East West Sounds The Dark Side User manual

Brand: East West Sounds

Model: The Dark Side

Type: User manual

USER MANUALUSER MANUAL

1.0.3

EASTWEST | THE DARK SIDE

ii ii

IMPORTANT COMPATIBILITY NOTE!

Our Revolutionary New Opus Software Engine

Our brand new Opus software engine has been years in development, and replaces

the Play engine. All EastWest Libraries (with the exception of the original Hollywood

Orchestra, the original Hollywood Solo Instruments, and the MIDI Guitar Series) are

supported in Opus, allowing them to take advantage of a faster, more powerful, more

ﬂexible, and better looking software engine.

Opus comes with some incredible new features such as individual instrument down-

loads, customized key-switches, new effects for the mixer page, scalable retina user

interface upgrades for legacy products, a powerful new script language, and many more

features that allow you to completely customize the sound of each instrument.

It’s one of the most exciting developments in the history of our company and will be the

launching pad for many exciting new products in the future.

Using Opus and Play Together

Opus and Play are two separate software products, anything you have saved in your

projects will still load up inside the saved Play version of the plugins. You can update

your current/existing projects to Opus if you so choose, or leave them saved within Play.

After purchasing or upgrading to Opus you do not need to use Play, but it may be more

convenient to make small adjustments to an older composition in your DAW loading the

instruments saved in Play instead of replacing them with Opus. For any new composi-

tion, just use Opus.

A Note About User Manuals

All EastWest Libraries have their own user manuals (like this one) that refer to instru-

ments and controls that are speciﬁc to their respective libraries, as well as referencing

the Play User Manual for controls that are common to all EastWest Libraries.

For EastWest Libraries supported for use within Opus, we highly recommend taking

advantage of all the powerful new features it has to offer.

Reference this user manual for details related to the instruments and controls speciﬁc

to this library and, in place of the previously mentioned Play Software Manual, refer to

the Opus Software Manual from the link below instead.

OPUS SOFTWARE MANUAL: https://media.soundsonline.com/manuals/EW-Opus-Software-Manual.pdf

EASTWEST | THE DARK SIDE

iii

The information in this document is subject to change without notice and does not rep-

resent a commitment on the part of East West Sounds, Inc. The software and sounds

described in this document are subject to License Agreements and may not be copied

to other media. No part of this publication may be copied, reproduced or otherwise

transmitted or recorded, for any purpose, without prior written permission by East West

Sounds, Inc. All product and company names are ™ or ® trademarks of their respective

owners.

PLAY™ is a trademark of East West Sounds, Inc.

East West Sounds, Inc.

6000 Sunset Blvd.

Hollywood, CA 90028

USA

For questions about licensing of products: [email protected]

For more general information about products: [email protected]

http://support.soundsonline.com

EASTWEST | THE DARK SIDE

1. Welcome

2 Producer: Doug Rogers

3 Producer: David Fridmann

4 Credits

5 How to Use This and the Other Manuals

5 Online Documentation and Other Resources

EASTWEST | THE DARK SIDE

2Chapter 1: Welcome

Welcome

Producer: Doug Rogers

With over 30 years experience in the audio industry, EASTWEST founder and producer

DOUG ROGERS is the recipient of many industry awards including “Recording Engineer

of the Year. “The Art of Digital Music” named him one of “56 Visionary Artists & Insiders”

in the book of the same name.

In the late eighties he founded EASTWEST, the most critically acclaimed virtual (soft-

ware) instrument developer in the world, and recipient of over 60 international indus-

try awards. His uncompromising approach to quality, and innovative ideas has enabled

EASTWEST to lead the industry for more than 20 years.

Producers: (left to right) Doug Rogers and David Fridmann

He released the very ﬁrst commercial Drum Samples CD in 1988, and followed it with

the multiple award-winning “Bob Clearmountain Drums.” In the years that followed, he

practically reinvented the sound-ware industry, introducing loop sample libraries to the

market in the early nineties, followed closely by the ﬁrst MIDI-driven loops collection

(Dance/Industrial), the ﬁrst sample library to include multiple dynamics, followed by the

ﬁrst sample library to stream from hard disk, an innovation that led to the detailed col-

lections users expect today.

