KickLab XXL Manual

Virtual kickdrum designer

Operation Manual for KickLab XXL software version 1.0 Introduction by Darren Glen: "Kicklab XXL is the most advanced Kickmaking machine on the market, with the whole vst dedicated solely to the most important percussion element of any electronic track, the KICK. Kicklab XXL features many original and uni ue functions and tricks that are often employed by the most savvy d! producers"engineers to get their kicks well and truly #$IL%& and brings all of these together into one beautiful interface. Kicklab XXL has two powerful sound'generating sections, a (irtual Kick )ynth and a Kick )ampler section *with import functions+ to re!uvenate your static kick samples with big, warm powerful synth kick sub. ,ith filters on the sample to avoid fre uency cancellation, phase change buttons to help match bottom end, delay trims to line up both kick attacks e-actly, volume mi-ing with %. and saturation options the KICKL$/ XXL will create the big, in'your face, round stomping kicks with deep sub that you always dreamed of." Darren Glen

KickLab XXL Manual

Virtual kickdrum designer KickLab XXL specifications Virtual section Sub Oscillator Sine and Triangle Pitch Adjust Pitch shaper AD Envelope Generator Puncher Clic Generator Distortion S! "ilter #ith $P%&P%'P%(otch%Pea )ilter*odes and !elocity Trac ing Sampler Section Double Precision Stereo Sa*pler Tri* section $oop%"or#ard%+everse%,ey "ollo# - Octave Pitch Adjust Stereo%.ono S#itch ADS Envelope Generator Easy scrolling thru sa*ples #ith previous%ne/t buttons Stereo S! "ilter #ith $P%&P%'P%(otch%Pea )ilter*odes and !elocity Trac ing Mixer Section 0 band E1 #ith &i and $o# )re2uency split adjust Saturator #ith depth and li*iting Phase invert 3!irtual and Sa*pler Sections4 .utes 3!irtual and Sa*pler sections4 $evel .etering 3Stereo $e)t%+ight and !irtual%Sa*pler Output4 Channel Delay 3!irtual and Sa*pler Section4 .ain !olu*e Control Preset Section Previe# "unction 3disables itsel) #hen host is playing4 .ulti Channel Output Stereo .ain%!irtual5Sa*pler%All Drop do#n *enu preset select6 previous and ne/t selectors +egular Dis operations6 load%save preset or load%save preset ban

KickLab XXL Manual

Virtual kickdrum designer oncept ,ic lab 77$ is designed )or producers #ho understand the i*portance o) a good6 solid ,ic dru* in their trac 8 O)ten producers spend a large proportion o) there ti*e selecting6 tri**ing6 changing and balancing the ,ic dru* in their productions8 It is the )oundation and building bloc upon #hich all the other ele*ents are set upon6 and the reality is that a bad sounding ,ic can 2uite si*ply ruin your trac 8 "or this reason *any producers lean to#ards selecting a ,ic dru* sa*ple over a 9synthesi:ed; ,ic 6 )or one si*ple reason8888 ,ic dru* sa*ples generally sound better8 'ut the proble* the producer is then )aced #ith is a lac o) control over t#ea s and *odi)ications to the sound o) the ,ic in a static sa*ple8 So layering techni2ues have developed over the years #here a sa*ple ,ic is *i/ed #ith other ,ic dru*s )ro* di))erent sources6 E2<d and pitch changed and *i/ed and t#ea ed888to create the desired result8 =p until no# this has been a co*bination o) *any di))erent e/ternal techni2ues and processes all co*ing together6 in sa*plers6 e/ternal "/ plugins6 synths and *i/ers8 Enter888,ic lab 77$8

