FHP Manual

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FlyingHand Percussion - Manual v1.0 Copyright 2006 Eitan Teomi - handheldsound.com

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FlyingHand Percussion A Hand Percussion Sample Library for Kontakt2 sampler.
Copyright 2006 by Eitan Teomi.
All rights are reserved.
CREDITS:
Produced By Eitan Teomi

Instruments and mentoring By John Bergamo
Naal, and Djembe played by Justin DeHart
Additional Sound for 'Mutants' by Benjamin Wynn
Nitro FHP Edition by PSP Audioware
Reverb Impulses by Voxengo
Manual and Graphic Design by Eitan Teomi
Box design and LOTS of Love by Monica Almada
Box Production by People's Craft, Nepal
CONTACT:
www.flyinghandpercussion.com
support@flyinghandpercussion.com
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Welcome to FlyingHand Percussion.
Thank you for your purchase of 'FlyingHand Percussion'. This sample library represents a 2-year dedicated and
elaborated artistic process. A process in which its results brought to life the vision I had before taking it on. The
library you are about to explore holds a level of topmost realism, depth, and detail which is totally new and
ground-breaking.
This Library is dedicated to my

wife, Monica, and son, Yohanan,
who had put up a lot, and made
incredible sacrifices for this project
to come to life.
I would also like to thank my loving
family for their support.
- Introduction
FlyingHand Percussion is a dedicated Hand-Percussion sample library.

It represents an authentic and evocative ensemble through an all-inclusive collection of articulations, replication
of the drums behavior at various playing techniques, and nuances from each instrument.
Whether composing or playing live, the outcome is great responsiveness, character and real time authenticity,
and complete freedom and genre independence.
This innovative ensemble will glow no matter the music you play or write!
In FlyingHand Percussion each instrument sounds and responds as if playing a real one. The drums' resonance
behaviors and tendencies when playing the various articulations were all sampled and are implemented to be
released in real time exactly when needed.
Most importantly, each drum fulfills its true musical depth with an exhaustive set of extended articulation
techniques using unconventional playing styles.
For this purpose, I have contacted Master Percussionist, Composer, and Educator Mr. John Bergamo, to
advise on articulations, instrumentation, and tonal abilities from each instrument.
FlyingHand Percussion includes the following:
Multisampled Hand Drums with Legato Drumming system
Cinematic Sound Effects and Virtual Ensembles derived from the real instruments, and -
A unique Electronic and Hybrid Drums section
In addition, FlyingHand Percussion includes custom Reverb Impulses by Voxengo with numerous virtual
spaces, and a special edition of PSP Audioware 'Nitro' FilterBank Plugin, with dedicated presets.
The included instruments were all tested both as solo and as part of the Ensemble, in terms of frequency
coherency and musicality, for tight integrated sound.
Recorded using several microphone settings and including embedded programming for realtime control, the
samples are woven into real instruments, complete and vibrant, delivering superb thematic depth and playability.
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- Concept and Musical Direction
The concept behind FlyingHand Percussion is to deliver ultra detailed sound from each instrument. Each
instrument includes a comprehensive set of playing articulations, highlighting every musical nuance available.
More so, the intention is to simulate how the drums respond as different articulations are played in real time.
Percussion instruments in general, and hand Percussion in particular, offer so much more tonal diversity than
the conventional idiomatic tones. Especially when broadening the ways of striking the instrument using unique
playing methods and articulations. Following this notion, each instrument in this library becomes an inspiring and
expansive world of sound. With such a vast selection of articulations and delicate musical nuances, each
instrument is so rich that it steps beyond its own ethnicity.
In order to effectively capture each instrument and achieve the set goals, several production practices were
employed to gain (no pun intended) the large dynamic range necessary for such contrast between the intimate
and the powerful sound qualities.
The recording spaces were modified to be as transparent as possible to enhance the raw sound of the
instrument and leave it unaffected by acoustics. The instruments, then, were recorded from several angles using
multiple microphones. Each microphone can be loaded and treated separately. The result ensures total control
in your compositions and later in the mix. The instruments are presented in all their glory and since all are
minimally processed they, are ready for virtually any style of music and mixing approach.
The level of detail and the wide dynamic range make it very appropriate to play the instruments in a LIVE setting
using dedicated MIDI controllers. FlyingHand Percussion was fully tested and includes special mappings for use
with the ZenDrum MIDI controller.
You are presented here with real live instruments with real possibilities and authentic control.
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- Features
Below you can find the features of 'FlyingHand Percussion' :
1. Extensive sampling data-