EASTWEST | THE DARK SIDE

3Chapter 1: Welcome

His recent productions are:

• Hollywood Strings (co-produced with Nick Phoenix and Thomas Bergersen), engi-

neered by Shawn Murphy (Indiana Jones and the Kingdom of the Crystal Skull, Star

Wars: Episode II—Attack of the Clones, Star Wars: Episode III—Revenge of the Sith,

Star Wars: A Musical Journey, Jurassic Park, Jurassic Park The Lost World, and more)

• Symphonic Orchestra (awarded Keyboard Magazine “Key Buy Award,” EQ Magazine

“Exceptional Quality Award,” Computer Music Magazine “Performance Award,” and

G.A.N.G. [Game Audio Network Guild] “Best Sound Library Award”)

• Symphonic Choirs (awarded Electronic Musician “2006 Editor’s Choice Award,”

G.A.N.G. “Best Sound Library Award,” and Keyboard Magazine “Key Buy Award”).

Most recently, his productions have included EastWest/Quantum Leap Pianos, the most

detailed virtual piano collection ever produced; Fab Four, inspired by the sounds of the

Beatles, and M.I.P.A Winner, judged “most innovative virtual instrument” by 100 inter-

national music magazines; and now The Dark Side.

Producer: David Fridmann

David Fridmann is an American record producer and musician. He often brings a dis-

tinctive, expansive, open sound to the albums he produces. From 1990 onwards, he

co-produced all releases by Mercury Rev and The Flaming Lips (with the exception of

Transmissions from the Satellite Heart by The Lips). Other bands he has worked with

include: Weezer, Saxon Shore, Ammonia, Ed Harcourt, Sparklehorse, Café Tacuba, Elf

Power, Mogwai, Thursday, The Delgados, Low, Phantom Planet, Gemma Hayes, Goldrush,

Tapes ’n Tapes, Hopewell, Black Moth Super Rainbow, Number Girl, Zazen Boys, Sleater-

Kinney, Clap Your Hands Say Yeah, MGMT, OK Go, and Tame Impala.

As a musician, David was the bassist and a founding member of Mercury Rev. He gave

up his role as a touring member of the band in 1993 to concentrate on producing other

artists. He generally produces, engineers, and mixes his projects. In 2001, Dave was

included on MOJO’s 100 Sonic Visionaries list and was described as “the Phil Spector

of the Alt-Rock era.” In 2007, he received a Grammy for The Flaming Lips’ At War With

The Mystics at the 49th Annual Grammy Awards (Best Engineered Album, Non-Classi-

cal). In 2010, three Fridmann-produced albums were listed on the Rolling Stone 100

Best Albums of The Decade: MGMT’s Oracular Spectacular, The Flaming Lips’ Yoshimi

Battles The Pink Robots, and Sleater-Kinney’s The Woods.

Numerous albums that David has worked on have received sales certiﬁcations: MGMT’s

Oracular Spectacular (Platinum in the U.K., Gold in the U.S., Canada, and Australia),

The Flaming Lips’s Yoshimi Battles The Pink Robots (Gold in the U.S. and U.K.), The

Flaming Lips’ Soft Bulletin (Gold in the U.K.), Mercury Rev’s Deserter’s Songs (Gold in

the U.K.), Jane’s Addiction’s Kettle Whistle (Gold in the U.S.), Weezer’s Pinkerton (Gold

in the U.S.) and The Flaming Lips’ At War With The Mystics (Silver in the U.K.). In ad-

dition, three MGMT singles (Time To Pretend, Kids, and Electric Feel) were all certiﬁed

Gold in the U.S.

EASTWEST | THE DARK SIDE

4Chapter 1: Welcome

Credits

Created and Produced by

Doug Rogers and David Fridmann

Production Assistance

Rhys Moody

Programming and Editing by

Justin Harris and Michael DiMattia

Art Direction

Steven Gilmore, Doug Rogers, Shaun Ellwood, Julian Ringel

Software

Doug Rogers, Nick Phoenix, Rhys Moody, Klaus Voltmer, Klaus Lebkucher,

Julian Ringel, Patrick Stinson, Adam Higerd, Ezra Buchla,

David Kendall, Nick Cardinal, Jonathan Kranz

Manual

John Philpit

EASTWEST | THE DARK SIDE

5Chapter 1: Welcome

How to Use This and the Other Manuals

All documentation for the EastWest PLAY Advanced Sample System and its libraries is

provided as a collection of Adobe Acrobat ﬁles, also called PDFs. They can be viewed on

the computer screen or printed to paper.

