BPM 1.5 - Machine à rythmes MOTU - Free user manual and instructions

USER MANUAL BPM 1.5 MOTU

BEAT PRODUCTION MACHINE

User Guide

MOTI

About the Mark of the Unicorn License Agreement and Limited Warranty on Software

TO PERSONS WHO PURCHASE OR USE THIS PRODUCT: carefully read all the terms and conditions of the "click-wrap" license agreement presented to you when you install the software. Using the software or this documentation indicates your acceptance of the terms and conditions of that license agreement.

Mark of the Unicorn, Inc. ('MOTU') owns both this program and its documentation. Both the program and the documentation are protected under applicable copyright, trademark, and trade-secret laws. Your right to use the program and the documentation are limited to the terms and conditions described in the license agreement.

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YOU MAY: (a) use the enclosed program on a single computer; (b) physically transfer the program from one computer to another provided that the program is used on only one computer at a time and that you remove any copies of the program from the computer from which the program is being transferred; (c) make copies of the program solely for backup purposes. You must reproduce and include the copyright notice on a label on any backup copy.

YOU MAY NOT: (a) distribute copies of the program or the documentation to others; (b) rent, lease or grant sublicenses or other rights to the program; (c) provide use of the program in a computer service business, network, time-sharing, multiple CPU or multiple user arrangement without the prior written consent of MOTU; (d) translate, adapt, reverse engineer, decomplete disassemble, or otherwise alter the program or related documentation without the prior written consent of MOTU.

MOTU warrants to the original licensee that the disk(s) on which the program is recorded be free from defects in materials and workmanship under normal use for a period of ninety (30) days from the date of purchase as evidenced by a copy of your receipt. If failure of the disk has resulted from accident, abuse or misapplication of the product, then MOTU shall have no responsibility to replace the disk(s) under this Limited Warranty. THIS LIMITED WARRANTY AND RIGHT OF REPLACEMENT IS IN LIEU OF AND YOU HEREBY WAIVE, ANY AND ALL OTHER WARRANTIES, BOTH EXPRESS AND IMPLIED, INCLUDING BUT NOT LIMITED TO WARRANTIES OF MERCHANTABILITY AND FITNESS FOR A PARTICULAR PURPOSE. THE LIABILITY OF MOTU PURSUANT TO

About the Ultimate Sound Bank License Agreement

DO NOT USE THIS PRODUCT UNTIL YOU HAVE READ THIS LICENSE AGREEMENT. BY USING THIS PRODUCT YOU ACCEPT THIS LICENSE AGREEMENT.

1. License Grant, USB grants to you, subject to the following terms and conditions: a non-exclusive, nontranslational right to use each authorized copy of the enclosed product. The enclosed product is the property of USB and is licensed to you only for use as part of a musical performance. This licente expressly forbids resale or other distribution of these Sounds or their derivatives, either as they exist on disc, reformatted for use in another digital sampler, or mixed, combined, filtered, re synthesized or otherwise edited, for use as sounds, samples, multisamples, wavelets, programs or patches in a sampler, microchip or any hardware or software sample playback device. You cannot still them or give them away for use by others in their sampling or sample playback devices.
2. Protection of Software. You agree to take all reasonable steps to protect this product and any accompanying documentation from unauthorized copying or use. You agree not to modify the enclosed product to circumvent any method or means adopted or implemented by USB to protect against or discourage the unlicensed use of copying of the enclosed product.
3. Ownership. As between you and USB, ownership of, and title to, the enclosed digitally recorded sounds (including any copies) will be held by USB. Copies are provided to you only to enable you to exercise your rights under the license. Only this license is purchased by you.
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Update Policy

In order to be eligible to obtain updates of the program, you must complete and return to MOTU the Mark of the Unicom Purchaser Registration Card found at the beginning of the BPM User Guide.

Copyright Notice

Copyright © 2011, 2010, 2009 by Mark of the Unicorn, Inc. All rights reserved. No part of this publication may be reproduced, transmitted, transcribed, stored in a retrieval system, or translated into any human or computer language, in any form or by any means whatsoever, without express written permission of Mark of the Unicorn, Inc., 1280 Massachusetts Avenue, Cambridge, MA. 02138, U.S.A.

BPM, Digital Performer, MOTU, Mark of the Unicom and the unicom

Contents

5 Quick Reference
7 About BPM
11 Installation
15 Tutorial 1: QuickStart Guide
23 Tutorial 2: Building a Song
27 BPM Application
35 BPM Plug-in
49 BPM Window
109 Sound and Pattern Library
239 Effects
255 Troubleshooting
261 Index

Quick Reference

BEAT PRODUCTION BPM MUTU 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31 32 33 34 35 36 37 38 39 40 41 42 43 44 45 46 47 48 49 50 51 52 53 54 55 56 57 58 59 60 61 62 63 64 65 66 67 68 69 70 71 72 73 74 75 76 77 78 79 80 81 82 83 84 85 86 87 88 89 90 91 92 93 94 95 96 97 98 99 100

1. The file menu provides commands for importing and exporting sounds, patterns, keys, and many other elements, including Performances, which are a "snapshot" of the entire BPM window.
2. BPM, conveniently routes incoming MIDI data in the bank or part, you are worsening on, but you can also control where MIDI input goes.

3. BPM lets you sample external live audio signals, such as a microphone connected to your computer's audio interface, or audio track output from your host software. You can even sample directly into a pad.

4. Apply grooves globally to all EPM output, including all parts and loops. Many classic preset grooves are provided (NPC, LinnDrum, etc.) Save and apply your own, too.

5. Master tune and volume.
6. These tabs give you access to BPM's various main features, displayed to the left in the "virtual LCD display".
7. These browser tabs give you direct access to BPM's extensive sound library, which includes kits, patterns, stops, samples and instruments.

8. The browser organizes BPM's sound library into stylistic categories. BPM

9. Most BFM presets indicate their original tempo (in beats per minute) in the name of the preset.

10. When AutoLoad is enabled, items in the browser are loaded as soon as you click them. This makes for very fast, interactive browsing. The check box options let you control what gets loaded.
11. This play/stop button lets you control AutoPreviewing in the browser. The pad matrix to the right lets you choose which pads get loaded (black) and which ones don't (gray) when auto loading a kit.

12. Quantize made for recording MDD

13. Each bank holds up to 16 patterns, one of which is active at a time.

14. Build scenes and trigger them live or use them to build a song.
15. Synth parameters for the currently selected bank part or rack part. Each one can have its own synth settings
16. The bank pads are highly programmable, with unlimited sample layers and independent settings for volume, pan, FX, synth settings, etc.
17. BPM provides four independent banks of 16 pads, which can all play simultaneously.

34 RPM nmalities ton ranks which hold

CHAPTER 1 About BPM

BPM is an advanced urban rhythm production instrument for Mac and Windows. RPM runs on Mac or Windows, either standalone or as an instrument plug-in for your favorite host software, including Digital Performer, Cubase, Live, Logic, Pro Tools, SONAR, and others via all major audio plug-in formats (MAS, VST, AAX, RTAS, and Audio Units).

Universal plug-in or standalone operation

As a standalone application, BPM turns your Mac or PC into a urban rhythm production powerhouse with 19 GB of all new, never before released sounds. Standalone operation also allows you to use BPM with music software applications that do not host third-party instrument plug-ins. Standalone operation is virtually identical to plugin operation, except for a few additional settings for audio/MIDI input and output.

As a plug-in, BPM can be used as a rhythm production center directly within your projects. You can save all BPM settings with the project for instant and total recall. Since all BPM settings are saved with your host application session, you enjoy the highest degree of convenience and speed because there is no separate application or associated documents to manage.

Collaborate across platforms

Because BPM supports every major audio production platform, you can effortlessly move

DP, Logic, or Cubase and then load it into BPM running in Pro Tools. All settings are exactly preserved, and BPM is ready to go.

Operation at a glance

BPM makes it easy to choose patterns and drum kits independently, and then mix and match them to quickly create your own unique beats simply by browsing the virtually infinite possible combinations. BPM displays all essential settings in one window, with a "virtual LCD screen" providing additional, contextual controls. Advanced settings are just one click away.

Included sounds, loops and instruments

To get you going right away, BPM provides hundreds of preset patterns and kits to choose from, built from an all-new 19 GB core sample library of never before released samples, loops, beats and multi-sample instruments. Included are over 10,000 individual samples and over 1,000 new loops — all recorded at 24-bit 96kHz resolution and mastered at Sterling Sound, New York by renowned urban mastering engineer Chris Gehringer. Included is Beat Box Anthology, a comprehensive collection of authentic sounds from 80 legendary drum machine models from the the 1970s, 80s, and 90s. From classic beat box to cutting-edge urban rhythms, you can use BPM's comprehensive selection of sounds for many musical styles, including R&B, hip hop, techno, electro, house, and even pop, rock and others.

24-bit 96kHz samples

BPM sampled sounds are provided in 24-bit 96kHz resolution. BPM also provides on-the-fly upsampling and downsampling, allowing you to play BPM sounds at any sample rate that your current project calls for, without the need for lengthy sample rate conversion operations.

Interactive browsing

Find and organize patterns and sounds with BPM's integrated browser and file management tools. BPM makes it easy to browse and locate exactly the sounds you are looking for. Quickly scan expandable folders to audition and select patterns, kits, kits+patterns, loops, individual drum samples and instrument presets. BPM plays — or even loads — items as you click them, so you can quickly find the right drum hit, loop or pattern. You can also drag and drop from the browser or desktop — including audio files, MIDI files and loops in all standard formats. BPM is designed to be live and interactive.

A complete rhythm production center

BPM is a powerful all-in-one rhythm instrument designed with smooth and seamless workflow in mind. Record individual samples or loops from any external source. Just click the Quick Sampling button to record directly into the currently selected drum pad. You can even record BPM's output back into itself. Mix and match multiple drum samples and drum synth sounds — even on the same pad via unlimited layers, where you can play them based on rules such as cycle, random or random cycle.

Building heats and kits

Each pad has dedicated solo, mute, gain and pan controls. Click the pad for more detailed controls, including velocity, fine/coarse tuning, fill, timeshift, filter cutoff, resonance, decay, and others. Each sample layer can be fine-tuned with its own amplitude envelope, filter, drive, aux sends, pitch envelope, and more. Plus, you can apply unlimited insert effects per layer and per pad.

If you need to edit the samples themselves, you can use the built-in waveform editor with fade in/out, normalize, silence, gain and more. RPM gives you unprecedented pin-point control within a beat production instrument.

Pattern programming with advanced features BPM's pattern programming feels so familiar, you can start using it right away. Use the independent step sequencer to program, record, overdub and quantize patterns interactively in real time from the on-screen pads. The Graph Sequencer produces ultra-dynamic expression for individual notes with just a few clicks. Or, record live from a MIDI keyboard or drum pad controller for that true, hands-on MPC-style experience with useful features such as Note Repeat, Record Undo, and MIDI Select. When you're done, you can apply grooves with independent control over timing and velocity. Choose among dozens of groove presets or create and apply your own. An advanced arpeggiator provides variations to your live or sequenced performance.

Are you a fan of the unique sound of the classic E-mu SP1200? BPM's exclusive SP Mode faithfully reproduces the edgy sound and beat box grit of this legendary rhythm machine.

up a scene. This is where you can add bass parts, rhythm guitar, audio phrases such as background vocals, breakbeat loops, and much more.

Loops and phrases

Just drag and drop to import any audio into a part, including REX files, Apple Loops, AIFF, WAV and all standard audio file formats. BPM will automat REX loop slices so you can work with them either as audio clips or individual MIDI-triggered slices. BPM time-stretches and grooves any audio file in real time with audio quality that sounds incredible, even at extreme tempos.

BPM provides a powerful set of tools for manipulating looped audio. Essential controls such as tempo, sync, audio drag and drop, MIDI mapping and MIDI drag and drop are accessed in the Loop Editor.

Multi-sample instruments

When it's time to add guitar, bass, keys, or other instrument sounds, BPM includes a great selection of instrument presets at your fingertips. Use BPM's familiar piano roll editor and pencil tool to sequence instrument parts, or record them live from up to 64 separate MIDI channels. Apply effects with unlimited effects slots per instrument part. The same goes for loops and phrases.

Compatibility with other UVI instruments

If you own another UVI-based instrument from MOTU, such as MachFive 2, Electric Keys, Ethno Instrument or Symphonic Instrument, you can load sounds from their libraries into BPM's two rack modules to incorporate them into your BPM rhythm productions.

Powerful synthesis engine

The central section of BPM window shows an amplitude envelope, filters, velocity response curves and LFO. These parameters let you carefully shape the sound of any individual sample, pad, loop or instrument. The award-winning UVI-Engine that powers BPM delivers virtually unlimited polyphony and ultra-low latency.

Complete mixing

Use BPM's graphic mixer to refine your mix with channel strips for all 64 pads, loops and instrument parts. BPM also provides stereo main outs plus 16 stereo aux channel outputs for sending sub-mixes to your host audio software.

Comprehensive effects processing

BPM provides the most comprehensive and flexible effects architecture ever devised in a rhythm instrument. You can apply professional quality effects at any point in the signal chain, from individual samples, pads, loops, and instruments, to entire drum kit banks, racks, aux returns and even BPM's master output.

You get dozens of effects, including EQ, compressor/gate, filter, delay, reverb, phaser, chorus, drive, distortion, reverb and many more.

Convolution reverb and real acoustic spaces

For the very best in reverb technology, BPM includes a convolution reverb processor to produce the most realistic acoustic spaces available. From directly in the BPM window, you can audition and choose plates, halls and authentic acoustic spaces, such as studio rooms, concert halls and cathedrals.

performance by clicking the on-screen pads or playing notes on your MIDI keyboard or controller — a unique and powerful performance feature.

Build an entire song in seconds by simply dragging and dropping multiple scenes and adjusting their length. Sync your song to your host audio software, or export the song as a stereo audio file.

BPM is complete beat production environment. BPM delivers the perfect balance of smooth operation, advanced features, fresh patterns and sounds, superb audio quality and across-the-board compatibility.

MIDI Remote Control

BPM and a drum pad controller give you a true beat box experience. Map hardware pads to BPM's sixteen on-screen pads and you are on your way. BPM includes template files that you can load into popular pad controller models to get going quickly. Or program your favorite MIDI keyboard to control BPM, both from the keyboard and any knobs, buttons, and sliders it may have. Then use BPM's MIDI Remote Control features to map additional controls such as knobs, buttons, and sliders.

CHAPTER 2 Installation

Thank you for purchasing BPM, the advanced urban rhythm instrument.

Package contents....11

Attention new users: an iLok is required.... 11

Preparing your iLok USB Smart Key.... 11

System requirements.... 12

Installation....13

Connect your iLok 14

Getting started 14

Familiarity with your computer 14

Please register your software.... 14

Visit motu.com for software updates 14

Technical support.... 14

PACKAGE CONTENTS

Your BPM package includes:

■ BPM installer CD-ROM disc
■ Two BPM soundbank DVD discs
■ One Beat Box Anthology soundbank DVD disc
■ BPM User Guide with tear-out registration card

ATTENTION NEW USERS: AN ILOK IS REQUIRED

If you are a new BPM user: this product requires an iLok Smart Key, a small USB device (sold separately) that holds the license for your MOTU software. Before you install and use your MOTU software, you must obtain an iLok, if you don't already have one.

Two electronic devices labeled 'ILok 2' and 'ILok 1', showing different sizes and internal structures (no text or symbols on the devices themselves)

Figure 2-1: BPM is compatible with iLok 1 and iLok 2 USB Smart Keys.

Do you already own an iLok?

You may already own an iI.ok if:

■ you upgraded from BPM 1.0

■ you own another MOTU instrument product

■ you own a 3rd-party product that uses iLok

If so, you can skip to "Preparing your iLok USB Smart Key".

Purchasing an iLok

If you do not already own an iLok, you can purchase one from your local music retail shop, an on-line music technology reseller, or iLok.com.

iLok compatibility

MOTU instrument products are compatible with iLok 1 or 2 (Figure 2-1).

PREPARING YOUR iLOK USB SMART KEY

BPM will not run unless it detects an iLok Smart Key plugged into any available USB port on your

package. Follow the instructions on the card to redeem each code and download the resulting two software licenses to your iLok.

BPM will not run without the downloaded BPM and Beat Box Anthology licenses in your iLok, so be sure to follow the important instructions on the card before proceeding to install and use BPM.

Managing iLok licenses

If you have multiple iLoks, you can consolidate all of your licenses onto a single iLok. Use iLok License Manager to move product licenses from one iLok to another, consolidate them onto one iLok, protect them from loss or damage, or otherwise manage your product license assets.

If you have further questions about your iLok, visit www.iLok.com, or contact MOTU Customer Service at [phone].

SYSTEM REQUIREMENTS

BPM 1.5.3 has the following minimum and recommended system requirements:

- Mac or PC with Intel Core Duo CPU 1.83 GHz or faster; multiple processors or a multi-core processor is required. Intel Core 2 Duo CPU 2.0 GHz or faster recommended. Macs with PowerPC CPUs are not supported.

■ 2 GB of RAM is required; 4 GB or more is highly recommended.

■ CD/DVD disc drive for installation.

■ Mac OS X version 10.5.8 or later, or Windows 8, 7 or Vista (32, or 64 bit Vista SD2 or later is

■ A digital audio workstation program or other program that hosts AU, VST, or RTAS instrument plug-ins. Alternatively, BPM can be used as a standalone application.

64-bit operation

For native 64-bit operation, BPM has the following additional requirements:

■ Mac OS X v10.6, Windows 8, or a 64-bit version of Windows 7 or Vista

■ 64-bit CPU

■ 64-bit plug-in host application, if using the 64-bit plug-in

Hard disk format

Due to the large size of BPM's factory soundbank UFS files, the disk containing the soundbank files must be able to support individual files larger than 4 GB. This is determined by the disk's file system format.

The default file system format for disk drives on Mac OS X and Windows are compatible with BPM's soundbank files:

■ Mac OS X: HFS+ (Mac OS Extended, journaled or unjournaled)

■ Windows: NTFS

The FAT32 format is not compatible with BPM's soundbank files, as it does not allow file sizes greater than 4 GB.

If you experience trouble copying the UFS files to your hard disk, refer to the troubleshooting chapter

INSTALLATION

Run the BPM installer

Run the BPM installer first before you copy the UFS soundbank files from the soundbank DVDs, as follows:

1 Insert the BPM Installer CD; or, if you have downloaded the BPM installer, locate the folder containing the download.
2 Double-click BPM Installer (Mac), Setup32.exe (Windows 32-bit), or Setup64.exe (Windows 64-bit).
3 Follow the directions the installer gives you.

Windows VST users: The BPM VST plug-in is installed in:

startup disk::Program Files\MOTUVstplugins

Point your host application to this folder, or copy the BPM.dll and BPMSampler.dll files to the Vstplugins folder of your choice.

Copy the UFS soundbank files to your hard drive

BPM version 1.5 includes two 8 GB (dual layer) soundbank DVDs that contain a total of 15 GB of drum samples, loops, phrases and multi-sampled instruments. These sounds are organized into two separate “UFS” soundbank files on these DVDs: BPM.ufs and BPM.ufs. Additionally, the Beat Box Anthology.ufs soundbank DVD contains another 4 GB of drum samples, loops, kits, and patterns.

Installing the BPM soundbank files To install the BPM.ufs and BPM.ufs1 soundbank

The term startup disk in the path names above is the name of your system hard drive (usually Macintosh HD or C).

Place the UFS files directly in this location. Alternatively, you can place the UFS files in another location (possibly on an external or second hard drive), create aliases (Mac OS X) or shortcuts (Windows) to them, and then place the aliases or shortcuts in this location.

If you create aliases or shortcuts, the names must be the same as their corresponding UFS files. If the alias or shortcut name includes the words alias or shortcut to, it will not work.
The BPM.ufs and BPM.ufs1 files must be placed in the same folder.

Installing the Beat Box Anthology soundbank file To install the Beat Box Anthology.ufssoundbank file, copy it from the Beat Box Anthology DVD to the following location:

Mac OS X

startup disk/Library/Application Support/UV|SoundBanks/

Windows

startup disk:\Program Files\UVISoundBanks\

Place the UFS files directly in this location, or create an alias or shortcut to the file in this location, as described for the BPM.ufs and BPM.ufs1 files.

Presets for hardware controllers

The BPM installer disc includes a folder of presets for popular hardware pad controller products, including the Akai MPD16, Akai MPD32, Korg

CONNECT YOUR ILOK

Connect your BPM USB iLok SmartKey to any available USB port.

Close-up of a blue plastic tool with a metallic handle and metal casing (no visible text or symbols)

Close-up of a computer drive showing cable, connectors, and ventilation slots (no visible text or symbols)

Figure 2-2: BPM requires the USB II of SmartKey (included).

BPM will not run unless it detects that your iLok SmartKey is plugged into any available USB port on your computer.

If you wish to transfer the authorization in your BPM iLok to another iLok, or if you have questions about your iLok, visit www.ilok.com for further information, or contact MOTU Technical Support (as explained on page 259).

GETTING STARTED

Follow the directions in the next few chapters of this guide to successfully install and begin using BPM.

PLEASE REGISTER YOUR SOFTWARE

MOTU can only provide customer service and technical support to registered users. Therefore, it is important for you to register your software immediately after purchase.

To do so, visit www.motu.com/registration to register online. Or, fill out and mail in the registration card found at the beginning of the User Guide (leave the rest of the cardboard page in the manual for your future reference).

If you purchased an upgrade from an earlier version at motu.com, you are already registered and no further action is necessary.

VISIT MOTU.COM FOR SOFTWARE UPDATES

Software updates are periodically posted on our website, so check our web site for the latest updates at www.motu.com.

TECHNICAL SUPPORT

If you have questions, please review this manual carefully first. You can reach MOTU tech support as follows:

■24-hour online tech support database with search engine: www.motu.com

■ Online: www.motu.com/support

(9 a.m. - 6 p.m. Eastern)

■ Downloads: www.motu.com

CHAPTER 3 Tutorial 1: QuickStart Guide

Open BPM

1 After BPM installation, launch your audio sequencer or MIDI software.
2 Open BPM in the usual fashion, either as a standalone application or as a plug-in from within your audio sequencer.

Choose a kit+pattern

A pattern is a rhythm that can be applied to any kit. A kit is a collection of drum sounds assigned to BPM's sixteen drum pads. A kit+pattern is a combination of the two that BPM provides as a preset. All kit+pattern presets are also available as independent kit and pattern presets.
3 Click the Sequence Editor button (Figure 3-1) so you will be able to see the pattern that will be loaded.

BPM MACHINE MOTU GROOVE... None POS VOL TUBE VOL set edit fr min stems sings

Figure 3-1: The Sequence Editor button.

4 Notice that the Sequence Editor is currently empty (Figure 3-2).

RGB H1 C1AP AW 100 501 821 801

Figure 3-2: The empty Sequence Editor

5 Click the Kit+Pattern tab (Figure 3-3).

Ki-Pattern tab 1 Ki-Pattern Big Seat Dancehall Only South Dish Electra Hard Trance High-top-Red-Rip V1 House Jungle-Drum Base Minimal Progressive Rings Trip Hop Vinylard Area-Percussion

Figure 3-3: Browsing Kit+Pattern presets

If the browser is empty at this point, then BPM has lost the location of the BPM.ufs and/or BPM.ufs1 glass. Can "When I trust to access the

Figure 3.4: Make sure AutoLoad is enabled.

8 Click 076-Brick and Stick (Figure 3-5).

Figure 3-5: Loading the 'Brick And Stick' kit+pattern.

9 As soon as you click, the kit+pattern will load and you will see the notes in the Pattern Editor (Figure 3-6):

R42 R43 CLAP BM 577 501 602 803

Figure 3-6: A pattern in the Sequence Editor.

Play the kit+pattern

10 If the kit + pattern is not playing, click the play button to hear it.

Check the audio output assignment

11 If you are running BPM as a plug-in inside your audio sequencer host, the BPM track has an audio output assignment. Make sure that it is assigned to the appropriate audio output in your system (the headphone outs, main outs, or whatever you are using for listening).

12 If you are running BPM as a standalone application, open the preferences (in the File menu) and click the Audio Device tab. Check the Output Device assignment and make sure the sample rate setting matches the setting on your audio hardware (or the built-in audio hardware of your computer, if that is what you are using).

If you don't hear anything

13 Check the audio output assignment for the track on which BPM is instantiated. Make sure it is assigned to your headphones, main speakers, or whatever you are listening to.

Try a different kit

BPM lets you choose kits and patterns independently so there are virtually unlimited possibilities. Let's keep the same pattern going, but try it with a different kit:

14 Click the Kits tab in the browser.

15 Open the Dancehall folder.

16 Click a few of the kits in the Dancehall folder to audition them. Notice that the pattern stays the same, but the drum sounds change as try different kits.

Try a different pattern

Once you find a kit that you like, let it play while you try different patterns with it.

17 Click the Patterns shortcut in the browser.

PatternsLab 3D Pattern Big Beat Denoshall Only Sough Outs Electro Hard Tractors Hippop-Roll-BPM v1 House Jungle-Drum Bass Minimal Progressive Bloss

Figure 3.9: Patterns tab

18 Open the Hiphop-Rnb-Bpm V1 > Machine folder.

19 Click a few of the patterns in the Machine folder to audition them. Notice that the kit stays the same, but the pattern changes as try different patterns.

20 If you ever want to hear the "original" pattern that goes with a kit, or vice versa (the original kit

Replace a snare sound

As you've seen and heard so far, patterns and kits can be chosen independently. The same is true for individual drum pad sounds. For example, you might find a beat you like, but you might want to change the snare drum sound (or any other individual sound).

22 Make sure the pattern you are currently playing has a few snare drum 1 (SD1) hits. If not, you can add a few by clicking on the cells in the SD1 row in the pattern grid as shown below.

Share drum now Share drum hit Tracks 0-1000 0-1000 0-1000 0-1000 0-1000 0-1000 0-1000 HH2 HH1 CLAP RIM SD2 SD1 BD2 BD1

Figure 3-10: Snare drum hits in the pattern grid.

Click the SD1 pad in to select it.

Figure 3-11: The snare drum 1 pad.

23 Click the Sound tab in the browser.

3 Sound BD (Categories) BD BD BD BD FX BD BD+HH BD Clap BD Symbol BD FX BD HH BD HH BD Pers (Large) BD Pers (Small) BD Rim BD BD BD FX BD Scratch BD Shakeer BD Snap BD Sub BD Vire BD Ultra Acoustic Pers BD Ultra Classic Bosses

Figure 3.12: Sounds tab

24 Notice that individual sounds are organized by type (BD for bass drum, SD for snare drum, HH for hi hat, Clap, Shaker, etc.) In the (Categories) folder at the top of the list, the same sounds are organized by the same categories as the drum kits and patterns (Acoustic Mood, Beat City, etc.), so you can easily find an individual sound that is part of a Kit or Kit+Pattern.

25 Open the SD (Snare Drum) folder.

26 Click a few different snare sounds to audition

Add reverb to the snare

BPM lets you add effects processing to your beats in just about every way imaginable, from individual samples to your entire mix. Let's add a little reverb to your snare sound. For the purposes of this tutorial, it would be best to choose a snare sound that is fairly dry to begin with (there is not a lot of reverb on the original sample).

28 Make sure the SDJ pad is still selected (Figure 3-11 on page 17).
29 Click the Edit button.

BEAT PRODUCTION BPM MACHINE MOTU GROOVE Name POT WE TIME TUBE TUBE TUBE Add: HOLTAGE Edit hardware

Figure 3-13. Editing a drum pad.

30 You should now see a waveform display that represents the audio for the snare drum sample currently loaded into the SD1 pad. Click the FX button.

The FX button

Figure 3-15: Adding an effect.
32 Choose a Simple Reverb, such as Jazz Club, as shown below.

03 - Delay 03 - Emissionation 03 - Varch 03 - Modulation 03 - Filters 03 - EQ 03 - Stereo & Amplitude 03 - Drive & Distortion 01 - Simple Noise 02 - Broadcast Verb 03 - Gate Swirls 04 - Apa FX Background Work-Box Big Cathedral Fox Big Box Top Carbon Permeation Concert Hold-Rips Large Full-Up Large Full-Up

Figure 3-16: Choosing a reverb.

33 If you don't hear the reverb very well, turn up the Mix parameter.

Max parameter Expt SIMPLE REVERD Cutoff OFF DoverTime 2.00:1 HighComp Direct Min 24 MHz

Figure 3-17: Adjusting the reverb mix.

Add a bass part

Now let's try recording in a bass line to go with your beat.

34 Switch from Bank A (the pattern and kit you are currently playing) to Rack A. These two racks are where you can add instruments like guitar and

MASC 100% 100% 100% 100% 100% 100% 100% 100% 100% 100% 100% 100% 100% 100% 100% 100% 100% 100% 100% 100% 100% 100% 100% 100% 100% 100 SINK SONK

Figure 3-16: Click the Pack A button to switch to it.

35 Click the Instruments tab in the browser.

BPM Rm: Rock & Sails Rm: Guitar Rm: Keyboards Rm: Pad & Springs Rm: Synth Aggressive Rm: Synth Rock Rm: Synth Poly & Loews Rm: Worst Rm: X-Samples

Figure 3-19: Instruments tab.
36 Open the Synth Bass folder.

37 Click DSP Bass. This loads the bass instrument sound into the first part.

38 Use the scroll arrow to the left of the small

Set up MIDI keyboard input to BPM

You could record the bass part by clicking on the on-screen keys with the mouse as you record them live, while the beat plays. However, for a bass part it might be more fun — and more musical — to record from your MIDI keyboard.

40 If you are running BPM as a plug-in inside your audio sequencer host, you'll see BPM as a virtual instrument destination for your MIDI controller. Set up your host software so that it sends live MIDI input from your controller to BPM.

41 If you are running BPM as a standalone application, open the Audio and MIDI Settings (in the File menu) and click the MIDI Devices tab.

Figure 3-20: Confirming that an available MIDI device is available for MIDI input.

42 Make sure that an available MIDI device connected to your system is chosen for MIDI Port A.

43 Set the Route MIDI input to menu to Selected Bank/Part and make sure the check box is checked, as shown below.

Figure 3-21: use these settings to route live MIDI input to the bass

Click anywhere on the bass part.

Figure 3-22: Selecting the bass part for MIDI recording.

Play the bass sound with your keyboard

controller

45 Try playing your MIDI controller. You should now hear the same bass sound you heard back in step 39.

46 If you hear it, you are ready to record the bass part.

If you don't hear anything

47 Check to see if the MIDI light for the bass part is blinking when you play notes on your MIDI controller. If it blinks, then MIDI is OK. If not, check your MIDI cables, connections and software settings again.

Recording a bass part

48 Press the play button (Figure 3-7 on page 16) to begin playing the drum loop again (if it is not already playing).

49 Switch back to the Sequence Editor, as shown in Figure 3-1 on page 15.

50 You'll see the playback wiper move across the note grid.

51 Use the scroll bar to the right of the note grid to scroll down to the C1 octave range so you can see

Red grid paper with faint watermark text and a vertical ruler on the left

Figure 3-23: Scroll the empty note grid down to the C1 octave.

52 Press the red Record button to the right of the play button (Figure 3-7 on page 16) to engage recording. You'll hear a "blip" metronome sound when recording is engaged.

53 Wait for the wiper to come around to the beginning of the loop, and then play your bass part. For the purposes of this tutorial, play a bass line where the root note is C1.

Audio waveform display with red grid and labeled time markers, showing signal timing and amplitude variations

Figure 3-24: The recorded bass part.

54 If you don't like what you played, use the selection cursor to select the notes and then hit the delete key to erase them. Then just record again.

Add a loop

BPM includes a large library of loops that you can freely mix and match with patterns, kits, instruments and other loops.

56 Back in the rack, click the empty part below the bass part to select it.

57 Click the Loops tab in the Browser.

Loops to RPM Big Accoustic Mood Big Beat City Big Big Star Big Machine Big Old Schuld Big South Big Verrous Big West Coast

Figure 3-26: Loops tab.

58 Open the Various folder.

59 Open the 099-C-Martinik folder.

60 Click 099-Martinik DrmLoop.

61 Now let's add another loop. Click the empty part below the Martinik DrmLoop part to select it.

62 Click 099-C-Martinik Gtr+Vox.

Balance the parts in the mixer

BPM provides a complete mixing environment just a click away.

BEAT PRODUCTION BPM MACHINE MOTU GROOVE... None RUN VOL TONE TOL MICHTON

Figure 3-27: Opening the mixer.

64 Bring down the volume Part 2 (the drum loop) a little bit to settle it into the mix. Bring up Part 3 (the guitar and vocals) so you can hear them a little better.

The volume slider Volume 1 Volume 2 Volume 3 Volume 4 Volume 5 Volume 6 Volume 7 Volume 8 Volume 9 Volume 10 Volume 11 Volume 12 Volume 13 Volume 14 Volume 15 Volume 16 Volume 17 Volume 18 Volume 19 Volume 20 Volume 21 Volume 22 Volume 23 Volume 24 Volume 25 Volume 26 Volume 27 Volume 28 Volume 29 Volume 30 Volume 31 Volume 32 Volume 33 Volume 34 Volume 35 Volume 36 Volume 37 Volume 38 Volume 39 Volume 40 Volume 41 Volume 42 Volume 43 Volume 44 Volume 45 Volume 46 Volume 47 Volume 48 Volume 49 Volume 50 Volume 51 Volume 52 Volume 53 Volume 54 Volume 55 Volume 56 Volume 57 Volume 58 Volume 59 Volume 60 Volume 61 Volume 62 Volume 63 Volume 64 Volume 65 Volume 66 Volume 67 Volume 68 Volume 69 Volume 70 Volume 71 Volume 72 Volume 73 Volume 74 Volume 75 Volume 76 Volume 77 Volume 78 Volume 79 Volume 80 Volume 81 Volume 82 Volume 83 Volume 84 Volume 85 Volume 86 Volume 87 Volume 88 Volume 89 Volume 90 Volume 91 Volume 92 Volume 93 Volume 94 Volume 95 Volume 96 Volume 97 Volume 98 Volume 99 Volume 100

Figure 3-28: Mixing the parts.

65 To mix the individual elements of the Kit+Pattern that you currently have loaded in Bank A, click the Bank A button.

Export your mix

BPM provides many drag and drop tabs. To finish this tutorial, drag and drop the new mix to the desktop. Everything done so far is stored in Scene 1. A scene is a snapshot of the patterns and sequences loaded in each bank and rack.

66 To drag and drop Scene 1 to the desktop, press on the word SCENE above the scene menu and then drag to your computer desktop. There will be a short pause while BPM generates the audio, and then a WAVE file will appear on your desktop.

Figure 3-30: To export the current scene (in the Scene menu) as an audio file, drag the word 'SCENE' to your computer desktop.

Save a performance

A performance is a snapshot of all settings in BPM, including all scenes, plus all the kits, loops and instruments that might be loaded in the four banks and two racks, along with effects, mix settings — everything. Saving a performance at the end of a session is a good idea because it preserves all the work you have done in BPM in that session. You can save a performance to disk to archive it and share it with a colleague.

67 Choose Save Performance from the File menu in the BPM window, as shown below.

CHAPTER 4 Tutorial 2: Building a Song

Overview

The first tutorial focused on perfecting a single scene; this tutorial focuses on using multiple scenes to build a complete track entirely in BPM.

Scenes

A Scene is a snapshot of the patterns & sequences loaded in each bank & rack part. There are 16 scenes available in each instance of BPM.

Two important things to remember about scenes:

■ Only one scene is active at a given time.

■ The kits and instruments loaded in the Banks and Racks don't change when you change scenes — only the patterns/sequences change.

Scene Editor

The Scene Editor provides a simple display to show which patterns & sequences are assigned to each scene.

1 Click the Scene tab.

BEAT PRODUCTION BPM MACHINE MOTU DRIVE... Name PIS RIL TINE VOL Socket tab

By default, each scene uses the patterns of the same number. That is, Scene 1 has pattern 1 loaded in each bank, Scene 2 has pattern 2 loaded in each bank, and so on. However, you can freely assign any pattern to any scene.

J J J J J J J J J J J J J J J J J J J J J J J J J J J J J J J J J J J J J J J J J J J J J J J J J J J J J J J J J J J J J J J J J J J J J J J J J J J J J J J J J J J J J J J J J J J J J J J J J J J J J J J J J J J J J J J J J J J J J J J J J.J.J.J.J.J.J.J.J.J.J.J.J.J.J.J.J.J.J.J.J.J.J.J.J.J.J.J.J.J.J.J.J.J.J.J.J.J.J.J.J.J.J.J.J.J.J.J.J.J.J.J.J.J.J.J.J.J.J.J.J.J.J.J.J.J.J.J.J.J.J.J.J.J.J.J.J.J.J.J.J.J.J.J.J.J.J.J.J.J.J.J.J.J.J.J.J.J.J.J.J-J-J-J-J-J-J-J-J-J-J-J-J-J-J-J-J-J-J-J-J-J-J-J-J-J-J-J-J-J-J-J-J-J-J-J-J-J-J-J-J-J-J-J-J-J-J-J-J-J-J-J-J-J-J-J-J-J-J-J-J-J-J-J-J-J-J-J-J-J-J-J-J-J-J-J-J-J-J-J-J-J-J-J-J-J-J-J-J-J-J-J-J-J-J-J-J-J-J-J-J J.J.J.J.J.J.J.J.J.J.J.J.J.J.J.J.J.J.J.J.J.J.J.J.J.J.J.J.J.J.J.J.J.J.J.J.J.J.J.J.J.J.J.J.J.J.J.J.J.J.J.J.J.J.J.J.J.J.J.J.J.J.J.J.J.J.J.J.J.J.J.J.J.J.J.J.J.J.J.J.J.J.J.J.J.J.J.J.J.J.J.J.J.J.J.J.J.J.FJ J.F.F.F.F.F.F.F.F.F.F.F.F.F.F.F.F.F.F.F.F.F.F.F.F.F.F.F.F.F.F.F.F.F.F.F.F.F.F.F.F.F.F.F.F.F.F.F.F.F.F.F.F.F.F.F.F.F.F.F.F.F.F.F.F.F.F.F.F.F.F.F.F.F.F.F.F.F.F.F.F.F.F.F.F.F.F.F.F.F.F.F.F.F.F.F.F.F.F.F.F.A J.G.E.E.E.E.E.E.E.E.E.E.E.E.E.E.E.E.E.E.E.E.E.E.E.E.E.E.E.E.E.E.E.E.E.E.E.E.E.E.E.E.E.E.E.E.E.E.E.E.E.E.E.E.E.E.E.E.E.E.E.E.E.E.E.E.E.E.E.E.E.E.E.E.E.E.E.E.E.E.E.E.E.E.E.E.E.E.E.E.E.E.E.E.E.E.E.E.E.E.E.E. J.G.I.I.I.I.I.I.I.I.I.I.I.I.I.I.I.I.I.I.I.I.I.I.I.I.I.I.I.I.I.I.I.I.I.I.I.I.I.I.I.I.I.I.I.I.I.I.I.I.I.I.I.I.I.I.I.I.I.I.I.I.I.I.I.I.I.I.I.I.I.I.I.I.I.I.I.I.I.I.I.I.I.I.I.I.I.I.I.I.I.I.I.I.I.I.I.I.I.I.I.I.U

Figure 4.2: The Scene Editor.

In the Scene Editor, each bank and rack part has a column, and each scene has a row. The number shown at the intersection of a row and column is the pattern that will play for that bank/part in that scene. For example, if a 4 is shown at the intersection of Scene 3 and Bank C, that means Bank C's Pattern #4 will play during Scene 3.

To change the pattern in any cell, click it and choose the desired pattern from the pop-up menu.

Loading the tutorial file

For this tutorial, you are going to load a performance that already has a few patterns programmed and assigned to a number of scenes.

Use the Load Performance command under the File menu to load the "Tutorial 2" performance file.

Song mode

In Song mode, scenes are placed end-to-end to create a sequential timeline.

2 To enable Song mode, press the Song button in the lower left corner.

LINK LINK

Figure 4-4: The Song mode button.

Note that the pads have changed from BD1, BD2, etc. to Scene1, Scene2, etc.

Above the pads, you'll see the Song Editor, which is currently empty:

3 To add Scene1 to the song, click and drag the Scene1 pad to the Song Editor and drop it at bar 1.

Song 1 | 1 | 1 Song Is Empty Drag and Drop Scenes here

Figure 4-6: Dragging Scene I Into the Song Editor

4 Scene1 is 4 bars long. Let's repeat it 2 times (ending at the beginning of bar 9).

When you hover the mouse near the right edge of Scene1, the cursor will change to the edge-edit cursor. Click and drag to stretch the Scene1 block to bar 9.

Song 1 | 1 | 1 Score1

Figure 4-7: Stretching Scene1 to repeat it.

5 To zoom out to see more of the song, hover over the Song Editor timeline. When you see the hand cursor, click & drag upward to zoom out.

Song 1 | 1 | 1 Score1 Score2 Score3 Score4

Figure 4-9: Building a song.

7 To hear the song, press Play: you'll see the playback wiper advance, as well as the playback position fields above the timeline.

If you're using BPM as a plug-in within a sequencer/DAW, the song playback position will follow the host.

8 To export the entire song as a new audio file, choose Export Song as Audio from the File menu.

Figure 4-10: Exporting a song

Live mode

Instead of planning out your scene changes in Song mode, you can trigger scenes on-the-fly using Live mode. In this mode, you change scenes using MIDI input (from a keyboard or a sequencer/DAW application) or by clicking on the 16 pads in the BPM user interface.

9 To enable Live mode, press the Live button in the lower left corner.

LIVE S200

Figure 4-17: The Live mode button

As with Song mode, the pads are for Scene1, Scene2, etc.

10 Each scene is assigned a MIDI note chromatically beginning at C1: Scene 1 is triggered by C1, Scene 2 by C#1, and so on.

Play C1 on your MIDI controller keyboard: Scene 1 starts playing.

11 While Scene1 is playing, play C#1: Scene 2 plays.

12 Now click on the Scene3 pad: Scene 3 plays.

Sequencing Live mode from your host Live mode is also great for programming scene changes from your host sequencer. Since the scene changes are controlled by MIDI notes, you can insert MIDI notes in your host that can be cut, copied, pasted, repeated, etc. just like any other MIDI notes.

V8 Layer 1 Layer 2 Layer 3 Layer 4 Layer 5 Layer 6 Layer 7 Layer 8 Layer 9 Layer 10 Layer 11 Layer 12 Layer 13 Layer 14 Layer 15 Layer 16 Layer 17 Layer 18 Layer 19 Layer 20 Layer 21 Layer 22 Layer 23 Layer 24 Layer 25 Layer 26 Layer 27 Layer 28 Layer 29 Layer 30 Layer 31 Layer 32 Layer 33 Layer 34 Layer 35 Layer 36 Layer 37 Layer 38 Layer 39 Layer 40 Layer 41 Layer 42 Layer 43 Layer 44 Layer 45 Layer 46 Layer 47 Layer 48 Layer 49 Layer 50 Layer 51 Layer 52 Layer 53 Layer 54 Layer 55 Layer 56 Layer 57 Layer 58 Layer 59 Layer 60 Layer 61 Layer 62 Layer 63 Layer 64 Layer 65 Layer 66 Layer 67 Layer 68 Layer 69 Layer 70 Layer 71 Layer 72 Layer 73 Layer 74 Layer 75 Layer 76 Layer 77 Layer 78 Layer 79 Layer 80 Layer 81 Layer 82 Layer 83 Layer 84 Layer 85 Layer 86 Layer 87 Layer 88 Layer 89 Layer 90 Layer 91 Layer 92 Layer 93 Layer 94 Layer 95 Layer 96 Layer 97 Layer 98 Layer 99 Layer100

Figure 4-12: The BPM instrument and MIDI tracks

14 In BPM, load the "Tutorial 2" performance file in the same manner as before.

15 Open the Scene Editor and click on the Options tab. Change Latch to "False".

Figure 4-13: Turning off Latch mode

For details on Latch mode, see "Latch" on page 103.

16 Back in your sequencer, insert or record a CI from the beginning of bar 1 until bar 5.

Screenshot of a video editing software interface showing timeline, layers, and playback controls

Figure 4-14: Inserting C1 to trigger Scene1

17 Insert a few more notes in the following measures, using C1, C#1, and D1.

Screenshot of a digital audio workstation interface showing track controls, playback, and waveform display

Figure 4-15. Inserting additional notes

18 Press Play in your host: as it reaches each MIDI note, BPM changes to the corresponding scene.

The next step

You're now ready to build your own songs with BPM. Keep reading for all of the details about BPM's powerful features.

CHAPTER 5 BPM Application

OVERVIEW

BPM is supplied in two forms:

■ As a standalone application
■ As a plug-in

This chapter explains how to use the BPM standalone application. For information about operating BPM as a plug-in, see chapter 6, "BPM Plug-in" (page 35).

Standalone operation 27

Managing latency with standalone operation ..... 30
Opening the standalone version.... 30
Audio and MIDI settings 31
Audio device tab....31
Routing tab 32
MIDI Devices tab.... 33

BPM can operate as a standalone instrument application, independent of a plug-in host, turning your Mac or PC into a streamlined urban rhythm production powerhouse. Standalone operation also allows you to:

■ play BPM from an external MIDI keyboard, pad controller or other MIDI controller, allowing you to use BPM as a live instrument
■ use BPM as a comprehensive rhythm instrument for an external MIDI sequencer or MIDI-capable music software running on another computer

These three scenarios are briefly described below. The rest of this chapter explains the settings in BPM necessary to establish MIDI and audio connections for these scenarios.

Playing BPM as a live instrument from MIDI controller

To play BPM as a live instrument from a MIDI controller, you need to route MIDI data from your controller to BPM via a MIDI interface connected to the computer, and then route the audio output from BPM to your computer's audio hardware, as shown below. The MIDI data triggers sounds in BPM, which then produces audio signal to be routed to your headphones or speakers in your studio:

graph TD
    A[" MIDI keyboard or controller "] -->|MIDI data| B[" BPM running on a computer "]
    B --> C[" BPM audio output from the computer "]

Figure S-1: The flow of MIDI data and audio signal when playing BPM as a live instrument.

MIDI connections

■ A MIDI-equipped keyboard connected to a USB MDI interface, or to an audio interface that doubles as a MIDI interface, via a standard MIDI cable

Audio connections

There are many ways to play audio from your computer. The simplest method is to use the computer's built-in audio capabilities. You can also use a third-party audio interface. A perfect example is the MOTU Ultral.itc-mk3, an affordable, bus-powered FireWire audio interface that also provides MIDI input and output, as shown below:

graph TD
    A["MIDI OUT"] --> B["MIDI cable"]
    B --> C["MIDI data"]
    C --> D["MIDI IN"]
    D --> E["UltraLite-mi3 audio/WIDI interface"]
    E --> F["FireWire cable"]
    F --> G["MIDI data to RPM and audio output from RPM"]
    G --> H["BPM nursing on a computer"]
    H --> I["Speaker or headphones"]
    I --> J["Speaker's microphone"]
    J --> K["Audio output"]
    K --> L["MIDI keyboard or controller"]

Figure 5-2: An example setup for standalone operation using a MOTU UltraLite-mk3 audio interface. In this example, the UltraLite-mk3 is also handling MIDI data transmission from the keyboard controller to the computer and BPM.

Using BPM as a sound source for music software running on another computer

When running as a standalone application on a computer by itself, BPM can serve as a sound source for MIDI equipped music software, such as

performance of your audio sequencer, notation program or other MIDI authoring software running on your main computer.

The disadvantage to this setup is that you must manage the operational overhead of two (or more) computers. For example, you will need to save BPM settings on the satellite computer in a way that lets you easily cross-reference them to the corresponding file or project for your authoring software on your main computer. If you prefer to save BPM settings directly in your host authorizing software, you are better off running BPM as a plug-in. But if processing resources are at a premium, and you have an extra computer on which to run BPM, this "satellite" computing scenario can be very beneficial.

The setup for running BPM on a satellite computer is similar to the live keyboard scenario described in the previous section, except that audio sequencer software or other authoring software running on your main computer serves as the source of MIDI data being sent to BPM running on the satellite computer, as demonstrated in Figure 5-3. MIDI data is transmitted from the host computer via a FastLane MIDI interface and MIDI cable to the Ultralite-mk3 audio/MIDI interface connected to the laptop running BPM.

graph TD
    A["Main computer running audio sequence or other MIDI authoring software"] --> B["USB cable"]
    B --> C["USB MIDI interface"]
    C --> D["MIDI OUT"]
    D --> E["MIDI cable"]
    E --> F["MIDI data"]
    F --> G["MIDI in"]
    G --> H["Ultrafine mk3 audio/MIDI interface"]
    H --> I["FreeWire cable"]
    I --> J["MIDI data to BPM and audio output from BPM"]
    J --> K["Speakers or headphones"]
    K --> L["Satellite computer running BPM"]

Figure 5-3: An example setup for standalone operation using a MOTU Ultralite-mk3 audio interface. In this example, the Ultralite-mk3 is also handling MIDI data transmission from the keyboard controller to the computer and BPM.

The example setup shown in Figure 5-3 shows one satellite computer. But you can use this same basic idea for two or more satellite computers, each running virtual instruments as well. For multiple satellite computer setups, you may also want to consider using just one or two computer monitors connected to a computer monitor switcher. These devices, available from your favorite computer supplies retailer, allow you operate multiple computers from the same screen, keyboard and

Running BPM standalone on the same computer as your host software

If you are planning to run BPM on the same computer as your audio sequencer, notation program or other MIDI authoring software, it will be most convenient for you to run BPM as a plug in inside your host software.

If, however, your authoring software does not have the ability to host instrument plug ins, it is possible that you might be able to run BPM in standalone mode and trigger BPM sounds from your host software using inter-application MIDI transmission, if your host software supports this feature. Inter-application MIDI transmission is when one program sends MIDI data to another program that is running at the same time. In essence, both programs are running side by side as standalone applications, and they pass MIDI data (and perhaps even audio streams) between each other.

Inter-application MIDI

On the Mac, inter-application MIDI functionality is supported by the Mac operating system (OS) itself, and many current music software packages support the Mac OS's inter-application features. Consult your host software documentation for details. On the Mac, you can set up a compatible host application to publish a virtual MIDI device (stream), which then appears in BPM's MIDI Device tab menus.

Interapplication MIDI Reports Add Delete Outputs OP Output Add Delete Software Synthesizer Name: Apple Software Synth Render Quality: Medium

Figure 5-4: An example of the inter-application MIDI feature in a host program. This window in Digital Performer (Setup menu > inter-application MIDI lets you create a 'Virtual' MIDI output device (stream) from Digital Performer, as shown in this example by the name 'DP Output'. You can then choose this a virtual MIDI device (source) from within SPM (running standalone, not as a plug-in). If you then play a MIDI track to the MIDI channels on this virtual output device, they will trigger parts in BPM that are assigned to receive those same MIDI channels.
On Windows, there are third-party utilities available for Windows, such as LoopBe or MIDI Yoke, that allow MIDI programs to transmit MIDI data to each other.

Inter-application audio

The audio output from BPM can either play directly to your audio interface hardware connected (via the settings described later in this chapter), or you can use third-party downloadable utilities (such as Cycling 74's Sound Flower utility for Mac OS or other similar downloadable 3rd-party audio utility) to route BPM's audio output back into your host audio sequencer application (or any other audio software running on the same computer).

Latency is the time it takes for MIDI data from your controller to reach BPM and then for BPM to respond to it and produce sound. See "Managing latency" on page 36, which discusses ways to manage latency that apply to both plug-in operation and standalone operation.

OPENING THE STANDALONE VERSION

On the Mac, the standalone version of BPM can be found in your Applications folder. On Windows, it can be found under the Start menu> Programs>MOTU.

Standalone operation is identical to plug-in operation as described in chapter 7, "BPM Window" (page 49), with the exception of the additional standalone settings described in this chapter.

AUDIO AND MIDI SETTINGS

The standalone version of BPM has a few basic settings that can be found in File menu> Audio and MIDI Settings:

Audio and MIDI settings (Mac OS X)

Audio and MDA Settings Audio Device Setting MDA Devices OK Cave Audio Output Devices MDA Processor MDA User 412.00 MDA User 532 Refer to Audio Devices OK Cancel

Audio and MIDI settings (Windows)

Audio & MHz Settings Audio Devices Building MTD Driver AVS AVCC # Global Server AVCC/PC 45.00 # Audio Max AVCC # Audio Bar 5.00 # Refresh Audio Devices OK Cancel

Figure 5-5: The standalone version Audio and MIDI settings.

AUDIO DEVICE TAB

The Audio Device tab settings (Figure 5-5) let you make several audio hardware device settings.

API

Choose the desired audio driver for the audio interface you are using for BPM. For Mac OS X, this will almost always be set to Core Audio. If your Windows audio device provides both MME and ASIO driver support, you are free to choose either driver for BPM, but ASIO is recommended.

Output device

Choose the desired audio hardware from the Output Device menu (Figure 5-5). For example, you could choose your computer's built-in audio hardware. If you have a third party audio interface installed or connected, and you do not see it in the menu, be sure that you have correctly installed its driver and that it is otherwise functioning properly, independently of BPM. For example, can you access the hardware from the system software (Mac OS or Windows) and other audio applications?

Sample Rate

Choose the desired Sample Rate (Figure 3-5) for playback. The choices in this menu are provided by your audio hardware driver, and the setting you choose here is the sample rate your hardware will be set to: 44.1 kHz is the standard rate for audio compact discs. BPM samples are all provided in 24-bit resolution at 96 kHz, but if you choose to operate at a different sample rate, they are sample-rate converted on the fly to match the rate you've chosen.

Buffer size (Mac)

ASIO Config (Windows only)

Click the ASIO config button to open the ASIO driver configuration window. Consult your audio hardware documentation for details about the settings in this window for configuring your hardware's ASIO driver.

Refresh Audio Devices

If you make changes to your audio device configuration (outside of BPM), click the Refresh Audio Devices button (Figure 5-5) to see those changes reflected in the BPM Audio Devices tab.

ROUTING TAB

The standalone version of BPM provides 17 independent stereo outputs (a main out pair, plus 16 additional separate output pairs numbered 2 through 17) to which you can freely assign each part (instrument), as explained in "Outputs" on page 98.

The Routings tab (Figure 5-6) provides a way for you to map each BPM output to a physical output connector on your audio hardware. For example, you might map the BPM's "Main Out Left/Right" output pair to the headphone output of your audio interface.

The connectors you see in the Physical Output menus (Figure 5-6) are provided by your hardware and its software driver. If you do not see the desired hardware device outputs in the menus, he sure that you have correctly installed its driver and that it is otherwise functioning properly, independently of BPM. For example, can you access the hardware from the system software (Mac OS X or Windows) and other audio applications?

Routing (Mac OS A)

Audi and MSCI Settings AUDIO GROUP MUSI AUDIO GROUP Audio Group Audio Group Audio Group Audio Group Audio Group Audio Group Audio Group Audio Group Audio Group Audio Group Audio Group Audio Group Audio Group Audio Group Audio Group Audio Group Audio Group Audio Group Audio Group Audio Group Audio Group Audio Group Audio Group Audio Group Audio Group Audio Group Audio Group Audio Group Audio Group Audio Group Audio Group Audio Group Audio Group Audio Group

Routing [Windows]

Audio and VAS Settings File Edit View Help Project Options 1 Analog 1-2 2 Analog 1-2 3 Analog 3-4 4 Analog 3-4 5 Analog 3-6 6 Analog 3-6 7 Analog 7-8 8 Analog 7-8 9 Analog 7-8 10 Analog 7-8 11 Analog 7-8 12 Analog 7-8 13 Analog 7-8 14 Analog 7-8 15 Analog 7-8 16 Analog 7-8 17 Analog 7-8 18 Analog 7-8 19 Analog 7-8 20 Analog 7-8 OK Cancel

Figure 5-6: Mapping standalone version outputs to the physical connectors on your audio hardware.

MIDI DEVICES TAB

The MIDI Devices tab (Figure 5-7) lets you configure how external MIDI sources are mapped to BPM's 64 MIDI channels (four ports of 16 channels each).

MIDI Devices (Mar OS X)

Auto and MDD Settings Model 1 Model 2 Model 3 Model 4 Model 5 Model 6 Model 7 Model 8 Model 9 Model 10 Replace MDD Devices OK Cancel

(AIDI Devices (Windows)

MDM export MDM export MDS A MDS B MDS C MDS D MDS E MDS F MDS G MDS H MDS I MDS J MDS K MDS L MDS M MDS N MDS O MDS P MDS Q MDS R MDS S MDS T MDS U MDS V MDS W MDS X MDS Y MDS Z MDS AA MDS AB MDS AC MDS AD MDS AE MDS AF MDS AG MDS AH MDS AI MDS AJ MDS AK MDS AL MDS AM MDS AN MDS AO MDS AP MDS AQ MDS AR MDS AS MDS AT MDS AU MDS AV MDS AW MDS AX MDS AY MDS AZ MDS BA MDS BB MDS BC MDS BD MDS BE MDS BF MDS BG MDS BH MDS BI MDS BJ MDS BK MDS BL MDS BM MDS BN MDS BO MDS BP MDS BPB MDS BPG MDS BPG1 MDS BPG2 MDS BPG3 MDS BPG4 MDS BPG5 MDS BPG6 MDS BPG7 MDS BPG8 MDS BPG9 MDS BPG10 MDS BPG11 MDS BPG12 MDS BPG13 MDS BPG14 MDS BPG15 MDS BPG16 MDS BPG17 MDS BPG18 MDS BPG19 MDS BPG20 MDS BPG21 MDS BPG22 MDS BPG23 MDS BPG24 MDS BPG25 MDS BPG26 MDS BPG27 MDS BPG28 MDS BPG29 MDS BPG30 MDS BPG31 MDS BPG32 MDS BPG33 MDS BPG34 MDS BPG35 MDS BPG36 MDS BPG37 MDS BPG38 MDS BPG39 MDS BPG40 MDS BPG41 MDS BPG42 MDS BPG43 MDS BPG44 MDS BPG45 MDS BPG46 MDS BPG47 MDS BPG48 MDS BPG49 MDS BPG50 NRef: MDSL Devocm

Figure 5-7: MIDI devices.

As defined by the MIDI amplification, MIDI

This means that there is no such thing as MIDI channel 17, 18, 19, etc. So how does BPM provide 64 MIDI channels? The answer is by dividing them into four ports of 16 channels each: Port A, Port B, Port C and Port D. Each port represents one MIDI cable — or MIDI port on a MIDI interface. The MIDI Devices tab (Figure 5-7) lets you map external MIDI sources to each port. These sources could be any of the following:

■ A MIDI IN port on a MIDI interface that is connected to the computer
■ A "virtual" MIDI cable from MIDI software running concurrently with BPM (such as Digital Performer)
■ A USB MIDI controller (a keyboard controller that is connected directly to the computer via a USB cable)
■ An audio interface that also supplies one or more MIDI IN ports (such as the MOTU 828mk3 or Traveler-mk3)

When any of these devices are "on line" (that is, they are connected to your computer with their drivers properly installed — or in the case of MIDI software programs, they are running simultaneously with BPM), they will display their available MIDI ports in the four MIDI port menus shown in Figure 5-7.

You can choose any source you wish for each port. If you choose the same source for two or more port, just be aware that you will trigger the same MIDI channel on both port. For example, if you assign your controller to both Port A and Port B, and it

Refresh MIDI Devices

If you make changes to your MIDI device

configuration (outside of BPM), click the Refresh

MIDI Devices button to see those changes reflected

in the BPM MIDI Devices tab.

CHAPTER 6 BPM Plug-in

OVERVIEW

BPM is supplied in two forms:

■ As a standalone application
■ As a plug-in

This chapter provides basic setup and operation instructions for each supported plug-in format, with specific explanations for a variety of popular host audio software applications. After reading the first two sections (for all users), turn to the section that applies to you.

For information about operating the standalone application, see chapter 5, "BPM Application" (page 27).

When operating BPM as a plug-in inside a host audio program, you can open — or instantiate — BPM on two or more tracks at a time. Each independently operating BPM is referred to as an instance of BPM. For example, you could say that it is possible to open multiple instances of BPM in a project. Each one opens as a separate window and operates independently.

For all users

Conserving CPU resources....36
Managing latency....36

MAS

Digital Performer (Mac OS X) 38

AAX/RTAS

Pro Tools (Mac & Windows)....39

Audio Units

Logic (Mac OS X) 41
Other Audio Unit hosts (Mac OS X) 42

VST

Cubase and Nuendo (Mac & Windows)....43
Live (Mac & Windows) 46
Other VST hosts (Mac & Windows) 47

CONSERVING CPU RESOURCES

Regardless of your host application, BPM provides several settings that are crucial for managing your computer's precious processing (CPU) resources. Another setting, generally referred to as hardware buffer size, can also dramatically impact BPM performance. This last setting is not in BPM; instead, you'll find it either in your host application or in your audio hardware driver configuration settings.

The Polyphony setting

The Polyphony setting (see "Pad polyphony" on page 65) lets you control the maximum allowed number of stereo notes that can be played simultaneous by an individual pad. The upper limit is 256. This setting can be adjusted separately for each pad. Keep it as low as possible to conserve CPU bandwidth.

Here are three ways you can optimize BPM performance:

1. The filter requires processing bandwidth, so disable the filter (click the Off button) when not using it.
2. Long envelope times can increase the polyphony count — without being obvious. Make sure your amplitude envelope is set as short as necessary. For details, see "Amplitude Envelope" on page 87.
3. BPM's effects will increase the CPU load. Reverb is the most CPU-intensive effect, particularly the convolution (IR) reverb.

Hardware buffer size

A crucial setting for managing your system's

software. For other Windows applications, such as Cubase and Pro Tools, it is managed by the audio hardware driver and is usually found in the driver configuration software for your audio hardware. In general, settings of 256, 128 or 64 samples produce better latency performance. But lower settings place higher demand on your computer's processor.

MANAGING LATENCY

Latency is a term used to refer to the very small delay that can occur between when a MIDI note is played and the resulting BPM sound is triggered. The discussion below explains how to best reduce — and in some cases completely eliminate — latency. However, regardless of which host application you use, there are two general situations that you should be aware of in which latency may be an issue:

■During live MIDI input

■During MIDI track playback

Live MIDI input

Live input latency can occur when you play your MIDI controller to trigger sounds "live" in BPM, as demonstrated below in Figure 6-1. The most important setting to control live input latency, regardless of your host application, is the "Hardware buffer size" on page 36. Lower hardware buffer settings (512 samples or below) make live input latency almost inaudible. The lower the setting, the more accurate live playing will feel. However, lower settings place higher demand on the computer, so if you are placing high demands on BPM, you may not want to go much

It is important to note that live input latency has no effect whatsoever on the accuracy with which the MIDI data is recorded. This is only a monitoring issue (i.e. what you hear when you play live).

MIDI track playback

MIDI sequencers store streams of MIDI data in their tracks. When you play back the sequence, this MIDI data is sent to BPM (and other MIDI instruments) to trigger sounds. The question is: how much time elapses between when a MIDI data event is played from the track and when BPM plays the sample being triggered? This period of time, if any, could be referred to as MIDI playback latency.

The latest versions of the host applications described in this chapter all have ways to completely eliminate MIDI playback latency for virtual instruments like BPM: their MIDI track playback is extremely accurate — even sample-accurate in some cases. (Host applications either send the MIDI data a little early or cue up BPM's audio playback a little early so that it plays exactly when the MIDI note plays.) For a few host applications, however, this period of time is affected by the "Hardware buffer size" on page 36: the higher the buffer size, the longer the playback latency. The following sections explain which applications are affected by this setting with regard to MIDI track playback. As with live input latency, lower buffer settings result in more accurate playback, but at the expense of increased processing load on your computer.

graph LR
    A["MIDI Controller"] -->|MIDI or USB Cable| B["BPM"]
    B --> C["BPM audio output"]

DIGITAL PERFORMER (MAC OS X)

For Digital Performer, BPM operates as a standard MAS instrument plug-in. Alternatively, you may use BPM as an Audio Unit (AU) instrument; the process is the same as described for MAS.

For complete details about running instrument plug-ins in Digital Performer, refer to your DP documentation. Here is a brief overview of how to use BPM in DP.

Installation for DP

BPM Installer places BPM plug-in in the MAS plug-ins folder:

/Library/Audio/Plug-ins/MAS/

Calling up BPM on an instrument track

BPM is accessed from an instrument track in Digital Performer's Mixing Board. To create a new instrument track with BPM already instantiated on it, choose Project menu> Add Track> Instrument Track> RPM. To instantiate BPM on an existing instrument track, just choose it from the topmost insert menu.

BPM Name Automatic (DEFAULTDevice (Office)) Baseline (Office) BPM (Office) Electronic (Office) Model2 (Office) Module1 (Office) BPM (Office) Extracsquare (Office) FieldPath (Office) Packet (Office) Unifunction (Office) Mobile2 (Office)

Figure 6-2: Opening BPM on an instrument track in Digital Performer.

Using BPM in a V-rack

If you are working with multiple sequences in a Digital Performer project document, and the sequences are making use of the same sounds in BPM, consider instantiating BPM in a V-rack. By doing so, you will only have to instantiate BPM once, in the V-rack, instead of multiple times in each individual sequence. This is a much more highly efficient way to work, as it speeds up the time it takes for the project to open and the amount of time to switch between sequences. It also takes up much less computer memory.

Initiating BPM operation

Before you can begin using BPM, you need to load a kit into a bank or load at least one instrument or loop into a rack. For details, see chapter 3, "Tutorial 1: QuickStart Guide" (page 15).

Specifying audio output

By default, BPM sends the output of all banks and parts to the audio output assignment of the instrument track on which it is instantiated. But it also supplies multiple independent outputs that let you send parts to different destinations in the Digital Performer mixing environment, including the separate outputs on your audio hardware. For details, see "Outputs" on page 98.

Working with multiple instances of PDM

Digital Performer. (Each instance of BPM publishes its own set of 64 channels.) These MIDI channels appear in the output assignment menus of DP's MIDI tracks.

BPM must be instantiated in the project before you'll see its MIDI channels displayed in the MIDI output menus in DP.

To send MIDI data from a DP track to a specific BPM bank or rack part, assign the MIDI track to the corresponding BPM MIDI channel for the bank or part. BPM banks A, B, C, and D respond to MIDI channels A1 through A4, respectively. The first part in Rack A defaults to MIDI channel A5, but rack parts can be assigned to any MIDI input channel you wish. For further important details about MIDI channel assignments in BPM, see "MIDI channel" on page 71).

Near sample-accurate MIDI playback

In regard to "Managing latency" on page 36, DP's MIDI track playback (the timing between MIDI tracks in Digital Performer and the audio being triggered in BPM) is accurate to within one sample. In other words, BPM audio will never trigger more than one sample earlier or later than the exact sample location prescribed by the MIDI data event triggering the sample. This is because both DP and BPM take advantage of Mac OS X's MIDI timestamping features. This allows DP to accurately pre-cue MIDI data for playback. BPM plays back in DP with the tightest timing possible.

Reducing live input latency

In regard to "Managing latency" on page 36, you can minimize live input latency with BPM by

PRO TOOLS (MAC & WINDOWS)

BPM operates as a standard AAX or RTAS plug-in. For complete details about running AAX or RTAS plug-ins in Pro Tools, refer to your Pro Tools documentation. Here is a brief overview of how to use BPM in Pro Tools.

Installation for Pro Tools

The BPM installer places the BPM plug-in here:

Platform Location

Mac OS X / Library/Application Support/Digidesign/Plug-ins

Windows\Program Files\Common Files\DAE\Plug-ins

Calling up BPM on an instrument track

BPM is accessed from the insert menus of any instrument track in Pro Tools. Just choose it from the insert menu and it will open as a plug-in.

File Edit View Help 11.10.2007 0:30:4000 Open Delete Paste Open File Delete Paste Open Text Delete Text Paste Text Open Text (Edit) Delete Text (Edit) Paste Text (Edit) Open Text (Edit)

Figure 6-4: Opening the BPM plug-in in Pro Tools (same for Mac and Windows).

Working with multiple instances of BPM

You can open as many instances of BPM in Pro Tools your computer's processing resources will allow. Keep in mind that BPM operates as a

Initiating BPM operation

Before you can begin using BPM, you need to load a kit into a bank or load at least one instrument or loop into a rack. For details, see chapter 3, "Tutorial 1: QuickStart Guide" (page 15).

Specifying audio output

By default, BPM sends the output of all banks and parts to the audio output assignment of the instrument track on which it is instantiated. But it also supplies multiple independent outputs that let you send parts to different destinations in the Pro Tools mixing environment, including the separate outputs on your audio hardware. For details, see "Outputs" on page 98.

MIDI I/O

MIDI I/O between BPM and Pro Tools is handled by Mac OS X's built-in MIDI services (Core MIDI). When you first instantiate a BPM plug-in, BPM publishes 64 MIDI channels to Pro Tools. (Each instance of BPM publishes its own set of 64 channels.) These MIDI channels appear in the output assignment menus of Pro Tool's MIDI tracks.

BPM must be instantiated in the session before you'll see its MIDI channels displayed in the MIDI output menus in Pro Tools (Figure 6-5) below.

To send MIDI data from a Pro Tools track to a specific BPM bank or rack part, assign the MIDI track to the corresponding BPM MIDI channel for the bank or part. BPM banks A, B, C, and D

respond to MIDI channels A1 through A4, respectively. The first part in Rack A defaults to MIDI channel A5, but rack parts can be assigned to any MIDI input channel you wish. For further important details about MIDI channel assignments in BPM, see "MIDI channel" on page 71).

BPM 1 A BPM 1 B BPM 1 C BPM 1 D Predetrad channel-1 channel-2 channel-3 channel-4 channel-5 channel-6 channel-7 channel-8 channel-9 channel-10 channel-11 channel-12 channel-13 channel-14 channel-15 channel-16

Figure 6-5: Assigning a Pro Tools MIDI track to a RPM MIDI channel.

Reducing buffer latency

In regard to "Managing latency" on page 36, you can minimize both live MIDI input latency and MIDI track playback latency by keeping your Pro Tools DAE Buffer. Size setting as low as possible. Consult your Pro Tools manual for details about adjusting the DAE buffer size. Lower settings produce higher processing demands on your computer's CPU resources.

LOGIC (MAC OS X)

For Logic, BPM operates as a standard Audio Unit (AU) plug-in.

Installation for Logic

BPM Installer places BPM AU plug-in in the Components plug-in folder:

/Library/Audio/Plug-ins/Components/

Opening BPM on an instrument track

In Logic, create an audio instrument track. Then open a stereo BPM on the instrument track.

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Figure 6-6: Opening BPM on a Logic instrument track (from the track settings panel in this example).

Working with multiple instances of BPM

You can open as many instances of BPM in Logic as your computer's processing resources will allow. Keep in mind that BPM operates as a multitimbral instrument, so each instance of BPM is capable of playing different instruments (triggered from separate MIDI channels).

Initiating BPM operation

Before you can begin using BPM, you need to load a kit into a bank or load at least one instrument or you send parts to different destinations in the Logic mixing environment, including the separate outputs on your audio hardware. For details, see "Outputs" on page 98.

MIDI I/O

MIDI I/O between BPM and Logic is handled by Mac OS X's built-in MIDI services (Core MIDI). When you first instantiate a BPM plug-in and choose a preset, BPM publishes 16 MIDI channels to Core MIDI and Logic. (Each instance of BPM publishes its own set of 16 channels.) These MIDI channels will automatically become available in Logic on BPM's instrument track. No extra preparation is necessary.

BPM must be instantiated in your Logic session before you'll see its MIDI channels displayed in the MIDI output menus in Logic.

To send MIDI data from a Logic track to a specific BPM bank or rack part, send MIDI data to the corresponding BPM MIDI channel for the bank or part. For further important details about MIDI channel assignments in BPM, see "MIDI channel" on page 71).

In the Logic instrument track for BPM (or any other tracks assigned to BPM instrument object), each MIDI data event is tagged with a MIDI channel. Use Logic's list editor to assign existing notes to a MIDI channel, and then assign that same MIDI channel to the desired part (or parts) in BPM (as explained in "MIDI channel" on page 71). Any notes in the instrument track that match a part's MIDI receive channel in BPM will play that part. The same is true for any new data recorded, or live

You can also route data from other MIDI tracks to BPM by assigning the track to BPM audio instrument and tag all notes in the track to the necessary MIDI channel for BPM.

Latency

In regard to "Managing latency" on page 36, Logic's I/O Buffer Size setting (as shown below in Figure 6-7) has no effect on either live MIDI input latency or MIDI track playback, as Logic has other ways of managing them. In general, BPM will perform as well as any other virtual instrument that you use in Logic.

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Figure 6-7: Logic's I/O Buffer Size setting.

OTHER AUDIO UNIT HOSTS (MAC OS X)

For Mac OS X audio/MIDI applications that support Audio Units (AU) plug-ins, BPM operates as a standard AU plug-in. The AU host application must also support MIDI sequencing and Mac OS X's built-in MIDI services (Core MIDI) to send MIDI data to BPM. BPM sounds are triggered by MIDI data received from the host application.

Installation for AU hosts

BPM Installer places BPM AU plug-in in the Components plug-in folder:

/Library/Audio/Plug-ins/Components

Calling up BPM on an audio track

BPM is accessed in an Audio Unit host application in the standard fashion as an AU plug-in.

Working with multiple instances of BPM

You can open as many instances of BPM in your host application as your computer's processing resources will allow. Keep in mind that BPM operates as a multitimbral instrument, so each instance of BPM is capable of playing different instruments (triggered from separate MIDI channels).

Initiating BPM operation

Before you can begin using RPM, you need to load a kit into a bank or load at least one instrument or loop into a rack. For details, see chapter 3, "Tutorial 1: QuickStart Guide" (page 15).

Specifying audio output

By default, BPM sends the output of all banks and parts to the audio output assignment of the

In addition, we can find that the concept of

MIDI I/O

MIDI I/O between BPM and an AU plug-in host application is handled by Mac OS X's built-in MIDI services (Core MIDI). When you first instantiate an BPM plug-in, BPM publishes itself as a MIDI destination to the AU host and appears in the output assignment menus of the AU host's MIDI tracks.

BPM must be instantiated in the AU host project before you'll see it displayed in the MIDI output menus in the host.

To send MIDI data from your AU host software track to a specific BPM bank or rack part, assign the host MIDI track to the corresponding BPM MIDI channel for the bank or part. BPM banks A, B, C, and D respond to MIDI channels A1 through A4, respectively. The first part in Rack A defaults to MIDI channel A5, but rack parts can be assigned to any MIDI input channel you wish. For further important details about MIDI channel assignments in BPM, see "MIDI channel" on page 71).

Reducing buffer latency

In regard to "Managing latency" on page 36, the hardware buffer size may or may not impact live MIDI input latency and MIDI track playback: it depends on the host software. Consult the documentation for your host software for information about using virtual instruments.

CUBASE AND NUENDO (MAC & WINDOWS)

For Cubase or Nuendo, BPM operates as a standard VST instrument (VSTi).

Installation for Cubase or Nuendo (Mac OS X)

BPM Installer places BPM VST plug-in here:

Platform Location

Mac OS X (Library/Audio Plug-Inq/VST

Windows\Program Files\MOTUVsplugins

If you want to install the VST in another

Vstplugins folder, copy the RPM VST files from this folder to the desired location.

LOE THE FORCE TO THE DESECESSION.

Opening a BPM VSTi

Go to the VST Instruments rack and choose BPM in a slot, as shown below:

VST Instruments ✓ No VST Instrument Dimension 12 DropZone Edita Instrument - MISTU EmsO Instrument MachFms2 mm - MISTU Symphonic Instrument Capture 11 - Capture3LE Session Diagram 2 - SessionDiagram2 df: Synth df:# VST Electrolyte VST FMACOne MSTU Recognition VST

Figure 6-8: Opening BPM in the VST Instruments window (same for Mac and Windows).

Alternatively, you can create an instrument track, as shown below:

Add Instrument Track 1 2023 Browse Be VET Instrument No VET Instrument Dimension 12 DropSize Block Instrument - MOTA Dose Instrument Machine set - MOTA Symphonic Instrument Engine 12 - Engine2012 Socket Document 2 - SocketInstrument g Synth all+ Edit Edit-Regd. VST MIL-KE-CE MIL-Portelation/ST

Figure 6-9: Creating an instrument track for GPM (same for Mac and Windows).

STONE OUT Left Right Stone Out 2 Left Right Stone Out 3 Left Right Stone Out 4 Left Right

Figure 6-10: Assigning BPM output to the desired output bus (same for Mac and Windows).

Working with multiple instances of BPM

You can open as many instances of BPM in the VST Instruments rack as your computer's processing resources will allow. Keep in mind that BPM operates as a multitimbral instrument, so each instance of BPM is capable of playing different instruments (triggered from separate MIDI channels).

MIDI I/O

MIDI I/O between BPM and Cubase or Nuendo is handled by VST. When you first instantiate a BPM plug-in, BPM publishes 16 MIDI channels to Cubase or Nuendo. (Each instance of BPM publishes its own set of 16 channels.) These MIDI channels automatically appear in the output assignment menus of Cubase or Nuendo's MIDI tracks:

Initiating BPM operation

Before you can begin using BPM, you need to load a kit into a bank or load at least one instrument or loop into a rack. For details, see chapter 3, "Tutorial 1: QuickStart Guide" (page 15).

Setting up audio outputs

Use the Device Setup window to enable VST outputs as usual. Then, add the desired output busses in the VST Connections window (Devices menu). For complete information about setting up

To send MIDI data from your Cubase or Nuendo MIDI track to a specific BPM bank or rack part, assign the MIDI track to the corresponding BPM MIDI channel for the bank or part. BPM banks A, B, C, and D respond to MIDI channels A1 through A4, respectively. The first part in Rack A defaults to MIDI channel A5, but rack parts can be assigned to any MIDI input channel you wish. For further important details about MIDI channel assignments in BPM, see "MIDI channel" on page 71).

Reducing buffer latency

In regard to "Managing latency" on page 36, Cubase and Nucendo provide ways to manage virtual instrument playback timing (consult your user guide for details). You can minimize live input latency with BPM by keeping their Audio Bagler Size setting as low as possible. Try values of 256 samples or lower, if your computer can handle them. Lower settings produce higher processing demands on your computer's CPU resources.

Under Mac OS X, the Audio Buffer setting is found in the Device Setup window under the VST Audio System list item (Figure 6-12).

Device Setup VST Audio System Control Panel Control Panel when Application is in Background Input Layer: 5.02 m/s Output Layer: 7.02 m/s Control Panel Control Panel Control Panel Control Panel Control Panel Control Panel Control Panel Control Panel Control Panel Control Panel Control Panel Control Panel Control Panel Control Panel Control Panel Control Panel Control Panel Control Panel Control Panel Control Panel Control Panel Control Panel Control Panel Control Panel Control Panel Control Panel Control Panel Control Panel Control Panel Control Panel Control Panel Control Panel Control Panel Control Panel

Under Windows, open the Device Setup window and choose your audio hardware from the list on the left, found under VST Audio System (Figure 6-13). Click the Control Panel button to launch your audio hardware's configuration software.

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Figure 6-13: Setting the Audio Buffer Size in Cubase or Nuendo (Windows).

LIVE (MAC & WINDOWS)

For Ableton Live running on Mac OS X or Windows, BPM operates as a standard VST instrument (VSTi). Alternatively, you may use BPM as an Audio Unit (AU) instrument when running Live on Mac OS X; the process is the same as described for VST.

Installation for Live

The BPM Installer places the BPM VST plug-in here:

Platform Location

Mac OS X /Library/Audio/Plug-Ins/VST

Windows\Program Files\MOTUVstplugins

If you want to install the VST in another Vstplugins folder, copy the BPM VST files from this folder to the desired location.

Opening an BPM VSTi

Go to the Plug-in Device Browser and drag the BPM VST onto a MIDI track, or into the Clip/Device Drop Area, to create a new track.

Plug-in Devices Name SPM GPSSampler ElectricKeys V37 Ethio Instrument MatchFirst2 MSI 1 Audio 2 MDI BG

Figure 6-14: Opening SPM in the VST Instruments window.

Working with multiple instances of BPM

Initiating BPM operation

Before you can begin using BPM, you need to load a kit into a bank or load at least one instrument or loop into a rack. For details, see chapter 3, "Tutorial 1: QuickStart Guide" (page 15).

Setting up audio outputs

Use the Preferences > Audio window to enable outputs as usual. Once you've set up the desired outputs, assign the output of the BPM track to the desired bus. Choose Master to assign it to the master output bus, or choose Ext. Out and select a different output from the menu below.

Audio From Est. 10 1/2 Monitor Auto On Audio To Master Send Only Send Only 1-Audio Send Only 1-Audio 1-Configuration Master Output Auto On Auto To All Bits All Channels Master Out 1-Audio Send Only Send Only

Figure 6.15: Assigning the BPM output to the desired output bus.