Over 40,000 of individual samples.
ultra wide dynamic range (over 50 db) and up to 20 velocity switches.
4 'Alternate hits' for each articulation on each velocity switch.
A meticulous collection of articulations including detailed extended playing techniques.
Complete representation of left and right hand samples on each articulation.
Multiple playing zone from each drum
A vast array of strike combinations including palms, fingers, etc.
Up to 4 microphone configurations per instrument. Sample accurate and phase coherent.

Samples were hand edited for seamless integration.
2. Embedded programming-
Great responsiveness and topmost realism.
Live and Dynamic performance aids:
Resonance control for Dynamic mutes and pitch alteration.
Legato Drumming- dynamic replication of live playing and instrument control in realtime.
Intelligent response to loudness and speed of play.
3. Power and ease of use-
Innovative, consistent, and logical mappings allow ease of use and fast professional results.
Embedded performance aids and intelligent sample programming in real time.
Optimized for Studio production and Live playing. Includes custom mappings for the
ZenDrum Midi drum controller.
4. Electronic Percussion-
The 'Morphosis' section features unique sound from resonances extracted from real objects, combined
with a straightforward construction kit style mapping.
Includes samples representing Bass Drum, Snare, Hi-hat, and fx.
5. Cinematic Sound design-
The 'Mutants' section features instruments which enhance the dramatic effect.
Re-pitched and treated versions of the acoustic instruments,
cinematic sound effects, and
Live 'Bigger Than Life' Virtual Ensembles.
6. Virtual 'rooms' via hi quality audio impulses-