Each time you install one of the PLAY System libraries, two manuals are copied to the

ﬁle system on your computer:

• The manual that describes the whole PLAY System. This, the largest of the manuals,

addresses how to install and use all aspects of the software that are common to all

libraries.

• The library-speciﬁc manual, such as the one you are currently reading. This smaller

document describes aspects that differ from one library to the next, such as the list

of included instruments and articulations.

Using the Adobe Acrobat Features

By opening the Bookmarks pane along the left edge of the Adobe Acrobat Reader, the

user can jump directly to a topic from the section names. Note that some older versions

of Acrobat Reader might not support all such features. The latest Acrobat Reader can

be downloaded and installed at no cost from the Adobe web site. (As an example of a

hyperlink, you can click on the last words of the previous sentence (“Adobe web site”)

to be taken directly to the Adobe site.)

When reading this and other manuals on the computer screen, you can zoom in to see

more detail in the images or zoom out to see more of the page at once. If an included

picture of the user interface, or a diagram, seems fuzzy or illegible, then zoom in using

one of several means provided in the Acrobat Reader software. Note that images are

clearest and screen shots most legible at 200% and next best at 100%.

Online Documentation and Other Resources

For the most up to date information, visit the support pages at EastWest’s web site.

There you can ﬁnd:

• information made available after these manuals were written

• FAQ pages that may already list answers to questions you have

• suggestions from EastWest and other users of the EastWest PLAY System

• news about upcoming releases

The address is:

http://support.soundsonline.com

EASTWEST | THE DARK SIDE

2. The Dark Side, An Overview

7 The Concept For The Dark Side

8 What’s Included

8 Hardware Requirements

EASTWEST | THE DARK SIDE

7Chapter 2: The Dark Side, An Overview

The Dark Side, An Overview

The Concept For The Dark Side

From Producer Doug Rogers:

This collection of instruments got its start when I was mentoring a young alternative

group about some demos they sent me. To my ears, their tracks didn’t sound tough

enough for their intended market, so I advised them they needed to toughen up their

sound. To that they replied, “Well, what should we use?”

Since they use a lot of virtual instruments in their music, I looked around and found

nothing, even in our own vast 1 terabyte collection. Then and there, I decided to make it

my next project after recent orchestral projects, a complete aural turn-around.

My ﬁrst choice as a production partner for The Dark Side was David Fridmann. I had

much admired his unconventional work for many years, and I asked him to join me in

producing this collection. His “no rules” style of recording and mixing was exactly what

I was looking for to help produce The Dark Side instruments.

Many of these instruments have been purposely—and skillfully!—mangled, distorted, or

effected out of all recognition. Some individual instruments went through 5 or 6 effects

units, including many rare vintage tube units that David and I have collected.

There is also a large selection of dark and eerie sounding instruments and FX you won’t

ﬁnd anywhere else, perfect for ﬁlm, TV, and especially games music production; you

probably won’t ﬁnd any collection more suitable for games music production.

Of course, anyone can distort an instrument, but it’s not easy to distort it with the right

combination of tube processing so it still sounds musical. With today’s brick wall limiting

to get tracks as loud as possible, distortion may be the only trick left to get an instrument

to jump out of a track and gain the listeners’ attention: a production tool that Muse, Nine

Inch Nails, Radiohead, and many others have used successfully.

In some cases, we used MIDI velocity to specify the playback of different sounds at dif-

ferent velocity ranges. For example, in Chameleon Morpher drum kits, instead of a higher

velocity triggering a louder version of the same sound, the sound character changes

completely; you get a different sound character depending on how hard you hit the key.

This produces unusual (and disturbing) results.

We have also used the Mod Wheel to cross-fade one sound into another. These program

names end in “mod” and are really inspiring.

EASTWEST | THE DARK SIDE

8Chapter 2: The Dark Side, An Overview

Our objective was to create a large collection of unique instruments that would work for

everything from alternative to symphonic rock, and of course, ﬁlm, TV, and game music

production.

Once we got started we were like bulls in a china shop: mass aural destruction was the

name of the game, and we had so much fun doing it. We amassed 40 gigabytes of instru-

ments, all organized into instrumental groups for convenience.

Of course, feel free to use these instruments any way you want, but our intent was to

have users mix the more distorted and mangled instruments with clean instruments

(of which there aren’t many included in this library) to make these sounds really stand

out—or disturb the senses!

Have fun!