KickLab XXL Manual

Virtual kickdrum designer Met!o" of Operation ,ic lab 77$ has t#o sound generators6 the !irtual ,ic section and the Sa*pler ,ic section8 >ith ,ic lab 77$ you co*bine the best sonic ele*ents o) both sound generating techni2ues to co*ple*ent each other8 The Sa*pler ,ic section helps to provide the uni2ue transient and attac in)or*ation that is o)ten unable to be reproduced by a synthesi:ed ,ic sound8 The !irtual ,ic section provides a )ar #ider range o) uni2ue control over its sound #ith all o) its nobs to help custo*ise the sound *uch *ore than is other#ise possible #ith just a ,ic sa*ple8 There are several #ays o) building up a ,ic dru* in ,ic $ab 77$ and here are so*e suggestions that #ill give you a headstart in *a ing the best use o) ,ic ab 77$8 ?:% The !irtual ,ic supplying the @.eat@ and @Sub@ o) the ic sound and the Sa*ple section supplying the @attac @ o) the ic 6 #ith the botto* end )iltered out using the high pass )ilter6 this is a concept suggested and reco**ended by Darren Glen6 you #ill )ind this techni2ue in the presets indly provided by Darren Glen8 A:% &aving the !irtual ,ic supply the )ull ic and the sa*ple supplying a @hat@ sa*ple or so*e other attac transient6 #ith a short decay8 0:% The Sa*ple section plays a reversed ic sa*ple to give the !irtual ,ic supplying the )ull ic a di))erent tail6 even a duc ing ind o) e))ect #hen used #ith decay and trigger delay8 >ith the trigger delay you can adjust the tail duc ing e))ect per)ectly to the groove o) your project8 -:% Another approach is that you could have the Sa*ple ic supplying all the *ain o) the ic and the virtual ic supplying *ore *idrange @thu*p@8 B:% The sa*pler section can be set to 9)ollo# eys; and there)ore you could decide to tri* the attac o)) a ,ic sound leaving only its sub tail and 9play; the ic tail li e a *usical instru*ent6 possibly #ith the ic tail beco*ing a bass sound in your trac 888 C:% A variation on suggestion B to @)ollo# eys@ is to have a very short tri* setting on the Sa*pler6 #ith Sa*pler $ooping on6 providing synth #ave type sounds that can be used to generate an overtone to co*pli*ent the virtual section8 The Tri* Start and End can be used to tune the #ave)or*8 The closer the tri*s are set6 the higher the pitch8 >ith this techni2ue ,ic lab 77$ can also be used as a bass instru*ent6 the virD tual section could provide the 9"inger stro e; o) the bass string8 888and any co*bination o) the above or inDbet#een8 The possibilities are endless8

KickLab XXL Manual

Virtual kickdrum designer # $ui"e to %se ,ic lab 77$ is a !sti instru*ent8 Add ,ic lab to your !ST Instru*ent rac or channel and send it a single *idi note 3eg C?4 to trigger a ic sound8 Sending a single *idi note #ill trigger both the !irtual and Sa*ple sections o) ,ic lab together at the sa*e ti*e8 The *ost i*portant thing to decide on )irst is #hich sound generator is going to be responsible )or the sub o) your ,ic 6 the !irtual ,ic section or the Sa*ple section8 As sub in)or*ation is pri*arily sine #ave there can be only one sound generator responsible )or supplying the sub in)or*ation o) your ic 6 other#ise you #ill end up #ith rando* cancellation o) sub )re2uencies and a co*bing e))ect that #ill *a e your ic sound )ar )ro* ideal in a club8 It can also *a e your ,ic rando*ly change its characteristics as the sub sine #aves )ight it out )or supre*ecy6 as #ell as introduce un#anted pea s and distortion8 This is obviously to be avoided8 'uild your ,ic )ro* the ground up in layers6 starting #ith the sub6 and use the highD pass )ilter supplied )ro* the appropriate section to re*ove the sub )ro* the secondary ,ic sound you are going use8 Other advanced )iter types are also supplied and *ay prove to be *ore suitable8 Give yoursel) plenty o) 9headroo*; in ,ic lab 77$ #hen you start creating your ic 6 as volu*e levels can later creep up in *any sections6 including high +esonance6 Punch or E1 settings8 Start #ith lo# !olu*e nob settings )or each section8 The *eters are there to visually noti)y you #hen internal clipping is li ely to occur8 &igh volu*e levels or clipping #ill6 aside )ro* adding distortion6 traditionally reduce the deep sub bass po#er and response o) your ic 6 so eep your levels reasonable8 =se your ears8 Pre)erable the virtual and sa*ple sections are set at the sa*e pitch )re2uency in correspondance #ith the ey o) the co*position6 ho#ever this is certainly not *andatory as no )or*ula is the right one6 but pre)erable eep har*onics as *uch as possible in the *id and high )re2uency range to avoid cancellation o) sub8 Another *ethod o) tac ling cancellation is to adjust the pitch o) each sound generator or change the phase o) one o) the generators and hear ho# the virtual and sa*pler ic sounds interact together and ho# the overall ,ic sound changes6 *ost notibly the sub and lo#er *id )re2uencies8 Adjust the ti*ing o) one o) the ,ic sound generators #ith the 9trig delay; nobs and pay attention to ho# any cancellation evolves as the t#o sounds *orph8 The di))erent #ave)or*s align di))erently in ti*e6 thus changing or at best solving the occurance o) any cancellation8 Tri* the start or end o) the ,ic sa*ple to reduce noise or un#anted e/tra sound in)or*ation6 thin less is *ore8 E2 your resultant sound )urther #ith the E1 section and and perhaps add so*e Saturation8 Set volu*e levels )or each section6 adjust your overall output level #ith the Output "ader guided by the *eters and choose to possibly send the ,ic lab 77$ sound generators to separate outputs to provide )urther individual processing 3such as co*pression4 in your DA>8 Eou are #ell on your #ay to your o#n sla**in< ,ic F