Pristine Stereo and Surround impulses custom made by Voxengo.
Impulses include several types of halls, and rooms of different characteristics.
7. Special edition of PsP Audioware Nitro FilterBank plugin-
Nitro FHP edition comes with dedicated presets for 'FlyingHand Percussion'.
8. Unique ultra detailed and punchy sound-
Premium quality drums including handmade and one-of-a-kind instruments.
Neumann, Earthworks, Shure, and AKG microphones.
Hi-end preamps including critical use of the Demeter VTMP-2C
(the only standalone preamp ever nominated for a TEC award).
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- Instrumentation
The following is the instruments included in 'FlyingHand Percussion'. Although for the most part these are hand
played Percussion, there are several mallet based instruments and also a dedicated section of special electronic
based Percussion and fx.
14'' Ashiko
16'' Frame Drum
22'' Frame Drum
Bongo Cajon
Plastic Bottle
16'' Djembe
Indian Naal
Clay Drum
Indian Kanjira
Orchestral Bass Drum
Tam Tam
Boomwhackers
Congas
Timbales
Shakers / Toys
Triangle
Trine
Shakers
Bell Stick
Bell Tree
Cowbells
Anklungs
Piru Claves
Woodblocks
Morphosis (Electronic Percussion Section)
Bass Drums
Snares
Hi Hats
Metallic FX
Mutants (cinematic sound design derived from the acoustic instruments)
Re-pitched Instruments
Drones
Impacts
Hits
Reverses
Construction Kits
Virtual Ensembles
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- Using 'FlyingHand Percussion'
Using 'FlyingHand Percussion' is very intuitive. Although each instrument holds many features and capabilities,
they are already embedded and played in real time, so authentic results are achieved immediately. The
instruments are systematically mapped across the keyboard. Generally, there is a split point which divides the
instrument to left and right hand sample sections. Every instrument is presented with complete representation of
left and right hand samples without any duplication. The mapping scheme resembles a mirror where similar
articulations are organized in opposite directions across the keyboard. This way, playing right and left hand
articulations becomes trivial and emulates playing a real drum. The ideal playing method is by first locating the
split point and placing the hands around it. Think of it as if you are placing both hands on the skin of the drum.
The mapping illustrations below, indicate where the split point is, where each articulation resides, and of any
special features available. As you learn where everything is and audition several right and left hits, you will
discover how easy it is to create realistic performances.
In addition to the instruments embedded control, each one comes with auxiliary performance knobs. Each knob
responds to a MIDI controller. Later on we shall discuss the specifics of the performance knobs.
There are several conventions and terms often addressed in this manual that need to be explained. They will
help you to understand how to effectively play any instrument, how it is constructed, and what are its abilities:
- Articulation
This refers to the method used to produce sound from the instrument. In FlyingHand Percussion the articulations
include using a specific part of the hand or fingers, and also playing on different zones on the drum. Each
instrument in the library includes a multitude of articulations. Available playing styles include the conventional
techniques, and a vast array of extended techniques using different parts of the fingers, palms, and combination
strokes. The included mapping charts illustrate all the articulations for easy learning and reference.
- Dynamic articulation
This refers to an articulation that changes in real time according to how it is played. One example is with the
dynamic mute tone. In this articulation when a key is released relatively fast, the remaining resonance of the
instrument is heard. Apart from mutes, there are several types of dynamic articulations such as pitch alteration,
tremolo, muffling techniques, etc. The dynamic articulation is controlled by the Legato Drumming system.
- Alternate hits
In FlyingHand Percussion, each velocity switch has 4 unique alternates. This means that whenever a sample is
triggered, it is never the same even if it is the same velocity,. The alternates are organized in a 'Round Robin'
that cycles without allowing consecutive repetition. This allows for the most delicate and detailed percussive
passages since no hit is exactly the same.
- Legato Drumming
FlyingHand Percussion is designed with the ability of replicating a live performance as if playing a real drum.
Apart from the recording and playing techniques employed for this purpose FlyingHand Percussion utilized the
groundbreaking Legato Drumming system.
Legato Drumming maximizes the correct feel and response from the instrument by replicating the live motion
and certain 'delicate dirtiness' which happen when playing a real drum. There are two main occurrences in a live
performance: First, the instrument is dynamically affected by how it is played and its resonance never remains
sonically static. Second, when playing live, some inevitable 'inconsistencies' happen. These 'inconsistencies' are
the sounds which are produced when the player hits the 'wrong' spots, or rub the skin and slide when moving
from one drum zone to another. The drum, then, produces sounds along with the desired articulation. These
sounds, although unintentional, are very musical and add depth and authenticity to a performance. The Legato
Drumming implements these performance occurrences by controlling the resonance of the instrument and
unleashing appropriate Legato sounds which are embedded and conditioned to be released automatically in
realtime when necessary. The Legato Drumming dynamically responds to loudness and speed of play
ensuring maximum realism and real authentic nuances.
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- In depth look at each instrument, its features, embedded programming and mapping
Below, you can find the mapping charts which illustrate where everything is. As mentioned before, the mapping
follows a very powerful concept simulating playing a real drum:
Generally, The D3 key represents the middle split point. Playing lower than D3 triggers left hand samples and
playing higher triggers right hand samples. When playing around D3, in the middle of the keyboard, you are
actually triggering articulations from the center zones of the drum. moving towards the edges of the keyboard
simulates playing off the center in both direction until the edges of the instrument.
The mapping charts illustrate the available articulations and include several abbreviations:
Muf = a muffled tone, OC = Off Center, ff = Forefinger, mf = Middle finger
GREEN font color indicate a modulation is available.
RED font color indicates that the articulation is a short performance, usually a fill.
Some instruments could not follow this mapping structure and are described as follows:
Battery type instruments (Bongos, Congas, and Timbales). In these instruments the mapping had to be
partitioned to include left and right hands samples for each drum in the battery, so essentially, the
mapping is divided into 4 parts. The specific mapping chart shows where those split points are.
Special playing technique instruments (Naal, Kanjira). Please refer to the instrument's mapping
description below to learn more about the playing technique and how it affected the mapping.
- Microphone Positions and Naming Scheme
Each instrument in the library was recorded using multiple microphone setup. Up to three microphone positions
were used to capture each instrument. These positions are available as separate instruments for easy mix and
match. Moreover, each instrument features a 'light load' derivative which does not include the alternate hits. This
greatly reduce the memory needed to load each instrument.
The instruments naming scheme, therefore, is as follows:
InstrumentName_AMB = Ambient Stereo microphone setup.
InstrumentName_Close = Close microphone setup.
InstrumentName_Top = Close miking pointing at the drumhead (capturing hi-end).
InstrumentName_Bottom = Close miking pointing at the bottom of the instrument (capturing bass).
InstrumentName_NoAlt = A 'Light Load' version of the instrument without any alternate hits.
Different microphone setups from each instrument are suitable to be layered and triggered together in unison.
You can then hear how the instrument sounds in a multiple microphone session. The instruments were edited in
the mutitrack realm to allow sample accurate timing between the various microphones without phasing.
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- A word about embedded control and programming
Every instrument in this library allows for detailed reproduction of its true reaction to the various playing
techniques. This is possible through several forms of embedded control that is either executed intelligently while
playing, or using MIDI controllers such as the modulation wheel.
Below is an outline of the available real time, and MIDI controlled performance enhancements:
1. Legato Drumming Thoroughly implemented in each instrument and executed in real time.
Replicating reality, the Legato Drumming system allows your MIDI tracks to sound and behave as a
true live performance with all the desired nuances and sonic inconsistencies.
2. Drum Resonance Control this is a dynamic reproduction of what happens when drums are muted.
Whenever a muted or muffled articulation is played, if the key is released quickly, a release sample of
the remaining of the instrument's resonance will be heard. Only if a key is held down long enough, there
will be no resonance.
3. Voice Groups (sometimes refers to as Choke Groups) every instrument has several parameters to
define its voice groups. The voice groups determine how many voices can play at the same time
(maximum polyphony) and allow for the silencing other voices if the current played articulation is of a
muted stroke.
- The Performance Knobs
Apart from the embedded control, each instrument loads with a set of auxiliary performance knobs.
Most often the knobs control the following:
1. Legato control - alters the volume of the Legato Drumming system.
2. Filter cutoff controls the amount of filtering.
3. Filter Resonance controls the amount of emphasis of the frequencies around the cutoff.
4. Release controls the release volume envelope.
Specific instruments include other types of controls such as volume attack, fx, and stereo spread.
The knobs respond to MIDI continuous controllers 20-24.