What’s Included

The Dark Side library you purchased includes all the following:

• a complete set of sample-based instruments, enumerated later in this manual

• approximately 40 Gigabytes of 24-bit, 88.2 kHz samples

• the EastWest PLAY 2 Sample Engine

• the unique authorization code that identiﬁes the license you bought

• manuals in Adobe Acrobat (.PDF) format for both the EastWest PLAY System and The

Dark Side Virtual Instrument

• an installation program to set up the library, software, and documentation on your

computer

• an Authorization Wizard for registering your license in an online database

One required item not usually included is an iLok security key. If you already have one

from an earlier purchase of software, you can use it. Otherwise, you need to acquire one.

They are available from many retailers that sell EastWest and Quantum Leap products, or

you can buy one online at www.soundsonline.com.

Hardware Requirements

See the Play System manual for a complete list of the Hardware and Software Require-

ments for installing and running any PLAY System library.

The available space on the hard drive required for an installation of The Dark Side is ap-

proximately 40 GB (Gigabytes).

EASTWEST | THE DARK SIDE

3. The Dark Side User Interface

11 Filter Controls

11 ADT Controls

12 Round Robin Reset Button

12 Stereo Double Controls

13 The Master Button in the Reverb Controls

13 The Graphical Representation of the Envelope

13 The Browser View

EASTWEST | THE DARK SIDE

10Chapter 3: The Dark Side User Interface

The Dark Side User Interface

Overview

Each PLAY library presents its own interface when one of its instruments is the current

one, as speciﬁed in the Instruments drop-down in the upper right corner. The image at

the bottom of the page provides an overview of the entire window in Player View when

the current instrument is from The Dark Side library.

Much of this interface is shared by all PLAY System libraries, and the common features

are described in the PLAY System manual. The Dark Side-speciﬁc controls described

later in this section are those listed on the next page. If you don’t see a control described

in this chapter, look at the PLAY System manual.

EASTWEST | THE DARK SIDE

11Chapter 3: The Dark Side User Interface

Here are the controls described in this manual (and not in the PLAY System manual):

• Filter

• Artiﬁcial Double Tracking (ADT)

• Round Robin Reset

• Stereo Double

• The Master button in the Reverb controls

• The graphical representation of the Envelope

Filter Controls

The Filter controls take the sound of the instrument, and modify

it by ﬁltering out some of the sound above a certain frequency.

This type of effect is commonly called a Low Pass Filter.

The Frequency knob determines where the sound starts to be

ﬁltered out. The Resonance knob speciﬁes how much the ﬁlter

“rings” at the dialed frequency. The higher the resonance knob

is set, the more focused this ringing becomes.

The graph gives you visual cues about the frequency distribution you are creating with

the settings you select.

ADT Controls

Artiﬁcial Double Tracking is a technique, invented at Abbey

Road when the Beatles were recording there, that approx-

imates the effect of double tracking (recording two nearly

identical takes of a vocalist or instrument on the same part

and layering one on top of the other) without actually taking

the time to record two takes. And some would say ADT improves on actual double track-

ing even beyond the savings in time. The original ADT process was based on magnetic

tape; in the PLAY Engine, the effect is created digitally. The software programmers, how-

ever, added a tape simulator to mimic the slight speed variations of the two analog tape

machines that created the ADT effect.

The Delay knob speciﬁes in milliseconds, the delay between the original signal and the

secondary signal. A delay of around 40 ms is typical, so is often a good starting point

when crafting a speciﬁc effect.

The Depth knob speciﬁes the amount by which that delay is modulated. You don’t want

an exactly consistent delay; the delay of the secondary signal will vary forward and back-

ward in time by this much.

The Speed knob varies the speed at which that delay is modulated.

The Level knob speciﬁes the relative loudness of the secondary signal. Set it to 0.0 dB

to hear the effect at its strongest, with the same level on both signals; higher or lower

gives preference to one of the signals. The overall effect depends on their combination.

EASTWEST | THE DARK SIDE

12Chapter 3: The Dark Side User Interface

The Power button allows you to kill the ADT effect instantly and then reinstate it with the

same settings, as needed.

Round Robin Reset Button

A round robin articulation is one in which several different samples are recorded with all

parameters, such as volume, speed of attack, and so on, being essentially constant. The

PLAY Engine then knows to alternate between the two or more samples during playback.

The goal is to avoid what’s often called the “machine gun effect,” in which playing the

same sampled note repeatedly causes the unnatural sound of consecutive notes being

mechanically identical.