MIDI I/O

When you first instantiate an BPM plug-in, BPM publishes itself as a MIDI destination to Live, which appears in the output assignment menus of Live's MIDI tracks.

BPM must be opened in your Live project

MIDI channels A1 through A4, respectively. The first part in Rack A defaults to MIDI channel A5, but rack parts can be assigned to any MIDI input channel you wish. For further important details about MIDI channel assignments in BPM, see "MIDI channel" on page 71).

Reducing buffer latency

In regard to "Managing latency" on page 36, Live provide ways to manage virtual instrument playback timing (consult your user guide for details). You can minimize live input latency with BPM by keeping the Audio Buffer Size setting as low as possible. Try values of 256 samples or lower, if your computer can handle them. Lower settings produce higher processing demands on your computer's CPU resources.

In Live, the Buffer Size setting is found in the Preferences > Audio window (Figure 6-16). On Mac OS X, you can directly change that setting. On Windows, click the Hardware Setup button to launch your audio hardware's configuration software.

Options Audio Device Audio Type Audio Device Standard for Configuration Audio Format Audio Mask Sample Rate Mood Sample Rate Default M/F/Flash Compression Latency Latency Mood Latency Capacay Latency Digital Pulse Compression Gbps Gbps Gbps Gbps Gbps Gbps Gbps Gbps Gbps Gbps Gbps Gbps Gbps Gbps Gbps Gbps Gbps Gbps Gbps Gbps Gbps Gbps Gbps Gbps Gbps Gbps Gbps Gbps Gbps Gbps Gbps Gbps Gbps Gbps

Finnon A.16 Sattlerthe Austin Ruffor Site in Line

OTHER VST HOSTS (MAC & WINDOWS)

For other VST hosts running on Mac OS X or Windows, BPM operates as a standard VST instrument (VSTi).

Installation for Your VST host

The BPM Installer places the BPM VST plug-in here:

Platform Location

Mac OS X Library/Audio/Plug-Ins/VST

Windows Program Files\MOTUVsplugins

If you want to install the VST in another Vstplugins folder, copy the BPM VST files from this folder to the desired location.

You can copy the BPM VST file from the directory listed above to the Vstplugins folder of your choice after installation completes. Or you can point your host application to the directory listed above.

Calling up BPM on an audio track

BPM is accessed in a VST host application in the standard fashion as an VST plug-in.

Working with multiple instances of BPM

You can open as many instances of BPM in your host application as your computer's processing resources will allow.

Initiating BPM operation

Before you can begin using BPM, you need to load a kit into a bank or load at least one instrument or loop into a rack. For details, see chapter 3, "Tutorial 1: QuickStart Guide" (page 15).

Specifying audio output

BPM sends its audio output to the audio output

MIDI I/O

When you first instantiate an BPM plug-in, BPM publishes itself as a MIDI destination to the VST host and appears in the output assignment menus of the VST host's MIDI tracks.

BPM must be instantiated in the VST host project before you'll see it displayed in the MIDI output menus in the host.

To send MIDI data from a VST host track to a specific BPM bank or rack part, assign the MIDI track to the corresponding BPM MIDI channel for the bank or part. BPM banks A, B, C, and D respond to MIDI channels A1 through A4, respectively. The first part in Rack A defaults to MIDI channel A5, but rack parts can be assigned to any MIDI input channel you wish. For further important details about MIDI channel assignments in BPM, see "MIDI channel" on page 71).

Reducing buffer latency

In regard to “Managing latency” on page 36, the hardware buffer size may or may not impact live MIDI input latency and MIDI track playback: it depends on the host software. Consult the documentation for your host software for information about using virtual instruments.

CHAPTER 7 BPM Window

OVERVIEW

Read this first: basic BPM concepts.... 50

Conventions and shortcuts....51 Using the RPM sound library....51

Banks and pads 55

Patterns....58

Step Sequencer....58

Graph Sequencer....61

Racks 69

Piano Roll Sequencer....72

Part Editor....74

Loop Editor....79 Synth Parameters....86

SP mode 89

Transport Control and Tempo 90

Master volume and tune....91

Groove....91

MIDI automation 92 MIDI modulation 92

Recording 93

Sampling....95

Mixing....97 Effects....90

Song arranging ....101

Scenes....101

Scene Editor....102

Live mode 105 Song mode 104

File menu....105

Preferences....107

Drag & Drop....108

File menu MIDI input controls Editor and Audio/Video controls Grove controls and Volume tabs beaver labs BEAT PRODUCTION BPM MOTU 100% 100% 100% 100% 100% 100% 100% 100% 100% 100% 100% 100% 100% 100% 100% 100% 100% 100% 100% 100% 100% 100% 100% 100% 100% MOTA 100% MOTA 100% MOTA 100% MOTA 100% MOTA 100% MOTA 100% MOTA 100% MOTA 100% MOTA 100% MOTA 100% MOTA 100% MOTA 100% MOTA 100% MOTA 100% MOTA 1.5V/4.5V/4.5V/4.5V/4.5V/4.5V/4.5V/4.5V/4.5V/4.5V/4.5V/4.5V/4.5V/4.5V/4.5V/4.5V/4.5V/4.5V/4.5V/4.5V/4.5V/2.5V/4.5V/4.5V/4.5V/4.5V/4.5V/4.5V/4.5V/4.5V/4.5V/4.5V/4.5V/4.5V/4.5V/4.5V/4.5V/4.5V/4.5V/4.5V/4.5V/3.5V/4.5V/4.5V/4.5V/4.5V/4.5V/4.5V/4.5V/4.5V/4.5V/4.5V/4.5V/4.5V/4.5V/4.5V/4.5V/4.5V/4.5V/4.5V/3.5V/6.5V/7.5V/8.5V/9.5V/10.5V/11.5V/12.5V/13.5V/14.5V/15.5V/16.5V/17.5V/18.5V/19.5V/20.5V/21.5V/22.5V/23.5V/24.5V/25.5V/26.5V/27.5V/28.5V/29.5V/30.5V/31.5V/32.5V/33.5V/34.5V/35.5V/36.5V/37.5V/38.5V/39.5V/40.5V/41.5V/42.5V/43.5V/44.5V/45.5V/46.5V/47.5V/48.5V/49.5V/50.5V/60.5V/70.5V/80.5V/90.5V/100.5V BEAT PRODUCTION BPM MOTU 100% 100% 100% 100% 100% 100% 100% 100% 100% 100% 100% 100% 100% 100% 100% 100% 100% 100% 100% 100% 100% 100% BPM MOTU 1, 2, 3, 4, 5, 6, 7, 8, 9, 10, 11, 12, 13, 14, 15, 16, 17, 18, 19, 20, 21, 22, 23, 24, 25, 26, 27, 28, 29, 30, 31, 32, 33, 34, 35, 36, 37, 38, 39, 40, 41, 42, 43, 44, 45, 46, 47, 48, 49, 50, 69, 79, 89, 99, 1,22,23,24,25,26,27,28,29,38,39,39,39,39,39,39,39,39,39,39,39,39,39,39,39,39,39,39,39,39,39,39,39,39,39,39,39,39,39,39,39,39,39,39

READ THIS FIRST: BASIC BPM CONCEPTS

Here are a few basic concepts that lay the groundwork for how BPM works.

Kits

A kit is a bank of 16 drum pads loaded with sounds. Each pad has its own name and settings, and it can hold an unlimited number of drum sound layers, each with their own settings. You can apply unlimited effects processing to the pad or its individual drum sound layers.

Pattern

A pattern is a series of notes in the drum pad Step Sequencer or the instrument Piano Roll Editor that together make up a rhythm. Patterns are recorded, imported and exported as MIDI note data. Patterns do not contain actual drum sounds. They consist of rhythmic information that can be applied independently to any kit (set of sounds).

Kit+Pattern

A kit+pattern is a combination of a pattern with a kit that can be saved and loaded together.

Kit+ patterns are especially convenient for layering using BPM's four banks. For example, you could load a basic beat (kit+pattern) in Bank A and then layer a conga kit+pattern in Bank B.

Loop

A loop is a short audio clip of anything (drums, percussion, an instrument sound such as guitar or bass, etc.) that is meant to be played over and over again. Most of the loops in BPM's included library of sounds are sliced loops, similar to REX files, which means they have predefined slices that can be accessed and played individually, if desired.

Sound

A sound is a short audio dip of anything, such as an individual drum hit (snare hit, bass drum hit, hi-hat, etc.), a sound effect or even an instrument note. BPM's included library has a Sounds category mostly made up of drum hits that are suitable for loading into individual drum pads to build custom kits. However, you could also load a sound into one of BPM's two instrument/loop racks.

Instrument

An instrument is a multi-sampled instrument such as a bass, guitar, piano, synth pad, etc. BPM lets you load and play instruments along with loops, patterns and kits.

Working with kits and patterns

At its most basic level, BPM lets you load a Kit+Pattern from its library, so you can hear a pattern with the original kit of sounds that goes with it. However, you can easily switch to a different kit to hear the same rhythmic pattern played by different drum sounds.

Conversely, you can keep playing the same kit (sounds), and try different patterns (rhythms) with that same kit.

BPM provides four separate banks (A, B, C and D), each of which can hold a different pattern and kit, allowing you to layer multiple kit+pattern combinations.

Working with sounds

Once you find a kit and pattern combination that you like, you might then decide that you would like to change individual drum pad sounds. Perhaps

You can also layer multiple sounds on a single pad and program BPM to switch between them via note velocity or other rules. This process is covered later in "Pad Editor" on page 63.

Adding loops and instruments

Once you've programmed your beat by choosing a kit, pattern and perhaps individual sounds, you can layer as many loops and instruments as you wish using BPM's two Rack modules. These racks hold an unlimited number of loops and instruments. For further details about rack operation, see "Racks" on page 69.

CONVENTIONS AND SHORTCUTS

BPM provides the following user interface conventions and shortcuts.

Scroll wheel support

BPM supports the scroll wheel on your mouse.

Right-clicking

There is extensive support for right-clicking in BPM. Except where noted, Mac users can use Control-clicking as an alternative to right-clicking.

Option/Alt key

In this manual, the convention Option/Alt is used for any operation or shortcut that involves the Option key on the Mac or the Alt key on a PC.

Shortcuts for changing BPM settings

Here are several shortcuts for changing settings for BPM's controls, knobs, sliders and so on:

Action Shortcut

Return to default Option/Alt-click

USING THE BPM SOUND LIBRARY

Of course, BPM allows you to build your own kits and patterns, either from the ground up or by modifying existing ones. But to get you going quickly, BPM's sound library provides a vast collection of pre-programmed patterns, kits, kit+patterns, loops, phrases, sounds and instruments. BPM allows you to freely browse and combine these elements independently, a degree of flexibility that produces infinite possible combinations. The browser gives you access to all of these elements in the BPM sound library.

Kit+Pattern Patterns Users Kit Loop Instrument 1 Kit+Pattern Big Beat Dancehall Dirty South Dub Electro Hard Trance Hiphop-Rob-Bpm V1 House Jungle-Drum Bass Minimal Progressive Raggs Trip Hop Vinylized Xtra-Percussion Construction kit categories

Figure 7.2: Browser tabs

Navigating the browser

Double-click a folder or click its disclosure triangle to open it. To go back up one level, double-click the Parent Folder item at the top of the list, or click the path menu (Figure 7-3).

Sound Sound Preset BPM MSI Soundpack DEMO UVI Tutorial Set

Figure 7-3: Navigating the browser.

Tempo indication

Most patterns and loops indicate their original tempo at the beginning of their name: a three digit number in beats per minute (BPM). But you can play them at any tempo you want.

Figure 7-4: Pattern and loop names indicate their original tempo.

individual elements separately, organized by the same name (Figure 7-5) so you can easily access the individual elements that make up the kit.

1 Kit-Pattern Acoustic Mood Beat City 061-Five Billiton 062-Jean Live 063-Music Box A 2 Kit Acoustic Mood Beat City 061-Five Billiton 062-Jean Live 063-Music Box A 2 Pattern Acoustic Mood Beat City 061-Five Billiton 062-Jean Live 2 Pattern Acoustic Mood Beat City 061-Five Billiton 062-Jean Live 2 Pattern Parent Folder 061-A-Five Billiton 061-A-Five Billiton Base 061-A-Five Billiton Inch 061-Five Billiton 5D=5D 061-Five Billiton DemLoop 061-Five Billiton HH 062-B-Jean Live 2 Sound (Categories) Acoustic Mood Beat City 061-A-Five Billiton 062-B-Jean Live 2 Sound (Categories) Acoustic Mood Beat City 061-A-Five Billiton 062-B-Jean Live 2 Sound

individual element. The Kit+Pattern will sound exactly like its corresponding loop, except that you have access to the individual notes in the Pattern Sequencer and the individual sounds in each pad.

Here's another example: if you find a Kit+Pattern that you like, and you'd like to hear some instrument parts that go with it, such as guitar, bass or vocals, BPM likely provides them as loops. Just go to the Loops sub-folder with the same name as the Kit+Pattern. For example, in Figure 7-5 you can see in the Loop elements sub-folder there is a bass loop and instrument loop that goes with the original Five Billion Kit+Pattern.

'Xtra' folders

BPM's sound library also includes "xtra" folders that provide a great deal of additional material, above and beyond the construction kit elements.

The User tab

The User tab (Figure 7-2) provides access to the rest of your computer system.

Current directory Your BPM soundtrack library Other UVI soundbanks installed on your computer system Fascies Mounted hard drives and Places Desktop Documents Home folder Devices Snow Leopard Backups Lizard

Soundbanks

The Soundbanks section of the User tab (Figure 7-6) displays UVI-based sample instrument libraries installed in your system. BPM can read presets from the libraries of these other products. See "UVI soundbanks" below.

Places

The Places section of the User tab (Figure 7-6) displays favorite locations. You can add your own favorites by navigating to a folder and then right-clicking on the folder. Then choose Add to favorites from the menu. To remove it from your favorites, navigate to the folder, right-click the Current Directory bar (Figure 7-6) and choose Remove from favorites.

UVI soundbanks

BPM can load loops and multi-sample instrument sounds from any MOTU instrument library or any other third-party UVI sounbank.

If the instrument libraries from your other MOTU instruments are placed in their proper locations (refer to each instrument's documentation), they will be available in BPM without any additional steps.

To access other UV1 soundbanks, place them (or an aliases to them) in your computer's UV1SoundBanks folder:

Mac:

/Library/Application Support/UVISoundBanks

Windows:

To access the Beat Box Anthology kits, select the Kits lab in the browser, click the path menu (as shown in Figure 7-7, below), and select Beat Box Anthology from the drop-down menu. The Kits tab will then display the Beat Box Anthology kits. The same process can be followed when other browser tabs are selected (Kit+Pattern, Loop, etc.).

Figure 7-7: Selecting the Beat Box Anthology soundbank

AutoLoad

When AutoLoad is on (yellow), items that you click in the browser load and play immediately, as soon as you click them. If the transport is engaged (figure Figure 7-60 on page 90), you will hear patterns and loops play as soon as you click them for fast and convenient browsing.

AutoLoad allows you to quickly "surf" different patterns with the same kit, or different kits with the same pattern. You can also quickly browse loops.

When AutoLoad is off, you need to drag and drop the item to any location in the BPM window that accepts that type of item to load it (explained later), or double-click the item.

AutoLoading patterns and kits To AutoLoad patterns and kits:

1 Click the Bank A button (Figure 7-1 on page 49).

2 Click the Kit+Pattern tab in the browser (Figure 7-2) and open any folder.

3 Each time you click a Kit+Pattern, it will load the kit and pattern combination. (Press play to listen it.)

4 Click the Pattern tab ((Figure 7-2), open any folder and preview different patterns with the same loaded kit.

Autoloading sounds

To replace a sound in a pad, Autoload works the same way as described above.

1 Click a pad to select it (it turns red).

2 Click the Sound tab in the browser (Figure 7-2) and open any folder.

3 Sounds load as soon as you click them.

Autoloading loops and instruments into a part

To autoload a loop or instrument into a rack part, the procedure is the same as described above.

AutoLoad options

When using AutoLoad, the AutoLoad options

(Figure 7-8) let you control what gets loaded into into banks when browsing patterns and kits.

AutoLoad option What it does

Kit Settings When checked, all current kit settings are overwritten with those saved with the kit. Settings include pad volumes, pin settings, effects, etc.

Load bank FX When checked, all current bank effects are overwritten with any bank effects saved with the bank.

Overwrite Tempo When checked, IPM a global tempo setting is changed to be original, saved tempo of any kbp pattern when you load it.

AutoPreview Causes loops and phrases to play once when you click them in its browser.

Preview startstop Plays or stops AutoPreview playback.

Preview volume Preview playback level.

Pad selector Lets your "lock" pads so that they are not changed in any way when loading kits.

BANKS AND PADS

A bank is a set of sixteen drum pads and their loaded kit sounds, pad settings and patterns. BPM provides four separate banks (A, B, C and D) that operate independently. All four banks can play simultaneously with each other. This allows you to load and play up to four independent Kit1 Pattern combinations.

Four bank buttons

Click a bank button to view the pads and other settings for the bank. Below each bank button are Mute and Solo buttons that allow you to mute and solo the entire bank during playback. Each bank also has an SP Mode button next to it. For details, see "SP mode" on page 89.

Loading a kit into a bank

To load a kit sounds into a bank of pads:

1 Click the bank button (Figure 7-9) for the bank you wish to load.

2 Go to the browser and navigate to either a kit or a kit+pattern (Figure 7-2 on page 51).

3 If AutoLoad (Figure 7-8) is turned on, simply click the kit or kit-pattern to load it into the bank pads.

4 If AutoLoad is turned off, drag and drop the kit or kit+pattern from the browser onto the sixteen pads or onto the Step Sequencer window area (above the pads).

The target area highlights when you move the mouse over it to indicate that it can accept what you are dragging.

Screenshot of a BPM audio editing software interface with multiple instrument panels and control knobs

Loading a sliced loop into a bank

In addition to using loops in rack parts, you can load sliced loops as kits. When a sliced loop is loaded in a bank, the first 16 slices of the loop will be mapped to the pads.

You can load a sliced loop in a bank by selecting it in the browser while viewing a bank. If you want to load the entire loop on a single pad, turn off AutoLoad and drag & drop the file directly onto a single pad. To load a sliced loop as a kit via drag & drop, drag the sample to the areas between the pads, rather than directly onto a pad (the highlighted region will clue you in to which way it will load).

Drag and drop into the Step Sequencer

You can drag and drop patterns from the browser (with AutoLoad turned off), and MIDI files from your computer desktop, into the Step Sequencer. When importing MIDI files, drag and drop works best when using single-channel MIDI files of a reasonable length.

Loading a sound into a pad

The procedure for loading an individual sound into a pad is similar to loading a kit or kit + pattern.

1 Click the bank button (Figure 7-9) for the bank you wish to work with.

2 Click the pad you wish to load a sound into to select it (it turns red).

3 Go to the browser and navigate to any sound in the Sounds folder (Figure 7-2 on page 51).

4 If AutoLoad (Figure 7-8) is turned on, simply click consensus in the hardware load it into the

from your computer desktop. Either way, dragging directly to the pad replaces any sounds currently in the pad with the newly dropped sound.

To drag multiple samples onto separate pads, drag & drop the selected samples from the browser or computer desktop to the space between pad.

To load the sound as a new, independent layer (this preserves existing sounds already loaded in the pad), you can drag and drop a sound to the top portion of the Pad Editor (Figure 7-27). See "Loading multiple samples into a pad" on page 63 for details.

Playing a kit using the pads

Once you've loaded sounds into the pads as explained in the previous sections, click the pads to play the sounds. If a pattern is also currently loaded, press the play button (Figure 7-60 on page 90) to play the pattern using the sounds currently loaded in the pads. You can also play the pads from your MIDI controller and even record patterns this way. See "Recording" on page 93 for further details.

Recording a pattern using the pads

You can record patterns by clicking on the pads while recording in real time. For details, see "Recording" on page 93.

Pad settings

Each pad has its own name, volume slider, pan slider, mute button, solo button and synth section settings (see "Synth Parameters" on page 86 for details).

Selecting a pad

Click a pad to select it and view its synth settings, access the pad editor, and other tasks related to the pad.

Alternatively, pads can be selected by incoming MIDI notes. When MIDI Select is enabled (Figure 7-12), playing a note on your MIDI controller or playing back a note from your host software will select the pad that is assigned to that note.

Figure 7-12: MIDI Select

Renaming a pad

Option/Alt-double-click the pad name to change it. Or right-click to access the Rename pad setting command (Figure 7-13). You can also double-click the pad name in the pattern Step Sequencer (Figure 7-16 on page 59).

Pad settings menu

Right-click to access further pad settings:

Figure 7-13: Pad settings menu.

Copying and pasting pad settings

Assigning a MIDI note to a pad

Each pad can be played via a corresponding MIDI note sent from your sequencer or MIDI controller. The sixteen pads adhere to standard general MIDI conventions for their factory default MIDI note assignments, starting at C1 for the bass drum (BD) pad and ending at A*3 for the shaker (SIK) pad. However, you can reassign a pad to any MIDI note you wish using the Learn MIDI Key command in the pad settings menu (Figure 7-15).

Assigning MIDI notes to all pads

To load a pad template, right-click in the space between pads and choose a template from the list — you'll see both factory and user-created pad templates in the list. To save the current pad assignments as a template, choose Save Pad Template from the contextual menu.

TOM1 CRASH RIDE CH ClAP KIM Chromate from C3 ON Red Pad Templates Chromate from C1 Sew Pad template KID2 KID2 SD2 SD2

Figure 7-14: Pod template menu

Clearing a pad

Right-click to use the Clear Pad command to clear all settings and samples from the pad.

Assigning MIDI controllers to pad controls

To assign a MIDI controller to a pad volume, non

Pad synth parameters

BPM provides synth parameter settings for each pad (to the right of the pads). Click the pad to select it and then view and adjust its synth settings. See "Synth Parameters" on page 86. Also see "Edit All Layers" on page 65.

PATTERNS

A bank holds up to sixteen patterns, accessed via the Pattern menu (Figure 7-15). Only one pattern is active for the bank at a time (the currently chosen pattern in the menu). This is the pattern that accepts patterns from the browser, and it is the pattern you hear during playback. The sixteen pattern slots in the menu start out empty and you load them by choosing them from the menu and then loading a pattern from the browser. You can then freely switch among the sixteen patterns at any time by choosing them from the Pattern menu. To rename the currently selected pattern, double-click the name.

PATTERN 081-Five Billion 082-Think About Me Pattern 5 089-Diamond Pattern 6 Pattern 7 Pattern 8 Pattern 9 Pattern 10 081-Five Billion Pattern 11 Pattern 12 Pattern 13 Pattern 14 Pattern 15 Pattern 16 Pattern menu Clear current pattern Paste into current pattern Copy current pattern

Figure 7-15: The Pattern menu.
Copying, pasting and clearing patterns

Sequences

When viewing a rack part, the Pattern menu changes to Sequences, a slightly different term for what is essentially the same thing: a sequence of MLDI data that plays the notes for the part (or the slices for a sliced loop).

Exporting a pattern

You can export a pattern as a WAVE file to your host software or your computer desktop with the following drag and drop technique: click the word Pattern above the Pattern menu (Figure 7-15) and then drag to your host or desktop.

To export the pattern as a MIDI file, hold Option/Alt, click the word Pattern above the Pattern menu, and then drag to your host or desktop.

STEP SEQUENCER

The Step Sequencer (Figure 7-16) provides a complete environment for programming a pattern for the current bank.

Accessing the Step Sequencer

To access the Step Sequencer, select a pad and then click the Seq (Sequencer) display tab in the BPM window (Figure 7-1 on page 49).

Two editors

The Step Sequencer has two editors accessed via their buttons (Figure 7-16): Tracks (Step Sequencer) and Graphs (Graph Sequencer). To access the Graph Sequencer, click the Graphs button (Figure 7-16).

Track Editor

The Track Editor shown in Figure 7-16 displays

Zoom

Click the Zoom button (Figure 7-16) to toggle between viewing eight pads at a time or all sixteen pads at once. Most patterns use the first eight pads, so this view gives you a convenient close-up of the first eight pads, with a scroll bar on the right-hand side to scroll between pads 1-8 and 9-16. When viewing all sixteen pads, the rows are smaller but you can see all sixteen at once (Figure 7-17).

Input 01 02 03 04 05 06 07 08 09 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31 32 33 34 35 36 37 38 39 40 41 42 43 44 45 46 47 48 49 50 51 52 53 54 55 56 57 58 59 60 61 62 63 64 65 66 67 68 69 70 71 72 73 74 75 76 77 78 79 80 81 82 83 84 85 86 87 88 89 90 91 92 93 94 95 96 97 98 99 100

Figure 7-17: The Track editor zoomed out to show all sixteen pads.

AutoScroll

If the number of steps exceeds the width of the editor display, BPM activates the Page scroll bar (Figure 7-16) and pages left and right to display all the steps. When AutoScroll is enabled, BPM

automatically scrolls left and right to follow playback. You can disable AutoScroll to focus on a page during playback, and scroll manually instead.

Bypass

Click Bypass (Figure 7-16) to turn off the Step Sequencer entirely. This lets you use the bank purely as a sound source for an external MIDI controller or sequencer.

Steps

The Steps menu (Figure 7-16) lets you specify the number of steps (overall length) of the pattern.

Resolution

The Resolution menu (Figure 7-16) lets you specify the duration of each step, as indicated below:

Resolution Metric value

8 Eighth note

87 Eighth note triplet

15 Sixteenth note

161 Sixteenth note triplet

32 Thirty second note

Step Histogram AutoScroll Bypass Steps Page scroll bar Resolution Timeline H12 H11 CLAP RM Pad track Soft note Load note

The pattern plays at the currently chosen resolution. You can freely change the resolution at any time, but doing so affects how the pattern plays. For example, if you start with a 16th note resolution and then switch to 32, the pattern will play twice as fast. If you switch to 161, it will play with a 16th-note triplet feel.

Time line

The Time line (Figure 7-16) indicates measure and beats. For example, 2.3 indicates measure 2, beat 3. The number of measures, as well as the number of cells per beat, are determined by the Steps and Resolution settings.

Working with the Step Sequencer grid

Click a cell to enter a hit. The size of the square indicates its velocity (strength). Here is a summary of techniques for working in the Step Sequencer:

Do this To do this

Click an empty step enter a hit at the default velocity

Click a step with a hit Remove the bit

Option/Alt-click Enter a hit at a slower velocity

Shift-click Enter a hit at maximum velocity

Double-click pad name Recaise the pad

Right-click > Fill Line Fill a line (all steps) at medium velocity

Right-click > Copy Line Copy line

Right-click > Paste Line Paste line

Right-click > Fill a line with a pslicera templateLine Templates

Right-click > Save Line Save your own line pattern

Right-click > Clear Line Clear line

Line templates

To fill a line in the Step Sequencer with a preset pattern from BPM's extensive collection of line pattern templates, right-click, choose Line Templates and then choose the desired template from the sub-menus (Figure 7-18).

User Interface Name: 100 Text class: Size: 25 Width: 30 Vertical: 60 Horizontal: 120 Vertical: 140 Vertical: 160 Vertical: 180 Vertical: 200 Vertical: 220 Vertical: 240 Vertical: 260 Vertical: 280 Vertical: 300 Vertical: 320 Vertical: 340 Vertical: 360 Vertical: 380 Vertical: 400 Vertical: 420 Vertical: 440 Vertical: 460 Vertical: 480 Vertical: 500 Vertical: 520 Vertical: 540 Vertical: 560 Vertical: 580 Vertical: 600 Vertical: 620 Vertical: 640 Vertical: 660 Vertical: 680 Vertical: 700 Vertical: 720 Vertical: 740 Vertical: 760 Vertical: 780 Vertical: 800 Vertical: 820 Vertical: 840 Vertical: 860 Vertical: 880 Vertical: 900 Vertical: 920 Vertical: 940 Vertical: 960 Vertical: 980 Vertical: 1000

Screenshot of a music editing software interface showing audio waveform, track controls, and playback controls with track numbers and timecode.

GRAPH SEQUENCER

The Graph Sequencer (Figure 7-19) lets you edit note parameters one at a time, allowing you to program a great deal of expression for each individual note.

Accessing the Graph Sequencer

To access the Graph Sequencer, click the pad you wish to edit to select it and then click the Seq (Sequencer) display tab in the BPM window (Figure 7-1 on page 49), and then click the Graphs button Figure 7-16 on page 59).

Note menu

The Graph Sequencer displays parameters for the currently selected pad. Click the desired pad, or choose it from the note menu (Figure 7-19).

Note parameters

Various note parameters are displayed in the left column below the note menu. Click a parameter name to edit it. The Graph Sequencer displays one parameter at a time. In Figure 7-19 below, note Valocity (loudness) is currently being edited.

Roll

The Roll parameter (Figure 7-19) is the number of notes that will play within a step, to easily make rolls on any step. When roll is set to one (no graph bar visible, the default setting), entering a step (in the step row at the top of the grid) will trigger one

hit at that location. As you raise the graph bar, two, three, or more hits will occur during that step. Note that when you view other graphs (velocity, pan, etc.) the graph will be divided according to the Roll parameter which allows you to tweak each hit.

Real Velocity 5

Figure 7-20: A roll value of live produces live subdivisions in that step for other parameters, such as velocity.

TimeShift

TimeShift (Figure 7-21) lets you advance the step ahead of the beat (above the center line) or delay it after the beat (below the line).

Time-Shift Industry Language Play Sound Time Data/Method Parameters/Match Dispersed

Figure 7.21: TimeShift.

Graph Sequencer Button Playback location Note (read): menu Start End Steps

Velocity

The Velocity parameter (Figure 7-19) is similar to MIDI note velocity and controls loudness.

Length

The Length parameter (Figure 7-19) lets you control the duration of the step.

Pan

The Pan parameter (Figure 7-19) controls the panning of each step.

Semi and Fine tuning

The Semi and Fine tuning parameters

(Figure 7-19) allow you to control the pitch of a step in semitones and cents (100ths of a semitone), respectively.

CutoffMod, ResonanceMod and DecayMod These three Graph Editor parameters

(Figure 7-19) control filter cutoff, resonance and decay, respectively.

Working with the Graph Sequencer grid

Click anywhere in a parameter cell to set the value for that cell. You can also drag vertically and/or horizontally to sweep across multiple steps and create smooth curves or lines (such as a crescendo for the velocity parameter).

Advanced graph programming

Right-click anywhere on the Graph Sequencer to access the Graph Sequencer menu (Figure 7-22).

Functions and Graph Templates

The Functions and Graph Templates sub-menus (Figure 7-22) provide convenient preset patterns for the Graph Sequencer, such as the sinc wave pattern shown in Figure 7-23.

Audio editing software interface showing track controls and preview window with red waveform and keyframes

Figure 7-23: The sinus (sine wave) template for the Graph Sequencer.

The Graph Templates sub-menu (Figure 7-24) provides templates specifically designed for velocity and pitch, but they can be used for any parameter you wish.

Functions Graph Templates Reset Save Graph Save Groove Apply Groove Tuned Velocity 2 Step Arp 0-7 2 Step Arp 0-12 2 Step Arp 7-0 2 Step Arp 12-0 4 Step Arp 0-0-0-12 4 Step Arp 0-0-12-7 4 Step Arp 0-7-12-7 4 Step Arp 0-12-7-0 4 Step Arp 12-0--12-5 4 Step Arp 12-7--12-0 4 Step Arp 12-7-0-7 4 Step Arp 12-12-7-0

Figure 7-24: The Graph Templates sub-menu.

Screenshot of a music recording software interface showing track layers and key controls

Saving your own Graph Sequencer patterns

Choose Save Graph from the Graph Sequencer menu (Figure 7-22) to save any Graph Sequencer pattern, which then appears by name at the bottom of the Graph Templates sub-menu (Figure 7-26).

Figure 7-26: A saved graph can be applied to any parameter.

Saving your own grooves

When viewing either the Velocity or TimeShift parameters (Figure 7-19 on page 61), the Save Groove menu item appears in the Graph Sequencer menu (Figure 7-22 on page 62), allowing you to save the current velocity and timeshift settings as a custom groove, which then appears in BPM's Groove menu (Figure 7-62). See "Groove" on page 91.

Applying grooves

You can apply the factory groove presets as well as your own saved grooves to the Velocity and Time Shift graphs.

PAD EDITOR

The Pad Editor (Figure 7-27) provides in-depth programming of individual pads.

Accessing the Pad Editor

To access the Pad Editor, make sure a bank is currently selected, click the pad you wish to edit to select it and then click the Edit tab in the BPM window (Figure 7-1 on page 49).

Loading multiple samples into a pad

An unlimited number of samples can be loaded into a pad. When a pad is loaded with its first sample, this sample is placed in Layer 1, as shown in Figure 7-27.

To create additional, empty sample layers, right-click in the empty area to the right of Layer 1, above the waveform (Figure 7-28).

Figure 7.28: Right click to add sample layers.

First layer Additional layers Add more layers here Layer settings (all layers) Sample layers Layer 1 Vol. 1 - 39 m Vol. 80 - 127 m Vol. 1 - 157 m Ex. group: 0 Pity: 100 Exclusive pad groups Layer rules Edit all layers button Sample/exclutor tab Effects tab Polyphony

Alternatively, you can drag and drop a sound from the desktop or the browser to this same empty space (Figure 7-29), and the new audio file is added as a new layer.

Figure 7-29: Drag and drop a sample to the empty space above the waveform to add the sample or audio clip as a new, separate layer.

When you drag and drop a sample or audio file directly onto a pad, as explained earlier in "Dragging and dropping into a pad" on page 56, all current layers are replaced by a new Layer 1 that holds the new sample.

Here are some basic techniques for working with multiple sample layers:

Do this To do this

Click a layer Select the layer (to view its waveform and layer apacetic settings)
Right click a layer >Dil Layer	Delete the layer
Right-click the empty space to the right of current layers >Add Layer	Add a new layer
Right-click a layer >Duplicate Layer	Duplicate the layer

Sample layer settings

Each sample layer has its own relative volume, pan, solo/mute controls and velocity range (Figure 7-30).

Sample layer velocity programming

You can specify an independent velocity range for each layer (Figure 7-30) in a pad. Layers are triggered when the pad is played with within their velocity range. If samples share the same velocity range, or if their ranges overlap, they will play together when triggered at a shared velocity. In the example shown in Figure 7-30, there are three sample layers divided into three separate velocity ranges with no overlap: 1-39, 40-79 and 80-127. In this case, only one sample layer will play at a time, depending on the velocity played.

When programming velocity layers, be sure there are no gaps in the velocity range between sample layers. If there are any velocity ranges not assigned to at least one layer, you will hear silence when the pad is played at those orphaned velocity values.

Layer switching using layer rules

The Layer Rules menu (Figure 7-27) provides two modes for randomly triggering sample layers as you strike the pad to provide an extra dimension of realism and "human feel".

Random mode plays all layers randomly.

Random Cycle mode plays all layers randomly, but only once per cycle. When all layers have finally been played once, a new cycle begins. Random Cycle mode helps prevent repetition, as a sample is not played again until the current cycle is complete.

Here is a simple example with three layers:

■ random choice among (1,2,3) -> 2

Both modes can produce excellent results, depending on the samples involved and the effect you are trying to achieve. You can experiment with each mode to see which one sounds best.

Pad polyphony

The Polyphony setting (Figure 7-27) determines how many stereo notes the pad can play simultaneously. For example, a setting of 12 lets you play 12 stereo notes. You might think that for a stereo drum sample, you only need a polyphony of 1. However, the sample might overlap itself if you trigger it multiple times. Therefore, the default value of 16 is adequate for most typical situations. However, if you are working with multiple sample layers, you might need to raise it. The maximum settings is 256 stereo notes (per pad). Note that this is a per pad setting, and it controls the currently selected pad.

Caution: higher polyphony settings demand more of your host computer's processing power. For example, if you set the polyphony to 64 voices and played only 12 notes, then BPM would require much more computer processing power than it would when playing those same 12 notes with a polyphony setting of 12. Try to keep the polyphony setting as low as possible — only use what you know you'll need for the pad. This setting is one of the most significant ways of optimizing BPM CPU usage and managing your computer's processing resources.

Edit All Layers

As explained earlier, BPM provides synth parameter settings for each pad (to the right of the pads). Click the pad to select it and then view and

independently for each layer. For further details about synth parameters, see "Synth Parameters" on page 86.

Exclusive pad groups

An exclusive pad group is a group of two or more pads that cut each other off when they play. This allows you to create the classic open/closed hi-hat effect, where the closed hat sample cuts off the open hat sample. You can include as many pads as you want in a pad group. BPM allows you to define up to 32 different pad groups across all four banks.

The exclusive pad group setting applies to all layers in the pad; it cannot be set independently per layer.

Creating a pad group

To assign two or more pads to an exclusive pad group:

1 Click the desired bank and pad to select it.

2 Click the Edit button in the Window buttons portion of the BPM window (Figure 7-1 on page 49) to access the pad editor (Figure 7-27).

3 Double-click the Ex. Group (Exclusive Group) setting (Figure 7-27) and set it to any pad group you wish between 1 and 32.

4 Click the second pad you wish to include in the group to select it, and assign it to the same Exclusive Group number.

5 Repeat step 4 above for any other pads you wish to include in the group.

Sample Editor

Click the Sample/Oscillator Editor button to access the Sample Editor for the currently selected sample layer (Figure 7-27 on page 63). This is a basic waveform editor that lets you do basic editing on the actual sample data.

Setting sample and loop start/end points

Drag the "S" and "E" markers to set the sample start/end times (Figure 7-27). Similarly, you can drag the "L" and "R" markers to adjust the Loop Start and Loop End times for sample loops.

Making selections for editing

Drag across the waveform to select a portion of it. Double-click to Select All.

Insertion Point

Click anywhere on the waveform to place the Insertion Point. This is the location where sample material in the clipboard will be inserted.

Drag and drop in the sample editor

You can drag and drop audio selections into the sample editor. You can also drag and drop the current selection in the sample editor to any other portion of the BPM window that accepts audio clips. To do so, hold down Shift-Option/Alt and then drag and drop the current selection.

Sample Editor menu

Right-click to access the Sample Editor menu (Figure 7-31). Here is a brief summary of the menu operations.

Undo Paste Radio Crop cut Copy Paste Select All Deselect All Crop Delete Normalize Silence Reverse FadeIn FadeOut Play Selection Change Playing Direction to Reverse Set As OneShot Create Loop

Figure 7-31: Right-click the waveform to access the Sample Editor menu

Unlimited Undo/Redo

The Sample Editor supports unlimited Undo/Redo. Use the Undo/Redo commands (Figure 7-31) to step forwards or backwards through the undo history.

Destructive editing

The standard Cut, Copy and Paste (Figure 7-31) commands operate in the standard fashion on the currently selected portion of the waveform. These destructive editing commands actually modify the waveform data. Remember, however, that editing only occurs in RAM. To permanently save your edits, you must use one of the various commands in the File menu that save samples.

Cut

The Cut command (Figure 7-31) removes the selected sample data and fills the gap. So Cut actually removes time and makes the sample shorter. If you wish to maintain sample length (and

Paste

To Paste sample data that you have just copied or cut into the clipboard (Figure 7-31), you must first determine where to paste, as follows:

Method for choosing

where to paste Result when you paste

Click anywhere in the waveform to place the Insertion Point)

Clipboard data is inserted at the insertion point, and all data after the insertion point is moved later in the sample.

Make a selection. The selected portion of the waveform is replaced with the clipboard data, even if their lengths don't match. For example, if you select 1 second and paste 2 seconds, the 1-second portion of the waveform is replaced with the 2 seconds of material on the clipboard.

Crop

The Crop command (Figure 7-31) removes all sample data that is not within the current selection. To use Crop, you must first make a selection over the sample data you wish to preserve. Then use Crop to remove everything else.

Delete

The Delete command (Figure 7-31) does the same thing as Cut, except that it does not place the deleted material on the clipboard. This command allows you to remove sample data without affecting any data currently on the clipboard.

Normalize

The Normalize command (Figure 7-31) boosts amplitude by whatever amount is needed to make the loudest peak reach digital full scale (zero dB).

Silence

The Silence command (Figure 7-31) gives all sample data within the current selection a value of

Fade In/Fade Out

The Fade In/Fade Out commands (Figure 7-31) apply a linear fade to/from zero dB.

PlaySelection

The PlaySelection command (Figure 7-31) plays

whatever is currently selected in the waveform.

Change Playing Direction to Reverse/Forward

The Change Playing Direction to Reverse command (Figure 7-31) makes the entire sample layer play in reverse. To make it play forward again, choose Change Playing Direction to Forward.

Set As One Shot

When Set As One Shot is enabled (Figure 7-31) and its amplitude envelope is configured as ADSR, the note-off event is ignored and the entire sample will be played.

Create Loop/Delete Loop

The Create Loop command (Figure 7-31) lets you make a selection in the waveform and then loop that selection. You can drag the loop points as needed to adjust them. To get rid of the loop, choose Delete Loop from the Sample Editor menu (Figure 7-31).

Pad Editor effects tab

Click the FX tab (Figure 7-27 on page 63) to access the sample layer effects list (Figure 7-32). The effects list provides unlimited effects slots for each sample layer.

Applying effects to a layer

To apply an effect to a sample layer, click the layer to select it, click the FX tab (Figure 7-32) and then click the Add FX button to open the effects browser.

Drum synthesizer

BPM provides a drum synthesizer (Figure 7-33) with dozens of preset sounds. You can use the drum synthesizer just like a sample layer and even mix and match drum synth layers with sample layers using all of the multi-layer features discussed earlier.

Accessing the drum synthesizer

To access the drum synthesizer, right-click the Sample/Oscillator tab (Figure 7-27 on page 63) to open the Change Oscillator Type menu (Figure 7-34) and choose DrumOscillator. You can use this menu to freely switch the layer between sample playback and the Drum Synth.

Change oscillator type SamplePlayer Drum Oscillator

Figure 7-34. Accessing the drum synth.

Effect name Effects settings Individual bylaws Layer bypass Effects tab Effects slots SAMPLE RELAY Simple Reverb Cutoff ON Audio/Frame 80 ms Feedback OFF 2500% SIMPLE REVERB Cutoff OFF Audio/Frame 488 s Highband 0.98 2000% ANALOG FILTER Mode LP Frog 2.20 Hz 0.82 Figure 7.32: Pad effects tab. Currently selected drum synth layer Sample/assilator tab DRUM SYNTHIE GUEER Draum synthi preset menu

Drum synth (osc) layers work just like sample layers

A drum synth layer operates in much the same way as a sample layer, as discussed earlier in this chapter. This includes velocity layering, layer switching by rules, polyphony and effects.

Drum synth presets

The drum synth preset menu (Figure 7-33) provides many useful preset sounds organized by category. These are a great place to start, even when you wish to program your own sound with the many available parameters.

Bass 80 Cymbal Electric Tone FX Hill Perc Acoustic New Electric Rim & Clup SD Synth ID 809 ID AC, DC ID Ambatia ID Redass ID Bass G ID Roath ID Bit ID Classic ID Clubbing ID Comics ID Do Fend ID Dlty ID Dist Bass ID Driving ID Electric ID Futuristic ID NoOnine ID Noise Gate ID Noiselectre ID Noisy Long ID Oizo ID Plut Electric ID Mut Freeze ID Raw Attack ID Ruff ID Saving ID Stista ID Snap ID Sub Noise ID Subba ID Subliminal

Figure 7-35: Drum synth presets.

Drum synth parameters

The Drum Synth provides straightforward oscillator settings (Figure 7-33), including basic waveform (sine, triangle, saw or pulse), oscillator frequency, simple two-stage attack/decay amplitude envelope and pitch modulation with rate and depth controls.

Use the Mix control (Figure 7-33) to blend the

RACKS

A rack (Figure 7-36) holds multi-sample instruments, loops and phrases. Each individual instrument, loop or phrase is loaded into the rack as a part. A part is like a channel on a mixing console or instrument track in your audio workstation software; it can have its own preset and settings.

Similar to banks, BPM provides two separate racks (A and B) that operate independently, but play simultaneously with each other and the four pad banks. You can load and play an unlimited number of instrument and loop parts in each rack.

Two rack buttons

Click a rack button (Figure 7-36) to view its parts list. Below each rack button are Mute and Solo buttons that allow you to mute and solo the entire rack during playback. Each rack also has an SP Mode button next to it. For details, see "SP mode" on page 89.

Selecting a part

Click a part to select it. A red border appears around it. The currently selected part is loaded with any loop, phrase or sound that you select in the browser with AutoLoad enabled. You can also select a part to view its synth parameter settings to the right of the part list.

Adding, deleting and clearing parts

To add a part, click the ADD button (Figure 7-36). You can also add a part by dragging and dropping an audio file onto any empty part in the list. If you are dragging a loop into the part list from the browser, be sure to turn off AutoLoad first.

To delete a part, select it and click the DEL button (Figure 7-36).

Browsing loops and instruments with AutoLoad

The basic procedure for browsing loops and instrument parts with AutoLoad mode enabled is described in "AutoLoad" on page 54. AutoLoad lets you hear loops as you browse, as long as BPM's main play button (Figure 7-60 on page 90) is engaged. When playback is stopped, you can still hear loops as you browse using the AutoPreview option ("AutoLoad options" on page 55), which plays loops as you click them. Use the Preview Start/Stop button (Figure 7-8 on page 54) to control preview playback.

Drag and drop into the part list

If AutoLoad is turned off, you can drag and drop a loop or instrument preset from the browser onto an existing part, or an empty part slot. Alterna-

tively, you can drag and drop an audio file from your computer desktop. Either way, dragging directly to a part replaces any loop or instrument currently in the part.

Playing a part using the keyboard

Once you've loaded a loop or instrument into a part as explained in the previous sections, select the part and then click the keyboard (Figure 7-36) to play the part. Use the left/right arrows to scroll to lower or higher octaves. The red line above the keys indicates the note range for the current slice loop or instrument preset. If you have loaded a preset from MachFive that includes key switches, key switch keys are indicated in blue.

Playing a part using the Piano Roll Sequencer

If a pattern is also currently loaded into the Piano Roll Sequencer for the part, press BPM's main play button (Figure 7-60 on page 90) to play the pattern

Add/delete part, buttons Part 10 RANK GND GND GND GND GND GND GND GND GND GND GND GND GND GND GND GND GND GND GND GND GND GND GND GND GND GND GND GND GND GND GND GND GND GND

for the part. You can also play the part from your MIDI controller and even record patterns this way. See "Recording" on page 93 for further details.

Recording a pattern using the keyboard

You can record patterns by clicking on the keyboard while recording in real time. For details, see "Recording" on page 93.

Part settings

Each part has the following settings:

MIDI channel Loop or instrument preset name Volume Fan 079-Only Terms Clustering.pdf Vol. 050 cd Port C MIDI activity Next/previous preset buttons Level meter Autogrip Mute and Sono Part play

Figure 7 37: Part settings

MIDI (note) activity LED

The MIDI activity LED (Figure 7-37) lights up when the part receives MIDI data or note data from the Piano Roll Sequencer.

Next/previous preset buttons

The Next/Previous preset buttons (Figure 7-37) let you easily browse through a series of presets.

MIDI channel

Press the MIDI channel menu for a part (Figure 7-37) to choose the desired MIDI receive channel for the part (the channel from your sequencer or external MIDI keyboard or other controller).

the part list (as shown in Figure 7-37), you will always see them presented in this fashion (bank letter plus MIDI channel number). You can use any MIDI channel you wish for any of BPM's 64 parts. Parts (as many as you wish) can also share any MIDI channel.

This feature (multiple banks of MIDI I/O) is supported by the standalone, MAS and RTAS versions of BPM. As of this writing, the VST and Audio Unit (AU) standards do not support multiple banks of MIDI channels. If you are using BPM in one of these plug-in formats, and you need more than 16 parts, open a second instance of the plug-in.

Rack parts can be assigned to any MIDI input you want. By default, the first part in Rack A defaults to A5, the second part to A6, and so on. This is because pad banks A, B, C, and D respond to MIDI channels A1 through A4, so the parts start at channel A5 to avoid a MIDI channel conflict with the pad banks.

For details about setting up MIDI I/O with the standalone version of BPM, see "MIDI Devices tab" on page 33. For setting up MIDI I/O with the plug-in version running in your favorite host, see chapter 6, "BPM Plug-in" (page 35).

Creating instrument "stacks"

With 64 available MIDI channels, you can assign each part to its own MIDI channel, if you wish. But you can also assign multiple parts to the same channel to easily create layers ("stacks"), where all instruments that share the same MIDI channel play exactly the same notes.

Click the Mute button (Figure 7-37) to temporarily silence the part. When you mute a part, it no longer expends system resources.

Both volume and pan can be automated with the standard MIDI controllers #7 (volume) and #10 (pan), although you can use any controller you wish, as explained below. Mute and Solo can also be automated via MIDI.

Play/Autoplay

The Autoplay and Part Play buttons (Figure 7-37) are inactive and grayed out, unless a the part has a loop, and the loop is currently set to Slice mode without mapping. For details about these loop settings, see "Slice" on page 80.

If a loop has been loaded into the part and it is in Slice mode without mapping, the AutoPlay and Part Play buttons (Figure 7-37) become activated. Click the Part Play button to play or stop the loop.

Click the AutoPlay button to toggle the part's AutoPlay status. When AutoPlay is enabled for the part, the loop will follow BPM's main transports. When it is disabled, the loop will only play when you click the part's Play button. For complete details about the transports, see "Transport Control and Tempo" on page 90.

Assigning MIDI controllers to part controls

To assign a MIDI controller to a part volume, pan, mute or solo, right-click the item to either choose the desired controller from a menu or play it from your MIDI controller (Figure 7-63 on page 92).

Part synth parameters

BPM provides synth parameter settings for each part (to the right of the parts list). Click the part to select it and then view and adjust its synth settings. See "Synth Parameters" on page 86.

PIANO ROLL SEQUENCER

The Piano Roll Sequencer (Figure 7-38) provides a basic sequencer for the currently selected part.

Accessing the Piano Roll Sequencer

To access the Piano Roll Sequencer, select a part and then click the Seq (Sequencer) tab in the BPM window (Figure 7-1 on page 49).

Pitch Ruler

The Piano Roll grid is a simple grid with time going horizontally and pitch going vertically. The Pitch Ruler (Figure 7-38) indicates the pitch for each note, where C3 is middle C.

Pencil tool Selection tree Froer Bypass Snap to Grid Length Grid Pitch ruler Timeline Sequences of notes

Timeline

The Timeline (Figure 7-38) indicates measure and beats. For example, 2.3 indicates measure 2, beat 3. The number of measures is determined by the Length (in bars).

Zooming the timeline

Click on the time line (Figure 7-38) and drag vertically to zoom the resolution of the piano roll grid.

Length

The length setting (Figure 7-38) lets you specify the length of the time line in the Piano Roll Sequencer for the part. Each part can have a unique length. Length is specified in a number of complete bars.

Grid

The Grid menu (Figure 7-38) lets you specify the grid resolution for editing, as indicated below:

Resolution Metric value

8 Eighth note

8T Eighth note triplet

16 Sixteenth note

10T Sixteenth note triplet

32 Thirty second note

Snap to Grid

Enable the Snap to Grid option (Figure 7-38) to cause edits and note insertions to automatically conform to the current Grid resolution.

Bypass

Click Bypass (Figure 7-38) to turn off the Piano

Tools

The Selection tool, Pencil and Eraser (Figure 7-38) provide standard selection, insertion and deletion capabilities for the grid. Here is a summary of techniques:

To do this Do this

Insert a note with the durationat the current grid	Click with the Pencil, orDouble-click with the Selection tool
Insert a note of any length Drag with the Pencil
Change the pitch of a note. Drag it up or down
Change the pitch of several notes	Select them and drag up or down
Change the velocity of one or more notes	Select them and Shift drag up or down
Delete a note. Double-click at, orclick it or drag over it with the Epsiscr, orselect it and hit delete.

Delete multiple notes Select them with the Selection tool and then hit delete.

Piano Roll Sequencer menu

Right-click to access the Piano Roll Sequencer menu (Figure 7-39).

Here is a brief summary of the menu operations:

Menu item What it does

Selection Tool/Pencil/Eraser	Selects the corresponding tool.
Cut Places the currently selected MIDI data in the clapboard for pasting, removing the data from the sequence.
Copy Places the currently selected MIDI data in the clapboard for pasting, leaving the data in the sequence.
Paste Paper the MIDI data in the clapboard.
Select All/Desect All Select or deselects all notes.
Clear Selection Removes all currently selected notes.
Clear All Removes all notes and other data.
Delete All Notes Removes all notes.
Delete All But Notes Removes all data except for notes.
Quantize Moves all notes, or the currently selected notes, to nearest grid location.
Apply Creove	Applies the chosen groove to all notes, or the currently selected notes.

Drag and drop into the Piano Roll Sequencer. You can drag and drop patterns from the browser (with AutoLoad turned off), and MIDI files from your computer desktop, into the Piano Roll Sequencer. When importing MIDI files, drag and drop works best when using single-channel MIDI files of a reasonable length.

Applying grooves

The Apply Grooves menu item (Figure 7-39) provides many classic drum machine groove "feels", including MPC swing and LinnDrum presets (Figure 7-40). You can also create and apply your own grooves. See "Saving your own grooves"

Working with slice loops in the Piano Roll Sequencer

When you load a slice loop into a part, each slice is mapped to an individual note and the notes are automatically loaded into the Piano Roll Editor. The first loop slice is mapped to note C3 and from there slices are mapped sequentially in ascending order, chromatically, up the keyboard. The resulting cascade of notes is a similar to what is shown in Figure 7-38. You can edit the slice notes in the grid to modify the loop. You can play slices from the on-screen keyboard, a MIDI keyboard, a pad controller or any other MIDI controller. Essentially, these mapped slice notes give you a great deal of control over manipulating the loop.

PART EDITOR

The Part Editor (Figure 7-41) provides in-depth programming of individual rack parts. The Part Editor provides a wide range of controls (such as envelopes, multimode-filters, I.FOs, and pitch controls) that allow you to shape and mold the instrument sound or loop in the currently selected part.

Accessing the Part Editor

To access the Part Editor, make sure a rack is currently selected, click the part you wish to edit to select it and then click the Edit tab in the BPM window (Figure 7-1 on page 49).

MIDI automation of part editor parameters

Part Editor parameters can be automated by sending MIDI control messages to BPM. Right-click any parameter to either choose the desired controller from a menu or play it from your MIDI controller (as shown in Figure 7-63 on page 92).

LFO. Choose among nine different waveforms for each LFO, allowing for a great deal of control in shaping the part you are working with.

Figure 7 42: LFO types.

Retriggering

Retriggering causes each new note that is played to restart the LFO waveform. LFO 1 and 2 are retrigger. LFO 3 and 4 are non-retrigger.

Rale

Rate (Figure 7-41) controls the speed of the currently selected LFO.

Depth

Depth (Figure 7-41) controls the intensity of the LFO.

Sync

Sync (Figure 7-41) allows the LFO's rate to be synced to BPM's global tempo.

Transpose

The Part Editor Transpose section (Figure 7-41) provides general pitch controls for each part.

Bend

The Bend setting (Figure 7-41) controls the pitch bend range for the part. The range is from 0 to 24 semitones (2 octaves).

Constant pitch ("Const")

Enable the Constant Pitch (Const) button (Figure 7-41) if you would like to maintain the same pitch, regardless of what MIDI note is being played. Use the Octave and Semitone settings (below) to adjust the pitch as desired. This setting is especially useful for loops, phrases or drum hits that you do not wish to transpose.

MIDI

The Octave and Semitone (Semi) settings (Figure 7-41) transpose the current part in octaves and semitones, respectively. The octave range is from -2 to +2 octaves. The semitone range is from -24 to +24 semitones (two octaves).

Loop Editor tab Polyphony Velocity curves/proprietor Part Editor tab LFD TRANSPOSE PLAY BPM

Play

The Part Editor Play section (Figure 7-41) provides general controls for part playback.

Glide

Portamento is used to smooth the transition between played notes. When in Mono mode, the Glide setting (Figure 7-41) controls the length of the portamento transition. The portamento range is from 0.00 ms (milliseconds) to 10.00 second.

Polyphony

The Polyphony setting (Figure 7-41) determines how many stereo notes the currently selected part can play simultaneously. For example, a setting of 12 lets you play 12 stereo notes at a time. The maximum setting is 256 stereo notes (per part).

Polyphony is a per part setting. Higher polyphony settings demand and consume more of your host computer's processing power, so set this parameter only as high as needed for each part.

Mono

Click the Mono button (Figure 7-41) to make the currently selected part play like a monophonic synth, where only one note can play at a time. Each new note played replaces any currently sustaining note, with a degree of glide between them (see Glide above). Mono mode is ideal for solo instruments.

Velocity curve

Click the desired Velocity curve button (Figure 7-41) to set the note-on velocity response curve for the current part.

The flat line option plays all struck notes at the

to confirm the value. Now when you play the part, the notes will be played at the note-on velocity that you specified.

Choose the linear curve for a 1-to-1 response curve (all notes are played at the velocity at which the key is struck). This is the normal response for MIDI data.

The exponential curve produces medium velocity values that result in a lower volume than linear mode. This curve is well suited for soft keyboards that send high velocity M1D1 values with a light touch.

The logarithmic curve produces higher velocity values that result in a higher volume than linear mode. This curve is good for piano-action keyboards that require harder action to send high velocity values.

Modulations

You can modulate the pitch, pan, amplitude, and filter cut-off parameters to further mould the sound of the part. Use a parameter's modulator menu to choose the type of modulation for that parameter, and use the Depth control to set the amount of modulation that is applied. The modulator menu is shown below:

Here is a brief explanation of the modulation sources shown in Figure 7-43:

Modulation source Explanation

Off Turns self-modulation.
Pitch Env.Arap, RewFilter Env.	Those options use their corresponding dedicated envelope.
LFOs Those options use their corresponding dedicated LFO.
KeyPitch BendAfter TeachVelocity	Modulation is controlled by the chosen type of MIDI chain. Key reads to MIDI pitch.
Wheel-> These options use the chosen LFO from the LFO section, with the addition that the mad wheel controls LFO depth.
Organ PanWalledAlternateRandom	See below.

External modulation via MIDI As shown in Figure 7-43, modulation can be controlled from a variety of MIDI sources, including notes (key number), pitchbend, etc.

Organ Pan modulation

The Organ Pan modulation option (Figure 7-43) is based on the way organ pipes are set in a church organ. This option is primarily for panning samples, but it can be used for other creative effects, too. This option determines modulation values depending on incoming MIDI pitch numbers. For pitches lower than 36, maximum and minimum values are sent alternately (i.e. note 32 will be generating a value of 0, 33 will generate 127). For pitches between 36 and 108, the alternating continues but with smaller and smaller

Alternate modulation

The Alternate modulation option (Figure 7-43) sends maximum and minimum modulation values alternately. For example, if applied to pan with a depth of 1, this modulation source would alternate between the hard-right and hard-left pan position. To lower the values, just lower the depth.

Random modulation

The Random modulation option (Figure 7-43) generates a new, random value each time a note-on is received.

Arpeggiator

Each rack part has an independent arpoggiator, as shown in Figure 7-44 on page 78.

Accessing the Arpeggiator

Select a rack part, click the Edit display tab, then select the Arp tab in the virtual LCD screen. To enable the arpeggiator, click the Enable button.

Steps

The number of steps is set with the NumSteps knob, from 1 to 128. The Resolution knob sets the value of the steps, in metric values from 32 bars to 64th note triplets.

You can manipulate each step in the following ways.

To do this Do this

Enable/disable step Click checkbox

Merge with previous step Shift-click checkbox

Change velocity Drag slider/up down

Change length Shift-drag slider left/right

The Vaßländknoh controls the depth of the steps' velocity. At 0%, the full velocity range is used; at 100%, a constant velocity is used (effectively making all steps the same velocity, regardless of their individual values).

Trigger Mode

TriggerMode determines where in the pattern of steps each note will start.

Note: Each played note restarts the from the first step.

Legato: the first played note starts on the first step, and the pattern of steps continues as additional notes are played. If all held notes are released, the pattern will restart from the first step when the next note is played.

Song Position: the position in the pattern is determined by the song position, regardless of how notes are being played.

Hold

When Hold is set to True, arpeggiated notes are held.

Mode

The Mode menu determines the order in which the arpeggiated notes are played.

Octave

The Octave knob determines how many octaves above or below the played notes will be arpeggiated.

Strike and Repeat

To further tailor the way in which each arpeggiated note is triggered, use the following settings:

Strike: the number of times the note is triggered before moving on to the next note.

RepeatBottom: the bottom note is repeated.

RepeatTop: the top note is repeated.

Swing

The Swing knob applies swing to the steps.

Arpeggiator presets

Arpeggiator settings can be saved and recalled with the arpeggiator preset controls.

Figure 7-45: Arpegglator presets

Sigma Ensure Trigger Mode Legato Hold False Mode Re Played Resolution 1/8 Octave 2 StepLen 100.00% VerBlend 35.20% RepeatBottom False RepeatTop False Strike 1 NumSteps 32 Swing 0.00%

A variety of factory presets are included, and you can also save and recall your own. Presets can be loaded by selecting them from the menu, or with the next/previous preset buttons.

Disabling the arpeggiator

To temporarily disable the arpeggiator, click the Bypass button. To remove the arpeggiator, deselect the Enable button.

The arpeggiator returns to its default settings when the arpeggiator is removed. If you would like to recall your current arpeggiator settings, save an arpeggiator preset before removing it, or use Bypass instead.

LOOP EDITOR

The Loop Editor (Figure 7-46) provides in-depth programming of individual rack parts that are currently loaded with a loop. The Loop Editor provides a wide range of controls that allow you to control the playback behavior and other parameters of the loop in the currently selected part.

(Figure 7-1 on page 49) and then click the Loop Editor tab (Figure 7-41 on page 75). Note that the Loop Editor tab only appears when the currently selected part is loaded with a loop (not an instrument).

Loops versus phrases

In the following discussion, the terms phrase and loop have the following meaning:

- Loop — a pre-sliced audio file such as a ReCycle (REX) file, Apple Loop, UVI library Loop, etc. where each beat has been identified as its own slice. Almost all loops in BPM's included library are slice loops.

■ Phrase — any other audio file (WAVE, AIFF, Sound Designer II, etc.)

Loop waveform display

The loop waveform display (Figure 7-46) provides an overview of the loop's waveform. It is for display purposes only:

Accessing the Loop Editor

To access the Loop Editor, make sure a rack is currently selected, click the part you wish to edit to select it, click the Edit tab in the BPM window

Loop Editor tab Loop waveform display Loop settings Part Editor tab Sample start Speed control Loop modes

Three loop modes

Click the desired loop mode button (Figure 7-46) to put the part into one of three possible loop modes:

Loop mode What it does

Sample Plays the loop like a regular sampler. As you play notes up and down the keyboard, both tempo and pitch change.

Stretch As you play notes up and down the keyboard, pitch changes but not tempo.

Slice Same as stretch mode, except that the loop can also be played as individual slices. Also, slice longs can be autopolyed (without being triggered from MIDI or the Piano Roll Sequencer).

A native "sliced" sound file (REX file, Apple Loop, etc.) can be switched to Stretch or Sample mode, but a "non-sliced" sound file cannot be switched to Slice mode.

As with other loop parameters, each part can have its own loop mode setting. The mode you use for a loop or phrase will depend on the nature of loop or phrase itself and how you would like to use it within a musical context.

Sample

Click the Sample mode button (Figure 7-46) to put the loop or phrase into Sample mode. In Sample mode, the loop or phrase is triggered like a traditional sampler: as you play the loop with different keys up and down your MLDI controller, both the pitch and the duration of the audio will change. The higher the note, the higher the pitch of the audio and the faster it plays. The lower the note, the lower and slower the audio plays. BPM's global tempo setting (and the tempo setting of the host Sample mode is good for material such as vocal phrases, where precise tempo control is not required. It is also good for producing the "sampler effect".

Stretch

Click the Stretch mode button (Figure 7-46) to put the loop or phrase into Stretch mode. In Stretch mode, the MIDI note you play to trigger the loop or phrase affects the sample's pitch, but not the tempo. For example, if you play a three-note chord, all three triggered loops (or phrases) will play at the same speed (but at the different pitches you played). Playback speed is determined by the speed controls. Stretch Mode locks the loop's tempo to BPM's global tempo setting (and/or the tempo setting of the host software, if any).

To ensure that Stretch mode produces high-quality results, BPM employs very high quality real-time audio time-stretching DSP technology.

Slice

Click the Slice mode button (Figure 7-46) to put the loop into Slice mode. If a "non-sliced" loop or other sound file is loaded in the currently selected part, slice mode is not available and so the Slice button is grayed out. Just about all of the loops in RPM's included loop library are slice loops. There are a few audio clips that are non-slice phrases (as indicated by "PIR" at the end of their name).

If you have your own loop material, and it is not yet in a slice loop format (such as a REX file), you can slice the loop using the Clip window, or use MachFive or other software. See "Slicing a loop" on page 85.

phrase affects its pitch, but not the tempo. For example, slice mode allows you to play chords, just like Stretch mode.

Slice mode differs from Stretch mode in that it allows the part to play the loop without any MIDI triggering. It's like having a very basic loop sequence for the part. For details, see "Sync menu" on page 83.

Map

In Slice mode, you can enable the Map button (Figure 7-46). The Map button splits up the loop into individual beat slices, mapped chromatically to MIDI notes starting at C3. This allows you to play each individual slice by itself from a note on your MIDI controller.

By playing the notes upwards chromatically, you can recreate the original loop. But you can mix up the notes to play the slices in any order you want, allowing you to create your own rhythms based on the slices of the original loop. Mapping opens up a world of possibilities for restructuring the beats of a loop, quantizing or groove quantizing loop slices, and so on.

To trigger a sliced loop that has been mapped, make sure that the part that currently holds the sliced loop is properly receiving MIDI. See “MIDI channel” on page 71.

Map mode also allows you to drag and drop the loop's MIDI data into a MIDI track in your host software. You can then manipulate the loop as MIDI data in your host. For details, see "Loop export via Drag & Drop" on page 84.

Loop mode summary

Here is a summary of the loop modes discussed above:

Loop mode	Typically used with	MIDI note affects	Tempo is determined by
Sample Loops	Phrases	Pitch and duration	MIDI note
Stretch Loops	Phrases	Pitch only speed, tempo and loop sync controls
Slice Loops only: Pitch only Speed, tempo and loop sync controls

Slice with Map Loops only Slice played N/A

Sample Start

The Sample Start slider (Figure 7-46) lets you specify any location in the loop or phrase as the sample start time. This is the location at which the loop or phrase will begin playing.

In Sample mode or Stretch mode, the Sample Start slider provides a range from zero percent (0%) to 100%, where zero is the very beginning of the loop or phrase.

In Slice mode (without mapping), the Sample Start slider provides a range from the first slice (0) to the last slice. The number of the last slice depends on the length of the loop and the number of slices. For example, if a two-bar loop is divided into 16th note slices, it will have 32 slices total. This means that slice 17 is the downbeat of measure 2. So if you set the Sample Start slider to 17, the loop will start on the downbeat of measure 2.

The Sample Start parameter is disabled when

50% slower to 50% faster than the original tempo, which is represented by the center position of the slider. Option/Alt-click the slider to return to zero. Double-click to type in a value numerically.

The Speed parameter is disabled when the loop is in Sample mode (because speed is governed by the MIDI note that you play).

Half/Double

The Half and Double Speed buttons (Figure 7-46 on page 79) let you slow down the loop or phrase to one half (50%) or one quarter (25%) of the current tempo, or speed it up to twice (200%) or four times (400%) the current tempo. Similar to the Speed Control slider, this setting is applied relative to the other sync and tempo settings. It can be combined with the Speed Control slider, allowing you to specify any tempo within a range of 2.5% to 400% of the current tempo, giving you an extremely wide range of tempo control.

Half/Double speed parameter is disabled when the loop is in Sample mode (because speed is governed by the MIDI note that you play).

Latch

When the Latch button (Figure 7-46 on page 79) is off (disabled), a loop or phrase plays for as long as you hold down its corresponding note on your MIDI keyboard (or any other controller).

When Latch is on (enabled), a loop or phrase continues to play, even if you lift your finger from the key on your controller. If the loop or phrase is a loop in Slice mode (without mapping), it will continue to repeat indefinitely. If the loop or phrase

then stop. In either case, play the same key again to make the loop or phrase stop playing. You can also disengage the Latch button to stop all latched notes.

Loop mode Latch Off Latch On

Sample Plays only when the note is held on.		Reports fit the sample has a loop).
Stretch Plays only when the note is held on.		Plays once.
Slice (without mapping)	Plays only when the note is held on.	Repeats indocitately until the same note is played again. Turning latch off steps all latched notes.

Latch Start menu

The Latch Start menu (to the right of the Latch button in Figure 7-16 on page 79) lets you specify when the loop or phrase begins to play after you trigger it. Latch Start is different from the Sample Start control (explained above), which determines the point (in the actual loop) where the loop will start to play. Instead, Latch Start determines when a loop begins to play, relative to other loops currently playing in BPM.

Start menu setting What happens

Immediate Plays immediately, as soon as the loop or phrase is triggered.

Next Beat Begins playing at the next beat

Next Bar Begins playing at the downbeat of the next measure.

Latch is also governed by BPM's global tempo setting and/or your host software tempo (if BPM is synchronized to it).

In Stretch mode ("Stretch" on page 80), loops and phrases always begin playing at the beginning of

you are creating poly rhythms in this manner, this might be just what you want. But if you want the loop to come in on beat 3 playing its own beat 3, then use Slice mode ("Slice" on page 80) with Position sync (see "Position" below). The Position sync setting keeps the loop's beats aligned with the global tempo, regardless of when the loop begins playing (on the next beat or next bar). Position sync is only available for loops, not phrases.

Key

The Key display (Figure 7-46 on page 79) shows the root key for the loop or phrase, if any. This is for informational purposes and it cannot be changed. To transpose the key, put the loop or phrase into Sample mode and play a different note, or use the Pitch controls in the synth settings section (see "Pitch settings" on page 88).

Sync menu

The settings in the Loop Sync menu (Figure 7-46 on page 79) let you synchronize the loop or phrase to BPM's global tempo setting. If the Sync to Host option is enabled (Figure 7-60 on page 90), the loop or phrase will also synchronize to the tempo of your host software.

Sync menu setting What it does

Off The loop or phrase does not sync to tempo.

Tempo The loop or phrase follows tempo, but not position. Loops and phrases always start at the beginning.

Position Nos. available for phrases. Loops follow both tempo and position (their beats and hartimes always align with the tempo).

Tempo sync

When you choose Temina from the Sane menu

In addition, it begins to play at the instant it is triggered, so it is up to you to trigger it "on the beat". If you trigger it at between beats, it will play in tempo, but offset from the beat by what you played.

Position

The Position sync setting in the Sync menu (Figure 7-46 on page 79) only affects loops, and only when they are in Slice mode without mapping ("Slice" and "Map" on page 81). When a loop is in Slice mode with Position sync, it might be helpful to think of the loop as looping indefinitely, whether you are actually playing the loop or not.

When you play a note to "trigger" the loop, you are actually just "unmuting" it, and it begins to play at the position in the loop that currently matches BPM's tempo. For example, if the loop is two bars long, and you trigger it at the second measure of your music, then it plays starting at bar two of the loop.

Loop Sync summary

Putting a loop into Slice mode and choosing Position sync gives you the highest degree of tempo synchronization because the loop will not only play in tempo, but its beats and barlines will always match the beats and barlines prescribed by the tempo.

Here's a summary of the different loop modes and sync settings:

Sync off Tempo sync Position sync

Sample

Sync setting has no effect.

Sync setting has no effect.

Sync setting has no effect.

Loop export via Drag & Drop

The Drag & Drop button (Figure 7-46 on page 79) lets you export loops and phrases into the tracks of your host software, or onto your computer desktop.

Loops and phrases are transferred as a standard audio clip. Loops that are in Slice mode with mapping ("Map" on page 81) can be dragged as MIDI data (MIDI notes) into a MIDI track, which can then trigger the mapped loop in BPM.

In either case, once the loop is placed in your host software, it is completely independent of BPM at that point, and you can treat it as regular audio or MIDI data. This opens up a world of possibilities for manipulating the raw audio or MIDI data using the features in your host software.

Dragging audio data

When you see the audio data icons shown in Figure 7-47, this means that you are dragging a standard mono or stereo audio clip. You can drag and drop it anywhere into your host software that accepts audio clips via drag and drop.

Speed control DRING & DROP 081-Five Billion DrnLoop

Figure 7-47: Dragging and dropping an audio loop into a host audio track.
Here is a good rule of thumb: if it works from

display shown in Figure 7-46 on page 79 to determine if the loop or phrase you are dragging from BPM is mono or stereo.

Conforming to the host tempo

If the Sync to Host option is enabled ("Sync to Host" on page 90) when you perform the drag and drop operation, the loop or phrase will snap to the host's tempo when you place it in an audio track, such that it conforms to the host's time line. If your host software has the ability to snap the drag and drop operation to measures and/or beats, this will help produce rhythmically accurate results quickly.

If Sync to Host is disabled, the loop or phrase retains is original tempo when placed in the track.

Dragging MIDI data

When you see the MIDI data icon shown in Figure 7-48, this means that you are dragging a sliced, mapped loop in the form of MIDI data. Therefore, you should find a destination in your host software that accepts MIDI data, such as a MIDI track, although your host may also provide other possible destinations. For example, in Digital Performer, you could drag a MIDI loop into a clipping window.

DRG & DROP R1 D4 BM D8 D4 M AV AV

Figure 7-48: Dragging and dropping a MIDI loop into a host MIDI track.

order, you'll play the individual slices but the result will sound quite different from (but similar to) the original loop.

Make sure that the MIDI track is assigned to play its MIDI data output to the BPM part that holds the mapped loop. Otherwise, the MIDI data from the track will not reach the sliced mapped loop. Also, clear or bypass the loop's Piano Roll Sequencer, so the part does not receive different MIDI input from two places at once.

Slicing a loop

The Clip window can be used to create slices in audio files that do not already have slices.

BMP Cap Sampling BMP Cap - 0.01 BMP Cap - 0.01 BMP Cap - 0.01 BMP Cap - 0.01 BMP Cap - 0.01 BMP Cap - 0.01 BMP Cap - 0.01 BMP Cap - 0.01 BMP Cap - 0.01 BMP Cap - 0.01 BMP Cap - 0.02 BMP Cap - 0.02 BMP Cap - 0.02 BMP Cap - 0.02 BMP Cap - 0.02 BMP Cap - 0.02 BMP Cap - 0.02 BMP Cap - 0.02 BMP Cap - 0.03 BMP Cap - 0.03 BMP Cap - 0.03 BMP Cap - 0.03 BMP Cap - 0.03 BMP Cap - 0.03 BMP Cap - 0.03 BMP Cap - 0.03 BMP Cap - 0.04 BMP Cap - 0.04 BMP Cap - 0.04 BMP Cap - 0.04 BMP Cap - 0.04 BMP Cap - 0.04 BMP Cap - 0.04 BMP Cap - 0.05 BMP Cap - 0.05 BMP Cap - 0.05 BMP Cap - 0.05 BMP Cap - 0.05 BMP Cap - 0.05 BMP Cap - 0.06 BMP Cap - 0.06 BMP Cap - 0.06 BMP Cap - 0.06 BMP Cap - 0.06 BMP Cap - 0.07 BMP Cap - 0.07 BMP Cap - 0.07 BMP Cap - 0.07 BMP Cap - 0.08 BMP Cap - 0.08 BMP Cap - 0.08 BMP Cap - 0.09 BMP Cap - 0.09 BMP Cap - 0.10 BMP Cap - 0.10 BMP Cap - 0.11 BMP Cap - 0.11 BMP Cap - 0.12 BMP Cap - 0.12 BMP Cap - 0.13 BMP Cap - 0.13 BMP Cap - 0.14 BMP Cap - 0.14 BMP Cap - 0.15 BMP Cap - 0.16 BMP Cap - 0.17 BMP Cap - 0.18 BMP Cap - 0.19 BMP Cap - 0.20 BMP Cap - 0.21 BMP Cap - 0.22 BMP Cap - 0.23 BMP Cap - 0.24 BMP Cap - 0.25 BMP Cap - 0.26 BMP Cap - 0.27 BMP Cap - 0.28 BMP Cap - 0.29 BMP Cap - 0.30 BMP Cap - 0.31 BMP Cap - 0.32 BMP Cap - 0.33 BMP Cap - 0.34 BMP Cap - 0.35 BMP Cap - 0.36 BMP Cap - 0.37 BMP Cap - 0.38 BMP Cap - 0.39 BMP Cap - 0.40 BMP Cap - 0.41 BMP Cap - 0.42 BMP Cap - 0.43 BMP Cap - 0.44 BMP Cap - 0.45 BMP Cap - 0.46 BMP Cap - 0.47 BMP Cap - 0.48 BMP Cap - 0.49 BMP Cap - 0.50

Figure 7-49: Clip window

Sample or drag some audio into the Clip window. You'll see controls for slicing in the lower left corner: the Slice on/off button to toggle slicing, and the pop-up menu to choose if slices will be determined by Transients or the Grid. When Transients is chosen, a sensitivity slider is shown (see Figure 7-30, below); when Grid is chosen, a menu with grid settings is shown (1/4, 1/8, 1/16, etc., including dotted and triplet options).

Slice Transients ✓ Transients Grid Imported Map or Pads

Figure 7.50: Slice controls

To manually edit slices:

To do this Do this

Create slice Double-click in the top ruler

Move slice Click and drag a slice

Lock slice Right-click a slice and choose Lock

Mute slice

(temporarily disable)

Right-click a slice and choose Mate

Delete slice Right-click a slice and choose Delete

To audition a selection in the waveform, press the Play button at the top, next to the Sampling button, or right-click the waveform and choose Play Selection from the contextual menu. You can easily select a slice to audition it by double-clicking on the slice's waveform.

After the loop is sliced, you can use the menu in the upper left to save the entire file as a sliced loop (Save as...) or export the slices as individual files (Export slices). Alternatively, you could export the slices directly to the current bank's pads by clicking the Map on Pads button in the lower left.

pads already contain samples and you don't want their contents to be overwritten, you can "lock" pads by using the Pad selector grid in the browser.

Figure 7-52: Use the Pod selector to "lock" pads.

Pads that are checked (black) will be overwritten; pads that are unchecked (empty/gray) will be locked. For example, you can use Map on Pads to map eight slices from one loop, lock those pads, then load eight slices from a second loop to fill all sixteen pads.

SYNTH PARAMETERS

The Synth Parameters section of BPM window (Figure 7-53) provides settings for the currently selected bank pad or rack part. (See "Selecting a pad" on page 57 and "Selecting a part" on page 69.) The parameters discussed below apply to any BPM material that is currently loaded in the pad or part (samples, instruments, loops and phrases).

CUT OFF RCC BP FLS OFF DATH AOSA FILTER AMP AUX SENS DRIVE 1 2 3 Analog LNG LNG LNG LNG LNG LNG LNG LNG PITCH PITCH ENV

Filter

The filter section (Figure 7-54) provides several filter types for shaping the sound of the pad or part.

Filter type menu CUT OFF Rez BP RES ON OVERTIN ADDSL ADJ50 A D S H DRIVE Envelope menu Drive menu Binding

Figure 7-54: The Filter section.

Filter Type

Choose the type of filter you wish to apply from the menu (Figure 7-54). BPM provides the following filter types:

Figure 7-55: Filter types.

The filter type menu uses the following abbreviations:

Abbreviation Meaning

HP High Pass

LP Low Pass

Cutoff (Cutoff Frequency)

Turn the large Cutoff knob (Figure 7-54) to set the cutoff frequency of the filter. The cutoff frequency can be automated by sending a MIDI controller to BPM, as explained in "MIDI automation" on page 92.

Res (Resonance)

Resonance (Figure 7-54) emphasizes the cutoff frequency of the filter. Higher resonance values can significantly boost gain, so you may need to attenuate the volume of the pad or part to achieve a clean sound. Resonance can be automated by sending a MIDI controller to BPM, as explained in "MIDI automation" on page 92.

Drive

The Drive setting (Figure 7-54) sets the type and amount of distortion (if any) that's applied to the filter output. In addition to the default setting of Off, you have three different drive settings to choose from: Analog, Mild, and Strong. Once you set the distortion type, use the Drive knob to set the amount of distortion that is applied.

Filter envelope

BPM provides a dedicated envelope for filter modulation. Think of the filter envelope (Figure 7-54) as a hard-wired control signal for the filter cutoff frequency (although it can also be used as a modulation source for other parameters, too). The filter envelope provides the following conventional 4-stage controls:

Stage Name Unit range

A Attack time msec 0.00 msec to 10 seconds

1) Every time was 0.111 more to 24 seconds

Alternatively, you can choose a conventional AHD envelope from the envelope type menu (Figure 7-54):

Envelope stage	unit	range
Attack (A)	msec	0.00 msec to 10 seconds
Hold (H)	msec	0.00 msec to 10 seconds
Decay (D)	msec	0.00 msec to 20 seconds

Env (Envelope) Depth

The Env Depth knob (Figure 7-54) is like a valve that governs the amount of envelope control signal you want to apply to the filter. Positive envelope depth values open up the filter relative to the cutoff frequency; negative values close (invert) it. A value of +1.00 applies the envelope in full, and -1.00 applies the envelope in full, but completely inverted.