KickLab XXL Manual

Virtual kickdrum designer Virtual section The !irtual section o) ,ic lab 77$ is a real ic synthesi:er8 It creates ,ic dru*s purely )ro* scratch #ithout the use o) any sa*ples6 and thus no t#o ic s are ali e8 The !irual Section is designated by a blue colored panel surrounding the nobs8 The Oscillator that generates the !irtual ,ic dru* sound can be set up as a Sinus #ave or Triangle #ave8 The Triangle #ave can produce harsher distorted and @plastic y@ ic sounds6 but has also the disadvantage o) losing sub content co*pared to a Sinus #ave8 =se the Sa*pler section to provide the sub content in such presets8 The Oscillator is the )irst part o) the sound generation process8 The )re2uency input o) the oscillator is controlled and shaped by the pitch adjuster and pitch shaper8 The pitch shaper is a A&DS 3Attac 6 &old6 Decay6 Sustain4 Envelope #ith Envelope Strength Control 3Shape E48 The release is predeter*ined and can not be changed8 The puncher section is si*ilar to a ic )oot pedal6 the punch para*eter controlling ho# hard the pedal is punched in6 and the i*pact para*eter controlling ho# *uch i*pact the virtual dru* head receives8 The Puncher is not related to the velocity sensitivity o) ,ic $ab 77$8 The Puncher predeter*ines ho# *uch strength the "oot Pedal stri es the !irtual 'ass Dru* &ead regardless o) velocity sensitivity8 The *ore you turn these nobs6 the tougher the attac o) your !irtual ic beco*es8 Distortion can provide a little dirt into the ic 6 or can be used to produce *assive hard style ic dru*s8 'e cautious ho# *uch to apply i) used #ith E1 and Saturation due to internal clipping i) you do not #ant the* to occur8 The Distortion has a selector #hich can be set to strengths varying )ro* lo# )or subtle #ar*th to loudest8 The plugin #ill never output above G d'6 so even #ith the settings to loudest the plugin #ill not produce clips in the host *i/er8 The Distortion applies to the !irtual ,ic section only8 It is very #ell possible to get internal clips #hen using the )ilter in so*e e/tre*e settings6 *ost o)ten #hen having lots o)6 or a long decayed6 sub #ith a $o# Pass )ilter cuto)) para*eter setting close to :ero6 or having added too *uch distortion6 saturation or E18 This should be avoided #hen using a )ull sub ic dru* in the virtual section8 Again6 the plugin output #ill never output above G d'6 but internal clipping can happen8 =se your ears and the graphical *eters supplied to deter*ine i) your settings are causing undesired clipping8