There’s one potential problem with round robin technology, and one way

to solve it is the Round Robin Reset button. The PLAY Engine remem-

bers which sample should be played the next time the note sounds. If, for example, a

round-robin patch contains two samples, A and B, and a piece uses that note 7 times,

the PLAY Engine plays A B A B A B A. If the piece is played again from the beginning,

the engine will play starting with B, because that’s next in order. The second rendition

will be subtly different. Being able to reset all round-robin articulations to the beginning

of the cycle allows for consistent playback.

You can use this button to reset all round robin articulations on demand. Or use your

choice of a MIDI note or MIDI control code to reset them one instrument at a time

from a MIDI keyboard or the data stored in a sequencer project. See the description of

the Settings dialog (in the main PLAY System manual) for more information about this

articulation-speciﬁc approach.

Most of the instruments in The Dark Side library take advantage of round robin technol-

ogy, even though, unlike some other EastWest libraries, the instruments do not include

“RR” in their names. So be sure to use either this button of the MIDI code for resetting

the round robin sequencing if a consistent performance is important to you in the given

project.

Stereo Double Controls

This knob, with its three buttons, gives the user the option of using ex-

clusively the left stereo signal or right when “Stereo” is selected from

the Channel Source drop-down. For any other setting, this control has no

effect.

The knob lets the user determine the spread of the signals, how far apart the ear per-

ceives the stereo channels to be. A value of 0% brings the two channels together at the

center (unless the Pan knob positions the output differently), and is the equivalent of

turning off the controls with the Power button at the right. A value of 100% calls for the

maximum spread available. Select between the left and right signal with the L and R

buttons, respectively.

EASTWEST | THE DARK SIDE

13Chapter 3: The Dark Side User Interface

The Master Button in the Reverb Controls

In some libraries, including The Dark Side, the

Reverb controls in the UI include an extra button

called Master. Turning on this feature feeds the

audio signals from all the open instruments in this

instance of PLAY through a single Reverb. Turning this on can save on processing power

by running only one instance of the Reverb software (instead of each instrument process-

ing its own Reverb effect). But if you turn Master on, you then cannot run different reverb

spaces for different patches, or different settings for the Pre-Delay and Amount knobs.

The parameters for the Reverb space named in the instrument with Master turned on are

the space and the values that will apply to all instruments in this instance of PLAY.

Note then when you turn on the Master option, the message above appears to remind you

of the consequences of this action.

The Graphical Representation of the Envelope

The Envelope Controls are described in the main PLAY

System manual because they are common to all PLAY

System libraries. Only some libraries include the graph,

as shown here, so it is included in the manuals for

those libraries only. For more information about the En-

velope controls, see that topic in the main PLAY System

manual.

Note that the total width of the graph represents the

total length of all phases of the envelope. Therefore, when you change something in one

part of the graph, for example, the length of the decay, you may see the slopes of other

components, the attack and the release, change as well because those phases become

a larger or smaller percent of the whole; this is as expected.

The Browser View

The Browser behaves identically among all PLAY System libraries. Read the main PLAY

System manual for information about how to use that view.

There’s one difference in The Dark Side Browser, though. When opening an instrument,

the Abort button appears in a different place than for other libraries, temporarily replac-

ing the Add and Replace buttons, as shown below. Click on this button to stop the instru-

ment from opening.

EASTWEST | THE DARK SIDE

4. Instruments, Articulations, and Keyswitches

15 Instruments with Effects

16 Uses of the Mod Wheel in The Dark Side

16 The Table of All The Dark Side Instruments

22 Mod Wheel Cross-Fades

23 Keyswitches

29 Descriptions of Selected Instruments

EASTWEST | THE DARK SIDE

15Chapter 4: Instruments, Articulations, and Keyswitches

Instruments, Articulations, and Keyswitches

The instruments in The Dark Side library are divided into 9 categories based on the type

of physical instrument that was sampled before the distortion was added. These instru-

ments were then grouped into these 6 folders:

• 1 Drums

• 2 Basses

• 3 Guitars

• 4 Keys and Strings

• 5 Ethnic and Choirs

• 7 Miscellaneous and Percussion

These types of instruments form 6 of the 7 folders visible in the

PLAY Browser. From these folders you can select the various and

diverse instruments created speciﬁcally for The Dark Side. (The

numbers at the beginning of each folder name are there only to

keep them in this order.)