Velocity

Vancity (Figure 7-54) allows you to control how much affect the MIDI note-on velocity has on the triggering of the envelope. This control has a range from 0 to 1. If you wish the filter envelope to be independent of velocity, set this control to zero (0).

Amplitude Envelope

The amplitude envelope (Figure 7-56) lets you control the attack (A), decay (D), sustain (S) and release (R) characteristics of the sample, instrument, loop or phrase loaded into the currently selected pad or part. Alternatively, you can choose an AHD envelope from the menu: attack (A), hold (H) and decay (D).

ADSR envelope

The attack, decay and release parameters are time-based parameters (a length of time), whereas the sustain parameter is a level (volume) parameter. When a note is played, the envelope generator begins to rise to its full level at the rate set by the attack parameter. Upon reaching peak attack level, it begins to fall at the rate set by the decay parameter down to the volume level set by the sustain parameter. The envelope remains at the sustain level as long as the note sustains. When the note stops, level returns to zero at the rate set by the release parameter.

Below is a summary:

Envelope stage unit range

Attack (A) msec 0.00 msec to 10 seconds

Decay (D) msec 0.00 msec to 20 seconds

Sustain (S) percent zero to 1.00 (full scale)

Release (R) msec 0.00 msec to 20 seconds

AHD envelope

The AHD envelope parameters (Figure 7-56) are all time-based parameters. When a note is played, the envelope generator begins to rise to its full level at the rate set by the attack parameter. Upon reaching peak level, it remains there for as long as the hold parameter specifies. At the end of this period, it begins to fall at the rate set by the decay parameter down to zero.

Envelope stage unit range

Attack (A)	maxc 0.00 maxc to 10 seconds
Hold (H)	maxc 0.00 maxc to 10 seconds

Pitch settings

The pitch settings (Figure 7-57) let you modify the pitch reference for the currently selected part.

Figure 7-57: The Pitch settings.

Global, Semi and Fine tune

The Global knob lets you adjust pitch in semitones over a two-octave range (-25.00 to +25.00) with the precision of one cent (one one-hundredth of a semitone). This is audio transposition (not MIDI). The Semi (semitone) and Fine (fine-tune) settings (Figure 7-57) provide more precise control, transposing the pad or part in only semitones or cents, respectively. The Semi range is from -24 to +24 semitones. The Fine Tune range is from -100 to +100 cents (one semitone). The Global setting essentially combines the functionality of the other two knobs into one: it provides the two-octave range of the semi knob combined with the precision (in cents) of the Fine knob.

Pitch envelope

The pitch envelope controls (Figure 7-57) let you apply a pitch bend envelope to the pad or part. The basic shape of the envelope is shown by the graph. The Depth knob sets the amount of pitch bend to be applied by the pitch envelope (in semitones). This is the amount of transposition above or below the root note that the pitch bend will begin. The Time knob sets the amount of time it takes for the pitch bend to go from the initial transposed (depth) setting to the final root pitch of the sample,

Figure 7-58: The Aux sends.

There are two kinds of aux effects: master and bank. A switch is provided to toggle the knobs between the master and bank aux sends. Both sets of aux sends are active simultaneously; that is, setting the switch to bank does not mute the master aux sends, or vice versa.

For details about how to set up the Aux effects, see "Effects" on page 99.

Master aux effects

Master aux effects busses are shared by all bank pads and rack parts, but the send levels to the busses are independent for each pad or part.

Bank aux effects

Bank aux effects provide a flexible way to utilize and save effects along with a kit. Bank aux effects operate similarly to the master aux effects, except bank aux effects are saved with the bank. This enables you to use an aux send to an effect from a single pad, for example, but still save the effect along with the bank.

SP MODE

BPM has four pad banks and two racks for loops and instruments. Each bank and rack has an SP Mode on/off switch:

SP made

Figure 7-59. SP mode can be enabled or disabled independently for each bank and rack.

When SP Mode is enabled for a bank or rack, BPM applies advanced DSP technology to emulate the "gritty" sound of the classic E-mu SP1200 rhythm machine, as well as the unique sample transposition behavior of the SP1200.

SP Mode only affects the bank(s) or rack(s) for which it is enabled, and it affects all audio output from the bank or rack.

TRANSPORT CONTROL AND TEMPO

BPM provides a Play and Stop button, along with a tempo setting, that allows you play all currently loaded patterns, sequences and loops in tempo with one another.

Host AutoPlay Overdub Record Undo Quantize 127.00 TAP Tempo in RPM Sync to lines Tap Temps Stop Play Melanome

Figure 7-60: The transport and tempo controls.

Play and Stop buttons

Click Play and Stop (Figure 7-60) to start and stop playback. This includes all currently loaded banks (with kits and patterns loaded), all currently loaded instrument parts (with their accompanying sequences) and parts loaded with loops that have their individual AutoPlay setting enabled (see "Play/Autoplay" on page 72).

Record, Quantize and Overdub

The Record, Quantize and Overdub buttons (Figure 7-60) can be used for real-time MIDI recording directly into BPM. For complete details, see "Recording" on page 93.

Metronome

Click the metronome icon to toggle the metronome on or off, and drag the slider to set the metronome level.

Tempo (BPM)

RPM is syncing its tempo to your host software, this setting reflects the current host software tempo setting and it cannot be changed.

Host AutoPlay

When the host AutoPlay option (Figure 7-60) is enabled, the plug-in version of BPM follows the main transports of the host software. You can also still use BPM's Play and Stop buttons independently from the host. In other words, BPM's play button won't start the host, but the host's play button will start BPM.

In the standalone version of BPM, the AutoPlay option is disabled (because there is no host software present).

Sync to Host

When the Sync to Host option (Figure 7-60) is enabled in the plug-in version of BPM, the BPM setting becomes disabled (it cannot be directly modified) and instead displays the current tempo setting of the host software. BPM follows the tempo of the host software, so that all BPM loops play in tempo with your host software tracks. Use the tempo controls in the host software to control overall tempo of both BPM and the host software tracks.

In the standalone application, when the Sync button in the transport is enabled BPM will sync to MIDI Beat Clock messages received on any of its MIDI input ports (as chosen in the Audio and MIDI Settings > MIDI Devices tab).

Tap Tempo

Click the Tap Tempo button (Figure 7-60) to set

Loop tempos and authentic rhythmic feel

BPM loops have been recorded and prepared with the utmost care in programming a unique, original rhythmic feel for the loop. As a result, you may sometimes hear loops with different styles that sound like they are not playing in tempo with each other. This is not because the loops are being incorrectly played by BPM. The tempo settings of the loops themselves and BPM's tempo-matching features are extremely sophisticated, accurate and true. Instead, loops won't necessarily always "groove" with each other, due to their unique, and possibly irregular, timing. These timing variances are an essential musical component of the loop, dutifully preserved by BPM during playback.

In cases like these, you might try applying RPM's groove quantization or other tempo and beat matching features. These features can work wonders on loop tempos, giving you complete control over them. For example, you can quantize loops to a more precise rhythmic grid, apply the groove of one loop to another to match them, and many other beat and tempo-related operations. For details, see "Groove" on page 91 and "Saving your own grooves" on page 63.

MASTER VOLUME AND TUNE

The master section (Figure 7-61) provides general settings that affect the entire plug-in as a whole (all parts).

Tune

The Tone knob (Figure 7-61) is a global tuning stage for BPM window. It is applied to the entire plug-in as a whole, in addition to any other instrument-specific tuning adjustments that have been made. For example, you could tune BPM to reference A at 442 Hz (instead of 440). The range is from 420 Hz to 460 Hz. Option/Alt-click the knob to return to the default value of 440 Hz. Double-click it to enter the desired value numerically.

If you have multiple RPM plug-ins instantiated in your software, this global tune setting affects each plug-in separately.

GROOVE

A groove consists of slight variations in the timing of the beats, along with variations (emphasis and de-emphasis) of the loudness (velocity) of beats. The groove controls in the master section (Figure 7-61) let you apply an overall groove to BPM's playback. All patterns and slice loops are affected. Choose the desired groove from the Groove menu (Figure 7-62) and then adjust the amount of position and velocity to be applied with the Pos and Velknobs, respectively. The range of these settings is 0.00 to 1.00, where zero is no effect and 1.00 is full effect. This allows you to apply different amounts of timing and velocity.

Custom grooves

If you have created and saved any custom grooves, they appear at the bottom of the Groove menu (Figure 7-62). See "Saving your own grooves" on page 63.

MIDI AUTOMATION

You can send MIDI continuous controller data to any BPM knob or slider to control it remotely from your MIDI controller or automate it from recorded controller data in a MIDI track in your audio sequencer.

To assign a MIDI controller to a knob or slider, right-click it. A window appears:

Pan None Clear Close None MIDI CC 0-31 MIDI CC 32-61 MIDI CC 64-95 MIDI CC 96-127

Figure 7-63: Assigning a MIDI controller to a control to automate it.

Choose the desired controller from the menu provided, or send the desired controller from your keyboard. As you move it, the controller data type is accepted and the window is dismissed.

To remove a controller, right-click the control and choose the None option (Figure 7-63).

Automation is assigned per pad/part

When you assign a MIDI controller as described above, it is connected to the control for the currently selected pad or part. This gives you the

Controlling the volume of each pad and part To control the volume of each bank pad and rack part individually, perhaps from a MIDI controller device with faders on it, control-click or right-click its volume slider in the mixer (Figure 7-74 on page 97) and then move the desired fader on your controller to complete the assignment. Repeat this procedure for each pad and/or part you wish to control.

Controlling synth parameters

MIDI automation is an ideal way to have hands-on, real-time dynamic control over the timbre of any bank pad or rack part. Here are just a few examples:

■Control the filter cutoff

■Control filter or amplitude envelope depth

Default MIDI controllers

By default, each bank and each rack part has MIDI controller numbers 7, 10 and 11 assigned to volume, pan and expression. These assignments can be edited or removed in the Mixer view.

MIDI MODULATION

MIDI Modulation is an extension of RPM's MIDI automation capabilities. MIDI Modulation works as a real time control that modulates a parameter's value without changing the parameter's setting itself. It can either add to or subtract from the parameter's current value, while at the same time preserving the original value of the parameter.

Option/Alt-right-click to bring up the MIDI Modulation window. The MIDI Modulation window looks very much like the MIDI Control window, except this window also has a slider. For a

MIDI Modulation Freq MIDI CC 3 Clear Clear ADD SEM GRAP OFF AUDIO

Figure 7.64: Adding a MIDI modulator

This is useful to provide an extra degree of control and variance over the details of your sounds. For example, try using MIDI Modulation to modify the filter cutoff frequency. You can also use it to create crossfades between different controls. For example, you could assign two banks to the same controller: modulate volume on one bank with Expression (CC 11) and drag the slider to the right, and modulate volume on the other bank with Expression and drag the slider to the left. The result is that you could crossfade between the banks by moving your expression controller.

RECORDING

BPM lets you record into the Step Sequencer for a pad bank (Figure 7-16 on page 59), or the Piano Roll Sequencer for rack part (Figure 7-38 on page 72), from the following sources:

■ The on-screen pads
■ The on-screen keyboard
■ A MIDI controller
■ A host sequencer

Viewing your record pass

To view your record pass as you record it, click the Seq (Sequencer) display tab in the BPM window (Figure 7-1 on page 49).

MIDI input

If you will be recording from an external MIDI source (a MIDI controller or host sequencer), you need to route MIDI input to the bank or part you are recording.

The Route MIDI input to option in the top left corner of the BPM window (Figure 7-65) ensures that incoming MIDI data is always routed to the currently selected bank or rack part. Just make sure that the box is checked and the menu says Selected Bank/Part, as shown below. This convenient feature means you won't have to keep changing your controller's transmit channel as you move around in BPM.

Figure 7-65. Routing Incoming MIDI data.

The MIDI input menu shown in Figure 7-65 also lets you choose a specific MIDI channel. This allows you move around in BPM while always routing the incoming MIDI to a particular Bank or Rack part. Banks A, B, C, and D respond to MIDI channels A1 through A4. (See "MIDI channel" on page 71 for an explanation of BPM's four banks of MIDI channels.) Rack parts can be assigned to any MIDI input you want. By default, the first part in Rack A defaults to channel A5, the second part to A6, and so on, to avoid a MIDI channel conflict with the pad banks. See "MIDI channel" on

Quantize

If you would like to quantize your input as you record, enable the Quantize button in BPM's main transports (Figure 7-60 on page 90). Quantizing records the notes you play precisely on the step grid. When quantizing is off, notes are recorded exactly with the timing and feel you play them with. You can quantize them later using the TimeShift Graph Sequencer (see "TimeShift" on page 61).

Overdub

Each time BPM cycles back to the beginning of the pattern or sequence, a new record pass begins. If you would like to keep any data you have already recorded in previous passes and simply layer more new material on top of them, enable Overdub record mode in BPM's main transports (Figure 7-60 on page 90). If you would like to wipe out the previous record pass as you record each new one, disable Overdub.

Begin recording

To begin recording, press the Record button in BPM's main transports (Figure 7-60 on page 90). During recording, you'll hear a synthetic click sound on the beats to help you play in rhythm. This is also an audible indication that BPM is in record mode.

To record from the on-screen bank pads (Figure 7-9 on page 55), click them.

To record from the keyboard below the rack part list (Figure 7-36 on page 70), click its keys.

To record from a MIDI controller, play the

Note Repeat

The Note Repeat function repeats incoming notes in metric values. This can be a useful performance tool, as well as a helpful way to record repetitive note patterns into BPM's step sequencer.

Using Note Repeat

To enable Note Repeat, enable the Note Repeat checkbox (Figure 7-66).

The rate of the repeated notes is controlled by the Note Repeat rate menu, which ranges in metric values from 32 bars to 64th note triplets.

Figure 7.66: Note Repeat

Repeated note velocity

By default, the velocity of the repeated notes will be the same as the note-on velocity of the initially triggered note. However, you can use polyphonic aftertouch to vary the velocity of the repeated notes; this requires a MIDI controller or a plug in host which supports polyphonic aftertouch.

Akai MPD32 users: The MPD32's pads are configured to use monophonic (channel) aftertouch by default. To control the velocity of repeated notes in BPM, change the pads to use polyphonic aftertouch. Refer to the MPD32 User Guide for information on how to configure your

SAMPLING

In addition to its extensive drag and drop import capabilities, BPM also allows you to sample live audio input. You can sample any audio material you wish, including individual drum hits, loops or any audio phrase. Then newly sampled material can then be assigned to a pad as part of a kit, or you can load it into a part and use it as a loop or phrase. This opens a world of possibilities for creating truly unique rhythms with your own custom sounds.

BPM lets you sample audio from outside audio sources. You can also sample BPM's main output back into itself (self-sampling).

BPM provides two ways to sample audio:

■ Direct sampling into a pad

■ Sampling into the Clip window

The sampling controls

The sampling controls are located at the top of the BPM window:

Figure 7-67: The sampling controls.

The BPMSampler application

To sample outside sources, such as a microphone connected to your computer's audio interface, launch the BPMSampler application. This is located side by side with the BPM standalone application in your Applications folder (Mac) or

BPMSampler BEAT PRODUCTION BPM ■ ■ ■ MACHINE ■ ■ ■ ■ ■ MOTU +1.3.0 Level meters

Figure 7-68: The BPMSampler application

Sampling from an external source

To set up sampling from an external source:

1 In BPMSampler, choose Stereo or Mono as desired from the Configuration menu.
2 Choose File menu> Audio and MIDI Settings (Figure 7-69):

File Device Back-Left Mega Input Left Mega Input Right Back-Left Input 1 Back-Left Input 2 Mega Left Mega Left Right Back-Left Input 1 Back-Left Input 2 OK Cancel

Figure 7-69: Choosing an input to sample from.

3 Click the Audio Devices tab to specify the audio device driver for your audio interface (or other audio source). This is the audio input device

(1) 12 (2) 12

5 If you would like to monitor the inputs, choose the desired outputs from the Physical Inputs menus. Choose None if you don't want to monitor the input.

Make sure that the outputs you've chosen won't cause a feedback loop.

6 Click OK.

7 Use the level meters (Figure 7-68) to set the level for the input.

8 Leave the BPMSampler applet running during your sampling session. You can quit from it when you are done.

Sampling from an audio track in your host audio software

BPM can also sample the audio output of any track in your host audio sequencer or other software. To set up sampling from your host, instantiate the BPMSampler FX plug-in on the desired track, just as you would any standard FX plug-in. The plug-in should already be present in your host's effects plug-in menu:

None. Insert Settings MOTU: Analog Chorus (stereo) MOTU: AutoPan (stereo) ✓ MOTA: BPMSampler (stereo) MOTA: Buffy (stereo) MOTA: Calibration (stereo) MOTA: Chorus (stereo) MOTA: Custom '59' (stereo) MOTA: D Plus (stereo) MOTA: DC Notch (stereo) MOTA: Delay (stereo)

Figure 7-70: To record the audio output of a track in you host software, instantiate the BPMSampler plug-in in the normal fashion from a standard effort that is

Figure 7-71: Choosing the BPMSampler as the source for sampling.

If you would like to sample BPM's output back into itself, choose BPMSA 1 Output, where SA refers to the standalone version. Alternatively, this could be MAS (for the MAS version), VST (for the VST version), etc.

The number (1, 2, etc.) in the name of the source refers to which instance when there are multiple instances running. For example, you might have the standalone BPMSampler running, as well as the plug-in version (within your host software).

Sampling into a pad

To sample into a pad, click the desired pad and click the sampling Record button (Figure 7-67). Click Done when you are finished, or click Cancel to discard the recording.

Figure 7-72: Sampling into a pad.

When sampling, be sure to use the sampling record button at the top of the window (Figure 7-67 on page 95), not the record button in BPM's main transports (which is used for MIDI recording into the Step Sequencer).

Sampling a clip

The clip window lets you record independently

1 Choose the desired input from the Source menu (Figure 7-71).

2 Click the Clip button (Figure 7-67 on page 95). The Clip window appears (Figure 7-73).

BPM Clip Sampling BPM Sampler 1 sample1.exe

Figure 7-73: Sampling via the Clip window.

3 Confirm the source from the menu provided.

4 Click the Sampling button to begin sampling.

5 Click the Sampling button again to stop.

6 Select the desired portion of the waveform, or double-click to select all.

7 Press Command/Control-C to copy the selected waveform and then paste the selection into the sample editor (see "Paste" on page 67), OR

8 Hold down Shift-Option/Alt and then drag the selection to any destination in the BPM window that accepts audio clips.

MIXING

The Mixer (Figure 7-74) provides a complete environment for mixing all components of BPM output.

Accessing the mixer

To access the Mixer, click the Mix display tab in the BPM window (Figure 7-1 on page 49).

Bank and Rack mixer tabs

Click a Bank or Rack mixer tab (Figure 7-74) to view the individual mixer channel strips for the each bank pad or rack part. Each bank and rack has its own tab.

Channel strips

The pad and part channel strips (Figure 7-74) provide conventional mixer controls for volume, pan, mute (m), solo (s), and output assignment

Master mixer tub Band and Rack mixer tails Master mixer tub Inner tabs Band or part name Band or part effects Pen

(see below). Signal flows from top to bottom. The FX button provides direct access to the part effects for the pad or part (see "Effects" on page 99).

Outputs

The Output channel strip setting (Figure 7-74) let you assign each part to one of 17 possible stereo output pairs (main outs plus 16 stereo aux outputs). Each output pair can be assigned to (or routed by your host audio software to) a pair of physical outputs on your audio hardware. This provides you with a great deal of flexibility in submixing BPM's four banks, two racks and unlimited parts.

The list of stereo pairs that you see in each Outputs menu depends on the situation in which you are running BPM.

Multiple outputs and standalone operation

If you are running BPM as a standalone application, the output menu displays a main out pair, plus 16 additional separate output pairs, numbered 2 through 17. To learn how to map these output pairs to the physical outputs on your audio hardware, see chapter 5, "BPM Application" (page 27) and "Outputs" on page 98.

Multiple outputs and plug-in operation

If you are running BPM as a plug-in, the output menu displays whatever outputs are made available to the plug-in by your host software. For example, in Digital Performer, you will see pairs of busses, as supplied by Digital Performer's current studio configuration (Setup menu). Your host software allows you to map the busses to the physical outputs on your audio hardware.

Master mixer tab

Click a Master mixer tab (Figure 7-74) to view the master channels for the each bank pad or rack part. This tab also displays BPM's master output channel and three Aux bus channels, as shown below.

Figure 7-76: The master channels.

Bank and rack master channels

The bank and rack master channels control the overall output of each bank and rack. The FX button provides direct access to the bank/rack effects. You can assign each bank or rack to its own independent audio output pair.

Aux channels

The three Aux (auxiliary) channels (Figure 7-76)

has no output assignment because it is fed back into the master channel (at the top of the channel, before master effects).

Master channel

The master channel (Figure 7-76) provides a final, global mix stage for BPM's main stereo output. The FX button provides direct access to the master effects (Figure 7-77 on page 99). The output assignment for the standalone version of BPM is made in the Audio and MIDI Settings window (Figure 5-6 on page 32). When running BPM as a plug-in, the master output assignment is handled by the host software.

EFFECTS

BPM provides unlimited effects slots at many points in its signal chain, from individual sample layers in a pad, all the way up to master effects on the master output fader. You can apply unlimited effects independently to the following BPM elements:

■ Pad layers
■ Pads
■ Rack parts
■ Rack presets
■ Banks

■Racks

■ Aux busses

■ Bank aux busses

■Master fader

Accessing effects

To access BPM's effects (Figure 7-77), click the FX display tab in the BPM window (Figure 7-1 on page 49).

Effects tabs

To view the effects for a pad, part, bank or rack, select it and then click its tab in the Effects display (Figure 7-77). To view the effects for the aux busses or master fader, click their corresponding tab at any time.

Bypassing a tab

Use the tab bypass button (Figure 7-77) to temporarily bypass all effects currently loaded in the tab.

Adding, deleting, bypassing and replacing effects slots

To add an effect to the list, click the Add FX button (Figure 7-77). Each effect slot has its own bypass and delete button. If an effect has more parameters than the slot can display at one time, use the slot's

Effects tags for the currency selected post/part or back/ack Tab bypass Ato bus effects Master effects Not effect Bypass slot 3.0000 EQ Sync In tempu

next/previous parameter buttons to access them. To replace an existing effect with a different one, right-click its name to open the FX browser.

Unlimited effects slots

You can add an unlimited number of effects to the effect slot list. Use the scroll bar to access the entire list of effects. Note that signal flows from top to bottom in the list, so order your effects accordingly.

The effects browser

When you click the Add FX button (Figure 7-77), you'll see BPM's multi-column effects browser (Figure 7-78), where effect presets are conveniently organized by category and sub-category.

The effects

BPM provides dozens of included advanced, professional quality effects. For details about each effect and its presets, see Appendix B, "Effects" page (239).

Effect controls

Each effect has a unique set of controls. You can adjust them directly in the effect slot. Drag them to adjust their setting with the mouse. Double-click to enter values numerically. Right-click to assign automation, as explained in "MIDI automation" on page 92. For details on the settings for each specific effect, see Appendix B, "Effects" page (239).

Sync

Some effects have parameters, such as delay taps, that can be synced to BPM's tempo (or the tempo of your host). To do so, enable the Sync button (Figure 7-77). Doing so changes the Effect controls, allowing you to adjust timing via a linear time reference (such as seconds/milliseconds) or a beat-based time reference (fractions or multiples of BPM's beat and tempo).

Preset effects

Preset effects (Figure 7-77) are similar to pad/part effects in that they apply to the currently selected pad or part. However, they differ in that they represent any effects that have been saved as part of the preset loaded from BPM's preset library. The preset tab gives you access to these original, saved effects.

If you add preset effects to a preset, you must remember to save them as part of a bank (see "Banks" on page 106).

Pad layer effects

When you program multiple sample layers on a pad, BPM lets you apply independent effects to each pad layer, if you wish. Because pad layer effects are so intimately tied to layer programming, they are not accessed through the Effects tabs shown in Figure 7-77. Instead, you can access them in the Pad Editor effects tab (Figure 7-32 on page 68).

SONG ARRANGING

BPM provides advanced features for arranging rhythm beds for entire songs, for both studio production and live performance on stage. Before diving into these features, it will help to review the following terminology:

■ Pattern — programmed notes and controllers in a bank's Step Sequencer.
■ Sequence — programmed notes in a rack part's Piano Roll Sequencer.
■ Scene — a snapshot of the current pattern or sequence loaded in each bank or rack part. The scene includes all four banks and both racks.
■ Song — scenes strung together sequentially.

Patterns and sequences

Patterns and sequences are very similar: they are essentially short MIDI sequences that trigger drum sounds (in a kit) or notes in an instrument (or slices in a sliced loop). Therefore, for the rest of this discussion, we'll refer to banks and patterns to simplify the explanation, but note that the discussion also applies to both banks/patterns and rack parts/sequences, unless otherwise noted.

As explained in “Patterns” on page 58, each bank holds sixteen possible patterns, one of which is the current pattern. Similarly, each Rack Part can hold sixteen sequences.

Here's a summary:

■ Banks have sixteen possible patterns.
■ Rack parts have sixteen possible sequences.

rack part does not change when you change the pattern or sequence. Only the pattern or sequence changes.

The above concepts serve as a basis for the next element of song-building: Scenes.

SCENES

A Scene is a snapshot of the current pattern or sequence loaded in each bank or rack part. The scene includes all four banks and both racks. There are sixteen scenes available in each instance of BPM, accessed via the Scene menu (Figure 7-79). Only one scene is active at a given time.

Scene1 Scene1 Scene2 Scene3 Scene4 Scene5 Scene6 Scene7 Scene8 Scene9 Scene10 Scene11 Scene12 Scene13 Scene14 Scene15 Scene16 Scene1 Scene menu Clear current scene Copy current scene Mirror current scene Paste into current scene

Figure 7-79: The Scene menu.

The controls for the Scene menu are similar to those in the Pattern menu ("Patterns" on page 58), except that there are two copy functions, explained below.

Copy Scene

The Copy Scene button (Figure 7-79) performs a "deep copy" that includes pattern mapping and pattern contents.

Exporting a scene

You can export a scene as a WAVE file to your host software or your computer desktop with the following drag and drop technique: click the word Scene above the Scene menu (Figure 7-79) and then drag to your host or desktop.

SCENE EDITOR

The Scene Editor (Figure 7-80) lets you program which pattern or sequence will play for each bank and rack part. You can set up different combinations for each scene, and then switch scenes on the fly to call up across-the-board combinations of bank patterns and part sequences.

Accessing the Scene Editor

To access BPM's Scene Editor (Figure 7-80), click the Scene tab in the BPM window (Figure 7-1 on page 49).

Mapping patterns and sequences

In the Scene Editor, each bank and rack part has a column, and each scene has a row. The number shown at the intersection of a row and column is the pattern (or sequence) that will play for that bank or part in that scene. For example, if a 4 is shown at the intersection of Scene 3 and Bank C, that means Bank C's Pattern #4 will play during Scene 3.

To change the pattern or sequence in any cell, click it and choose the desired pattern or sequence from the pop-up menu.

Alternatively, you can change the pattern or sequence for the current bank or rack part from the Pattern menu (Figure 7-15 on page 58). If so, you'll see the corresponding cell in the Scene Editor update as well.

By default, each scene contains the patterns of the same number — c.g., scene 1 has pattern 1 loaded in each bank, scene 2 has pattern 2 loaded in each bank, etc.

Using scenes to build songs

Scenes allow you to program up to sixteen "building blocks" for your song. Each scene can be completely different, although in most common applications, you will have common patterns and sequences among scenes. Certain elements may remain the same across different sections of your song, such as the basic kit (kick, snare, hat, etc.), whereas other elements, such as percussion, might change a lot across different scenes.

Trigger options Tab by-ses Main Trigger Back pattern mapping Back part sequence mapping Parameters Label A Label B Label C Label D Label E Label F Label G Label H Label I Label J Label K Label L Label M Label N Label O Label P Label Q Label R Label S Label T Label U Label V Label W Label X Label Y Label Z Label AA Label AB Label AC Label AD Label AE Label AF Label AG Label AH Label AI Label AJ Label AK Label AL Label AM Label AN Label AO Label AP Label AQ Label AR Label AS Label AT Label AU Label AV Label AW Label AX Label AY Label AZ Label BA Label BC Label BD Label BE Label BF Label BG Label BH Label BI Label BJ Label BK Label BL Label BM Label BN Label BO Label BP Label BPB Label BPB2 Label BPB3 Label BPB4 Label BPB5 Label BPB6 Label BPB7 Label BPB8 Label BPB9 Label BPB10

LIVE MODE

Once you've programmed two or more scenes, click the Live button (Figure 7-81) to enter Live mode. In Live mode, you can trigger scenes using either a MIDI keyboard or BPM's sixteen pads. Each pad displays its scene name. The scenes are assigned chromatically beginning at C1: Scene 1 is triggered by C1, Scene 2 by C#1, and so on. You can send these MIDI triggers on any MIDI channel.

SAR Score13 Score 24 Score11 Score 10 Score8 Score 19 Score 12 Score 22 Score5 Score7 Score8 Score 1 Score 1 Score 2 Score 3 Score 4 LIVE SNO

Figure 7-81:Live mode.

Scene trigger options

Click the options tab in the Scene Editor (Figure 7-80) to access the scene triggering options.

Trigger mode

The trigger mode menu (Figure 7-82) provides options that work similarly to Latch mode for loops.

Trigger Mode What happens

Immediate Plays immediately, as soon as the scene is triggered.

Next Beat Begins playing at the next beat

Next Bar Begins playing at the downbest of the next measure.

Sync position

The Sync menu (Figure 7-82) determines where scenes start when they are triggered.

sync setting What it does

Tempo: The scene follows tempa, but not position. Patterns and sequences always start at the beginning.

Position: The scene starts at the current playback position, wherever it is.

Latch

Choose True from the Latch menu (Figure 7-82) if you want the scene to continue playing, even after you lift your finger from the pad or MIDI controller key. Choose False if you only want it to play while you hold your finger down.

Exiting Live mode

To exit Live mode, disable the Live button (Figure 7-81). Doing so returns you to BPM's normal programming state, where only one scene plays at a time, continuously.

SONG MODE

Once you've programmed two or more scenes, click the Song button (Figure 7-83) to enter Song mode. In Song mode, scenes can be placed end-to-end to create a sequential timeline. One scene plays at a time, and each scene starts at its beginning.

Accessing the Song Editor

To access BPM's Song Editor (Figure 7-83), click the Song tab (Figure 7-1 on page 49).

Building a song

To build a song, drag and drop scenes from the sixteen pads into the Song Editor, as shown in Figure 7-83. When you first drop the scene, it snaps

to the timeline at its original length. If you position the cursor over the right edge of the scene, the cursor changes and you can drag the right edge of the scene to change its length (longer or shorter). To move the scene, drag it left or right. To delete a scene, click it to select it and hit the delete key. Or right-click and choose Delete from the menu.

Timeline

The song timeline displays time in measures. You can zoom the timeline in or out by clicking on it and then dragging vertically. The timeline is synchronized to the host when running BPM as a plug-in.

Song Counter → 1 | 1 | 1 Timeline Scene1 Scene2 Scene3 BANK Scene1 Scene2 Scene3 Scene4 Scene5 Scene6 RACK Scene9 Scene10 Scene11 Scene12 AUX SEND PITCH

FILE MENU

The File menu (Figure 7-1 on page 49) provides extensive support for loading and saving BPM sounds, patterns, banks and other basic elements of BPM operation.

Route MIDI Input to: Select Audio Load Performance Save Performance Save Performance as... Save Performance And Samples as... Clear Performance Load Back Save Back as... Clear Back Load Pattern-kit Save Pattern Kit as... Load Kit Save Kit as... Save Kit And Samples as... Clear Kit Load Kit From Mactive Program Load Ochsler Save Ochsler as... Load Pad Save Pad as... Load Current Pattern Save Current Pattern as... Import Match in Current Pattern Save Pad Sample As... Export Current Pattern As MIDI Export Current Pattern As Audio Export Current Score As Audio Export Song As Audio Performance Current: 7

Figure 7-84: File menu.

Performances

A performance is like a "snapshot" of the BPM window. It saves the entire window in its current state, except for the actual samples being used. A performances includes all preset parameters and all global parameters. The performance includes the preset (sound) for each pad and part, all pad/part settings, all patterns and sequences, etc.

Because BPM operates as a plug-in, your host audio software will save all current BPM settings with the project (just like it does for other plugins). Only destructive edits made to the samples need to be saved independently.

Performances are a powerful and convenient way to transfer BPM settings to other projects, clients, colleagues, and even other host applications.

Load Performance

Load Performance (Figure 7-84) lets you locate and open a previously saved performance on disk.

Save Performance

Save Performance (Figure 7-84) saves any changes that have been made in the BPM window to the last-saved performance. If a Performance hasn't been saved yet, BPM prompts you name the new performance and choose a location on disk for saving.

Save Performance As

Save Performance As (Figure 7-84) lets you save the performance as a separate file on disk with a different name.

Save Performance And Samples As

Save Performance And Samples As (Figure 7-84) lets you save the performance as a separate file on disk with a different name, along with all of the audio files you're currently using.

Clear Performance

Clear Performance (Figure 7-84) removes the current performance settings from the BPM window.

Banks

The bank-related commands in the File menu (Figure 7-84) apply to BPM's four pad banks. The operate on the current bank (A, B, C or D), as determined by the currently selected bank button (Figure 7-9 on page 55). The operate similarly to the Load, Save As and Clear commands for Performances (above). Keep in mind that saved banks include the following data:

■ The bank's currently loaded kit (see "Kits" on page 50)
■ The bank's effects (see "Effects" on page 99)
■ The bank's sixteen patterns (see "Patterns" on page 58)

Patterns+Kits

The Load Pattern+Kit and Save Pattern+Kit commands (Figure 7-84) operate on the pattern and kit for the current bank. They allow you to load and save a pattern and kit combination as a single preset.

Kits

The Load Kit, Save Kit and Clear Kit commands (Figure 7-84) operate on the current bank. They allow you to save, load and clear your own kit presets. These commands do not include the actual sample data in the saved preset. Instead, they simply save pointers to the sample data in the BPM UFS libraries (or your own custom samples save on your hard drive, if any). The Save Kit and Samples As command allows you to include the actual samples in the saved kit preset. This makes the preset much larger on disk, but it ensures that the samples are present when the preset is reloaded.

Load from MachFive Program

The Load from MachFive Program command (Figure 7-84) lets you load kit sounds from a program created in MachFive (Version 2 or higher).

Oscillators

The Load Oscillator and Save Oscillator commands (Figure 7-84) operate on the oscillator (drum synth settings) for the currently selected bank pad. They allow you to load and save the drum synth sound as a preset on disk. If you save them in the default location (that first appears in the file navigator when you save the preset), the preset will appear at the bottom of the Drum Synthesizer preset menu (Figure 7-33 on page 68 and Figure 7-35 on page 69).

Pads

The Load Pad and Save Pad commands (Figure 7-84) operate on the currently selected bank pad. They allow you to load and save all the settings for the pad (including all layers, layer effects, volume, pan, pad effects, etc.) as a preset on disk.

Patterns

The Load Current Pattern and Save Current Pattern As commands (Figure 7-84) operate on the pattern for the current bank (or the sequence for the current rack part). They allow you to save and load your own patterns/sequences as presets. These commands do not include any actual kit sounds, just pattern data.

Import MIDI In Current Pattern

The Import MIDI In Current Pattern command

in "Drag and drop into the Step Sequencer" on page 56 and "Drag and drop into the Piano Roll Sequencer" on page 74.

Pad Sample

Save Pad Sample As saves the audio file loaded in the current pad's selected layer.

Export commands

The Export commands (Figure 7-84) allow you to export the various items either as MIDI or audio data, as indicated by the name of the command.

Preferences

See "Preferences", below.

PREFERENCES

There are three preference panes: Main, Mapping, and Remote.

Main

The Main Preferences command (Figure 7-84) provides several self-explanatory options for recording, scrolling and pads, as shown below in Figure 7-85.

Main Mapping Remote Matronome ✓ Metronome while recording Auto Scroll ✓ Step sequencer auto scroll Auto Scroll ✓ Piano roll sequencer auto scroll Auto Scroll ✓ Song auto scroll Pads ✓ Pads are velocity-sensitive

Figure 7-85: Main preferences

Mapping

Main Mapping Remote 45 75 56 70 41 49 51 46 37 39 42 44 36 35 38 40 Load Save Set As Default

Figure 7-86: Mapping preferences

To apply a pad template to a bank without setting it as the default mapping, see "Assigning MIDI notes to all pads" on page 57.

MIDI Remote Control

MIDI Remote Control provides a way to control BPM from your MIDI controller. MIDI Remote Control assignments directly control the items currently shown in the BPM user interface, enabling extensive control over BPM's operations from your MIDI controller.

For example, you can use a single MIDI CC to control the Filter Cutoff knob regardless of which bank or rack part is currently selected. Additionally, many parts of BPM's user interface can be controlled remotely, such as the display tabs (Sequence, Edit, FX, etc.).

Configuring MIDI Remote Control To configure the MIDI Remote Control assignments, open the BPM Preferences window

Main Mapping Remote Function Event Type Sent Value Play MIDI CC 118 MIDI temp Stop MIDI CC 127 MIDI temp Record MIDI CC 139 MIDI temp Undo Record None 140 MIDI temp Auto Play None 141 MIDI temp Sync To Host None 142 MIDI temp Tap Tempo None 143 MIDI temp Quantize None 144 MIDI temp Overdub None 145 MIDI temp Sequence View MIDI CC 28 MIDI temp Idic View MIDI CC 29 MIDI temp FX View MIDI CC 30 MIDI temp Mix View MIDI CC 31 MIDI temp ✓ Enable MIDI remote Save

Figure 7-87: Remote preferences

To change an assignment choose MIDI CC or MIDI Note as the Event Type, then type the CC number or note number in the Event Value column. Alternatively, press the MIDI Learn button, then send the desired MIDI CC or MIDI note from your MIDI controller.

When you wish to save your changes, press the Save button.

Disabling MIDI Remote Control

To disable MIDI Remote Control, deselect Enable MIDI remote.

When to use MIDI Remote Control and when to use MIDI Automation

MIDI Remote Control and MIDI Automation perform similar functions, but are used for different purposes.

■ If you want to use a single MIDI CC to always control the parameter that you're currently viewing, use MIDI Remote Control.

DRAG & DROP

BPM provides extensive support for drag & drop import and export of both MIDI and audio data.

Import

The following areas of the BPM window are targets for drag & drop import:

Drag & drop target Format For more information

Individual sample layers Audio "Loading multiple samples into a pad" on page 63

Individual pods Audio "Dragging and dropping into a pad" on page 56

Sample Editor Audio "Drag and drop in the sample editor" on page 66

Pod bank MIDI "Loading a kit into a bank" on page 55

Step Sequencer MTDI "Drag and drop into the Step Sequencer" on page 56

Piano Roll Editor	MIDI "Drag and drop into the Piano Roll Sequencer" on page 74
Rack part list	Audio "Drag and drop into the part list" on page 70

Target areas that can accept what you are currently dropping into BPM will highlight with a border when the cursors hovers over them.

Export

BPM provides the following drag and drop export features:

Drag & drop export item Format For more information

Loops	Audio & MIDI	“Loop export via Drag & Drop” on page 84
Pattern	Audio & MIDI	“Exporting a pattern” on page 58

APPENDIX A Sound and Pattern Library

OVERVIEW

BPM provides an extensive 19 GB urban rhythm sound library. Here is a brief summary of this comprehensive collection of sounds:

■ Over 19 GB of all-new, never before released loops, samples and beats
■ Over 10,000 individual samples
■ Over 1,000 new drum and percussion loops
■ 24-bit 96 kHz audio quality
■ Mastered at Sterling Sound, NYC by top mastering engineer Chris Gehringer
■ Over 200 drum kits + patterns organized by style categories (Beat City, Old School, etc.)
■ Over 100 multi-sampled urban instruments, including piano, bass, guitars, synths, pads and others
■ Comprehensive percussion samples, patterns and loops
■ Includes Beat Box Anthology, a comprehensive library of sounds from 80 classic drum machines
■ Hundreds of patterns in many styles (hip hop, R'nB, house, electro, techno, funk, soul, pop, rock, etc.)
■ Play any pattern in any style with any drum kit (included or programmed) for virtually infinite combinations

CREDITS

Sound Design / Beat Production / Consulting

Eric K. Roz

for Black Rose Corporation

www.eric-k-roz.com

Mastering

Chris Gehringer

Sterling Sound, New York

www.sterling-sound.com

BPM PRESETS

This chapter provides a list of BPM presets. For information on how to access presets in the browser, see “Using the BPM sound library” on page 51.

1 — Kit+Pattern....110
2 — Kit....113
3 — Pattern....116
4—Loop....122
5 — Sound....132
6 — Instrument .....166

BEAT BOX ANTHOLOGY PRESETS

The following sections list Beat Box Anthology presets. For information on how to access these presets, see “Using Beat Box Anthology presets” on page 53.

7 — Anthology Kit+Pattern....169
8 — Anthology Kit .... 169
9 — Anthology Pattern....169

1 — Kit+Pattern

BIG BEAT

10.5-Invisible

110-Beat Hit

(10-Slee) Garage

12.50 C 30

1.15 Big Dog

15 Big Top

140-Bir Dschle

140-Flame Thrower

140-Lurupin

145-1 Scream

150-8 Stand

150 Straight

160 Blowing

170 Jungle June

DANCEHALL

112-Jam Store

112-Jungle Fever

114-Black Pom Pom

120-Bulá Todos

120-BJHSa

120-Bipper

120-3ml/Ch

120 Nance Whole 100 Navi G

120 O P A

120 Snow in July

DIRTY SOUTH

064-Cash Money

072-Basic South

0.2-1 transfer

076-Brick and Stuck

0.6-C Loop

076-Daddy Sissoin

076-Hcy Ta

0/6-Rooling Beat

073-14251 Me 069. Bauvi

682-Dirty One

(1) 2017年1月1日

DUB

0.58 Dub Indus

607 W. K.

ELECTRO

125- Elektrik (8 patterns)

126 Da Chic (7 patterns)

126 The Winner (8 patterns)

127 Electrophasic (8 patterns)

127-Evilastic (8 patterns)

128-Lovin Her (7 patterns)

129-By Law (7 patterns)

130-Cut Brazil (8 patterns)

130-Gameriz (7 peritemas)

130-Robotix (8 patterns)

HARD TRANCE

131-Hemisphere (7 patterns)

135 Venus (8 patterns)

136 After Hall (8 patterns)

136 Pacific (7 patterns)

1. Clubtrance (7 patterns

138-Spice Fire (8 patterns)

140-Specialty (8 patterns)

143-Uranium (7 patterns)

145-Saruzland (8 patterns)

155-Overload (7 patterns)

HIP HOP-RNB-BPM V1

Acoustic Mood

1179 Red Pain A.htpt

1179 Red Pain N.btpk

182 CJA Smorch,brpk

1102 Secret FBLbrpk

085-Z Rock.btpk

089-One Way A.btpk

089-One Way E.3rpk

090-Blues Unity.btpk

090-Dark Soul.bps

090-Doctor Hyde A.Bppl

090-Doctor Hyde B.bipk.

090-Jazz Avenue,big

091-Pha.Rock.btpk

092-Jungle Westbtpk

1192-Street Light A.bipk

1192 Street Light Bhtpk

1. Underworld.html

2. Eden Power A.btp

3. Edna Power Ubpak

4. New Hero Shock brip

5. Very Deep bank

6. Swighta Worshe

100-Octal (8) 645

Beat City

081-Five Billion.btpk

082-[kan Live.btok

082-Massive Stone A.btpk

082-Massive Stone Robtak

092-Low Rick A.bark

092-Low Ride 3.bink

095-Kelly Mouth.bipk

095-Space Trive.htrk

098-Before the Show A.bnp

1. Before the Show 11btpk

2. Locks in the City A btpk

098 Locks in the City 11 btak

008 London 1m 2 break

008 London Jam Jipale

(2) a flow 4 bank

023-615-100

0.25-4.3kV 18.6JPa

100-Electro Tape A.6p3

100-Elecure Tape B.619

100-Fully Morris A. O'pK

100-Funny Moisha B.3prk

100-Killa System.bipl

100-LA Century.bipk

100-Military Dance.btpl

100-Routs Tree.btpk

101-Zapan Club A.hop

101 Zapan Club B.btpk

104 Clappin Tap.htm

104 Missile Command A.bptk

104 Missile Command B.html

1. Mr. Gomebck

2. Reosta Piano bmk

(2) 2018年1月1日

Big Star

080.Egyptian Tim A.btpk

080-Egyptian Tim B. brpk

082-Black Evil A.btpk

082-Black Evil Botpk

082-Shynesc.bptk

082-Veodoe Raddim A.btpk

082-Veodoe Rudlim B.bipk

085-Empire A.bipk

083-Empire B.bipk

083-Money Money.bipk

083-You and Me.bipl

085-Lizzle A.bipk

085 | Szle ll btpk

082 Candy Word A thrle

089 Candy Wood B http

1. D: T 45.1

097-My Game Two A.bipk

097-My Game Two B.btpk

098-Chase the Car A.bipk

098-Chase the Car B.bipk

098-RETURN.https

098-Scotty Jacket. http://100.adaptim.html

100 Maritime.Bipk

100-Rational Attack A.Bike 100-County Attack R Btak

100-Lee John bank

1. Divy Food A

107-Dirty Food Bhtak

107-Duty Rose Biopak 107-Obsession A.bptk

107-Obsession B.btpk

111-One One One A.btpk

111-One One One B.bpk

111-Palm Beach A.btpk

111-Palzn Beach Böstepk

132-Pretty Mad A. btpk

132-Pretty Mad B.60p5

Machine

079 Dirty Teeth A.htpk

079 Dirty Teeth B.btpk

1. Pump the Rolls A.htptc
2. Pump the Rolls B.htptb

082-Parap the rolls 1.6/px 083 Under Floor A. htnk

082-Under Floor A,B/ApK 082-Under Floor B,bptk

083-Loud Cloud.btpk

085-Queen Bridge,bptk

086-Dentist.btpk

086-White Line A.btpk

086-White Line B.btpk

089-Foay Night.blpk

090-Don't Play A.btpk

090-Don't Play B.5tpk 092-Clam My Dearborn

092-Cap My Door, Dip 092-Coffee Street, think

1. Don't Touch .htnk

2. Down with the King.htpk

092-Smake Road Mdn A.btpk

092-Smoke Road Mdn B.btplk

092-Smoke Road Vnl.htplc

092-Waiting Room.btpl 681.Boke Cnble Ahtuk

093-Baby Cycle A.01pk 093 Baby Cycle B.1otak

094-Baby Cycle Btupk 094-Steel Diamond & btok

094-Steel Diamond B.btok

096-Daddy Donkey A. btuk

1996-Dschle Donikov Rhtrek

105-First Splash A.btpk

105-First. Splash B.btpk

South

1175-4X4.bipk

1175-Ambassadnr.ltplk

079-Boam Heart A,btp

079-Boam Heart B.btpk

080-Hacienda A.htpt

080-Hacienda B.btpk

082-Not Guilty A. Brpk 091 Not Guilty B. Bank

082-Not Gmily BtJpk 082-Saint-Louis J btk

082-Saint-Louis B.btrek

085-Back the F up book

086-Slaske It.bipk

092-Las Palmas.bipk

093-For My Homies A.bipk

093-Fur My Homies II.btpk

195-Duty Ilass A.Bipk

195-Duty Base II.Bipk 195-Generiaktal

195-Generer's BIPK 196. All Stars break

1. Electric Lva bt

096-Train Station.btpl

098-Let Me See A.btplk

098-Let Me See B.btpk

099-Tribuzone.btpk

100-Domi Nos Party.btpk

100-Fantasy Dream A.btpk

100-Fantasy Dream B.bcpk 107 Special Topic: Abstract

103-Special Tour A. Blipk 103-Special Tour B. Ixtek

103-Spasm Youl Botyk 118-Zino A btk

110-Zino B.btyk

115-Taop A.bipk

115-Taop B.bipk

120-Kentucky.btpk

132-Run Run A,btpk

132-Run Run H.btpk

139-K-Hilly A.Btpk

139-K-Billy B.Mrsk

Various

060-First Floor.btpk

064-Keishhally.btpk

076-Like This.btpk

082-On and On.btp

082-Tell Me Why. btpk

082-Think About Mc.btek

090-Classic Car A.btpk

090-Classic Car B.btpls

090-Gray Desert. A.btpl

090-Gray Desert B.https

090-Pretty Amelie A.bt

090 Pretty Amelle B. http 002.eleet15.html

1. Snow Man A btpk

091-Snow Man Jubtak

092-Bronx A.btplk

092-Bronx B.btok

092-My Time.btok

096-Happf Ring.btpk

096-Wallup A.btpk

096-Wallup B.btpk

097-Urbanana A.bipk

097-Urbanana B.bipk

099-Fulth Avenue A.Bp 099-156th Avenue B.bp

099-Farth Avenue B.Bip 099-Martinik A.hpk

099-Martinik 1.8tpk

100-Arabic Lion A,bt

100-Arabic Lion B.btpk

100-Clap Dance A.btpk

100-Clap Dance Bhtpk

100-Harbour of Heaven A.btpk

100-Harbour of Heaven B.btpk

100-Lil Queen A,btpk

100-Lil Queen B.6tpk 100-Specir Rock A. btp3

100-Snack Back B.btpk

100-To the King A.btok

100-To the King B.btpk

101-Big Store.btpk

102-Faya A.btpk

102-1'aya B.btpk

104-Tahiti Stone A.btpk

104-Tahiti Stone Bbtpk

1. Give to Me A.Bisk 102. Give it to Mr B. htnk

TO: CHAVE NO ME B. HYPK

West Coast

070-Mo A.btpk

070-Mo B.btpk

076-One Dollar A.btpk

076-One Dollar B.btpk

082-Reggae Like A.btpk

082-Reggae Like B.btps 085 - Flume 4. lute

085-Flame A.3tpk 085-Flame B.1tpk

096-GooDoc A.btpk

096-GooDiv B.b.pA

096-Salar.btpk

100-Bang Bang A.hupk

100-82ng bang h.Bipk 100 K2000 A latok

100 K2000 A,BISK 100 K2000 B,BASK

100 Relax.htm

1. Time is Money A. btpk

100-Time is Money B.htpl

102-The Caire A.bprk

102-The Caire B.btpk

103-Years Ago.btplc

104-Get Out A.btpk

104-CX Oct B.6bps

116-Wind Tars A.BpK

116-Wind Tires 5.6fps.

120-17qenix A.01pk 120-17quib II.1ptek

120-1 equin. 17.06pt

HOUSE

120 Influence (8 patterns)

120 On Tour (7 patterns)

12) Dolly G (7 patterns)

(2) Old School (7 patterns)

1. Deep House (7 patients)
2. Letino House (7 partners)

(23) Laundry House (7 patterns) (24) Screen Light (8 patterns).

123-Tribal House (8 patterns)

124-Soft Club (8 patterns)

125-Survivor (8 patterns)

JUNGLE-DRUM BASS

160 Nir Wanna

163 BatJaxx

168 Lion Party

169 DR Demanda 120 Black Box

170-BluM. Box 170-De Bay

170-Density

170-Domicide

170-Fun Station

170-Homies Natu

170-Madison Av

170-Two Space

171-Go to

174-Jungle End

MINIMAL

1. tea T/2 mM

PROGRESSIVE

125-llarcelona (8 patterns)

128 Cardiacid (7 patterns)

130 Berlin Wall (8 patterns)

138 Haban (7 patterns)

130 - Judge (8 Patterns) 130 - Last Road (8 Patterns)

130-Fast Road (8 patterns) 130-Morulation (7 patterns)

130-Oriental (7 patterns)

130-Progression (7 patterns)

131-Way Out (8 patterns)

RAGGA

189-Coolness

1196 FExpert

196 Field Csd

19th Hey You 90% Other Co

096-Prat-Sn 096-Bagerin Vader

096-Smoke a Bell

096-Tribal Muffia

100-Da Beat Udc

100-Drive Out

100-Fig Hall You

100-Sahara

TRIP HOP

152-Slow Night

153-Welcome Home

Inl-Pace

162 A Sim

1. Kashmir

2. Tazzer Best

070-Hope

077-Trv2

080-Outside

080-When It's Good

082-Organi

VINYLIZED

U80-You Too 2

084-1012

184-Waoming People 2

195- British Dutch 2

1. Dorbidan 2

III. Bombay Loap 2

III. Fourty Cents 2

10) Black Dunes

Borgo 03.bipk

Borgo 04.bipk

Bonga 05.bipk

Banga (16,Bipk

Bargal 47.31pk

Icargi on. bnpk Icorgi 04 bnpk

Borga Ul.btpk

Borga 11.btpk

Bargo 12.btpk

Bongo 15.btpk

Bongo 14.btpk

Conga

Conga 16th 01.b:pk

Conga 16th 02.b;pl.

Conga 16th 03.b.pl.

Conga 16th (40.6x.p.)

Conga 18th 05.16.px (June 16th 05 hcp)

Conga 16th 97 bpk

Conga Lith 08.bpk

Conga 1rith (09.bepk

Conga Lith 10.bepk

Conga 16th 11.bspk

Conga 16th 12.bepk

Conga 16th 15.btpk

Conga 16th 14.b7pk

Conga 8th 01.6pfx Conga 8th 02.brk

Conga 8th 02.6.px Conga 8th 03 kpk

Conga 921 03.64p Conga 8th 05.brk

Conga 8th (05.bipk

Conga 8th (05.bip).

Conga 8th 07.bipk

Conga 8th (08.b;px)

Conga 8th (19.btp)

Conga Bth Hbipk

Longa fin 11,Bipx

Conga St 12 Bp# Congo St 15 bnp#

Conga St 14 bmpr

Conga Sto 15.btpk

Conga 8th 16.btpk

Conga 8th 17.btpk

Conga 8th 18.bipk

Conga Mise 1,btpk

Conga Mise 2.btpk

Crona Mise: 3 think

Cricket 4th btpk

Gairo 16th.bps

Guiro 8th. httpk

Maracas 1.89p Varacas 16th b

Maracas 2.btpk

Maracas 3.htpk

Maracas 4, btpk

Maracas WoodBlock btak

Maracas btok

Shaker Maracas L.btpk

Sinker Maracas 2,btpk

Sunkers 8th A.3tpk Sunkers 8th B.1brk

Shekere Maracas, birk

Shekere Sheker 1 btyk

Shekere Shaker 2.btpk

Sellekere Sticker 3.50pk

Tambourine 16th A. bnp

Tambaurine 16th 11bptk

Tambourine 8th.btpk

Tambourine.btpk

Triangles Inth. Brk Triangles 9th 4 h

Triangles 9th D bank

Triangles.brok

Woodblock.btpk

Small Perc Mix

All Peresbtpk

Maracas Mia Libpk

Maracas Mix.2.0tpk

Maracas Mix 4.htm

Maracas Mix 5.hrk

Maracas Mix 6. http:

Maracas Mix 7.htpk

Misc Small Ferc. http

Shekere Mix 1.hpk Shekere Mix 2.hpk

Shekere Mix 3 hrp

Shekere Mix ± bptk

Triangles Mix 1.btpl

Triangles Mix 2.btpl

Triangles Mix 30pA Triangles Mix 40pA

Triques Mix 5 btpk

Triamles Mix 6 bars

Udu 09.btok

Odu 10.bipk

Odu 11.61pk

Udu 13 bmk

Udu 14.btk

Udu 15.btpk

Odu 16.btpk

Olln 17.03pK

2—Kit

BIG BEAT

105-Invisible

110-Bear Hit 110 Steel Co

125-Cap USec

138-Hieb Joc

135-Bug Pop

135-Screen Here

100-Big Daddy

140-Pfize Tn/ner 140-harmin

145.1 September

150-8 Stand

150 Straight

160 Blowing

178 Jungle June

DANCEHALL

112-Jam Store

112-Jungle Fever

114-Black Point Point 12th

120-Italista

120-8ppper

12II-Club One

120 Dance Whole

120 Nori Ga

120 O.P.A.

120-Same in July

DIRTY SOUTH

064-Cash Money

072-Basic So

0/2-11916

0/6-Brick and Suck

050-Waiting

066-U Can S

057-Apartuna

075.126439

077 That's Good

080 Rall hi Tall Ir

123 Another Land

135-Blast

155-All Right

ELECTRO

125-Elektrik

125-Da Chic

125-135 Whiter 127-135

1. Electrophoresis

128- Lowlyler

129-By Law

130-Cut Brazil

130 Gamerz

30 Rohotiv

HARD TRANCE

131-Hemis

135-Venus

136-Alter Hall

150-162K

095-Kelly Mouth, bps

095-Space Trive.btpk

098-Before the Show A.htpls

1. Before the Snow R.btpk

2. Locals in the City Almpo 600, Insign in the City Plots

098-1023 in the city 13.45pK 098 London Jam à btpk

098-London Jam B.bptok

099-4 Sky A btpk

069-4 Sky B.btpk

100-Electro Tape A btpk

100-Electro Tape B.btpx

100-Funky Mochas A.btpk

100-Funny Mochen B.3tpk

100-1000 System.0.pw 100-1 Adventure book

100 Military Dapax.bipk

100-Roots Tree.bipk

101-Zapan Club A.htpk

101-Zapan Club B.hepk

104 Clappin Tap.ntpk

104 Missile Command A.Bipk

104 Ms. M. H. R. and B. M. R.

1. Ecarto Piano b

(5) Corson's Hospital

Big Star

080 Egyptian Tim A.btpk

080-Egyptian Tim B.btpk

082-Black Evil A,btpl

082-Black Evil B.03pk

062-Sivilneschstk

U90-Big LifeBook

090-Dark Hood.btpk

092-Kimmy.btpk

192-Sunset Trip A Btpk

192 Sunset Trip Route

19th Paralase A. Dipk 1996 Thorafia 2. hink

082 Leszo à bink

092 Jeezo Rbptok

092-La Belle 3.brnk

097-La Belle B.broir

097-My Game Two A.btpk

097-My Game Two B.btpk

098-Chase the Car Abtop

098-Chase the Car B.by

098-Return btpk

098-Scotty Jacket.btpk

100-Адмитие.Врк

100-BOVITY ATTACK A.56PK

The Honalty Attack Bar 100 Lbs (who stake)

1. Biotech limited 4

107 Dirty: Jiood B bank

1. Onsession à btpk

107-Ossession B.btak

111-One-One-One A.btpk

111-One-One-One-Btpk

111-Palm Beach A.bpr

111-Palm Beach B.btpk

132-Pretty Mad A.btpk

132-Pretty Mac B. btpk

Machine

079-Dirty Teeth A.btpk

079-Dirty Teeth B.htpk

182-Pump the Rolls A.6tpk

182-Pump the Ralls Bblp

102 Under Floor Name: 102 Under Floor

1. Local Cloud.html

085 Queen Bridge bptk

086 Dentistbtnk

086-White Line A,btpk

086-White Line B.bptk

089-Foxy Night.btpk

090-Don: Pay A,bp

090-Don (Pay B.6ipk

092-Clap My Doctor.

092-Clance Street, Block 1882-13 (Front) Ltd.

10.1 Firm Shareholders 121. Executive Board

101 Serenity B htpis

103 Big Fire A. bank

103-Big Fire B.btok

105-Boya Dance.btpk

105-First Splash A,btpk

105-First Splash B.btpk

Old School

080-You Too Mdn.btpk

084: Next like That Mich. 51pk

2014 Group Market

084 Chong Halhtuk

084 Club A Mdo hr

084-Club B Mda.btpk

084-Club Valbtok

084-Copacabana Mdn.bptk

084-Copacabana Vulbpk

084-Enigmatic MdnLbp

081-Enigmatic Ynl.6tpk

081-Waiting People Men.Birk

08-Waiting People 7.13.2014

089-Craw: Horse II, Mda bink

089-Crazy Horse Valbrik

089 Golden Way Mdn.htptk

089 Golden Way Vrl.htpk

095 British Dub Mdn.btpk

095 British Dub Val. bfpk

095-Distribution Manager

025-60000000000

095-Shorter Volhtak

100 Rowley Leon Md

103-Beehoy, Loop Muineys, 104-Beechay Leon Volbank

100-Public School Münbruk

100-Public School Valbtek

100-Pursle barn A Main bird

112-Giorgia A Mdn.btpk

089-What do you Think.https

(19) All is Here A.hpks

1991-All is Here R.bipk

1991 Classic Car A. Btpk 080 Classic Car B. btkk

090-Gray Desert A. htp

090-Gray Desert B.bptok

090-Pretty Amelie A.btp

090-Pretty Amelie B.btpk

090-Sbut Up.btpk

091-Snow Man A.btpk

091-Saow Man B.bupk

092-Bronx A.btpk

092-MoTima

092-My Time:3pK (196-H www.Ring b/p)

(196-Wallup A.btak

1096-Wallup B.btpk

097-Urbanana A.btpk

097-Urbanana Bhtpk

099-Fifth Avenue A.btpk

099-Fifth Avenue B.btpk

199-Martinik A.btpk

099-Martinik B.3tpk 186-Anhia-Lion A.3

100-Arabic Lion A.36pk 100-Arabic Lion B.4brk

100-Clap Danee A. hprk

100-Clap Dance B.btpk

100-Harbour of Heaven A.btpk

100-Harbour of Heaven B.bipk

100-Lil Queen A.btpk

100-Lil Queen B.btpk

Hill-Smack Back A.btpk

Hill-Smack Back B.5tpk Hill To the King A.1ptk

Hill-To the King A.Bstep Hill-To the King B. htpk

Hill - For the King Batejak 1911. Big Store btrak

102-Faya A.brk

102-Faya B.btpk

104-Tahiti Stone A. htpk

104-Tahiti Stone B.btpk

107-Give ito Mc A.btpk

107-Giveito Mc B.btpk

West Coast

070-Mo A.b(p)

1178-Mn Bink

093-You Know.btpk

095-One Day A.bipk

095-One Day B.bipk

095-Spanish StreetLbtpk

095-Escalade A.bipk

095-1scalade II.btpk 006- GeoDex A.hrk

1. GeoDes 7. Btpk
2. GeoDes 7. btpk

096-Solar.htm

100-Bang Bang

100-Bang Bang B.bptak

100-K2000 A.btpk

100-K2000 B.btpk

100-Relax.btpk

100-Time is Money A.btpk

100-Time is Money B.btpk

102-The Caire A.btpk

102-The Caire B.btpk

105-Years Ago.bipk

104-Get Out A,Bpx 106-Cut-Out B.html

104-GEI Out Blpk 116-Wind Time A b

116 Wind Time Bptak

120-Tequila A.htpk

120-Tequila B.htplc

HOUSE

120-Influence

120-On Tour

121-DollyG

121-Old School

122-Deep House

122-Latino House 123-Senner Light

123-Screen Light 123-Tribal House

124-Soft Club

125-Survivor

JUNGLE-DRUM BASS

160-Nir Wanna

163-Bat Jazz

168-Lion Party

169-Un Demand

170-Blank Box 170-Do Box

170-Da Bull 170-Duosity

170-Density 170-Domicide

170-L'un Station

170-Homies Nati

120.Madison An

123-Mekanism

123-Mentalism

124-Minimal

124-The Place

120-Paris/Parla

PROGRESSIVE

125-Barcelona

128 Cardioid

130-Berlin Wall 170-Hechen

130-###

100 Judge 130 Last D

130-Motrustio

130-Oriental

130-Prograssii

[3] - Wave Out

RAGGA

089-Coalness

096-EXpert

USG-Field Old

096-Hey Tdu 60% Thafca

1. Ragniu 1

096-Smoke a Bell

096-Tribal Muffin

100-Da Beat Udc

100-Drive Out

100-Fig Hall You

100-Sahara

TRIP HOP

052-Slow Night

053 Welcome Home

060.Face

060 Inside

062-A Simple Plan

063-Kaschir

(7) Hone

077-Tev2

080-Outside

080-When It's Good

082-Organic

VINYLIZED

080-You Too 2

084-1012

1. W-sitima Davola 3

XTRA ACOUSTIC

Bengobtkit

Congas.htkit

Natural Drum Kit.btkit

Small Perc T.bekin

Small Perez Z.Baker

Oul. Onch Vigel bekit

，

XTRA CLASSIC BOXES

868 libux.bikan

969 HBEx.BXH

DrmTracks.bltkit

1TR Multiener.lickr

Q1 Ten.Bakin

XTRA ELECTRONIC

Note: these presets are constructed with

BPM's drum synthesizers only. They contain no sample data.

1. 2017年1月1日

Basic Synth Drum Kit.btkit

Electro House.htkit

Euro Tonic.btkit

Gabbering,btkrit

Happy Crunch, bifit

Hell de France, Offit

Hot Tea Sante/Butit

Kitch Electrosin. Dukit

Mile Closing Stock

Play That Game. Book

Small Electro-Fele.014

Synin FX (not a dichok).bikit

3 — Pattern

BIG BEAT

115-Invisible

110-Beat 11it

Till-Steel Garage

125 Can U See

13th-High Jaz

1. Saram 1

2. Big Daddy

140-Flame Thr

140-Jumpin

145-1 Scram

120-Balisla

120-Bipper

120-Club One

120-Dance Whole

120-Non-G

120 O.P.A.

2017-04-19

DIRTY SOUTH

064-Cash Money

072-Basic South

072-Trainer

076-Brick and Suka

1. Daidy

076 Hay Ye

076-Rolling Beat

078-Touch Me

OSO-Bronxi

082-Dirty One

DUB

058-Dub Indus

060-Waiting

065-U Can Sec

057-Apartment

1. Blooming

077-That's Good

081-Rall hi Roll ho

123-Another Land

130-New One

135-Blast

155-All Right

ELECTRO

125-Elektrik (8 patterns)

126-Da Chic (7 patterns)

126-The Winter (8 patterns)

127-Electrophonic (8 patterns)

127 Evinburg (8) 128 Lewis Hor

120-DOUETRK (7 packets);

129-By Law (7) 130 Cut Book

130-Garcia (7 patterns)

130-Robotis (8 patterns)

HARD TRANCE

131-Hemisphere (7 patterns)

1. Vancie (R. vanhares)

HIP HOP-RNB-BPM V1

Acoustic Mood

079-Red Pain A.btpk

079-Red Pair Blipk 082 - CTA Smooth k/w ^3

082-Secret FBLbtpk

085-Z Rock.btpk

089-One Way A.btpk

089-One Way is Epc

090 Dark Seal btpk

090-Doctor Hyde A.btpk

090-Doctor Hyde B.htpk

OSO-Jazz Avenue.brp

091-Jawala West btp

092-Street Light A.btpk

092-Street Light B.btpk

092-Underworld.btpk

093-Eden Power A Btpk 093-Eden Power B Btpk

096-New Fexp Shack.birk

096-Very Deep.btpk

100-Straight Way.btpk

[01]-Rage Cave.btpk

104-Amazone A.Bipk 104-Amazone II.

104 Jamaitas A bank

104-Jamaitac R.btpk

11.5-Smile.http

128-Slow Keys A.bepk

128-Slow Keys B.6tprk

Beat City

081-Five Billion.btpl

082-Jean Live.bcpk

082-Massive Stone A.BpK 087-Massive Stone B.btuk

092-Low Ride 4 break

092-Low Ride B.bstk

095-Kelly Mouth.btpk

095-Space Trive.btpk

US-Before the Show A.Bcpk

098-Before the Show 13.10p. 098-Lock in the City A. Bank

098-Locks in the City B.btpk

098 London Jam A,btpk

098-London Jam 11.btpk

600 x 500 x 300

101-Zapon Club A.btpk

101-Zapan Club B.btpk

104-Clappin Tap.bipk

114-Missile Command A.Epk 114-Missile Command B

1. Missie Carolina
2. My Game book

120-Iloasta Piann.btpk

Big Star

080-Egyptian Tim A.htpl

080-Egyptian Tim B.btpk

082-Black Evil A.6tpk

1. Return notes

2. Scotty Jacket

100-Atlantime.btrks

100-Bounty Attack A.btpk

100-Bounty Attack B.btpk

100-Lee John.btpk

107-Dirty Food A.btps

107-Dirty Food B.btpk

107-Obsession A.Bipk

107-Ossession B. Blprk

1. 2017年全球主要经济体

082-Pump the Rolls B.bipk

082-Under Floor A.bipk

082-Under Floor II.btpk

083-Loud Cloud.bipk

085 - Queen Bring 085 - Domicin htn

1. White Line A htrk:

086-White Line B.hrk

089-Foxy Night.btpk

090-Don't Play A.btpk

090-Don't Play B.btplk

092-Clay My DoorBook

092-Code street.bps 093-Don't Touch basic

092-Down with the King book

092-Smoke Road Mdn A.btek

092-Smoke Road Mdn B.btpk

092-Smoke Road Vnl.bipk

092-Waiting Room.https

095-Italy Cycle A. Blprk

093-Harry Cycle Is. https://www.harrycycle.org/

094 Steel Diamond B. bptk

095 Daddy Donkey A. htrla

096-Daddy Donkey R.htpi

100-Farm Food A.btpk

100-Farm Food B.btpk

100-One Two A,btpk

100-One Two B.6tpk

103-108: Ischemerck 101. Serenity & brak

101-Serenity R. bhrk

103-Big Fire A.bstk

103-Big Fire 8.btpk

105-Baya Dance.bipk

105-First Splash A.bipk

105-First Splash II.btpk

Old School

080-You Toa Mdn.htpk

080-You Too Vnl.htpk

083-Pipe Line Mdn.htplc

083-Pipe Line VnI.btrpk

034-101 Multi-bps

084 Poor like Thor

084-Bear like That Val Iotak

084-Classe Mdn.btak

084-Classy Val.btok

084-Club & Midn bank

089-Crazy Horse Val.bipk

089-Golden Way Mdn.btpk

089-Golden Way VnlLtpk 005 British Deb Val bank

095-British Dub Valbink

095 Dnohidoo Mdr. http

095 Deohidoa Vnlhtpk

19.5 Shorter Market

100 Barabaz Looa Mdo hrls

100-Borabay Loon Velbrk

100-Public School Mdn.btpk

100-Public School Valbtpk

100-Purple Jam A Mdn.bipk

100-Purple Jam B Men.blpk

100-Furpic Jairi - H. 36pk

100-Shop Com. MuniBipk

10) - livertu Cervs Aldn b.p.

10)-Fourty Cents Vnlbark

101-Rock Party Main.bipk

101 Rock Party Volbipk

107 Casino Mdn.btpk

107 Casino Vnl.btpk

1. Giorgia A Mdn.htple

112 Georgia B. Mdn.bepk

112-Georgia VSLBpK

119-Hartcore Melitipk 418-Hardone-Valhtuk

168-Ondie Tom A Mdu Drak

1975-Dirty Rose A think

100-Fantasy Dream B.b.pk

103-Special Tour A.btpk

103-Special Tour B.btpk

110-Zino A.bipk

110-Zino B.56PR

082-Off and Off. Bps

082-Tell Me Why.Eps

102 Think School, Meisspx 105 Midnight (2nd), 4. Instal

1. Midnight (Glock B bank)

186 B.R.C.A.btpk

086 B.R.C. B.btpk

086 Jumpin Frog.bipk

1. Diamond.btp

189-Nac Day strip

089-What do you think helps

090-All is Here B. Bank

090-Classic Car A,basic

090-Classic Car B.bipk.

090-Gray Desert A.bip

090-Gray Desert B.bipk.

090-Pretty Amelie A.https

190-Pretty Amelie B.Bipk

196-348. Op. https://www.hoc.cn/

1. Same Man R. hink

2. Ibrory & bptok

3. Henry Librak

092 My Time.htm

096-Happy Ring.bspk

096-Wallup A.btpk

096-Wallup B. btpk

097-Urbanana A BPK

097-Ур stabilizes В.Орк

093-Phil Avencic A.01pK 1986 Fifth Avencic B.104k

1994-Martimek A. latak

100-Smack Back B.bipk

100-To the King A.bipl.

100- to the King II.btpk

101-Big Store,baps

102-Taya A-Brk

102 Taya Bantip 104 Takifi Sanga

1. Tahiti Stone Bjptnk

2. Give it to Me A bptak

3. Give it to Me B.htm

(1) 本次股东大会的召集和召开程序

West Coast

070-Mo A btpk

070-Mo B.3tpk

075-One Dollar A.btpk

078-One Dollar B.E.P.S.

082-100000000000000000000000000000000000

085-117 mg A bmk

085-11ame B.hurk

087-Hond Child A.btpk

087-1 Lord Child B. atp

090 Cheese A. http

090 Cheese R.btpk

093 You Know. http:

(2) One Day Plated

02: freetich fortetih

096-Escalade à bmk

096-Facalade B.btok

096-GeoDec A,bptk

096-GeoDev-B.btpk

095-Solar btpk

100-Bang Bang A.bipk

100-Bang Bang H.bipk

100-K2000 A.51pk

100-Relax bink

100 Time is Money A htpia

100 Time is Money R.bpk

102 The Caire A.btp

102-The Caire B.btpk

103-Years Ago.btpk

104-Get Out A,bepi

104-Get Out 5.69pK

116-Wind Time Plot

120 Tewile 4 Intek

120-Tequila B.burk

125-Survivor (8 patterns)

JUNGLE-DRUM BASS

160-Nir Wanna

163-1921 192

168 Taxin Party 169 On Form

120 Blank Iloy

120 Da Bar

170-Density

170-Domicide

170-Fun Station

170-Homies Nation

170-Madison Av

170-Two Space

[71-Go To

174-Jungle End

MINIMAL

120-Ace T (7 patterns)

120-Precious (7 patterns)

[21] Arcadia (7 patterns)

(22-Morning Part 7 patients)

123-White Bear (5 percenters), 171. Makeaway (9 percenters)

123-Mentalism (8 patterns)

124-Minimal (7 patterns)

124-The Place (8 patterns

126-Panorama (6 patterns)

PROGRESSIVE

125-Barcelona (8 patterns)

128-Cardioid (7 patterns)

130-Berlin Wall (8 patterns)

130-Hahan (7 patterns)

130- Judge (8 pattern)

1. Metration / 7/2018

130-Oriental (2 pattern)

130-Progression (7 patterns)

[31-Way Out (8 patterns)]

RAGGA

089-Coolness

096-EXper

096-Field Ola

096-Hey You

US6-Phil 50 606-Praxia U

030-Kargin Vader 005-Emule a Bell

[Non-Text]

U6U-Inside

U62-A Simple Plan

063-Kashmir

(165-Taxzer Bezi

11/11-11/06

11/7-11y2

080.347ban 1

1. Organic

VINYLIZED

080-You Too 2

084-1012

084-Waiting People 2

089-Crazy Horse 2

095-British Club 2

095-Dobaloo 2

100-Bombay Loop 2

101-Routy Cents 2 101-105-3 (Note 2)

101-Kick Party 2 107 (Casing)

112-Giorvia?

119-Hardcore 2

XTRA-CLASSIC URBAN

(97 files)

075-DSouth 1.mid

U75-DSouth 2.mid

075-DSouth 3.mid

075-DSouth 4.miu

11/5-DSouth 3.1910

(80) Criminal mid

1. In da Moad raid

080-One Day-mid

080-Slow.mid

080-Soulfull.m

085-Bezzilla.mid

085-BlackBerry.mid

085-Deep.mid

085-Five.mid

085-Hard. mld

065-Heavy.mid 1985.10.37:2011

063-Huster, Inc. U95. Illinois, MI.

[185-Smart mid]

1991-Busta-mid

1991-Chocolate.mid

1990-Crush.mid

090-Show.mid

090-Soft Mold.mid

090-South.mid

092-Dig it.rmid

092-James.Mid

092 Klex.Hid 003 NewSeda

092 White Boat raid

1. Yeah mid

094-West Coast Lmid

094-West Coast 3-mid

094-West Coast 3.mid

094-West Coast 4.mid

094-West Coast 5.mid

095-Authentic.mid

095-Dynasty.and

095-East Coast Limited

095 East Coast 2 mill

095-First Coast 4 mill

095-East Coast 5-mid

095-Graff, mid

1. Herbie.mid

2. Large.mid

095-Pedal.mid

095-Rage.mid

100-Addict.Md

100-Biast.hld 100-Paramo#d

100-Fight mid

100-Ghctto.mid

100-Hcy D].mid

100-In da Hood-mid

100-Not Bad.mid

100-Play-mid

100-Race.mxd

103 Spring.mk 109 Stone mid

101 Twist mid

100 West In mid

100-XXLmid

105-In da West.mid

105-Old School.mid

110-Bed.mid

110-Doc.mid

110-Drum Box, mid

110-Electronic effect

110-Escalackfield 129-Cresd-mid

110-1(2) mic ^3

120-Loopism.mid

120-North East.mid

120-Streets.mid

120-Tsch.mid

XTRA-FUNK, SOUL

(92 files)

Funk A 1.mid

Funk A 2.mid

Funk A 3.mid

Funk B 1.mid

Funk 5 Zamid

Funk C 1 mill

Funk C 7 mid

Funk C 3 mil

Funk D.mid

Funk II 1.mid

Funk 12.mid

Funk 1:3.mid

Funk P L mid

Pink P 2.104

Funk + 3.1m/s Tovels C 1 mid

Funk G 1.194

Funk G 3 raid

Funk G 4, raid

Funk H 1 mid

Funk H 2.mid

Funk H 3 mid

Funk H 4 mid

Funk 1.1.mid

Funk 12. Mild

Funk 14 mid

Funk 15 mid

Funk 11. mid

Funk 12.mid

Funk J 3.mid

Funk K 1.mid

Funk K 2.mid

Funk Limited

Funk L 2.110 Towke 1,3 mid

Fouk L. S. Hie. Evol M. I. mid

Frank M 2 mid

Funk N L mid

Funk N 2-mid

Funk N 3.mid

Funk P Limited

Funk P 2.mid

Funk P 3.mid

Funk P 4, mid

Park P 5.9mld

Park P, B, M, K

Park O.1 raid

Park O 2 mid

Park O 3-mid

Park O 4-mid

Park R 1, mid

Park R 2, amid

Funk R 3, mid

Funk R 4, mid

Funk R 5, mid

Full, R. 6. Child

Full 3.1 min time: 5.2 min ^3

Rank 5.3 mid

Park 54 mid

Park S 5, mid

Park S 6.mid

Park S 7.mid

Park T Lmid

Park T 2.mid

Park 1.5.mid

Frank T. Smith

Fark U 1 said

Fark U 2 raid

Funk U 3.mid

Funk U 4.mid

Funk V Lmid

Funk V 2.mid

Funk V 3.mid

Park W Lim

Park W 2, Mild Frank W 3, ml

Park W 3, mid

Part 17-4.0.16

XTRA-NEW SCHOOL

080-Activated.mi

080-Around.mid

080-Down Tempo.mid

080-Fresh Air.mi

080-Hip Hop.mid

080-Leunge Rapamic

080-Ragga Dub. and

1881-Snow Windmill mid

100-Dance Floor, mid

100-Hypnotic.mid

100-Impression.mid

100-Last Chance.mid

100-Lave Song.

101-3619.14

100 Store India

10.3.1.2.