KickLab XXL Manual

Virtual kickdrum designer Virtual section continue" The )ilter section consists o) a *ono State !ariable )ilter #ith *ultiple *odes 3the )ilter is *ono as the !irtual Section is *ono6 #hich is desired )or lo# and subsonic in)or*ation8 The high 2uality )ilter is use)ul to get rid o) un#anted )re2uencies or to roll o) subsonic )re2uencies6 )or instance6 #ith a &igh Pass )ilter8 The *odes are: $o# Pass &igh Pass 'and Pass (otch or 'and +eject Pea 'ypass The )ilter also has velocity sensitivity8 !ary the input velocity o) the .idi notes sent to ,ic lab 77$ slightly bet#een each other to change the )ilter position and thus *a e each ,ic sonically di))erent8 This is especially use)ul )or sa*ples to bring to li)e an other#ise static ,ic sa*ple8 The A*p section consists o) a clic generator and a AD 3Attac 6 Decay4 Envelope8 The clic generator produces a *ore apparent attac on the !irtual ,ic 6 *a ing it *ore do*inant in your groove8 I) you do not li e the sound o) the clic 6 use a lo# pass )ilter in the virtual section to give the clic *ore *id range characteristics6 rolling o)) the high )re2uencies8 Eou could also raise the resonance giving the clic even *ore *idrange6 changing the 9clic ; into 9stic ;8 .id range boost gives the clic naturally *ore decay as #ell8 Please note that you *ight also *ess around #ith sub )re2uencies6 so be care)ul8 The a*pli)ier envelope sets the Attac and Decay o) the !irtual ,ic 8 All the envelopes are in Sync #ith the oscillators6 so you have a consistent6 a precise de)ined sound every ti*e a .IDI trigger is received )ro* your controller or host .IDI trac 8 The envelope #ill stop only i) a note o)) is received #ith a predeter*ined release6 just enough to ele*inate any clic s8 ,ic $ab #ill play the ic as long as you hold a note8 I) you paint a note in your host se2uencer *a e sure your note is as long as you #ant it to sound8 (ote that ,ic $ab is polyphonic6 it #ill not cut a .IDI note or overlapping notes #hen a ne# .IDI note is received8 It #ill al#ays play the note until a note o)) is received8 This could result in un#anted sub )re2uency cancellation8 In "$ StudioHs step se2uencer notes #ill overlap as the step se2uencer does send notes on only6 not any notes o))8 To tac le this proble* use the piano roll instead to se2uence ,ic $ab 77$8

KickLab XXL Manual

Virtual kickdrum designer Sampler Section The Double Precision Sa*pler can read .ono or Stereo ?C bit and A- bit #ave )iles8 It #ill display the stereo in)or*ation6 but the le)t and right sa*ple in)or*ation are *erged together in the sa*ple display8 The Sa*pler section is designated by a red panel area surrounding the related nobs6 at the botto* section o) ,ic lab 77$8 The sa*pler has a tri* section )or the start and end to tri* the sa*ple in)or*ation to your personal pre)erence8 Si*ply grab the visual tri* bars #ith the *ouse pointer and drag the* to a ne# location8 The sa*pler has incorporated all o) the basic nessecities you *ight need creating a #ell laid out ic dru*8 Eou can $oop6 +everse6 Pitch adjust and have the sa*ple )ollo# eys or play at a steady pitch over all eys8 Grab the Pitch nob in the botto* right o) the display #ith the *ouse cursor and turn the nob to adjust the sa*ple pitch playbac 8 +eversing the sa*ple #ill )lip the sa*ple data and the tri* start and end8 A stereo sa*ple can be played in *ono by selecting .ono in the sa*pler display8 It is o)ten use)ul to select .ono #hen the ic sa*ple that you are using has sub in)or*ation that is not panned center8 In these cases selecting .ono #ill help avoid *astering proble*s )or your trac later on8 Choose this setting #isely8

Sa*pler loading is very easy6 just load a sa*ple and you can scroll through the sa*ples in that directory #ith bac and )or#ard buttons8 Also clic ing on the Sa*ple na*e in the sa*ple #indo# #ill bring up a drop do#n *enu )or even )aster selection o) a #ave )ile )ro* the current directory6 use)ul #hen you no# #hat sa*ple you #ant in a directory #ith a large a*ount o) sa*ples8 Iust as in the !irtual Section6 the Sa*pler has a State !ariable "ilter #ith the only di))erence being this )ilter is stereo8 The rest o) the )eatures are identical to the )ilter in the virtual section8 The a*pli)ier )or the Sa*pler section consists o) a ADS envelope 3Attac 6 Decay and Sustain48 I) you #ant to play a very long sa*ple to the end6 instead o) using the Decay para*eter6 turn up the Sustain nob to itHs *a/i*u* position8 Also )or playing loops the sustain should be set to itHs *a/i*u* value8 It #ill play the sa*ple until a note o)) is received8 Alternatively you can use both an early tri* position and a short decay nob position6 to )ocus on the contribution o) the Sa*ple section to only a short transient attac o) the ,ic sa*ple8