Please refer to the mapping illustrations below for specific knob routings for each instrument.
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14'' Ashiko-
About the Instrument:
This Ashiko drum is a cone shaped African drum. This one is made from Maple wood with a natural
Goat skin head. It features clear highs and mid range and a very tight bottom end. The drum was tuned
higher than normal to allow crisp high-end.
The Ashiko includes 3 microphone settings: Top, Bottom, and Stereo ambient.
Mapping:
Special features:
Create your own crescendo rolls by playing trills using the dynamic rolls keys.
The modulation Wheel controls the dynamics by crossfading the velocities from the softest to loudest.
F#3 = dynamic articulation. Turning the modulation wheel reveals n alternative muted sound.
C0 - D0 = Key switches. Turning Legato Drumming on and off respectively. (On setting is the default)
Performance knobs: Legato CC#21, Cutoff CC#22, Resonance CC#23, Release CC#24
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16'' Frame Drum-
This Frame Drum is a Remo 'John Bergamo Signature Series' Drum. It is a very well balanced drum
allowing for deep bass, extended mid range, and resonant highs.
The Frame Drum includes 2 microphone settings: Top, and Stereo ambient.
Mapping:
Special features:
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22'' Frame Drum-
This Frame Drum is a Remo 'John Bergamo Signature Series' Drum. This drum sports a very unique
tone with extended frequencies ranging from very deep and full sounding bass to crackling highs. Its
size allows for very long sustain time. The Frame Drum was suspended on a custom made stand freeing
the hands for more controlled articulations.
The Frame Drum includes 2 microphone settings: Top, and Stereo ambient.
Mapping:
Special features:
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Bongo Cajon-
The Bongo Cajon is not a normal Bongo. It is fully wooden and instead of skin, it has a thin layer of
mahogany wood. The tone resembles a traditional Bongo, yet, with an aggressive distinctive character.
The Bongo Cajon includes 2 microphone settings: Top, and Stereo ambient.
Mapping:
Special features:
The modulation wheel control a low pass filter that can be applied to the sound.
A#1, F#2, A#3, F#4 = dynamic articulations.

Turning the modulation wheel extends these muted articulations with pitch alteration samples.
This articulation is played using the thumb to apply pressure on the head of the drum as the other hand
strikes the muted stroke. This is a very common Bongo playing technique.
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Plastic Bottle-
This is a 5 Gallon jug of water (empty, of course).