103-Parkhill

105 Rap 1-34

103 Rap 2 mid 105 Pen 1 mid

105 Day 4 mid

105-Five Stars paid

105-Fusion L-mid

105-Fusion 2-mid

110-Basic mail

110-Drummeranid

110-Roger.mid

110-Teddy.mid

115-Fast Track A.mid

115-Fast Tracks B-mid

115-Fast Track C, mid

115-Fast Track D.mid

[Non-Text]

XTRA-PERCUSSION

Bongo

Banga 01.bip

Barga (2.bip

Barga (13,bip

Barga (14,Bip

Barga (15,Bip

Bargatini,Bip

Banga 37.51p Range 28 btu

Borgo 08 btp

Bonga 10.btp

Bongo 11,bip

Bongo 12.bip

Bongo 13.bip

Bongo 14.bip

Bongo 15.bip

Conga

Conga 16th 01.mid

Conga 16th 02.mid

Conga 16th 03.mid

Conga 15th (94.mid

Conga 8th 02.mid

Conga 8th 03.mid

Conga 8th 05.mid

Conga 8th 06.mid

Conga 8th 07.mid Conga 8th 08.mid

Conga 8th 09.mid

Conga 8th 10.mid

Conga 8th 11.mid Conga 8th 17.mid

Conga 8th 13.mid

Conga 8th 14 mid

Conga 8th 15 mid Conga 8th 16 mid

Conga 8th 17.mid

Conga 8th 18.mid

Conga Misc 1.raid

Conga Misc 2,Haid Conga Misc 3,raid

Conga Misc 4.raid

Conga Misc 5.raid

Conga Misc 7 raid Conga Misc 7 raid

Single Revenue

Single Percussion

Afoxe 8th.mid

Afoxe Hl.btp Afoxe Maracas.btp

Cowbell MID

Cricket 4th.mai

Guiro 16th.mio Guiro 8th.mio

Maracas 1.bip

Maracas 16th.mid

Maracas 2.bip Maracas 3.bip

Maracas 3,bip Maracas 4,bip

Maracas 8th.m

Maracas WoodBlack.btp Maracas btp

Maracas.Bip Shaker Marac

Shaker Maracas 2.btp

Shakers 8th A.mid

Shakers Sta B.mid

Shekere Maracas,

Slockere Shaker 2.btp Slockere Shaker 2.btp

Shekere Shaker 3.btp

Shackere mid

Small Perc Mix

All Perc.btp

Marass Mix 1.btp

Maracas Mix 2.btp Maracas Mix 3.btp

Maracas Mix 3.btp Maracas Mix 4.btp

Maracas Mix 5.btp

Maracas Mix 6.btp Miss Small Library

Mise Small Percs Shelere Mix Lbtp

Shelere Mix 2.htp

Shekere Mix 3.htp Shekere Mix 4 mid

Shekere Mix 4.0mla Triangles Mix 1.btp

Triangles Mix 2.btp

Triangles Mix 3.btp

Triangles Mix 4.6bp Triangles Mix 5.btp

Triangles Mix 6.btp

Udu

Oau

Odu 01.mid Udu 02.mid

Udu 03.mid

Udu 04.mid

Udu 05.mid Udu 06.mid

Odu 06.mid Udu 07.mid

Udu 08.mid

Udu 09.mid

Udu 10.mid Udu 11.mid

Udu 12.mid

Udu 13.mid

Udu 14.mid

Pop Rock L 2, mid Pop Rock L 3, mid

Pop Rock L 3, mid Pop Rock L 4, mid

Pop Rock L 5.mid

Pop Rock M 1.mid

Pop Rock M 2.mid Pop Rock M 3.mid

Pop Rock Q 4.mid	130-Pure House C.mid	140-Euro Trance 15.mid
Pop Rock F 1.mid	130-Pure House D.mid	140-Euro Trance 17.mid
Pop Rock F 2.mid	130-Pure House E.mid	140-Euro Trance 18.mid
Pop Rock F 3.mid	130-Pure House F.mid	140-Euro Trance 19.mid
Pop Rock F 4.mid	130-Pure House G.mid	140-Hard House A.mid
Pop Rock Q 1.mid	130-Pure House H.mid	140-Hard House Bmid
Pop Rock Q 2.mid	130-Tek A.mid	140-Hard House Cmid
Pop Rock Q 3.mid	130-Tek B.mid	140-Hard House Dmid
Pop Rock Q 4.mid	130-Two Step MID	140-Hard House E MID
Pop Rock Q 5.mid	130-UK Garage A MID	140-Hard House F MID
Pop Rock Q 6.mid	130-UK Garage B MID	140-Progressive A MID
Pop Rock R 1.mid	135-Electro A MID	140-Progressive B MID
Pop Rock R 2.mid	135-Electro B MID	140-Progressive C MID
Pop Rock R 3.mid	135-Electro C MID	140-Progressive D MID
Pop Rock R 4.mid	135-Electro D MID	140-Progressive E MID
Pop Rock R 5.mid	135-Electro E MID	140-Progressive F MID
Pop Rock S 1.mid	135-House A MID	140-Progressive G MID
Pop Rock S 2.mid	135-House B MID	150-Hard House A MID
Pop Rock S 3.mid	135-House C MID	150-Hard House B MID
Pop Rock S 4.mid	135-House D MID	150-Hard House C MID
Pop Rock T 1.mid	135-Progressive A MID	150-Hard House D MID
Pop Rock T 2.mid	135-Progressive B MID	150-Trance A MID
Pop Rock T 3.mid	135-Progressive C MID	150-Trance B MID
Pop Rock U 1.mid	135-Progressive D MID	160-Gahber L MID
Pop Rock U 2.mid	135-Progressive E MID	160-Gahber Z MID
Pop Rock U 3.mid	135-Progressive F MID	170-Drum in Bass A MID
Pop Rock U 4.mid	135-Techno A MID	170-Drum in Bass B MID
Pop Rock V 1.mid	135-Techno B MID	170-Drum in Bass C MID
Pop Rock V 2.mid	135-Techno C MID	170-Drum in Bass D MID
	139-Techno D MID	170-Drum in Bass E MID
XTRA-TRANCE, ELECTRO, HOUSE... (135 files)	139-Techno E MID	170-Drum in Bass F MID
	139-Trance A MID	170-Drum in Bass G MID
	139-Trance B MID	175-Drum in Bass A MID
	139-Trance C MID	175-Drum in Bass B MID
125-Basic A MID	135-Two Step A MID	175-Drum in Bass C MID
125-Basic B MID	135-Two Step B MID	175-Drum in Bass D MID
125-Electro A MID	135-Two Step C MID	175-Drum in Bass L MID
125-Electro B MID	135-Two Step D MID	175-Drum in Bass L MID
125-Electro C MID	135-Two Step E MID	175-Drum in Bass G MID
125-Electro D MID	135-Two Step F MID	175-Drum in Bass L MID
125-Garage House A MID	140-Electro Minimal A MID	175-Drum in Bass L MID
125-Garage House B MID	140-Electro Minimal B MID	175-Drum in Bass F MID
125-Garage House C MID	140-Electro Minimal C MID	175-Drum in Bass K MID
125-Garage House D MID	140-Electro Minimal D MID	180-Drum in Bass A MID
125-Garage House E MID	140-Electro Minimal E MID	180-Drum in Bass B MID
125-Garage House F MID	140-Electro Minimal F MID	180-Drum in Bass C MID
125-Garage House G MID	140-Euro Trauca 91 MID	180-Drum in Bass D MID
125-Garage House H MID	140-Euro Trauca 92 MID	180-Drum in Bass E MID
130-Electro A MID	140-Euro Trauca 93 MID	180-Drum in Bass F MID
130-Electro B MID	140-Furn Trauca 94 MID

079-Red Pain DrmLoop.aif 079-Red Pain HH.aif

082-C-Secret FBI

082-C-Secret L'BI Synth.aif 082-Secret FRI BD+SD.aif 082-Secret FRI DrmLoup.aif 082-Secret FRI HH.Laif

082-D#-CIA Smooth

082-CIA Smooth BD=SD.aif 082-CIA Smooth Drml.orp.aif 082-CIA Smooth HH.aif 082-D#-CIA Smooth Bass.aif 082-D#-CIA Smooth Gtr+Vox.aif 082-D#-CIA Smooth Instr.aif

085-E-Z Rock

085-E-Z Rock Effect+Syn.aif 085-E-Z Rock Instr.aif 085-Z Rock BD+SD.aif 085-Z Rock DrmLoop.aif 085-Z Rock III+Perc.aif

089-G#-One Way

089-G6-One Way Effect.aif 089-One Way BD+SD.aif 089-One Way DrmLuop.aif 089-One Way HII.aif

090-A-Dark Soul

090-A-Dark Soul Bass.aif 090-A-Dark Soul Instr.aif 090-Dark Soul BD+SD-Rim.aif 090-Dark Soul DrmLoop.aif

090-C#-Jazz Avenue

090-C#-Jazz Avenue Instr.aif 090-C#-Jazz Avenue Vox+Xylo.aif 090-Jazz Avenue BD+SD.aif 090-Jazz Avenue DmLoop.aif 090-Jazz Avenue HHaif

090-E-Doctor Hyde

090-Doctor Hyde BD+SD.aif 090-Doctor Hyde DrmLoup.aif 090-Doctor Hyde III.aif 090-E-Doctor Hyde Bass.aif 090-E-Doctor Hyde Instr.aif 090-E-Doctor Hyde Synth.aif

091-A-Phat Rock

091-A-Plat Rock Instr.aif 091-A-Plat Rock Synth.aif 091-Plat Rock BD+HH+SD.aif 091-Plat Rock DrmLoop.aif 091-Plat Rock HH.aif

092-C#-Street Light

092-Ca-Street Light Synth.aif 092-Street Light BD+SD+Clap+Rim.aif 092-Street Light DrmLong.aif 092-Street Light Shaker+HLLaif

092-F#-Underworld

092-F4-Underworld Instr.aif 092-Underworld BD+SD.aif 092-Underworld DrmLoap.aif 092-Underworld HH.aif

092-F-Jungle West

092-F-Jungle West Bass.aif 092-Jungle West BD+SD.aif 092-Jungle West DrmLoop.aif 092-Jungle West HH+Perc.aif 092-Jungle West HH.aif 092-Jungle West Perc.aif 092-Jungle West SD+Perc.aif

093-D#-Eden Power

093-DN-Eden Power Bass.aif 093-DN-Eden Power Insir.aif 093-DN-Eden Power Sample+Vox.aif 093-Eden Power BD+SD.aif 093-Eden Power DrmLoop.aif 093-Eden Power ULL.aif

096-B-New Fezo Shock

196-B-New Fezo Instr.aif 196-B-New Fezo Synth+Vox.aif 196-New Fezo BD+SD+Rim.aif 196-New Fezo Drml.aop.aif 196-New Fezo Shaker.aif

096-F-Very Deep 096-F-Very Deep Instr.aif 096-F-Very Deep Synth.aif 096-Very Deep BD+SD.aif 096-Very Deep DmLoop.ai 096-Very Deep HH+Perc.ai 096-Very Deep SD+Perc.ai

101-A-Rage Cave

101-A-Rage Cave Bass.aif 101-A-Rage Cave Instr.aif 101-A-Rage Cave Synth+FX.aif 101-Rage Cave BD+SD+Clap.aif 101-Rage Cave DmLoop.aif 101-Rage Cave HH.aif

104-A-Amazone

104-A-Amazone Instr.ail 104-Amazone BD+SD.aif 104-Amazone DremLovp.aif 104-Amazone III.aif

104-D-Jamaitac

104-D-Jamaitac Bass.aif 104-D-Jamaitac Instr.aif 104-D-Jamaitac Strings+Flute.aif 104-Jamaitac BD+SD.aif 104-Jamaitac DrmLoop.aif 104-Jamaitac HH+Perc+SD.aif 104-Jamaitac HH+Perc.aif 104-Jamaitac Perc.aif

115-G#-Smile

115-G#-Smile Instr.aif 115-Smile BD+SD.aif 115-Smile DrmLoop.ai 115-Smile HH.aif

128-G#-Slow Keys

128-Gd-Slow Keys Bass+Synth1.aif 128-Gd-Slow Keys Instr.aif 128-Slow Keys BD+SD.aif 128-Slow Keys DrmLoup.aif 128-Slow Keys HLLaif

BEAT CITY

081-A-Five Billion

081-A-Five Billion Boss.aif 081-A-Five Billion Instr.aiif 081-Five Billion BD+SD.aif 081-Five Billion DrmLoop.aiif 081-Five Billion HII.aiif

082-B-Jean Live

082-R-Jean Live Instr.aif 082-Jean Live RD+SD.aif

082-C3-Massive Stone Sample.aiif 082-Massive Stone BD+SD.aiif 082-Massive Stone DrmLoop.aiif 082-Massive Stone III.aiif

092-F-Low Ride

1. F-Low Ride Bass.aif
2. F-Low Ride Synth.aif
3. Low Ride RD+SD+Clap.aif
4. Low Ride DrmLoop.aif

092-Low Ride HH+Shaker.aif

095-D-Kelly Mouth

095-Kelly Mouth BD+SD.aif 095-Kelly Mouth DrmLoop.aif 095-Kelly Mouth HH+Shalter.aif

095-F#-Space Trive

095-F3-Space Trive Instr.aif 095-F3-Space Trive Synth 1.aif 095-F3-Space Trive Synth 2.aif 095-Space Trive B1+Clap.aif 095-Space Trive Drm.Loop.aif 095-Space Trive III.Laif

098-B-Before the Show

098-B-Bf the Shw Insir.aif
098-B-Bf the Shw Synch1.aif
098-B-Bf the Shw Synch2.aif
098-Bf the Shw BD-Clap.aif
098-Bf the Shw Drm1.oop.aif
098-Bf the Shw HH.aif
098-Bf the Shw Perc.aif

098-C-Locks in the City

098-C-Locks in the City Ctr+Pulse.aif
098-C-Locks in the City Synth+Bass+Gtr+Pulse.aif
098-Locks in the City RD+SD.aif
098-Locks in the City DmLoop.aif
098-Locks in the City HH.aif

098-G-London Jam

098-G-London Jam Sample.aif 098-London Jam BD+Clap+Rim.aif 098-London Jam DrmLoop.aif 098-London Jam Perc.aif 098-London Jam Shaker.aif

099-C-4 Sky

100-A- Military Dance Instraif 100-A- Military Dance Synth2.aif

100-B-Roots Tree

100-B-Roots Tree Instr.aif 100-B-Roots Tree Synth+IX.aif 100-Roots Tree BD+SD.aif 100-Roots Tree Drml.onp.aif 100-Roots Tree HH+Metal.aif

100-C-Electro Tape

100-C. Electro Tape Instr.aif 100-C. Electro Tape Synth.aif 100-Electro Tape BD+Clap.aif 100-Electro Tape Comb+Metlaif 100-Electro Tape DrmLoop.aif

100-C-Killa System

100-C-Killa System Bass.aif 100-C-Killa System Instr.aif 100-C-Killa System Synth+Piano.aif 100-Killa System BD+Clap.aif 100-Killa System DrmLoop.aif 100-Killa System III+Perc.aif 100-Killa System III Laif

100-C-LA Century 100-C-LA Century Bass.aif 100-C-LA Century Instr.aif 100-C-LA Century Piano+Synth.aif 100-LA Century BD+Clap.aif 100-LA Century Drm Loap.aif 100-LA Century HH.aif

100-F#-Funky Moicha

100-F#-Funky Moicha Synth1.aif 100-F#-Funky Moicha Synth2.aif 100-Funky Moicha BD+SD+Clap.aif 100-Funky Moicha DeanLoop.aif 100-Funky Moicha Perc.aif 100-Funky Moicha Shaker.aif

101-D-Zapan Club

101-D-Zapan Club Instr.aif 101-Zapan Club BD+SD+Clap.aif 101-Zapan Club DrmLoup.aif 101-Zapan Club Shaker+HLLaif

104-A#-Clappin Tap

114 A# Clappin Tap Instr.aif

106-D-My Game

106-D-My Game FX+Synth.aif 106-D-My Game Instr.aif 106-D-My Game PHR.aif 106-My Game BD+Clsp+Rim.a 106-My Game DrmLoup.aif 106-My Game HH+Shaker.aif

120-C-Boosta Piano

120-Beosta Piano BD+SD.aif 120-Beosta Piano DrmL.uop.aif 120-Beosta Piano ILL.aif 120-C-Boosta Piano Bass.aif 120-C-Boosta Piano Instr.aif 120-C-Boosta Piano F1IR.aif 120-C-Boosta Piano Fnx+Vnx FX.aif 120-C-Boosta Piano Fnx.aif 120-C-Boosta Piano Synth.aif

BIG STAR

080-A-Egyptian Tim

080-Egyptian Tim BD+Clap.aif 080-Egyptian Tim DrmLoup.aif 080-Egyptian Tim HH+Tim.aif 080-Egyptian Tim Rim+Perc.aif

082-A-Shynese

082-A-Shynese Instr.aif 082-Shynese BD+Clap.aif 082-Shynese DrmLoop.aif 082-Shynese HH+Shk.aif 082-Shynese Rim.aif

082-A-Voodoo Riddim

082-A-Veodoe Riddim Inst.aif
082-Veodoe Riddim BD+Clap.aif
082-Veodoe Riddim Drm.Leop.aif
082-Veodoe Riddim Perc.aif

082-F#-Black Evil

082-Black Evil BD+SD.aif 082-Black Evil DrmLoop.aif 082-Black Evil H1H+Crash+Roll.aif 082-1#-Black Evil Instr.aif 082-1#-Black Evil Synth.aif

083-A-Em

083-A-Empire Instr.aif 082-A-Empire South - Stellens aif

083-Money Money

083-Moncy Money BD + SD.aif 083-Moncy Money Clap + Tamb.aif 083-Moncy Money DrmLoop.aif

085-C#-Fizzle

083-C#-Fizzle Instr.tif 083-C#-Fizzle PHR.tif 083-C#-Fizzle Synth+Voa.tif 083-C#-Fizzle Synth.tif 085-Fizzle BD+SD.tif 085-Fizzle DrmLoop.tif 085-Fizzle III+Snap.tif

089-D-Candy Wood

089-Candy Wood BD=SD.aif
089-Candy Wood DrmLoop.aif
089-Candy Wood HH.aif
089-Candy Wood Perc+Shaker.aif
089-D-Candy Wood Inst.aif
089-D-Candy Wood Strings+Synth+Shk2.aif
089-D-Candy Wood Strings+Synth2.aif
089-D-Candy Wood Synth.aif

090-A#-Big Life

090-A#-Big Life Bass.aif 090-A#-Big Life Instr.aif 090-Big Life BD+SD.aif 090-Big Life DrmLoop.aif 090-Big Life HH.aif 090-Big Life Rim+Shk.aif

090-G#-Dark Hood

090-Dark Hood DrmLoop.aif 090-Dark Hood HH.aif 090-Gv-Dark Hood Instraaif 090-Gv-Dark Hood Sample+Synth.aif

092-A#-Kimmy

086-A-Dentist Synth+Effect.aif

086-A-Dentist Synth. alf

086-Dentist ED+SD+Run.out

086-Dentist DrinLoop,air 086-Dentist FH:Wind air

000-Dentist HA+VIIIyAll

086-A-White Line

086-A-White Line Bass.alf

086-A-White Line Effect.

086-A-White Line Instr.ail

086-White Line BD+SDail

086-White Line Drnl.cnop.ail 086-White Line DRNL.cip

0.86-White Time 1:11.5hr

089-A#-Foxy Night

089 A# Foxy Night Bell+Strings.ai

089 A# Foxy Night Instr. aif

089-A#-Foxy Night Strings.aif

089-Foxy Night BD+SD.aif

089-Foxy Night DrmLoop,air 089-FoxyNightLH+Sily-Dr

089-Foury Night: HH+Suk+Perc,mlr 089,Foury Night:HH oif

069-Fully Night HH:All 089-Fully Night HH:1-S

069-Poly Night: HFE2+Silk+PercAll

090-D-Don't Play

092-C-Coffee Street Panoalif

092-Coffee Street BD+SD.sif

092-Coffee Street DrnLuop.ai

1092-Coffee Street III,ail

1192-Coffee Street 11112.ai

092-D#-Down with the King

092-D#-Down with the King Harmon

ics.all

092-Dx-Down with the King Host Smith oil

092-14-Down with the King Israel 082-Dr-Denzo with the King Swath

FX.nif

092-D#-Down with the King Synth.aif

092-Down with the King BD+Rim.ai

092-Down with the King DrmLoop.aif

092-Down with the King HH.ai

092-D-Don't Touch

092-D-Don't Touch Bass.aif

092-D-Don't Touch Instr. aif

092-D-Don't Touch PHR.ai

092-D-Don't Touch System.at 087 Davis Touch RD:6D:Cl

092-DoR Touch BD+SD+Clsp.3H 092-Don's Touch Drrn.com ac

(92-Don't Teach HH+Perczif

092-Don't Touch HH.ai

092-G#-Clap My Door

1892-Clap My Door BD+SD.aiif

1192-Clap My Door Drmloup.aif

092-Clap My Door Hill Laif

092-G#-Clap My Door Bass+Effect.aif

0192-G#-Clap My Door Bass.aif 003-G#-Clap My Door Bass.aif

092-G#-Clap My Door Inst. All 081-C#-Clap My Door Smith, all

092-G4-Clap My Door Synthesis

092-Smoke Road

092-Smoke Road DrmLoop.aif

092-Smoke Road Perc.alf

092-Smoke Road Vnl

1. Dubri & Tap & H. al. P02 Smoke Road Vnl

192-Smoke Road V-III (Drums, all

092-Waiting Room

092-Waiting Room BD+SD.aif

092-Waiting Room DrmLoop.aif

092-Waiting Room HH.air

092-Waiting Room Rim + HH.aif

092-Waiting Room Run-off

094-G#-Steel Diamond

094-C#-Steel Diamond Instr.aif

094-Gt-Steel Diamond Piano FX aif

094-Gt-Steel Diamond Piano+Vio-

lin.ai

094-G#-Steel Diamond Piano.ai

094-G#-Steel Diamond Violin FX.air 094-C#-Steel Diamond Violin cif

094-34-Steel Diamond Vioell Stl 094-Steel Diamond RD+SD+Clay

094-Steel Diamond DrraLova sif

094-Steel Diamond HHaif

094-Steel Diamond Vinyl 1.aif

094-Steel Diamond Vinyl 2.aif

094-Steel Diamond Vinyl 3.aif

096-D-Daddy Donkey

100-Farm Ford LII+Rsc xif

10.4 Part III (and III + Figure 3)

100-F-Tom Island

100 F-Tom Island Guitar FX.ai

100 F-Tom Island Guitar.ai 102 F-Tom Island Intra-af

100 F. Tom Island Hospital

100-F-Torn Island Synth. aif

100-Tom Island RD+SD+CI

100-Tom Island DrmLoop.aif

100-Tom Island HH+Shaker.ai

100-One Two

100-One Two BD+SD+Clap+Rim.sif

100-One Two DmLoop.ai

100-One Two HH+Perc+Clap+Rim.ai

100-One Two Hill+Perc.all

101-C-Serenity

101-C-Serenity Instr.ail

105-C-First Splash

105-C-First Splash Instr.aif

105-First Splash BD+SD.aif

105-First Splash DrmLoop.aif

105-First Splash HH+Shaker.ai

105-G-Baya Dance

105-Baya Dance BD+SD+Clsp.aif

105-Baya Dance DrmLoop.ai

105-Baya Dance EffectLail

105-Baya Dance Perc.al

105-G-Baya Dance Effect+Strings.m

103-G-Baya Darlice Thalm,an

OLD SCHOOL

080-F#-You Too

080-F?-You Too Instr. xif

080-You Too DrmLoop.ai

080-You Too HH-Shk+Rim.ai

USO-You Too Modern Drumsell

630-15a-15b-112: Dhu:154B14S13.àn

083-C-Pipe Line

083-C-Pipe Line Synth.ail

083-Pipe Line BD-SDaif

083-Pipe Line DrmLoop.ai

083 Pipe Line Modern Drums Art

OAS Pipe Time PercAir

0x3-Pipe Line Vinyl Drums+BD+SD.ai+

O&S-Pipe Line Vinyl DRumsall

084-A#-101

084-101 BD+SDaif

064-101 DmLoop.ai

084-101 HR + Cowbclair

084-101 Mochei Druhns31

084-101 Viny: Drums+BD+SD.mf

COI-101 Vlly, Drunsen

064-AS-191 Dirty Syntuzan 064-AS-191 Fornish

084-C#-Copacabana

084-C3-Copacabana Bass.ail

U84-C3-Copacabana Gir. al

084-C,7-C.6pa21b2na Thsir.an

US4-Copacabana Dritl.nop.aff

684 Coqalazanila T11+PEL-Metalanil

084 Copaziana Mozetti Drehira. alr 084 Copaziana Wind

084-C-Beat like That Bass Flute.ail

084-C-Beat like That Instr.ail

084-C-Club

184-C-Club Flute.ai

184 C. Club Instr. alf

184 C Club OutLair

194-C-CHS Old2 air

104.3.2017年1月1日

184 Club Molleri DHM. Sch 2004 (Clu) female (PD) PD

084 Club Simple 084 Club SD

084-Cleb Viwal

084-C-Enigmatic

084-C-Enigmatic Flute,air

084-C-Enigmatic Instr.alf

084-Engelistic Modern Drums.MI 1984, Executive & Clinical Supervision

064-English Very French.

084-F-Classy

1884-Classy DrrnL.nop.ai

184-Classy III.air

1864 Classy Modern Drums.21

III4-Classy Vinyl Drums+HD+SD.ai

084-Classy Vinyl Drums.ai

184-P-Classy Instr.air

084-G-Waiting People

184-G-Waiting People FX Pad.all

084-Waiting People Auto S.D. at 084-Waiting People Auto S.D. at

084 Waiting People DrillLoop:All 084 Waiting People HIV Loan, CD

Lown+UD+Span air

1. Waiting People Modern Drums.

084 Waiting People Sub.aif

084-Waiting People Vinyl Drums.aif

089-A#-Crazy Horse

089-A#-Crazy Horse Bass+Gtr.aif

089-A#-Crazy Horse Bass,alf

089-A2-Crazy Horse Gtraif

089-A2-Crazy Horse Instr.32

089-Crazy Horse DrumLoop.ai

089-Crazy Horse HH+SD2.ml

089-Crazy Horse Modern Drums.31

089-Crazy Horse Vinyl

Drums+Hitai

089-Golden Way Vinyl

Drums+BD+KIM. al

089-Golden Way Valley Drumsall

095-C#-Doobidoo

095-CV-Deobidoo Bass.ail

095-CV-Deobidoo Drm-

Loop+Stress+Flt.,ml

095-C4-Deboxlos Hit+Brass,alt 025-C4-Deboxlos Instruif

093-C4-DOGMOI LHSIT. AL

095-Dobedoe BD-Vimyl Drums-Vimyl Drums Rim+BD+Rim-zif

1. Doobidon Dzmlon

095-Doobidon HH.aif

095-Doobido Modern Drums.ai

095-Doobidoo Vinyl Drums.aif

095-E-British Dub

095-British Dub DrmLoop.aif

095-British Dub HH.aif

095-British Dub Modern Drums aif

095-British Dub Vin

1. Reistic Deb Win

095 F British Dub Jones rif

1. F. British Pub Ctr. 6

023-1-BH(De) DiaChai

095-G#-Shorter

095-1C#-Shorter Bass.alt

095-Shorter DrmLoop.ai

095-Shorter HHaif

095-Shorter Modern Drums.alf

095-Shorter Pere Vinyl Drums+SD Vinyl Drums+PD+SD+Zip+IF

- My: D/AmX+BD+3D+KHL54 2016, Chapter 3F and Deser's

093-Shothers Vilyi Deals,an

100-B-Public School

100-B-Public School EffectLaif

100-B-Public School Effect2.ai

100-B- Public School Inst. Air

100-Public School ED+SD.SER 100 Public School Dwy Loan al

100 Public School Modern Drw

100-Public School Music Edition 100-Public School Vinyl

Drums+BD+SD.aif

100-Public School Vinyl Drums.aif

100-F-Snoop Corn

100-F-Snoop Corn Bass.alf

100-F-Snoop Corn Synth.aif

100-Bombay Loop Vinyl

Drums+BD+SD.auf

100-Bombay Loop Vinyl Drums.tif

100-G-Bombay Loop Ethno Vox. alf

100-G-Bombay Loop Instr.aif

100-G-Purple Jam

100-G-Purple Jam Guitar.ai

100-Purple Jam DrmLoop.ai

100-Purple Jam HH-Shk.ai

100-Purple jam L1111-11112.aif

100-Purple lam U113-Sbk.ai

100 Purple Jam Modern Drums aif

100 Purple Jam Vinyl

Drums+BD+SD,aif

100-Purple [am Vinyl] Drums:af

101-E-Fourty Cents

101-E-Fourty Cents Instr. alf

101-E-Fourty Cents Organ.ail

101-Fourty Cents DrmLoop.aif

101-Fourty Cents III. lai

101-Fourty Cents Modern Drums,ail

[0]-Fourty Cents Vinyl

Drums+BD+SD.tif

101-Fourty Cents Vinyl Drums.aff

101-E-Rock Party

101-E-Rock Party Bassai

101-Rock Party DrmLoop.aif

101-Rock Party III Laif

101-Rock Party Modern Drums.aif

101 Rock Party Vinyl

Drums+BD+SD.xil

101-Rock Party Vinyl Drums.ail

107-G#-Casino

107-Casino DrinLoop.aif

107-Casino HHaif

107-Casino Modern Drumsai

107-Casino Vinyl Drums+BD=SD.aif

107-Casino Vinyl Drums,air

107-Ge-Casino Bass-zif

107-Gr-Casino Uit aif

112-E-Giorgia

112-E-Giorgia Bass.aif

112-Giorgia DrmLoop.aif

112-Giorgia HH+Shk.aif

112-Giorgia Modern Drums,alf

112-Giorgia Vinyl Drums+BD+SD.aif

168-G-Oncle Tom

168-G-Oncle Tom Insta:alf

168-Oncle Tom DmaLoop.aif

168-Oncle Tom HE+Perc-alf

168-Oncle Tom Modern Drums-sif

168-Oncle Torn Vinyl

Drums+BD+Clap.aif

168-Oncle Tom Vinyl Drums.tif

SOUTH

075-A-Ambassador

1175-A-Ambassador Instr.aif

II75-A-Ambassador Synth.ai

II75-Ambassador HD+SD.aif

075-Ambassador DrmLoop.aif

075-Ambassador HHLaff

075-C-4X4

075-4X4 BD+SD.tif

075-4X4 Dmaloon.aif

075-4X4 HH.aif

075-4X4 Pwr Effort aif

075-C-4X4 Instr. sif

079-F#-Boom Heart

079-Boom Heart BD+SD.aif

079-Boom Heart DrumLoop.sif

079-Boom Heart Snap+Percail

1179-F2-Beom Heart Bars-ail

1174-62-Bloom Heart Instr. al

1174-E2-Bpom Heart Stripes ail

(3) 5-14 Brown Family Housing Plan

080-E-Hacienda

180-E-11acienda Instraif

DBO-Hacienda RD+SD+Snap.aif

080-Hacienda Drml.nop.aif

080-Hacienda HH.aif

080-Hacienda Percaif

082-A-Saint-Louis

082-A-Saint-Louis Instr.aif

082-Saint-Louis BD+Clap.aif

082-Saint-Louis DrmLoop.aif

082-Saint-Louis HH-aif

082-Saint-Louis Tom. ai

002 COER LOGOY POME

082-E-Not Guilty

082-E-Not Guilty Bass+Synthaif

182-F-Not Guilty Instr. asif

085-G2-Back the F up Bass.aff

095-C#Duty Bass Synth Laif

095-Duty Bass BD+SD.aif

1. Duty Bass DrmLoon aif

2. Duty Bass HH+Sbk aif

095-Duty Bass Perc-alf

095-G-Generic

095-C-Generic Bassaif

095-G-Genetic Instr.aif

095-G-Genetic Synthail

095- Generic BD-SD-axif

095-Generic Drral Qya:

095-Generic HH+Shk ai

095-Generic Perc.ail

096-C-Electric Lya

09S-C-Electric Lya Bassail

095-Electric Lya BD-SD.aif

095-Electric Lya Drraloop,a

09S Electric Lya III, aif

095 Electric Lva Percaif

096-Train Station BD+SD+Rim.aif 096-Train Station DrmLoop.aif 096-Train Station HII.aif 096-Train Station Perc.aif

098-G#-Let Me See

098-Go-Let Me See Guitar.ai

098-Ge-Let Me See Instr.alf

098-G#-Let Me See Synth+Gtr.aif

098-G#-Let Me See Synth.aif

098-Let Me See BD+Clap.aif

098-Let Me See DrmLoop.nif

098-Let Me See HHalf

098-Let Me See Shk+Clave.ai

099-D#-Tribuzone

100 C. Darni Nos Party Synth FX.aif

100-C-Darni Nos Party Synthait

100-Domi Nas Party RD+SD.aif

100-Domi Nos Party DrmLoop.aiF 100-Domi Nos Party III+6hlo-if

100-DoMt Nos Party HH+Shk.SH

100-C-Fantasy Dream

100-C-Fantasy Dream Instraif

100-Fantasy Dream BD+SD.aif

100-Fantasy Dream DrmLoop.aiif

100-Fantasy Dream HH:df

103-C-Spacial Tour

103-C-Spacial Tour Bossaif

103-C-Spacial Tour Instr.ail

103-C-Spacial Tour Synth.ai

103-Spacial Tour BD+SD+Clap.ail

103-Spacial Tour DrmLaop.all 103-Spacial Tour LW-sif

103-Spacial Pedr. Fift. alr

110-C-Zino

110-C-Zino Instr.ai

110-Zina RD+SD.aif

110 Zina Drml.nop.ai

120-A-Kentooky

120-A-Kentooky Qtr+Sample.aif

120-A-Kentooky Instr.alf

120-A-Kenteoky Sample.aif

120-Kenteoky BD+SD.aif

120-Kentucky DrmLeop.ail

120-Kentucky HHail

132-D#-Run Run

132-Dw-Run Run Instr.ail

132-Dw-Run Run PHR Lail

132-Dw-Run Run PHR 2.ai

132-D#-Run Run PTR 3.alt

132-D#-Run Run Synchlan 132-Run Run 752-872-sf

132 Run Run DgmLoop avf

U64-F-Keishally PHR.xif

064-Keishally BD+SD+Rimail 064-Keishally Broadway of

084-KEBHally DHELOsp.211 1164-Krishally ULL1.pdf

0194-KEBIZZHY TIL231

076-D#-Like This

1176-Dw-Like This Instr.ail

1176-D#-Like This Strings+Synth.ai

II76-Like This BD+SD.aif

076-Like This Drm1.aop.ai

1176-Like This HH.air

082-D#-Tell Me Why

082-D#-Tell Me Why Instraif

082-D#-Tell Me Why Sample.aif

082-D?-Tell Me Why Synth.alf

082-Tell Mc Why BD+SD.ai

082-Tell Me Why DrmLoop.aif

082-Tell Me Why HHail

082-D#-Think About Me

082-D3-Think About Me Instr.ail

082-Think About Me BD+SD.ai

082-Think About Me DrmLoop.ai

082-Think About Me III.Lail

085-G-Midnight Glock

085 G Midnight Glock Bass.aff

085-G-Midnight Glock Instr.alf

085-G-Midnight Glock Synth.ai

085-Midnight Glock BD+Rim+Clap.air

085-Midnight Glock DrimLoop.air 085-MidnightClock Loan Pass-ief

083-Midnight Glock Loop Percut

086-D-B.R.C.

086-B.R.C. BD+Snap.sif

086-B.R.C. DrmLoop.aif

086-B.R.C. HH.at

OSB-L1-B.R.C. InsGr.Sit

086-E-Jumpin Frog

085-E-Jumpin Frog Instr. alf

085-[umpin Frog BD+SD.ai]

088-[jumpin Frog DrinLoop.al]

O83-1Himpin Prog 111 LEI

089-C-Diamond

089-C-Diamond Gur+Pizz+liPiano.ai

089-C-Diamond Instr.ail

089-Diamond BD+Clap.ai

089 Diamond DRH Corp. Air 089 Diamond UHI+Shh aif

089-15a/bond P11+36k.al

089-D-Sad Day

089-D-Sad Day Instr. a if

089-D-Sad D

089-Sad Day BD + SD.aif

089-Sad Day DrumLoop.aif

089-Sad Day Metal+Percat.

089-D-What do you Think

089-D-Wat do u Thk Instr.aif

090-At-Gray Desert Instr.aif 090-At-Gray Desert Oud.aif 090-Gray Desert BD+SD.aif 090-Gray Desert DrmLoop.aif 090-Gray Desert III.Laif 090-Gray Desert Rim+Perc.ai

090-A#-Pretty Amelle 090-A#- Pretty Amelie Hit,alf 090-A#- Pretty Amelie Instr,alf 090-A#- Pretty Amelie Sample a, 090-Pretty Amelie BD+Clsp+R 090-Pretty Amelie DrmLoop,alf 090-Pretty Amelie HH,alf

090-A-All is Here 090-A-All is Here Instr.aif 090-A-All is Here PHR.aif 090-All is Here BD+Clap.aif 090-All is Here DrmLoop.aif 090-All is Here HH.aif

090-A-Shut Up 090-A-Shut Up Insir.aif 090-A-Shut Up Piano.aif 090-A-Shut Up Pno+Strings=Vox.aif 090-A-Shut Up Sample.aif 090-Shut Up DrmaLoop.aif 090-Shut Up Piano FX.aif

090-G#-Classic Car 090-Classic Car BD+SD.aif 090-Classic Car DrmLoop.aif 090-Classic Car HH.aif 090-G#-Classic Car Instr.aif

091-G-Snow Man 091-G-Snow Man Instr.aif 091-Snow Man BD+Clap.aif 091-Snow Man DrmLoop.aif 091-Snow Man Shk+HH.aif

092-B-Bronx 092-B-Bronx Instr.aif 092-Bronx BD+SD+Clap.aif 092-Bronx DrmLaop.aif 092-Bronx H11.aif

092-B-My Time 092-B-My Time Instr.aif

096-Happy Ring HH.aif

096-D-Wallup

096-D-Wallup Bass.aif 096-D-Wallup Gte+Lit.aif 096-D-Wallup Instr.aif 096-Wallup BD+SD+Clap.aif 096-Wallup DrmLoep.aif 096-Wallup Ssk.aif

097-F#-Urbanana

097-Fe-Urbanana Blass.aif 097-Fe-Urbanana Instr.aif 097-Fe-Urbanana Vox-Synth.aif 097-Urbanana BD+Clap.aif 097-Urbanana DrmLoop.aif 097-Urbanana HH+Shk.aif 097-Urbanana Perc.aif

099-B-Fifth Avenue

099-B-Fifth Avenue Boss.aif 099-B-Fifth Avenue Instr.aif 099-Fifth Avenue BD+Clap.aif 099-Fifth Avenue DrmlLoup.aif 099-Fifth Avenue 1111+Shk.aif

099-C-Martinik

099-C-Martinik Blass.aif 099-C-Martinik Gtr+Vox.aif 099-C-Martinik Instr.aif 099-Martinik BD-SD+Rim.aif 099-Martinik Drvl.cep.aif 099-Martinik HH.aif 099-Martinik Perc.aif

100-A-Lil Queen

100-A-Lil Queen Gtr.aif 100-A-Lil Queen Instr.aif 100-A-Lil Queen Synth.aif 100-Lil Queen BD-Clap.aif 100-Lil Queen DrmLoop.aif 100-Lil Queen HH-Shk.aif 100-Lil Queen HH.aif 100-Lil Queen Shk.aif

100-C-To the King

100-C-To the King Bass.aif 100-C-To the King Gur+Vihes.aif 100-C-To the King Instr.aif 100-C-To the King Vihes.aif

100-DJ-Clap Dance Bass.ai

100-D3-Clap Dance Instr. alf

100-D3-Clap Dance Synthail

100-F#-Arabic Lion

100-Arabic Lion BD+Clap.aif 100-Arabic Lion DrmLoop.aif 100-Arabic Lion Perc.aif 100-Arabic Lion SHX.aif 100-F#-Arabic Lion Bass+Sub.aif 100-F#-Arabic Lion Instr.aif 100-F#-Arabic Lion Sample+Synth.aif 100-F#-Arabic Lion Synth.aif

100-G#-Harbour of Heaven

100-Ge-Harbour of Heaven Bass,alf 100-Ge-Harbour of Heaven Gr+Pizz+Effect,alf 100-Ge-Harbour of Heaven Instr,alf 100-Ge-Harbour of Heaven Pizz,alf 100-Harbour of Heaven BD+Clap,alf 100-Harbour of Heaven DrmLoop,alf 100-Harbour of Heaven HH+Metal, 100-Harbour of Heaven Perc,alf

100-G#-Smack Back

100-G2-Smack Back Bass+Sub.aif 100-G2-Smack Back Guitar.aif 100-G2-Smack Back Instr.aif 100-Smack Back BD+Clap.aif 100-Smack Back DrmLoop.aif 100-Smack Back UH1.aif 100-Smack Back Perc.aif

101-A#-Big Store

101-A4-Big Store Bass.alf 101-A4-Big Store Instr.alf 101-Big Store BD-Clap.alf 101-Big Store DrmLoop.alf 101-Big Store Perc.alf 101-Big Store Tamb.alf

102-F#-Faya

102-F#-Faya Bass.aif 102-F#-Faya Strings.aif 102-Faya BD+Clap.aif 102-Faya DrrnLoop.aif 102-Faya Perc+Loop Perc.aif 102-Faya Shaker.aif

104 All Tablal Cen...

107-Give ilo Me BD+Clap.aif 107-Give ilo Me DrmLoop.aif 107-Give ilo Me Perc.aif

WEST COAST

070-A#-Mo

070-At-Mo lastraif

070-Mo BD.al

1. G. Head Child Histor, all 082. G. Head Child Varev

087-Hond Child BD+SD.aif

087-Hoad Child DrmLoep.aif

087-Hood Child HHaif

087-Hoist/Chitt/Loop.sh

090-G-Cheese

090-Chese DrilLoop,air 600-Class HV of watch

090-Close HA + Schuckel 090-Close Inert.

095-C-One Day

095-C-One Day lustraif

095-C-One Day Sample + Synth1 aif

095-C-One Day Sample:alf

095-C-One Day Synth1.aill

095-C-Uric Day Synth2.all 1995 (One Day) (7 Jan. 2)

095-One Day DropLong.ai

195-One Day III Laxif

095-D-Spanish Street

095-D-Spanish Street Hit.ail

195-D Spanish Street Insir.at 195-D Spanish Street Plas. a/c

195 Spanish Street RD+Clan+Snap xif

095 Spanish Street DrmLoop.aif

095-Spanish Street HH.aif

096-A-Escalade

096-A-Escalade Instr.alf

096-A-Escalade Puzzuit

096-A-Escalade Synth+Boss+Vox,air 086-Escalade RD-SD+Rim,air

096-Escalade BD+SD+ICHE.SIF 096-Escalade DuraL.oya.

096-Escalade HH-Shkaif

096-D#-GooDee

096-Dw-GeoDec FXBass+Synth.aiif

096-DW-GooDoc Instr.ail

096-GoDace BD+Clap.an 1186-Cant12x13rml-ww-pif

(896-GouDee 1111+Shk,aii

1896-GoulDee Perczil

096-E-Solar

096-E-Solar Bass.aif

096-E-Solar Instr.aif

(196-E-Solar Sample+Violin.aiF

096-E-Solar Stringsan 086 Solar BD-Water

096-Solar DropLoop.aif

096-Solar HH.aif

100-C-K200

100-C-K2000 B885.aif

100-C-K2000 Ethno.aif

100-C-K2000 Guitar.ai

100-C-K2000 LHSIF.3H 188-C-K2000 PHD -f

1111-K2E00-R14-S13.ai7

100-D-Relax

100-D-Relax Instr. alf

100-Relax BD+SD.aif

100-Relax DripLoop, all 100-Polar LPI vs.

103-1042-111.5M

100-G-Time is Money

100-G-Tune is Money Instr. alf

100-U-Time is Money Voices. All 100-Time in Money (R1+R2) nil

100-Time is Money (real) non-ai

100-Time is Money III.ail

102-B-The Caire

102-R-The-Caire Instr.aif

102-The Caire HD+Clap.ai

102-The Caire HH+Shr. aif

102-The Caire Percaif

103-A-Years Ago

103-A-Years Ago Instr.alf

105-Years Ago BD+SD-axi

105-Years Ago HH-aif

103-Years Ago Perc.aif

104-D-Get Out

104-D-Get Out Bass.alf

104-Get Out BD+SD.air

104-Get Out III ai

104-Get Out Perclai

104-Get Out Perc2.ai

104 - Get Out Tamb+Perc.air

116-G#-Wind Time

116-G#-Wind Time Effect+Sample.aif

116 Ge Wind Time Effect.

1. Wind Time Dem Loan

116-Wind Time HH+Shlg.aif

120-G#-Tequ

120-G#-Tequila Bass.aif

120-G#-Tequila Instr.aif

120-Gr-Tequila PHR 1.38

120-Gr-Tequila PHR 2.5ml 120-Ca-Tertrile PHR 1.9ml

120-G3-Tremila PHR 4 aif

5—Sound

(CATEGORIES)

Acoustic Mood

079-A#-Red Pain

BD-Red Paint saf

FA-1081 P### L##

FX-Red Pain 2.91

HH-Red Psin 2.

HH-Red Pain 2P.alf

SCR-Red Pain I DM1 trial

SCR-Red Pain LP D31.ai

SCR-Red Pain 2 DM14

S.R-Red Pair 3 D7181

M.R Red Pain 37 (9)1.5m SGB Red Pain 42(+)

SCR Red Pair AP D#1 ai

SCR Red Pain 5.49

SCR-Red Pair SP.ai

SCR-Red Pain 6.aif

SCR-Red Pain 6P.aif

SD-Red Pain Flat

SD-Red Painoff

VOX-RSD Poll.air

082-C-Secret FBI

BI2-Secret FBL 2.pdf

BASS-CIA Srinole 2 D41.24

B) CFA SMALOAH

BDI11-Cl2,5min3.1ml

GTT, CTA Smooth LCA

GTR-CL3 Smooth 2 G5.

GTR-Z Rock IPC2.pdf

GTR-Z Rock 2 D32.aif

GTR-Z Rock 2P D#2.ai

III-Z Rock Tail

111-2 Rock 2 Open.

LITT 2. KICH T. SH

PERC 7 Rock Roif

PERC-Z Rock af

SD-Z Rockaif

SYN-Z Rock | E3.nif

SYN-Z Rock LP E3.aif

SYN-Z Rock 2 E3.alf

089-G#-One Way

BD-One Way Lail

BD-One Way 2.3th

MD (One Way 2011)

HY One 16(0)

FX One Way 2 all

HH-One Way Laif

HH-One Way 2aif

SD-One Way,alf

FOX-One Way 1.aif

FOX-One Way 2.aif

090-A-Dark Soul

BASS-Dark Soul 1 Detail

BASS-DARK SOIL 2.41

BASE Dark Sol 2 Acl. all

(1) Dave Sout, sit

BDFX, Darz Soul 1-zif

BDFX Dark Soul 2.aif

RDFX Dark Soul 3.21

BDHH-Dark Soul.aif

HH-Dark Soul laif

HH-Dark Soul 2 Opt. Air

HIT-Dark Soil TCSAR

HIT-Dark 3641 TP C5.9L

HIT-Dark Seal 2014-3

HIT-Dark Seal 3 xif

RIM-Dark Soulai

SD-Dark Soul.ai

090-C8-Jazz Avenue

RD Jazz Avenue Laif

BD-Jazz Avenue 2.aif

BDHH-Jazz Avenue.ai

HH-Jazz Avenue, air

BDFX-Doctor Hyde.ai

BDHR-Doctor Hyde,all

Hill-Doctor Hyde Paill

111-Doctor Hyde,ail

KIM-Dictor Hyde

KIM Deficor Hyde 211

SD Doctor Hyde, aif

SYN-Doctor Hyde | E3.aif

SYN-Doctor Hyde 2 G3,alf

SYN-Doctor Hyde 3 E5.aif

SYN-Doctor Hyde 4 D#3.a

SYN-Doctor Hyde 5 L03.48

STN-Doctor Hyde C65.81

090-G#-Blues Unity

BD-Mdes Daly,an BDUH, Thom-Ling et

GTP Illness Units & pit

Ull Blues Unity.it

UHT Wares Unity air

FERC Blues Unity.ai

SD-Blues Unity Paif

SD-Blues Unity,alf

SHK-Blues Unity,at

SYN-Elles Unit, TGP4.48

STN-Bull's Only 2 Gen.##

091-A-Phat Rock

BASS-PEAT ROCK T.81

BAS-Flat Rock 2.5ft B12-Phot flash

BDY Phat Rock air

BDIII. Phat Rock Lair

BDIII Phat Rock 2.aif

HH Phat Rock Laif

HH-Phot Rock 2 Opn.ai

SD-Phat Rock aif

SHK-Phatlock air

SYN-PEATROCK 1 Chair

STN-PLA ROCK 2 A3.ME CEN-PLA ROCK 2 A3.MF

SYN-PLM BOOK 3224

007 C# Street Light

BD Street Light Lait

BD Street Light 2.ai

BD Street Light 3.ai

CLAP Street Light Paint

CLAP-Street Light.aif

HH-Street Light,air

FERC-Street Light Fair

FX-Underworld 2.aif

FX-Underworld 3.aif

FX-Underworld 4.ai

FX-Underworld 5.2il

FX-Underworld SP.381

FX Underworld 6.21

HH Underworld air

HIT-Underworld aif

RIM-Underworld-aif

SD-Underworld 1.aif

SD-Underworld 2.aif

SYN-Underworld 1 E3.aif

SYN-Underworld 2 F92.alt

SYN-Underworld 3 F91.aff

SYN-CHICKSTONE TEXT.MI SYN-CHICKSTONE TEXT.MI

31N-Olden-Pollard 1754

092-F-Jungle West JASS Jungle West + 120 cif

103.53-Jungle West 170.28 BASS Jungle West 2 TO aF

BASS Jungle West 3 Fd. vif

BASS-Jungle West 4 F0-alf

BASS-Jungle West 5 C0.aif

BASS-Jungle West 6 F0.aif

BASS-Jungle Westaif

BD-Jungle West.aif

BDEX-Jungle West.ai

BDHH-Jungle West Ltd

BDHA-jungle West 2.3M BDHA-jungle West 2.4M

Hill-1-maly:Wet 3, rif

BASS-Eden Power 1 DW1.auf

BASS-Eden Power 2 Fe1. All

ED-Edch Power.sh

DATA-Each Power.

HFI-Edien Power.sh

HIT-Euell Power 1.a1 HIT-Euell Power 2.a1

SI-Eden Power Paif

SD-Eden Power pit

SYN Eden Power | B2 aif

SYN-Eden Power 2 B2.aif

CART 11.2...B.....0 Ma #

BASS-New Fezo 05 B1.aif

BASS-New Fezo 06 E2.ai

BASS-New Fezo 07 B1.aiif

BASS-New Fezo 08 D2.aif

BASS-New Fezo 09 Ill.ail

BASS-New Fezo TO Black

BAS- New Peds 11 Bullan PD-N-F-Guernic

CLAR New Energy

CLAP, New Eozo.

HIT. New Fano 1 cif

HIT-New Ezo 2 aif

RJM-New Fezo.ai

SHK-New Fczo.aif

SYN-New Fczo 1 B1.aif

SYN-New Fczo 2 A1.sif

VOX-New Fezo P.ail

VOX-New Pezo.ai

096-F-Very Deep

BASS-Very Deep Fit.air

RD-Very Deep Tail

BD-Very Deep 2.ai

BDFX-Very Decollin

BDHH-Vely Deep,air III-Very Deep,air

HE-Vely Deepall

PERC-Very Deep Plant PERC Very Deep visit

FLOO-Vry Bcrp.62 SD-Very Door bif

SYX-Very Dorn 1 E3-raf

SYN-Very Down 2 C4 xif

SYN-Vary [Deep 3 G3 ai]

SYN-Very Deep 4 C4.ai

SYN-Very Deep 513.ai

SYN-Very Deep 6 C4.ai

SYN-Very Deep 7 G3.ai

SYN-Very Deep 8 C4.tif

100-G-Straight Way

BASS-Straight Way 1 G0.aif

BASS-Straight Way 2

BD-Straight Way.all

BDFX- Straight Way. All

SDRH-Straight Way.all

GTK- Straight way P.all

GTR Straight Way, all HIL Sarnight Way 1, cif

III-Straight Way 2 (Open air)

LIFT Straight Way aif

SD Straight Way Paif

SD Straight Way aif

2017年1月1日

HH-Rage Case 1P,aii

HH-Rage Cave 2

SD-Range Cave.ai

SYN-Rage Cave 1 A#4.aif

SYN-Rage Cave IP A#M.aif

SYN-Rage Cave 2 A4.tif

SYN-Rage Cave 2P A4.ai

SYN-Ridge Cave 3 A44.21

STN-Rise Case = 14.5ml

104-A-Amazone

BASS-Amazone 1 A0. All

BAS-Amazon 2 A0. All

BD-AHSONC.MI

BDFX-Aliazone 1.51

BDI X-Alliazone 2.31 BIDU +

BDI 11:Artizzone.all UH 4:www.eif

1. Amoros (P)

2. Amazone 2, cf

111.4 months 3 of

SD. Amazone IR aif

SD. Amazones 2P.pdf

SYN-Amazone 1 A3.aif

SYN-Amazone IP A3.gif

SYN-Amazone 2 A2.aiif

SYN-Amazono 2P A3.91

104-D-Jamaitac

BASS-Jamaitac I D1.ai

BASS-Jarnaitac 2 D1.ai

BASS-Jarnaitac 3 F1Laif

BD-jamaitac.ajf

BDI III - Jamaica.

FI.UT-Jamaitac | A3.aif

FLUT-Jamaitac 2 A#3.air

FLUT-Jamaitac 3 C4.aif

HH-Jamaitac.aif

MTL-Jamaitac.sit

PERC-Jamaitac 1.Aif

PERC-Jamaitac 2.uit

SD-Jamaitacasil

STR-Jamaitac 2 A2.91

31R-Jamaalac 5 AM2.01

STR-Jamaitac 4 C3. al

51 K-Jamaitac 5 C3. al

TAMB-Jamalac.al

115-G#-Smile

BASS-Smith (14) 2 pp. BD. 6 mille. 65

BD-31:line,an

EDP-X-Silica, all

SYN-Smile 3P G43.xif

SYN-Smile 4 G/3.ai

SYN-Smile 4P G43.aif

VOX-Smile.ai

128-G#-Slow Keys

BASS-Slow Keys 1 G#0.aif

BASS-Slow Keys 2 D#1.aif

BD-Slow Keys.alf

BDFX-Slew Keys.aif

BDHH-Slow Keyour

HH-Slow Keys.aiF

HIT-Slow Keys.all

RIM-Slow Keys.al SYN Slow Key 1.03 cf

STN-Slow Keys 1 B3.51 SKN-Fluon-Kos 2B/42

SYN-Slow Keys IP 15.31 SYN-Slow Keys 2.242 xif

SYN-Slow Keys 2 A3.31 SYN-Slow Keys 2P A3.31

SYN-Slow Keys 3 G#3.zif

8

Beat City

081-A-Five Billion

BASS-Five Billion 1 A0.ai

BASS-Five Billion 2 F0.ai

BASS-Five Billion 3 E0.ai

BD-Five Billion Tail BD-Five Billion 2-

BD-Five Million 2.3E BIM-UL Five Billion sf

151 First Bill on 1 day

1. Five Billion 2.49

RIM. Five Billion.

SYN-Five Billion A3.ai

SYN-Five Billion P A3.aif

082-B-Jean Live

BD-Jean Live.aif

BDHH-|can Live.ai

CLAP-Jean Live P.ail

CLAP-Jean Live.ai

HARP-Jean Live Lail

HARP-Jean Live 2.alt

TAKP-Jean Tive 3.5m

1111 Jean Live.aiF

SD-Jean Live 1.5ir SD-Jean Lives 1P a

082-C#-Massive Stone

BD-Massive Stone:alf

BDEX-Massive Stone:alf

HH-Massive Stone:alf

PNO-Massive Stone 1 C#1.aif

PNO-Massive Stone 2 All.ail

BD-Low Ride 2 xif

BDFX-Low Ride.ai

CLAP-Low Ride.ai

III-Low Ride Lai

1111-Low Ride 2.ai

RIM-Low Ride Pair

RJA-Low RideAir SUK Low Ride Air

SYN-Low Ride 1 F2 aif

SYN-Low Ride 2 G#2.pif

SYN-Low Ride 3 A#2,alf

SYN-Low Ride 4 C3-alf

SYN-Low Ride 5 C#3.alt

SYN-Low Ride 6 C3:alf

SYN-Low Ride 7 A/2.alf

SYN-Low Ride 8 G/2.ai

095-D-Kelly Mouth

BASS-Kelly Matha BD Kelly Month af

MD-Kelly Mouth, an BDEX-Kelly Mouth aif

SYN-Space Trive 03P 12.alt

SYN Space Trive 04 142.aff SYN Space Trive 04B 570.

31 N Space Trive14F P42.28r CVR: Super Train 05/720.16

SYN-Space Trive 13.ai

098-B-Before the Show

BD-Rf the Shw.ai

BDFX - If the Shw Laif

BDFX-Rf the Shw 2.a

BDHH-Br the Shw.ai

CLAP-Br the Slow Fair

CLAP-Bf the Szw.51 HH-Pf the Shw 1.6if

HH-Bf the Shw 2. aif

PERC-Rf the Slow Laif

PERC-Bf the Slw 1P.aif

PERC-B of the Shw 2.aif

SHK-Bf the Shw.aif

SYN-IM the Shw 1 B1.ai

SYN-B the Shw 1P B1.ai

SYN-10 the Show 2 (H).an

SYN-16 the Show 3 in .all SYN. If the Show 4 in .ai

SYN If the Show 4 in all SYN If the Show 5.41 Alf

SYN-If the Slow 6 R1.aif

098-C-Locks in the City

BASS-Locks in the City 1 Ft.

BASS-Locks in the City 2 G1.aif

BASS-Locks in the City 3 C2.alf

BASS-Locks in the City 4 A0.sif

BD-Locks in the City 1.1a

BD-Loeks in the City 2.3m BDUH-1 works in the City

BDFT1-licks in the City.21 EX-loc's in the City.21

GTR-Locks in the City C

GTR-Locks in the City P Cm.ai

HH-Locks in the City.ai

HIT-Locks in the City 1 C3.aif

HIT-Locks in the City 1P C3.aif

HIT-Locks in the City 2 C3.aif

HIT-Locks in the City 2P C3, at HIT-Locks in the City 147, if

HIT-Locks in the City 5 A*2.48 HIT-Locks in the City 3B A*1.6

HIT-Locks in the City SP A2.31 SD-Locks in the City 1 aif

SD-Locks in the City 1Rai

SD-locks in the City 17.42 SD-Lock in the City 2 rif

SYN-Locks in the City 1 C

SYN-Locks in the City 2 G2.aif

SYN-Locks in the City 3 A#2.ai

SYN-Locks in the City 4 C3.aif

098-G-London Jam

BD-London Jam 1.aif

ED-London Jam 2.aif

XYLO-London Jam 1 D4.sif

XYLO-London lam 2 D4.ail

XYLO-London Jam 3 A*3.21

X: LO-Linacor Jami 4 C4.31

X: LO-1.10.2007 (lan 3 X4. al. XXLO Lander, lon 6 D5. al.)

XY10 London Jam 2 D5 aif

XYLO-London Jama SA42it

099-C-4 Sky

BASS-4 Sky auf

BD-4 Sky.tif

BDFX-1 Skyall

ВДНН-1Sky.al

HH-45xy1.5m

111-45xy 7.52

111-4 She 5 sif

RIM-4 Sky-ax

SD 4 Sky.ai

SYN 4 Sky Laif

SYN 4 Sky IP. of

SYN-4 Sky 2.ai

SYN-4SKF2P.ai

100-A-Military Dance

BDFX- Military Dance 1.5il

BDFX-Military Dance 2.3ml

HDFX-Military Dance 3.3m

HIMX - Military Department

HJEX Military Dance 5 vif

INDEX Military Dance 5P-ail

FX Military Dance Lait

FX Military Dance 2.ai

FX- Military Dance 3.aif

HH Military Dance.pdf

SNAP - Military Dance at

SYN-Military Dance 1 P3.48

SYN Military Bank 2 E3.mf SYN Military Bank 2 E3. if

SYN, Military Dance: 4 E4 sif

SYN- Military Days 5.42 sif

100-B-Roots Tree

BASS-Roots Tree 10.24

HD Roots Tree Lait

BD Roots Tree 2.ai

BDFX Roots Tree.at

THE ATR-KRIS THEAL TV: Facts True to if

FX-RD015 TCE 1.1m

FX-10008 TKE.com

100-C-Electro Tape

BASS-Electro Tape Clail

BASS-Electro Tape P Clail

BD-Electro Tape.al

MDPS-HeCHO Tape.24

CLAP Electric Tape

COWA Electro-Tape Pair

COWB Electro Tape sif

HIT-Electro Tape.gif

MTL Electro Tape Rail

MTL-Electro Tape.Aif

SYX-Electro Tape 1.aif

SYN-Electro Tape 1P.alf

100-C-Killa System

BASS-Killa System I GI.ai

BASS-Killa System 2 Gell.ai

BASS-Killa System 3 GI.ai

BD Killa System.ai†

RDIII Killa System.ai

CLAP-ICilla System Plait

CLAP-Killa System.ai

HH-KIIA System Train

HH-Killa System I.P.

HE-Kila System 2.341

PERC-kuis System aif

DNO-Kille-Serum-LC1-raf

[INO-Kella System 2 GMI]

UNO-Killa Sogum 3CTa

PNO-Killa Sesamol GAD-ef

PNO-Killa System 5 GO.ai

SYN-Killa System Paif

SYX-Killa System.ai

100-C-LA Century

BASS-LA Century I Clarif

BASS-LA Century 2 G0.aif

BASS-LA Century 3 A40.nif

BASS-LA Century 4 Fua#

BASS-LA Century 5 Go.MI

BASS-2A Century C Avol.

BOWELL

CLARLA Corteur 8 oil

CLAP-LA Century al

III-LA Century Law

III-LA Century IP.ai

III 1.4 Century 2 Open

HII-1A Century 2P Opn.aff

SMO 12 Camaen (P21 F.12

PERC-Funky Moicha 2.aii

RUM-Funky Meicha Pail

RIM-Funky Meichzaal

SHK-Funky Moichai.

STN-Henky-Marcha T A3.28

SYN Fenny Malich 17 A3219 SYN Fenny Malich AD86

SYN, Tranky Moicha 2P D3 aif

SYN-Funky-Maicha 3 D1 laif

SYN-Funky-Moicha JP D3.019

SYN-Funky Moicha 4 F=3.2if

SYN-Funky Moicha 4P F#1 a/f

VOX-Funky Moichs Fe3.aif

101-D-Zapan Club

BASS-Zapan Club1 D1.ai

BASS-Zapan Club2 A0.ai

BASS-Zapan Club3 D1.ann

BASS Zepar C.1054 NO.88

ВД. Запан, юдип, ар

BOMT 7apab/Arba1

CLAP Zapan Club 1R

CLAP, Zapon Club 2 Alf

HH Zeroy Club 1 oif

HH-Zapan Club 2 Don aif

SD-Zapan Club of

SHK-Zapon Clubaf

SYN-Zapan Club A2.pdf

SYN-Zapan Club P A2.sil

VOX-Zapan Club.ai

104-A#-Clappin Tap

ВО Свартин Тар.а.и

BDFX 1.2ppm Tap 1.2ft BDFX Cleanin Top 2.1ft

RDEX Chappin Top Half

CLAP-Clappia Top Pair

CLAP-Clappin Tap. aif

GTR-Clappin Tap P.Aif

GTR-Clappin Tsp.aff

MTL-Clippin Tap Pad

MTI-Clippin Tap. alf

FERC-Chappin Tap 1.aui

FERC-Clappin Tap 17-51

FERO-Clappin Tap 2.48

SYN-Clarinia-Tar III, 4d

SYN Clappin Tar 12 C4-sil

SYN Clappin Tan 13 C4.

SYN Clappin Tap 04 C4.pdf

WMT-CLASIL-TES-06-C14K

SYN-Missle Command 1PF3.aif

SYN-Missile Command 2 CLaif

SYN-Missle Command 2P C4.all

SYN-Missile Command 3P.B3.ai

106-D-My Game

BASS-My Game D1.aif

BD-My Guide:31 BDEV, My Guide 1

RDEX-My Game 2.pdf

CLAP-My Game 1.sif

CLAP-My Game 1P.aiif

CLAP-My Game 2.tif

CLAP-My Game 2P3ail

FA-My Game.all

111 My Game 1.all 111 My Game 2.ai

111 My Game 3, aif

RIM: My Game, aif

SHK-My Game-aif

SYN-My Game 2 A3.aif

120-C-Boosta Piano

HH-Boosta Piano Lai

HH-BOCSB PISO 1P.3L HH-BOCSB PISO 2

HH-DOCSI PIAO 2021 HH-Bouchi Piano 3.49

HH-Bouyda Piano d. af

PNO-Buosta Piano 1 D

PNO-Buosta Piano 2 C2.ai

PNO-Buosta Piano 3 F2.ai

PNO-Baosta Piano 4 G2Laf

PNO-Bnosta Piano 5 C2.ai

PNO-Baosta Piano & F2.air

PNO-Martha Pianci / 1342.air (3) Poota Piano Fair

SD-Bacosta Piano 1945 SD-Feunte Piano 216

SYN-Reosra Piano 1 C7 aif

SYN-Boosta Piano 2 D#2.aif

SYN-Boosta Piano 3 F2.alf

SYN-Boosta Piano 4 A€1.aif

SYN-Boosta Piano 5 F1.3if

VOX-Boosta Piano.ai

Big Star

080-A-Egyptian Tim

BD-Egyptian Tim L.alf

BD-Egyptian Tim 1P.ai

BD-Egyptian Tim 2.auf

CLAR-Egyptian Tim T. al

INST-Egyptian Tim 05 CA.sif

INST-Egyptian Tim 06 A3.ai

INST-Egyptian Tim 07 A3.aif

INST-Egyptian Tim 08 A3.ail

INST-Egyptian Tim 195 A3, all

INST Equation Tim 11 G4.6

INST. feration Tim 12 D4 aif

INST Egyptian Tim 13 B3 aif

INST-Egyptian Tim 14 C4-aif

INST-Eration Tim 15 A3.aff

INST-Egyptian Tim 16 A3.aif

INST-Egyptian Tim 17 A3.aif

INST-Egyptian Tim 18 A3.aif

PERC-Egyptian Tim 1.3if

PERC-Egyptian Tum 2.3d

KIM-Egyptian The 1.5m

KM-Egyptian: Phil 23th

082-A-Synese

RD. Slowcase 2, aif

RDHH Shvocca

CLAP-Shynese Paif

CLAP-Shynese-sif

FX-Shynese.aif

GTR-Shynesc 1 F#2.aif

GTR-Shynesc 11 ^P F#2.aff

GTR-Shynesc 2 FN2.3a1

GTR-Sityltest-21-P/2.3L HH-Sheepore Roof

HH-Schweck 151

RIM-Shynese P. ai/

RIM-Shynese.aiif

SIUK-Shynese.ai

082-A-Voodoo Riddim

BD-Voodoo Riddim Laif

BD-Voodoo Riddim 2.aif

CLAP-Voodoo Riddim Paif

CLAP-Veodoo Riddim.all

FX-Voodoo Riddin P.84

FX-Ve### Ridu BETG V. K. 8

PERC-VDD0010000000000000000000000000000000000000000000

SYN-Veillon, Edelim 2, rif

1. 5t. Black Evil

BASS-Black Evil GO zi

BD-Black Evil.aif

CC-Black Evil Paif

CC-Black Evil.aif

附件51 15页，

TOM-Black Evil 2.aif

TOM-Black Evil 3.aif

083-A-Empire

BASS-Empire A1.aif

BD-Empire.aif

HH-Empire Pair

FH-Empirean 2D Empireal

SD-Empire 1.5E SD-Empire 2.0IF

STR-Empire 1 R

STR-Equire 2 C3 aif

STR-Empire 3 D3-sif

STR-Empire 4 E3.aif

STR-Empire 5 G2.ai

STR-Empire 6 G2.ai

SYN-Empire 1 C4.ail

SYN-Empire IPC4.all

SYN-Empire 2 G3341

STN Empire 2P (3.5m)

085-A-You and Me BASS Yen and Me

BASS-You and Me 7 aif

BASS-You and Me 3-aif

BD-You and Mcaif

BDFX-You and Mc 1.aif

BDFX-You and Me 2.ai

BDHH-You and Me.ai

CLAP-You and Me P.ail

CLAP-You and Meish

Hill-Fol and Me F.31

HIT You and Me.1 D

HIT. You and Me LP D2 air

HIT-You and Me 2-aif

PERC-You and Me.aif

SYN-You and Me A3.aif

083-Money Money

BD-Moncy Money 1.ail

BD-Money Money 2.ai

BD-Money Money 3.all

BDI X-Money Money, all

CLAP-Molley Molley 12th CLAP-Molley Molley 13th

CL AP Money Money 2 rif

CLAP Money Money 2P.ai

SD-Money Money P.aif

SD-Money Money.aif

TAMB-Money Money Laif

TAMB-Money Money 2.aif

SD-Fizzle,Paif	HH-Dark Hood,aif	HH-Paradise 2aif
SD-Fizzle,aiif	SD-Dark Hood Paif	INSI-Paradise 1 Comin.aif
SNAP-Fizzle Paif	SD-Dark Hood,aif	INSI-Paradise 2 Comin.aif
SNAP-Fizzle,aiif	STR-Dark Hood A43.aif	INSI-Paradise 3 B Maja.aiif
SYN-Fizzle 1 C#2.aif	STR-Dark Hood P A43.aif	INSI-Paradise 4 B Maja.aiif
SYN-Fizzle 2 A2.aiif	SYN-Dark Hood 1 D#3.aiif	INSI-Paradise 5 Amin.aiif
SYN-Fizzle 3 G#2.aiif	SYN-Dark Hood 1P D#3.aiif	INSI-Paradise 6 Amin.aiif
SYN-Fizzle 4 C#2.aiif	SYN-Dark Hood 2 D3.aiif	INSI-Paradise 7 Gmin.aiif
SYN-Fizzle 5 B43.aiif	SYN-Dark Hood 2P D3.aiif	INSI-Paradise 8 Gmin.aiif
SYN-Fizzle 6 G#2.aiif	SYN-Dark Hood 3 D43.aiif	SHK-Paradise Paif
VOX-Fizzle Vox G#3.aiif	SYN-Dark Hood 3P D43.aiif	SHK-Paradise.aiif
VOX-Fizzle Vox P C#3.aiif	092-A#Kimmy	SYN-Paradise 1 G#3.aiif
089-D-Candy Wood	BASS-Kimny Av1.aiif	SYN-Paradise 2 C#5.aiif
BASS-Candy Wood.aiif	BD-Kimny.aiif	SYN-Paradise 3 G#3.aiif
ID-Candy Wood.aiif	BDIX-Kimmy Laif	097-C-My Game Two
BDIX-Candy Wood 1.aiif	BDIX-Kimmy 2.aiif	BASS-My Game Two 1 Cl.aiif
BDIX-Candy Wood 2.aiif	CLAP-Kimmy Paif	BASS-My Game Two 2 Cl.aiif
BDI-II Candy Wood.aiif	CLAP-Kimmy.aiif	BASS-My Game Two 3 Cl.aiif
I-II Candy Wood Paif	FX-Kimmy Laif	BD-My Game Two Laif
I-II Candy Wood.aiif	FX-Kimmy 1P.aiif	BD-My Game Two 2.aiif
PERC-Candy Wood Paif	FX-Kimmy 2.aiif	CLAP-My Game Two Paif
PERC-Candy Wood.Aiif	FX-Kimmy 2P.aiif	CLAP-My Game Two.aiif
SD-Candy Wood Paif	FX-Kimmy xaiif	HH-My Game Two.aiif
SD-Candy Wood.aiif	FX-Kimmy SP.aiif	FERC-My Game Two Laif
SHK-Candy Wood 1.aiif	HH-Kimmy.aiif	FERC-My Game Two 1P.aiif
SHK-Candy Wood 2.aiif	SD-Kimny Paif	FERC-My Game Two 2.aiif
STB-Candy Wood D2.aiif	SD-Kimny.aiif	097-E-La Belle
STB-Candy Wood P D2.aiif	SYN-Kimny A91.aiif	BASS-La Belle 1 E1.aiif
SYN-Candy Wood 1 D2.aiif	SYN-Kimny P A7Laiif	BASS-La Belle 2 D3 LAif
SYN-Candy Wood 2 D2.aiif	092-Cr-Sunset Trip	BASS-La Belle 2P D#1.aiif
SYN-Candy Wood 3 D2.aiif	BASS Sunset Trip 1 C#1.aiif	BD-La Belle.aiif
SYN-Candy Wood 4 D4.aiif	BASS Sunset Trip 2 Alt.aiif	CLAP-La Belle Paif
SYN-Candy Wood 5 D3.aiif	BD Sunset Trip.aiif	CLAP-La Belle.aiif
SYN-Candy Wood 6 D3.aiif	RDFX Sunset Trip.aiif	FX-La Belle.aiif
090-A#Big Life	RDHH Sunset Trip.aiif	HH-La Belle Laif
BASS-Big Life 1 A4h.aiif	HH-Sunset Trip Paif	HH-La Belle 2.aiif
BASS-Big Life 2 A4h.aiif	HH-Sunset Trip.aiif	HH-La Belle 3.aiif
BASS-Big Life 3 A4h.aiif	SD-Sunset Trip.aiif	SD-La Belle Paif
BASS-Big Life 4 A4h.aiif	SNAP-Sunset Trip 1.aiif	SD-La Belle.aiif
BD-Big Life 1.aiif	SNAP-Sunset Trip 2.aiif	SYN-La Bclk 1 E2.aiif
BD-Big Life 2.aiif	SUP-Sunset Trip.aiif	SYN-La Bclk 2 E3.aiif
BPHH-Big Life.aiif	SYN-Sunset Trip 1 C#2.aiif	SYN-La Bclk 3 E2.aiif
HH-Big Life Paif	SYN-Sunset Trip 2 AI.aiif	SYN-La Bclk 4 E3.aiif
HH-Big Life.aiif	TAMB-Sunset Trip Paif	097-Fr-Jezzo
RIM-Big Life.aiif	TAMB-Sunset Trip.aiif	BASS-Jezzo E1.aiif
SD-Big Life 1.aiif	TGL-Sunset Trip.aiif	BD-Jezzo Laif
SD-Big Life 1PAif	096-C#-Paradise	BD-Jezzo 2.aiif
SD-Big Life 2.aiif	BASS-Paradise 1 Cr1.aiif	BD-Jezzo X.aiif
SD-Big Life 2PAif	BASS-Paradise 2 B4.aiif	RDFX-Jezzo.aiif
SYN-Jezen 1 EA.pdf	100-A-Bounty Attack	HIT-Obsession 2.pdf
SYN-Jezen 2 1A.pdf	BD-Bounty Attack 4.pdf	PERG-Obsession 1.pdf
SYN-Jezen 3 8A.pdf	BD-Bounty Attack.pdf	PERG-Obsession 2.pdf
SYN-Jezen 4 4A.pdf	BDIIX-Bounty Attack.pdf	RIM-Obsession.pdf
SYN-Jezen 5 10A.pdf	FX-Bounty Attack.pdf	SD-Obsession 1.pdf
SYN-Jezen 6 14A.pdf	HII-Bounty Attack 1.pdf	SD-Obsession 2.pdf
SYN-Jezen 7 104.pdf	HII-Bounty Attack 2.pdf	SD-Obsession 29.pdf
VOX-Jezen P.pdf	PERC-Bounty Attack Lai	SYN-Obsession 1.pdf
VOX-Jezen.pdf	PERC-Bounty Attack 2.pdf	SYN-Obsession 2.pdf
098-A-Return	SD-Bounty Attack P.pdf	SYN-Obsession 3.pdf
BASS-Return 1 F1.pdf	SD-Bounty Attack.pdf	SYN-Obsession 4.pdf
BASS-Return 2 A1.pdf	STR-Bounty Attack 1 A2.pdf	107-Dirty Food
BASS-Return 3 A1.pdf	STR-Bounty Attack 2 A3.pdf	BD-Dirty Food.pdf
BD-Return.pdf	STR-Bounty Attack 3 G4.pdf	BDIHX-Dirty Food.pdf
CLAP-Return P.pdf	STR-Bounty Attack 4 G3.pdf	CC-Dirty Food L1.pdf
CLAP-Return.pdf	STR-Bounty Attack 5 33.pdf	CC-Dirty Food 2.pdf
FX-Return.pdf	STR-Bounty Attack 6 33.pdf	HII-Dirty Food L1.pdf
INST-Return G5.pdf	STR-Bounty Attack 7 F5.pdf	HII-Dirty Food 2.pdf
INST-Return P C5.pdf	100-C-Atlantime	HII-Dirty Food 3 Oprn.pdf
PERC-Return 1.pdf	BD Atlantime 1.pdf	HII-Dirty Food 4 Oprn.pdf
PERC-Return 1P.pdf	BD Atlantime 1.pdf	FERC-Dirty Food L1.pdf
PERC-Return 2.pdf	BD Atlantime 2.pdf	FERC-Dirty Food 2.pdf
PERC-Return 3.pdf	BDHH-Atlantime.pdf	SD-Dirty Food.pdf
PERC-Return 4.pdf	HH-Atlantime 1.pdf	111-A-Palm Beach
PERC-Return 5.pdf	HH-Atlantime 2.pdf	BASS-Palan Beach 60.pdf
SHK-Return.pdf	PERC-Atlantime 1.pdf	BASS-Palan Beach: P G1.pdf
SNAP-Return P.pdf	PERC-Atlantime 2.pdf	BD-Palan Beach.pdf
SNAP-Return.pdf	PERC-Atlantime 3.pdf	BDIHX-Palin Beach.pdf
SYN-Return 1 F1.pdf	PERC-Atlantime 2.pdf	HII-Palin Beach.pdf
SYN-Return 2 E1.pdf	PERC-Atlantime 3.pdf	SD-Palm Beach.pdf
SYN-Return 3 A2.pdf	PNO-Atlantime 1 C1.pdf	SD-Palm Beach.pdf
SYN-Return 4 A1.pdf	PNO-Atlantime 2 G3.pdf	111-F-One One One
SYN-Return Sali	PNO-Atlantime 3 G1.pdf	BD-One One One.pdf
098-F2-Chase the Car	PNO-Atlantime 4 D4.pdf	CLAP-One One One 1.pdf
BD-Chase the Car.pdf	PNO-Atlantime 5 D4.pdf	CLAP-One One One 1P.pdf
CLAP-Chase the Car.pdf	PNO-Atlantime 6 F4.pdf	CLAP-One One One 2.pdf
CLAP-Chase the Car.pdf	RIM-Atlantime.pdf	CLAP-One One One 2P.pdf
HH-Chase the Car.pdf	SNAP-Atlantime.pdf	CLAP-One One One 2P.pdf
PERC-Chase the Car.pdf	SYN-Atlantime 1 C1.pdf	EX-One One One P.pdf
PERC-Chase the Car.pdf	SYN-Atlantime 1P C2.pdf	EX-One One One.pdf
SHK-Chase the Car.pdf	SYN-Atlantime 2 C3.pdf	HII-One One One Lai
STB-Chase the Car.pdf	100-Loc John	HII-One One One P.pdf
SYN-Chase the Car 1.pdf	BD-Loc John Lai	HII-One One One 2.pdf
SYN-Chase the Car 2.pdf	BD-Loc John 2.pdf	PNO-One One One 1 C0.pdf
098-F-Scotty Jacket	PLRC-Lee John Pal	PNO-One One One 2.pdf
BD-Scotty Jacket.pdf	PLRC-Lee John.pdf	PNO-One One One 2P.pdf
CLAP-Scotty Jacket.pdf	SD-Lee John Pal$	SCR-One One One.pdf
HIT-Scotty Jacket 1 F1.pdf	SD-Lee John.pdf	VOX-One One One.pdf
HIT-Scotty Jacket 1P F1.pdf	107-B-Obsession	132-D# Pretty Mad

HH-Pretty Mad Paif

HH-Pretty Mad.ail

SD-Pretty Mad Paif

SD-Pretty Mad.ail

Machine

079-E-Dirty Teeth

BD-Dirty Tooth,air

HH-Dirty Teeth 1.aif

HH-Dirty Teeth 2.ail

HH-Dirty Teeth 3 Opn.all

RIM-Dirty Teeth.MI SI3-Dirty Teeth Lai(

SD-Dirty Teeth 2 ai

SYN Dirty Teeth 1 F2.aif

SYN-Dirty Teeth 2 F4.aif

SYN-Dirty Teeth 3 F3.aif

SYN-Dirty Teeth 4 E3.aif

SYN-Dirty Teeth 5 G3.aif

SYN-Dirty Teeth 6 B4.ai

082-1#-Under Floor

BD-Under Floor.all

EDH-Under Floor, all CC-Under Floor, all

EX-Under Floor, lai

FX-Under Floor 2.ai

1111-Under Floor.aif

11HT Under Floor 1.aif

HIT-Under Floor 2.aif

HIT-Under Floor 3.aif

PERC-Under Floor 1.5ft PERC Under Floor 2.5ft

PERC-ORDER FLOOR ZAH SD Under Floor Roif

SD-Older Floor: Plain SD-Under Floor: a/f

SYN-Under Floor 1.aif

SYN-Under Floor 2.aif

SYN-Under Floor 3.aif

082-Pump the Rolls

HD-Pump the Rolls.aif

IIDI III - Pump the Rolls, air

C.C. Pump the Rolls P.at CG. Pump the Rolls of

C.C. Pump the Rolls, all COWL, Ryan the Rolls

COWT. Run the Rolls of

CCAW-B-Pump the Rolls-in HH-Pump the Rolls 1 cif

HH-Pump the Rolls 2-af

HH-Pawon the Rolls 5 eif

RIM-Pump the Rolls.tif

083-D#-Loud Cloud

605-13+Bank cloud

HH-Loud Cloud Laif

HH-Loud Cloud 2.ai

HH-Load Cloud 2P.ai

LIFT-Loud Cloud.ai

SD-Load Cloud P.ai

SD-Lovan Cloud.aiFNN-Land Cloud.