Kicklab XXL Manual

Virtual kickdrum designer Mixer Section The *i/er section is *ore sophisticated then it loo s8 It is #here !irtual section *eets the Sa*pler section6 both signals are *i/ed and )ed to the E1 and Saturator8 The .i/er section is designated by a dar grey panel area surrounding the nobs8 The 0 band E1 has a )re2uency splitter so you can set the $o# and &igh "re2uencyHs to your pre)erence8 The &: values in the blue #indo# provide the )re2uency 3clic 6 hold and *ove up or do#n to change the )re2uency split4 and the nobs provide the boost or cut setting8 To e*phesise6 adding or substracting 'ass6 .id or &igh )re2uencyHs #ith the $o#6 .id and &igh para*eters is not static li e other traditional 0 band E1Hs8 >ith the )re2uency splits6 the E1 can provide a +oll o)) o) lo# )re2uencies belo# 0B h: or above ?CGGG h: easily8 The E1 has a range )ro* 0B to AGGGG h:8 There is no speci)ic )re2uency setting )or the .id nob6 ho#ever it is not a static )re2uency either8 The #ider the )re2uency splits are set6 the *ore 2uality is added to6 or subtracted )ro* the .id 'oost 3148 So6 the )re2uency that it boosts or cuts is a )re2uency inDbet#een the $o# and &igh )re2ency setting and is dependant on these values8 All this provides )or a very versatile E1 #ith a *ini*u* o) para*eter adjust*ent8 Elaborating on the E1 section6 the ic is a driving )orce in a trac 8 Depending on the genre o) *usic6 it can have a la:y attac 6 being #et Hn sloppy #ith a distinct resonant tone6 or in contrast6 can be nearly pitchless6 #ith a )ocus on the beaterHs attac and al*ost clippedDsounding #ave)or*8 Every situation is di))erent6 and suitably6 the E1 #ill di))er as #ell8 There is no )or*ula applying E1 to a ,ic Dru*8 It depends entirely on the *i/8 This is #here ,ic $ab 77$ has a strong point to *a e6 being able to )inetune and blend your ic dru* precisely into your *i/8 The Saturator #ill add tape style saturation to your ic dru*8 This can be subtle or intense #ith or #ithout li*iting8 The Saturator6 just li e the E1 section6 applies to both the !irtual and Sa*pler section outputs *i/ed and sits just be)ore the )inal Output )ader8 A s#itch is supplied to turn the E1 or Saturator sections on or o))8 Turn each section to 9o)); #hen not in use to reduce CP= overhead and any internal clipping8 P!ase &nvert The Phase Invert buttons are a very i*portant )eature in ,ic $ab 77$ and a tric o)ten utilised by engineers8 >hen cancellation o) sub )re2uencies occur6 you can s#itch the phase and it #ill get rid o) the cancellation8 In so*e situations the ic dru* can inter)ere #ith bass 3guitar4 )re2uencies in your *i/ and the phase invert o) one 3or both4 sound sources *ight help there as #ell8 There is no right or #rong setting )or the phase buttons8 Iust try di))erent co*binations until you )ind one that sounds the best8 The .ute buttons #ill *ute the !irtual or Sa*ple section separately so you can concentrate on the sound creation o) each section be)ore su**ing the t#o sound sources together8

