Since the last post about recording Stephen Hiscock’s Gyil (Yes I was spelling it incorrectly! O dear) I took some time to edit and put the resulting hits into Kontakt.
Here is a link to the Current Ghanaian Gyil V1.0,
Feel free to download and play with it if you’re looking for something authenically african and I’d love to hear any feedback.
I don’t want to dive too deep into a ‘How to create a velocity sensitive instrument in Kontakt’ post, but there’s few thoughts from the process I thought it’d be interesting to note.
My main DAW’s are Ableton Live and Logic, but I decided to try using Ableton for this process. The first step was to record the Gyil into Ableton through my SD 702 and soundcard. I only had two Preamps available at the time, so used an XY setup about a metre away from the top of the Gyil. The first note, having a few different mic positions would probably help with integrating the sound of the Gyil with other libraries, but starting with a fairly dry, close recording is great starting point.
The Gyil has 14 notes and I wanted to try 2 round robins of each and have 5/6 velocity layers for each note played with both ends of the beaters. So that’s 336 individual samples to edit.
Manually this takes a while and is fairly tedious. Both Logic and Ableton have a feature which slices a piece of audio from its transient markers and creates a new MIDI instrument. However, neither of these cut the audio up usefully for Kontakt. Logic does have a ‘Split Silence’ feature that does a better job at slicing the regions, with a bit of tweaking, by transient. Either way there is an amount of time spent finessing this, as the hits need to be very closely trimmed to the start of the transient.
Once each hit was edited and ready to slot into Kontakt, I set up a new instrument and using the mapping editor placed the 6 velocity layers for the first note on it. Spreading them across the 127 potential velocities.
Again this could take a while, but you can quite easily copy and paste one set of 6 velocity samples onto another key on the mapping editor, then re-locate each of the copied samples to the next note in the sequence to save time (I didn’t find this out until I’d spent a good few hours on a fairly bumpy flight trying to be precise with my trackpad… Bad idea!)
A similar process applies to the second takes (Round Robin takes) this was fairly simple. The mapping editor works in groups, for each round robin you create a new group and set that group to be a certain either the first or second set of round robins. Again copying the already mapped first takes and pasting that into a new group meant I could re-locate the samples within this second group with the second takes.
I did the same thing with the hard wooden end of the beaters and placed those into two new groups. Had a play with photoshop and added the Attack and Release knobs through looking into the inner workings of other Kontakt instruments scripts.
A little messing with key switches and it was prett much there.
So please do have a play with the Gyil and enjoy!