It has a very musical and rich tone.
The bottle includes 3 microphone settings: Top, Top+Bottom, and Stereo Ambient.
Mapping:
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16'' Djembe-
This Djembe a very large African style drum. Its large diameter allows for a vast array of articulations
and tones. It is very famous for its thunderous bass response and overall loudness. The Djembe is
probably the most recognized African drum since it is very powerful sounding and has an impressive
tone quality.
The Djembe includes 3 microphone settings: Top, Bottom, and Stereo ambient.
Mapping:
Special features:
C3, E3 = Dynamic articulation.

Turning the Modulation wheel reveals an alternative technique for the same articulation.
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Indian Naal-
The Naal is a very unique Indian Drum. It is the folk cousin of the classical Tabla. The Naal is a barrel
shaped drum played horizontally. It features two playable sides with goat skin heads. One side is the
Bass, the other is the Treble. The treble side features the same architecture of the Tabla head. Due to
its relationship to the Tabla, the tone quality is rather similar although the Naal features a more robust
and raw sound character. In terms of sound production, the Naal features the same type of articulations
played on the Tabla including combination strokes which use both sides at the same time acting as one
articulation.
The Naal includes 2 microphone settings: the 2 sides, and Stereo ambient.
Mapping:
Since the Naal is a double sided drum, C3 is the breakpoint between left and right hands. The left hand
plays the bass side, and the right hand plays the treble side.
Special features:
C3, E3 = Dynamic articulation. The Modulation wheel reveals an alternative for the same articulation.
D#2 (marked 'SCALE') = Dynamic articulation. The Modulation wheel reveals a pitch alteration switch.
F#2 (marked DUM+GEY) = Dynamic articulation. The Modulation wheel reveals a pitch modulation
speed switch.
G#2 (marked GEY) = Dynamic articulation. Features a pitch slide release sample.
D#4 (marked DERI-DERI) = Dynamic articulation. Features a second stroke release sample to allow
traditional use of this articulation which most often played in double strokes.
Performance knobs: Legato CC#20, Spread CC#21, Cutoff CC#22, Resonance CC#23,
Release CC#24
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Clay Drum-
This is a custom made clay drum resembling the Udu. It is made of a one-piece thick layer of Clay
burned in a high temperature Kiln. The Clay Drum was acoustically isolated from its stand to maximize
volume, and sustain.
Mapping:
Special Features
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Orchestral Bass Drum-
This is a large Orchestral Bass Drum (Gran Casa). This drum was suspended horizontally, floated from
the floor and played with the hands.
The Bass Drum includes 2 microphone settings: Top, and Stereo ambient.
Mapping:
Special features:
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Tam Tam-
This is an Orchestral Tam Tam. It is one of the only instruments in this Library played with a mallet.
Besides the obvious stroke, it features bowing, scraping, superballing (played with a rubber ball) and
other fx.
The Tam Tam includes 2 microphone settings: Top, and Stereo ambient.
Mapping:
Special features:
Performance knobs: Attack CC#21, Cutoff CC#22, Resonance CC#23, Release CC#24
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Boomwhackers -
The Boomwhackers are tunable plastic tubes. The 'D' and 'G' notes were sampled.
Mapping:
Special features:
The Modulation wheel controls the attack of the volume envelope
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Congas-
The Congas includes 3 microphone settings (for every drum): Top , Bottom, and Stereo ambient.
Mapping:
Special features:
The low Conga drum is centered around the D3 key.

Playing lower triggers left hand samples, and playing higher triggers right hand samples.
The high Conga drum is centered around the D4 key. It is mapped the same way the low Conga is.
Performance knobs: Legato CC#20, Spread CC#21, Cutoff CC#22, Resonance CC#23,
Release CC#24
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Timbales-
The Timbales are another instrument which was played with mallets.
The Timbales includes 2 microphone setups: Top (for each drum), and Stereo ambient.
Mapping:
Special features:
Performance knobs: Spread CC#21, Cutoff CC#22, Resonance CC#23, Release CC#24
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Shakers / Toys
Triangle This is a Grover all-Brass orchestral Triangle. It was played using 2 types of beaters.
Beater 1 is medium thick copper, and beater 2 is a thin steel rod for lighter sound.
The Triangle includes 2 microphone settings: Close, and Stereo ambient.
Mapping:
Special features:
C3 and D3 contain a dynamic mute release sample.

