First we have rake4, rake 4b, shovel 2, shovel 2b, and shovel vibrato. These are presented as programs by themselves, then we have.........
"5 way split" is a keymap that incorporates the 5 samples in a evenly split across the keyboard at their original pitch.
"5 way MW mix" uses the Mod Wheel as a mixing source to crossfade between the split keymap at original pitch and an octave lower.
The "Shovel vibrato" program was created first with Granular synthesis then sent into Tom Erbe's wonderful Sound hack program for the Macintosh using a DSP process called Mutation. It's got a cool "warbly" and "underwaterish" effect to it. For some reason when I played back this sound file out of Giga, I got some static in the playback. When I played it out of Sound Forge it was quite clean sounding. So I'm a bit stumped on that one.
"Pressure + MW mix 1" uses channel pressure to bring in a secondary layer. As you move the MW forward a highpass filter kicks in and gradually drops the lower frequencies.
"MW Mix 2" uses the "shovel vibrato sample" mixed with "rake 4".
"MW mix 2 slower and darker" uses a slower VCA attack on both samples and "rake 4" is darkened with a lopass filter.
"5 way MW = attack speed" is a 5 way split keymap with the amplitude envelope's attack speed being controlled by the Mod. Wheel's position. T minimum position the attack is quite slow, as you increase the MW value, the attack speeds up.
"Source files" are the actual raw sapmles i worked with before introducing Granular synthesis. they are mapped to C4, D4, E4 and F4.
"Source files spread out" is a keymap which distributes the source samples more evenly across the keyboard so you'll have more pitch selection.
"MW Mix source + split" uses the source files in a "spread out" keymap against the 5 way split. This mix is controlled by the Mod Wheel.