KickLab XXL Manual

Virtual kickdrum designer Mixer Section continue" The 9Trig Delay; nobs #ill delay the !irtual or Sa*ple section )ro* triggering by a certain value8 "or instance6 i) you have a !irtual ,ic dru* sound #ith a lot o) attac 6 the sa*ple *ight need adjust*ent by starting a couple o) sa*ples later8 Or6 as *entioned earlier6 to line up reversed sa*ples or loops8 Eou can delay each channel up to AGGG sa*ples8 A value o) Jero 3G4 delay on these nobs is set #hen they are turned to the )ar le)t8 .ultichannel out is another strong )eature as you *ight #ant to use the !irtual and Sa*ple signal split into your host se2uencer *i/er to enable )urther processing to each o) these sections independantly #ith your o#n !ST plugins8 ,ic $ab 77$ #ill al#ays place 0 stereo channels on your *i/er6 ho#ever ,ic lab<s output #ill be routed to either the .ain Out6 or !irtual out 3A / *ono4 5 Sa*pler out 3A / .ono or ? / Stereo depending on the sa*pler settings48 This setting can be )ound in the Progra* >indo#8 Clic on 9.ulti Channel; to select either 9.ain Out; or 9Split S5!; 3Split Sa*pler plus !irtual4 )ro* the dropdo#n bo/8 The de)ault is .ain Out6 #ith both the Sa*pler and !irtual sections *i/ed together onto this single *i/er )ader8 Another use o) this split *ode is to use just the Sa*ple output as the ,ic )or your trac and the !irtual Out sound purely as a silent sound )eed to a sidechain co*pressor in your DA> session8 This can save you having to *a e separate ic trac s to run sidechain co*pression in your song8 $evel *etering is provided )or all channels8 The *eters closest to the )ader are the *ain output level *eters8 The )urthest )ro* the )ader are the !irtual and Sa*pler output *etering8 The *etering )or the !irtual and Sa*pler channels is done just a)ter the volu*e nobs o) each section6 so it sho#s #hat levels you )eed into the E1 and Saturator sections8 The *ain )ader is to control the *ain output level8 >hen turned do#n the !irtual and Sa*pler *eters #ill still sho# the levels o) these sections8 Give yoursel) plenty o) headroo* #ith this )ader to produce a ic #ith the *ost punch and least a*ount o) clipping888ie88louder is not al#ays better8 ,eep the *eters out o) the red and turn up the )ader in your DA> *i/er channel6 or a*pli)ier output i) you re2uire )urther level8 Preset Mana'er an" (isk Operation The preset *anager is straight )or#ard8 Eou can load and save presets or preset ban s and rena*e the* i) nessecary by clic ing on 9Dis ;8 It has a previous and ne/t button to scroll thru presets and sho#s you the preset na*e and #hat preset nu*ber you are on8 Presets can also be selected by a drop do#n *enu by clic ing on the preset na*e8

KickLab XXL Manual

Virtual kickdrum designer #ut!orisation an" Le'al Along #ith your do#nload #e provide a serial ey and user ey )ile 3user8 ey and serial8 ey48 ,ic $ab #ill not output any sound #ihtout those )iles8These )iles *ust be dropped in the installation )older o) ,ic $ab 77$8 This #ill authorise your copy o) the plugin on startup #ithout )urther annoyances8 I) you lose your ey)iles due to &DD or syte* )ailure #e #ill send you ne# ey )iles ASAP 3surely #ithin A- hours4 just send us your Custo*er ID and date o) purchase8 Please store your ey)ile along #ith your serial nu*ber in a sa)e place to eep resending o) serial and user ey)iles to a *ini*u*8 Eou can use the plugin on A syste*s6 provided that you o#n the* both 3li e laptop and *ain DA>4 and is only used by you personally8 "or studios #e handle di))erent prices6 Please contact us )or details i) you #ant to use ,ic $ab 77$ in a 9public; studio enviro*ent8 +esale o) this plugin is not per*itted8 "ree updates provided only )or bugs in v?6 upgrade prices apply )or version A8 >e #ill al#ays eep support on any version8 I) A.vst #ould ever cease to e/ist6 #e #ill provide you a copy protection )ree version8 ,ic $ab 77$ can be used to create sa*ple libraries6 #ith 3#ell al*ost4 no restrictions6 but please do not use the provided presets in such6 #e assu*e you can certainly do better8