The note sustains as the key is held and dynamically muted upon release.
C#3 and D#3 contain the full sustain with no release sample.
E3 = dynamic articulation.
Turning the modulation wheel reveals three mute sound versions.
The modulation wheel controls a global low pass filter.
C4 and D4 (marked as Trill) are designed to create the trill effect by playing them alternately.
Performance knobs: Chorus CC#21, Cutoff CC#22, Resonance CC#23, Delay CC#24
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Trine The Trine is a one-of-a kind instrument which looks like a 4 level metal triangular spiral.
It can really make a wide variety of metallic sounds depending where you hit.
Mapping:
Special features:
C4 - G4 keys contain a dynamic muted release sample.

The note sustains as the key is held and dynamically muted upon release.
The modulation wheel control the attack of the volume envelope.
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Shakers There are several Shakers to choose from. 'Shaker' is a medium large wooden shaker,
'Chiquita' is a small plastic shaker, and 'Bamboo' is a flat rattler. The latter was played by hitting it
with the palm while holding it in place with the other hand.
Each Shaker includes 2 microphone settings and a variety of articulations.
Mapping:
Special features:
The modulation wheel fine-tunes the attack to allow dynamic control over the transients.
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Bell Stick this is a metal bell stick with bells of different sizes.
Mapping:
Special features:
The white keys feature a short release. The black keys contain the full release.
The modulation wheel controls the volume attack.
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Bell Tree
Mapping:
Special features:
Performance knobs: Attack CC#21, Cutoff CC#22, Resonance CC#23, Delay CC#24
Cowbells & Cymbal There are 3 cowbells and a crash cymbal. They were recorded as part of the
Timbales setup. There is only 1 microphone setting here the stereo ambient. It is at the same
position as the Timbales ambient setting.
Mapping:
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Anklungs Anklungs are a unique Asian bamboo instrument. The bamboo has a rattler inside that
makes a very 'woody' sound when shaking it. 4 different sizes are included.
Mapping:
Special features:
The modulation wheel fine-tunes the attack to allow dynamic control over the transients.
Piru Claves These are a unique set of Claves.

The Claves are capable of producing 2 basic tones and sound very earthy.
Mapping:
Special features:
These are Claves for cryin' out loud!
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Morphosis (Electronic and Hybrid Percussion Section)
About the Instruments:
This section was designed to deliver Percussive sounds which are all unique and extremely musical.
All the sound elements In the Morphosis section were designed from scratch using several non-
conventional syntheses practices and sound sources.
For the most part, the raw material was gathered by capturing the fundamental resonances from found
objects. Other methods of producing sound were noise shaping, and FM synthesis.
The raw material was then taken to production where it was musically sculpted and transformed
into highly responsive musical instruments.
Apart from Bass Drums, Snares, and Hats, the Morphosis section includes unique metallic sounds
featuring deep impacts, bell-like tones, and FX.
Mapping:
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Special features:
The Electronic Drums instruments are organized in a construction kit style. All elements (BD, SD, HH)
can be loaded to the same MIDI channel and played as a modular kit without note overlaps.
The Impact and Impact_Sub instruments include two key switches.
C0 = Full Sustain samples, and
D0 = Dynamic sustain. Releasing a key will cutoff the sustain
The Rez_FX set of instruments include two key switches.
C0 = Full Sustain samples, and
D0 = Dynamic sustain. Releasing a key will cutoff the sustain
All the instruments in the Morphosis section include Filter modulation assignments via the Modulation
wheel. All assignments are using a Low Pass Filter except the Hi hats and Rez instruments which
feature a Hi Pass Filter.
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Mutants Section-
About the Instruments:
The Mutants section is a very exciting set of instruments.