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Arctic Bee - This is a piano string sample mangled with the use of granular synthesis. The original sample pitch is located at C4. The Mod Wheel controls the setting of the filter indicated.... lowpass, highpass and bandpass. think of the MW as a real time EQ.
Chordal Ostinatos - These were created in the SuperCollider purely by the use of FM synthesis, no granular synthesis. But since I thought they were so cool I had to include them. If you hold down just one key, a chordal pattern is created.
Augmented chords are mapped from C2 to D#2, diminished chords from B2 to C#3, major chords from C4 to B4, minor chords from C5 to B5. There are a number of filter settings as well as layered programs controlled by the Mod Wheel. The “layered octave programs layer the same sample against itself an octave lower, this creates a wonderful polyrhythmic effect. Why are there only 3 diminished chord and 3 augmented chords? Because these are all you really need to create a diminished sound or an augmented sound. Since C augmented is really the same set of notes as E aug. and G# aug. With diminished chords I’ve only given you triads.. if you need a half diminished chord or a full diminished 7th you can add that in easily with another voice (or sound in your orchestration) . Experiment with all the polychord possibilities you can.... example: C major against G major gives you a Cmaj9 type of chord.
Cyways - I gave this sound set this name because it reminded me of hearing vehicles passing by you on a highway, yet it seemed like a highway in the future, hence the name “Cyways”.
I created the source sound files for this set with James McCartneys SuperCollider programming language. From those sound files I did some cutting and pasting. Then I used Digidesigns Sound Designer II software (remember that?) with it’s “scrub” feature and played the sounds both forward and backward by dragging the mouse around the mouse pad at various speeds which created an acceleration type effect. That was recorded onto a separate hard disc recorder. Then I took those files and with the use of the SuperCollider granular engine, I applied various techniques of granular synthesis. The samples are mapped C2 - E4. “Cyways transposed” is a program which incorporates random transposition of each sample. These are wonderful pieces of “ear candy” which can spice up rhythmic sections of loops if placed strategically.
Granular loops & hits @ 110 bpm - These loops are presented in both “straight” and swing versions. The swing versions were “swung” with the use of Logic Audio by Emagic. Programming features the use of the Mod Wheel to modulate various filter settings. The loops are mapped to keys C2 - G2 (chromatically) and the hits go from G#2 to D4 (chromatic also). the program called “mod wheel fun!” uses the mod wheel to mix between half speed loops and regular speed loops.
Harmonic Pad - This sound was created with electric guitar harmonics and the use of granular synthesis (believe it or not). A great deal of “time dispersion” as well as elongation of the original sound file was employed. The entire sample at C4 (original pitch) is 20 seconds in length. So press C4 keep the sustain pedal down and give the whole thing a listen...then try playing it in 5ths.......a wonderful sonic event I think!
Longongs - The source sample for this sound was a gong. I call it “Longongs” because I elongated the sustain of the sound with the use of granular synthesis to a very exaggerated extreme, therefore naming them long- gongs.
“Longongs at Cs has the original pitch of each sample at C2, C3, C3 and C4. The sample assigned to C4 is a gradual crescendo into the attack of the gong 13 seconds in length, so hold this one down for a while! “Slow Longongs” has a very slow VCA attack so you pretty much just hear the sustain. “Mod Wheel inversions” assign control of the filters to the Mod Wheel, yet each adjacent keymap is set to an inverted polarity. Depending on where you are playing on the keyboard you’ll have different filter interaction..... as always experimentation is the key! “Slow highpass filter MW” combines a slow VCA attack with the mod wheel routed to control the highpass filter setting.
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The following sound banks were created from using 4 out of the 230 Suspended Slate Rock samples from the Best of Bolder disc. In addition to those 4 samples I've also granulated the sustain portion of the rocks to surreal proportions (this treatment was not on the B.O.B. disc). These "extended" sustains make for some very interesting pad-like textures. I also combine these 2 types of samples to give the hit of the rock and then the extended sustain in one program.
Programs:
- Slate Hits C4 - D#4 This is a simple map just showing you what the samples were that I was working with as a starting point.
- Slate Sustains 3,4,7 & 8 These are the "extended" sustain portions created via granular synthesis. These make for some most unusual pads I believe.
- Slat hits mapped Here I've simply spread out the 4 rock samples across the keyboard so you'll have access to these samples at various pitches.
- Slate 2,4,7 & 8 MW mixer These programs combine the hit of the rock with the sustain. Remember... you have to move your mod wheel and use it as a mixer to hear any of the sustain portion at all. This way you can get exactly the right amount of sustain that meets your needs. Experiment with these. they are cool!
- Slate 3 MW mix reverse This was basically a failed attempt at creating a crescendo into the hit of the rock by reversing the sample and then pasting it on to itself in a mirror image. Thought I would still leave it in the sound bank anyway.
- MW mixer Sustains 3+4 & 7+8 etc These are the sustain portions again but layered on top of each other using the MW to mix their relative levels.
- Slate hits velocity modulation When you play with a light touch, the attack portion of the sample almost disappears. As you play harder, the attack becomes more prominent.
- Velocity Switch 1 & 2 These are 4 way velocity switch programs with different unity notes assigned in a somewhat random manner. Since these 4 samples are not from the same rock these programs do not use velocity switching in the traditional manner. You can get a cool effect by holding down the sustain pedal and playing an arpeggio with varying degrees of velocity............ see what happens.
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This is a set of sounds created via Granular synthesis. One set of 2 samples I entitled "Ice Cream 1 & 2". I believe I used a sample of a crystal glass as the source sample before mangling it. The resulting sound made me think of an Ice Cream truck hence the title. These samples are quite "sound effect-ish" but very effective I believe. Also involved in this set is a sample called "Sugong". It is the sustain portion of a gong sample elongated and chorused using Granular madness.
These samples are presented alone and then in various configurations of layers and splits as well as filtering which I will briefly explain below.
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First we have Ice cream #1 & #2 presented as a basic keymap.
Then they are set up as a split at C4.
"Ice Cream layer" is simply that. A layered program of samples 1 & 2.
"MW Mix layer" uses the Mod. Wheel to gradually crossfade between the 2 layers..... so experiment with that mod wheel!
Each of the above mentioned programs make the subtle use of a lowpass filter. So when you play the key with more velocity the filter will open up a bit (gets brighter).
" MW = highpass filter" changes the setting of the highpass filter when you move your modulation wheel on your controller, thus making the lower frequencies gradually disappear as you increase the MW position.
"MW mix octave layer" has Ice cream sample #2 transposed down an octave by changing it's unity note pitch.
The Sugong sample is also presented by itself with a number of different filter treatments which are self explanatory in the title of the program.
The remaining programs employ various kinds of layers and filter effects combining the 3 samples in this sound set.
Remember. if you see MW in the title. move you mod wheel around slowly and see what happens!
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These samples are stereo recordings made with a Studio Projects cardiod C3 mic and a Nuemann KM 183 omni mic. Quite an odd combination I know! But my intention was to make these mono samples and just choose from the best sounding mic. But the best sounding mic was both of them combined. I also used a Grace Designs 201 mic preamp into a Alesis Masterlink 9660 at 16 bits.