31 N-Told Gold Tail 285 (6) (2000)

BAS-G-Queen Bridge PASS-Oxaca Bridge C#1

BA35-Queel Bridge O+1. All BD-Queen Brides aif

BDHH-Owen Bridge

BDHH-Queen Bridge 1.58 BDHH-Queen Bridge 2.59

CC-Quea Bridge Laif

CC-Queen Bridge LP.ai

CC-Queen Bridge 2.aif

CLAP-Queen Bridge P.aif

CLAP-Queen Bridge.ai

III-Queen Bridge.ai

SD Queen Bridge P.air SD Queen Bridge pif

SIQ Queen Bridge, aif SHK Queen Bridge, aif

^1 ^2 ^3 ^4 ^5 ^6

BD-A-Demis BD-Dentist-alf

BDHH-Dentist

FX-Dentist 1.aif

FX-Dentist IP.sif

FX-Dentist 2.ai

FX-Dentist 2P.ai

FX-Dentist 3.ai

FX-Derlist 3P.all FX-Derlist 4

FX-Dentist 4.51

FX-Dentist 5 aif

FX-Dentist SP.ai

FX-Dentist 6.aif

FX-Dentist 6P,alf

FX-Dentist 7.aif

FX-Dentist 8.aif

FX-Dentist 9.alf

HH-Dentist 1.ai

HH-Dentist 17,ml HH-Dentist 2 ml

HH-Denlist 2. All HH-1Dnptix 3.

RIM-Dentist.ai

SD-Dentist Lai

SD-Dentist IP.aif

SYN-Dentist 1 A.aif

SYN-Dentist 2 G.aif

SYN-Dentist 3 A#.ai

m. and

SD-White Line.ai

SHK-White Line.ai

089-A#-Foxy Night

BASS Foxy Night I Cl. laif

BASS-Foxy Night 2 Cl.aif

BASS-Foxy Night 3 A0 laff

BD-Foxy Night air BDEX, Foxy Night

EDFX-Foxy Night 1.ai RDFY-Foxy Night 2.ai

BDFX-Foxy Night 2,all BDEX-Foxy Night 3,alf

BDHH-Foxy Night 3.ai

BDHH-Foxy Night 2.aif

BELL-Foay Night 1 A/3

BELL-Foay Night IP A3.ai

BELL-Foxy Night 2 A4Lzif

BELL-Foxy Night 2P AMLaif

111-Foxy Night Lait 111-Foxy Night 2

111-Foxy Night 2. aln 111-Form Night 2. aln

111 Foxy Night 3. All 111T. From Night off

HIT-Poxy Night.SR PERC-Tency Night |

PERC-Foury Night 2-alf

PERC-FOXY Night 2P.aif

PERC-Foxy Night 3.aif

SD-Foxy Night 1.aif

SD-Foxy Night 1P.aif

SD-Foxy Night 2.aif

SHK-Foxy Night P.ail

SHK-Foxy NightTail

090-D-Don't Play

BD Don't Play 1.tif BD Don't Play 2.tif

BDFX Don't Play La

BDFX-Don't Play 2.aif

FX-Don't Play.aif

PERC-Don't Play Laif

PERC-Don't Play 2.aif

PERC-Don't Play 3.aif

SD-Don't Play Paif

SD-Don't Play.air

SHK-Don (Play 1.m)

SHK-Don (Play 2. All SUB-Don 1 Plays will

092-C-Coffee Stre

092-C-Coffee Street BD. Coffee Street, aif

BDFX-Coffee Street.aif

BDHH-Coffee Street.

HH-Coffee Street Laif

HH-Coffee Street 2.aif

101.5.2.3.4.5.6.7.8.9.10

BDHH-Down with the Kingzif

HH-Down with the King Laif

HH-Down with the King 2.ai

PNO-Down with the King 1 AM, all

PNO-Down with the King 215.41

FAC/DBIN with the King 3 C.0.1.11 RIM. Down with the King air

SYN-Down with the King LD#4.aif

SYN-Down with the King IP D44.aif

SYN-Down with the King 2 D#3.aif

SYN-Down with the King 2P D#3.aif

SYN-Down with the King 5 F4.ai

SYN-Down with the King 5P Flat

SYN-Down with the King 4 F3.air SYN-Down with the King 4F3.air

SYN-Down with the King 5 FM air

SYN-Down with the King 5P Fed.ai

SYN-Down with the King 6 F3.aif

SYN-Down with the King 6P Fe3.all

SYN-Down with the King 7 G44.aif

SYN-Down with the King 7P G#4.aiif

SYN-Down with the King 8 G43.aiF

SYN-Down with the King 8P G43.2if

092-D-Don't Touch

BASS-Don+Touch 1 D1.ai2

BASE-DOI + Touch 2 D2.ai BD-Dopt Touch aif

RDFY-Desert Touch

BDH-Don't Touch

CL A1b-Don (Touch 1 sif

CLAP-Don + Touch 2 sif

III-Dun t Touch.ai

HIT-Don UTouch.ai

PERC-Don't Touch Paif

PERC-Don't Touch.air

SD-Don't Touch, aif

092-G#-Clap My Door

BD-Clap My Door,air

EDHH-Clap My Door 1.aff

EDHA-Clap My Door 2. All EX-Clap My Door Raif

FX-Clap My Door sif

HH-Clan My Door 1

HH-Clap My Door 2.ai

HIT-Clap My Done L.ai

HIT-Clap My Done 2.aif

SD-Clap My Door Paif

SD-Clap My Door.

SYN-Clap My Door | G#4.aif

CMA C12 M3 D20 9741.65

GTR-Smake Road 2 G3.aif

GTR-Smuke Road 2P G3.tif

GTR-Smake Road 3 A€2.aif

GTR-Smake Road 3P A#2.ai

GTR-Smake Road 4 (23ail)

GTR-Simalte Road 4PC3.aff PEFG-Simalte Road.pdf

PERC Stroke Road. SD. Smoke Road aif

1. Writing Box

092-Waiting Room

BDHH-Waiting Room

BDHH-Waiting Room 2.alf

HH-Waiting Room 1.xif

HH-Waiting Room IP.pdf

HH-Waiting Room 2.aif

RIM-Waiting Room.ai

SD-Wailing Room P.all SD-Wailing Room P.

SD-Wailing Kohm.ann

093-B-Baby Cycle PD: Baby Cycle off

BD-Baby Cyclican BDEF-Baby Cycle 1 aif

BDFX-Baby Cycle 7.19

BDHX-Baby Cycle-2.aff BDHH-Baby Cycle-aif

HH-Baby Cycle Paif

HH-Baby Cyclol.

PNO-Baby Cycle 1 B4.ai

PNO-Baby Cycle 1P B4.aif

PNO-llaby Cycle 2 A4.azil

PNO-Italy Cycle 2 P A4.31

PNO-Isaby Cycle 3 CA4.211 SD-Isaby Cycle P.211

SD: Baby Cycle.alf

SHK-Baby Cycle.aif

SUB-Baby Cycle 1.aif

SUB-Baby Cycle 2.aif

094-G#-Steel Diamond

BD-Steel Diamond.aif

BDHH-Sleel Diamond.aif

CLAP-Steel Diamond P. al

CLAP-Steel Diamond.ai

HIT-Stel Diamond, all PNO-Stel Diamond, LLC

PNO-Sterl Diamond IP G#2.ai

PNO Steel Diamond 2 E3.aif

PNO-Steel Diamond 2P E3aH

SD-Steel Diamond Paif

SD-Steel Diamond.aif

VLN-Steel Diamond 1 E4.aif

VLN-Steel Diamond 2 D#4.Aif

SYN-Daddy Donkey 3 Ft.aff

SYN-Daddy Donkey Laif

SYN-Daddy Donkey 4P.ai

100-E-Farm Food

BD-Farm Food.aif

CLAP-Farm Food.aif

HH-Farm Food,alt HIT Farm Food,FA

HIT-Farm Food 1 E min. of

HIT-Farm Food 3 F min aif

HIT-Farm Food 4 E min aif

HIT-Farm Food 5 Emin.sif

HIT-Farm Food 6 E4.aif

HIT-Farm Food 7 E4.aif

PERC-Farm Food 1.aif

PERC-Farm Food 2.aif

100-F-Tom Island

BASS-Tom Island D#1.aff FR-Tom Island

BD-Tom Island.aff RDEX Tom Island

BDEX-Tom Island 7 aif

CL4R-Tom Island Raif

CLAP-Tom Island.aif

HH-Tom Island Paif

HH-Tom Island.əif

SD-Tom Island P.ail

SD-Tom Island.xif

SHK-Tom Island 1.xif

SHK-Tom Island 2.ai

SYN-Torn Island 1 F4,ait SYN-Torn Island 2 F4,ait

SYN-Tam Island 2104.51 SYN-Tam Island 3C+1 xil

SYN-Torn Island 4 C4 aif

100-One Two

BD-One Two lift

BDHH-One Two.tif

CLAP-One Two P.alf

CLAP-One Two.ai

HH-One Two Pair

HH-One Two,zil PE/G (One Two)

PERC-One Two 1.all PERC-One Two 2.ni

PERC-One Two 2.41 RIM-One Two aif

SD One Two-alf

101-C-Serenit

BASS-Serenity C0.aif

BD-Serenity.aif

BDFX-Serenity 1.aif

BDFX-Serenity 2.aif

VOX-Secroly 2.aif	BDFX-You Too 2.aif	PERC-101 4.aif
103-D-Big Fire	BDFX-You Too 4.aif	SD-101 1.aif
BD-Big Fire,aif	BDHH-You Too 1.aif	SD-101 1P.aif
BDHH Big Fire,aif	BDHH-You Too 2.aif	SD-101 2.aif
CLAP Big Fire 1.aif	BDHH-You Too 3.aif	SD-101 2P.aif
CLAP Big Fire 1P.aif	GTR-You Too 1 BMA,aif	SD-101 3.aif
CLAP Big Fire 2.aif	GTR-You Too 2 Demin,aif	SDFX-101 1.aif
HH-Big Fire P.aif	GTR-You Too 3 De3.aif	SDFX-101 2.aif
HH-Big Fire,aif	HH-You Too,alf	SDFX-101 1.aif
SHK-Big Frc,aif	HHFX-You Too,alf	SYN-101 1 Aft,aif
SYN-Big Fire D3,aif	PERC-You Too,alf	SYN-101 2 Aft,aif
SYN-Big Fire P D3,aif	RIM-You Too,alf	SYN-101 3 De2,aif
VOX-Big Fire P.aif	SD-You Too 1.aif	SYN-101 4 Ce2,aif
VOX-Big Frc,aif	SD-You Too 1P.aif	SYN-101 5 C2,aif
105-C-First Splash	SD-You Too 2.aif	SYN-101 6 F5,aif
BD-First Splash,aif	SD-You Too 3.paf	SYN-101 7 F5,aif
BDFX-First Splash Laiif	SD-You Too 3P.aif	SYN-101 8 F4,aif
BDFX-First Splash 2.aif	SDFX-You Too 1.aif	SYN-101 9 F5,aif
BDFX-First Splash 3.aif	SDFX-You Too 2.aif	084-Cr-Copacabana
GTR-First Splash 1 C2,aif	SDFX-You Too 2.aif	BASS-Copacabana 1 C1.aif
GTR-First Splash 2 C2,aif	SIJK-You Too,alf	BASS-Copacabana 2 A#1,aif
GTR-First Splash 2F C2,aif	083-C-Pipe Line	BASS-Copacabana 3 C2.aif
HH-First Splash Laiif	BD-Pipe Line aif	BD-Copacabana 1.aif
HH-First Splash 1P.aif	BDFX-Pipe Line 1.aif	BD-Copacabana 2.aif
HH-First Splash 2.aif	BDFX-Pipe Line 2.aif	BD-Copacabana 3.aif
SD-First Splash Laiif	BDFX-Pipe Line 3.aif	BDHH-Copacabana 1.aif
SD-First Splash,aif	BDFX-Pipe Line 4.aif	BDHH-Copacabana 2.aif
SIJK-First Splash,aif	BDFX-Pipe Line 5.aif	BDHH-Copacabana 3.aif
SYN-First Splash C2,aif	HH-Pipe Line.1.aif	BDHH-Copacabana 4.aif
SYN-First Splash F C2,aif	HH-Pipe Line 2.aif	GTR-Copacabana 1 A2,aif
VOX-First Splash Paiif	PLRC-Pipe Line 1.aif	GTR-Copacabana 2 A3,aif
VOX-First Splash,aif	PLRC-Pipe Line 2.aif	GTR-Copacabana 3 A3,aif
105-G-Baya Dance	PLRC-Pipe Line 3.aif	101-Copacabana,aif
BD-Baya Dance 1.aif	SD-Pipe Line 1.aif	PRRC-Copacabana 1.aif
BD-Baya Dance 2.aif	SD-Pipe Line 2.aif	PRRC-Copacabana 2.aif
BD-Baya Dance 2P.aif	SD-Pipe Line 3.aif	PRRC-Copacabana 3.aif
BD-Baya Dance 3.aif	SDFX-Pipe Line aif	PRRC-Copacabana 4.aif
BDFX-Baya Dance 1.aif	SYN-Pipe Line C2.aif	RIM-Copacabana,aif
BDFX-Baya Dance 2.aif	SYN-Pipe Line G#2.aif	SD-Copacabana 1.aif
BDFX-Baya Dance 3.aif	SYN-Pipe Line G2.aif	SD-Copacabana 1P.aif
BDFX-Baya Dance 4.aif	TAMB-Pipe Line aif	SD-Copacabana 2.aif
CLAP-Baya Dance Paiif	084-A#-101	SD-Copacabana 3.aif
CLAP-Baya Dance,aif	BD-101,aif	SD-Copacabana 2P.aif
FX-Baya Dance 1.aif	BDFX-101 1.aif	SDFX-Copacabana 1.aif
FX-Baya Dance 2.aif	BDFX-101 2.aif	SDFX-Copacabana 2.aif
PERC-Baya Dance P.aiif	BDFX-101 3.aif	SHX-Copacabana,aif
PERC-Baya Dance,aif	BDFX-101 4.aif	084-C-Beat like That
STR-Baya Dance D3,aif	BDHH-101 1.aif	BD Beat like That laif
STR-Baya Dance P D3,aif	BDHH-101 2.aif	BD Beat like That laif
INST-Box like That 1 C2.aiif	CLAP-Classy Pair	GTR-Crazy Horse 2 G4.aiif
INST-Box like That 2 C2.aiif	CLAP-Classy Pair	GTR-Crazy Horse 3 C2.aiif
INST-Box like That 3 A4.aiif	HH-Classy Pair	GTR-Crazy Horse 4 C4.aiif
INST-Box like That 4 C2.aiif	HH-Classy Pair	HH-Crazy Horse 1 Pair
SD-Beat like That Pair	HIT-Classy 1 Pair	HH-Crazy Horse 2 Pair
SD-Beat like That.aiif	HIT-Classy 2 Pair	HH-Crazy Horse 3 Pair
SDFX Bear like That Pair	HIT-Classy 3 G4.aiif	HH-Crazy Horse 4 Pair
SDFX Bear like That Pair	PERC-Classy Pair	HH-Crazy Horse 5 Pair
SHK Bear like That Pair	SD-Classy Pair	HH-Crazy Horse 6 Pair
VOX Bear like That Pair	SD-Classy Pair	HH-Crazy Horse 7 Pair
084-C-Club		HIT-Crazy Horse A4&.aif
ED-Club Pair	SD-Classy 2 Pair	SD-Crazy Horse 1 Pair
ED-Club Pair	SDFX-Classy Pair	SD-Crazy Horse 1P Pair
BDFX-Club Pair	SDFX-Classy Pair	SD-Crazy Horse 2 Pair
BDFX-Club Pair	SDFX-Classy Pair	SD-Crazy Horse 2P Pair
BDHH-Club Pair	SDFX-Classy Pair	SD-Crazy Horse 3 Pair
BDHH-Club Pair	SDFX-Classy Pair	SDFX-Crazy Horse 1 Pair
BDHH-Club Pair	SHK-Classy Pair	SDFX-Crazy Horse 2 Pair
CLAP Chin Pair	084-G-Waiting People
CLAP Chin Pair	RD-Waiting People.alf	SDFX-Crazy Horse 3 Pair
CLAP Chin Pair	RD-Waiting Room.aif	SDFX-Crazy Horse 4 Pair
CLAP Chin Pair	RD-Waiting Room.aif	SUB-Crazy Horse 4Aaiif
CLAP Chin Pair	RD-Waiting Room.alf	089-Di-Golden Way
CLAP Chin Pair	RD-Waiting Room.alf	BASS-Golden Way 1 D41.aiif
HH-Club Pair	RD-Waiting Room.alf	BASS-Golden Way 2 A40.aiif
HH-Club Pair	RDHH-Waiting Room 1 Pair	BASS-Golden Way 3 C91.aiif
HH-Club Pair	RDHH-Waiting Room 2 Pair	BASS-Golden Way 4 D41.aiif
HH-Club Pair	HH-Waiting Room 1 Pair	ED-Golden Way.alf
INST-Club Pair	HH-Waiting Room 1P.alf	BDHH-Golden Way 1Lai'
INST-Club Pair	HH-Waiting Room 2 Pair	BDHH-Golden Way 2 Pair
SDFX-Club Pair	HDFX-Waiting Room.aif	BDHH-Golden Way 2P Pair
084-C-Enigmatic
ID Enigmatic.alf	RIM-Waiting Room.alf	BDHH-Golden Way 3 Pair
BDFX Enigmatic.alf	SD-Waiting Room.alf	BDHH-Golden Way 4 Pair
BDFX Enigmatic.alf	SD-Waiting Room.alf	BDHH-Golden Way 4P Pair
BDFX Enigmatic.alf	SD-Waiting Room.alf	BDHH-Golden Way 5 Pair
BDHX Enigmatic.alf	SD-Waiting Room.alf	BDHH-Golden Way 6 Pair
CLAP-Enigmatic.alf	SD-Waiting Room Pair	BDHH-Golden Way 6P Pair
CLAP-Enigmatic.alf	SD-Waiting Room.aif	BDHH-Golden Way 7 Pair
CLAP-Enigmatic.alf	SDFX-Waiting Room.alf	BDHH-Golden Way 8 Pair
HH-Enigmatic.alf	SDFX-Waiting Room.alf	BDHH-Golden Way 8P Pair
HH-Enigmatic 2 Pair	SDFX-Waiting Room.3 Pair	CTR-Golden Way 1 D42.aiif
INST-Enigmatic 1 C2.aiif	SNA2-Waiting Room.alf	CTR-Golden Way 2 D42.aiif
INST-Enigmatic 2 C3.aiif	SNA2-Waiting Room.alf	HH-Golden Way 1 Pair
INST-Enigmatic 3 C3.aiif	SUB-Waiting Room. of1.alf	HH-Golden Way 1P.alf
SD-Enigmatic.alf	089-Af-Crazy Horse
SD-Enigmatic 1P.alf	BASS-Crazy Horse 1 A40.aiif	HH-Golden Way 2P Pair
SD-Enigmatic 2.aiif	BASS-Crazy Horse 2 G40.aiif	HH-Golden Way 3 Pair
SD-Enigmatic 2P.alf	BASS-Crazy Horse 3 A41.aiif	HH-Golden Way 3P Pair
SDFX Enigmatic.alf	BASS-Crazy Horse 4 A41.aiif	HIT-Golden Way 1 Pair
SYN Enigmatic C2.aiif	BASS-Crazy Horse 5 D41.aiif	HIT-Golden Way 2 Pair

BDFX-Deobidoo.ai

BDHH-Deobidou 1.ai

BDHH-Deobidou 2.ai

BDI111-Deobidou 3.ai

BDI III-Deobidion 4.ait

1111-Drohldro Laif 1111-Drohldro Laif

111 Drobidco 2.àf 111 Drobidco 3.àf

HH-Drobido+aif

HIT-Doobidge 1 C#3.aif

HIT-Doebidge 2 C#3.aff

INST-Doobidoo C#3.tif

RIM-Docbideo.sif

SD-Doobidoo Paif

SD-Deobidoo.aif

SDFX-Deobidoo.ai

095-E-British Dub

BASS-British Dub I 130.aif

BASS-British Dub 2 Glt. alf

BASS-British Dub 3 Rll.aif

BASS-British Dub 4 E1.aif

BASS-British Dub S Plaif

BASS-British Dub b D1.air

BD-British Dub.auf BRIW. British Pub. aif

EDH-British Dub 1.3ff BDEH British Dub 7.6if

EDH-British Duo 2.911 BDH-British Duo 1.6

EDH-British Dub 3.511 HH-British Dub 1.49

HH-British Dub 1.32 HH-British Dub 2.49

HH-British Dub 3 aif

HH-British Dub 5.32 HH-British Dub 4.ai

SD-British Dub P.aif

SD-British Dub.ajif

SDFX-British Dub Laif

SDFX-British Dub 2.aif

095-G#-Shorter

BASS-Shorter 1 G#0.aif

BASS-Shorter 2 A#0.aif

BDFX-Shorter 1.aif

BDEX-Shorter 2.ai

EDFA-Shorter 3.all

BDFA-Shorter 4.all BMEX, Elvate 5.

BDPA-Shorter 5. all BIMEX-Shorter 6. at

BDPA-Shorter 0.ai BDU11-Shorter Lai

BDU11-Shorter 2.ai

FX-Shorter.ai ^2

1111 Shorter Laif

HH-Shorter 2.aif

1177 Ch... v 0.5

SDFX-Shorter 2.aif

SDFX-Shorter 2P.aif

100-B-Public School

RD- Public School Laif

RD- Public School IP.aif

BD- Public School 2.air

BDFX- Public School T.air BDFX Public School 7-tif

BDFX- Public School 2, all RDHH- Public School 1, all

BDHH-Public School 2. aif

EX-Public School 1 B4-alf

FX-Public School 2 C45.aif

FX-Public School 3 ELaif

HH-Public School.ai

SD-Public School 1.ai

SD-Public School 2.ai

SD-Public School 3.ai

SD-Public School 3P.ait

SDPX - Public School.Laif

SOB Public School.

100-F-Snoop Corn

BASS-Snoop Corn 1 F0.air BASS-Snoop Corn 2 E1.ef

BASS-noop Corn 2 Fl. al. BD-Sapon Corn aif

BDHH-Snoop Corn Laif

BDHH-Snoop Corn 2.aif

BDHH-Snoop Corn 3.ai

BDHH-Snoop Corn 4.ai

111-Snoop Carn 1.ai

III-Snoop Carn 2.ai

III-Snoop Cam 3.aif

III-Snoop Corn 4 Opn.aif

HH-Snoop Corn 5 Opn.aif

RIM-Snoop Corn Paif

RIM-Snoop Corn.aiF

SD-Snoop Corn Lair

SD-Snoop Corn 1P,alt SD-Snoop Corn 2P,alt

SD-Snoop Corn 2,air SD-Snoop Corn 2D

SD-Snoop Corn 27:All SD-Snoop Corn 7:45

SD-Snoop Corn 3.aif SD-Snoop Corn 4.aif

BASS-Bombay Loop-alf

BD-Bombay-Loop-Laif

BD-Bombay Loop 1P.ai

BD-Bombay Loop 2.aif

BOPA 17

SD-Bombay Loop Laif

SD-Bombay Loop 2.ai

SD-Bombay Loop 3.ai

SD-Bombay Loop 3P.ai

SDP-X-Bombay Loop 2.ai

SJX-Bombay Loop 3.alt SJX-Bombay Loan + off

SHK-Hombay Loop 1.ai SHK-Bombay Leon 2.ai

100-G-Puzzle lamp

Red-Cy-Purple Jam BD-Purple Jam 1, sif

BD-Purple Jam 2, sif.

BD-1 Purple Jam 2.ai BDHH-Purple Jam 1.ai

BDHH-Purple Jam 2,aii

BDHH-Purple Jam 3.ai

BDHH-Purple Jam 4.ai

BD111-Purple Jarn 5.ait

BDI111-Purple Jarn 6.ail

FX-Purple Jam.ail

111 Purple Jam T.air

HH-Purple Jam 2.aif WW Purple Jam 2.aif

HH-Purple Jarn 3.aiF HH-Purple Jarn 4.aiF

HH-Purple Jarn 4.aff HH-Purple Jarn 5.aff

HH-Purple Jama 6.aff

HH-Purple Jam 7.aif

HHFX-Purple Jam 1.

HHFX-Purple Jam 2.aif

HHFX-Purple Jam 3.aif

HIT-Purple [am G3.ai]

SD-Purple Jam 1.ail

SD-Purple Jam 2.all SD Purple Jam 3.tif

SD-Purple lamp 3.all SUK-Purple lamp air

101-F-Eourty Con

BASS-Equity Cents E2.0

BD-Fourty Cents.alf

BDFX-Fourty Cuts Lai

BDFX-Fourty Cuts 2.ail

BDHH-Fourty Cents 1.alf

BDHH-Fourty Cents 2.91f

BDHH-Fourty Cats

FX-Fourty Central

HII-Fourly Genes 1.31 HII-Fluorry Genes 2.91

111-Fourty Cents 2.ai 111-Fourty Cents 3.ai

111-Fourty Cents 4.ai

INST-Fourty Cents 1 FA

INST-Fourty Cents 2 F#4.ai

SD-Fourty Cents | Paif

2D. Fennate Coats 9B old

BD-Rock Party 2.aif

BDFX-Rock Party Laif

BDFX-Rock Party 2.all BDFX-Rock Party 3.ai

BDFA-Rock Party 3.31 CL A B Rock Party D nif

CLAP Rock Party.ai

1111 Rock Party:aff

HHFX-Rock Party.aif

HIT-Rock Party.ai SDEX, Page 3001-5

SDFY Rock Party: Ro#

SDFX-Rock Party 2.aif

107-G#-Casino

BASS-Casino 1 Gd0.ail

BASS-Casino 2 E1.ai

BASS-Casino 3 DML.ai

BD-Casino Lal

BD-Casino 2.41

BIPX Cashflow

BDHH Casino 1

RDHH-Casino 2.aff

BDHH-Casino 3.aif

CLAP-Casino Paif

CLAP-Casino.aif

HH-Casino 1.aif

HH-Casino 2.ai

HH-Casino 3.31

HHPX-Casino Ltd HHFX-Guine 2-9

HHEX-Casino 2.41

HUIEX-Casino 4.ai

1HT-Casing D#3.ai

PERC-Casino Laif

PERC Casino 2.aif

PERC-Casino 3.aif

SD-Casino Laif

SD-Casino | P.aff

SDPA-Casino.ai

SHK-Castro,iii

112-E-Giorgia

BASS-GORGE PET.MI

BASS-Giorgia 2 B1.m

BAS-Chongfa 3 Av1.2h III: Giuwa Lai

III)-Gioves 2, al

JUDEY-Giovesia |

UDEX, Giorgia 2 aif

BDFX-Giorgia 3.aif

BREY CLAEL 4.15

PERC-Giorgia Laif

PERC-Giorgia 5.aif

SD-Giorgia P.ail

SD-Giorgia.ai

SDPA-Galpola T. alr

SIJPA (Georgia 2. al.)

SHK Giorgia 2 aif

SHK-Giorgia 3.aif

SHK-Giorgia 4.aif

U.S. D. Hardow

BASS-Hardcore 1 D1.sif

BASS-Hardcys 2 E1.ai

BASS-Hardcure 3 F1.ai

BASS-Hardcure 4 D1.ai

BD-Hardcore.ai

BIDPX-Hardcore 1.all

MDPX-Haracrole 2,air

MDPX-124acble 3. alr BDVIH Horizon 1. alr

RDHH Hardcore 2 aif

EX-Hardcore.aif

HH-Hardcore 1.aif

HH-Hardcore 2 Opn.ai

SD-Hardcore 1.aif

SD-Hardcore 1P,ail

SLI-Hardcore 2.ai

SD-Hardcore 2P.all

3D-Harulocore 3.42 EVIEX Hardware

SDPX-Hartecor 1.52 SDFX-1Harguera 2.01

SYN-1 hardware 1123 xif

SYN-Uardignore 2.124.aiif

SYN-1 hardcore 3 B4.aif

SYN-Hardcore 4 F4.aif

SYN-Hardcore 5 D3.aif

SYN-Hardcore 6 D4.ai

168-G-Oncle Tom

BD-Oncle Tom.ait

BDFX-Oncle Tom 1.54

DATA-Click 10th 2.m RDHH (Oracle Tom 1. vi)

BLHH-Only Term 2 xif

CLAP-Oncle Tom Laif

CLAP-Oncle Tom 2.ai

FX-Onele Tom.ai

III-Oncle Torn.ai

HIT-Oncle Tomai

PERC Oncle Tom. alf

(2) And-Tom. cf

South

075-A-Ambassador

BASS-Ambassador 1 A0.aif

BASS Ambassador 2 Al.aif

BD-Ambassador Laif

BD-Ambassador 2.aif

BDHH-Amhassadar T.air

EDHF-Annassator 2.41 WIL 4th avenue Ped

111-Allalshaoi P S. HH. Ambassador of

SD- Ambassador 1. aif

SD-Ambassador 2.aif

SYN-Ambassador 1 A

SYN-Ambassador 2 C5.aif

SYN-Ambassador 3 E5.ai

SYN-Ambassador 4 F5.aif

SYN-Ambassador 5 G2.all

075-C-4X4

BASS-4X41C.12ff

ED-4X4-6

BDHE-4X4

FY 4511 oil ^2

FX-4X42.9if

FX-4X43.9if

FX-4X4 4.alf

HH-4XLaif

SD-4X4 P.ai

SD-4X4.zif

SYN-4X41CLail

SYN-4X4 2 C34.211

SYN-4X4 31#4.all

079-F3-Boom Heart

BD-Boom Heart Lair

ED-BOOD Heart 2,all ED-BOOD Heart 7,all

BD-BOOK HEAD 3.MI BIPC Room House

SD-Beora Heart aif

SNAP-Room Heart-alf

STR-Boem Heart 1 GA3

STR-Boem Heart (1P GM5.ai)

STR-Boem Heart 2 A3.ai

STR-Boum Heart 2P A3.ail

080-E-Hacienda

CLAP-Not Guilty, aif

GTR-Not Guilty 1 E2.aif

GTR-Not Guilty 2 C2.aif

GTR-Not Guilty 3 G2. au

SD-Not Guilty Law

SD-NO: Guilty 2. All S12 Nw+Cu#ltv-3 wi

STR-Not Guilty 1 C3 wi

STR-Not Guilty 2 E3 ai

STR-Not Guilty 3 D3.zif

STR-Not Guilty 4 G2Laff

STR-Not Guilty 5 B2.aif

SYN-Not Guilty E3.aif

085-G#-Back the F up

BASS-Back the F up 1 G#0.aff

BASS-Back the F up 2 GMO.alf

BASS-Back the F up 5 GMT all

BASS-Back the F up 4 GM1.5M

BAS-Back the 1 up 3 DN2.4h (1) Back the 1 up 4

1/D. Doch die 1 op. all 1/11. It is the Form 1 of

111-Back the F up 1-all 111-Back the F up 2-nif

BIPIC Res the "ion I

PURC Back the "up | Rain

PERC Back the F up 2-alf

PERC-Back the F up 2P.ai

SD-Back the Fup P.aif

SD-Back the F up.aif

SNAP-Back the F up, aif

CLAP-Shake [Lai]

HH-Shake 10.1.aif

HH-Shake II IP.ai

III-Shake It 2.ai

ORGN-Shake It 1 D42.ai

ORGN-Shake It 2 GaZaf

S.R. Shake Hall

SYX Shake It G+1 off

SYN Shake It P Get off

2024-1-23

BASS-Las Palmas 1 Cl. alf

BASS-Las Palmas 2 Cl. alf

BD-Las Palmas.ai

CLAP-Las Palmas Paif

CLAP-Las Palmas.zif

III-Las Palmas Tail

1111-1.23 Fairitas 2,58

111-94 My Thomas 2.àn BETG Far Mr Homin's

ST. Jing My Homing | 219

SD. For My Homies | P. air

SD-For My Homies 2-aif

SHK-For My Homies.aff

SYN-For My Homies 1 G3.aif

SYN-For My Homies 2 D4.alf

TAMB-For My Homies Paif

TAMB-For My Homes,af

VOX-For My Homes Paul

005 C# Duts Pass

695 C# Duty Bass

BASS Duty Bass P C#1

HH-Daty Blass Laif

HH-Duty Bass 2.aif

HIT-Duty Bass 1.aif

HIT-Duty Bass 2.alf

PERC-Duty Bass,alf

BASS-Generic 2 GMLaif

BASS-Generic 3 A02.ai

BASS-Generic 4 G2.aif

BASS-Generic 5 F2.ai

BD-Generic 1.ai

BD-Generic 2.24

BDFX: Generic Tair

HH Generic Roif

HH- Generic aif

HIT-Geveric-aif

PERC-Generc 1.aif

PERC-Generic 2.aif

SD-Genetic Paif

SD-Genericaif

SHK- Generic 1.ail

SHK-Generc 2.m

096-C-Electric Lya

BASS Electric Lya + C.T. all BASS Electric Lym 2 Gl. of

BASS Electric Lyn 3 Cl oil

BASS Electric Lva 4 Cl. alf

BASS-Electric Lyn 3 G1.aif

BD-Electric Lya.aif

BDHH-Electric Lya.aif

HIT-Electric Lys.ai

PERC-Electric Lys.aff

SD-Electric Lya 1.5f

SD-Electric Lys 2.5H

SD-Electric Lyra Zr. 51 SHK-Elvaris-Loy nif

006 Dx. All Stang

BASS-All Starz | G#| aif

BASS-All Starz 2 Gl. alif

BASS-All Starz 3 G#1.ai

BASS-All Starz 4 A#1.aif

BASS-All Starz 5 G1.aif

ED-All Starz BD.Aif

BDFX-All Starz.ait

PERC-All Starz Pall PERC-All Starz Pall

TEXO-All State SD. All State Prof

SD-All Stary xif

SYN-All Starz Gdai

SYN-All Starz P G4.ai

TAMB-All Starz Lai

TAMI-All Starz.2.aif

TAMI-All Starz.3.aif

096-E-Train Station

SD-Train Station 2.aif	BASS-Fantasy Dream 4 D2.aif	FX-1sop 1P.aif
SD-Train Station 2P.aif	BASS-Fantasy Dream 5 D2.aif	FX-1sop 2.aif
098-Gt-Let Me See	BD-Fantasy Dream.aif	HH-Tarp 1.aif
BD Let Me See.aif	BD/HH-Fantasy Dream.aif	HH-Tarp 1P.aif
BDFX Let Me See.aif	HH-Fantasy Dream Paif	HH-Tarp 2.aif
CLAP Let Me See Paif	HH-Fantasy Dream.aif	HH-Tarp 2P.aif
CLAP Let Me See.aif	SD-Fantasy Dream Paif	HH-Tarp 3.aif
CLAVE Let Me See Paif	SD-Fantasy Dream.aif	PFRC-Taop.aif
CLAVE-Let Me See.aif	SYN-Fantasy Dream 1 C3.aif	SD-Taop Paif
FX-Let Me See Laif	SYN-Fantasy Dream 2 C3.aif	SD-Taop.aif
FX-Let Me See 1P.aif	SYN-Fantasy Dream 3 A2a.af	SYN-Taop 1 C3.aif
FX-Let Me See 2aif	SYN-Fantasy Dream 4 G2a.af	SYN-Taop 2 D3a.af
FX-Let Me See 3aif	SYN-Fantasy Dream 5 G2.af	120-A-Kentokovy
HH-Let Me See Laif	SYN-Fantasy Dream 6 D3a.af	BASZ-Kentokovy A1aif
HH-Let Me See Laif	SYN-Fantasy Dream 7 G2a.af	BD-Kentokovy.aff
SIK-Let Me See.aif	103-C-Spacial Tour	BD/HH-Kentokovy.aff
SYN-Let Me See 1 B2.aif	BASS-Special Tour 1 G21.aif	GTR-Kentokovy 1Amin.aif
SYN-Let Me See 1P B2.aif	BASS-Special Tour 2 A41.aif	GTR-Kentokovy 1P Amin.aif
099-De-Tribuzone	BASS-Special Tour 3 C2.aif	GTR-Kentokovy 2Amin.aif
BD-Tribuzone.aif	BASS-Special Tour 4 C2.aif	GTR-Kentokovy 2P Amin.aif
CLAP-Tribuzone Paif	BD-Special Tour.aff	GTR-Kentokovy 3Emin.aif
CLAP-Tribuzone.aif	CLAP-Special Tour Paif	GTR-Kentokovy 3P Emin.aif
FX-Tribuzone.aif	CLAP-Special Tour.aif	HH-Kentokovy.aff
HH-Tribuzone Laif	HB-Special Tour Laif	SD-Kentokovy Paif
HH-Tribuzone 2aif	HB-Special Tour 1Paif	SD-Kentokovy.aff
HH-Tribuzone 3 Oyn.aif	HB-Special Tour 2aif	SMPL-Kentokovy 1 E3.aif
SHK-Tribuzone.aif	SD-Special Tour Paif	SMPL-Kentokovy 2 E3.aif
SYN-Tribuzone 1 D3aif	SD-Special Tour.aff	132-D#-Run Run
SYN-Tribuzone 2 A43.aif	SYN-Special Tour 1 C4aif	BASS-Run Run Laif
SYN-Tribuzone 3 G43.aif	SYN-Special Tour 2 D4aif	BASS-Run Run Laif
SYN-Tribuzone 4 F43.aif	SYN-Special Tour 3 G4aif	BD-Run Run Laif
SYN-Tribuzone 5 F43.aif	SYN-Special Tour 4 G4aif	BD-Run Run 2aif
100-C-Domi Nos Party	110-C-Zino	BD-Run Run 3aif
BASS-Donai Nos Party 1 C1aif	BASS-Zino 1 C1aif	BD/HF-Run Run.aif
BASS-Donai Nos Party 2 C1aif	BASS-Zino 2 C1aif	CC-Run Run Paif
BASS-Donai Nos Party 3 G2aif	BD-Zino.aff	CC-Run Run.aif
BD-Donai Nos Party.aff	BD/HH-Zino.aff	HH-Run Run 1aif
BD/HH-Donai Nos Party.aff	CLAP-Zino Paif	HH-Run Run 1P aif
CLAP-Donai Nos Party.aff	CLAP-Zino.aff	SD-Run Run Paif
CLAP-Donai Nos Party.aff	HH-Zino 1aif	SD-Run Run.aif
HH-Donai Nos Party Laif	HH-Zino 2aif	139-D-K-Billy
HH-Donai Nos Party IP.aif	HH-Zino 2aif	BASS-K-Billy 1 C1aif
HH-Donai Nos Party 2aif	HH-Zino.aff	BASS-K-Billy 2 D1aif
HH-Donai Nos Party 3aif	PLKC-Zino Laif	BD-K Billy Laif
HH-Donai Nos Party 4aif	PLKC-Zino 2aif	BD-K Billy 2aif
SHK-Donai Nos Party Laif	PLKC-Zino 3aif	GTR-K Billy G4aif
SHK-Donai Nos Party 2aif	SD-Zino.aff	GTR-K Billy P C4aif
SYN-Donai Nos Party Laif	SIK-Zino.aff	HH-K Billy Laif
SYN-Donai Nos Party 1Paif	SYN-Zino 1 C3aif	HH-K-Billy 2aif

BDEX-First Floor.pdf

BDHH-First Floor.ai

CLAP-First Flour.ai

FX-First Floor Laif

FX-First Flour 2.ai

1111 First Floor Last 1111 First Floor 2, cif

111 First Floor 249 SD. First Floor Rail

SD-First Floor, aif

SLB-First Floor E0.aff

SYN-First Floor 1 D3.aif

SYN-First Floor 2 C3 aif

064-F-Keishally

BASS-Keishally 1 D61.xif

BASS-Keishally 2 F1.aif

BASS-Keishally 3 A\$1.ai

BASS-Keishally 4 G#1.2ml

BASS-Krishally 5 Gram BASS-Krishally 6 Elm

BASS-Keishally 3 G1 aif

BASS-Keishally & aif

BD. Keishally aif

BDFX-Keishally.aif

BDHH-Keishally.ai

HH-Keishally 1,aif

HH-Keishally 2.aif

RIM-Keishally.aif

SD-Keishally Paif

SD-Keishally.aif

SUB-Keishally.ai

SYN-Keishally 1 DMLaif

SYN-Keishally 2 G4.ai

SYN-Keishally 314.ai

076-Dø-Like This

BASS-Like This D#1.aif

BD-Like This all

BDFX-Like This alf WLL-Like This D's

HH-Like This Pair HH-Like This cif

HH-Like This 90 RIM-Like This Pa if

2024.1.20

082-A-On and On

BASS-On and On 2 C#1.aff

BASS On and On 3 D1 sif

BASS On and On 4 E1-aif

BASS-On and On 5 ALaif

BD-On and On Laif

BD-On and On 2.aif

BDFX-On and On.aif

27.5 A 10 B 12

SYN-On and On 07 CLxif

SYN-On and On 08 A3.xif

SYN-On and On 09 A3.ai

SYN-On and On 10 A1,zif

SYN-On and On TIP A1.21

SYX-On and On 11:2.air

SYX On and On 12 D2 aif

SYX-On and On 12P D2-ai

SYN-On and On 13 A3-aif

SYN-On and On 13P A3-4

SYN-On and On 14 C4.tif

SYN-On and On 14P CA.ai

TOM-On and On Paif

TOM-On and On-sif

082-D#-Tell Me Why

BASS-Tell Me Why D41.aif

BD-Tell Me Why.aif

RD111-Tell Me Why.ai

HH-Tell Me Why Part

HH-Tell Me WhyAir SD. Tell Me WurRai

SD-Tell Me Why Pish SD-Tell Me Way of

SYN-Tell Me Why 1

SYN-Tell Me Why 1P E#4 ai

SYN-Tell Me Why 2 D#1.aif

SYN-Tell Me Why 2P D#1.ai

SYN-Tell Me Why 3 D92.alf

SYN-Tell Mc Why 3P D/2.aif

SYN-Tell Me Why 4 DMLaif

082-D#-Think About Me

BASS Think About Me De'l.aif

RD-Think About Me.air RDTK Think About Me.ish

ADPX Think About MeAir RDHH Think About Me air

SDAH-Think About Me Rail FX-Think About Me Rail

FX-Think About Me aif

HH-Think About Me Paif

HH-Think About Me.aif

SD-Think About Me.aif

SYN-Think About Me 1 CV3.aiif

SYN-Think About Me 1P CM3.ai

SYN-Think About Me 2 Av2.all

SYN-Think About Me 2P ANZ.31

085-G-Midnight Glock RD, Midnight Glock of

CLAP, Midnight Clock

CLAP-Midnight Glock-alf

PERC-Midnight Glock La

BRE: 12F11.01 1 a 17

SNAP-B.R.C.sif

SYN-B.R.C.01 D1.aif

SYN-B.R.C.01P D1.ai

SYN-B.R.C. 02 E1.ai

SYN-II.R.C. 02P 1:1.aii

SYN-B.R.C. 03 E1.aif SYN-B.R.C. 03E11-16

SYN-B.R.C. 03F E1 air SYN-B.R.C. 04 F2 pif

SYN-B.R.C.04P P2.2if

SYN-B.R.C. 05 D2.tif

SYN-B.R.C. 05P D2.ai

SYN-B.R.C. 06 G2.aif

SYN-B.R.C. 06P G2.ai

SYN-B.R.C. 07 F3.aif

SYN-B.R.C. 08 E3.aif

SYN-B.R.C. 09 C2.ai

SYN-B.R.C. 10 D2.MI SYN-B.R.C. 11 E2.mf

SYN-B.R.C. 17 F2.all SYN-B.R.C. 12 D2.tif

086-E-Jumpin Eros

BASS-Jurapin Frog E1

BD-Jumpin Frog-sif

BDFX-[jumpin Frog,aj]

BDHH-jumpin Frog.ai

FX-Jumpin Frog 1.aif

FX-Jumpin Frog 2.aif

HH-Jumpin Frog P.alf

HH-Jumpin Frog.tif

PERC-Jumpin Frog.ai

SD-Jumpin Frog.zif

VOA-Jumpin Frog P. al

089-C-Diamond

BASS-Diamonds (K-02a) BD Diamond's

BD-Diamond.ai RDEX Diamond

BDFA-Diamonds.ill BDHF-Diamonds.ill

CLAP-Diamond Paif

CLAP-Diamond.aif

GTR-Diamond 1 G2.aif

GTR-Diamond 1P G2.3

GTR-Diamond 2 G2.sif

GTR-Diamond 2P G2.aif

HH-Diamond Tail

HIT-Diamond 2.31

INST-Diamond D4 P.21 INST-Diamond D4 ai

PNO-Diamond Laif

PNO-Diamond IP.aif

PNO-Diamond 2.aif

TWO DIS...JND.3

BD-Sad Day 2.xif

MTL-Sad Day 1.aif

MTL-Sad Day 2.ail MTL-Sad Day 3.aif

MT1-Sad Day 3.aif MT1-Sad Day 4.aif

PERC-Sad Day.aif

PNO-Sad Day 1 F4.aif

PNO-Sad Day IP F4.aif

PNO-Sad Day 2 F4.air PNO-Sad Day 2 P4.air

SD-Sad Day Pa if

SD-Sad Day,air

SYN-Sad Day 1 A3.aif

SYN-Sad Day 2 G3.aff

SYN-Sac Day 3 Pd. al. SYN-Sac] Day 3P D4 si

089-D-What do you Think

BD-Wht do u Thk.aif

FX-Wht do u Thk Bass Paif

FX-What do a The Baskan HH-What do a Thk Raif

HH-Wht do n Thk aif

PERC-Wht do n Thk.aif

PNO-Wht do u Thk 1 E5aif

PNO-WEI do it Tbk IP Es alr PNO-WEI do n Tbk 2 Dr. ef

PNO-Wbt do u Tbk 2P D5.sif

PNO-What do u Tbk 3 A4.pdf

PNO-Whit do u Thk 3P ALaif

PNO-WEI do u Thk 4 Gt.sif

PNC-WH-60 a Tbk af G3.21 SD-Wb-1q u Tbk ai

SUB-Whu du Tbk.ai

090-AA-Gray Desert

BD-Gray Desert.aif

BAPA-City DesertCall VII Corp Revenue

INST-Gray Desert 01 A#3 aif

INST-Gray Desert 02 CA.alf

INST-Gray Desert 03 CMLaif

INST-Gray Desert Of ELSI

INST-Gray Desert 05 F4.all INST-Gray Desert 06 F4.

INST-Gray Desert 07 Gxi4.aif

INST-Gray Desert 08 CA3.aif

INST-Gray Desert 09 E3.aiif

INST-Gray Desert H1 C3.aff

FRX Gray Desert Lake JIM. Grey Desert oil

(1) Cem Dose B.4

RIM-Pretty Armelic.aif

SD-Pretty Amelie P.ail

SD-Pretty Amelise.atl

090-A-All is Here

BDHH-All is Here-aif

CLAP-All is Here Paif

CLAP-All is Here.nif

FA-All is Here, all PERC. 47 is Here 1 of

PERC-41 is Here 2 aif

090-A-Shut Up

BD-Shut Up P.ai

BD-Shut Up,aif

CLAP Shut Up Lat

CLAP Shut Up 1P.sh

CLAP-Shut Up 2P.aif

PNO-Shrt Up 1 Amin.aif

PNO-Shot Up 2 Amin.ai

FNO-Such Up S Rall STR-Shut Up 43 cif

STR-Shut Up PA3.9if

VOX-Shut Up 1.aif

VOX-Shut Up 2.aif

090-Gr-Classic Car BD: Classic Car zi

BDIII Classic Car

FX-Classic Car Laif

FX-Classic Car 2.aif

FX-Classic Car 3.aff FX-Classic Car 3.aff

GTR, Classic Car 1 A71 off

GTR-Classic Car 1P A#3.aif

GTR-Classic Car 2 C4.alf

GTR-Classic Car 2FCaif GTR-Chronic Car 1Cfaif

GTR-Classic Csr 3P GM.aif

HH-Classic Car P.aif

HH-Classic Car.ail

SD-Classic Car P.a

.1D-A classic Callan EVI: Classic Call

SYX Classic Car 2 G#2 rif

SYN-Classic Car 3 A#2 aif

SYN-Classic Car 4 A#3.aif

SYN-Classic Car 5 G#3.aiff

SYN-Classic Car 6 A#3.a#

091-G-Snow Man

SHK-Snow Man 2.ai

SHK-Snow Man 3.ai

SYN-Snow Man 1 C34Lal SYN-Snow Man 18 C34Li

STN-Snow Man IPC.54.all

SYN-Snow Man 2P A4-aif

SYN-Snow Man 3 34.ai

FX-My June 21, 2019 HH My Time: Do if

HH-My Time off

HIT-My Ticac 1

HIT-My Time 2 Bl.aif

HIT-My Time 3 BL.pdf

HIT-My Time 4 Ill. alif

PERC-My Time Lail

PERC-My Time 2:all

SD-My Time P.at

My Turean

096-D-Happy Ring

GTR-Happy Ring 3.ai

HH-Happy Ring P.aif

HH-Happy Ring,ail

096-D-Wallup

BASS-Wallup | D1.aif

BASS-Wamp Z P2.àr PD: Wellman 1.pdf

BD-Wellup 1.ai BD-Wellup 2.ai

CLAP-Wallup Laif

CLAP-Wallup 2.alf

GTR-Wallup DLaif

SD-Wallup.aif

SHK-Wallup.aiif

097-Fe-Urbanana

BASS-Urbanana.aif

HD-Urbanana Laif

HD-Urbanana 2.aiF RDFX-Urbanana 1.aiF

BDFX-Urbanana 1.aif BDFX-Urbapana 2.aif

CLAP-Urbogano Raif

CLAP-Urbanana-if

HH-Urbana,aif

PERC-Urbanana Paif

PERC-Urbananaalif

SHK-Urbolana.ai

SYN-Urbanana Lai

SYN-Urbanana 2.ail

VOX-Urbarelia.sii 200 P. Eifel, Arzovka

099-B-Fifth Avenue

BASS Fifth Avenue + C.T. Air BASS Fifth Avenue 2 Call

BASS-Fifth Avenue 2 C#1 Alf BASS-Fifth Avenue 3 D1 #f

BASS-Fifth Avenue 4 E1-alf

BD-Fifth Avenue,alf

BDFX-Fifth Avenue.

BDHH-Fifth Avenue,alf

CLAP-Fifth Avenue P.ai

CLAP-Fifth Avenue.pdf

HH-Fifth Avenue Pail

HH-Fifth Avenue.ail

PERC-Plur Avenue P. All BUPC-Lifth Avenue rif

PLK-15th Avenue air

SYN Fifth Avenue | 112.aif

SYN-Fifth Avenue 2 D3.aif

SYN-Fifth Avenue 3 E3.aif

SYN-Fifth Avenue 4 B2.aif

099-C-Martinik

BASS-Martinik 1 Cl.aif

HH-Martinik 1P.aif

HH-Martinik 2.azif

HH-Martinik 3 Opn.ai

PERC-Martinik.ai

RIM-Martinik P.ait

CLAP-Lal Queen TP.all

CLAP-1.5 Queen 2.5

GTR-Lil Queen A2.pif

GTR-Lil Queen P A2-aif

HH-Lil Queen Laif

HH-Lil Queen 2.aif

SHK-Lil Queen 1.aif

SHK-Lil Queen 2.aif

100-C-To the King

BD-To the King.ai

BDFX-To the King.ai

GTK-To the King FD33.iii GTR-To the King 12123.ii

GTX-1b the King 17 D43.all GTL To the King 2.4 d3 cif

GTR-To the King 234+3.2if GTR-To the King 234+3.2if

GTR To the King 3 D#3.ai

GTR-To the King 5 C4 aif

GTR-To the King 5P C4.aif

GTR-To the King 6 D#3.aif

GTR-To the King 61' D#3.air [P]. To the King's

HH-To the King P.34 HH-To the King sif

RIM-To-the King Path

RIM-To the King-alf

SD-To the King Paif

SD-To the King.ai

S11K-To the King 1.aif

SIIK-To the King 2.aif

SYN-To the King I F4.zif

SYN-To the King 2 D#4.aiF

BD-Cap Dance 1.ai

BD-Cap Dance 2.51

BDHH-Clap Dance P.aif

BDI III-Clap Dance.ai

CLAP-Clap Dance P.

CLAP-Clap Dance.at

CLAVTi-Clap Dance Pair CLAVTi-Clap Dance Pair

PERC-Clap Dance Laif

PERC-Clap Dance 1P-aif

RIM-Clap Dance Paif

RIM-Clap Dance:air

SYN-Clap Dance 1 C#4.aif

SYN-Clap Dance 2 D74.aif

SYN-Clap Dance 3 Av3.aif

VOX-Clap Dance P.sit

VOA-Clap Dance:an 100 Eta. Arabie Ile

100-P#-Arabic Lion

BASS-Arabic Lion 1 (40.2)IF BASS-Arabic Lion 2 (50.2)IF

BD-Arabic Lion.aiif

CLAP-Arabic Lion Paif

CLAP-Arabic Lion.aif

PERC-Arabic Lion 1.ai

PERC-Arabic Lion 2,alf

PERC-Arabic Lion 5,ait STJK-Arabic Lion of

SHK-Arabic Lion. All SUB-Arabic Lion Poi

SUB-Arabic LION 5E SUB-Arabic Lion xif

100 St. Harbors

100-G#-Harbour of Heaven BASS Harbours of Uwam | G#

BASS-Harbour of Heaven 2 Cd2-aif

BASS-Harbour of Heaven 3 D#2.aif

BD-Harbour of Heaven.aif

BDFX-Harbour of Heaven.

CLAP-Harbour of Heaven P. aif

CLAP-Harbour of Heaven.aif

FX-Harbour of Heaven Plair

FX-Harbour of Heaven.

CTR-Harbour of Heaven 1 Dominat CTR-Harbour of Heaven 2 Dominat

GTR-Harbour of Heaven 2 Central GTR-Harbour of Heaven 3 xif

HH-Harbour of Heaven-aif

INST-Harbour of Heaven 1 CM laif

INST-Harbour of Heaven 2 D43.ai

INST-Harbour of Heaven 3 F#3.aif

INST-Harbour of Heaven 4 R3.aiff

MTL Harbour of Heaven Paif

MTL-Harbour of Heaven.air ETRC-Hezhou of Heaven.1

1.2.1.1.1

BD-Smack Back 1.aif

BD-Smack Back 2.aif

BDFX-Smack Back.ai

BDI111-Smack Back 1.ai

BDI III-Smack Back 2,ail

CLAP-Smack Rack Lait CLAP-Smack Rack Lait

CLAP-Smack Rack 1.pdf

GTR-Smack Back | G3.0

GTR-Smack Back 2 G3.aif

GTR-Smack Back 3 G3.aif

GTR-Smack Back 4 D#4.aif

GTR-Smack Back 5 D4.aif

GTR-Smack Back 6 Ctaif

GTR-Smack Back 7 G3.ai

HH-Smack Back 1.ait HH-Smack Back 2.Qay

HH-Smack Back 2 Opt. all HH-Smack 1wk 2P(2)mm

HII-Smack Back 2F Opti.all HII-Smack Back 3 vif

HIT-Small Back rif

PURC-Spack Back Lai

PURC-Smack Back 2.ai

SUB-Smack Back.aif

101-A#-Big Store

BASS-Big Store 1 A#1.aif

BD-Big Store aif

BDFX-Big Store 1.aif

BDFX-Big Store 2:aif

CLAP-Big Store Pail

CLAP-Big Store.all EX-Big Store.wif

HX-Big Store.All HIT-Bie Store P.aif

HIT-Big Store.ai

PERC-Big Store 1.aif

PERC Big Store 2.aif

PERC- Big Store 3.aif

PERC-Rig Store 3P.ai

PERC-Big Store 4.aif

PERC-Big Store 4P art

SYN-Big Store 1 A#1 air SYN Rig Store 2 4 #3 cif

STN-Big Store 2 A*2 TAMB-Big Store sif

1. F+ Faro

102-Fe-Payal BASS-Fava 1 E

BASS-Faya 2 Aell,aii

BASS-Faya 3 C#1.aif

BASS-Faya 4 BIL.aif

BD-Faya.aiif

CLAP-Faya P.aif

CFT a n n o o o o

104-A#-Tabiti Stone

BD-Tahiti Stone.ai

BDFX-Tahiti Stone.ai

CLAP-Tahiti Stone.aif

[11]-Tahiti Stone.ait

INST-Tahiti Stone 1 A2.aiF INST-Tahiti Stone 17 A2.ai

INST Tabiti Stone 2 G2 aif

INST-Tabiti Stone 2P G2 ai

PERC-Tahiti Stone Laif

PERC-Tabiti Stone LP.ai

PERC-Tahiti Stone 2.aif

PERC-Tahiti Stone 2P.ai

PERC-Tahiti Stone 3.aif

RIM-Tahiti Stone.tif

SHK-Tahiti Stone.ai

107-G-Give ito Me

BD-Give itn Me.aif

BIJPX Give it to Me.ill CLAP Give it to Me.ill

CLAP-Give ito Me Pal CLAP-Give ito Me rif

PERC-Give ito Me La

PERC-Give to Me | Paif

PERC-Give ito Me 2.aif

PERC-Give ito Me 3.aif

SYN-Give ito Me 1 G#2.aif

SYN-Give ito Me 2 C3.aif

SYN-Give ito Me 3 Dv3.aif

SYN-Give ilo Me 4 D3ail

SYN-Give 10 Me 5 G2.3d SYN-Give 10 Me 6 D2.4f

31 N-Give no Me o D2011

West Coast

070-Aδ-Mo

BD-Mo.alf

BDHH-Me.alf

FX-Mo Pail

FX-Mo.ail

HH-Mo 1.ai

HH-Mu IP.ail HH-Mu 2

TGL One Dollar 1 P. at TGL One Dollar 2 cif

TGL One Dollar 2P ai

082-G#-Reggae Like

BASS-Reggac Like 1 G#0

BASS-Reggae Like 2 B0.aif

BASS-Reggae Like 3 A70.aif

BD-Reggae Like 1.aif

BD-Reggae Like 2.aif

BDFX-Reggae Like.ai

PERC-Reggae Like 1.4m PERC-Human Like 2.9m

FERC-Reggie Like 2. al: SL)-Remyx Like P. vif

SD-Reggae Like.ai

SIUK-Reggae Like.ai

SYN-Reggae Like | G#2.aif

SYN-Reggae Lille 2 B2.aif

SYN-Reggae Like 3 D#3.aif

085-B-Flame

BD-Flame.sif

CLAP-Flame Lail

CLAP-Flame 1P, an CLAP, flame 2, cif

CLAP-Platte 2.41

Ulll-Vlarme 1.aif

III-Flame IPai

1111-Flame 2.aif

HH-Flame 3.aif

INSTR-Flame Laif

INSTR-Flame 2.aif

INSTR-Flame 3.aif

INSTIR-Flame 4.aff

BD-Hood Child.sif

BDFX-Dark Hood.ai

BDHH-Dark Hood.ai

FX-Hood Child Lair

FX-I food Child IP.ait

PA-Food Child 2.aff 1000 Dock Hand Reif

Hill Dark Hond Fair Hill Dark Hond aif

HH-Hood Child Lait

HH-Hood Child 2-aif

HH-Hood Child 3 Opn.sif

HH-Hood Child 4 Opn.sif

INSTR-Hood Child 1 D3.aif

INSTR-Heod Child 1P D3.aif

INSTR-Hood Child 2 G3.aif

INSTR-Head Child 21 G3.ail BEPG Head Child 10.9

PERC-Hood Child Pain PERC-Hood Child wif

PERC-Hood Child. at SD-Dark Hound P. rif

SD-Dark Lloyd,aii

SD-Hond Child Laif

SD-1 load Child 1P.aif

VOX-11nod Child Paif

VOX-Hnod Child.aif

090-G-Cheese

BD-Chese,alf

FX-Cheese 1.ai

FA-Choose 2.5μF EX: Choose 2R wi

FA-Clust 21.50 GTL-Chw: G2 a

GTR-Chese P (52 oil

1111-Cheese Lai

III-Cheese 2.aif

SCR-Cheese 1.aif

SCR-Cheese 2.aif

SD-Cheese Paif

SD-Cheese.aif

SYN-Cheese Grail

STN-Cheese P 03.air

093-D#-You Know PASS-You Know 1 D#

BASS-You Know PDF.pdf

BASS-You Know 3.ai

HD-You Know.ai

GTR-You Know D43.ai

GTR-You Know P ID#3.pdf

111-You Know Laif

1111-You Know 2.aif

PERC-You Know Paif PERC-You Know's

HH-One Day 2.aif

SYN-One Day 01 Cl. alif

SYN-One Day 02 G1.ai

SYN-One Day (13 F1.ai)

SYN-One Day 104 F1.all

SYN-One Day 15 FT.aff SYN-One Day 16 FT.aff

SYX-One Day 11:31:49 SYX-One Day 12:31:49

SYX-One Day 08 G2 aif

SYN-One Day 09 E2-aif

095-D-Spanish Street

BASS-Spanish Street | C1.ai

BASS-Spanish Street 2 C1.aif

RD Spanish Street.aif

CLAP Spanish Street P. alf

CLAP-Spanish Street.aif

HH-Spanish Street Laif

HH-Spanish Street 2.41

HH-Spanish Street 2P.31

HH-Spanish Street 5 all HH Spanish Street 4 off

HH-Spanish Street 4 aif HH-Spanish Street 5 aif

SNAP-Spanish Street air

SYN-Spanish Street 1 D4.aif

SYN-Spanish Street 2 B3.ai

SYN-Spanish Street 3 CV4.aif

096-A-Escalade

BASS-Escalade | A

BASS-Escalade 2 A1.aif

BD-Escalade.aif

HH-Escalade 1.48

HH-Escalade 2.auf HH-Escalade 1.0m

HH-Esteude 3 Opt. Air RIM, Escond. of

KIM-Escalade Pal

SD-Escalado sif

SHK-Escalbelvif

SYN-Escalade 1 B

SYN-Escalade LP B3.ai

SYN-Escalade 2 Amin.

SYN-Escalade 3 L4.aif

SYN-Escalade 4 P4.ai

SYN-Escalade 5 R3.aif

VOX-Escalade P.air

HH-GeoDec.aif

PERC-GouDee 1.aiif

PERC-GouDee IP.aif

PERC-GonDee 2.aif

PERC-GonDee 3.

PERC-GoDee 3P.aff PERC-GoDee 4

PERC GonDee 4.2if PERC GonDee 5.2if

PERC-GooDee 6.4if

SHK-GooDee.ai

SYN-GooDee 1 D44.nif

SYN-GooDce 1P D#4.aj

SYN-GooDce 2 E4.aif

SYN-GooDce 2P E4.alf

096-E-Solar

BASS-Solar 1 E1.ai

BD-Solar.at

CLAP-Solar P201 CLAP Solar oil

CLAP Solar air EX Solar air

HH-Solar Laif

HH-Solar 2-aif

INSTR-Solar 1 A3 aif

INSTR-Solar 2 E4.aif

INSTR-Solar P E4.aif

SYN-Solar 1 B4.aif

SYN-Solar 2 B3.aif

SYN-Solar 5 A3.aif SYN Solar 4 C1.

SYN-Solar 4 G3.5ml SYN-Solar 5 E43 yi

100 C K2000

100-C-K2000 BASS K2000 CJ

BD-F20001.pdf

BD-K2000 IP-aif

BD-K2000 2.aif

BD-K2000 2P aif

GTR-K20001 D#3.aif

GTR-K2000 2 CA.alf

HH-K2000.aif

PERC-K2000:all

SD-K2000 P-3H SD-K2000 wi7

SD-K2000.all SHK-K2001.1

SHK-K2000 1.ai SHUK-K2000 2.ai

100-D-Bang Ba

BASS-Bang Bang I Co

BASS-Rang Bang 2 B0.aif

BD-Bang Bangaif

BDHH-Bang Bang, aif

TAMB-Bang Bang.xif

100-D-Relax

BASS-Relax | All.aif

BASS-Relax 2 D1.aff

BD-Kelax.aif

BUDH-Relax,air

CLAP-Relax.at

HH-Rexel 1.98 WLL-Belen 7.66

HIT-RoR2.501 SYN, Pode C2-6

SYN-Relay DC7

100 G Tiomai

100-3-Time is Money BASS-Times is Money (52, a)

BASS-Time is Money P (G3 air)

III. Times is Money pit

BDUH-Time is Money.ai

HH Time is Money Paif

HH-Time is Money.ai

SD-Time is Money 1.aif

SD-Time is Money 1P.ai

SD-Time is Money 2.aif

SD-Time is Money 2P at

VOX-Time is Money off

102-B-The Caire

BD-The Caire Lail

HD-The Caire 2.ait

BD-The Caire 2P.ai

CLAP-The Caire Part

CLAP-The Caire.ai

HH-The Came Pair

HH-The Care.ai

Hill-The Careactor INSTR The Cancer Test of

HH-Years Ago 2P Open-off

SYN-Years Ago 2 GLaif

104-D-Get Out

BASS-Get Out Laif

BASS-Get Out 2.aif

BD-Get Out.aif

HH-Get Out Laif

HH-Get Out 2.gift

HIT-Get-Out of

PBT/C×Out+1 oif

PBT/Cvs/Out 2 cif

PERC Gas Out 7 oil

1. ERO-CA, Oth J.
2. C#O#R

32-Get Out.51

SD-GetOut.all

TAMB-GE, Out. Tall

TAMB-GE Out 2.m

116-G#-Wind Time

RD-Wind Time.aif

RDHH-Wind Time

BDHH-Wind Time 2.aif

HH-Wind Time.aif

SD-Wind Time Pair

SD-Wind Time.aif

SHK-Wind Time-alf

SYN-Wind Time:01 D#4 aif

SYN-Wind Time:01P DM ai

SYN-Wim ^1 Time 02 DM ref

SYN Wim ^1 Time 02/13/14

STN: Will Smith 021-DAAM EWN: Will Smith 021-DAAM

JYN-WEI Title 02 D9431 JYN-WEI 7TH 02H28A 1/2

31N-Wine Time 0.5 P 13:4.4h

31 N-White Time 04:04:31

SYN-W192 Time1/4P1D#4.

SYN-Wind Timella C#4.ai

SYN-Wind Time LLP (24.21)

SYN-Wind Time 16 D#4.aif

SYN-Wind Time 06P D#4.ai

SYN-Wind Time 07 D#4.aif

SYN-Wind Time 08 E4,aif

SYN-Wind Time 09 B3,alf

SYN-Wind Time 10 A€3.aif

120-G#-Tequila

BASS-Tequila 1 G#1.aif

BASS-Tequila 2 F#1.ai

BD-Tequila.ai

BD1III-Tequila.aif

CLAP-Tequila P-ait

CLAP. Tequila aif

HH. Tecuila P. alf

HH. Tequila cif

DET-3-T

FERC-1 Squen 138

BD-All is Here.pdf

BD-All Starz BD.sif

BD-Amazoule.zil

BD-Ambassador L.ail

BD-Ambassador 2.ai

BD-Arabic Lion-af

BD Atlantime Laif

BD Atlantime 2 aif

BD BRC Leif

ID: B.P.C. 2-IF

DD-BENZALAN ED-Pole-Cycle

DD-Baby Cyclotin

BD-BiK& the F up,311

ED-Bang Bang 3日

BD-Baya Dance Hall

BD-Baya Dance 2.ait

BD-Beat like That 1.a

BD-Beat like That. 2.ai

BD-BI the Shw.ail

BD-Big Fire.ai

BD-Big Life 1.aif

BD-Big Life 2.ai

BD-Big Store.aif

BD-Black Evil-aif

RD-Blues Unity a

BD-Bomby:lon Loif

BD. Bombay: Leon 12 oil

ED. Prowley Loon 1 of

JD. Box Host1.tif

BD Book From Time BD Room Host Time

BD-DOOLY FROIT 2.5ML BD-DOOLY FROIT 2.5ML

DD-DOOH TRUST 5.38

BD-Boyliny Attack P

BD-Bodily Attack.MI

BD-British Dub.

BD-Вропх.зл

BD-Candy Wood.ail

BD-Casino 1.ai

BD-Casino 2.zif

BD-Chase the Carail

BD-Cheese.ai

BD-CIA Smooth.aif

BD-Clap Dance laif

BD-Clap Dance 2-aif

BD-Cian My Door-aif

BD-Clappin Tap-sit

RD-Classic Cor. of

PD George

BD Clash : cf

BD-Cub 1-31 BD-Cub 2-5

BD-CAB 25H

BD-Collie street, NJ

BD-Doctor Hyde.aif	BD-K2000 2.aif	BD-Publch School 2.aif
BD-Dumi Non Parly.aif	BD-K2000 2aif	BD-Pump the Rollsaif
BD-Dum't Play 1.aif	BD-Reihally.aif	BD-Purple Iam 1.aif
BD-Dum't Play 2.aif	BD-Kelly Mouth.aif	BD-Purple Iam 2.aif
BD-Dum't Touch.aif	BD-Kentukoy.aif	BD-Queen Bridge.aif
BD-Dohidoon 1.aif	BD-Killa System.aif	BD-Rape Cave.aif
BD-Dohidoon 2.aif	BD-Kimmy.aif	BD-Reel Pain.aif
BD-Dohidoon 3.aif	BD-La Belle.aif	BD-Regge Like 1.aif
BD-Dersom with the Ring.aif	BD-LA Century.aif	BD-Regge Like 2.aif
BD-Eden Power.aif	BD-Las Palmas.aif	BD-Relox.aif
BD-Egyptian Tim 1.aif	BD-Loe John 1.aif	BD-Returnaif
BD-Egyptian Tim 1aif	BD-Loe John 2aif	BD-Rock Party 1.aif
BD-Egyptian Tim 2.aif	BD-Let Mc Soc.aif	BD-Rock Party 2.aif
BD-Electric Lys.aif	BD-Like This.aif	BD-Roots Tree 1.aif
BD-Electro Tapc.aif	BD-Lil Queenaif	BD-Roots Tree 2.aif
BD-Eungix.aif	BD-Looks in the City 1.aif	BD-Run Run 1.aif
BD-Eungmatic.aif	BD-Looks in the City 2.aif	BD-Run Run 2.aif
BD-Biscalak.aif	BD-London Iam 1.aif	BD-Run Run 2.aif
BD-Fantasy Dream.aif	BD-London Iam 2.aif	BD-Sad Day 1.aif
BD-Farm Food.aif	BD-Lnail Cloud.aif	BD-Sad Day 2.aif
BD-Fays.aif	BD-Liny Ride 1.aif	BD-Saint Louis 1.aif
BD-Hith Avenue.aif	BD-Liny Ride 2.aif	BD-Saint Louis 2.aif
BD-First Floor.aif	BD-Martinik.aif	BD-Scotty Jacket.aif
BD-First Splash.aif	BD-Massive Stone.aif	BD-Secret FBI 1.aif
BD-Five Billion 1.aif	BD-Micknight Glock.aif	BD-Secret FBI 2.aif
BD-Five Billion 2.aif	BD-Mo.aif	BD-Serencyaif
BD-Fizzle.aif	BD-Money Money 1.aif	BD-Shake It.aif
BD-Flame.aif	BD-Money Money 2.aif	BD-Shut Up 1.aif
BD-For My Honies 1.aif	BD-Money Money 3.aif	BD-Shut Up aif
BD-For My Honies 2.aif	BD-My Game Two 1.aif	BD-Shyawse 1.aif
BD-Poultry Centsaif	BD-My Game Two 2.aif	BD-Shyawse 2.aif
BD-Poxy Nightaif	BD-My Gamea.alf	BD-Slow Keysaif
BD-Punky Moona.alf	BD-My Time.aif	BD-Smack Rock 1.aif
BD-Generic 1.aif	BD-New Pezoa.alf	BD-Smack Rock 2.aif
BD-Generic 2.aif	BD-Not Guilty 1.aif	BD-Smileaif
BD-Get Outaif	BD-Not Guilty 1aif	BD-Smoke Road.aif
BD-Giorgia 1.aif	BD-Not Guilty 2.aif	BD-Snoop Corn.alf
BD-Giorgia 2.aif	BD-Not Guilty 3.aif	BD-Snow Man.alf
BD-Give to Me.aif	BD-Obession 1.aif	BD-Solaraif
BD-Gelden Way.aif	BD-Obession 2.aif	BD-Space Trize.aif
BD-GooDee.aif	BD-Obession 2P.aif	BD-Special Touraif
BD-Gray Desert.aif	BD-On and On 1.aif	BD-Spanish Streetaif
BD-Harcinds.alf	BD-On and On 2.aif	BD-Steel Diamondaif
BD-Happy Ring.aif	BD-One Toma.alf	BD-Straight Wayaif
BD-Harbour of Heaven.aif	BD-One Day aif	BD-Street Light 1.aif
BD-Hardcore.alf	BD-One Dollar aif	BD-Street Light 2aif
BD-Hood Chalk.alf	BD-One One Onea.alf	BD-Street Light 3aif
BD-Humania.alf	BD-One Twoa.alf	BD-Sunset Trapaif
BD-Jaza Avenue 1.aif	BD-One Way 1.aif	BD-Ishalt Stoneaif
BD-Jaza Avenue 2.aif	BD-One Wave 2.aif	BD-Ishurt saif

BD-Tribuzone.xif

BD-Under Flour.aif

BD-Underworld 1.ai

BD-Underworld 2.aill

BD-CHXANSHA T.ill

B) CHANANA 2. al

BD-Very Deep Fair

BD Vaeodoo Riddim L.19

BD-Voodoo Riddim 2-sif

PD. Waiting People cif

BD-Waiting Room aif

RD-Wellup 1 cif

RD-Wellup 2 cif

BD-What do Think aif

RD-White Line sif

BD-Wing Tung yi/

(1) Yuma Day of

[13]You and My yif

III)-Yin Kmow ai

BD-Yya Trg.aif

103-Z Rock xif

BD Zapan Club.aif

JD. Ziro.ai

BD+HH

(173 files)

RDHH-101.1 cif

PDHH 1012 cf

RDHH-1013-sif

RCHH-1014-sif

BH1H-4 Sky ai

H2H1-4X4.2if

BID111-All is Here.pdf

102111-Amazone.pdf

JUDU- Ambassador Lait

JIDUH Ambassador 2 ait

JEDUH Atlantime air

BDIHL, Baiw/Crda, a

ВИЛЯ ПОЧЕР, СУКЕЛЯ

MATH-Bing Bang'a

DIAH-DE3 like TBA(1.50)

BDHA-Beat like That 5.48

EDHA-Beat like That 4.5uf

BDHH-Beat like That 5.91

BDHH-Beat like That 6.5if

BDHH-BI the Shw.ail

JIDHH-Big Fire.ai

BDHH-CIA Smooth Laif

BDHH-CIA Smooth 2.ai

BDHH-Clar Dupe Pal

BDIII-Clap Dance.ai

BD111-Clap My Door 1.aif

BDIII-Clap My Door 2-aif

BDIII Classic Car air

RDVIH Classy air

RDHH Club 1 of

RDVIH Club 2, if

BDIII-Club 2.11

BDAH-Clob 3.m

BDHH-CCellc Street,All

BDIII Deposited 1 cif

DEVIH-DOOSICO S/H DEVIH-Po#id 10%

B3111P-005RKO4.5H

BHHP-DOW With the King at

BDHH-Eden Power.ai

BDHH-Electric Lytail

BDHH-Enigmatic:all

BDHH-Fantasy Dream.ai

BD1111-Fifth Avenue.ai

BD1111-First Hour.ai

BD1111-Five Billion-aif

BDUILL Fizzle air

BDHILL For My Homes 219

BDHH-Fourthy Cents Laif

RDHH. Feasry: Cents 2, aif

RDHH Equity Center 3 cif

BDHH Form Nights 1 cif

BDIII-10x; Night 3:49

BDHH-Golden Way 2P. al.

RTHH-Golden Wise 3.41

BDHH-)marsilac.aiif

BDHH-Jazz Avenue.ai

BDUH-Jean Live.ai

BDIII-Jumpin Frog.zif

BDU11-Jungle West Lai

BDIII-jungle West 2.ai

BDIII Jungle West 3 ai

BDHJ. Keighally aif

RDHH, Kelly Month

RDH: Kentoolwif

EDITH - Achaoloxylal EDITH: Kille, Cappes

DDH: -Kila System.

EDHR-LA Centur, 341

EDHR-LiI Queenham

EDHR-Locks in the City Hall

EDHR-Loud CloudJet

EDHR-Martinik Lail

BDHR-Martinik 2.aif

BDHH-Missile Command.ai

BDHH-Mo.ai

BDIII-Obsession.ai

BDI11-Oncle Tom Laif

BDI11-Onele Tom 2.aif

BDIII-One Two.pdf

BDHH One Way aif

RDHH, Palm Beach air

EDHY. Paradise of

EDHY Phot Rock 1 cif

EDUV. Phot Rock 1 cif

BDI1: 500 Rockwell BDI1: Post-Model

BDIII: 100% MA262

EDITH Public School Team

EDHR-PuOHC School 2,MI

EDHR-Pump the Rollback

BDHR-Purple Jam 1.ai

BDHR-Purple Jam 2.al

BDHH-Purple (arn 3.aill

BDI111-Purple Jarn 4.ail

BDI III-Purple Jarn 5.ail

BDI III-Purple Jarn 6.ail

BDIII Queen Bridge Laif

BDHH-Queen Bridge 2.aif

BDHH-Raze Cave-sif

BDHH-Relax.aif

BDHH-Roots Tree aif

EDHH-2001 Bup aif

RDHH-Soccer EPL of

BDHH, Shakra Jr. of

BDHF: CLASSIC R&D

BDIII-50013.92

BDPH-SL0192.251

BDHR-3Synesc.

ROPH-Sinac K Pex SII

BDHH-Taop.aif

BDHH-Tell Me Why.ai

BDHH-Tequila.aif

BDI III-Think About Meaif

BDI III-Time is Money.a

BDI-III-Train Station 1.aiF BMHL Train Station 2.aiF

BDH-Train Station 2.3 BDH-Under Flow 19

RDHH-Very Deep aif

BDEH-Waiting Room 1aif

BDHH-Waiting Room 2.aff

BDHH-White Line.aif

BDHH-Wind Time 1.aif

BDHH-Wind Time 2.aff

BDHH-You and Mc. alf

BDHH-You Too 1.aif

EDHH-You Too 2.ai

BDHH-You Too 5.

ВДПН-2 КОКЗИ

BDI III-Zapan Club. an JIM III 'Zin' ai/

BDA1:1-2.400.00

BD FX

BDFX- Military Dance 1.aif

BDFX- Military Dance 2.aif

BDEX- Military Dance 3aif

BDEX- Military Dance 4.aif

BDFX - Military Dance 4P.alf BDFX - Military Dance 5.alf

BDEX-Military Dance 5.31 BDEX-Military Dance 5Parif

BDFX-101.1.2if

H2FX-101 2.ai

BDFX-101 3.ai

BDFX-1014.pdf

HDFX-4 Sky.aif

BDFX-All Starx.aif

BDFX-Amazone Laif

BDFX-Amazone 2.aif

BDFX-B.R.C.

BDFX-Baby Cycle 1.aif

BDFX-Baby Cycle 2.4f BDFX-Baby Cycle 1.4f

BDFX-Boys Dance Talk

BDEX-Boya Dance 2.519 BDEX-Boya Dance 3.619

BDEX-Boya Dance 5.91 BDEX-Boya Dance 4.9

BDTX-Boys Dance that RIMEX. By the Show 1 of

BDFX-B(He Show 1.5) BDFX-B(He Show 2.5)

JUEX-Biu Store ↓ aif

DATA-Big Short Term

BDFX-Casino 2.ai

BDFX-Clappin Tap Lail

BDFX-Clappin Tap 2.aill

BD/FX-Clappin Tap 3.ail

BDFX-Classy T.ait

BDPX-Classy 2.aiF

MDPX-Classy 3.aiF RDEX-Classy 4.aiF

BDFX-Classy 5.pif

BDEX-Classy 6.alf

BDEX-Classy 7.aif

BDFX-Club 1.aif

BDFX-Club 2.aif

BDFX-Coffee Street.alf

BDFX-Crazy Horse 1.aif

BDFX-Crazy Horse 2.aif

BDFX-Crazy Horse 3.ai

BDFX-Crazy Horse 4ail

BDPX-Crazy Horse 5.all

BDPX-Crazy Course 8.all BDIX- Dark Hand rif

BDFX-Dark Soul 1.pdf

BDFX Dark Soul 2.pdf

RDFX Dark Soul 3.aif

RDFX-Diamond.aif

BDFX-Doctor Hyde.aif

BDFX-Don't Play 1.aif

BDFX-Don't Play 2.aif

BDFX-Don't Touch,air

BDFX-Doobidoo.MF RDFY, Electro-Tape

BDFX-Electro Tapean BDFX-Eniomatic 1 aif

BDFX-Enigmatic 1.aif BDFX-Epigenatic 2.aif

BLFX-Enigmatic 3.ai

BDFX-Fifth Avenue.ai

BDFX-First Flour.ai

BDFX-First Splash.ai

BDFX-Fizzle 1.ai

RDFX-Pizzle 2.aiF

RDFX-Par My Homes, Inc.