In this section, the live acoustic instruments were revisited in several ways to construct 'Mutant'
instruments. The emphasis is on presenting a diverse collection of enhanced and dramatic instrument
designs based on the original source material. Since the original material was minimally processed and
has a raw character, there are endless possibilities of creative usage with the source material. The
instruments section presented here is merely the tip of the iceberg.
The Mutant section, therefore, includes several types of instruments:
Re-pitched instruments.
Virtual Ensembles
Hits and FX
Mapping:
The collection of re-pitched instruments feature the same mapping configuration as their original
instrument counterparts. Apart from being re-pitched, the instruments feature a pitch shift and
randomization network accessible via the 'Rand' auxilary knob.
The Cues_aux
As the name suggests, this multi instrument ensemble was designed as a versatile sound palette to create
dramatic 'Cue' and instrumental impacts type sounds. The instrumentation is very elaborate and varies from
stacked hits to delicate add-ons. With a bit of practice, it is possible to get very large sounding foundational
rhythm beds.
Since the instrumentation is already given, this ensemble instrument can give an instant gratification for trying
out new ideas for rhythm or for complete compositions.
Each instrument in the multi has its own output fader and the reverb impulses are routed through dedicated Aux
sends. This method is greatly reducing CPU usage since the fx are running as aux sends and are not directly
loaded inside each instrument. Also, this setup allows for easier reconfiguration of levels.
The mapping range is C3 and D3
Shadow Group
This ensemble instrument features dark and ambient-type sounds compiled from several instruments. The
different instruments are mapped in groups accross the keyboard. The black keys feature wood and metal
sounds and the white keys feature several articulations from various instruments all reworked to fit the
ensemble's sound.
Special features:
This instrument loads with a dark hall reverb impulse.
Naturally, other impulses can be loaded in replacement of the default setting.
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Tight Group
This instrument emulates a tight integrated ensemble with a dark vintage sound. The sound is raw so it can be
very versatile in a mix since it can be sculpted to fit accompanying instrumentation. It is designed to work as a
non-thematic rhythmic material accompanied by thematic solo rhythms. Other usages may be Hits, and Breaks.
Using the included PSP Audioware 'Nitro FHP Edition' Plugin-
The 'Nitro FHP Edition' Plugin is a unique FilterBank plugin capable of sophisticated sound design and
modulation. It includes 4 operators that can work together in any order and audio flow. Each operator
can utilize any of the included filter designs and effects. Working together with more operators allows for
advanced sound design. The plugin comes packed with dedicated presets for FlyingHand Percussion.
The available controls in each preset are all customizable. The only limitation of this special version of
the plugin is that presets cannot be created from scratch. Installing the plugin is very simple. Simply
copy the .DLL file to your existing VST plugin folder to use it inside your VST host.
For detailed instructions on installation and usage, please refer to its dedicated manual.
About the Reverb Impulses-
FlyingHand Percussion includes specifically made Reverb Impulses. The impulses were created by the
plugin developer 'Voxengo'. The impulses were designed using their innovative impulse modeler
technology to create high-quality customized virtual spaces. There are several types of hall and room
reverbs in different sizes including a surround reverb model.
For ZenDrum users-

FlyingHand Percussion is suitable for studio production and for Live playing. In order to play live one
needs a controller that allows for total control and freedom of playing while maintains a great feel and
sensitivity. The ZenDrum MIDI controller holds all these features and is truly a remarkable MIDI
controller. For hand Percussion in particular, it is simply a perfect match.
FlyingHand Percussion includes special Sysex mapping patches for use with the ZenDrum controller.
These patches can be loaded into the Zendrum for use with the instruments in the library.
The sysex files are available for download at www.flyinghandpercussion.com/downloads.htm
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- Tips and Tricks
This section, hopefully, will sharpen your understanding on how to effectively play the instruments and
streamline your production of Percussion tracks.
Ideal playing technique: (...think like a drummer)
The instruments are meant to be played the way a real percussion instrument is. After finding the split point for
the right and left hands (as shown in the mapping illustrations) simply place the hands around it as a starting
point. The articulations are mirrored thoroughly accross the keyboard. If the D3 key is the split point, then C3 and
E3 are parallel articulations. Then, playing with both hands in opposite direction triggers similar articulation
strokes. Please note that for the most part, playing towards the edges of the keyboard triggers articulations from
the edge of the instruments and vice versa.
The mirror layout is much easier to remember than linear layout as it is visually pleasing. After a while you will
remember exactly where everything is. A bit of practice will be rewarded with excellent results and inspirational
playing.
Loops with variation:
Constructing groove loops becomes very intuitive due to the amount of articulations available and the consistent
mapping. After getting familiar where things are, try to construct a 2 bar groove and paste it across a few
measures. You can then transpose a few articulations in specific measures to create variation.
Usually a transposition by a small amount will yield a subtle variation since neighboring articulations are most
often closely related (i.e. Forefinger stroke to a Middle finger stroke, or Palm Center to Palm Off Center). For a
more drastic change try to transpose by a higher amount, or search for a really different articulation and
transpose the note there. The new variations won't feel out of context due to the nature of the recordings and the
real time Legato Drumming system.
Construction of grooves and usage of fills:
Using Fills when creating a loop or an array of patterns will dramatically enhance the authenticity and drive of the
groove. Each instrument includes a set of short performance Fills. These Fills work best as rhythmic fillers in
between strokes much like ghost notes when playing a drum kit. Combining various Fills with your core groove
will drive the performance to great realism.
Layering instruments:
FlyingHand Percussion simply calls for some layering. The mappings are so consistent that most often the same
articulations in different instruments reside on similar keys. This allows for quick unisons and experimentation
with instrumentation. Take a closer look at the Mutants section- there is a lot of multi layering there.
Creative use of the auxilary knobs:
The auxilary knobs can alter more than the functionality of the instruments but also shape the performance and
character of your compositions. Try turning the Legato knob down when sterile and precise articulations are
desired. Another example can be when tweaking the release amount. Think of it as a dynamic gating effect.
Experiment with the knobs to further shape the performance to fit the music style you are writing.
Okay... now it is time to go ahead and do some drummin'