The "How" and "Why" of the samples

So you may be wondering how on earth I came up with the idea of putting a Meditation Bowl together with Fall Leaves to create a sound set. Well pretty much by accident I would say, but a happy accident.

I did a complete set of meditation bowl samples on the "Best of Bolder" for GigaStudio. But one articulation I left out was the stick rubbing along the rim of the bowl to create an ethereal sustained sound. This omission was because I really didn't have the technique right at the time. It requires quite a bit of pressure for these bigger bowls! So this is a different recording done in my living room. These bowls require alot of "sonic space". This particular bowl is15 inches in diameter and is tuned to a D3 (or D4 depending on your sampler's terminology). It is also flat by 23 cents. But it's a wonderful sound. I've played it with various percussive items.... my hand, mallets, wood sticks, a kitchen pot etc..

How did the fall leaves work into this? Well........ I was walking on a beautiful fall day last November down the street and listening to the wonderful sound of our feet brushing through the piles of leaves on the street and thought it would be a great sound to sample. But the problem with walking around with a portable DAT and not getting a bunch of environmental noises in addition to the leaves seemed to be a bit of a problem. So I got a plastic garbage bag and filled it up with leaves and stashed it in my studio with the intent of recoding them as S.O.W. samples. I got real busy with other projects and they just sat in a corner in my studio for months. Until I began sampling the Meditation bowl... I thought what can I do to make this thing not sound so pure? Ah.... the leaves. So I poured the bag of leaves into the bowl and an instant resonator was created! When I do S.O.W. recordings I tend to work this way. I just look around me and say "Oh... how about this, and how about this music box....... what would happen if I threw it into the meditation bowl with the leaves? (Which I did, but it didn't sound very good). I did throw our kitty cat Alsana into the bowl of leaves as well........ she just wanted dig into the leaves and take a poop! Which of course being a hard-core sampling fiend, I recorded this event as well.

I think the titles of each program are somewhat self explanatory, and if you read this html doc, you'll pretty much get the full picture of this sound set.

Explore, create and enjoy!
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This instrument is designed as a child's toy. It is supplied with a guitar pick and some sheets that slide underneath the string telling you which strings to pluck from left to right. Featuring such hits as "Darling Clementine, Aura Lee etc... It doesn't have a magnificent sound but it certainly is somewhat unique. The instrument costs about $50. It's range is 2 octaves in the key of G.
I've currently finishing up my Hammered Dulcimer Trilogy set for Kontakt. It includes a Cimbalom, Concert Grand hammered Dulcimer and a standard 2 Course Hammered Dulcimer. So this freebe sound-set is right in line with that family of instruments.... this is the baby of the family.
Each note of the instrument was recorded in stereo at 24 bits for Kontakt.

Music Maker PROGRAM LIST for Kontakt :
- MM Velocity=LoPass.nki - A Basic program map with velocity openning up the lopass filter.
- MM HiPass.nki - Hipass filter is used to roll off the bass end at a fixed point.
- MM MW=HiPass.nki - Hipass filters cutoff point is controlled by the Mod Wheel.
- MM MW=Multi Filter.nki - This uses the crown-filter preset in the multimode filter. The MW acts as a quick EQ setup.
- MM Timbre Shifted.nki - The Root notes are set an octave too low for a timberal shift.
- MM Timbre Shift Octaves.nkm - THIS IS A MULTI FILE! It employs a layer of the correct pitch against the Octave timbre shift nki. Use the Amplifier's volume knob to balance out the layer in whatever way you like. This is quite lovely music-boxy sound!
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The following sound set was made with a Peruvian ceramic circular flute called the Occarina.
I sampled each note of the instrument and also turned four of the samples into background pads with the use of granular synthesis. This sound set is presented in Kontakt as a .nkm (MULTI) file.
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Kontakt Multi
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