NDPX-RadHY-Cents 1.2if RDEX-Fourthy-Cents 2.2if

BDEX-Foxy Night 1 aif

BDFX-Foxy Night 2 aif

BDFX-Foxy Night 3 aif

BDFX-Genetic 1.aif

BDFX-Genetic 2.alf

BDFX-Giorgia 1.aif

BDFX-Giorgia 2.aif

RITEX-Guerría Trail

BDFX-Hardcore 3.xif

BDFX-[cezo.ai]

BDFX-jumpin Frog.aif

BDFX-[Jungle West.ai]

BDI'X-Keishally.ai

BDFX-Kelly Muth,air BDEFX-Kimmo 1.pdf

BDFX-Kimmy L2ff BDEX-Kimmy 2.pdf

BDFX-Kitney Man BDEX. Let Me See ait

BDFX-Like This.pdf

BDFX-Lil Queen L.ai

BDFX-Lil Queen 2.ai

BDFX-London Jamaif

BDFX-Loud Cloud 1.ai

BDFX-Loud Cloud 2.ai

BDFX-Low Ride:air

BDFX-Martinik.31

BDFX-Massive Software BODEX-Miscils Company

BDUX-Missile Command 2.aif

BDFX-Money Money.ai

BDFX-My Game | laif

BDFX My Game 2.aif

BDFX-My Time 1.aif

BDFX - My Time 2.aif

BDFX-My Time 3.aif

EDFX-Not Guilty.aif

BDFX-Ubsession.ai

BDFX-On and On all BDFX-Oncle Tom 1.

BDFX-Click Tom 2 aif

BDFX-Plat Rock.ai

BDFX-Pipe Line 1.aif

BDFX-Pipe Line 2.aif

BDFX-Pipe Line 3.ail

BD/FX-Pipe Line 4.ail

BDI/X-Pipe Line 5.ail

BDFX-Pretty Mad.aff

BDFX Public Service Ltd BDFX Public School 2.pdf

BDEX-Publie, School 2.2th BDEX-Reggae-Like aif

BDFX-Rock Party 1-aif

BDFX-Rock Party 2.aif

BDFX-Rock Party 3.aif

BDFX-Roots Tree.aif

BDFX-Saint-Louis Paif

BDFX-Saint-Louis.alf

BDFX-Serenity 1.sit

BDFX-Scremly 2.5ml

RDFX-SiRNA+1.561

BDEX-Sunset Trip.ai

BDFX-Tahili Stone.xif

BDFX-Tsup.aif

BDFX-Think About Me.all

BDFX-T is the King, all

BDFX-Tam Island 1.ai

BDEX Underworld air

BDEX-Urbapana Laif

BDEX-Urbapana 2.aif

BDEX-Very Deep-alf

BDEX-Waiting People Laif

BDEX-Waiting People 2.aif

BDEX-Waiting People 3.alf

BDEX-White Linc.sif

BDEX-You and Me 1.5if

BDFX-You and Me 2.51

BDFA-to-160.124

BDFX-16d 160 2.5h HMX-VoxTux 2.5f

IDEX YouTao 4.pdf

BUREX-Z Rock air

CLAP

(190 files)

CLAP-All is Here Paif

CLAP-All is Here, aif

CLAP-Arabic Lion P.alf

CLAP-Arabic Lion.aif

CLAI-Baya Dance P.ail

CLAP-Baya Dience.ill

CLAP-Best like That 1.all (7) All Best like That 10.

CL A Roll Beat Like That 2 ai

CLAP-If the Slow P.ai

CLAP. If the Show air

CLAP Big Fire 1.2if

CLAP-Big Fire IP.aif

CLAP-Big Fire 2.aif

CLAP-Big Store P.aif

CLAP-Big Store.ai

CLAP-Casino P.A.I.

CLAP-C38120.ME

CLAP-Chase the Car Pad

CLAP-Clase-like Carban

CL All Clap Dance rif

CLAP-Claspin Tan P

C1 A P of Chyrin Tan yi

(1) 2017年1月1日

CLAP-Diamond P.ai

CLAP-Diamond.aif

CLAP-Domi Nes Party P.ail

CLAP-Domi Nes Party.al

CLAP-Don't Touch 1.24

CLAP-130H Touch 22h CLAP Emotion Tim 1.5

CLAP Eymotion Tim | Raif

CLAP-Egyptian Tim 2 aif

CLAP-Egyptian Tim 2P.aif

CLAP-Electro Tape Paif

CLAP-Electro Tapcaif

CLAP-Enigmatic Paif

CLAP-Enigmatic, aif

CLAP-Farm Food.aif

CLAP-Faya Pail

CLAP-Faya.xif

CLAP-Fluor Avenue P.M.

CLAP-10th Avenue.All 61.43.15 at 12:00 a.m.

CLAP-1 ^4 -am-1, vif

CLAP-1Name IP 2i

CLAP-Flame 2.aif

CLAP-Flame 2P.ai

CI AP-Furley Moicha Paif

CLAP-Furley Moichai

CLAP-Give No Me Fair

CLAP-Give no Mesh

CLAP-GeoDecaif

CLAP-Happy Ring 1.aif

CLAP-Happy Ring 1P.aif

CLAP-Happy Ring 2.aif

CLAP-Harbour of Heaven Paif

CLAP-Harbour at Heaven.ail

CLAP-jean Live Paul

CLAP-jean Live,all

CLAP [e]

CLAP Jeeckman CLAP Kille Eust

CLAP-Killo System aif

CLAP-Kimmy Paif

CLAP-Kimmw.aif

CLAP-La Belle P.ai

CLAP-La Belleaif

CLAP-LA Century Paif

CLAP-LA Century.au

CLAP-Las Palmas Pal

CLAP-LiS P-###311 ClalP-let N-###D-###

CLAP-Money Money 1.aif

CLAP-Money Money 1P.aif

CLAP-Money Money 2.xif

CLAP-Money Money 2P.all

CLAP-My Game T.all

CLAP My Game 1P.2H CLAP My Game 2 CIF

CLAR My Game 2P kit

CLAP, My Game Two P

CLAP-My Game Two-aif

CLAP-New Fero Paif

CLAP-New Fezo.aif

CLAP-Not Guilty.aff

CLAP-On and On Pa

CLAP-On and On.sif

CLAP-Oncle Tom Lait

CLAP-Oncle 1 tom 2.3m

CLAP-One Day 1.5m (14B/2pc-12pc-3B+if

CL AP(One Day 2, rif

CLAP-One Day 2P xif

CLAP-One Dollar Lai

CLAP-One Dollar | Paif

CLAP-One Dollar 2.aif

CLAP-One Dollar 2P.aif

CLAP-One One One 1.5ft

CLAP-One One One 1 Pair

CLAP-One One One 2.5ml CLAP-One One One 3.0ml

CLAP-One One One 1 if

CL4P-One Two P-sif

CLAP-One Two.aif

CLAP-Paradise P.ail

CLAP-Paradise.tif

CLAP-Queen Bridge P.ai/

CLAP-Queen Bridge.zil

CLAP-Rage Cave Trail

C1. AF-Rage Cave, all C2. AP-Balogen ^a,c

CLAP Return Point

CLAP Return qif

CLAP-Rock Party Paif

CLAP-Rock Party.aif

CLAP-Saint-Louis Paif

CLAP-Saint-Louis.aif

CLAP-Scotty Jacket.aif

CLAP-Scremity Law

CLAP-Scremity 2.34

CLAP-Shake 1: P.51

1. 2017年 ，中国银行股份有限公司

CLAP-Snow Mara.Paif	FX-101.aif	FX-Led Me See 1P.aif
CLAP-Snow Man.aif	FX-4X4.1.aif	FX-Led Me See 2.aif
CLAP-Solar.Paif	FX-4X4.2.aif	FX-Led Me See 2.aif
CLAP-Solar.aif	FX-4X4.3.aif	FX-Locks in the City.aif
CLAP Space Trive.Paif	FX-4X4.4.aif	FX Loud Cloud 1af
CLAP Space Trive.aif	FX-All Is 1ter.aif	FX Loud Cloud 1P.aif
CLAP Special Tour.Paif	FX-Blang Hang.Paif	FX Loud Cloud 2af
CLAP Special Tour.aif	FX-Blang Hang.aif	FX Loud Cloud 2P.aif
CLAP Spanish Street.Paif	FX-Big Store.aif	FX Loud Cloud 3.aif
CLAP Spanish Street.aif	FX-Brontry Atraic.aif	FX-Mo.Paif
CLAP-Steed Diamond.Paif	FX-Cheese 1.aif	FX-Mo.aif
CLAP-Steed Diamond.aif	FX-Cheese 2.aif	FX-My Game.aif
CLAP-Street Light.Paif	FX-Cheese 2P.aif	FX-My Tunc 1af
CLAP-Street Light.aif	FX-Clip My Door.Paif	FX-My Tunc 1P.aif
CLAP-Tulati Stone.aif	FX-Clip My Door.aif	FX-My Tunc 2aif
CLAP-Toquila.Paif	FX-Classic Car 1.aif	FX-My Tunc 2P.aif
CLAP-Toquila.aif	FX-Classic Car 2.aif	FX-Onlyc 1om.aif
CLAP-The Caire.Paif	FX-Classic Car 3.aif	FX-One One One P.aif
CLAP-The Caire.calf	FX-Classic Car 4.aif	FX-One One One,aif
CLAP-Tom Island.Paif	FX-Dentiat 1.aif	FX-One Way 1af
CLAP-Tom Island.aif	FX-Dentiat 1P.aif	FX-One Way 2.aif
CLAP-Tribuzone.Paif	FX-Dentiat 2.aif	FX Public School 1 B4.aif
CLAP-Tribuzone.aif	FX-Dentiat 2P.aif	FX Public School 2 C4S.aif
CLAP-Urbanana.Paif	FX-Dentiat 3.aif	FX Public School 3 P4.aif
CLAP-Urbanana.aif	FX-Dentiat 3P.aif	FX Purple Jam.aif
CLAP-Voodoo Biddim.Paif	FX-Dentiat 4.aif	FX Red Pain 1.alf
CLAP-Voodoo Biddim.aif	FX-Dentiat 4P.aif	FX Red Pain 2.alf
CLAP-Wallup 1.aif	FX-Dentiat 5.aif	FX Red Pain 3.alf
CLAP-Wallup 2.aif	FX-Dentiat 5P.aif	FX-Retuo.aif
CLAP-You and Mo.Paif	FX-Dentiat 6P.aif	FX-Roots Tree 1af
CLAP-You and Mo.aif	FX-Dentiat 6P.aif	FX-Roots Tree 2.aif
CLAP-Zapun Club 1.aif	FX-Dentiat 7.aif	FX-Roots Tree 2P.aif
CLAP-Zapun Club 1P.aif	FX-Dentiat 8.aif	FX-Shorter.aif
CLAP-Zapun Club 2.aif	FX-Dentiat 9.aif	FX-Shynesc.aif
CLAP-Zimo.Paif	FX-Don't Play.aif	FX-Smike Rond.aif
CLAP-Zimo.aif	FX-Egyptian Tim.aif	FX-Sular.aif
	FX-Raya Laif	FX-Taop 1.alf
CYMBAL	FX-Raya 1P.aif	FX-Taop 1P.aif
	FX-Raya 2.aif	FX-Taop 2.alf
CG-Black Evil.Paif	FX-Raya 3.aif	FX Think About Me P.aif
CG-Black Evil.aif	FX-First Floor 1.aif	FX Think About Me aif
CG-Dirty Food Laif	FX-First Floor 2.aif	FX Train Station.aif
CG-Dirty Food 2.aif	FX-Fourty Centers.aif	FX Triburzone.aif
CG-Pretty Mad.Paif	FX-Haciersha.aif	FX-Under Floor 1af
CG-Pretty Mad[aif]	FX-Hadoun of Horwca Paif	FX-Under Floor 2aif
CG-Pump the Rolls.Paif	FX-Hadoun of Horwca.aif	FX-Underworld 1.alf
CG-Pump the Rolls.aif	FX-Hadocera.aif	FX-Underworld 2aif
CG-Queen Bridge 1.aif	FX-Hood Child Laif	FX-Underworld 3aif
CG-Queen Bridge 1P.aif	FX-Hood Child 1P.aif	FX-Underworld 4aif
CG-Queen Bridge 2.aif	FX-Hood Child 2aif	FX-Underworld 5 aif

HH

(335 files)

HH-101.1.aif

HH-101 1P.aH HH 101 2.5if

HH-1013.aif

HH-4 Sky 1.a

HH-4 Sky 2.a1

HH-1 Say 54 HH-1Y4 wif

HH-Amazone 1.aif

HH-Amazone IP.ai

III-Amazone 2.all

III-Ambassador P. al. III-Ambassador al.

1111-Atlantime.aif

1111 Baby Cycle P.a

HH-Baby Cycle art WLL Books the Four

HH-Back the F up 2.0if

HH-Bf the Shw laif

HH-Bf the Shw 2.alf

HH-Big Fuc Palf HH Big Finc cif

HH-Big Life Paif

HH-Big Life.aif

HH-Black Evil 1.ai

HH-Black Evil 2.ai

111-Blues Only, Inc.

111-Bombay Looz 2,aii

1111-Barsta Piano Laif

1111 Barsta Piano 2.aif

HH-Beauty Attack 1.ai HH Bounty Attack 2.ai

HH-British Dub Laif

HH-British Dub 2.aif

HH-Broux 1.aif

HH-Broux 2.Aif

HH-Candy Wood,alf

HH-Casino 1.98 HH-Casino 1.99

HH-Claw: the C

HH-Cheese laif

HH-Cheese 2.ai

III-CIA Smooth.ai

111-Clap My Door 1.ai

111-Clap My Door 2.ai

1111 Classic C27 P. al

HH-Copakabana.iz

HH-Crazy Horse 1.ai

HH-Crazy Horse 2.all HH-Crazy Horse 3.all

III-Crazy Horse Stain III-Crazy lamp 4, aif

III-Crazy Horse 5.aif

III-Crazy Horse 6.aif

HH-Daddy Donkey Laif

HH-Daddy Donkey 2.ai HH-Daddy Donkey 3.ai

HH-David Hood Roif

HH-Dark Hood sif

HH-Dark Soul 1 aif

HH-Dark Soul 2 Opu.aif

HH-Dentist 1.ai

HH-Dentist IP,ail

HH-1Achist 2.98

HH-Detlist 3.all HH-Namond 1.vi

HH-Dirty Rand = Opt. All

HH-Diny Teeth 2-6

HH Dirty Teeth 1 One sif

HH-Doctor Hyde Palif

HH-Doctor Hydcaid

HH-Domi Nos Party 1.aif

HH-Domi Nos Party 2.aif

HH-Domi Nos Party 3.aif

HH-Don't Teach.ail

HH-Doebioe Lai

H1-Double 2.41

III-1206120 3.41

III-Down with the King Lait

III-Down with the King 2.ai

HH-Duty Bass Laif

HH-Duty Bass 2.aif

HH-Eden Power.aif

HH-Egyptian Tim Lair

HH-Egyptian Tinn Z.iii [1] Empire Reif

HH Empire Plan HH Empire of

HH-Enigmatic 1 aif

HH-Energetic 2.aif

HH-Escalade Laif

HH-Furalsbyr 2.51

HH-Five Billion 2.ai

HH-Fizzle Lai

H11-1Fizzle 2.ai

111-Flame Lail

111-Flame 2.3M

111 For My Homes 1, all 111 For My Homes 2, all

HH. Fourty Cents a/f

HH-Foxy Night Laif

HH-Foxy Night 2.aif

HH-Foxy Night 3.aif

HH-Generic Paif

HH-Genericaif

HH-Get Outalf

HH-Giorgia 1.31f

HH-Giorgis 2 Opt. All HH Golden Way 1, w/

HH-Golden Way 18

HH-Golden Way 2, vif

111-Golden Way 2P.ai

III-GuoDee P.ai

III-GnoDee.aif

111-Gray Desert.aif

HH-Happy Ring P.ai

HH-Happy King,art

HH-Harbour of Heaven, air WW-Harbour of

HH-Hardcore 1501 HH-Howden 2007

HH-Hood Child 1 aif

HH-Hood Child 2-aif

HH-Hood Child 3 Opn.aif

HH-Jemaitacalf

HH-1xxx Avenue.mil

FH-Jean Live.ai

HIT-jumpin Frog P.all

111-jumpa Program 111-jumpa W(ox 1, ni

111-Jungle West 2, aif

LIII Jungle West 3. ait

HH-K-Billy Laif

HH-K-Billy 2.aif

HH-K2000.aif

HH-Keishally 1.aif

HH-Keishally 2.air

HH-Kelly Mouth Taur HH-Kelly Mouth Taur

HIT-First Splash 1 oil

Hill-First Splash 2.5m

HIT-FOXY NIGHT

HIT-Genetic.in HIT-Genetic.in

UIT-Golden Way Lai

HIT-Golden Way 2.aif

HIT-Lacks in the City | C3.aif

HIT-Locks in the City IP C3.aif

HIT-Lacks in the City 2 C3.aif

HIT-Locks in the City 2F C3.ai

H11-Locks in the City 3 A#2 air

HIT-Locks in the City 3P #2,alt HIT-Land Cloud of

HIT-My Time 1 R1 oif

HIT-My Time? B1.tif

HIT-My Time 3 BL.ai

HIT-My Time 4 BL.ai

HIT-New Fezo 1.ai

HIT-New Fezo 2.ai

HIT-Obsession 1.ai

ITT-Obsession TP.ai

111-OBession 2.4n HIT Ondo Tom a'

HIT: Purple Jam G3

1974 Triple Jack Chairman HIT Rock Partners

HIT Scotty Jacket 1 E1 oif

HIT-Scotty Jacket 1P E1-aif

HIT-Scoty Jacket 2 F1.aif

HIT-Scotty Jacket 5 F3.aif

HIT You and Me IP Diet

HIT You and Me Zai

HIT 7 Rock 2 aif

PERC (LARGE)

(231 files)

MTL-Clappin Tap P.sif

MTL-Clappin Tap. alf

MTL-Electro Tape Pail

MTL-Electro Tape.ai

MTL-Harbour of Heaven Paul

MIL-Harbour of Heaven, an

MTL-Jamaitac.all

MTL Roots Tree 1.2ir MTL Roots Tree 1.2ir

MTL Roots Tree 2 vif

MTL-Roots Tree 2P a

MTL-Roots Tree 3.aif

MTL-Sad Day Laif

MTL-Sad Day 2.aif

MTL-Sad Day 3:alf

MTL-Sad Day 4.aif

PERC-101 1.sit

PERC-101 H-381 PERC-1012

PERC-1012.31

PERC-1014 sif

PERC-All is Here 1.aif

PERC-All is Here 2.aif

PERC-All Starx P.aif

PERC-All Starz.aif

PERC-Arabic Lion Laif

PERC-Arabic Lion 2.air

PERC-Arabic Lion 3. al

PERC-Atlantime 1,air

FERC-Atlantine 2,ml FERC-Atlantine 2,ml

PERC-ATLANTIC 3.48

PERC-4tlahtime 5 sif

PERC-B.R.C..sif

PERC-Back the F up 1.ai

PERC-Back the F up IP.ai

PERC-Back the F up 2.aif

PERC-Big Store 4.ai

PERC-Big Store 4P.ai

PERC-Blues Unity.ai

PERC-Bomhay Loop.aif

PERC-Iloam Heart.zil

PERCYBURY ATTACK T.alf

PERCHOLTRY ATTACK Z.SAR

PERC Buon 18 ai

PERC-Bourx 2 off

PERC-Candy Woc

PERC-Candy Wood.aif

PERC-Casino 1.aif

PERC-Casino 2.aif

PERC-Casino 3.ai

PERC-Chase the Car Pad

FERC-Chase the Car.MI

PEX-Clap Dance 1. All BE/IG: Chem. Phys. 113, cf

PERC-Chargin Tan Lai

PERC-Chargin Tan IP-aif

PERC-Clappin Tap 2.aif

PERC-Clappin Tap 2P.aif

PERC-Classy.aif

PERC-Copacabana

PERC-Copacabana Zait

FERC-Copacabana 3.48

PERC-Coprocatal 4.5hr PERC-Dictr Food 1 cif

PERC-Dirty Food 2.aif

PERC-Don't Play 1.ai

PERC-Don't Play 2.aif

PERC-Don't Play 3.aif

PERC-Don't Teach P.ai

PERC-Don Touch.ai

PERC-Duty Bassall

PERC-Egyptian Tim Tail

PERC-Egyptian Tim Z. al. PERC Electric Law

PERC-HELMK 1,ya.ah PERC-Form Food + rif

PERC-Farm Food 2 aif

PERC-Faya Laif

PERC-Fava 2.aif

PERC-Faya 2P.ai

PERC-Fifth Avenue Paif

PERC-Fifth Avenue.pdf

PERC-For My Homes.all

PERC-Foxy Night 1.5ml PERC-Tone Market

PERC-Foxy Night 2.5m PERC-From Night 3PM

• 2017-2018年全球主要经济体

PERC-Giorgia 3.aif

PERC-Giorgia 4.aif

PERC-Giorgia 5.ail JURIC Giourita Ma 1.91

PERC-Give itd Me 1.24 PERC-Give ita Mr. 18 ril

PERC-Give ita Me 2.aif

PERC Give it to Me 3.aif

PERC-GooDee Laif

PERC-GooDee 2 aif

PERC-GooDec 3.aif

PERC-GooDec 3P.aif

PERC-GooDec 4:aif

PERC-Goodice Sal

PERC-Goody's CEO PERC-Gray Desert air

PERC-Hacienda 1.aif

PERC-Hacienda IP.aif

PERC-Hacenda 2.al

PLRC-Harbour (I) Heaven 1.3m JURC-Harbour (I) Heaven 1.3m

PURC-Harbour of Heaven 2.aif

PERC Harbour of Heaven 2P.aif

PERC-Harbour of Heaven 3.aif

PERC-Hamball of Heaven SP249 PERC-Heroux of Heaven & CIF

PERC Head Child Board

PERC-Hood Child-aif

PERC-Jamaitac 1.aif

PERC-Jamaitac 2.aif

PERC-)eczo 1.aif

PERC-Joczo 2.ai

PERC-Jeczo 3.iii

PERC-Jeczo SP. al PERC-Jumanin Iwon avi

PERC-Jungle West P.ail

PERC-Jungle West.ai

PERC-K2III.aif

PIRC-Killa System P.aif

PERC.-Killa System.ai

PERC-Lee John Pa BTEG Lee John

PEPC London Jars

PERC-London Jan 1P a

PERC-London Jan 2-àif

PERC-London Jam 3.aif

PERC-Martinik.aif

PERC-Midnight Glock 1.aif

PERC-Midnight Glock 2.xif

PFRC-Mirginia Glauc 3 xil

PERC-One Two Laif

PERC-One Two 2.ai

PERC-Pipe Line 1.aif

PERC-Pipe Line 2.ai

PARC-Pipe Time 3.5m

PARK-Reggae like 1.24 PERC-Presse Like 2.69

PERC Return 1.67

PERC Return | P.ai

PERC-Return 2.aif

PERC-Return 3-aif

PERC-Return 4.aif

PERC-Return half

PERC-Sad Day,alf

PERC-Scotty Jacket Paif

PERC-Scotty jacket.ai

PERC-Serenity.ai

PERC-Shorter.all

PERC-Smack Back Tail

PERC-Smack back 2.5h

PERG-Smuke Road,an

PERC Street Light P.2 PERC Street Light

PARK-Ticket ^1

PERC-Tahiti Stone 125

PERC Tabiri Grove 1 off

PERC-Tahiti Stone 2P.aif

PERC-Tabiti Stone 3 aif

PERC-Taop.aiif

PERC-Toquils 1 aif

PERC-Tequila 2.aif

PERC-The Caire Laif

PERC-The Caire 2.aif

PERC-The Caire 3.ail

PERC-You and Mr. ail

PERIC-You Know P. xif

TOM-Black Evil 2.aif

TOM-Black Evil 3.aif

TOM-On and On P.ai

TOM-On and On.all

PERC (SMALL)

CLAVE-Clap Dance P. xif

CLAVE-Clap Dance.all

CLAVE-Let Me See P. al

CLA + B-Let Me See all

CCWR-Electra Tape air

COWB Pump the Rolls P aif

COWB Pump the Rolls, aif

TAMB-All Starz Laif

TCL (One D) [2P, ni]

TGL-Sunset Trip.ai

。

RIM

RIM-4 Sky.ai

RIM-Atlantirne.aif

RIM-Big Life.pdf

RIM-Down with the Kang.aif	SD-All Stara Paif	SD-Crazy Horse 2Paif
RIM-Egyptian Tim Laif	SD-All Stara.af	SD-Crazy Horse 2aif
RIM-Egyptian Tim 2aif	SD-Amazone 1Paif	SD-Dark Hood Paif
RIM-Iscalade.af	SD-Amazone 2Paif	SD-Dark Hood.af
RIM-Fins Splash Paif	SD-Ambassador Laif	SD-Dark Soul.af
RIM-Fins Splash.af	SD-Ambassador 2aif	SD-Dennis Laif
RIM-Five Billion.af	SD-Baby Cycle Paif	SD-Dennis 1Paif
RIM-Flame.af	SD-Baby Cycle.af	SD-Dirty Fond.aif
RIM-Punky Moicha Paif	SD-Back the Fup Paif	SD-Dirty Teeth 1aif
RIM-Punky Moicha.af	SD-Back the Fupyaif	SD-Dirty Teeth 2aif
RIM-Golden Way.af	SD-Bang Bang Paif	SD-Doctor Hyde Paif
RIM-Gray Desert.af	SD-Bang Bang.af	SD-Doctor Hyde.af
RIM-Jezzo.af	SD-Boat Like Tast Paif	SD-Don't Play Paif
RIM-Krishally.af	SD-Boat Like Tast.af	SD-Don't Play.af
RIM-Like This Paif	SD-Big Life 1aif	SD-Don't Toucha.af
RIM-Leondon Iana.af	SD-Big Life 1Paif	SD-Doobidoo Paif
RIM-Low Bale Paif	SD-Big Life 2aif	SD-Doobidoo.af
RIM-Low Bale.af	SD-Big Life 2Paif	SD-Duty Iana.af
RIM-Martinik Paif	SD-Black Eoll Paif	SD-Eden Power Paif
RIM-Martinik.af	SD-Black Eoll.af	SD-Eden Power.af
RIM-Midnight Gruck.af	SD-Blues Unity Paif	SD-Electric Lya 1aif
RIM-My Game.af	SD-Blues Unity.af	SD-Electric Lya 2aif
RIM-New Zezo.af	SD-Bomby Loop 1aif	SD-Electric Lya 2Paif
RIM-Obession.af	SD-Bomby Loop 2aif	SD-Empire Laif
RIM-One Twoa	SD-Bomby Loop 3aif	SD-Empire 2aif
RIM-Pretty Amelie.af	SD-Bomby Loop 3Paif	SD-Enigmatic Laif
RIM-Pump the Rolls.af	SD-Boom Heart.Paif	SD-Enigmatic 1Paif
RIM-Scotty Jacket.af	SD-Boosta Piano Paif	SD-Enigmatic 2aif
RIM-Shooter Paif	SD-Boosta Piano.af	SD-Enigmatic 2Paif
RIM-Shooter.af	SD-Bouarty Attack Paif	SD-Escolade Paif
RIM-Synosc Paif	SD-Bouarty Attack.af	SD-Escolade.af
RIM-Synosc.af	SD-British Dub Paif	SD-Fantasy Dream Paif
RIM-Snow Keys.af	SD-British Dub.af	SD-Fantasy Dream.af
RIM-Snoop Corn Paif	SD-Brona Paif	SD-First Floor Paif
RIM-Snoop Corn.af	SD-Brona.af	SD-First Floor.af
RIM-Street Light Paif	SD-Candy Wood Paif	SD-Uizele Paif
RIM-Street Light.af	SD-Candy Wood.af	SD-Uizele.alf
RIM-Tahiti Stone.af	SD-Casinn Laif	SD-Uizele Paif
RIM-Tequila Paif	SD-Casinn 1Paif	SD-Uizele.alf
RIM-Tequila.af	SD-Cheese Paif	SD-For My Homes Laif
RIM-To the King Paif	SD-Cheese.af	SD-For My Homes 1Pa
RIM-To the King.af	SD-Clap My Door Paif	SD-For My Homes 2aif
RIM-Train Station.af	SD-Clap My Door.af	SD-Fourty Coats 1Paif
RIM-Underworld.af	SD-Classic Car Paif	SD-Fourty Coats 2Paif
RIM-Wasting Room.af	SD-Classic Car.af	SD-Foxy Night Laif
RIM-You Know Paif	SD-Classy Laif	SD-Foxy Night 1Paif
RIM-You Know.af	SD-Classy 1Paif	SD-Foxy Night 2aif
RIM-You Too.af	SD-Classy 2aif	SD-Genetic Paif
	SD-Classy 2Paif	SD-Genetic.af
SD	SD-Collar Street Laif	SD-get That Paif
SD-Hardrobe 2.aiif	SD-Pretty Ameda.aiif	SD-Tom Island.aiif
SD-Hardrobe 2P.aiif	SD- Pretty Madi.Paif	SD-Train Station 1Aaiif
SD-Hardrobe 3.aiif	SD- Pretty Madi.aiif	SD-Train Station 1P.aiif
SD-Hood Child 1.aiif	SD-Public School 1Aaiif	SD-Train Station 2Aaiif
SD-Hood Child 1P.aiif	SD-Public School 2Aaiif	SD-Train Station 2P.aiif
SD-Jamaite.aiif	SD-Public School 3Aaiif	SD-Under Floor.4aif
SD-Jara Avenue.aiif	SD-Public School 3P.aiif	SD-Under Floor.5aif
SD-Jean Live.1.aiif	SD-Purple Jam 1.aiif	SD-Underworld.1aif
SD-Jean Live 1P.aiif	SD-Purple Jam 2.aiif	SD-Underworld 2Aaiif
SD-Jampin Frog.aiif	SD-Purple Jam 3.aiif	SD-Very Deep.aiif
SD-Jungle West.aiif	SD-Queen Bridge.4aif	SD-Waiting People 1.aiif
SD-K-Billy 1.aiif	SD-Queen Bridge.5aif	SD-Waiting People 2.5aif
SD-K-Billy 2.aiif	SD-Roge Cava.aiif	SD-Waiting People 3.5aif
SD-K-Billy 5.aiif	SD-Rol Puan.4aif	SD-Waiting People 4.5aif
SD-K2000.4aif	SD-Rol Puan.aiif	SD-Waiting Room.4aif
SD-K2000.aiif	SD-Reggae Like.4aif	SD-Waiting Room.5aif
SD-Koisnally.4aif	SD-Reggae Like.5aif	SD-Wallup.5aif
SD-Koisnally.aiif	SD-Routs Tree 1.aiif	SD-What do Ithank.aiif
SD-Kelly Mouth 1.aiif	SD-Routs Tree 2.aiif	SD-White Line.1aif
SD-Kelly Mouth 1P.aiif	SD-Run Run.4aif	SD-White Line.5aif
SD-Kelly Mouth 2.aiif	SD-Run Run.5aif	SD-Wind Time.5aif
SD-Kentoolisy.4aif	SD-Sad Day.4aif	SD-Wind Time.6aif
SD-Kentoolisy.aiif	SD-Sad Day.5aif	SD-Years Ago 1P.aiif
SD-Kimmy.4aif	SD-Secret FBI.1Aaiif	SD-Years Ago 2Aaiif
SD-Kimmy.aiif	SD-Secret FBI 1P.aiif	SD-Years Ago 3.5aif
SD-La Belle.4aif	SD-Secret FBI 2.5aif	SD-You Too.1Aaiif
SD-La Belle.aiif	SD-Shorter 1.5aif	SD-You Too 1P.5aif
SD-Lee John.4aif	SD-Shorter 2.5aif	SD-You Too 2.5aif
SD-Lee John.aiif	SD-Shorter 3.5aif	SD-You Too 3.5aif
SD-Locks in the City 1.5aif	SD-Shorter 4.5aif	SD-You Too 3P.5aif
SD-Locks in the City 1P.5aif	SD-Shorter 4P.5aif	SD-Z Rock.5aif
SD-Locks in the City 2.5aif	SD-Shorter 5.5aif	SD-Zapoun Club.5aif
SD-Loud Cloud.4aif	SD-Sanoke Road.5aif	SD-Zirou.5aif
SD-Loud Cloud.aiif	SD-Snoop Corn 1.5aif
SD-Martinik.4aif	SD-Snoop Corn 1P.5aif	SD FX
SD-Martinik.aiif	SD-Snoop Corn 2.5aif
SD-Massive Stone.4aif	SD-Snoop Corn 2P.5aif	SDEX-101.1.5aif
SD-Massive Stone.aiif	SD-Snoop Corn 3.5aif	SDEX-101.2.5aif
SD-Missile Command.4aif	SD-Snoop Corn 4.5aif	SDEX-101.3.5aif
SD-Missile Command.5aif	SD-Snoop Corn 4P.5aif	SDEX-8box like That 1.aiif
SD-Money Money.4aif	SD-Special Tour.5aif	SDEX-8box like That 1P.5aif
SD-Money Money.aiif	SD-Special Tour.5aif	SDEX-Bombay Loop.2.5aif
SD-My Time.4aif	SD-Steel Diamond.5aif	SDEX-Bombay Loop.3.5aif
SD-My Time.5aif	SD-Steel Diamond.5aif	SDEX-8drihs Dub 1.aiif
SD-Not Guilty.1.5aif	SD-Straight Way.5aif	SDEX-8drihs Dub 2.5aif
SD-Not Guilty.2.5aif	SD-Straight Way.5aif	SDEX-Casino.5aif
SD-Not Guilty.3.5aif	SD-Street Light.5aif	SDEX-Clasey 1.aiif
SD-Obsession 1.5aif	SD-Sunact Trip.5aif	SDEX-Clasey 2.aiif
SD-Obsession 2.5aif	SD-Toop.5aif	SDEX-Clasey 3.aiif
SD-Obsession 2P.5aif	SD-Toop.5aif	SDEX-Clasey 4.aiif

SDFX-Fourly Cents L.ai

SDFX-Fourly Cents LP.ail

SDFX-Fourly Cents 2.aif

SDFX-Fourly Cents 3.all

SDP-X-4041y Cenis 4. All

SDFX Georgia 1.28

SDEX Golden Way P

SDEX-Golden Way aif

SDEX-Hardcore 1.aif

SDFX-Hardcore 2.aif

SDFX-Oncle Tom L. alf

SDFX-Ondie Tom 2.aif

SDFX-Ondie Tom 3.48

SDFX-Once Tom Lef

SDFX-Check Tool 5

SDFX-PTPE LLC. All S12EX-Publin Schwan], of

SDFX-Rock Parte 1.pdf

SDFX-Rock Party | P.ail

SDFX-Rock Party 2.aif

SDFX-Shorter Laif

SDFX Shorter 2.aif

SDFX Shorter 2P.aif

SDFX-Waiting People Ltd

SDFX-Waiting People 241

SDFX-Watching People 3.511 SDFX-Ver-Tax-Latif

SDEX-You Too 2 cif

SDEX-You Too 5.aif

[Non-Text]

SCRATCH

SCR-Bang Bang P.aif

SCR-Bang Bang,air

SCR-Choose 1.aft

SCR-CHOSCE Z-AIR

SCR-Missile Command Pair

SCR-Missie Construction

SCR-Red Pair 1 [MW]

SCR-Red Pair 1P10M yi

SCR-Red Pain 2 D+1.49

SCR-Red Pain 3 D#1.ai

SNAP-Military Address: xif

SNAP-Back the F up.aff

SNAP-Spanish Street.ai

SNAP-Sunset Trip 1.ai

SNAP-Sunset Trip 2.ail

SNAP-Waiting People P.alt

SNAP-Waiting People.all

SUB

SUB-Arabic Lian Paif

SUR-Arahic Lion.aif

SUB-Shake Itaif

SUB-Smack Back.aif

SUB-Sunset Trip.all

SUB-Tequila Al.aif

SUB-Waiting People G&Lail

SUB-What do Thinkant

VOX

VOX-Beat like That.ai

VOX-Big Fire P.ai

VOX-Big Fire.ai

VOX-Big Life.ai

VOX-Iloasta Piann.aif

VOX- Bronx P.aif

VOX-Bronx.aiF

VOX-CLA Smooth lift

VOX-Clap Dance Pair

VOX-Clap Dance,air VOX-Eda Power C*

VOX-Eckel Power G45.981 VOX Escalda Rolf

VOX-Escalde P.91 VOX-Escalde cif

VOX-First Splash

VOX-First Splash sif

VOX-Fizzle Vox G23.aif

VOX-Fizzle Vox P G63.ai

VOX-Fur My Homies P.ail

VOX-Fur My Homies.aiif

VOX-Funky Moicha 143.aif

VOX-11nod Child Paif

VOX-Hood Child.aif

VOX-Jazz.Avenue.aif

VOX-Jeezo Paif

VOX-Jeezo.aif

VOX-Jumpin Frog P. alf

VOX-Kelly Mouth 1.aif

VOX-Kelly Mouth 2.ai

VOX-Martinik.aif

VOX-New Fezo P

VOX-New Fezo.all

VOX-One One One.all

VOX-One Way 1.59 VOX-One Way 2.59

FOX-Chile Way 2511 FOX-Ⅱnd Prince

VOX-Red Pain.All VOX-Serenity Lai

VOX Security 2 air

VOX Shut Up 1aff

VOX-Shut Up 2-aif

VOX-Smile.ai

VOX-Snow Man.aif

Beagol-Big Tom, Fingertips Opn 2.ai

Bengol-Big Tom, Open Lai

Bengol-Big Tum, Open 2.ai

Bongo1-Small Turn, Lingertips Mt 1.aif

Bongo1-Small Turn, Fingertips Mt 2.ail

Bongo1-Small Tom, Palm 1aff Bongo1-Small Tom, Palm 2 off

Bongo | Small Tarn, Palm 2.24 Bongo1, Tom | Tinsering Open Leaf

Bongo2-Tom1 Fingerips Open 2 aif

Bongo2-Tom! Fingertips Mute 1-aif

Bongo2-Tom1 Fingertips Mute 2.aif

Bongo2-Tom1 Open 1.aif

Bongo2-Tom1 Open 2.aif

Bongo2-Tom1 Palm 1.aif

Bongo2-Tom! Palm 2.tif

Bongo2-Tem1 Slap 1.al

Bengo2-Tent Stap 2.5ml

Bongo2-Tuni2 Mute 1.31 Brany2-Tum2 Mung 2 xif

Bengos2-Turn2 Open Lai

Bongo2-Turn2 Open 2.ai

Bongo2-Tum2 Slap Laif

Bongo2-Tom2 Slap 2.aif

Rongo2-Tom3 Open Laif

Rongo2-Tom3 Open 2.aif

Bongo3-Fingertips Mute Laif

Bongo3-Fingertips Mute 2.ai

Bongo3-FingerLips Open 1.ai:
Bongo3-FingerLips Open 2.ai

Bougos-Fingetips Open 2.0m

Congas

Congal-Mute 1.aif

Congal-Mute 2.ai

Congal-On feet, slap open Lail

Congal-On feet, slap open 2.all

Congal-Slap mute Lail

Congal-Slap route 2.ai1 Congal-Flap open 1.ai6

Cng21-Snap open 1.all Cong11-Slan open 2.ai

Conga2-Map Open 2.41 Conga2-Mute v8.41

Conga2-Mute v9-af

Congs2- On feet, mute Laif

Conga2-On feet, mute 2.aif

Conga3-On feet, fingertips mute 1.alf

Conga3-On feet, fingertips mute 2.aif

Conga3-On foot, fingertips open 1.aif

Couga3—On feet, fingertips open 2.aif

Conga3-On feet, fingerlips side 1.5al

Conga3-On font, fingerlaps side 2.5ml (Group 1) (per foot, vol 1 w/

12 February 30, 2014. Washington St

Sm|Perc

Amax&Lai

A/pxy/© 2.ait

Chimes 1.aif

Chimes 2.aif

Cowbell Lai

Cowbell 2.ai

Cricket Tail

Cricket Z.21

Guino 1, aif Guino 2, aif

Maracas Lai

Maracas 2.aif

Shaker 1.aif

Shaker 2.aif

Shekere 1.aif

Shekere 2.aif

Shekere 3.aif

Tambourine 1.aif Tambourine 2.aif

Tambourine 2.91 Triampel 1.67

Thangc 1. al.

Triangle 2. All Woolblack 1. wi

Woolblack 2.ai

1. Promoter: 2019

Udu

Cajon Big-Open Laif

Cajon Big-Open 2.ai

Cajon Big-Palm 1.aif

Cajon Big-Palm 2.all

Cajon Small Open 1.ai Cajon Small Open 2.ai

Cajon Small-Palm 1.pdf

Cajon Small-Palm 2-sif

Udu Flat Laif

Udu Flat 2.aif

Udu Flat 3.aif

Udu Flat 4.alf

Udu Flat 5.alf

Udu Flat 6.3alf

Udu Flat 7.5if

Cdu Flat 8.5ml

Cul Round 1.31 Udu Round 2.41

Ledu Round 3 aif

Udu Round 4.ai

Udu Round 5.aif

Udu Round 6.aif

Udu Round 7.aif

17.4.2.0.12

8o8BBx-CC-T03-D05.aif

8o8BBx-CC-T09-D05.aif

8o8BBx-Clap.ai/

8oBBBx-Clave.ai

SoBIBix-Cangal Ii-T05.ail

SoBix-Cangal II-109,air SoBRx-Cangal Ia T85,ai

SoBRAx Cangal B-Ti3a19 SoBBRx CangLo T08 aif

8o6BBx-CongoMd-Tf5-aif

8oBBx-CorgaMd-T09.aif

8o8BBx-Cowb.ai

8o\$BBx-HH1.aif

8o8BBx-Maracas.aif

8o8BBx-OH-D04aif

8o8BBx-OH-D09.ai

808BBx-RIM.ail

808BBX-SD-T01-D053E1 S-89Rb-S12-T04-1211

80BBX-SD-T04-D113E 8q8BBx-S12-T06-L02-πi

8o8BBx-S12-T09-D08.aif

8o8BBx-Toml E-Tll5.ai

SoBBBx-Toml E-T19.ai

SoBBx-TomLo-T15.aif

SoBBRx-TomLo-T19.aif

Molden Acoustic Risk

Rack mass Round Electric Bass

Seventies Combo

SuBass

Guitar

Clean Electric

Clean Strat Guitar

Crunch Strat Guitar

Gipsy Jazzy Guitar

Guild Acoustic LuciToris Glu

Lesp Twin Clean Martin Steel Cuites

March Steel Guitar Pure Guitar

Keyboards

Acoustic Grand Piano

Da Ham Organ

Lip Brite Piano

More than Old EP

My DREAM Piano My Duro

My Dyrt My Dyrot

Old Electric Piano

Soft & Zen Piano

Standard Organ

Pad & Strings

Analog Pad

Beauty Zen

Brian Juno CS70M Elaty Red

Custom Poly Pad Excessive Strings

Explosive Sui Give Me Fifth

I Saw You

IX Pressive

Mellow Choir

Other Strings

Pizzicati

Borival of Charley

Pha1 Mono Synh

Pha1 Poly Synth

Power Mono

Sync Five

Test of batch y1x

Synth Bass

Dirty Viral Blass

Double Evangel Bass

DSP Bass

Evangel Bass

June Biss

Kiluyc Analog

Reverse Acid Biss

Sally FERT DSS

Tactical MC

1. 2018年

Synth Poly & Leads

Among School

C570M Sinc

Distly Bead Jumior Sunc

Lead in 2017

Plastic Tone

Poly Phaser

Soft Plug

Softy Brass

Square Lead

Tangerine Sequence

Vintage Brass

World

African Guitar

Africa Pluck

Chinese Log

Looms World Bell

Oriental Mono

Chemical Strings

Pine my bell

Yarniesk Sitar

(四)基金产品概况

X-Samples

Note: These sampled instruments are designed as urban-style "sample hits".

Presets that include (w) in their name

use the midwheel on your MLD control to switch between different types

Figure 30: Figure 2.1.1.

B

DEATH

Bass - Duty Bass [w]

Bass - Eden Power

Bass - Electro Tape

Bass - Fecalase

Bass - Puzzle

Mass Fourtyx.Ems Donn C#O###

Barr, GooDoe

Boss. Happy R

Bass - Eurapin Froa

Bass - K2000

Bass - Keishally

Bass - Kelly Mouth

Bass - La Belle

Bass - LA Century

Bass - Locks in the City

Bass - New Fuzu

Bass - One Day

Bass - Palm Beach

Bass - Fruit Rock

Bass - Kools Tree

Bass - Kft Kar Roo - Fddry

Dors: Slow-K

Boss. Smack Rock

Bass - Smoke Road (w)

Boss - Solar

Bass - Spacial Tour

Bass - Straight Way

Bass - Time is Money (w)

Bass - Wallup

Bass - You and Me

Bass - You Know

Bass - Zspan Club

Bass Round

Hass - Nicken Day

n

Bass - Aminavast Bass - Bess-Bass

Page: Black Eagle

Boas - British Dub

Bass - CIA Smooth

Bass - Coracabana

Bass - Crazy Horse

Bass - Dark Hood

Bass - Dark Seal

Bass - Diamond

Bass - Dumit Nos Party

Bass - Empire

(1) 2017年1月1日

Bass - Local Cloud

Bass - Martinis

Boss - My Game

Bass - Not Guilty

Bass - Oil and C

Base Paradine

I live. Recven

Bass Rock Pa

Bass - Spoon Corn

Bass-Snow Man

Pass - Sunset Trip

Pass - Tahiti Stone

Bass - Think About Me

Bass - Tom Island

Biss - Cramber.

Bass Very Deep

Bass Synth

Bass, Arabic Li

Bass D.R.C.

Bass - Back the F up

Basa - Ref the Shac |

Pass - Br the Shac 2

Pass - Big Life

Pass - Big Store

Bass - Boosta Plane

Bass-Cash20

Bosch Chip Guide Box - (Nor) Trust

Bass - (Corbinen)

Bass - Electric Lva

Bass - Fantasy Dream

Bass - First Floor

Bass Five Billion

Bass Generic

Bass-Glorpa

Miss Haralble Bos. Y Dilat

Bass: Kentucky

Basa - Killa Syste

Pass - Los Palmas

Boss - My Game Two

Boss - Rage Cave

Boss - Rogers Like

Bass - Relax

Bass - Sereml

Biss - Schott

10.30 - 2012 Banc - S###

Guitar - Copscabana

Guitar - Crazy Horse

Guitar - Diamond (w)

Guitar - First Splash

Guitar. Give it?a Me

Guitar Golden Way

Guitar Hacienda (w)

Guitar - Happy Ring [w]

Guitar - Harbour of Heaven

Guitar - Jezzo

Gn(3)-K-B(1)(8) Guine, Y-2000

Guitar - Kelly Mouth (wi)

Guitar - Kentucky (w)

Guitar - Lil Queen (w)

Guitar - Locks in the City (w)

Guitar - Martinik (w)

Guitar - Not Gully

Guitar - Oil and C

Guitar - Paradise

Guitar - Pretty Amelie (w)

Guitar Pretty Mad (w)

Guitar - Nynese (w)

Guitar - Snack Back Guitar - Smoke Road (wt)

Guitar - Solar

Guitar - Spatial Tour

Guitar - Straight Way (w)

Guitar - To the King (w)

Guitar - Wallup

Guitar - White Line (*)

Guitar - You Know (w)

Guitar - You Job

(###) 2014.17

Hit Hit Big Store (w)

Hit - Casino

Hit - Classy

Hit - Crazy Horse

Hit - Dark Soul (w)

Hit - Docideo

Hit - Enigma

Rt - FMH Food (%)

Hit: Cold-Wee

Hit - Locks in the City (w)

Hit - My Time [w]

Hit : (Obranion/so)

Mass synth - Big Fire (b)

Ethanis Elura, Egyptian Tira

Ethnic Flute - Epigenetic

Ethnic Reed - Gory Desert

Flute - Beat like That

Flate-Chub

Flute - Jamaica

Flute - Las Palmas

Fate - The Cure (w)

Harp - Diamond (w)

Harp - I can Live (w)

Vibes-Jazz Avenue

Vibes-To the King

Organ

Organic Classic Car

Organic First Path

Piano Baby Cycle (w)

Piano - Bang Bang (w)

Piano - Boosta Piano

Plano - Coffee Street Piano - Double-Box

E-mail: Daxley Dotkey (A)

Piano - Piano

Piano - Jeezo (A) Diano - Kille-Sun

Piano - 14 Century (ac)

Dinner-Massive Stone

Pisma - One One One (w)

Piano - Sud Day (s)

Piano - Shut Up (w)

Piano - Skew Keys (w)

Piano - Steel Diamond (w)

Piano - What do Think (w)

Piano FX Dorvidao

Sample

1. 2017年1月1日

Strings

Strings - Baya Dance (w)

Strings - Boom Heart (w)

Strings - Bounly Attack

Simpfs - Hronix (W)

Sripps - Carly Woldt TW Strings - Ches the Gas

Strings Dark Hood (w)

Strings Empire

Strings - Jamaitac

Strings - LA Century

Strings - Massive Stone

Strings - Not Guilty

Strings - Scotty jacket (w)

Strings - Shut Up (w)

Strings - Solid

Strings - Stock Diamond

Strims Fix, Harbuer

Strings Pizza - Return (w)

Strings Pizz - Solar

Strings Synth Hardcore

Strings Synth Wind Time (w)

Synth Long

Synth - 101

Synth - Atlantime (W)

Synth - B.R.C. (W)

Synth • Big Score Smith Place, Full

South - Chancy

South - Dark Hotel (a)

South - Dentist

Synth - Dirty Teeth

Synth Doctor Hyde

Synth - Down with the King (w)

Synth Enigmatic

Synth Fantasy Dream

Synth. P124

Synth - K.M. McAlry Svath - Killa Surt

Synth - La Belle

Synth - Low Ride

Synth - Missile Command (w)

Synth - Mo (w)

Synth - New Fezo

Synth - On and On (w)

Synth - One Day

Synth - Return

Sonth - Sleep Time

Synth - Back the F up

Synth - Bf the Shw (w)

Synth - Blues Unity

Synth - Candy Wood

Synth - Cheese (w) Smith - Can Daney

Synth - Cap Dance Synth - Clan My Door

Synth - Daddy Donkey

Synth - Duty Bass

Synth - Electro Tape (w)

Synth - Escalade (w)

Synth - Fifth Avenue

Synth - First Splash (w)

Synth - Five Billion (W) Synth - For My Homies

Syndt • For My Hones Seath • GeoDec (w)

South - Jazz Avenue (w)

Synth - lcezo

Synth - Kimmy (w)

Synth - Locks in the City

Synth - My Game

Synth - Not Guilty

Synth - Obsession

Synth - Paradise Synth - Phot-Block

Synth - Bull Keer Svath - Pine Line

Synth - Pipe Line Synth - Rage Cove

Synth - Secret FBI

Synth - Shake It (w)

Synth - Smile (w)

Synth - Snoop Cor

Synth - Snow Man (w)

Synth - Spanish Street

Synth - Sunset Trip

Synth - Tarp Synth - Tell Me W

Seth - Think About Me (w)

Synth - Tom Island

Synth - Tribuzone

Synth - Underworld (w)

Synth - Very Deep (w)

Synth - Vaodon Riddim

Synth - Years Ago (Synth 7 Books/pc)

Synth - Z Rock (W) Synth - Zanou Club

Syndir - Zipani Club (w) Sroth - Zino (w)

c) and E## (w)

SMS Clap Beat.btpk

Synsonic Reggae.bipk

Tarn Star 500 Electro.btpk

YDD Ten FoxtrolLbtpk

8 — Anthology Kit

GM KITS

1 Classic

AccT1

AccT 6

Classic R-78

Classic R-8000

DR Tracks

Drain MX

Druff MX UR Sixteen

HR Sixteenβ

K-DDM Hundreds

1. Drama

R Hundred

RZ One

SMS 400

SMS Clap 1

SMS Clap 2 The 606

The 707

The 808 Basi

The 808 Punch

The 909 Basic

The 909 Decay

The 909 Short

YRX Fix

2 Analog

AceT2

AceTR

Amik 100 Gesent M

Cancert White Dynamaker

ETLDay

ETI Drum Sport 2

KPR Fir

KPR Seven

KPR Three 2

Mini Pops

The 66

The 77

The Kit

Turn LD Toms only

TR Clane 805

TR Claire 909

UlmVax VermoDrums

Wers Motic

YMR Ten

3 Digital

Arranger Drums

Bhara Drums

D.Rhythm 110

D.Rhythm 220

D.Rhythm 220E

D.Rhythm Pad Vel Pitch

Drum Performer

Drumstar

Dyn ADDI Basic

Dyn ADDI Electro Dyn ADDI Tower

Dyn A3D1 Power KDDD One

K-DDD One 1 K-DDD On+2

K-DDD One 3 Las

K-DDD One Elect

K-DDD One Gate Reverb

K-MR Sixteen

K-S Three Acoustic

K-S Three Electronic

L9000

MDP Forty

OMB AVE E.I. Hum X

SMS 9

SMS M

SMS Trix

SR Drums

The 5n5

The 626

Wers Drims YP Two

YDD T

YOY Tep

YRX Eight

YRX Seven

9 — Anthology Pattern

Breal G	Disco I	Latin
Breal H	Disco K	Baton A
Breal I	Disco L	Baton B
Breal J	Disco M	Baton C
Beetillox A	Disco N	Baton D
Beetillox B	Disco O	Baton E
Beetillox C	Disco P	Baton F
Beetillox D	Disco Q	Baton G
Beetillox E	Disco R	Baton H
Break A	Disco S	Baton I
Break B	Disco T	Baton J
Break C	Disco U	Baton K
Break D	Disco V	Balero A
Break E	Disco W	Balero R
Metro	Disco X	Bossa Nova A
	Disco2 A	Bossa Nova B
Caribbean
Bequine A	Disco2 B	Bossa Nova C
Bequine B	Disco2 C	Bossa Nova D
Bequine C	Disco2 D	Bossa Nova E
Bequine D	Disco2 E	Bossa Nova F
Bequine I	Disco2 F	Bossa Nova G
Bequine J	Disco2 G	Bossa Rock A
Bequine K	Ethnic	Bossa Rock B
Bequine L	Enza A	Bossa Rock C
Bequine M	Enza B	Chacha A
Bequine N	Enza C	Chacha II
Bequine O	Enza D	Chacha C
Bequine P	Enza E	Habanera A
Bequine Q	Tribol A	Habanera B
Calypso A	Tribol B	Habanera C
Calypso B	Tribol C	Habanera D
Calypso C	Tribol D	Habanera E
Calypso D	Tribol E	Habanera F
Calypso E	Tribol F	Habanera G
Calypso F	Tribol G	Habanera H
Calypso G	Western A	Habanera I
Calypso H	Western B	Habanera J
Calypso I	Western C	Habanera K
Roggae A	Western D	Habanera L
Roggae B	Shuffle A	Habanera M
Roggae C	Shuffle B	Habanera N
Roggae D	Shuffle C	Mambo A
Roggae E		Mambo B
Roggae F		Mambo C

Samba C	Seoul I
Samba D	Seoul J
Samba E
Samba F	Rock
Samba G	Ballad A
Samba H	Ballad B
Samba I	Ballad C
Tango A	Ballad D
Tango B	Ballad E
Tango C	Ballad F
Tango D	Rock A
Tango E	Rock B
	Rock C
Modern	Rock D
Dance A	Rock E
Dance B	Rock F
Dance C	Rock G
Dance D	Rock H
Dance E	Rock I
Electro A	Rock I
Electro B	Rock K
Electro C	Rock L
	Rock M
Oldies	Rock N
Bougie Woogie A	Rock O
Bougie Woogie B	Rock P
Bougie Woogie C	Rock Q
Bougie Woogie D	Rock R
Foxtrot A	Rock S
Foxtrot B	Rock&R
Foxtrot C	Rock&R
Foxtrot D	Rock&R
Foxtrot E	Rock&R
Foxtrot F	Rock&R
Foxtrot G	Rock&R
Foxtrot H	Rock&R
Foxtrot I	Rock&R
March A	Rock&R
March B	Slow Ro
March C	Slow Ro
March D	Slow Ro
Polka A	Slow Ro
Polka B
Polka C	Waltz
	Waltr A
R'n B	Waltr B
Rythm&Blues A	Waltr C
Rythm&Blues B	Waltr D
Rythm&Blues C	Waltr E
Rythm&Blues D	Waltr F

10 — Anthology Loop

1 CLASSIC

AceT 1

AceT1-Beguine.ai

Acet1-Bosa Nova.21

AceTT-Cha-cha.ait

Acet 1-Dixieland,21

ACETTAIX TOLAN

1. aT1 Month of

NCETT-Marchan

10T1 DockinRoll if

Accr. 100%

AcoT1 Shuffle of

AccT1-Slow Rock sif

AcoT1-Swing sif

AccT1-Twoq-af

AccT1-Waltzaif

AccT1-Western.all

AceT 6

AceT6-Ballad A.ail

AceT6-Ballad B.ai

AceTS-Ballad C.ai

AceT6-Beguine A.ail

Acet a negume 15.24

Acet a negarne c. al!

Acel B-Rossa Nova S.Ait

Ace To-Waltz B. all A. T6, Waltz G. cf

Acetol-Wald-Clam

Classic R-78

cR78-Disco1.aif

cR78-Disco 2.aif

cR78-Disco 3.aif

cR78-Disco 4.ai

CR78-Carré T LoopAir

CR78-Callo 2 Doopair eP36-Reclet-if

cR78-Rock 1.eif

cR78-Rock 3.9if

cR78-Rock 4.aif

cR78-Rock 5.aif

cR78-Rock 6.ai

cR78-Rock 7.ai/

cR78-Rock 8.ai

cR78-Wallz Tail

CR/8-Waiz Z.201

Classic R-8000

Regular Intro

cR8K-Intro 1.aif

cR8K-Intro 2.aif

cR8K-Intro 3.aif

cR8K-Intro 4.aif

cR8K-Intro 5.ail

cR8K-Intro 5.ail

CRSK-INTRO 7.31

COK-THK 0.11

[Non-Text]

cR8K-Rock 1.xif

cR8K-Rock 2.ai

cR8K-Rock 3.ai

cR8K-Ro2s 4.2il

ERK-R025 5.21

ERK-ROZ 0.21

cR85. Sarpha 1, aif

cR8K-Sampha 2. aif

cR8K-Swing Laif

cR8K-Swing 2.4if

cR8K-Tango.aif

cR8K-Waltz.aif

With Shuffle Intros

cR8K-Sh-Intro L.aif

cR&K-Sh-Intro 2.aii

ERK-SH-TH(RO 3.41)

eR85. Sh Intm 5 ai

cR8K-Sh.Intro6.aif

cR8K-Sh-Intro 7.aif

cR8K-Sh-Intro 8 aif

With Shuffle

cR8K-Sh-Beguine.aif

c108K-Sh-Bossanova.ai

cl08K-Sh-Caschaul

CROK-5H-DISC0319

eRMC-Sh-LinRCA

-28% Eh Ushangwa

cP85. Sh. Mambo sif

cR8K-Sh Merengue-af

cR8K-Sh-Rhumba aif

cR8K-Sh-Rock | aif

cR8K-Sh-Rock 2.aif

cR8K-Sh-Rock 3.aif

cR8K-Sh-Rock 4.aif

cR8K-Sh-Rock 5.aif

ck8K-Sh-Rock 6.91

CROK-SH-Samba 1998

CROK-SH-3M258 2.51 cR97 Sh Termo cf

CLOK 51 Thangoma

2 ANALOG

AceT 2

AccT2-Bcguinc.aif

Acc12-Bossa Nova.ai

Acc12-Cha Cha.al

AceT2-Tango.ai

AceT2-Waltzaii

AceT2-Western.all

AceT 8

AceTB-Baion.aif

AceTB-Ballad.aif

AceTB-Bass 2bt.air

Acet B-Hass 4bt,air

Acet 8-Butoxy(IIare Zol. al.) Acet 9-Butyryl (the if

Accr 6-BAHOSHIPE 401.32 AccT8 Retuning if

AccT8-Belco if

AccT8-Boss Nova-lif

AccT8-Cha-Cha.ai

AccT8-Foxtret1.aif

AccT8-Footrot 2.ai

AceTB-Jazz Waltz.ai

Ace18-Mambu. al.

Acet 6-March.201

Acet B-Parade,an Acet B-Pharmine

Ac*TR Rock'n Roll 1.ai

AceTB Rock'n Roll 2 aif

AceTB-Samba.aif

AceT8-Shuffle.aif

AceT8-Slow Rock.aif

AceT8-Swing 1.aif

AceT8-Swing 2.auf

Accel 8-Swing 5air

Accr 6-Tangol. al Accr 8- Welto. of

Act 15-4023.52

Concert Mate

CMate-Bossa Rock.aif

CMate-Bosse Waltzaif

CMale-Boussall

C.Male-Fox Trot Waltz.all

C.Mate-Fox, T10c.all C.Mate Latin line Text oil

CMand Latin Rock at

CMate Latin Waltz-aif

CMate Latin.ai

CMate-Metro.ai

CMate-Rock Waltz.aif

CMate-Rock.aiif

CMate-Swing.aif

CMate-Waltz Swing,air GM to Walbani

KPR2-Boss, Nov 1.5ff KPR2-Ross, Nov 1.5ff

KPR2-Bossa Nova 3-aif

KPR2-Cha Chaai

KPR2-Disco 1.ai

KPR2-Disco 2.ai

KPR>10cm 3.5m

KPR2-Pops 2.ai

KPR2-Pops 3.ai

KPR2-Rock Lai

KPR12-Rock 2.all

KPR12-Rick 3.ai KPR12-Rock 4.ai

KPR2 Rock 5.aif

KPR2-Rock 6.aif

KPRf2-Rock 7.aif

KPRf2-Rock 8.aif

KPR2-Rock 9.aif

KPI2-Rock 10.317 KDP6: Rock 11:49

KPR2-Rock 11.98 KPR2-Rock 17 aif

KPR2-Rock 12.02 KPR2-Rock Waltz

KPRF2-Rumpa.sif

KPR2-Samba.ai

KPR2-Shuffle.ai

KPR2-Swing Lai

KPR2-Swing 2.ai

KPRI2-Swing 3.ai

KPRI2-Tango.aiF KPRI2-Walzt.aiF

NTRIZ-TREIDAH

KPR Three 2

KPRt2-5-4 Beat Laif

KPRt2-5-4 Beat 2.aif

KPIr2-5-4 Beat 3.alf

KPIr2-Afro.aif

KPI02-Balled 1.aif KPRt3-Balled 2.aif

KPR2-Bollad 2.aif KPR2-Bollad 3.aif

KPR2-Beguine.ai

KPRL2-Bossa Nova.1.ai

KPR2-Bossa Nova 2.ai

KPRI2-Bassa Nova 3.ai

KPR12-Chacha.al

KPRT2-Disco1.ai

KPR2-Discb 2.aif KPR3-Discn 2.nif

KPR2-Disco 3.ai KPR2-Disco 4.ai

KPRt2-Disco 5.aif

KPRt2-Disco 6.aif

KPRt2-Eaka.aif

KPRt2-Foxtrot.aif

KPIt2-Habanera.aif

KPRt2-Jazz Waltz.alf

KPR2-Mambo.ai

KPRU2-March.31

KPR12-Rock 9.ai

KPR12-Rock 10.ail

KPR12-Rock 11.ail

KPR12-Rock 12.ai

KPR12-Rick Waitz.all KPR12-Lumbo-iff

KPR12-Kinhizan KPR12-Samba aif

KPR12-Shuffle.aif

KPRt2-Swing 1.aif

KPR12-Swing 2.aif

KPR12-Swing 3.aif

KPRt2-Tango.aiif

KPRt2-Waltzaf

Mini Pops

M Pops-Ballad.ajif

MPups-Bossanova.pdf

MPups-Chacha.ai

MPups-Fox Trolail

MPups-Latin Bestail

MPups-Mambinaif

MPnps-Polka.aiF MPnps-Plack-LaiF

MPnps Rock 1 Alf MPnps Rock 2 alf

MPnps-Waltz.aif

1.0.10

OMB Two

OMB: Reguine Laif

OMBs-Reguine 2.aif

OMBt-Bossa Nova Laif

OMBI-Bossa Nova Zait OMBI-March Fan Test

OMRt-March Fox Trotair OMRt Rock oil

OMRt-Slow Rock air

OMBt-Slow Rockall OMBt-Swine.sif

OMB1-Tango.aif

OMBI-Waltzaalif

Октян Друпес

Organ Drums

OgnDr-Afro.ai

OgnDr-Beguine.ai

OgrDr-Roogie Wnogie.aif OgrDr-Box News.aif

OgrDr-Abaz Nova.air OgrDr Cha Cha. rif

OprDr. Jazz Rock aif

OgrDr-Mambo.aif

OgnDr-Marchaif

OgnDr-Rhumbra

OgnDr-Rhythm&Blues.aif

OenDr-Samba.aif

T35-Bass 2bt.aif	The 66	189-March 0B.aif
T35-Bass 4bt.aif	T6e-Bass&Sn8 1A.aif	189-March 1A.aif
T35-Bass&Sn 2bt-0.aif	T6e-Bass&Sn8 1B.aif	189-March 1B.aif
T35-Bass&Sn 2bt-Faif	T6e-Bass&Sn8 2A.aif	189-March 2A.aif
T35-Bass&Sn 2bt-Maif	16e-Bass&Sn8 2B.aif	189-March 2B.aif
T35-Bass&Sn 4bt 0.aif	16e-Bass&Sn16 0.aif	189-Parade 0A.aif
T35-Bass&Sn 4bt-Faif	16e-Bass&Sn16 1A.aif	189-Parade 0B.aif
T35-Bass&Sn 4bt-Maif	16e-Bass&Sn16 1B.aif	189-Parade 1A.aif
T35-Begnine Faif	16e-Bass&Sn16 2A.aif	189-Parade 1B.aif
T35-Begnine Faif	16e-Bass&Sn16 2B.aif	189-Parade 2A.aif
T35-Begnine-Maif	16e-Begnine 1A.aif	189-Parade 2B.aif
T35-Bossas Noms-0.aif	16e-Begnine 0A.aif	189-Routmo 0A.aif
T35-Bossas Noms-Faif	16e-Begnine 1A.aif	189-Routmo 0B.aif
T35-Bossas Noms-Maif	16e-Begnine 1B.aif	189-Routmo 1A.aif
T35-Cin Cha-0.aif	16e-Begnine 2A.aif	189-Routmo 1B.aif
T35-Cin Cha-Faif	16e-Begnine 2B.aif	189-Routmo 2A.aif
T35-Cin Cha-Maif	16e-BossaNova 0A.aif	189-Routmo 2B.aif
T35-Foutrot 1-0.aif	16e-BossaNova 0B.aif	189-Rock 10A.aif
T35-Foutrot 1-Faif	16e-BossaNova 1A.aif	189-Rock 10B.aif
T35-Foutrot 1-Maif	16e-BossaNova 1B.aif	189-Rock 1A Aif
T35-Foutrot 2-0.aif	16e-BossaNova 2A.aif	189-Rock 1 B.aif
T35-Foutrot 2-Faif	16e-BossaNova 2B.aif	189-Rock 1A Aif
T35-Foutrot 2-Maif	16e-CharCha 0A.aif	189-Rock 1B.aif
T35-Mambo Faif	16e-CharCha 0B.aif	189-Rock 20A.aif
T35-Mambo Faif	16e-CharCha 1A.aif	189-Rock 2B aif
T35-Mambo-Maif	16e-CharCha 1B.aif	189-Rock 2A Aif
T35-March-0.aif	16e-CharCha 2A.aif	189-Rock 2B aif
T35-March-Faif	16e-CharCha 2B.aif	189-Rock 2A aif
T35-March-Maif	16e-FexTret 0A.aif	189-Rock 2B aif
T35-Pazade-0.aif	16e-FexTret 0B.aif	189-Rock 30A.aif
T35-Pazade-Faif	16e-FexTret 1A.aif	189-Rock 30B.aif
T35-Pazade-Maif	16e-FexTret 1B.aif	189-Rock 3A aif
T35-Rhumbo-0.aif	16e-FexTret 2A aif	189-Rock 3B aif
T35-Rhumbo-Faif	16e-FexTret 2B aif	189-Rock 3A aif
T35-Rhumbo-Maif	16e-FexTret 20A.aif	189-Rock 3B aif
T35-Rock' in Roll-0.aif	16e-FexTret 20B.aif	189-Rock 40A.aif
T35-Rock' in Roll-Faif	16e-FexTret 2A aif	189-Rock 40B.aif
T35-Rock' in Roll-Maif	16e-FexTret 2B aif	189-Rock 4A aif
T35-Samha Faif	16e-FexTret 2A aif	189-Rock 4B aif
T35-Samha Faif	16e-FexTret 2B aif	189-Rock 4A aif
T35-Samha Maif	16e-Uhanana 0A.aif	189-Rock 4B aif
T35-Slow Rock-0.aif	16e-Uhanana 0B.aif	189-Rock 50A.aif
T35-Slow Rock-Faif	16e-Uhanana 1A.aif	189-Rock 50B aif
T35-Slow Rock-Maif	16e-Uhanana 1B aif	189-Rock 53A aif
T35-Swing 1-0.aif	16e-Uhanana 2A aif	189-Rock 5B aif
T35-Swing 1-Faif	16e-Uhanana 2B aif	189-Rock 5A aif
T35-Swing 1-Maif	16e-JrWaltz 0A.aif	189-Rock 5B aif
T35-Swing 2-0.aif	16e-JrWaltz 0B aif	189-Rock 60A aif
T35-Swing 2-Faif	16e-JrWaltz 1A aif	189-Rock 60B aif
T35-Swine 2-Maif	16e-JrWaltz 1B aif	189-Rock 6E 1A aif

T66-Shuffle OB.zif

T66-Shuffle 1A.ai

T65-Shuttle 1B.zil T65-Kh-01a2+ai

TSS-Shuttle 2A.311

T66-SlwRock 0A.aif

T66-SlwRock 0B.aif

T66-SlwRock | A.aif

T66-ShuRock 2A aif

T66-SlyRock 2B aif

T66-Swing1 0A.ai

T66-Swing1 0B.aif

166-Swing][A.2]

T66 Swing 13

T66-Swing 2B air

T65-Swing2 0A.ai

T65-Swing2 0B.aif

T65-Swing2 [A.ail]

T66-Swing2 | Ball T66-Swing2 | 2

TSS Swing2 2B air

T66.Swing3.03.ai

T66-Swing3 0B.aif

T66-Swing3 LA.ai

Too-Swings [B.air

166-Swing>2A.at

T66-Tango QA aif

T66-Tango 0BaiF

T66-Tango 1A.3if

T66-Tango 1B.al

166-Tango 2A.al

T65-Waltz IIA-zif

T65-Waltz II3.ai

T66-Waltz 1A,aif

T66-Waltz.13.aif

106-Walt2.25.pdf

103-79 allz.215.allr

The 77

T77-6-8 March aif

T77-Baion.aif

T77-Bellad.aif

T77-Bass 2bt.tif

T77-Bass 4b3a1

177-Bass&Sn 26L3al

17) Release of ARF

177-Paradec.ail

177-Rhumba.ai

177 Nambo 2. al. TSS Shuffle cif

T27 Slow Rock air

T27-Swing Loif

T77-Spring 2.0if

T77-Swing 3.019

T77-Tango.ai

T77-Waltz.Aif

T77-Western.aif

The Kit

1K-HH Loop 1-3-4 detail

1K-HH Loop 1-3-4 8bLaif

tK-HH Laop 1-3-4 disco.aif

tK-1111 Laop 1-4-4 4bLail

1K-1111 Liop 1-4-4 8bLai

TK-1111.1hop 1-4-4 discitain AK-1111.1op 2-3-4-thet

16-1751-00-2-4 split

TK-1H1::rep 2-3-4 solan TK-1H1::rep 2-3-4 diox

tK HH1 on 2.4.4 bht aif

tK-HH1eop 2-4-4?8bt-ai

tK-HH Loop 2-4-4 disco.ai

tK-HH Loop 3-3-4 4bt aif

tK-HH Loop 3-3-48bt:alf

tK-HH Loop 3-3-4 disco.aff

TK-HH Loop 3-4-1 detail

UK-HH Loop 3-4-1 85Call

TK-HH Loop 3-4-4 disc6.3m TK-HH Loop 4-3-4 diff

1K-1111 var 4x3-d 8bl xif

1K-1111 nor 4-3-4 discn.

tK-1III loop 4-4-4 4bt.aiif

tK-III1.nop 4-4-48bt.aif

tK-HH1.nop 4-4-4 disco.aff

tK-HH Laop 5-3-4 4bt.ai

TK-HH Laop 5-3-4 80L/ft

tK-HH Loop 5-3-4 disc ball tK-HH Loop 5-4-4 bts if

tK-HH1 con 5-4-4 Sbt aif

tK-HH Leon 5-4-4 disco aif

tK-HH Loop 6-3-4 btaif

tK-HH Loop 6-3-48btalf

tK-HH Loop 6-3-4 discoatif

1K-HH 1 non-f-d-d dhl air

UniVx-Bal0-Latin Swing.aif

UniVx-Ba10-Mambu.aif

UniVx-Ba0-Meringue.aif

UniVx-Ball-Rock 1.ai

Civix-Rall-Rock 2.2m

CHTRX-Rall-RO2x 3.2ff UniMv-Boll-Deck 4.6f

UniVx Bell Pumba air

UniVx-Bell-Sorpha-alf

Univx-Ball-Slow Rock.aif

Univx-Ball-Swing.tif

UniVx-Bal0-Tango.aif

UniVx-Ba10-Waltz.aif

Balance F

UniVx-Balf-Beguine.ai

UniVx-Ball-Bossanova.aif

Umvx-Ball-Cha-Cha.all

Civix-Nali-Tianahera. al

Chris X-Hall-Jazz. Waitzah: UniMv, Polf Latin Spring

UniVx, Belf, Marmo si

UniVx-Bolf-Merigue.

UniVx-BalF-Rock 1.aif

UniVx-BalF-Rock 2.aif

UniVx-BalF-Rock 3.aif

UniVx-Balf-Rock 4.aif

UniVx-Balf-Rumba.sif

UniVx-Balf-Sembo3.91

UHVA-BAR-SLOW ROCKJI Unit No. Bally-Swim SL

Unit (x-Bal-Term-af)

UniXx-Bx]F-Wa]x-sif

Full

UniVx-Full-Beguine.aif

UniVx-Full-Bossanova.aif

UniVx-Full-Cha-Cha.ai

UniVx-Full-Habanera.