KickLab XXL Manual

Virtual kickdrum designer )roubles!ootin' ?:% 9I load up *y preset but the sa*ple is not loading;8 Sa*ples are not saved along #ith the presets6 only pointers to their position on the dis 8 I) you *ove or rena*e your ic sa*ples then your presets *ay not load properly8 Either position your sa*ple bac to its place #hen the preset #as *ade on the dis or reDload the sa*ple again #ith the sa*ple bro#ser )ro* its ne# location8 A:% 9.y ic s sound distorted; Turn do#n the !olu*e nobs in both the !irtual and Sa*pler sections6 turn do#n the E1 levels6 turn do#n the resonance values in the )ilters6 turn o)) the distortion or Saturate sections6 reduce the I*pact or Punch nob values6 turn do#n the .ain Output "ader6 turn do#n the level o) the channel output in your DA> *i/er8 Turn the !irtual ,ic #ave selection )ro* T+I to SI(8 =se an undistorted sa*ple8 0:% 9&o# do i *a e *y ic s have a preDdelay #hen the Trig Delay nob cannot have a negative delay setting6 only a positive valueK; The Trig Delay nobs are only able to delay ,ic sounds )or#ard in ti*e8 ,ic lab 77$ cannot play a *idi note be)ore it recieves it8 I) your overall ,ic sound is late in your trac then you #ish to *ove the ,ic bac earlier in ti*e8 Set your DA>Hs *idi trac ti*ing to a negative value8 -:% 9The ic sounds di))erent%shorter #hen played in *y DA> )ro* *idi co*pared to #hen i use the 9Previe#LOn; setting8; ,ic lab 77$ #ill play a short ,ic i) it is sent a short *idi note )ro* your DA> 3and so it shouldF48 &o#ever in 9Previe#LOn; *ode6 #hen you release the cursor on a nob it #ill trigger a ic sound to assist in ,ic creation #hen your se2uencer is in Stop *ode8 &o#ever #hen you release the cursor on a nob in this setting it has to guess #hat ind o) ,ic length to play as it is not recieving .idi notes at the ti*e8 So ,ic lab 77$ instead uses the 9Decay; values on the Decay nobs )or length8 I) these are set to a di))erent length to the .idi note length in your se2uencer then you *ay notice a di))erentDlength ,ic being previe#ed8 I) this beco*es a proble* then you *ay #ish to lengthen your .idi notes in your se2uencer to co*pensate6 or alternatively design your ic sound #hilst your se2uencer is triggering the ,ic lab via *idi in a loop8

KickLab XXL Manual

Virtual kickdrum designer )roubles!ootin' continue"

B:% 9I can hear a pop at the end o) every ic ; This is *ost probably due to you setting an Endpoint )or the ,ic Sa*ple that is shorter than the Decay setting in the Sa*ple section8 .uting the sa*pler section to see i) the proble*s is gone6 then you no# )or sure it is the sa*pler sections end tri* and%or decay settings8 Eou can try reDpositioning the Endpoint to a central point on the #ave)or* that #ill reduce the clic or reduce the Decay nob so that the envelope assists in reducing the pop8 C:% 9.y Sa*ple ic does not sound the sa*e as it does in *y editor;8 Eou *ay have a stereo sa*ple that you are playing in .ono8 This can cause cancellation o) several )re2uencies8 Clic on the .ono setting in the Sa*ple #indo# and select 9Stereo;8 Eou *ay also have the ,ey setting to 9,ey L On;8 This can cause the sa*ple to play bac at di))erent speeds depending on the .idi note8 To eep the ,ic sa*ple pitch consistent regardless o) the .idi note set the ,ey setting to 9,eyLo));8 Also ensure that the Pitch nob in the sa*ple #indo# is set to 9G8GG;8 Chec the )ilter settings6 and the envelope settings in the red 3Sa*pler4 section8 M:% 9I a* having a proble* this *anual does not cover;8 >e are doing all #e can to provide you #ith a 2uality product6 i) you have any proble*s that canHt be solved by this *anual6 )eel )ree to contact us8

KickLab XXL Manual

Virtual kickdrum designer )!at*s it+ >e hope you enjoy ,ic $ab 77$ and that it #ill be part o) your *usical creations )or *any years to co*e8 This concludes this *anual6 and as #e value you as a custo*er6 i) you have any 2uestions6 proble*s or suggestions regarding this *anual6 us6 our #ebsite or the ,ic $ab 77$ plugin6 )eel )ree to contact us directly by clic ing the @N@ button on the ,ic $ab G=I or thru the contact page on http:%%a*vst8co* # special t!anks to t!ese won"erful people for t!eir insi'!t+ .alcol* 'arbour Darren Glen (ippy 'aynes E/onerate In)u:ion .yCo Sa*bean Acrobat To*C To*MMMM S ore $ei) Oddson Sunsynth

oncept , - .00/ b0 #n'ular Momentum