Instruments with Effects

To create the seventh folder, “6 Instruments wFX,” the producers collected a selection

of instruments from the other folders and applied to each patch one or more of the ef-

fects available in the Player view of PLAY. For example, the instrument called “Guitars

on Mars wFX” adds to the basic “Guitars on Mars” patch the Live Cathedral convolution

reverb and the ADT processing. There are two reasons for including such a folder:

• The inclusion of these effects generates sounds different enough from the basic ver-

sion and usable enough to be worthy of standing on their own.

• The sounds provide examples of how you can create your own variations on any and all

of The Dark Side patches with the controls in the Player view. Feel free to experiment

with these controls by adjusting the parameters and/or by layering multiple effects

together to achieve new and unique sounds to include in your own compositions. And

when you hit upon a combination of patch and effects that you like, save your new

sound to the ﬁle system as a new instrument with a new name (i.e., as a new .ewi ﬁle).

Where these “wFX” instruments appear in the table below, the second column lists the

effects applied. These effects include Delay, Artiﬁcial Double Tracking (ADT), and any

one of the Reverbs (the phrase in quotation marks).

The number that follows the names of the keyswitch ﬁles in the table is a hyperlink. Click

on this number to be taken to a table that lists the articulations within the ﬁle.

EASTWEST | THE DARK SIDE

16Chapter 4: Instruments, Articulations, and Keyswitches

For more information about these instruments, see details after the table.

Uses of the Mod Wheel in The Dark Side

There are two ways that The Dark Side library allows you to use the Mod Wheel (also

called CC 1 when referred to as a MIDI control code):

• For those instruments in the “_KS and Mod XFD” folder that have MOD in the name,

the Mod Wheel allows you to adjust how much of two different instruments in a cross-

fade are audible at any time. This feature is described in more detail for the various

cross-fade instruments starting on page 22.

• For all other instruments (i.e., those that do not have MOD in the name), the Mod

Wheel controls a 2-Pole Low Pass Filter. With the Mod Wheel at the bottom of its

range, all frequencies are heard because the ﬁlter is all the way open. As you push up

the Mod Wheel (or increase CC 1 in a sequencer), the ﬁlter closes, cutting off high-

end frequencies at a progressively lower and lower point. This feature allows you to

do ﬁlter sweeps on the ﬂy.

The Table of All The Dark Side Instruments

THE DARK SIDE INSTRUMENTS

1 Drums

Arena Kit

Bone Crunch

Broken Circuit

Chameleon Big Room (Regular & Distorted)

Chameleon Dry (Regular & Distorted 1 & Distorted 2)

Chameleon Morpher

Chameleon Open Mic (Regular & Distorted)

Chameleon Roomy (Regular & Distorted)

Dark Dirt

Demolition

Dungeon

Slamming

Slap Kit (24 inch & 50 inch & 106 inch)

Underground

Verb Kit Dry

Verb Kit Morpher

Verb Kit (Verb 1 – 5)

continued

EASTWEST | THE DARK SIDE

17Chapter 4: Instruments, Articulations, and Keyswitches

THE DARK SIDE INSTRUMENTS

_Keyswitch and Mod Wheel Cross-Fades

Chameleon Keyswitch C0–G#0 23

Slap Kit Keyswitch C0-D0 24

Verb Kit Keyswitch C0–F0 24

2 Basses

Bass Hemorrhage Sus

Bass Snatchers Legato

Bass Snatchers Slide (Up & Down)

Bass Snatchers Sus

Destroyer Bass

Distorted Attack Bass

Fuzz Bass

Mean Synth Bass

Nuclear Bass

Perc Bass

Radioactive

Rattly Bass

Relatively Clean Bass FX

Relatively Clean Bass Harmonics

Relatively Clean Bass Legato

Relatively Clean Bass Slide (Up & Down)

Relatively Clean Bass Sus

Slightly Dirty Bass

Slightly Dirty Bass Light

_Keyswitch and Mod Wheel Cross-Fades

Fuzz_Rattly Bass MOD

Hemorrhage_Fuzz Bass MOD

Rattly_Perc Bass MOD

Bass Snatchers Keyswitch C0–D#0 24

Relatively Clean Bass Keyswitch C0–F0 24

The Dark Side Basses Keyswitch C0–A0 25

continued

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East West Sounds The Dark Side User manual

East West Sounds The Dark Side User manual

East West Sounds The Dark Side User manual

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