UniVx-Full-Jazz Waltz.aif

Unix-Full-Latin Swing.net

Univx-Full-Manbo3.9

UniVx-Full-Memingua

UniVxFull-Back 2.tif

UniVx-Full-Rock 3.ai

UniVx-Full-Rock 4.ai

UniVx-Full-Rumba.ai

UniVx-Full-SambaLaif

Unix-Full-Slow Knock.art

Chris X-Full-Swing,air Uniform Full-Texas-alf

VranDr-Bhamboa.aiif	BhanD-Clas Cha Var2.aiif	X8t-Biol Box 1Caif
VranDr-Rock.aiif	BhanD-Clas Cha Var3.aiif	X8t-Biol Box 2Aiif
VranDr-Samba.aiif	BhanD-Disco Var1.aiif	X8t-Biol Box 2Blif
VranDr-Shuffle.aiif	BhanD-Disco Var2.aiif	X8t-Biol Box 2Caif
VranDr-Slow Ilexi.aiif	BhanD-Disco Var3.aiif	X8t-Beguline A.aiif
VranDr-Slow Rock.aiif	BhanD-Foxtrot Var1.aiif	X8t-Beguline B.aiif
VranDr-Slow Waltz.aiif	BhanD-Foxtrot Var2.aiif	X8t-Beguline C.aiif
VranDr-Tango.aiif	BhanD-Foxtrot Var3.aiif	X8t-Bossa 1Aiif
VranDr-Waltz.aiif	BhanD-Jazz Walz Var1.aiif	X8t-Bossa 1Blif
	BhanD-Jazz Walz Var2.aiif	X8t-Bossa 1Caif
Wers Matic	BhanD-Jazz Walz Var3.aiif	X8t-Bossa 2Aiif
WerMa-6-8 Marsch.aiif	BhanD-Jive R&B Var1.Laif	X8t-Bossa 2Blif
WerMa-Bisou.aiif	BhanD-Jive R&B Var2.aiif	X8t-Bossa 2Caif
WerMa-Boat.aiif	BhanD-Jive R&B Var3.aiif	X8t-ChlaCha 1A.aiif
WerMa-Bogancauf	BhanD-Mambo Var1.aiif	X8t-ChlaCha 1Baif
WerMa-Bosso Nova.aiif	BhanD-Mambo Var2.aiif	X8t-ChlaCha 1C.aiif
WerMa-Clas Cha.aiif	BhanD-Mambo Var3.aiif	X8t-ChlaCha 2A.aiif
WerMar-BoxtrotLaiif	BhanD-March Var1.Laif	X8t-ChlaCha 2Baif
WerMar-Mambaoui	BhanD-March Var2.aiif	X8t-ChlaCha 2Caif
WerMa-Marsch Beataiif	BhanD-March Var3.aiif	X8t-Cunury A.aiif
WerMa-Marsch Laif	BhanD-Polka March B. Var1.Laif	X8t-Cunury B.Ail
WerMa-Marsch Llaiif	BhanD-Polka March B. Var2.aiif	X8t-Cunury C.Ail
WerMa-Philii Laif	BhanD-Polka March B. Var3.aiif	X8t-Dance 1A.aiif
WerMa-Philii H.Ailif	BhanD-Pop 1 Var1.Laif	X8t-Dance 1Blif
WerMa-Rock n Rollaiaif	BhanD-Pop 1 Var2.aiif	X8t-Dance 1Caif
WerMa-Samba Bear.aiif	BhanD-Pop 1 Var3.aiif	X8t-Dance 2A.aiif
WerMa-Samba.aiif	BhanD-Pop II Var1.Laif	X8t-Dance 2Baif
WerMa-Shuffle.aiif	BhanD-Pop II Var2.aiif	X8t-Dance 2Caif
WerMa-Slow Rock.aiif	BhanD-Pop II Var3.aiif	X8t-Dance 3A.aiif
WerMa-Seal Boat.aiif	BhanD-Sumba Var1.aiif	X8t-Dance 3Baif
WerMar-Swing.aiif	BhanD-Sumba Var2.aiif	X8t-Dance 3Caif
WerMar-Tango.aiif	BhanD-Sumba Var3.aiif	X8t-Dance 4A.aiif
WerMar-Lwist Boat.aiif	BhanD-Shuffle Fox Var1.Laif	X8t-Dance 5Baif
WerMar-Lwist.aiif	BhanD-Shuffle Fox Var2.aiif	X8t-Dance 5CAif
WerMa-Walter.aiif	BhanD-Shuffle Fox Var3.aiif	X8t-Dance 5A.aiif
	BhanD-Slow Rock Var1.aiif	X8t-Dance 5Blif
YMR Ten	BhanD-Slow Rock Var2.aiif	X8t-Dance 5Caif
YMRt-16Blaiif	BhanD-Slow Rock Var3.aiif	X8t-Disco 1A.aiif
YMRt-Bossa Nova.aiif	BhanD-Slow Walz Var1.Laif	X8t-Disco 1Blif
YMRt-Disco.aiif	BhanD-Slow Walz Var2.aiif	X8t-Disco 1Caif
YMRt-Jazz Rock.aiif	BhanD-Slow Walz Var3.aiif	X8t-Disco 2A.aiif
YMRt-Mambaoui	BhanD-Swing Var1.aiif	X8t-Disco 2Blif
YMRt-Marsha.aiif	BhanD-Swing Var2.AIif	X8t-Disco 2Caif
YMRt-Rhumha.aiif	BhanD-Swing Var3.AIif	X8t-Disco 5A.aiif
YMRt-Samba.aiif	BhanD-Tango Var1.aiif	X8t-Disco 3B.aiif
YMRt-Slow Rock.aiif	BhanD-Tango Var2.aiif	X8t-Disco 3Caif
YMRt-Swing.aiif	BhanD-Tango Var3.aiif	X8t-Disco 4A.aiif
YMRt-Tango.aiif	BhanD-Twist Var1.aiif	X8t-Disco 4B.aiif
YMRt-Waltz.aiif	BhanD-Twist Var2.aiif	X8t-Disco 4Caif
	BhanD-Twist Var3.aiif	X8t-Disco 5A.aiif
XRc-Electro 3.Caif	XIR-Sambo 2.Caif	YDDr-Conga 2.aif
XRc-Electro 4.Aaif	XRr-Shuffle 1.Aaif	YDDr-Country.aff
XRc-Electro 4.Baif	XRr-Shuffle 1.Baif	YDDr-Disco Mambo.aff
XRc-Electro 4.Caif	XRr-Shuffle 1.Caif	YDDr-Disco Rap.aff
XRc-Electro 5.Aaif	XRr-Shuffle 2.Aaif	YDDr-Disco Shuffle.aff
XRc-Electro 5.Baif	XRr-Shuffle 2.Baif	YDDr-Disco.aff
XRc-Electro 5.Caif	XRr-Shuffle 2.Caif	YDDr-Plannasco.aff
XRr-Punk 1.Aaif	XRr-Shuffle 3.Aaif	YDDr-Pank Waltrz.aff
XRr-Punk 1.Baif	XRr-Shuffle 3.Baif	YDDr-Pank.aff
XRr-Punk 1.Caif	XRr-Shuffle 3.Caif	YDDr-Punky 12Baat.aff
XRr-Punk 2.Aaif	XRr-Slew Rock. Aaif	YDDr-Habanero.aff
XRr-Punk 2.Baif	XRr-Slew Rock. Baif	YDDr-Hard 16 Bcat.aff
XRr-Punk 2.Caif	XRr-Slew Rock. Caif	YDDr-Hard Funk.aff
XRr-Punk 3.Aaif	XIR-Swing. Aaif	YDDr-Hard Rock.aff
XRr-Punk 3.Baif	XIR-Swing. Baif	YDDr-Havy Funk.aff
XRr-Punk 3.Caif	XIR-Swing. Caif	YDDr-Havy Metal.aff
XRr-Punk 4.Aaif	XRr-Tribol. Aaif	YDDr-Hula Dansc.aff
XRr-Punk 4.Baif	XRr-Tribol. Baif	YDDr-Indian Beat.aff
XRr-Punk 4.Caif	XRr-Tribal. Caif	YDDr-Japanese 1aiko.aff
XRr-Punk 5.Aaif	XRr-Twist. Aaif	YDDr-Jazz Samba. Laif
XRr-Punk 5.Baif	XRr-Twist. Baif	YDDr-Jazz Samba 2.aif
XRr-Punk 5.Caif	XRr-Twist. Caif	YDDr-Jazz Waltrz.aff
XRr-Jazz. Aaif	XRr-Waltz. Aaif	YDDr-Jingnaif
XRr-Jazz. Raif	XRr-Waltz. Raif	YDDr-Latin Swing.1.aif
XRr-Jazz. Caif	XRr-Waltz. Caif	YDDr-Latin Swing.2.aif
XRr-Mambo. Aaif		YDDr-Light Rock.aff
XRr-Mambo. Raif	YDD Ten	YDDr-Mambo. Laif
XRr-Mambo. Caif	YDDt-5Beat Bossa.aff	YDDr-Mambo. Zaif
XRr-Mocho. Aaif	YDDt-5Beat Fusk.aff	YDDr-Mambo Fast.aff
XRr-Mocho. Baif	YDDt-5Beat Rock.aff	YDDr-Mozch.aff
XRr-Mocho. Caif	YDDt-7Beat Bossa.aff	YDDr-Mercugue.aff
XRr-Reggae. Aaif	YDDt-7Beat Rock.aff	YDDr-Modern Jazz. Lauf
XRr-Reggae. Baif	YDDt-8Beat.aff	YDDr-Modern Jazz. Zauf
XRr-Reggae. Caif	YDDt-12Beat Jazz.aff	YDDr-Old 16 Beat.aff
XRr-Rhumbro. Aaif	YDDt-16 Beat.aff	YDDr-Pep Rock. Laif
XRr-Rhumbro. Raif	YDDt-16Shuffle Disco.aff	YDDr-Pep Rock. Zaif
XRr-Rhumbro. Caif	YDDt-16Shuffle Funk.aff	YDDr-Reggae. Laif
XRr-Rock 1.Aaif	YDDt-16Shuffle.aff	YDDr-Reggae. Zaif
XRr-Rock 1.Baif	YDDt-16Waltrz.aff	YDDr-Rhumba Fast.aff
XRr-Rock 1.Caif	YDDt-50s Rock 'n' Roll.aff	YDDr-Rhumba.aff
XRr-Rock 2.Aaif	YDDt-Afrn Dance.aff	YDDr-RhythmofBlues.aff
XRr-Rock 2.Baif	YDDt-Afrn Rock.aff	YDDr-Rock Waltrz.aff
XRr-Rock 2.Caif	YDDt-Baion.aff	YDDr-Rock-a-Balled.aff
XRr-Rock 5.Aaif	YDDt-Beguine.aff	YDDr-Rock-a-Waltrz.aff
XRr-Rock 5.Baif	YDDt-Big Band.aff	YDDt-Salsa.aff
XRr-Rock 5.Caif	YDDt-Bolero.aff	YDDr-Sambo Carniva.aff
XRr-Rock 4.Aaif	YDDt-Booga Woogic. Laif	YDDr-Sambo Conumbo 1.aif
XRr-Rock 4.Baif	YDDt-Booga Woogic. Zaif	YDDr-Sambo Conumbo 2.aif
XRr-Rock 4.Caif	YDDt-Booga Novaati.	YDDr-Shallca.aff
XRr-Rock 5.Aaif	YDDt-Booga Waltrz.aff	YDDr-Snow Blues.aff

YDDt-Swing.aif

YDDt-Tamborito.ai

YDDt-Tango.ai

YDDt-Turkish March.ail

YQY Ten

YOYt-24 FU4 Buzz.aif

YQYt-25 FU4 Jammy.aif

YOYt-26 FU4 LA Pop.aif

YQYt-27 FU4 Slam.aif

YQYt-28 FU4 NY Pop.ai

YQYt-29 FU4 Kick A.aif

YQYt-30 FU2 Power.aif

YQYt-31 FU4 HiTcc.aif

YOYt-32 FU8 LA Fun. alf

YOYt-33 FU4 Brass.aif

YOY-34 EU4 Euro1.sif

YOY-35 EU4 Euro2 sil

YOY-36 FLU Hong xif

VOW-3711411. Pum si

VOW: 28 EU141000000

YOY: 2013 Q4

YOYs 40 USA Telecom

YQ: 41 FSA Gbsta

1Q10-41 1:54.5mm

1Q-11-42 P.S4 C.AH0.52%

TQYt-43 FS4 NY FullA17

YQYT-44 FS4 Srltullan

YQYT-45 ES4 Funq.aif

YQYt-46 FS4 Hipuit

YQYt-47 BA2 Dark.aif

YQYt-48 BA1 Slow1.ai

YQYt-49 BA1 Slow2.aif

YQYt-51 BA4 Soul2.ai

YOY-52 BA4 Funk1.ai

YOY-53 BA4 Funk2.ai

YOY-54 BA4 NuAve.ai

YOY-55 CR2 Latin ai

VON+56CF4Drons air

VOY+57SA2 Sale1.pdf

VOYs 58 FA4 (Fol)2 nIF

YOYs 50 FA + Eo12

VOC: (0.64+Exxon)

DEMA-TOM2-P2.9H D-IVX-TOM2-D1-6

DrMX-TOM2-P4-axif

DrMX-TOM2-P5.xif

DrMX-TOM2-P6.xif

DrMA-TOM2-P7.2ml

4 Tom 3

DrMX-TOM3-PLait DrMX-TOM3-Pe-off

DrMX-TOM3-P3.aif DrMX-TOM3-P3.aif

DrMX-TOM3-P4.aif

DrMX-TOM3-P5.aif

D-MA-TOM3-P6.pdf D-MS-TOM1-P7 -if

4 Tom 4

DrMIX-TOM4-P1-aif

DrMX-TOM4-P2aif

DrMX-TOM4-P3.aif

DrMX-TOM5-P6.ai

DrMX-TOM5-P7.ai

4 Tom 6

DrMX-TOM6-P1.ai+ DrMX-TOM6-P2.ai+

DrMX-TOM6-P3.aif

DrMX-TOM6-P4.aif

DrMX-TOM6-P5.aif DrMX-TOM6-P6.aif

DfMX-TOM6-P7.ajf

5 Hi Hat (Open)

DrMX-HHO-PLaif

DrMX-IIIIO-P2.ai

DrMX-IIIPO-PA-zif

DrMX-1HIO-P5.pdf

DrMX-HHO-P6.aif

DrMX-HHO-P7.31

5 Hi-Hat (Accented)

DIMX-AcCHH-P1.31 DrMY.AccHH.P1.21

DrMX-AxcHH-P3.ai

DrMX-AccHH-Plai

DrMX-AccHH-P5.ai

DrMX-Accl111-P6. al DrMX-Avc1111-P7. ai

5 Hi-Hat (Closed)

DrMX-HHC-P1.aif

DrMX-HHC-P2.aif

DrMX-HHC-P5.aff DrMY-HHC-P6.aff

DfMX-HHC-P5.aif

DrMX-HHC-P6.aif

DrMX-HHC-P7.aif

6 Crash Cymbal

DrMX-CC-P2-aif

DrMX-CC-P3.aif

DrMX-CC-P4.aif

DrMX-CC-P5.aif DrMY-CC-P6.aif

DrMX-CC-P7.aif

6 Ride 1

DrMX-RII-PIxil

DrMX-R11-P2.51

DrMX-R1]-P4-xil

DrMX-R11-P5.ai

DrMX-RI1-P6aH

7 Hand Claps

DrMX-CLP-P1.ai

DrMX-CLP-P2.all DrMX-CLP-P3.

DyMX-CLP-P6-nif

DrMX-CLP-P5.aif

DrMX-CLP-P6.aif

DrMX-CLP-P7.aif

7 Perc 1

DrMX-Perc1-P1.aif

DimX-Perc1-P2.ai

DIMA-Perci-P3.81

DIMX-PC1-F1.3L DcMS, P=1, B5 wi

DMS-13ox-1-P6-ai

DrMIX-Perc1-P7:ai

7 Perc 2

DrMX-P

DrMX-Perc2-P2.aif

DrMX-Perc2-P3.aif

DrMX-Perc2-P4.aif

DrMX-Perc2-P5.3if

DIMA-PEC2-PE.81

DIMA-14K2-17.36

/ Shaker 1

DfMx-SiIK1-FtAll F2-MX-IFUK1-P0-16

DfMX-31K1-F2aH DnMX-37JK1-P2-aF

DrMY SHK| PA qif

DrMX-SHK|P5-aif

DrMX-SHK1-P6.aif

DrMX-SHK1-P7.aif

7 Shaker 2

DrMX-SHK2-Pl.aif

DrMX-SHK2-P2.aii

DrMx-SHK2-P3.31

D1M-X-31K2-P4.51

DrMY-S1K2-P6-ai

DrMX-S1K2-P7 aif

广力云智慧零售收银系统

HR Sixteen

1 Bass Drum

HRsa-BDe1-Plxif

HRsa-BDe1-P2.aif

11Rsa-BDe1-P3.aif

[IRsx-BDe1-P4.zil

11Rsv-BDet-P5.2if

11KSA-13DE2-P+2m

HRsx-SD2-P1.xif

HRsx-SD2-P2.aif

HRsx-SD2-P3.aif

HRsx-S12-P4.zil

1TR5X-S172-P5.2fl

11RSx-51a+PT.ah 11Rmn-6Tb-73-ai

HRex SDib P3 nif

HRsx-SDh-P4-olf

HRsx-SDh-P5.aif

HRsx-SDx-P1.aif

HRsx-SDc-P2.aif

HRsx-SDc-P3.aif

HRsx-SDc-P4.aif

HRsx-SDc-P5.aif

3 Hand Clap

HRsx-CLP-P1.ai

HRsx-C1.P-P2.aif

HRsx-C1.P-P3.aif

HRsx-CJ.P-P4.ai†

HRsx-Cl.P-P5.ai#

3 Rimshot - Side Stick

Hlcsx-KLM-PT.ai

HRsx-RIM-12.ail

HRsx-RLM-13.all

1. TRS-RLM-T4. All

HRSX-KLM-P5.all

HRSA-SSAR-P1.58 HRSA-SSAR-P2.91

11Bw SSab P2 zi

UPex SSale PA xif

URsx SStk F5.aif

4 Electro Tom

HRsx-cTOM-P1.aif

HRsx-cTOM-P2.aif

HRsx-cTOM-P3.aif

HRsx-cTOM-P4.aif

HRsx-cTOM-P5.aif

5 Hi-Hat

HRsx-1111CI-PI.aif

HRsx-1111C1-P2.aif

HRsx-HHC1-P3.aif

HRsx-HHC1-P4.aif

HKsx-HHCI-P5.ai

HRSx-HHC2-PT.alr

HlOx-HHC2-P2. alr

H1sx-HHC2-F3.41 [HP-]VHC2-P4-i5

[IP-1]HIC2-P5-1/

HRS-RHC2-15.31

HRα-HHO-Plaif

HRα-HHO-P2.aif

HRsx-HHO-P3.aif

11Rsx-IIIIO-P4.ai

11R36-11F10-P5.4H

6 Cymbals

HKas-CO-PI.All HPm-CO-P1-if

HRA-CC-T2.alf HPav-CC-D3. of

HRxy-CC-P4-alf

HPex-CC-P5 aif

HRsx-R] Bcl]-P1.sif

HRsa-RJ Bell-P2.ai

HRsx-RJ Bell-P3.ai

HRsx-RJ Bell-P4.aif

11Rsx-RJ Bell-P5.ai

11Rx-RI-PI.ai

11Rsx-R1-P2.aif

11Rsx-R1-P3.aif

HRsx-R1-P4.aif

HRsx-R1-P5.aif

7 Conga

HRαx-CαHβSL-PTαH

HRsx-CgaHi SL-P2.3a1

HRα-CgHI SL-PS-MI

Hikai-Cgani 32-4.5ml Hillay, Graphi SL, P5, cif

HBox-Cral n SL-p1.5if

URsx-Ceal n SL -P2 siF

11Rst-CWB1-P3.2M UPm-CWB1-P4.9F

HRSE-CWB1-P4.2if URSE-CWB1-P5.2if

HRst-CWB2-P1aif

HRst-CWB2-P2.aif

HRst-CWB2-P3.aif

HRsx-CWB2-P4.

HRsx-CWB2-P5.aif

HRsx-Tgl-P1.aif

HRsx-Tgl-P2.aif

HRsx-Tgl-P5.aif HRsx-Tel-P6.aif

HRSx-Tgl-P.M. al HRxs-Tel-15. xif

1. Miss-Yel: 5. all
2. Shalows

o Snakers URst Cbs PLait

HRst-Cbs-P2.aif

HRsr-Cbs-P3.aif

HRst-Cbs-P4.nif

HRsx-Cbs-P5.nif

HRsx-SHK-P1.ai

HRsx-SHK-P2.ai

HRsx-SHK-P3.at

HKsx-SHK-P4.ai HKsx-SHK-J5.ai

3.670

8 Snap

11Rsk-Snap-P1.2if UPcr-Snap-P2.2if

[IRsxII-Deep Wood BD-PT,ail]

HKsxII-Deep Wood BD-P2.aiF HKsxII-Deep Wood BD-P3.aiF

HRsxII Deep Word BD P3.aiF HRsxII Deep Word BD P4.aiF

HRsxB-Deep Wood BD-P5-aif

HRsxB-Monster BD-PLaif

HRsxB-Monster BD-P2.aif

HRsxB-Monster BD-F3.aif

HRsxB-Monster BD-P4.aif

HRsxB-Monster BD-P5-aif

HRsxB-Rap BD-P1.aif

HRsxB-Rap BD-P2.aif

HRsxB-Rap BD-P3.aif

HRsxB-Rsp BD-P4.all

HRSxII-Rsp BD-P5.all HRSxII-Techm [H]-P1

URsxII-Technip B2-P2-ai

URsxII-Techno HD-P3.aif

HRsxII-Techno HD-P4.aif

HRsxII-Techno HD-PS.aif

HRsxB-Tight RD-PLaif

HRsxB-Tight BD-P2.aif

HRsxB-Tight BD-P3.aif

HRsxB-Tight BD-P4.tif

H1x3B-Tight BD-P5.aiF H1x3B-Tiled Room BD-P1.aiF

HRsxB-Tiled Room BD-P1.aff HRsxB-Tiled Room BD-P2.aff

HRsxB-Tiled Room BD-P3.aif

HRsxB-Tiled Room BD-P4.ai

HRsxB-Tiled Room BD-P5.ai

2 Snare Drum

[HRsx] 90's Gated SD-PL.aif

HRsxII-90/s Gated SD-P2.aif

HRsxB-90's Gated SD-P3.aif

HRsxB-90's Gated SD-P4.aff

H13xB-90's Gated SD-P5, mF HTRxP: Aggressive SD 71. eif

HRsXB-Aggressive SD-P1.aff HRsXB-Aggressive SD-P2.aff

HRsaB-Mid Punch SD-PLaif

HRsxB-Mid Punch SD-P2.aif

HRsxB-Mid Punch SD-P3.aif

11RsxB-Mid Punch SD-P4.aif

TIRaxB-Mid Punch S1D-P5.ail

11RsxB-Rap SD-PT.aiF

TRaxIV Rap SD P2.5ir URexB Rap SD P3.5if

HRxyB-Rap SD-P4-raf

HRαB-Rap SD-P5.aif

HRaxB-Reverb SD-P1.

HRaxB-Reverb SD-P2.aif

HRaxB-Reverb SD-P3.aif

HRαB-Reverb SD-P4.aif

HRsxB-Reverb SD-P5.ai

HRsxB-Techno SD-PI.ai

HKsB-Techno S1-P2. All

HKxB-Techno SD-P3.ai HKxB-Techro SD-M4.ai

URsxB-Techno SD-P5.ai

3 Hand Clap

HRxB-Gated

HRaxB-Gated CLP-P2.aif

HRaxB-Gated CLP-P3.aif

HRaxB-Gated CLP-P4.aif

HRaxB-Gated CLP-P5.

3 Rimshot - Side Stick

HikxB-Gateu SSik-P1.31 URabR-Gateu SSik-P2.31

11RxB-GateJ SStk-P2.4m URexB-GateJ SStk-P3.4m

URsxB-Gated SStk-P4-af

HRsxB-Gated SStk-P5.aif

HRsxB-Hi Picolo RIM-PI.aif

HRaxB-Hi Picola RIM-P2.aif

HRaxB-Hi Picolo RIM-P3.aif

HRaxB-Hi Picolo RIM-P4.aif

HRaxB-Hi Picolo RIM-P5,alt HP-B-66th P1-6

HRaxB-SSK-PT.alf HD-W-66th D7.15

HKsb-B-35G-P2.aff HPsvB-SStk-P3. sif

HPsvB-SStk-J4-sif

HRαB-SS(1-1)5.

4 Tom

URaxB-Aggressive TOM-PLaif

HRsβ Aggressive TOM P2 aif

HRαB-Aggressive TOM-P3.aif

HRαB-Aggressive TOM-P4.aif

HRαB-Aggressive TOM-P5.aif

HRaxB-Hi Power TOM-P1.aif

115 BPF8 2041 No. 17

5 Hi-Hat

HRsaB-HHC-Plaif

HRssB-HHC-P2aif

11RsaB-11TC-P3ail

11RSXB-T11TC-P4ΔH

THRSB-THTC-F.SAH HD—R. LWHLL P+rf

URcvB, HUHL F2.

HRsR.HHH.P3.aif

HRstB-HHH-P4.aif

HRsrB-HHH-Ps.aif

HRsxB-HHO-P1.aif

HRsxB-HHO-P2.aif

HRsxB-HHO-P3.aif

HRsxB-HHO-P4.aif

HRsxB-HHO-15.ail

H36ab-1085 HHC-PT.51

HRSB-10&5 HHC-F2.31 HIFα-B, Rαβ-HHC-127, α-β

UPB-R-B&R-HUC-PA, vif

URssB-R&B UUC-P5-zif

11RsvB-Rock 111-P1.aif

11RsvB-Rock 1111-P2.aif

HRsB-Rock HH-P3.aif

HRsB-Rock HH-P4.aif

HRsR-B-Rock HH-F5.alt

6 Cymbals

HRsxB-CC-P1.sif

HRsxB-OC-P2.sif

HRsaB-CC-P3.xil

HRSaB-CC-P4.81

HRsxB-CC-P5.al

11R5K19-KI-PT,all

1:KACD-R1-2.4h

11RASB-R1-P3.48 HD—B, P1, P4, q6

UPcB R1 PS sif

7.1

7 Agogo

HKsB-AggHt-F1.9L

HKsAB-AggHt-P2.3u HP-B-4-ppb-P2.1/

HRsB-AggH-P3.51 HPcR-4ccHi-B4.ni

Hillwall 4.001-115 w/

ThiakD-AccR-1.5.42

7 Cabasa

HRsB-CAbs-PT,air

HRsR1-3x-P2.alf

HRsR-B-Chs-P3.aif

HKstoB-CD6-P4,air

HRsxB-C66-P5.alf

HRsxB-Bgo Ambient-P5.xif

HRsxB-CgaOP-PI.zif

HRsxB-CgaOP-P2.zif

HRsxII-CgaOP-P3.zil

1H3xII-Cg2OP-P4.2H

HK\$xH-C,gAOP=5.2H HK\$xH-GmE-Fl

HRexII CpnSL R2 aif

HRscB-CpaSL-P3-alf

HRsxB-CpaSL-P4.aif

HRsxB-CpASL-P5.aif

7 Tambourine

HRsxB-Tamb-P1

HRsxB-Tamb-P2.aif

HRsxB-Tamb-P3.aif

HRsxB-Tamb-P4.aif

[IKsxII-Tamb-P5.2a1]

8 FX Percussions

HRsxB-Bottles-P1.aif

HRsxB-Bottles-PZ,alt

Hl:3-Bolles-15,ml H:3-Bolles-15,ml

HBx3-Potles D5-ef

Hipp Glass Rock

HRxB-Clax Break-P2 aif

HRxxB-Glass Break-13.ai

Hill, T. Tens, W. W.

8 Voices

HRsxB-Ambient Puh-P1.aif

HRsxB-Ambient Puh-P2.ai

HRsxB-Ambient Pub-P3.ail

TIRaxiv-Airment Pin-P4,all

11RxsB-Airmenti-PurP-5,all HPwB-Lin Box 31.eIF

HPexB. Lin Pop P2 aif

HRxyB-Lip Pop-P3-alf

HRaxB-Lip Pop-P4.tif

HRαB-Lip Pop-P5-αif

1. 2017年

K-DDM2 Hundred

KDDM2b-AggHisif

KDDM2h-AggLo.aif

KDDM2b-Cbs.ai

KDDM2H-CgHt3a1

KDDM2H-Cg10.531 KJDM2b-GW8-ef

KDDM2b-Tamb-af

K12DM2b-Timb-aif

KIDM2b-Wbk.ai

10.2014

K-DDM Hundred

KDDMh-BD.ai

KDDMh-CX.aif

KDDMH-CLP.ai

КИДМИ-НГС.АИ

RHIc-Agg 102.31; RHd-4-207.61

RILK-Agg 103. al. BHar-4 or 104. af

RHm-488 195.3i

RHou-A## 1916.ai

RHnd-Agg P07.ai

RI Ind-Agg P08.ai

RI Ind-Agg P19.ai

RI Ind-Agg PIII.aif

RI Ind-Agg PTT. al!

KfHnd-Agg P12.alr B11a-4ac B12.a/c

BHyd, Age 214 aif

BHod Age P15 aif

RHod-Azz P16.aif

7 Conga

RHnd-Cga P01.xif

RHnd-Cga PO2.aif

RHnd-Cga P03.ai

R115u-Cga F04.51

KIFH-OPA PO5.aff BHL-1, Gm P26.

RJInd Cra P07 vif

RHod-Ora PDS aif

RHnd-Cra P09.pif

RHnd-Cga P10.aif

RHnd-Cga P11.nif

RHod-Cga P12.nif

RHnd-Cga P13.aif

JHnd-Cga P14.aff

RHnd-Cga P15.aff RHnd-Cga P16.

Kline-Cga1 10.4M

7 Tambourine

KIF142-TaPh-POT.5H THInd-TomP20-6F

RlHd Tarm P03 aIF

BHad-Tarm PO4 aif

RHod-Tamb P05.eif

RHod-Tamb P06.aif

RHnd-Tamb P07.nif

附件1版《修改》

7 Timbale

RHnd-Timb PO1.xif

RInd-Timb P02.ai

R1Ind-Timb P03.ai

R13d-TinB P04.SH

R1nd Timh PQ. al

Rlhd Timh P12 aif

RHnd-Timh P06.pif

RHnd-Timb P09.aif

RHnd-Timb P10.pdf

RHnd-Timb P11.aif

RHnd-Timb P12.aif

RHnd-Timb P13.aif

RHnd-Timb P14.sif

R-Hnd-Timb P15.sif

RFind-Timb P16.xit

RZ One

BZ1-BD.aif

RZ1-CC.aif

RZ1-ClP,af

RZ1-CWRaif

RZ1-HHCaif

RZ1-HHO.aif

RZ1-RI.aif

[RZ]-RIMaif

RZ1-SD,alf

RZ1-Simpl BD:alf

RZ1-Snupl CLP.aif

RZ1-Simpl HH.alf

RZ1-Simpl SD:alf

R21-TOM1.ai

RZ1-TOM2.ai

RZ1-TOM3.aif

SMS 400

1 Bass Drum

S400-BD01.aif

S400-BDO2.aif

S400-BDO3.Alf

S400-BD04.aif

S400-BD05.mf

3100-BD-05.mf

5100-BDO7.MI

S400-PLX39-if

S4BU-BU310.vif

S400-11311-sif

KABR-113V12-sif

3 Cycle Toms

TOM1

S400-TOM1-Laif

S400-TOM1-2.aif

S400-TOM1-3.aif

S400-TOM1-4.9if

3400-TOM1-5.92

3400-TOM1-6.92 6499 TOM1 7

S400-TOM1-7.52

TOMs

TOM2 S401 TX

S401 TOM2.2 aif

S400 TOM2 3 cif

S400-TOM2-4.aif

S400-TOM2-5.aif

S400-TOM2-6.aif

S400-TOM2-7.aif

S400-TOM2-8.aif

TOM3

S400-TOM3-1.ai

S400-TOM3-2.ai

S401-TOM3-3.ai

S401-1(7)5-4.2#

3401-17853-3.21 3409-70253-6-vi5

S400 TDM3 7 aif

S400-TOM3-8.aif

3 Toms

S400-CusTOM1.aif

S400-CusTOM2.ai

S400-CusTOM3.aif

S400-CusTOM4.xil

4 Hi-Hat

S401-HH1.aiF

S4011-HH2.31P

3400-HP3.ai

\$400 HHF. al

1. Greek Cow

5 Crash Crystal

610-CC2-i

6 FY

S400-FX1.aif

S400.FX2 aif

S400-FX3.aif

S400-FX4.aif

S400-FX5.aif

S400-FX6.aif

SCp-BC-CP0-CD2.aif

SCp-BC-CPU-CD3FX.ai

SCp-BC-CPI-CDII.aif

SCp-BC-CPI-CD1.ail

S.p-BC-PT-G12.5H

SCp-BC-CP-CDS-X.ann SCp-BC-CP-CDRe

SCp BC CP2 CD1 aif

SCp-BC-CP2-CD2-alf

SCp-BC-CP2-CD3FX.aif

SCp-BC-CP3-CD0aif

SCp-BC-CP3-CD1.aif

SCp-BC-CP3-CD2.aif

SCp-BC-CP3-CD3FX.aif

SCp-BC-CP4-CD0.alf

SCp-BC-CM-CD1.ail

SCP-BC-CM-CD2.SH

Scp-BO-CP-CD3-X. All SCin-BC-CIF-G128-ai

SCp-BC-CP5-CD1 ai

SCp-BG-CP5-CD2-ai

SCp-BC-CP5-CD3FX.ai

SCp-BC-CP6-CDII.aif

SCp-BC-CP6-CD1.aif

SCp-RC-CP6-CD2.aif

SCp-BC-CP6-CD3PX.at

Balance Medium

Noise Pitch 0

SCp-RM-NPO-CPII-CDII.aif

S.p-RM-NFO-CPII-CD1.ai

SCp-BM-NPO-CP0-CD2.alt SCp-BM-NPO-CP0-CD2.

SCp-BM-NPO-CP0-CD3FX SCp-BM-NPO-CP1-CD8-αF

SCp-BM-NP0-CP1-CD1 aif

SCp-BM-NP0-CP1-CD2.aif

SCp-BM-NF0-CP1-CD3FX.aif

SCp-BM-NP0-CP2-CD0.aif

SCp-BM-NP0-CP2-CD1.aif

SCp-BM-NF0-CP2-CD2.ai

SCp-BM-NPO-CP2-CD3FX.all

SCp-BM-NPO-CP3-CD6.aff

SCp-BM-NPO-CF3-CD1. All SCp-BM-NPO-CF3-CD2. ni/

SCp.BM.NF0.CP3.CD3EX.ai

SCp BM NP0 CP4 CD8.aif

SCp-BM-NPO-CP4-CD1.aif

SCp-BM-NF0-CP4-CD2.aif

SCp-BM-NF0-CP4-CD3FX.aif

SCp-BM-NP0-CP5-CD0.aif

SCp-BM-NP1-CP0-CD2.tif

SCp-BM-NP1-CP0-CD3FX.aif

SCp-BM-NP1-CP1-CD0.xif

SCp-IMI-NP1-CP1-CD1.aii

SCp-HM-NPT-CPT-CD2.SH

SCp BM-NF1-CF1-CDSFX28 SCp BM-NT1-GF2-GF3-gf

SCp-BM-NPI-CP4-CD1.sit

3Cp-RM-NPI-CM-CD2.MI

SCp-IM-NPI-CPI-CDSFX.all SCp-IM-NII-CI5-CIX1-ef

SCp-1A-NF-CP5-CD5.34 SCp-1M-NF-CP5-CD1.2iC

SCn-IM-NP1-CP5-CD2-ziF

SCp-BM-NP1-CP5-CD3FX.

SCp-BM-NPI-CP6-CDO.aif

SCp-BM-NP1-CP6-CD1.aif

SCp-BM-NP1-CP6-CD2.aif

SCp-BM-NPT-CPG-CD3FX,air

Noise Pitch 2

SCp-BM-NP2-CP0-CD0.

3Cp-BM-NF2-CF0-CD1.MI 5Cp-BM-NF2-CF0-CD2-nf

SCp-IM-NF2-C19-CD2.31 SCp-HM-NH2-C19-CD2.31

SCn-IM-NP2-CP1-CD1-sif

SCp-BM-NP2-CP1-CD1.aif

SCp-BM-NP2-CP1-CD2.aif

SCp-BM-NP2-CP1-CD3FX.

SCp-BM-NP2-CP2-CD0.aif

SCp-BM-NP2-CP2-CD1.aif

SCp-BM-NP2-CP2-CD2.5IF

SCp-BM-NPZ-CPZ-CD3FX,air

SCp-BM-NF2-CF3-CD0,III SCp-RM-NF1-CP3-CD1-af

SCp-RM-NP2-CP3-CD2-if

SCn-RM-NP2-CP3-CD3FX.

SCp-BM-NP2-CP4-CD0.sif

SCp-BM-NP2-CP4-CD1.tif

SCp-BM-NP2-CP4-CD2.xif

SCp-BM-NP2-CP4-CD3FX.aif

SCp-BM-NP2-CP5-CD0.zif

SCp-IM-NP2-CP5-CD1.aii

Q. 1920, MD-1, DC-1, 147, sa

SCp-BM-NP3-CP1-CD0.aif

SCp-BM-NP3-CP1-CD1.aif

SCp-BM-NP3-CP1-CD2.aif

SCp-BM-NP3-CP1-CD3FX.all

SCp-NM-NP3-CP2-C10.4H

SCp-AM-NF3-CF2-CF1-SF1 SCp-PM-NF3-CF2-CF2-SF

SCp BM NP3 CP2 CD3FX

SCp-BM-NP3-CP3-CD0-aif

SCp-BM-NP3-CP3-CD1-aif

SCo-BM-NP3-CP3-CD2-aif

SCp-BM-NP3-CP3-CD3FX.aif

SCp-BM-NP3-CP4-CD0.aif

SCp-BM-NP3-CP4-CD1.aif

SCp-BM-NP3-CP4-CD2.aif

SCp-BM-NP3-CP4-CD3FX.aif

SCp-BM-NP3-CP5-CD0.aif

SCp-BM-NP3-CP5-CD1aif

SCp-BM-NP3-CP5-CD2.a1

SCp-HM-NP3-CP5-CD3PA3H

Scp-BM-NP3-CP6-CD0.11

SCp-NM-NP3-CP6-CD12H SCp-BM-NP3-CP6-CD28

©C-DM-NP-CT6-CDATEV

M.p. HMI-NF3-CF6-0.524X28

Noise Pitch 4

SCp-BM-NF4-CFO-CD0.91

SCp-BM-NP4-CF0-CD132 SCp-RM-NP4-CF0-CD132

SCn-BM-NP4-CFO-CD3FX +

SC-mBM-NP4-CP1-CU0-αi

SCn-BM-NP4-CP1-CU1,ai

SCp-BM-NP4-CP1-CD2.aif

SCp-BM-NP4-CP1-CD3FX.

SCp-BM-NP4-CP2-CD0.aif

SCp-RM-NP4-CP2-CD1aif

SCp-RM-NP4-CP2-CD2aif

SCp-RM-NP4-CP2-CD3FX.aif

SCp-BM-NP4-CP3-CD0.aif

SCp-BM-NP4-CP3-CD1a1f

SCp-BM-NP4-CP3-CD2.alf

SCp-BM-NF4-CP3-CD5FX38 SCp-BM-NF4-CP4-CD6-ef

SCP-DM-NP-CP-CP-CP

SCp-DM-NP-CP4-CD138 SCp-RM-NP-CP4-CD138

SCn-BM-NP4-CP4-CD3EX

SCP-RM-NP4-CR5-CUO-α/β

SCn-BM-NP4-CP5-C11aif

SCp-BM-NP4-CP5-CD2.aif

SCp-BM-NP4-CP5-CD3FX_xil

Qw.RM.MD.CBK.DTNH

SCp-BM-NP5-CP1-CD2.aif

SCp-BM-NP5-CP1-CD3FX.ai

SCp-BM-NP5-CP2-CD0.ai/

SCp-BM-NP5-CP2-CD1.aif

SCp-BM-NF5-CP2-CD2.aff SCp-BM-NF5-CP2-CD2.

SCp-BM-NF3-CP2-CD8-A1; SCp-BM-NF3-CP3-CD8-A1

SCp-BM-NP5-CP3-CD1aif

SCp-BM-NP5-CP3-CD2.aif

SCp-BM-NP5-CP3-CD3FX.aif

SCp-BM-NP5-CP4-CD0.aif

SCp-BM-NP5-CP4-CD1.aif

SCp-BM-NP5-CP4-CD2.alf

SCp-BM-NP3-CP4-CD3FX.ai

SCp-BM-NP5-CP5-CD0.aif SCp-BM-NP5-CP5-CD1.aif

SCp-BM-NP5-CP5-CD13aIF

SCp-BM-NP5-CP5-CD2.4E SCp-BM-NP5-CP5-CD3FX

SCp-BM-NP5-CP6-CD8,ai/

SCp-BM-NP5-CP6-CD1.aif

SCp-BM-NP5-CP6-CD2.aif

SCp-BM-NP5-CP6-CD3FX.

Noise Pitch 6

SCp-BM-NP6-CP0-CD0.aif

SCp-BM-NP6-CP0-CD1.aif

SCp-BM-NP6-CP0-CD2.at

SCp-BM-NP6-CP0-CD3FA-aii SCp-BM-NP6-CP1-CD8-aii

SCp-BM-NP6-CP1-CD1.ai

SCp-BM-NP6-CP1-CD2.ai

SCp-BM-NP6-CP1-CD3FX.ai

1915-BD/PDA at 10.28

Attack 2

T909-BD1-D6-A2-T1341

T969 RD1 D6 17 T12if

T9e9-PD1 D6 47 T4 aif

T9e9-BD1 D6 A2 T5 aif

T9a9-BD1 D6 A4 T2 aif

T9u9-BD1 D6 A4 T3.ai

T9a9-BD1 D6 A4 T4.ai

T9a9-BD1 D6 A4 T5.ai

T9a9-HD1 D6 A4 T6.ai

Attack 5

T9a9-BD1 D6 A5 T1.aif

T909-BD1 D6 A5 T2.aif

T909-BD1 D6 A5 T3.aif

T909-BD1 D6 A5 T4.aif

T909-BD1 D6 A5 15.aui

1909-BD1 D6 A5 16.32

Attack 6

T9a9-HD1 D6 A6 T1.ai

19a9-HD1 D8 Ab 12.a#

1969-1171 D6 Ab 13.41

1909-HD2 D1 A1 14.31

19.19-19.2 D1 A1 13.41

1945-01.

Attack 2

T909-BD2 D1 A2 T1.a15

1909-B12 D1 A2 12.3fT0-0 DP1 D1 A17 T1-if

T0:0 BD1 D1 A7 T4 cif

T9a0-PD2-D1-A7-T5-ef

T9a9-BD2 D1 A2 T6 aif

(1)

T9a4-1132 D1 A3 T1 ni

T9a9 JB2 D1 A3 T2 aif

T9a9-PD7-D4-A5-T5-eif

T909-RD2 D4 A5 T6 aif

1

T9a4-8132 134.671 wi

T9a4-B132 124.86 T2.aif

T9a9-HD2 D4 A6 T3.aif

T9a9-BD2 D4 A6 T4.aif

T9a9-BD2 D4 A6 T5.aif

T9a9-BD2 D4 A6 T6.aif

Decay 5

Attack 1

T9a9-HD2 D5 A1 T1.aif

T9a9-HD2 D5 A1 T2.aif

1989-4122 D.S A1 13.aH T0-8-PD6-P5-A1-T4-i5

T0:0 PD3 D ^+ M T ^+ cf

T9a0 PD3 D5 A1 T6 aif

40.1.2

Attack 2

1909-5D2 D3 A2 11.41 T8-41, B132-125 A2 77.47

T9-81-H32-135-A2-T3-nif

T9a4-B132 135 A2 T4 ai

T9a9-1H2 D5 A2 T5.ai

T9a9-HD2 D5 A2 T6.aif

Attack 3

T9o9-BD2 D5 A3 T1.aif

T9o9-BD2 D5 A3 T2.aif

T909-BD2 D5 A3 T3.ai

1909-SDI ST 1st T1.at

T9e9-SD1 S1 Tn2 T5.xif

1969-512.S3 Trn5 T2a4

1969-SD2 53 The 11.5th

T903-SD2 53 T10 T23H T904) S1D2 E3 Tn6 T3 -v

T4n9-S12 S3 Tr6 T4 -sif

T9p9-SD2 S3 Tn6 T5 aif

T9c9 SD2 S3 Tn6 T6aif

Snappy 4

117 Tou 4

T9:8-SD2 S4 Tr1 T1 r5

T9e9-SD2 S4 Tr1 T2-3if

T9n9 SD2 S4 Tn1 T3aif

T9n9-SD2-S4-Tn1-T4.aff

T9o9-HiTOM2 D1 T1aif

T9o9-HiTOM2 D1 T2.aif

T9c9-HiTOM2 D1 T3.aif

T9o9-HiTOM2 D1 T4.aif

T9c9-HITOM2 D1 T5aff

1969-НПОМ2 Д1 16.32

Decay 2

T9e9-1H1TOM2 D2 T1ail

1989-11HOM2 192 T23F T304-11HYOM2 192 T3 -r6

T9:9-1H10M2 1/2 T3:11 T3:4-1H7OM2 P2 T4:5

T9c8 HiTOM2 D2 T5 aif

T9o8-HiTOM2 D2 T6-af

Decay 3

T9e9-HiT

T9e9-HITOM2 D3 T2.alf

T9e9-HITOM2 D3 T3.aif

T9n9-HITOM12 133 Td aif

Decay 5

T9o9-HITOM2 D5 T1.ai

T9o9-HITOM2 D5 T2.ai/

T9a9-11F10M2 D5 T3.ai/

T9a9-11HOM2 D5 T4.aif

T9a9-1H7OM2 D5 T5.aif

T9a9-1HTOM2 D5 T6.aif

Decay 6

T9a9-HiTOM2 D6 T1 aif

T9o9-HITOM2 D6 T2 aif

T9a9-HITOM2 D6 T3 aif

T9a8-HiTOM2 D6 T4 aif

1909-ATTOM2 DE T3J T9-8 HITOM2 D5 T5 w/

T727-Whistle Sht-Acc.alf

T727-Whistle Sht.aif

YBX Five

21

Normal

YRXf-BD1.aif

YRXf-BD2.aif

YRXf-OC.aif

YRXf-Chi.aif

YRXf-CLP.sif

YRXf-CWB.aif

YRXF-HHCaif

YRXf-HHO.aif

YRX[-RI Be]Lai

YRX(-R1 ai)

YRX6-RIM1-sif

YRX6.PIM2.vif

YRX6.SDL.ai ^c

YBX6 ED2 aif

YBX6.5UK -i5

YRX-3H.K. al

†RXF-†amb,air

YRAX-TUM1-Lat

YI(Xr-TOM1-2,air

YRXf-TOM1-3.aif

YRXf-TOM1-4.ai2

YRXf-TOM2-1.aif

YRXf-TOM2-2.aif

YRXI-TOM2-3.ai

YRXI-TOM2-4.ai

Reverse

YRXf-BDI-xyaif

YRXf-BD2-rv.aif

YBXf-CC-rv.aif

YBXf-Cbi-xy-aif

VRX-CLP-xy aif

1042-CE: 1th

YRXf-Tamb-ry.ai

YRXI-TOM1-1-rv.ai

YR&F-TOM1-2-ry.ai

YRXI-TOM1-3-ry.ai

YRXF-TOM1-4-rv.ai

YRXF TOM2-1 ry.ai

YRXF TOM2 2 ry aif

YRXY TOM2 3 py aif

YRYS TOM 4 proif

TRAI-TOH2-4-19.iii

2 ANALOG

2 ANALOG

AeT 2

1. (T2, W2+W1, w)

ACET2-104-1111.31

Acet 2-NO4HNO3, air

Acet 2-104+SMBaH

Acet 2-Cl.V+HH.ai

AceT2-CWR+HHa#

AceT2-HH.aif

AceT2-HHO1.aif

AceT2-HHO3.aif

AccT2-SD.aif

AceT2-SD+HHO.aif

AccT2-TOM1.aif

AccT2-TOM1+BD.sif

AcvT2-TOM1+HH.aif

AcylT2-TOM2.ai

AcylT2-TOM2+HLLaif

Acyl2-TOM3+ClV-sif

SICET 2.1/437 P.O.N.

AceT 8

Δcr[T8-31] ai(

AcylTR-CLY ai

3cTR-CWB-zi

Acetylc-Clindan

ACETR-Guindo 1.41

Acetin-Guindo 2. al+

Acet H-Guino S. al.

Acet B-Guiro 4. al?

AceT8-HH1.aif

AceT8-HH2.aif

AccT8-HHO.aif

AceT8-RIM.aif

AccT8-SD:alf

AccT8-TOM1.aif

AccT8-TOM2.aif

AccT8-TOM3.ai

[Non-Text]

Amdk 100

Amdk100-BD-sif

a-milk 100.80±111°C si

Amck100-SD+HHF.aif

ETIDrS-TOM8.xif

MPups-TOM1.aif

Concert Mate

KPR Five 2

M203-1CM2.51

CMate-BD.aif

KPR2-BD.aif

OMB Two

C.Mate-BD+C.Cail

KPRI2-C1.V.ail

OMB-HD+1111.ail

CMate-BD+III+CLV-aiF

KPR2-1111.ajf

OMRs-III 111 aif

CMate-CC.aif

KPR2-HHO.aif

OMBs-HH2.aif

CMate-CLV.aif

KPRf2-R1.aif

OMBt-HHOaif

CMate-HH.aif CMay-SP.aif

KPRF2-RIMLaiF KPRF1-3D-iS

OMBt-SD+HETLair

Drumaker

KPR2-TOM1.aif

Organ Drums

DrMkr-BD.aif

KPR Seven 2

OgnDr-RD+CWBLaif

DrMkr-CLV,air DrMkr-CWTR,if

KPR Seven 2 KPR-7 PD 100%

OgnDr-BD+TOM1.aft

DrMkr-HH1.aif

KPRs2-BD.aif

OenDr-BD1.aif

DrMkr-HH2.aif

KPIrs2-CC1-Acc.sif

OgnDr-BD2.alf

DrMkr-HHO.aif

KPRs2-CC1.aif

OgnDr-BD3.alf

DrMkr-KIM.MI DrMkr-SD-i/

KPRG2-CC2-Acc.MI

OgnDr-CWB.al

DrMkr-SD.al. DrMkr-TOMI

KPR2-CC2.51 KPR2-C1-E1-A...

OgHDF-HH.ah (ouml)r=HH+Tf

DrMkr-TOM2.ai

KPRs2-CLP1.ai/

OgnDr-HH+TOM1+2.ai

DrMkr-TOM3.ai

KPRs2-CLP2-Acc.axil

OgrDr-III+TOM2.aif

ETI Drum Synth

KPRs2-C1.F2.ai

OgnDr-IIIIF1.ai

FTIDrS-BD1.aif

KPRs2-1HRC-Acclain KPRs2-1HIC-aif

OgrDr. IIUO xif

FTIDrS-BD2.aif

KPRs2-HHO-Acc.aif

OgnDr-SDI.aif

FTID/S-RD3.aiF FTID/S-RD1.aiF

KPR32-HFR3.2if KPR31-VRTom 4.0.016

OgDr-S12a4 OgDr-TOM1-if

ETIDrS-BD5.aif

KPRs2-HiTom.aiif

OenDr-TOM2.aif

ETIDrS-BD6.aif

KPRs2-LoTom-Acc.aif

p.51.14

ETIDrS-BD7.aif

KPRs2-LeTom.ai

P Fight

ETD13-BD6.MI ETD-0.5V-15

KPI62-MeIO 1.MI KPR-2-MoTPO 9

1 Bass Drum

ETIDrS-HH a1.aif

KPRs2-SD-Acc.aif

PFight-BID T1 D2.tif

ETID-S-HH 32.ail

KPIrs2-SD.xil

PFight-HD T1 D3.aif

ETUrs-S-HH 24.2if

KPR Three 2

FFight-HD T1 D4.2ff FFight-PD-T1 D4.2ff

ETIDrS-111 h1.aif

KPR2-BD1.ai

FFight-BD T2 D1-aif

ETIDrS-111 h2.aif

KPR2-BD2.ai

PFight-BD T2 D3.aif

ETD-ES-ITI h3.aif ETD-f-ITI h4.

KPRE2-CLN,air KPR2-CSTR,if

PFight-BD T2 D3.aif

ETIDrS-R1a-aif

KPRt2-HH1.aif

PFlight-BD T2 D4.5H PFight-PD T2 D5 - if

FTIDrS-R1b.aif

KPRt2-HH2.aif

PFight-BD T3 D1.2if

FTIDrS-SD1.aif

KPRr2-HHO.ai

PFight-BD T3 D2.tif

ETID/S-SD2.aif ETID/S-SD3.aif

KPR2-RIM37 KPR4: SD1.5if

PFight-BD T3 D3.ai

ETIDrS-SD4.aif

KPIr2-SD2.aif

PFlight-ID T3 D4.2if Plink-113 T3 D5.2if

ETIDrS-SD5.aif

KPRt2-TOM1.aif

P.Gialet, B13 TA 151 -sif

2 Snarc Drum

PFight-SD T1 D1.aiif

Pright-SD T1 D2.51

Flight-SD TI D3.5E Flight-SD TI IM xif

Flight-SD TI 194.2if Flight-SD TI 1D5.2if

PFlight-SD T2 D1-aif

PFight-SD T2 D2.aif

PFight-SD T2 D3.aif

PFight-SD T2 D4.aif

PFight-SD T2 D5.aif

PFight-SD T3 D1.aif

P Fight-SD 13 D2.aff P Fight-SD T1 D1.

Pright-SD T3 D3 aif Pright-SD T2 D4 aif

High-SD T3 D4.51 PEight-SD T3 D5.91

PEight-SD T4 D1 aif

PFight-SD T4 D2.tif

Plight-SD T4 D3.xif

Flight-SD T4 D4.xif

Plight-SD T4 D5.tif

P Flight-SD T5 D1Laf

Plight SD TS D2.aff

Plight SD TS D3.49 Plight SD TS D4.49

Flight-SD T5 D4 off

3 Floor Tom

3 Floor Top Right Floor T

High-Floor T1 D1.3f Fight-Flour T1 D2 xif

High: 100f T1 D2.4m High: 400g T1 D3.4f

High-Histor T1 D4, sif

Flight-1 floor T1 D5, aif

Flight-Ligor T2 D1.aif

Plight-Fluor T2 D2.aif

P Fight Floor T2 D3.aif

PFight-Floor T2 D4,aif

PPight-Floor T2 D5.aif

PFight-Floor T3 D1.aif

PFight-Floor T3 D2.aif

PFight-Floor T3 D3.aif

PFight-Floor T3 D4,alf

P Fight-Floor T3 D5.Ait

PFight-Floor T4 D1.aif

Pright-Floor T4 D2.àf

Fright-Floor TA DS. All

Fright-Floor TA D4.51

Phigh-150r T4 D3.tif Phigh-150gr T5 D1.tif

Plush-1/2024 T5 D2, sif

Pegin-1001 T5 D2.41 Winku-House T5 D3 sif

PFight-LoTOM T2 D3.aif

PFight-LoTOM T2 D4.aif

PFight-LoTOM T2 D5.aif

Plight-LoTOM T3 D1.ai

PBig-LoTOM T3 D2.tif

PFight-LOTOM T3 D3.aiF PFight-LoTOM T3 D4.aiF

PFight-LoTOM T3 D5.aif

PFight-LoTOM T4 D1.aif

PFight-LoTOM T4 D2.aif

PFight-LoTOM T4 D3.aif

PFight-LoTOM T4 D4.tif

PFight-LoTOM T4 D5.aif

PFight-LoTOM T5 D1.aif

PFight-LoTOM T5 D2.tif

PFlight-LOTOM T5 D3.mf PFight-LvTOM T5 D4. sif

Plight-LoiOM T5 D5 sif

5 Hi Tom

PFight-HITOM T1 D1.tif

PFight-HITOM T1 D2.tif

PFight-HITOM T1 D3.aif

PFight-HITOM T1 D4.tif

PFight-HITOM T1 D5.aff PFight-HITOM T1 D5.aff

PFlight-HITOM 12 D1 air PFlight-HITOM T3 D2

Flight-HIOM T2 D2.5H

PFight-H1TOM T2 D3af PFight-H1TOM T2 D4-if

PRight-HITOM T2 D5 xif

High-ITEM T2 D3.21 PHigh-HETOM T3 D1.21

Phebi-HETOM T3 D2 xf

PFight-LETOM T3 D3.tif

Plight-UITOM T3 D4.pdf

PFight-HITOM T3 D5.aif

PFight-1HTOM T4 D1.tif

PFight-HITOM T4 D2.tif

PFight-HITOM T4 D3.tif

PFight-HITOM T4 D4.tif

PFight-HITOM T4 D5.aif

PFight-HITOM T5 D1.tif

PFight-HITOM T5 D2.alf

Synse-TOMI III vs. all

4 Tom 2

Synse-TOM2 v1.1ml

Synse-TOM2 V2.381

Synse TOM2 wt.

TOMO

5 M-Ha

TR Clone

8o8 Clone

1 Bass Drum

TRc-8c8-BD01.aif

TRc-8c8-BD02.aif

TRc-8o8-BD03.aif

TRc-868-BD04.al

TRC-808-BD05.mil

TRC-803-BD06.all TF-803-BD07-wi

TRc-Ros-BDUR-ni

TRc-8nS-BD19.ai

TRc 8n8 BD11.air

TRc-8n8-BD11.aif

TRc-8n8-BD12.aif

TRc-80s-BD13.aif

TRc-808-BD14.aif

TKC-868-BD15.aiF

TRC-308-BD16,all TRC-9-8 BD17,if

TRc-908, RD19.

TRc-8o8-BD19.tif

TRc-8o8-BD20.aif

TRc-8o8-BD21.aif

TRc-8o8-BD22.ai

TRc-8o8-BD23.ai

TRc-8o8-BD24.ai

TRc-808-BD25.ai

TRC-MS-BD2h,air

TRc-8e8-BD28-ai

TRc-8o8-BD29 oif

TRc-8o8-BD30.aif

TRc-8o8-BD31.aif

2 Snare Drum

TRc-8o8-SDU1.ai

TRc-8o8-SDU2.ai

TRc-8o8-SDU3.ai

TRc-8os-SD114.ai

TRe-his8-S1015.all

TRC-1038-S10ml.ah TP: 8-8 SD207-ai

TRc 8e8 SD08 air

TRc-8o8-5D09.aif

TRc-8o8-SD10.aif

TRc-8o8-SD11.aif

TRc-8o8-SD12.aif

TRc-8c8-SD13.aif

TRc-8c8-SD14.ai

TRc-8o8-Sd25.aif	1Rc-9o9-SD06.aif	TS200-Tu0 SR0 ST5 DT1.aif
TRc-8o8-Sd26.aif	1Rc-9o9-SD07.aif	TS200-Tu0 SR0 ST5 DT2.aif
3 Hand Clap	1Rc-9o9-SD08.aif	Tu0 Sweep Range 1
TRc-8a8-Cl.P.aif	1Rc-9o9-SD09.aif	TS200-Tu0 SR1 ST0 DT0.aif
3 Rimshot	1Rc-9o9-SD10.aif	TS200-Tu0 SR1 ST0 DT1.aif
TRc-8o8-RbM.aif	1Rc-9o9-SD11.aif	TS200-Tu0 SR1 ST0 DT2.aif
4 Tom (Hi)	1Rc-9o9-SD12.aif	TS200-Tu0 SR1 ST1 DT0.aif
TRc-8o8-HiTOM 1.ai'	1Rc-9o9-SD13.aif	TS200-Tu0 SR1 ST1 DT1.aif
TRc-8o8-HiTOM 2.ai'	1Rc-9o9-SD14.aif	TS200-Tu0 SR1 ST1 DT2.aif
4 Tom (Low)	1Rc-9o9-SD15.aif	TS200-Tu0 SR1 ST2 DT0.aif
TRc-8o8-LrTOM 1.ai'	1Rc-9o9-SD16.aif	TS200-Tu0 SR1 ST2 DT1.aif
TRc-8o8-LrTOM 2.ai'	1Rc-9o9-SD17.aif	TS200-Tu0 SR1 ST2 DT2.aif
4 Tom (Mid)	1Rc-9o9-SD18.aif	TS200-Tu0 SR1 ST3 DT0.aif
TRc-8o8-MiTOM 1.ai'	1Rc-9o9-SD19.aif	TS200-Tu0 SR1 ST3 DT1.aif
TRc-8o8-MiTOM 2.ai'	1Rc-9o9-SD20.aif	TS200-Tu0 SR1 ST3 DT2.aif
5 Hi-Hat (Closed)	3 Hand Clap	TS200-Tu0 SR1 ST4 DT0.aif
TRc-8a8-UH11.ai'	1Rc-9o9-Cl.P.ai'	TS200-Tu0 SR1 ST4 DT1.aif
TRc-8a8-UH22.ai'	3 Rimshot	TS200-Tu0 SR1 ST4 DT2.aif
TRc-8a8-UH33.ai'	1Rc-9o9-RIM.ai'	TS200-Tu0 SR1 ST5 DT0.ai'
TRc-8a8-UH44.ai'	4 Toms	TS200-Tu0 SR1 ST5 DT1.ai'
TRc-8a8-UH55.ai'	1Rc-9o9-HiTOM.ai'	TS200-Tu0 SR1 ST5 DT2.ai'
5 Hi-Hat (Open)	1Rc-9o9-Mi10M.ai'	Tu0 Sweep Range 2
TRc-8o8-HiO1.ai'	5 Hi-Hat	TS200-Tu0 SR2 ST0 DT0.ai'
TRc-8o8-HiO2.ai'	1Rc-9o9-UH11.ai'	TS200-Tu0 SR2 ST0 DT1.ai'
TRc-8o8-HiO3.ai'	1Rc-9o9-HH2.ai'	TS200-Tu0 SR2 ST1 DT0.ai'
6 Crash Cymbal	1Rc-9o9-HH3.ai'	TS200-Tu0 SR2 ST1 DT1.ai'
TRc-8a8-CC1.ai'	1Rc-9o9-HH4.ai'	TS200-Tu0 SR2 ST1 DT2.ai'
TRc-8a8-CC2.ai'	1Rc-9o9-HH5.ai'	TS200-Tu0 SR2 ST2 DT0.ai'
TRc-8a8-CC3.ai'	1Rc-9o9-HHO.ai'	TS200-Tu0 SR2 ST2 DT1.ai'
7 Congo	1Rc-9o9-HHO2.ai'	TS200-Tu0 SR2 ST2 DT2.ai'
TRc-8o8-Cgah.ai'	1Rc-9o9-HHO3.ai'	TS200-Tu0 SR2 ST3 DT0.ai'
TRc-8o8-Cgalo.ai'	1Rc-9o9-HHO4.ai'	TS200-Tu0 SR2 ST3 DT1.ai'
TRc-8o8-Cgah.ai'	6 Crash Cymbal	TS200-Tu0 SR2 ST3 DT2.ai'
8 Claves	1Rc-9o9-CC1.ai'	TS200-Tu0 SR2 ST4 DT0.ai'
TRc-8a8-CL.V.ai'	1Rc-9o9-CC2.ai'	TS200-Tu0 SR2 ST4 DT1.ai'
8 Cowbell	6 Ride Cymbal	TS200-Tu0 SR2 ST4 DT2.ai'
TRc-8o8-CWP.ai'	1Rc-9o9-R1.ai'	TS200-Tu0 SR2 ST5 DT0.ai'
8 Shaker	1Rc-9o9-R12.ai'	TS200-Tu0 SR2 ST5 DT1.ai'
TRc-8o8-SfK.ai'		TS200-Tu0 SR2 ST5 DT2.ai'
9o9 Clone	Tam Star 200	Tu0 Sweep Range 3
1 Bass Drum	Tuo0	TS200-Tu0 SR3 ST0 DT0.ai'
TRc-9o9-BD01.ai'	Tu0 Sweep Range 0	TS200-Tu0 SR3 ST0 DT1.ai'
TRc-9o9-BD02.ai'	1S200-Tu0 SR0 ST0 DT0.ai'	TS200-Tu0 SR3 ST1 DT0.ai'
TRc-9o9-BD03.ai'	1S200-Tu0 SR0 ST0 DT1.1.ai'	TS200-Tu0 SR3 ST1 DT1.ai'
TRc-9o9-BD04.ai'	1S200-Tu0 SR0 ST0 DT2.ai'	TS200-Tu0 SR3 ST1 DT2.ai'
TRc-9o9-BD05.ai'	1S200-Tu0 SR0 ST1 DT0.ai'	TS200-Tu0 SR3 ST2 DT0.ai'
TRc-9o9-BD06.ai'	1S200-Tu0 SR0 ST1 DT1.1.ai'	TS200-Tu0 SR3 ST2 DT1.1.ai'
TRc-9o9-BD07.ai'	1S200-Tu0 SR0 ST1 DT2.1.ai'	TS200-Tu0 SR3 ST3 DT2.1.ai'

Tu0 Sweep Range 4

TS200-Tu0 SR4 S10 DT0-af

TS200-Tu0 SR4 S10 DT1-af

TS200-Tu0 SR4 S10 DT2-af

TS200-Tu0 SR4 S11 DT0-af

TS200-Tu0 SR4 S11 DT1-af

TS200-Tu0 SR4 S11 DT2-af

TS200-Tu0 SR4 S12 DT0-af

TS200-Tu0 SR4 S12 DT1-af

TS200-Tu0 SR4 S12 DT2-af

TS200-Tu0 SR4 S13 DT1-af

TS200-Tu0 SR4 S13 DT2-af

TS200-Tu0 SR4 S14 DT0-af

TS200-Tu0 SR4 S14 DT1-af

TS200-Tu0 SR4 S14 DT2-af

TS200-Tu0 SR4 S15 DT0-af

TS200-Tu0 SR4 S15 DT1-af

TS200-Tu0 SR4 S15 DT2-af

Tu0 Sweep Range: 5

TS200-Tu0 SR5 S70 DT0-af

TS200-Tu0 SR5 S70 DT1-af

TS200-Tu0 SR5 S70 DT2-af

TS200-Tu0 SR5 S71 DT0-af

TS200-Tu0 SR5 S71 DT1-af

TS200-Tu0 SR5 S71 DT2-af

TS200-Tu0 SR5 S72 DT0-af

TS200-Tu0 SR5 S72 DT1-af

TS200-Tu0 SR5 S72 DT2-af

TS200-Tu0 SR5 S73 DT0-af

TS200-Tu0 SR5 S73 DT1-af

TS200-Tu0 SR5 S73 DT2-af

TS200-Tu0 SR5 S74 DT0-af

TS200-Tu0 SR5 S74 DT1-af

TS200-Tu0 SR5 S74 DT2-af

TS200-Tu0 SR5 S75 DT0-af

TS200-Tu0 SR5 S75 DT1-af

TS200-Tu0 SR5 S75 DT2-af

Tu0 Sweep Range: 6

TS200-Tu0 SR6 S70 DT0-af

TS200-Tu0 SR6 S70 DT1-af

TS200-Tu0 SR6 S70 DT2-af

TS200-Tu0 SR6 S71 DT0-af

TS200-Tu0 SR6 S71 DT1-af

TS200-Tu0 SR6 S71 DT2-af

TS200-Tu0 SR6 S71 DT1-af

TS200-Tu0 SR6 S72 DT1-af

TS200-Tu0 SR6 S72 DT2-af

TS200-Tu0 SR6 S73 DT0-af

Tu0 Sweep Range: 7

1S200-Tu1 SR0 ST1 D1.0.1

1S200-Tu1 SR0 ST1 D1.1.1

1S200-Tu1 SR0 ST1 D1.2.1

1S200-Tu1 SR0 ST2 D1.0.1

1S200-Tu1 SR0 ST2 D1.1.1

1S200-Tu1 SR0 ST2 D1.2.1

1S200-Tu1 SR0 ST3 D7.0.1

1S200-Tu1 SR0 ST3 D7.1.1

1S200-Tu1 SR0 ST3 D7.2.1

Tul Sweep Range.1

TS200-Tu1 SR1 ST0 D7.0.1

TS200-Tu1 SR1 ST0 D1.1.1

TS200-Tu1 SR1 ST0 D1.2.1

TS200-Tu1 SR1 ST1 D1.0.1

TS200-Tu1 SR1 ST1 D1.1.1

TS200-Tu1 SR1 ST1 D1.2.1

TS200-Tu1 SR1 ST2 D7.0.1

TS200-Tu1 SR1 ST2 D7.1.1

TS200-Tu1 SR1 ST2 D7.2.1

TS200-Tu1 SR1 ST3 D7.0.1

TS200-Tu1 SR1 ST3 D7.1.1

TS200-Tu1 SR1 ST3 D7.2.1

TS200-Tu1 SR1 ST4 D7.0.1

TS200-Tu1 SR1 ST4 D7.1.1

TS200-Tu1 SR1 ST4 D7.2.1

TS200-Tu1 SR1 ST5 D7.0.1

TS200-Tu1 SR1 ST5 D7.1.1

TS200-Tu1 SR1 ST5 D7.2.1

Tul Sweep Range.2

TS200-Tu1 SR2 ST0 D7.0.1

TS200-Tu1 SR2 ST0 D7.1.1

TS200-Tu1 SR2 ST0 D7.2.1

TS200-Tu1 SR2 ST1 D7.0.1

TS200-Tu1 SR2 ST1 D7.1.1

TS200-Tu1 SR2 ST1 D7.2.1

TS200-Tu1 SR2 ST2 D7.0.1

TS200-Tu1 SR2 ST2 D7.1.1

TS200-Tu1 SR2 ST2 D7.2.1

TS200-Tu1 SR2 ST3 D7.0.1

TS200-Tu1 SR2 ST3 D7.1.1

TS200-Tu1 SR2 ST3 D7.2.1

TS200-Tu1 SR2 ST4 D7.0.1

TS200-Tu1 SR2 ST4 D7.1.1

TS200-Tu1 SR2 ST4 D7.2.1

TS200-Tu1 SR2 ST5 D7.0.1

TS200-Tu1 SR2 ST5 D7.2.1

Tul Sweep Range.3

TS200-Tu1 SR3 ST0 D7.0.1

TS20R-Tal SR3 ST3 DT1.2.tif

TS20R-Tal SR3 ST4 DT0.9.tif

TS20R-Tal SR3 ST4 DT1.1.tif

TS20R-Tal SR3 ST4 DT1.2.tif

TS20R-Tal SR3 ST5 DT0.9.tif

TS20R-Tal SR3 ST5 DT1.1.tif

TS20R-Tal SR3 ST5 DT2.2.tif

Tul Swap Rags 4

TS20R-Tal SR4 ST0 DT0.9.tif

TS20R-Tal SR4 ST0 DT1.1.tif

TS20R-Tal SR4 ST0 DT2.2.tif

TS20R-Tal SR4 ST1 DT0.9.tif

TS20R-Tal SR4 ST1 DT1.1.tif

TS20R-Tal SR4 ST1 DT2.2.tif

TS20R-Tal SR4 ST2 DT0.9.tif

TS20R-Tal SR4 ST2 DT1.1.tif

TS20R-Tal SR4 ST3 DT2.2.tif

TS20R-Tal SR4 ST4 DT0.9.tif

TS20R-Tal SR4 ST4 DT1.1.tif

TS20R-Tal SR4 ST4 DT2.2.tif

TS20R-Tal SR4 ST5 DT0.9.tif

TS20R-Tal SR4 ST5 DT1.1.tif

TS20R-Tal SR4 ST5 DT2.2.tif

Tul Swap Rags 5

TS20R-Tal SR5 ST0 DT0.9.tif

TS20R-Tal SR5 ST0 DT1.1.tif

TS20R-Tal SR5 ST0 DT2.2.tif

TS20R-Tal SR5 ST1 DT0.9.tif

TS20R-Tal SR5 ST1 DT1.1.tif

TS20R-Tal SR5 ST1 DT2.2.tif

TS20R-Tal SR5 ST2 DT0.9.tif

TS20R-Tal SR5 ST2 DT1.1.tif

TS20R-Tal SR5 ST2 DT2.2.tif

TS20R-Tal SR5 ST3 DT0.9.tif

TS20R-Tal SR5 ST3 DT1.1.tif

TS20R-Tal SR5 ST3 DT2.2.tif

TS20R-Tal SR5 ST4 DT0.9.tif

TS20R-Tal SR5 ST4 DT1.1.tif

TS20R-Tal SR5 ST4 DT2.2.tif

Tam Star 204

Module 1-Synth

Downwards

TS20R-Down 1.aiif

TS20R-Down 2.aiif

TS20R-Down 3.aiif

TS201-Down3 88.aif	TS204-CLP Rv7 P3.aif	TS50II-Cat-TOM3.2.aif
TS201-Down3 89.aif	TS204-CLP Rv8 P1.aif	TS50II-Cat-TOM3.3.aif
TS201-Down3 10.aif	TS204-CLP Rv8 P2.aif	TS50II-Cat-TOM3.4.aif
TS201-Down3 11.aif	TS204-CLP Rv8 P2.aif	Electric
TS204-Down3 12.aif	Tam Star 500	TS50II-Perc-BD.aif
TS204-Down3 13.aif		TS50II-Perc-SD.aif
TS204-Down4 1.aif	Acoustic	TS50II-Elec-TOM1.aif
TS204-Down4 2.aif	TS500-Acou-BD.aif	TS50II-Elec-TOM2.aif
TS204-Down5 1.aif	TS500-Acou-SD.aif	TS50II-Elec-TOM3.aif
TS204-Down5 2.aif	TS500-Acou-TOM1.aif	Percussive
Flat	TS500-Acou-TOM2.aif	TS50II-Perc-BD.aif
TS204-Flu.1.aif	TS500-Acou-TOM3.aif	TS50II-Perc-SD.aif
TS204-Flu.2.aif	Custom	TS50II-Perc-TOM1.aif
TS204-Flu.3.aif	BD	TS50II-Perc-TOM2.aif
TS204-Flu.4.aif	TS500-Cst-BD Laii'	TS50II-Perc-TOM3.zif
TS204-Flu.5.aif	TS500-Cst-BD 2.aif	The 55
TS204-Flu.6.aif	TS500-Cst-BD 3.aif	T65-BD.aif
TS204-Flu.7.aif	TS500-Cst-BD 4.aif	T65-CLY.aif
TS204-Flu.8.aif	TS500-Cst-BD 5.aif	T65-CWBAif
TS204-Flu.9.aif	TS500-Cst-BD 6.aif	T65-BH.aif
Noise	TS500-Cst-BD 7.aif	TS50-HBO.aif
TS204-Noise 1.aif	TS500-Cst-BD 8.aif	T65-RIM.aif
TS204-Noise 2.aif	TS500-Cst-BD 9.aif	T65-SD.aif
TS204-Noise 3.aif	CC	TS5-TOM1.aif
TS204-Noise 4.aif	TS500-Cst-CC Laii'	T65-TOM2.aif
Vib	TS500-Cst-CC 2.aif	The 66
TS204-Vib 01.zif	III	T66-BD.aif
TS204-Vib 02.zif	TS500-Cst-IIIO Laii'	T66-CLY.aif
TS204-Vib 03.zif	TS500-Cst-IIIO 2.aif	T66-CWBAif
TS204-Vib 04.zif	TS500-Cst-IIIO 3.aif	T66-III.Laii'
TS204-Vib 05.zif	SD	T66-IIIO.aif
TS204-Vib 06.zif	TS500-Cst-SD1 Laii'	T66-RIM.aif
TS204-Vib 07.zif	TS500-Cst-SD1 2.aif	T66-SD.aif
TS204-Vib 08.zif	TS500-Cst-SD1 3.aif	T66-TOM1.aif
TS204-Vib 09.zif	TS500-Cst-SD1 4.aif	T66-TOM2.aif
TS204-Vib 10.aif	TS500-Cst-SD1 5.aif	T66-TOM3.aif
TS204-Vib 11.aif	TS500-Cst-SD1 6.aif	The 77
Module 2-Clap	TS500-Cst-SD1 7.aif	T77-BD.aif
TS204-CLP no Verb.zif	TS500-Cst-SD1 8.aif	T77-CLY.aif
TS204-CLP Rvi P1.aif	TS500-Cst-SD1 9.aif	T77-CWBAif
TS204-CLP Rvi P2.aif	TS500-Cst-SD2 1.aif	T77-HBCaif
TS204-CLP Rvi P3.aif	TS500-Cst-SD2 2.aif	T77-III.Baif
TS204-CLP Rvi P1.aif	TS500-Cst-SD2 3.aif	T77-III.Baif
TS204-CLP Rvi P2.aif	TS500-Cst-SD2 4.aif	T77-III.Baif
TS204-CLP Rvi P3.aif	TS500-Cst-SD3.5.aif	T77-III.Baif
TS204-CLP Rvi P1.aif	TS500-Cst-SD3 6.aif	T77-Metro.aif
TS204-CLP Rvi P2.aif	TOM	T77-RLaif
TS204-CLP Rvi P3.aif	TS500-Cst-TOM1 Laii'	T77-III.Baif
TS204-CLP Rvi P1.aif	TS500-Cst-TOM1 2.aif	T77-III.Baif

(K-BD v5.xif

(UK-BD v6.aiif

2 Snare Drum

tK-5D 1.aif

tK-SD 2.aif

tR-SD 3.aif

3 Toms

K-HIOM VI. al

K-HYOM V23H K-HYOM 2

К-ПЕТОМ УЗЕЛ

K-Lo[OM x] vif

K-LoTOM x2.2if

tK-LoTOM v3.aif

tK-LoTOM v4.ai

4 Hi-Hat

tK-HH 1,ai

tK-HH 2.aif

tK-OH 1:alf

tK-OH 2.91

(K-OH 3.0)

K-OH-Lml

5 Cymbals

tK-ox:TTI-Laif

tK-OCTII-2.aif

TK-1X.111-3.a17

tK-IX.T1-T.aif

K-UC[1-2.a]

tK-DC11-3.auf

TK-OC 12-1.317

K-CC 12-2.34

(K-CC 12-5.3)

Tom ED

TomED-TOM Laif

TomED-TOM 2.ai

TomED-TOM 3.aif

TomED-TOM 4.aif

TomED-TOM 5.aif

TomED TOM 6.aif

TomED-TOM 7.aif

TomED-TOM Rail

UniVox

UniVx-BD1.aif

UniVx-BD2.aif

UniVr-CC.aif

UniVx-CLV.aif

UniVx-CWB.ai

1. 2017 年 6 月 1 日

VermoDrums

VomDr-BD-aif

VppDr-CLX-ai

VrmDr-CWRalf

VrnDr-HH.aif

VrrDr-OH.alf

VrmDr-SD.aif

VrmDr-SHK Lag.ai

VrrnDr-SIJK Loap 1.aif

VrrnDr-SI HK Loap 2.ai

VrrnDr-SITK Sht.

VrrnDr-TOML2it

VrrnDr-TOM2.ai

Wers Matic

WerMa-BD1.aif

WerMa-BD2.aif

WerMa-CgaHi.aif

WerMa-CgLoaif

WerMa-CLV.aif

WerMa-CWB.aif

WerMa-Guiro.ai

WerMa-HH.aif

WcrMa-HHO.sif

WerMa-RU.xil

WerMa-SD.al

WerMa-TOM Lail

Wema-TOM 2.11

Werma-TOM 3.aii

YMB Ten

1 Bass Drum

YMRt-BD-P1.aif

YMR(-BD)-P2.aif

YMR(-BD-P3.ai)

YMR(-BL)-Pd.ai

YMR1-BD-P5.ai

2 Snare Drum

YMRt-SD-PI.aif

YMRt-SD-P2.aif

YMRt-SD-P3.aif

YMRt-SD-P4.aif

YMRt-SD-P5.aif

3 Toms

YMRi-HITOM-PI.ai

YMRi-LETOM-P2.ai

YMRt-1HTOM-P3.ai

YMRt-1HTOM-P4.aif

YMRt-1HTOM-P5.aif

YMRU-CC-P5.xif

3 DIGITAL

Arranger Drums

ArgD-BD-Acc.aif

ArgD-BD.aif

ArgD-CC-Acc.aff

ArgD-CC.all

ArgD-CgaOP-Accail

ArgD - O_6AlOP.

ArgD-OgM-Asc. All

ArgD-CgaM..all

ArgD-CWR-ACC.ill ArgD-CWR-AC

^1 _D HUG, 400.6

123D HWC 47

107 D. WIE, 1

1.4 D III of

HgO^+H2^+O3^+

Al2D-H2O-M

Algdithome and HTOM

AlgD-ETOM-ACM

ArgD-HITOM.11

ArgD-DJ1OM-Acc.m

ArgD-BOTOMM

AlgD-MAC

A_g^D D^4Cl. all

A _D D-RIM-ACC.ann

ArgD-RIM2a1

H_D^1 (SD) ALCAM Arel-SD qi ^2

2nd SUV 3c

123D SHK aif

AvgD-Tamh Acc aif

125D Torch oil

AvgD-Timb-Arc aif

AvgD-Timab-if

Bhm Drums

BhmD-BDaif

Bhmd-Beo,aif

BhmD-Cga.aif

Bhmd-CLV aif

Bhmd-CWB.aif

Bhmd-HHC.aif

Bhmd-HHF.ai

BamD-HHO.ai

BharnD-RL.aif

Bhmd-RIMail

Bhens12. Roll 65

D.R110-BD-Acc.tif

D.R110-BD-dAccatif

D.R110-BD.aif

D.R110-CC-Acc.ai

D.R110-CC-dAccail

D.K110-C.C21F D.F116-CLP

D.R110.CIP-Acc.aff D.R110.CIP.dAcc.aff

DR110-CLP-aif

D.R110-HHC-Acc.alf

D.R110-HHC-dAcc.aif

D.R110-HHC.aif

D.R110-HHO-Acc.aif

D.R110-HHO-dAcc.aif

D.R110-HHO.aif

D.R110-SD-Acc.sit D.R110-SD-Acc.sit

D1010-SD-aAcc.

D.R116-3D.5H

D.Rhythm 220

D.R220-BD-Acc.ai

D.R220-BD.aif

D.R220-CC-Acc.aiF

D.R220-ACI34F D.R226-CLR10059

D.R220.CLP-RELESH D.R220.CLP-RIF

D.R220-HHC-Acc-alf

D.R220-HHC.aif

DR220-HHO-Acc.aif

D.R220-HHO.aif

DR220-HiTOM-Accalf

DR220-HiTOM.aif

DJ220-LoTOM-Accail

DJ220-16TOMaI

k12501-B12 T1 D4.aff

K17201-BD2-T2-D1-SH

KD201-BD2-T2-D2.5H kD1-1-PD1-T2-D1-6

KD101-RD7 T2 D4 +if

KD2q1-BD2 T3 D1 -aif

kD2o1-SD1 T4 D2.aif

kD2o1-Si31-T4 D3.aii

kJ261-5101-14134.4m ^-1

k1261-3101-13-171.ah hD2-1-FD1-T5-D2-if

KD2o1, SD1, TS D3 aif

kD2o1-SDL-Ts-D4-aif

2 Snare Drum 2

kD2o1-SD2 T1 D1.aif

kD2o1-SD2 T1 D2.aif

kD2o1-SD2 T1 D3.aif

kD2o1-SD2 T1 D4.all

KD261-5D2 T2 D1.àli 132-1-F132-T2-T32

XD201-3132 12 132.all 132-1 5132 72 132.

H22e1-SI22-T2-DM-raf

kD2o1-5D2-T3-D1-aif

kD2o1-SD2 T3 D2.aif

kD2o1-SD2 T3 D3.aif

kD2o1-SD2 T3 D4.aif

kD2o1-SD2 T4 D1.aif

kD2o1-SD2 T4 D2.ai

KMI(Sx-CC)al KMI(Sx-Gu)H

KIMRS-Cgal-2019 KIMRS-Cgal-2019

KMRSx-CLP aif

KMRSx-CWILaii

KMRSx-111C.aif

KMRSx-1110.aif

KMRSx-HITOM.aif

KMRSx-LoTOMLaiF

KAFRSX-Metro T.air

KMRSX-Metro p.aft

KMRSA-R13H KMRSA-RIMoi

KMBSz-SD-aif

KMRSx-Tamb.sif

KMRSx-Timb.aif

KMRSx-Wbk.aif

K-S Three

1 Bass Drum

Acoustic

KStt-BD1.ail

K3H-BD2.5H

K3ch-BD5.2if FSth, 11124 -if

KSth-1025-3if

KSth-BI26.zif

KSth-BD7.zif

K5th-BDS.zif

KSth-BD9.aif

Electronic

KSth-BDc1.3i

KSth-BIXe2.31

KSH-BDA3.31

K3dP-B1X4.51 ESth 812-5 wi

3.600 D##

2 Share Drum

Acoustic

KsdI-SD1.MI

K3dP-SD2.41 ESth SD3.41

KSth-SD6 rif

KSth-SD5.nif

PSch-SPK-sif

KStb-S1bc6.ai

3 Rimshot

KSth-RIM1.aif

KSth-RIM2.aif

4 Toms

KSth-eTOM1-1.aif

KSh-cTOM1-2.aff

KSH-COM1-3.all Koth-COM2-1

KSH-CTOM2-1. al

KStb-pTOM2-3.

KStb-eTOM2-4.ai

KSth-eTOM3.aif

KSth-eTOM4.aif

KSth·TOMI·Lai

Ksth-TOMI-2.ai

KSB-TOMT-3.aft

KSH-TOMH-4.aH

KSH TOM 1.1

KStb-TOM2-3-alf

KSty-TOM7-4

KStb-TOM3-Laif

KSth-TOM3-2.aif

KSth-TOM3-3.aif

KSth-TOMFX.ai

5 Hi-Hat

KSth-Electro III Laif

KSth-Electro HHO2it

KSB-HHC.T.31F

KSH-HEC2.air KSH-HEC1.