Enjoy the instruments!
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33

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FlyingHand Percussion - Manual v1.0 Copyright 2006 Eitan Teomi - handheldsound.com

Produced By Eitan Teomi

This Library is dedicated to my

FlyingHand Percussion is a dedicated Hand-Percussion sample library.

FlyingHand Percussion includes the following:

Multisampled Hand Drums with Legato Drumming system

A unique Electronic and Hybrid Drums section

Below you can find the features of 'FlyingHand Percussion' :

1. Extensive sampling data-

Multiple playing zone from each drum

A vast array of strike combinations including palms, fingers, etc.

Up to 4 microphone configurations per instrument. Sample accurate and phase coherent.

Resonance control for Dynamic mutes and pitch alteration.

Re-pitched and treated versions of the acoustic instruments,

cinematic sound effects, and

Live 'Bigger Than Life' Virtual Ensembles.

6. Virtual 'rooms' via hi quality audio impulses-

Muf = a muffled tone, OC = Off Center, ff = Forefinger, mf = Middle finger

GREEN font color indicate a modulation is available.

- Microphone Positions and Naming Scheme

InstrumentName_AMB = Ambient Stereo microphone setup.

InstrumentName_Close = Close microphone setup.

InstrumentName_Top = Close miking pointing at the drumhead (capturing hi-end).

- The Performance Knobs

1. Legato control - alters the volume of the Legato Drumming system.

2. Filter cutoff controls the amount of filtering.

4. Release controls the release volume envelope.

The knobs respond to MIDI continuous controllers 20-24.

About the Instrument:

About the Instrument:

About the Instrument:

About the Instrument:

A#1, F#2, A#3, F#4 = dynamic articulations.

About the Instrument:

This is a 5 Gallon jug of water (empty, of course).

About the Instrument:

C3, E3 = Dynamic articulation.

About the Instrument:

About the Instrument:

About the Instrument:

About the Instrument:

About the Instrument:

The Modulation wheel controls the attack of the volume envelope

About the Instrument:

The low Conga drum is centered around the D3 key.

About the Instrument:

The Triangle includes 2 microphone settings: Close, and Stereo ambient.

C3 and D3 contain a dynamic mute release sample.

C4 - G4 keys contain a dynamic muted release sample.

Each Shaker includes 2 microphone settings and a variety of articulations.

Piru Claves These are a unique set of Claves.

These are Claves for cryin' out loud!

About the Instruments:

About the Instruments:

The Mutants section is a very exciting set of instruments.

The Mutant section, therefore, includes several types of instruments:

The mapping range is C3 and D3

The mapping range is C3 and D3

The mapping range is C3 and D3

Using the included PSP Audioware 'Nitro FHP Edition' Plugin-

About the Reverb Impulses-

For ZenDrum users-

Ideal playing technique: (...think like a drummer)