KSH, HFE2, iF

KStb-HHO1-af

KStb-HHO2aif

KSta-HHO3aif

6 Cymbals

KSth-CCl.aif

KSth-CX2 Ling,aif

KSth-CC2 Sht.aif

KSh-CA3-HaIF

KSM-CAS-La. alr 5504-71-15

Kath-Christoph EStb. RLPellLng

KSty-RJ Bell Shr. of

KStb-RJ1.aif

KStb-RJ2.aif

KSth-RI3.aif

7 Percussions 1

KSH-SHK2.ai

KSh-SHK3.ai

8 Percussions 2

KSth-Bgn FX.aif

KSth-BgaHi.ai

KSth-Bgol.O.ai

KSth-EgoUpn.aft

K5th-Cgat. al. K5th-Cgat. al.

Koh-Cgazan KSth Electro P

Kath-Electro Bgoshim KSth-Electro Bgal o aif

KSth-Electro Timbasif

KSih-Electro TiambHi-

KSh-Electro TimbLo.ai

KSih-PERC1.aif

KSih-PERC2.ai

KSth-PBRC3.atl

KSH-PERCA

Ksh Timb 1

KSth Tirab aif

KSth-TirabHi-a

KSth-TimbLoaif

9 FX

KSth-FX CC 1.aif

KSh-FX CC 2.01

KSih-FX CC 3.aiif

KSh-FX CC 4.ai

KSH-FX CC 5.211

KSH-FX111L2H KSH-FX100-3

KSH-FX Lng 124 KSsh.FY Lng 2.25

KSh.FX Log 3.47

KSth-FX Long 4.aif

KSth-FX Lng 5 aif

KSth-FX Lng 6.aif

KSth-FX Log 7.aif

KSth-FX Lug 8.aif

K5th-FX SHK.aif

KSh-FX Slt 1.91

KSH-PX 5th 2:31 VSH-EX-Sht 1-9

KS(b)ky Sgn 1 yil

KSib-FX Sen 2.ai

KSth-FX Syn 3.ail

KSth-FXClick1.ai

KSth-FXClick2.ai

1 8000

25000

L9000-SD-T3.aif	L9000-BI2-T3.aif	OMBF-CgaHia.aif
L9000-SD-T4.aif	L9000-BI2-T4.aif	OMBF-CgaHo.aif
L9000-SD-T5.aif	L9000-BI2-T5.aif	OMBF-CLP.aif
L9000-SD-T6.aif	L9000-BI2-T6.aif	OMBF-CLV.aif
3 Rimshot	8 Congas	OMBF-CW8.aif
19000-RIM-T1.aif	L9000-Cga1-T1.aif	OMBF-Guim.aif
19000-RIM-T2.aif	L9000-Cga1-T2.aif	OMBF-H111.aif
19000-RIM-T3.aif	L9000-Cga1-T3.aif	OMBF-H12.aif
19000-RIM-T4.aif	L9000-Cga1-T4.aif	OMBF-H17.aif
19000-RIM-T5.aif	L9000-Cga1-T5.aif	OMBF-H10a.aif
19000-RIM-T6.aif	L9000-Cga1-T6.aif	OMBF-RLaif
4 Hand Clap	L9000-Cga2-T1.aif	OMBF-RIM.aif
L9000-CLP-T1.aif	L9000-Cga2-T2.aif	OMBF-SD1.aif
L9000-CLP-T2.aif	L9000-Cga2-T3.aif	OMBF-SD2.aif
L9000-CLP-T3.aif	L9000-Cga2-T4.aif	OMBF-SDx1.aif
L9000-CLP-T4.aif	L9000-Cga2-T5.aif	OMBF-SDx2.aif
L9000-CLP-T5.aif	L9000-Cga2-T6.aif	OMBF-Tamb.aif
L9000-CLP-T6.aif	9 Percussions	OMBF-Igl.Laif
5 Toms	L9000-Cxs-T1.aif	OMBF-IglS.aif
L9000-TOM-T1.aif	L9000-Cxs-T2.aif	OMBF-Tom1.aif
L9000-TOM-T2.aif	L9000-Cxs-T3.aif	OMBF-Tom2.aif
L9000-TOM-T3.aif	L9000-Cxs-T4.aif	OMBF-Tom3.aif
L9000-TOM-T4.aif	L9000-Cxs-T5.aif
L9000-TOM-T5.aif	L9000-Cxs-T6.aif	P Drum X
L9000-TOM-T6.aif	L9000-CWB-I1.aif	1 Bass Drum
6 Hi-Hat	L9000-CWB-I2.aif	PDx-BD Kit1.aif
L9000-HH1-T1.aif	L9000-CWB-I3.aif	PDx-BD Kit2.aif
L9000-HH1-T2.aif	L9000-CWB-I4.aif	PDx-BD Kit3.aif
L9000-HH1-T3.aif	L9000-CWB-I5.aif	PDx-BD Kit4.aif
L9000-HH1-T4.aif	L9000-CWB-I6.aif	PDx-BD Kit5.aif
L9000-HH1-T5.aif	L9000-Tamb-T1.aif	PDx-BD Kit6.aif
L9000-HH1-T6.aif	L9000-Tamb-T2.aif	PDx-BD Kit7.aif
L9000-HH2-T1.aif	L9000-Tamb-T3.aif	PDx-BD Kit8.aif
L9000-HH2-T2.aif	L9000-Tamb-T4.aif	2 Snare Drum
L9000-HH2-T3.aif	L9000-Tamb-T5.aif	PDx-SD Kit1.aif
L9000-HH2-T4.aif	L9000-Tamb-T6.aif	PDx-SD Kit2.aif
L9000-HH2-T5.aif		PDx-SD Kit3.aif
L9000-HH2-T6.aif	MDP Forty	PDx-SD Kit4.aif
L9000-HHO-T1.aif	MDP5-BD.aif	PDx-SD Kit5.aif
L9000-HHO-T2.aif	MDP5-CLP.aif	PDx-SD Kit6.aif
L9000-HHO-T3.aif	MDP5-CWB.aif	PDx-SD Kit7.aif
L9000-HHO-T4.aif	MDP5-HHC.aif	PDx-SD Kit8.aif
L9000-HHO-T5.aif	MDP5-HHO.aif	3 Toms
L9000-HHO-T6.aif	MDP5-RLaif	FDx-TOM1 Kit1a
7 Cymbals	MDP5-RIM.aif	FDx-TOM1 Kit2a
L9000-CC-T1.aif	MDP5-SD.aif	FDx-TOM1 Kit3a
L9000-CC-T2.aif	MDP5-SILK.aif	FDx-TOM1 Kit4a
L9000-CC-T3.aif	MDP5-TOM.aif	FDx-TOM1 Kit5a
L9000-CC-T4.aif	OMR Five
PDrX-TOM3 Kit1.aif	SMS9-RIM 07.aif	Sms9-HITOM 03.aif
PDrX-TOM3 Kit2.aif	SMS9-RIM 08.aif	Sms9-HITOM 04.aif
PDrX-TOM3 Kit3.aif	SMS9-RIM 09.aif	Sms9-HITOM 05.aif
PDrX-TOM3 Kit4.aif	SMS9-RIM 10.aif	Sms9-HITOM 06.aif
PDrX-TOM3 Kit5.aif	SMS9-RIM 11.aif	Sms9-HITOM 07.aif
PDrX-TOM3 Kit6.aif	SMS9-RIM 12.aif	Sms9-HITOM 08.aif
PDrX-TOM3 Kit7.aif	SMS9-RIM 13.aif	Sms9-HITOM 09.aif
PDrX-TOM3 Kit8.aif	SMS9-RIM 14.aif	Sms9-HITOM 10.aif
	SMS9-RIM 15.aif	Sms9-HITOM 11.aif
SMS 9	SMS9-RIM 16.aif	Sms9-HITOM 12.aif
1 Bass Drum	SMS9-RIM 17.aif	Sms9-HITOM 13.aif
SMS9-IBD 01.aif	SMS9-RIM 18.aif	Sms9-HITOM 14.aif
SMS9-IBD 02.aif	SMS9-RIM 19.aif	Sms9-HITOM 15.aif
SMS9-IBD 03.aif	SMS9-RIM 20.aif	Sms9-HITOM 16.aif
SMS9-IBD 04.aif	4 Low Tom	Sms9-HITOM 17.aif
SMS9-IBD 05.aif	SMS9-LotOM 01.aif	Sms9-HITOM 18.aif
SMS9-IBD 06.aif	SMS9-LotOM 02.aif	Sms9-HITOM 19.aif
SMS9-IBD 07.aif	SMS9-LotOM 03.aif	Sms9-HITOM 20.aif
SMS9-IBD 08.aif	SMS9-LotOM 04.aif
SMS9-IBD 09.aif	SMS9-LotOM 05.aif	SMS MTX
SMS9-IBD 10.aif	SMS9-LotOM 06.aif	Cabasa
SMS9-IBD 11.aif	SMS9-LotOM 07.aif	Snxtx-Cbs 1.aif
SMS9-IBD 12.aif	SMS9-LotOM 08.aif	Snxtx-Cbs 2.aif
SMS9-IBD 13.aif	SMS9-LotOM 09.aif	Snxtx-Cbs 3.aif
SMS9-IBD 14.aif	SMS9-LotOM 10.aif	Snxtx-Cbs 4.aif
SMS9-IBD 15.aif	SMS9-LotOM 11.aif	Snxtx-Cbs 5.aif
SMS9-IBD 16.aif	SMS9-LotOM 12.aif	Snxtx-Cbs FX.aif
SMS9-IBD 17.aif	SMS9-LotOM 13.aif	Clap
SMS9-IBD 18.aif	SMS9-LotOM 14.aif	Snxtx-CLP 1.aif
SMS9-IBD 19.aif	SMS9-LotOM 15.aif	Snxtx-CLP 2.aif
SMS9-IBD 20.aif	SMS9-LotOM 16.aif	Snxtx-CLP 3.aif
2 Snare Drum	SMS9-LotOM 17.aif	Snxtx-CLP FX.aif
SMS9-SD 01.aif	SMS9-LotOM 18.aif	Clave
SMS9-SD 02.aif	SMS9-LotOM 19.aif	Snxtx-CLV 1.aif
SMS9-SD 03.aif	SMS9-LotOM 20.aif	Snxtx-CLV 2.aif
SMS9-SD 04.aif	5 Mid Tom	Snxtx-CLV 3.aif
SMS9-SD 05.aif	SMS9-MITOM 01.aif	Snxtx-CLV FX.aif
SMS9-SD 06.aif	SMS9-MITOM 02.aif	Conga
SMS9-SD 07.aif	SMS9-MITOM 03.aif	Snxtx-Cpa 1.aif
SMS9-SD 08.aif	SMS9-MITOM 04.aif	Snxtx-Cpa 2.aif
SMS9-SD 09.aif	SMS9-MITOM 05.aif	Snxtx-Cpa 3.aif
SMS9-SD 10.aif	SMS9-MITOM 06.aif	Snxtx-Cpa 4.aif
SMS9-SD 11.aif	SMS9-MITOM 07.aif	Snxtx-Cpa 5.aif
SMS9-SD 12.aif	SMS9-MITOM 08.aif	Snxtx-Cpa 6.aif
SMS9-SD 13.aif	SMS9-MITOM 09.aif	Cowbell
SMS9-SD 14.aif	SMS9-MITOM 10.aif	Snxtx-CWII 1.aif
SMS9-SD 15.aif	SMS9-MITOM 11.aif	Snxtx-CWII 2.aif
SMS9-SD 16.aif	SMS9-MITOM 12.aif	Snxtx-CWII 3.aif
SMS9-SD 17.aif	SMS9-MITOM 13.aif	Snxtx-CWII 4.aif

Timbale

Smix-Timb 1.ai

Smix-Timb 2.aif

Smix-Timb 3.all

Smitx-Tirish 4.5H

3.61x-1.09注5.48

Tom

Smtx-Dry TOM Lair

Smix-Dry TOM 2.air

Sintx-Dry TOM 3 air

Sintix-Dry TOM 4.38

Smix-Elec TOM 1.ai

Sintix-Elec TOM 2.41

Smix-Elec TOM 3.all Enerix Elon TOM 4.

Smix-Liec TOM 4.all Smax-Elway TOM 5. ni

Smyx-Eler TOM 6 ai

Smitx-Power TOM 1-2if

Smtx Power TOM 2.pdf

Smtx-Power TOM 3.pdf

Smtx-Power TOM 4.pdf

SMS Trix

No Reverb

Kit1 - Rock 1

SMSTx-Rk1 BD-T1.aif

SMSTx-Rk1 BD-T2.aif

SMSTx-Rk1 BD-T3.aif

SMS Tx-IUKI BD-T4.alf

SMSTX-RKI BD-15.3H CMT-BL-HYOM-T

SMS1x-RKI HITOM-11.34

SMSTX-IGF HITOM-12.3H SMST-8L1H7OM-72-ef

SMSTx-Pk1HJOM-T4-ef

SMSTx-Rkl UHOM-T5-aif

SMSTx-Rk|MiTOMI-TLai

SMSTx-Rk|MiTOMI-T2.ai

SMSTx-Rk1 MiTOM1-T3.ai

SMSTx-Rk1 MiTOM1-T4.ai

SMSTx-Rk1 MtOM1-T5.a

SMS IX-RK1 M1 [OM2-] [A]

SM31x-10k1 M10GM2-12a1 SM6T=1kt MTOM2 T1

SMSTx-Rk1 MITOM2-T3.82 SMSTx-Rk1 MITOM2-T4.9

SMSTx-Rk1-MITOM2-T5-ai

SMSTx-Rk1 SD-T1.sif

SMSTx-Rk1 SD-T2.xif

SMSTx-Rk1 SD-T3.aif

SMSTx-Rk1 SD-T4.aif

SMSTx-Rk2 HITOM-T4.ai

SMSTx-Rk2 HITOM-T5.ai

SMSTx-Rk2 MiTOM1-T1.ai

SMSTx-Rk2 MiTOM1-T2.ai

SMSTX-Rx2 M1TOM1-13.ai SMITF-P3.2 MITOM1-T6

SMTx-Rx2 MTOM1-T4.

SMSTx PI2 MITOM2 T1 ai

SMSTx-Rk2-MiTOM2-T2-ai

SMSTx-Rk2 MiTOM2-T3.ai

SMSTx-Rk2-MiTOM2-T4-ai

SMSTx-Rk2 MiTOM2-T5.ai

SMSTx-Rk2 SD-T1.aif

SMSTx-Rk2 SD-T1.aif

SMSTx-Rk2 SD-T3.aif

SMSTx-Rk2 SD-T4.51

SMSTx-Rk2 SD-T5.aif

Kit3 - Jazz

SMSTx-Jx HD-T1.ai

SMSTx-jx1H2-T2.air

SMTX-12-H12-T3,air

SMSTx-12 BD-T5.49

SMSTv-1x HITOM-T

SMSTx-lz HiTOM-T2.aif

SMSTx-1z HiTOM-T3.aif

SMSTx-1z HiTOM-T4.aif

SMSTx-1z HiTOM-T5.aif

SMSTx-|z MiTOM1-T1.xif

SMSTx-1z MfTOM1-T2.xif

SMS1x-1z M10M1-13.21

SMSTx-12 MTCM1-14.31

SM31x-12 SD-14.ann 62/STy-12 SD-T5 -iF

SM31X-2 SD-15.4ml

Kit4 - Electronic

SMSTX-LFD-T1.5E1 EMF-ELB2-T2-6

SMSTx-ⅡBD-T3-Ⅳ

SMSTx-FLBD-T4-af

SMSTx-El BD-T5-aif

CHIT. PHOTOM T1.2

SMSTa-El MiTOM2-T2.aif

SMSTx-El MiTOM2-T3.aif

SMSTx-El MiTOM2-T4.aif

SMSTx-14 MiTOM2-T5.ai

SMSTX-13 SD-11. All

SMST-13 SD+2.48

SMSTx, F1 SD, T4 nif

SMSTx.F1SD.T5.aif

With Reverb

Kit1 - Rock

SMSTx-Rk1 HD-T1 Rv.aif

SMSTx-Rk1 HD-T2 Rv.aif

SMSTx-Rk1 HD-T3 Rv.air

SMSTX-RK1 B12-14 Rv.air

SMSTX-RK|BL7-13RV,air 2MCT=Bl+VITOM,T+R

SMSTx Rk: HiTOM T2 By-if

SMSTx-Rk1 HiTOM-T3 Rv-sif

SMSTx-Rk1 HiTOM-T4 Rv-sif

SMSTx-Rk1 HiTOM-T5 Rv.aif

SMSTa-Rk1 MITOM1-T1 Rv.ai

SMSTa-Rk1 MiTOM1-T2 Rv.ai

SMSTx-Rk1 MITOM1-T3 Rv.ai

SMSTx-Rk1 MiTOM1-T4 Rv.ai

SMSTA-RE1 MITOMI-15 RV.20 (OMST - R) 1 AUTOMA T3 II

SMSTx-Rk1-MITC/M2-T1-Rv.21 SMSTx-Rk1-MITC/M2-T1-Rv.21

SMSTv PI-1 MITOMO T3 Pw

SMSTx-Rk1 MiTOM2-T4 Rv-ai

SMSTx-Rk1 MiTOM2-T5 Rv.ai

SMSTx-Rk1 SD-T1 Rv.aif

SMSTx-Rk1 SD-T2 Rv.aif

SMSTx-Rk1 SD-T3 Rv.aif

SMSTx-Rk1 SD-14 Rv.air

SMSTx-IokI SD-15 kV air

Kit2 - Rock 2

SMSTx-Rk2 HD-T1 Rv.ai

SMSTx-Rk2 HD-T2 Rv.ai

SMSTX-RK2 (HD-T3 R9,air

SMSTx-Rk2 H17-T4 R9.alf SMSTx-Pls0 RD T5 Prcvif

SMST= R12 HITOM T1 P

SMSTx-Rk2 HiTOM-T2 By aif

SMSTx-Rk2 HiTOM-T3 Rv.aif

SMSTx-Rk2 HiTOM-T4 Rv.aif

SMSTx-Rk2 HiTOM-T5 Rv.aif

SMSTx-Rk2 MiTOM1-T1 Rv.a

SMSTx-Rk2 MiTOM1-T2 Rv.a

SMS Tx-Rk2 SD-T3 Rvaif	SRDr-BD 02.acf
SMS Tx-Rk2 SD-T4 Rvaif	SRDr-BD 03.acf
SMS Tx-Rk2 SD-T5 Rvaif	SRDr-BD 04.acf
Kit3 - Jazz	SRDr-BD 05.acf
SVSTx Jr BD-T1 Rvaif	SRDr-BD 06.acf
SVSTx Jr BD-T2 Rvaif	SRDr-BD 07.acf
SVSTx Jr BD-T3 Rvaif	SRDr-BD 08.acf
SVSTx Jr BD-T4 Rvaif	SRDr-BD 09.acf
SVSTx Jr BD-T5 Rvaif	SRDr-BD 10.acf
SVSTx Jr HITOM-T1 Rvaif	SRDr-BD 11.acf
SVSTx Jr HITOM-T2 Rvaif	SRDr-BD 12.acf
SVSTx Jr HITOM-T3 Rvaif	SRDr-BD 13.acf
SVSTx Jr HITOM-T4 Rvaif	SRDr-BD 14.acf
SVSTx Jr HITOM-T5 Rvaif	SRDr-BD 15.acf
SVSTx Jr HITOM-T1 Rvaif	SRDr-BD 16.acf
SVSTx Jr HITOM-T2 Rvaif	SRDr-BD 17.acf
SVSTx Jr HITOM-T3 Rvaif	SRDr-BD 18.acf
SVSTx Jr HITOM-T4 Rvaif	2 Snare Drum
SVSTx Jr HITOM-T5 Rvaif	SRDr-SD1 01.acf
SVSTx Jr MTOM2 T1 Rvaif	SRDr-SD1 02.acf
SVSTx Jr MTOM2 T2 Rvaif	SRDr-SD1 03.acf
SVSTx Jr MTOM2 T3 Rvaif	SRDr-SD1 04.acf
SVSTx Jr MTOM2 T4 Rvaif	SRDr-SD1 05.acf
SVSTx Jr MTOM2 T5 Rvaif	SRDr-SD1 06.acf
SVSTx Jr SD-T1 Rvaif	SRDr-SD1 07.acf
SVSTx Jr SD-T2 Rvaif	SRDr-SD1 08.acf
SVSTx Jr SD-T3 Rvaif	SRDr-SD1 09.acf
SVSTx Jr SD-T4 Rvaif	SRDr-SD1 10.acf
SVSTx Jr SD-T5 Rvaif	SRDr-SD1 11.acf
Kit- Electronic	SRDr-SD1-12.acf
SVSTx BI HD T1 Rvaif	SRDr-SD2-01.acf
SVSTx BI HD T2 Rvaif	SRDr-SD2-02.acf
SVSTx BI HD T3 Rvaif	SRDr-SD2-03.acf
SVSTx BI HD T4 Rvaif	SRDr-SD2-04.acf
SVSTx BI HD T5 Rvaif	SRDr-SD2-05.acf
SVSTx BI HITOM-T1 Rvaif	SRDr-SD2-06.acf
SVSTx BI HITOM-T2 Rvaif	SRDr-SD2-07.acf
SVSTx BI HITOM-T3 Rvaif	SRDr-SD2-08.acf
SVSTx BI HITOM-T4 Rvaif	SRDr-SD2-09.acf
SVSTx BI HITOM-T5 Rvaif	SRDr-SD2-10.acf
SVSTx BI HMITOM-T1 Rvaif	SRDr-SD2-11.acf
SVSTx BI HMITOM-T2 Rvaif	SRDr-SD2-12.acf
SVSTx BI HMITOM-T3 Rvaif	SRDr-SDb.acf
SVSTx BI HMITOM-T4 Rvaif	3 Hand Clap
SVSTx BI HMITOM-T5 Rvaif	ADMS-CLP 1.fr
SVSTx BI HMITOM-T1 Rvaif	ADMS-CLP 2.fr
SVSTx BI HMITOM-T2 Rvaif	ADMS-CLP 3.fr
SVSTx BI HMITOM-T3 Rvaif	ADMS-CLP 4.fr
SVSTx BI HMITOM-T4 Rvaif	ADMS-CLP 5.fr
SVSTx BI HMITOM-T5 Rvaif	ADMS-CLP 6.fr

4 Tom Hi 1

SRDr-HITOM1 Elec.aif

SRDr-HITOM1-1.aif

SRDr-HITOM1-2.aif

SRDr-HITOM1-3.aif

SRDr-HITOM1-4.aif

SRDr-HITOM1-5.aif

SRDr-HITOM1-6.aif

SRDr-HITOM1-7.aif

4 Tom Hi 2

SRDr-HITOM2 Elec.aif

SRDr-HITOM2-1.aif

SRDr-HITOM2-2.aif

SRDr-HITOM2-3.aif

SRDr-HITOM2-4.aif

SRDr-HITOM2-5.aif

SRDr-HITOM2-6.aif

SRDr-HITOM2-7.aif

4 Tom Lo 1

SRDr-LoTOM1 Elec.aif

SRDr-LoTOM1-1.aif

SRDr-LoTOM1-2.aif

SRDr-LoTOM1-3.aif

SRDr-LoTOM1-4.aif

SRDr-LoTOM1-5.aif

SRDr-LoTOM1-6.aif

SRDr-LoTOM1-7.aif

4 Tom Lo 2

SRDr-LoTOM2 Elec.aif

SRDr-LoTOM2-1.aif

SRDr-LoTOM2-2.aif

SRDr-LoTOM2-3.aif

SRDr-LoTOM2-4.aif

SRDr-LoTOM2-5.aif

SRDr-LoTOM2-6.aif

SRDr-LoTOM2-7.aif

4 Tom Mid 1

SRDr-MITOM1-Elec.aif

SRDr-MITOM1-1.aif

SRDr-MITOM1-2.aif

SRDr-MITOM1-3.aif

SRDr-MITOM1-4.aif

SRDr-MITOM1-5.aif

SRDr-MITOM1-6.aif

SRDr-MITOM1-7.aif

4 Tom Mid 2

SRDr-MITOM2-Elec.aif

SRDr-MITOM2-1.aif

SRDr-MITOM2-2.aif

SRDe-HHC 5.aif	SRDe-BgeLo.aif	SRDe-FX 12.aif
SRDe-HHC 6.aif	SRDe-Casianet Lng.aif	SRDe-FX 13.aif
SRDe-HHC 7.aif	SRDe-Casianet Shi.aif	SRDe-FX 14.aif
SRDe-HHC 8.aif	SRDe-Cga Ilec. Liif	SRDe-FX 15.aif
SRDe-HHC 9.aif	SRDe-Cga Ilec. 2.aif	SRDe-FX 16.aif
5 Hi-Hat (Foot)	SRDe-Cga Ilec. 3.aif	SRDe-FX 17.aif
SRDe-HHF 1.aif	SRDe-CgaHI Mcaif	SRDe-FX 18.aif
SRDe-HHF 2.aif	SRDe-CgaHI Op.aif	SRDe-FX 19.aif
SRDe-HHF 3.aif	SRDe-Cgal o.aif	8 Misc
SRDe-HHF 4.aif	SRDe-Cl Vaif	SRDe-Bottle H.aif
SRDe-HHF 5.aif	SRDe-Cutica Hlaif	SRDe-Bottle Lo.aif
5 Hi-Hat (Half Open)	SRDe-Cutica Lo.aif	SRDe-HIT Hlaif
SRDe-III11.1.aif	SRDe-CWB Exc.caif	SRDe-HIT Lo.aif
SRDe-III11.2.aif	SRDe-CWB aif	SRDe-HIT Ma.aif
SRDe-III11.3.aif	SRDe-jingle Bell.aif	SRDe-Lener.aif
5 Hi-Hat (Open)	SRDe-Batchct.aif	SRDe-Lip Pop.aif
SRDe-HHO 01.aif	SRDe-Snap 1.aif	SRDe-Purch.aif
SRDe-HHO 02.aif	SRDe-Snap 2.aif	SRDe-Scratch Pull.aif
SRDe-HHO 03.aif	SRDe-SOk.1.aif	SRDe-Scratch Push.aif
SRDe-HHO 04.aif	SRDe-SOk 2.aif
SRDe-HHO 05.aif	SRDe-Tamb.aif	The SoS
SRDe-HHO 06.aif	SRDe-Tpl Ling.aif	TsoS-BD Acc.aif
SRDe-HHO 07.aif	SRDe-Tpl Sht.aif	TsoS-BD.aif
SRDe-HHO 08.aif	SRDe-TmblHlaif	TsoS-CC-Acc.aif
SRDe-HHO 09.aif	SRDe-TmblLo.aif	TsoS-CC-aif
SRDe-HHO 10.aif	SRDe-Vibrasalp.aif	TsoS-CgaOP-Acc.aif
6 Chinese Cymbal
ADMs-Chi.1.aif	SRDe-WblHo.aif	TsoS-CgaOP.aif
ADMs-Chi.2.aif	7 Shaker	TsoS-CgaSL-Acc.aif
ADMs-Chi.3.aif	SRDe-SltK.1.aif	TsoS-CLP-Acc.aif
ADMs-Chi.4.aif	SRDe-SltK.2.aif	TsoS-CLP.aif
6 Crash Cymbal
SRDe-CC 01.aif	SRDe-SltK.4.aif	TsoS-CWBI Hi-Acc.aif
SRDe-CC 02.aif	SRDe-SltK.5.aif	TsoS-CWBI Hlaif
SRDe-CC 03.aif	SRDe-SltK.6.aif	TsoS-CWBI La-Acc.aif
SRDe-CC 04.aif	SRDe-SltK.7.aif	TsoS-HHC Acc.aif
SRDe-CC 05.aif	SRDe-SltK.8.aif	TsoS-HHCaif
SRDe-CC 06.aif	7 Udu	TsoS-HHO Acc.aif
SRDe-CC 07.aif	SRDe-Udu Loif	TsoS-HHOaif
SRDe-CC 08.aif	SRDe-Udu 2.aif	TsoS-BI-Acc.aif
SRDe-CC 09.aif	SRDe-Udu 3.aif	TsoS-BIaif
SRDe-CC 10.aif	SRDe-Udu 4.aif	TsoS-BIM-Acc.aif
SRDe-CC 11.aif	SRDe-Udu 5.aif	TsoS-BIMaif
6 Ride Cymbal
SRDe-R1.1.aif	SRDe-Udu 6.aif	TsoS-SD-Acc.aif
SRDe-R1.2.aif	SRDe-Udu 7.aif	TsoS-SDaif
SRDe-R1.3.aif	SRDe-Udu 8.aif	TsoS-Time-Acc.aif
SRDe-R1.4.aif	SRDe-Udu 9.aif	TsoS-Timeaif
SRDe-R1.5.aif	8 Effects	TsoS-TOM1-Acc.aif
	SRDe-FX 01.aif	TsoS-TOM1.aif
	SRDe-FX 02.aif	TsoS-TOM1-Acc.aif
T626-BD1 P05.aif	2 Snare Drum 3	T826-LatOM1 P11.aif
T626-BD1 P08.aif	T626-SD3 P01.aif	T826-LatOM1 P12.aif
T626-BD1 P07.aif	T626-SD3 P02.aif	T826-LatOM1 P13.aif
T626-BD1 P08.aif	T626-SD3 P03.aif	T826-LatOM1 P14.aif
T626-BD1 P09.aif	T626-SD3 P04.aif	T826-LatOM1 P15.aif
T626-BD1 P10.aif	T626-SD3 P05.aif	4 Tom 1 (Mid)
T626-BD1 P11.aif	T626-SD3 P06.aif	T826-MITOM1 P01.aif
T626-BD1 P12.aif	T626-SD3 P07.aif	T826-MITOM1 P02.aif
T626-BD1 P13.aif	T626-SD3 P08.aif	T826-MITOM1 P03.aif
T626-BD1 P14.aif	T626-SD3 P09.aif	T826-MITOM1 P04.aif
T626-BD1 P15.aif	T626-SD3 P10.aif	T826-MITOM1 P05.aif
1 Bass Drum 2	T626-SD3 P11.aif	T826-MITOM1 P06.aif
T626-BD2 P01.aif	T626-SD3 P12.aif	T826-MITOM1 P07.aif
T626-BD2 P02.aif	T626-SD3 P13.aif	T826-MITOM1 P08.aif
T626-BD2 P03.aif	T626-SD3 P14.aif	T826-MITOM1 P09.aif
T626-BD2 P06.aif	T626-SD3 P15.aif	T826-MITOM1 P10.aif
T626-BD2 P05.aif	3 Rimshot	T826-MITOM1 P11.aif
T626-BD2 P06.aif	T626-RIM P01.aif	T826-MITOM1 P12.aif
T626-BD2 P07.aif	T626-RIM P02.aif	T826-MITOM1 P13.aif
T626-BD2 P08.aif	T626-RIM P03.aif	T826-MITOM1 P14.aif
T626-BD2 P09.aif	T626-RIM P04.aif	T826-MITOM1 P15.aif
T626-BD2 P10.aif	T626-RIM P05.aif	4 Tom 2 (Ili)
T626-BD2 P11.aif	T626-RIM P06.aif	T826-HITOM2 P01.aif
T626-BD2 P12.aif	T626-RIM P07.aif	T826-HITOM2 P02.aif
T626-BD2 P13.aif	T626-RIM P08.aif	T826-HITOM2 P03.aif
T626-BD2 P14.aif	T626-RIM P09.aif	T826-HI COM2 P04.aif
T626-BD2 P15.aif	T626-RIM P10.aif	T826-HI COM2 P05.aif
2 Snare Drum 1	T626-RIM P11.aif	T826-HI COM2 P06.aif
T626-SD1 P01.aif	T626-RIM P12.aif	T826-HI COM2 P07.aif
T626-SD1 P02.aif	T626-RIM P13.aif	T826-HI COM2 P08.aif
T626-SD1 P03.aif	T626-RIM P14.aif	T826-HI COM2 P09.aif
T626-SD1 P04.aif	T626-RIM P15.aif	T826-HI COM2 P10.aif
T626-SD1 P05.aif	4 Tom 1 (Hi)	T826-HITOM2 P11.aif
T626-SD1 P06.aif	T626-HITOM1 P01.aif	T826-HITOM2 P12.aif
T626-SD1 P07.aif	T626-HITOM1 P02.aif	T826-HITOM2 P13.aif
T626-SD1 P08.aif	T626-HITOM1 P03.aif	T826-HITOM2 P14.aif
T626-SD1 P09.aif	T626-HITOM1 P04.aif	T826-HITOM2 P15.aif
T626-SD1 P10.aif	T626-HITOM1 P05.aif	4 Tom 2 (Low)
T626-SD1 P11.aif	T626-HITOM1 P06.aif	T826-LatOM2 P01.aif
T626-SD1 P12.aif	T626-HITOM1 P07.aif	T826-LatOM2 P02.aif
T626-SD1 P13.aif	T626-HITOM1 P08.aif	T826-LatOM2 P03.aif
T626-SD1 P14.aif	T626-HITOM1 P09.aif	T826-LatOM2 P04.aif
T626-SD1 P15.aif	T626-HITOM1 P10.aif	T826-LatOM2 P05.aif
2 Snare Drum 2	T626-HITOM1 P11.aif	T826-LatOM2 P06.aif
T626-SD2 P01.aif	T626-HITOM1 P12.aif	T826-LatOM2 P07.aif
T626-SD2 P02.aif	T626-HITOM1 P13.aif	T826-LatOM2 P08.aif
T626-SD2 P03.aif	T626-HITOM1 P14.aif	T826-LatOM2 P09.aif
T626-SD2 P04.aif	T626-HITOM1 P15.aif	T826-LatOM2 P10.aif
T626-SD2 P05.aif	4 Tom 1 (Low)	T826-LatOM2 P11.aif
T626-METOM2 P06.aif	6 Crash Cymbal	T826-AggH I P11.aif
T626-METOM2 P07.aif	T626-CC P01.aif	T826-AggH I P12.aif
T626-METOM2 P08.aif	T626-CC P02.aif	T826-AggH I P13.aif
T626-METOM2 P09.aif	T626-CC P03.aif	T826-AggH I P14.aif
T626-METOM2 P10.aif	T626-CC P04.aif	T826-AggH I P15.aif
T626-METOM2 P11.aif	T626-CC P05.aif	7 Agogo (Low)
T626-METOM2 P12.aif	T626-CC P06.aif	T626-AggLo P01.aif
T626-METOM2 P13.aif	T626-CC P07.aif	T626-AggLo P03.aif
T626-METOM2 P14.aif	T626-CC P08.aif	T626-AggLo P05.aif
T626-METOM2 P15.aif	T626-CC P09.aif	T626-AggLo P04.aif
5 HH-Hiat (Closed)	T626-CC P10.aif	T626-AggLo P05.aif
T626-HHC P01.aif	T626-CC P11.aif	T626-AggLo P06.aif
T626-HHC P02.aif	T626-CC P12.aif	T626-AggLo P07.aif
T626-HHC P03.aif	T626-CC P13.aif	T626-AggLo P08.aif
T626-HHC P04.aif	T626-CC P14.aif	T626-AggLo P09.aif
T626-HHC P05.aif	T626-CC P15.aif	T626-AggLo P10.aif
T626-HHC P06.aif	6 Ride Cymbal	T826-AggLo P11.aif
T626-HHC P07.aif	T626-RI P01.aif	T826-AggLo P12.aif
T626-HHC P08.aif	T626-RI P02.aif	T826-AggLo P13.aif
T626-HHC P09.aif	T626-RI P03.aif	T826-AggLo P14.aif
T626-HHC P10.aif	T626-RI P04.aif	T826-AggLo P15.aif
T626-HHC P11.aif	T626-RI P05.aif	7 Congo (Hi Mute)
T626-HHC P12.aif	T626-RI P06.aif	T626-CgHl Mt P01.aif
T626-HHC P13.aif	T626-RI P07.aif	T626-CgHl Mt P02.aif
T626-HHC P14.aif	T626-RI P08.aif	T626-CgHl Mt P03.aif
T626-HHC P15.aif	T626-RI P09.aif	T626-CgHl Mt P04.aif
5 Hi-Hat (Open)	T626-RI P10.aif	T626-CgHl Mt P05.aif
T626-HHO P01.aif	T626-RI P11.aif	T626-CgHl Mt P06.aif
T626-HHO P02.aif	T626-RI P12.aif	T626-CgHl Mt P07.aif
T626-HHO P03.aif	T626-RI P13.aif	T626-CgHl Mt P08.aif
T626-HHO P04.aif	T626-RI P14.aif	T626-CgHl Mt P09.aif
T626-HHO P05.aif	T626-RI P15.aif	T626-CgHl Mt P10.aif
T626-HHO P06.aif	6 Ride Cymbal (Cup)	T626-CgHl Mt P11.aif
T626-HHO P07.aif	T626-RI Cup P01.aif	T626-CgHl Mt P12.aif
T626-HHO P08.aif	T626-RI Cup P02.aif	T626-CgHl Mt P13.aif
T626-HHO P09.aif	T626-RI Cup P03.aif	T626-CgHl Mt P14.aif
T626-HHO P10.aif	T626-RI Cup P04.aif	T626-CgHl Mt P15.aif
T626-HHO P11.aif	T626-RI Cup P05.aif	7 Congo (Hi Open)
T626-HHO P12.aif	T626-RI Cup P06.aif	T626-CgHl Op P01.aif
T626-HHO P13.aif	T626-RI Cup P07.aif	T626-CgHl Op P02.aif
T626-HHO P14.aif	T626-RI Cup P08.aif	T626-CgHl Op P03.aif
T626-HHO P15.aif	T626-RI Cup P09.aif	T626-CgHl Op P04.aif
6 Chinese Splash	T626-RI Cup P10.aif	T626-CgHl Op P05.aif
T626-Chi P01.aif	T626-RI Cup P11.aif	T626-CgHl Op P06.aif
T626-Chi P02.aif	T626-RI Cup P12.aif	T626-CgHl Op P07.aif
T626-Chi P03.aif	T626-RI Cup P13.aif	T626-CgHl Op P08.aif
T626-Chi P04.aif	T626-RI Cup P14.aif	T626-CgHl Op P09.aif
T626-Chi P05.aif	T626-RI Cup P15.aif	T626-CgHl Op P10.aif
T626-Chi P06.aif	7 Agogo (Hi)	T626-CgHl Op P11.aif

WerDr-TOM4 P4.aif WerDr-TOM4 P5.aif

5 Hi-Hat

WerDr-HHC PI.aif

WerDr-HHC P2.aif

WerDr-HECP3.aif

WeyDr-HECP4.pdf

WeyDr-HHC P5 qif

WxDr.HHO P1 of

WEDP-HHO T.M. W→Dr. HHO D2-if

WEDI-HO 2. ml W→D→HJO D→if

WDFI-HO15.MI W-Dr [H2O]Pt-if

WcDF-HHO M.ill

WcrDr-HHO15.ai

6 Crash Cymbal

WerDr-CX:PI.aif

WerDr-CX.P2.aif

WerDr-CX.P3.aif

WerDr-CC P4.aif

WerDr-OC P5.aif

6 Ride Cymbal

WcrDrBUP1sif

WcrDr-R1P2-sif

World2113. vif

World's EU, if

Weld-PKF4.211 World 21135.97

VerD/F-KFP3.all

7 Congas

WerDr-Cgal Pl.aif

WerDr-Cgal P2.aif

WcrDr-Cgat P5.aif

WcrDr-Cgal P4.aif

WcrDr-Cgal P5.aif

WcrDr-Cg2 P1.aif

WcrDr-Cga2 P2.aif

WcrDr-Cga2 P3.aif

WcrDr-Cea2 P4.aif

WerDr-Cea2 P5.ai

WerDr-Coa3 P1 siF

WerDr-Coa3 P2 sil

Wardr-Cea3 P3 si

WenDr. Coa3 P4 nif

Wert D's Csa2 75.616

We find a 5.5 air

7 Tambourine

WerDr-Tamb P1.aif

WcrDr-Tamb P2.aif

WerDr-Tamb P3.aif

WcrDr-Tamb P4.sif

WerDr-Tamb P5.aif

7 Timpani

WerDr-Timp PO1aif

WerDe-Time P12.ai

Wer1r-Time '13.ai'

8 Cowball

8 Cowden WorDr GWI 71.66

Wertel-ACTBPT.ill Wertel-CMTB) .if

Wertp-A/C/B P2.51P

Wer(DP-CAWB P3.ai)

WerDr-CWB P4,air

WerDr-CWB P5.aif

8 Whistle

WerDr-Whistle Plaif

WerDr-Whistle P2.aif

WerDr-Whistle P3.aif

WerDr-Whistle P4.aif

WerDr-Whistle P5.aif

9 Voices

WerDr-Hoba P1 aif

WerDr-Hoba P2-if

WerDr: Hehe Pr. if

WorDr-Haba P4-if

WcDr-Halla P4.511

WcrDe-Halla P5.34

WerDe-Hey Ft. al

WerDr-Hey P2.ai

WerDr-Hey P3.ai

WerDr-Hey Pd.ai

WerDr-Iley P5.ai/

VDT

XR Ten

1 Bass Drum

XTt-BD01.sif

YH-BD02 sif

XII-BD013 wi

ART-BD-03.all XHL-BD-04 wiC

ART-BD04.all XIIA-BA295-wiC

ART-BD05.all XIIA-BMG-16

ART-BD05.all

ARI-BD01/.all

XRT-BDUR.ai

XRt-BD019.aif

XRt-BDHLaif

2 Snare Drum

Xlt-SD01.aif

Xlt-SD02.aif

XRT-SD03.aif

XRt-SD04.aif

XIU-SDU5.ai

XR1-SDU6.ai/

XR1-S1017 ai

XR1-S1208-ai

XPI-SDUR-ni

XRI-M3H9.ah XIIA-FIDH-ni

AKI-MOHAN

XRt-LeTOM3.aif

XRi-LvTOM4aif

XR-MITOM1 ai

KR-MITOM2 xi/

XP-MITOM3-ai/

XK-MITC/M3.ai YB-MITOM1-ni

XK2-M1/C7/M4,ai

5 Hi-Hat

XRt-HH1.aif

XRt-HH2.alf

XRt-HH3.9if

6 Cymbal

XRI-CCShLaif

XRt-CCl.aif

XRt-CC2aif

XRt-RLaif

7 Instruments

YD+, Ross Ctr. aif

AN-Pass Guit YP+ HIT aIF

AN-AT1,ml

8 Percussions

XRi-AggHi.ai

XRi-AggLo.ai

XRt-Chs.aif

XRt-CgaOP1li.aif

XRt-CgaOPLoaif

XRt-CgaSI.Hi.aif

XRt-CgaSI.Lo.aif

XRt-CLP.aif

XRt-CLV.aif

XRt-CWB.aif

XRt-Guiro Logaif

XRt-Guiro Sbt aif

YPt-1 save Hi aif

XR-25031100 YD+1 sec le aif

ANPLAST LUSH YRt Sven a/f

AKI-Snap.31 XII: Temple oil

AKI-19Hb.MI

AKI-1g/L.ill

XRi-1g Sail

XRt-Timblli.ai

XRt-Timbl.a.aif

XRt-Vibraslap.aif

XRt-Whistle.aif

YDPT...

YDD Ten

YDDt-AggHiaif

YDDt-AppLo.of

YDDr-BD.aif

YDDr-BDc-sif

YDDr-RecHi aif

YDDr PocLoaif

TDD-SgoLoM

YDDt-RIM.xif

YDDt-SD.ai

YDDt-SDe1.ai

YDDt-SDe2.ai

YIDC-SIDES.MI

YDD: TOM 1

YDDt TOM 2 -iF

YDDt-TOM3.pdf

YDDt-TOM+aif

[Non-Text]

YQY Ten

YQYt-AggHiaif

YQYt-AggLo.aif

YQYt-BD1.aif

YQYt-BD2.ai

1Q10-BD3.MI

1Q10-CCall VOW: Gohli ni/

YQY-Casalv rif

YOYt-CenM1.aif

YOYt-CLP.aif

YQYt-CWR.ai

YQYt-HH.laif

YQYt-HHC.aif

YQYt-HHCl

YQYt-HITOM.Mr

TQT(-LO)OM,all YOY-MTOV,if

YOYr-PLeif

YOYr-RIM

YOYt-SD1.aif

YQYt-SD2.aif

YQY(-SD3.aif

YQY(-SDM.ai)

YQYU-SHK.all

YQYU-Timbl II,ail

1Q10-19(2)3.54

YRX Eight

1 Bass Drum

YRXc-BD1-P1.aif

YRXc-BD1-P2.aif

YRXc-BD2-P1.aif

YRXC-BD2-P2.m1

YHCx-BD3-PT.31

TRAE-BD5-F2.3M TRE-100M-101-6

YRX-III-127-sif

VBY-1115-D1-sif

YRXe-SD5-PLaif

YRXe-SD5-P2.aif

3 Rimshot

YRXe-RIM-PI.aif

YRXe-RIM-P2.ai

4 Toms

YRAC-TOM 1-PT.air YRAC-TOM 1-PT.air

YRX-TOM 2 P1-2.4

YJXu-TOM 2-12 rif

YRXe-TOM 3-11 sil

YRXe-TOM 3-P2.ai

YRXe-TOM 4-PI.ai

YRXe-TOM 4-P2.ai

YRXe-TOM 5-PI.aif

YRXe-TOM 5-P2.ai

YRXe-TOM b-PT,air

YRXe-TOM-6-PZAir YRXe-TOM-6-PZAir

YRXa TOM 7 P2 cif

YRYe-TOM 8-P1 oif

VPXe-TOM 8-P2 oif

5 Hi-Hat

YRXe-HHC-P1.aif

YRXe-IIIIC-P2.nif

YRXe-IIIIO-P1aif

YRXe-1110-P2.aif

6 Cymbals

YR/Xe-CC-PL3a17

11Xe-CC-P2.3F

YBXe-PLCup-P2 cif

YRXe-PI Edoc-B1 aid

YRXe-RLEthec-P2.ai

7 Instruments

YRXe-Bass 1-PL

YRXe-Bass 1-P2.aif

YRXe-Bass 2-PI.aif

YRXe-Rass 2-P2.a

YRXe-HIT-P1aIF

YRxE-HIT-P234

YBX-Machib-P1.41

3.2.1.

o Percussions

YKXe-AggH-F1.51 YILXe-AmgH-E-P2-ef

YRXe-Arg1α-P1-vif

YRXe-ArgLo-P2-raf

YRXe-BgpUli-PLaif

YRXe-CLP-P2.xif

YRXe-Quica-Plait

YRXe-Cuica-P2LaiI

YRXe-CWB-PIail

TRXE-CWIB-PZJ11

TRXE-SITK-PT.alr VDX-ELIK-T2-nic

YRX•Tamb R1 oif

YRXe-Tamb-P2.0if

YRXe-TimbHi-Pl.aif

YRXe-TimbHi-P2.aif

YRXe-TimbLo-P1.aif

YRXo-TimbLo-P2.aif

YRXe-Whistle-Pl.air

YICx-Whists-P2.at

YRX Seven

01 Bass Drum

YRXs-BD1.aif

YRXs-BD2.aif

YRXs-BD3.aif

YRXs-Fusion BD1.aif

YICAS-Heavy BDTAir

TICKS-Heavy BD2.a

YRYS-12300000000000000000000000000000000000

YRS-s-Processed B132 xif

02 Sporo Drum

VPYr, Haver SDI

YRXs. Heavy SD2.aif

YRXs-Heavy SD3.aif

YRXs-PicolSD.aif

YRXs-Processed SD1.aif

YRXs-Processed SD2.aif

YRXs-Processed S13.ai

YKAS-SD1.91

YRXs-SD2.3a1

TRAS-SD501

03 Klimshot KRW TUMA 1/

YBX, JIM2.

04 Toms

YRX5-cTOM1.0if

YRXs-cTOM2.tif

YRXs-cTOM3.aif

YRXs-cTOM4.aif

YRXs-FM Perc 1.aif

YRXs-FM Perc 2.ail

YRXs-FM Perc 3.ail

YRXs-1OM2.aiif	YRXs-Owl.aiif	KD265-BD2 12 D4.aiif
YRXs-1OM3.aiif	YRXs-Uhl.aiif	KD268-BD 12 D4.aiif
YRXs-1OM4.aiif	11 Reverse	KD268-BD 12 D4.aiif
05 Hi-Hat	YRXs-Rev BD.aiif	KDDMh-BD.aiif
YRXs-HFC.aiif	YRXs-Rev CC.aiif	KMRxS-BD.aiif
YRXs-HF7.aiif	YRXs-Rev TOM.aiif	KP8f2-BD.aiif
YRXs-HF0.aiif	YRXs-Rev RI Edge.aiif	KP8a2-BD-Acc.aiif
06 Cymbals	YRXs-Rev SD.aiif	KP8t2-BD1.aiif
YRXs-CC.aiif	YRXs-Rev TOM.aiif	KP8t2-BD2.aiif
YRXs-Chi.aiif		KSh-BD1.aiif
YRXs-RI Cup.aiif	SORTED ELEMENTS	KSh-BD5.aiif
YRXs-RI Edge.aiif		KSh-BD5.aiif
07 Instruments	1 Bass Drum	KSh-BD7.aiif
YRXs-Brast.aiif	AocT1-BD.aiif	KSh-BDcl.aiif
YRXs-Clava.aiif	AocT2-BD+FH4.aiif	KSh-BDcl2.aiif
YRXs-eBass FI.aiif	AocT2-TOM1+BD.aiif	KSh-BDcfsxif
YRXs-eBass Lo.aiif	AocTe-BD2.aiif	KSh-BDcfsxif
YRXs-Qtr Cut Do.aiif	AocT8-BD.aiif	KSh-BDcfsxif
YRXs-Qtr Cut U.aiif	Anadlc100-BD.aiif	L9000-BD-12.aiif
YRXs-Gouter5.aiif	ArgD-BD-Acc.aiif	LDrum-BD1.aiif
YRXs-Gouter8.aiif	BkmD-BD.aiif	MDPf-BD4.aiif
YRXs-HT1.aiif	CMate-BD.aiif	MPnps-BD1.aiif
YRXs-Marcinius.aiif	CMate-BD+HH4.aiif	MPnps-BD2.aiif
YRXs-Vick Bass.aiif	cRBS-BD-Accaiif	OgeDr-BD1.aiif
YRXs-Steel Draif	cRBS-BD4.aiif	OgeDr-BD2.aiif
YRXs-Syn Bass.aiif	cRSH-BD4.aiif	OgeDr-BD3.aiif
08 Percussions	D,R110-BD-Accaiif	OMR5-BD1.aiif
YRXs-AggHI.aiif	D,R220-BD-Accaiif	OMR5-BD2.aiif
YRXs-AggLo.aiif	D,R220F-BD-Accaiif	OMR5-BD1+H1.aiif
YRXs-Bellrce3.aiif	dADD1-BD01.aiif	FDX-RD Kit1.aiif
YRXs-BgoHi1xif	dADD1-BD03.aiif	FDX-RD Kit2.aiif
YRXs-BgoLo.aiif	dADD1-BD06.aiif	FDX-RD Kit7.aiif
YRXs-Costoccaif	dADD1-BD08.aiif	Phighl-BD T1 D1.aiif
YRXs-CgaHi Mi1xif	dADD1-BD10.aiif	Phighl-BD T1 D4.aiif
YRXs-CgaHi Op.aiif	DeMke-BD.aiif	Phighl-BD T4 D5.aiif
YRXs-CgaLo.aiif	Drmulator-BD.aiif	RhHighy-BD3.aiif
YRXs-CLP.aiif	DeMX-BD-P1.aiif	R1md-BD1 P08.aiif
YRXs-CLY.aiif	DePerf-BD1.aiif	R1md-BD2 P08.aiif
YRXs-Cuica.aiif	DePerf-BD2.aiif	R1md-BD3 P08.aiif
YRXs-CWR.aiif	Drsar-BD2.aiif	R21-BD3.aiif
YRXs-SUK.aiif	Drsar-BD2.aiif	R21-Smpf BD.aiif
YRXs-Tamh.aiif	DRik-BD 07.aiif	S400-BD01.aiif
YRXs-TimbHI.aiif	LTIDRs-BD8.aiif	S400-BD02.aiif
YRXs-TimbLo.aiif	LTIDRs-BD7.aiif	S400-BD03.aiif
YRXs-Tinyra.aiif	HRks-BDel P2.aiif	S400-BD04.aiif
YRXs-Vibraslep.aiif	HRks-BDe2 P2.aiif	S400-BD05.aiif
YRXs-Whistle.aiif	HRksB Big Foot P3.aiif	S400-BD06.aiif
09 FX	HRksB Deep Wood BD-P3.aiif	S400-BD07.aiif
YRXs-Camera.aiif	HRksB-Mounter BD-P3.aiif	S400-BD08.aiif
SMS-Tx-kt BD-T1.aiif	WerMar-BD2.aiif	H3sx-SDc-P2.aiif
SMS-Tx-RK1 BD-T1 Rva.aiif	XRt-BD01.aiif	HRaxB-90's Guard SD-P1.aiif
SMS-Tx-RK1 BD-T1.T2.aiif	XRt-BD02.aiif	HRaxB-Aggressive SD-P3.aiif
SMS-Tx-RK2 BD-T1 Rva.aiif	XRt-BD03.aiif	HRaxB-Combination SD-P3.aiif
SMS-Tx-RK2 BD-T1.T2.aiif	YDDt-BD.aiif	HRaxB-Fat SD-P3.aiif
SMS-Tx-RK2 SD-T1 Rva.aiif	YDDt BDe.aiif	HRaxB-Mid Plenic SD-P3.aiif
MSVY-BD1.aiif	YMRs-RD 1PLAif	HRaxB-Mid Punch SD-P3.aiif
MSVY-BD2.aiif	YMRs-RD 9PS.aiif	HRaxB-Rap SD-P3.aiif
MSVY-BD3.aiif	YQYt-BD1.aiif	HRaxB-Reverh SD-P3.aiif
MSVY-BD4.aiif	YQYt-BD2.aiif	HRaxB-Tecno SD-P3.aiif
S8De-BD 01.aiif	YQYt-BD3.aiif	KD20s1-SD1 T2 D4.aiif
S8De-BD 07.aiif	YRXe-BD1-PLAif	KD20s1-SD2 T2 D4.aiif
S8De-BD 13.aiif	YRXe-BD2-PLAif	KD20s1-SD1 T2 D4.aiif
S8De-BD 16.aiif	YRXe-BD3-PLAif	KD20s1-SD2 T2 D4.aiif
Sysv-BD.aiif	YRXe-BD4-PLAif	KD20s1-SD1 T3 D4.aiif
T50s-BD-Acc.aiif	YRXe-SU5-PLAif	KD20s1-SD2 T3 D4.aiif
T60s-BD-Acc.aiif	YR3G-BDLAIif	KD20s1-SD1 T2 D4.aiif
T70s-BD1.aiif	YR3G-BD2.aiif	KD20s1-SD1 T2 D4.aiif
T70s-BD2.aiif	YRXe-BD1.aiif	KD20s1-SD2 T2 D4.aiif
T60s-BD-T01-D02.aiif	YRXe-Fusion BDL1.aiif	KD20s1-SD3 T2 D4.aiif
T60s-BD-T02-D06.aiif	YRXe-Jaze BDL1.aiif	KDDMb-SD3.aiif
T60s-BD-T04-D07.aiif	YRXe-Processed BDL1.aiif	KMRXs-SD3.aiif
T60s-BD-T07-D05.aiif		KP8d2-SD3.aiif
T60s-BD-T09-D01.aiif	2 Snare Drum	KP8a2-SD-Acc.aiif
T60s-BD-T11-D09.aiif	AcrT1-SD1.aiif	KP8t2-SD1.aiif
T60s-BD1-D1 A3 T3.aiif	AcrT2-SD3.aiif	KP8t2-SD2.aiif
T60s-BD1-D1 A5 T6.aiif	AcrT6-SD1.aiif	KSh-SD1.aiif
T60s-BD1-D5 A2 T5.aiif	AcrT6-SD2.aiif	KSh-SD3.aiif
T60s-BD1-D5 A5 T6.aiif	AcrT8-SD3.aiif	KSh-bSD5.aiif
T60s-BD1-D6 A1 T6.aiif	Amdk100-BD1-SD shr.aiif	KSh-bSD7.aiif
T60s-BD2-D1 A1 T2.aiif	Amdk100-BD1-SD.aiif	KSh-bSD9.aiif
T60s-BD2-D4 A1 T9.aiif	Amdk100-SD2.aiif	KSh-bSD11.aiif
T60s-BD2-D6 A1 T1.aiif	ArgL-D-SD-Acc.aiif	KSh-bSD14.aiif
T60s-BD2-D6 A6 T6.aiif	BhimD-SD3.aiif	KSh-bSD16.aiif
T55-BD3.aiif	CMate-SD3.aiif	LN000-SD-T2.aiif
T66-BD3.aiif	cR8X-SD-Acc.aiif	LiBram-SD-P4.aiif
T77-BD3.aiif	cR78-SD13.aiif	MDP1-SD3.aiif
T62s-BD1 P06.aiif	cR78-SD23.aiif	MPPps-SD13.aiif
T62s-BD2 P06.aiif	D.R.P pb SD1-P3.aiif	MPPps-SD23.aiif
tK RD e2.aiif	D.R.P pb SD2-P3.aiif	OgrDr-SD13.aiif
tK RD e6.aiif	D.R110-SD-Acc.aiif	OgrDr-SD23.aiif
Tlc-8o8-BD01.aiif	D.R220-SD-Acc.aiif	OMBf-SD13.aiif
Tlc-8o8-BD02.aiif	D.R220F-SD-Acc.aiif	OMBf-SD23.aiif
Tlc-8o8-BD21.aiif	dADD1-SD01.aiif	OMBf-SDet3.aiif
Tlc-8o8-BD22.aiif	dADD1-SD03.aiif	OMBf-SDc23.aiif
Tlc-9o9-BD01.aiif	dADD1-SD07.aiif	FDxS-SD Kit1.aiif
Tlc-9o9-BD02.aiif	dADD1-SD10.aiif	FDxS-SD Kit83.aiif
Tlc-9o9-BD04.aiif	DrMks-SD3.aiif	Phight-SD-T3-D1.aiif
T5500-Asou-BD3.aiif	DrmIaster-SD3.aiif	Phight-SD-T4-D1.aiif
T5500-Cat-BD1.aiif	DrAxx-SD-P13.aiif	Phight-SD-T5-D4.aiif

SMSTx-El SD-T1 Rv.aif

SMSTx-El SD-T1.aif

SMSTx-Jz SD-T1 Retail

SMSTx-Jz SD-T1.all

SMSTX-RK1 SD-TTRV.all

SMSTx-KR1.SD-T1.2H SMSTp-Rh2.SD-T1-ef

SMSV STD1 -iF

SMSV.STO.pdf

SMSV-SD3.aif

SMSV-SD4.aif

STUDr-SD1-02.aif

SRDr-SD1-09.aif

SIUDr-SD2-05.aif

SICDr-SD2-09.aff

Synsc-SD v1.all S### EID 4.4

T5a5-S13-4 cm, nif

T8sf6-SD-4cv: vif

T7q7-SD1.aif

T7a7-S1D2.aif

T8a8-SD-T01-D112if

T8a8-SD-T12-D06.pdf

TSa8-SD-Tin-DO72if

TSa8-STD-THR-1003.24

18a8-5D-[11f-103.2]

T0:0,6D15:Trn1Tr1cif

T904-SD1 S5 Tn3 T4 qif

T9a9-SD1 S6 Tn7 T3 aif

T9o9-SD2 S2 Tn4 T4.aif

T909-SD2 S2 Tn6 T6.alf

T9o9-SD2 S5 Tn3 T2.aif

T9o9-SD2 S6 Tn4 T6.aif

T55-SD.aill

168-5D.all

T77-SD.all

T628-5131 Port,air T626-5120 TR6-4/6

T626, FD3, FD6, i6

eF, ED, eIF

•E SD 3 oif

TR-809 SI

Tf1c-8e9-SD16 cif

TRc-So8-SD25.aif

TRc-9e9-SD01.aif

TRc-9e9-SD02.aif

TRc-9e9-SD13.aif

TS500-Acou-SD.ai

TS501-F XI-SDT 6.9il

XIU-SDU3.ai

YDDt-SD.aif

YDDt-SDelail

YMR(-SD-PI,ail)

TQYI-SDT.àr

YQH-SD2.àr YOYA, FID3 -iC

YOYt-SD4.aif

YRXe-SD1-P1.aif

YRXe-SD2-P1.aif

YRXe-SD3-P1.aif

YRXe-SD4-P1.aif

YlXe-SD5-P1.alf

FRAI-SDL.alr HPE6.0Dn

TRAP-3D2.41 YBY-Ho###S

YDYS-ESCLSD1.91

YRXs-Processa] SDI si[

YRXs-SD1.ai

3 Hand Clap

ADM5-CLP | laif

ADM5-CLP3.aif

EKN-CIP-ABC.

D.R.P.-CLP-F.S.211 D.R.P.-CLP-R

D.P110.CIP.Acr.eif

D.R220-CLP-Acc aif

D.R220E-CLP-Acc.aif

dADD1-CLP 1.aif

dADD1-CLP 2.aif

Drillator-CLP:alf

DrMX-CLP-P1aII

DePerf-CLPail

Drs.MF-CLP.MI

DAR-CEP OF 521

[HK\$X-CIF+PZ-ml]

kYol-CLRT2D4qif

KDDMb-CLP aif

KMRSx-CLP.aif

KPRs2-CLP1-Accatif

KPRs2-CLF2-Acc.aif

KStb-CLP2.aif

KSth-CLP3.aif

L9000-CLP-13.327

EDIom-CLF 51

MDP-CLP. al.

ОМЫ-СЛР.91

2.1.1 2017年1月1日

T7e7-CLP.aif

T8e8-CLP.aif

T9e9-CLP.aif

T\$25-CLP POS.ai

TRc-HMS-CLP.2M

TRE-919-C1.P.2H TE204-GI Bn-Va

TS204, CIE Pvl, P3 pif

TS204-CLFRx4PLaif

TS204-CLP Rx4 P2.aif

TS204-CLP R26 P2.ajf

TS204-CLP Rv7 P2.aif

WerDr-CLP P3.Aif

XRt-CLP.aif

YDDt-CLP.aif

YQY1-CLP

YRXe-CLP-P1.xil

TRAI-CLP31

TRAS-CLP.M.

3 Rimshot

AceT6-RIM.ai

AceTB-RIM.aif

AngiD-KIM-Acc.air

Barrillo-Krimlan

CROK-RIM-31 P78. RIM - if

DR220-RIM.

DrMkr-RTM.aif

Dulator-RIM.aif

DrPerf-RIM.aif

Dstar-RIMaif

Druck-RIM 07.aill

HRsx-RIM-P2.m1

Hik8x-550k-P2.ann

11.3.2017年1月1日

KD201-KEM T2194.2ml KIM2M4b, DIM-αC

KMPSe, PDM

KPRO RIM pif

KPR12-RIML.aif

KSth-RIM1.aif

L9000-RIM-T4.tif

LDrum-RIM P4.aif

MDPf-RIMaif

OMET-KIM,ai

RZT-KLM.MI

SM35-KIM 01.32 SPD= R/M1 w/

SR13-rB1M 3.4i

T626-RIM.P06.aif	HRxx-c-TOM-P2.aif	SM59-HITOM01.aif
TRc-8ot-RIM.aif	HRxx-d-Aggressive-TOM-P3.aif	SM59-LeTOM01.aif
TRc-9ot-RIM.aif	HRxx-d-Hi Power-TOM-P3.aif	SM59-MITOM01.aif
XRc-RIM.Laif	HRxx-d-Mid Power-TOM-P3.aif	SM5800-TOM04.aif
YDD-RIM.aif	KD2ol-TOM1-T2.D4.aif	SM5800-TOM10.aif
YQV-RIM.aif	KD2ol-TOM2-T2.D4.aif	SMSTx-EHITOM-T1.aif
YRXe-RIM.P1.aif	KD2ol-TOM3-T2.D4.aif	SMSTx-EHITOM1-T1.aif
YRX1-RM1.aif	KD2ol5-TOM1-T2.D4.aif	SMSTx-EHITOM2-T1.aif
YRX1-RM2.aif	KD2ol5-TOM2-T2.D4.aif	SMSTx-Jr-HITOM-T1.aif
YRXs-RIM1.aif	KD2ol6-TOM1-T2.D4.aif	SMSTx-Jr-MITOM1-T1.aif
YRXs-RIM2.aif	KD2ol6-TOM2-T2.D4.aif	SMSTx-Jr-MITOM2-T1.aif
	KD2ol8-TOM1-T2.D4.aif	SMSTx-Rk1-HITOM-T1.aif
4 Tom		SMSTx-Rk1-MITOM1-T1.aif
AccT1-TOM1.aif	KDDMb-HITOM.aif	SMSTx-Rk1-MITOM2-T1.aif
AccT1-TOM2.aif	KDDMb-LeTOM.aif	SMSTx-Rk2-HITOM-T1.aif
AccT1-TOM3.aif	KMIRsa-HI TOM.aif	SMSTx-Rk2-MITOM1-T1.aif
AccT2-TOM1.aif	KMIRsa-LoTOM.aif	SMSTx-Rk2-MITOM2-T1.aif
AccT2-TOM2.aif	KPR2-TOM1.aif	MSY-V-TOM1-1.aif
AccT6-TOM1.aif	KPR2-TOM2.aif	MSY-V-TOM1-2.aif
AccT6-TOM2.aif	KPR2-HITOM-Acc.aif	MSY-V-TOM1-3.aif
AccT8-TOM1.aif	KPR2-LnTom-Acc.aif	MSY-V-TOM1-4.aif
AccT8-TOM2.aif	KPR2-TOM1.aif	MSY-V-TOM2-1.aif
AccT8-TOM3.aif	KPR2-TOM2.aif	MSY-V-TOM2-2.aif
ArgD-HITOM-Acc.aif	KStb-etOM2-aif	MSY-V-TOM2-3.aif
ArgD-LeTOM-Acc.aif	KStb-etOM2-4.aif	MSY-V-TOM2-4.aif
Bhmd-TOM.aif	KStb-TOM1-2.aif	MSY-V-TOM3-1.aif
cR28-KITOM-Acc.aif	KStb-TOM1-4.aif	MSY-V-TOM3-2.aif
cR28-LeTOM-Acc.aif	KStb-TOM2-2.aif	MSY-V-TOM3-3.aif
cR78-TOM.aif	KStb-TOM2-4.aif	MSY-V-TOM3-4.aif
Dr.R220-HITOM-Acc.aif	L9000-HEO-T3.aif	Smtrx-Dry-TOM1-aif
Dr.R220-LeTOM-Acc.aif	L9000-TOM-T3.aif	Smtrx-Elec-TOM1-aif
Dr.R220-MiTOM-Acc.aif	LDrun-TOM-P1.aif	Smtrx-Power-TOM1-aif
Dr.R220-HITOM-Acc.aif	MDIF-TOM1.aif	SRDe-HITOM1-Elec.aif
Dr.R220-LeTOM-Acc.aif	MPops-TOM1.aif	SRDe-HITOM1-Laf
Dr.R220-MiTOM-Acc.aif	MPops-TOM2.aif	SRDe-HITOM2-Elec.aif
dADD1-HITOM-Laif	OgnDr-TOM1.aif	SRDe-HITOM2-Laf
dADD1-HITOM2.aif	OgnDr-TOM2.aif	SRDe-LoTOM1-Elec.aif
dADD1-LnTOM-Laif	OMBI-Torn1.aif	SRDe-LoTOM1-Laf
dADD1-LnTOM2.aif	OMBI-Torn2.aif	SRDe-LoTOM2-Elec.aif
DrBlter-TOM1.aif	OMBI-Torn3.aif	SRDe-LoTOM1-Laf
DrBlter-TOM2.aif	PDX-TOM1-Ktt1.aif	SRDe-MITOM1-Elec.aif
DrBlter-TOM3.aif	PDX-TOM1-Kt6.aif	SRDe-MITOM1-Laf
Drblster-TOM1.aif	PDX-TOM2-Ktt1.aif	SRDe-MITOM2-Elec.aif
Drblster-TOM2.aif	PDX-TOM3-Ktt1.aif	SRDe-MITOM2-Laf
Drblster-TOM3.aif	PDX-TOM3-Kt7.aif	Synoc-TOM1-To6-v3.aif
DrMX-TOM1-Plaf	PFlag-Rloir-T1-D1.aif	Synoc-TOM2-v3.aif
DrMX-TOM2-Plaf	PFlag-HITOM-T1-D1.aif	TSe2-TOM1-Acc.aif
DrMX-TOM3-Plaf	PFlag-LoTOM-T1-D1.aif	TSe2-TOM2-Acc.aif
DrMX-TOM4-Plaf	Rlalighy-TOM1.aif	TSe2-TOM3-Acc.aif
DrMX-TOM5-Plaf	Rlalighy-TOM2.aif	TSe6-HITOM-Acc.aif
T0x9-LoTOM2 D6 T1.aif	YRxE-TOM 1-P1.aif	H8aaB-block HH-P3.aif
T0x9-MiTOM1 D6 T1.aif	YRxE-TOM 2-P1.aif	kD2o1-HH:CI T2 D4.aif
T0x9-MiTOM2 D6 T1.aif	YRxE-TOM 3-P1.aif	kD2o1-HH:CI T2 D4.aif
T55-TOM1.aif	YRxE-TOM 4-P1.aif	kD2o8-HH:II 1 T2 D4.aif
T55-TOM2.aif	YRxE-TOM 5-P1.aif	kD2o8-HH:II 2 T2 D4.aif
T66-TOM1.aif	YRxE-TOM 6-P1.aif	KDDMb HHC.calf
T66-TOM2.aif	YRxE-TOM 7-P1.aif	KMRSx HHC.calf
T66-TOM3.aif	YRxE-TOM 8-P1.aif	KP82-HH:II.aif
T77-TOM1.aif	YRxF-TOM1-Laif	KP82-HHC Acc.aif
T77-TOM2.aif	YRxF-TOM1-2.aif	KP82-HH:II.aif
T77-TOM3.aif	YRxF-TOM1-3.aif	KP82-HH:II.aif
T626-HITOM1 P06.aif	YRxF-TOM1-4.aif	KSh-Electro HH.aif
T626-HITOM2 P06.aif	YRxF-TOM2-Laif	KSh-EHC1.aif
T626-LoTOM1 P06.aif	YRxF-TOM2-2.aif	KSh-EHF1.aif
T626-LoTOM2 P06.aif	YRxF-TOM2-3.aif	L9000-HH1-T3.aif
T626-MiTOM1 P06.aif	YRxF-TOM2-Laif	L9000-HH2-T3.aif
T626-MiTOM2 P06.aif	YRxE-TOM1.aif	LDrana-HHC D1.aif
iK-HITOM v1.aif	YRxE-TOM2.aif	MDP-HHC1.aif
iK-LoTOM v1.aif	YRxE-FM Perc Laif	MPops-HH:II.aif
TomLD-TOM 2.aif	YRxS-Fusion TOM1.aif	MPops-HH:II2.aif
TomLD-TOM 4.aif	YRxS-Fusion TOM3.aif	OgnDr-HH:II.aif
TomLD-TOM 6.aif	YRxS-I Heavy TOM2.aif	OgnDr-HH:II1.aif
TRc 8a8-HITOM1.Laif	YRxS-Processed TOM1.aif	OgnDr-HH:II2.aif
TRc 8a8-HITOM2.aif	YRxS-TOM3.aif	OMB5-HH:II.aif
TRc 8a8-1eTOM1.Laif		OMB5-HH:II2.aif
TRc 8a8-1eTOM2.Aif	5 Hi-Hat (Closed)	OMB5-HHP.Aif
TRc 8a8-MiTOM Laif	AccT1-HH2.aif	OMBp-HH:II aif
TRc 8a8-MiTOM 2.aif	AccT2-HH2.aif	OMBp-HH:II2.aif
TRc 9a9-HITOM,aif	AccTe-HH1.aif	PFight-HH D1.aif
TRc 9a9-LoTOM,aif	AccTe-HH2.aif	RHEgley-HH:II.aif
TRc 9a9-MiTOM,aif	AccTe-HH1.aif	RHEgley-HH:II2.aif
T5500-Acou-TOM2.aif	AccTe-HH2.aif	RHad-HHC P08.aif
T5500-Csf-TOM1 2.aif	AmkLJ00-HHC.aif	RZ1-HHC.aif
T5500-Elcc-TOM3.aif	ArgD-HHC-Acc.aif	RZ1-Sangl Ht:Aif
T5500-Perc-TOM3.aif	ArgD-HIIP-Acc.aif	S400-HH:IIaif
UniVs-TOM1.aif	ArgD-HIIO-Acc.aif	SMS800-HH:II2.aif
UniVs-TOM2.aif	Bhmd-HHC.aif	SRDe-HHC I1.aif
UniVs-TOM3.aif	Bhmd-HI11.aif	SRDe-HIIF Laiif
VrrDr-TOM1.aif	CMate IHI.aif	Synsc HII v2.aif
VrrDr-TOM2.aif	cR8X-HHC Acc.aif	T5n5-HHC Acc.aif
WerDr-TOM1 P3.aif	D.R1H-DHC Acc.aif	T6n6-HHC Acc.aif
WerDr-TOM2 P3.aif	D.R220-HHC Acc.aif	T7n7-HHC1.aif
WerDr-TOM3 P3.aif	D.R220E-HHC Acc.aif	T7n7-HHC2.aif
WerDr-TOM4 P3.aif	dADD1-HH.aif	T8n8-HHC.aif
WerMa-TOM 1.aif	DeMku-EHI.aif	T9n9-HHC D1.aif
WerMa-TOM 2.aif	DeMku-EHC.aif	T9n9-HHC D3.aif
WerMa-TOM 3.aif	Dentatoo-HHC.aif	T55-HH:aif
XRc-HITOM1.aif	DeMX-HHC-P1.aif	T66-HH:aif
XRc-HITOM2.aif	DePerf-HHC.aif	T77-HHC.aif
XRc-LoTOM1.aif	DePerf-HHC.aif	T77-HH:sif

WcrDr-HHC P3.aif

WerMa-HH.aif

XR1-HH1.all 812-1112-ai/

AR-1112.ah YP-1113.ai

YDDt-111C 1.aif

YDDt-IIIIC 2.aif

YDDe-HHP.aif

YOYr-HHC aif

YRXe-HHC-P1.ai

YRXf-HHC.aif

YRXs-HHC.Aif

YKAS-HRFall

5 Hi-Hat (Open)

AccT2-HHO1.aif

AccT6-HHO.ai

Ace18-H2O.

A##k100-1110.2if IbmpD-1110.2if

cRSK-IIIIO-Acc

D.R110-1110-Acc.aif

D.R220-HHO-Acc.aff

12.K220F-HFAO-ACLall DeMlo IIIIO cf5

Drilator-HHO.ai

DrMX-HHO-P1.aif

DrPerf-HHO:alf

Dstar-HHO.aif

DRG-HHO 07.32 HRsr-HHO-12.91

HRs:B-HHO-P3.ai

kD2o1-HHO1T2 D4.aif

kD2v1-HHO2 T2 D4.aif

KDDMH-1110.ai

KMRJX-THPO.21 KPR/2-UUC.vif

KPR≤2.1110 Ac

KPRt2-HHClaf

KSth-Electro HHO.aif

K5th-HHO1.aif

K301-HHO3.mf LDynu-HHO2.ajf

MDPf-HHO.aif

OgnDr-HHO.aif

OMBt-HHU.au OMR: HUO, if

OMS-110.32 PEich-HH D5.ai

RHml-HHPOIR.si

177-HHO.aif

1626-HHO P06.xif

TK-OH 2.aii

TRC-808-HUC231

UniVx-IIIIO.ai

VrmDr-OHLaif

WerDr-HHO P3.aif

YOYt-HHO aif

YRXe-HHO-P1

YRXf-HHO.aif

YRXs-HHO.aif

6 Crash Cymbal

ADM5-Chi 1.aif

ArgD-CC-AccaiI

Cmate-C338 求88-674...nif

cR8K-CCai

D.R.P-CX-P3.aif

D.RTR-CC-Accaih D.R22R-CC-Accaih

D.R220F.CC.Accai

dADD1-CC2.aif

DrMX-CC-P1.aif

DePerf-CC.Aif

DRsH-CC,91 DRtk-CC 07

HRsx-CC-P2.aif

HRsxB-CC-P3.aif

KD2o1-CC T2 D4.aif

KD204-Spl1 12 D4.3ml LIM-4-Spl212124.vif

kD2o4-Swi T2 DLaif

KDDMh-CCaif

KMRSx-CX.ai

KPRS2-C1-Acc.aff KPRs2-CC3-Acc.aff

KStb-GC2 Ling,aif

KStb-GC3 La.aif

L9001-CC-T3aif

DMRf-CC-if

PFlight-OC.aif

RHnd-CC1 P08.aif

RHnd-CC2 P08.aff RUnd-1 Ch-P60.

RZ1-CC-sif

SdBB-CT:1 xif

T626-Chi P06.ai

IK-CCT0-Laif

TRc-808-CC2.all TRc-808-CX1.ai

TRE-909-CCT.All TS5III-Cr1-CY1

UniVx-CX.ai

WerDr-CCP3.ai

XRt-CCLaif

YMBt-CC-P3-pif

YOYt-CCaif

YRXe-CC-P1.nif

YRXf-CC.Aif

YKAI-CEI.ai YRX-CC-aif

YRXs-Cluail

6 Ride Cymbal

ArgD-R1-Acc. al

Bhmd-R1.aif

D.R220-R1-Axc.ai/

D.R220R-R1-ACC. Drgalator: R1 aif

DrMX-RI-P1.ai

DrMX-RI2-PIaIF

DrPerf-RLait

DRk-R107.4

HRax-RJ Bell-P2.aif

HRsx-RJ-P2.aif

HRsxB-RJ-P3.ai

XD201-RJ 12LM3U XD203-RJ 17LM4 wi

3D2o3-RJ2 T2 D4.aif

KMRSx-Rl.ai

KPR12-RLail

KSh-Kf Bell Ling,2H KSth-F11 pit

KSth. R13.ai

19000-R11-T3.aif

1.9000-R12-T3.aif

1.Draw-RLaIF MDRPLaIF

OMBf-BLaif

PFight-RLaif

R(Hnd-R)1 P08.aif

RCHD-RJ2 P08.mf BZ1-PL-sf

SR[Ir-B]1_xif

SR11r-R1 Roll 1:aif

YDDU-RJai

YQYt-RLaif

YRXe-R1 Cup-PI.ai

YRXe-R1 Edge-PLail

YRXI-RI Bell.ai

YKX†-RL±if

YRXs-RT Cap.aff

YKXS-R1Edge.ai

MDPf-CWB.aif

OgnDr-CWIll.ai/

OMBf-Agg.Hi.ai

OMBI-Agg1a.ai

OMBF-CLV2a1

O'Alst-C.Will,air

Knighty C.V.

R.H.1917-0.14 Main R.H.1917-0.14

RHnd-CLV P09 aif

RHnd-CWR P08.pdf

RZ1-CWB.aif

SMS800-CLV.aif

Smtx-CLV 3.aif

Smtx-CWB 3.aif

SRDr-AggHi Tail

SKDF-AggDO 1.5M

3KDP-CLV.all SHD-CWPE ^1

SDP-CWB-2if

SRDr-Tel Long.ai

SRDr-Tel Shtaif

T5o5-CWB1li Acc.

T5o5-CWBLo-Acc.aiF

T707-CWR.aif

T80S-CLV,air

180S-CWBAir

135-CLV.6H Tec CWP. of

T66-CLV -if

T66-CWR-ai

T77-CLV.aif

T77-CWBail

1626-AggHi P05.xil

T626-AggLu P05.ail

T626-CLV P06.all

T626-CWB Pllb.all

1723-Anglih-Abcan

TPs for CLV, if

TRc-SoB-CWB ai

UniVx-CLY-aif

UniVx-CWR.aif

VrmDr-CLV, aif

VimDr-CWBaif

WerDr-CWB P3.aif

WcrMa-CLV.alf

Ferma-CWB.3d FRA-GW-6

Xia-CLV.m

YRXs-CWB.ai

7 Misc Percussion

AceTB-Guiro L.ai

ArgD-CgaOP-Accarif

ArgD-CgaSl-Acc.alf

ArgD-Tamh Acc.

AngiD-TimB-Ace.ai

Bam D. Covif

Bened S8th

EbroD-Tamb aif

Bhmd-Tamb CLP.aif

Bhmd-Timb.aif

cRSK-Bgo.aif

cR8K-CgaHi-Acc.ai

cR8K-CgaLo-Acc.ail

D.R.P-pb-13mb-P5.ml

D.R.P-pb-THFp-P5.311 D.R.L.Tw-86.4%

D.R.P-Timp-F.S.all.

dAID1-Real q ait

dADD1-Cgal[fi.aif

dADD1-Cgalo.aif

dADD1-TimbHi.aif

dADD1-TimbLoaif

DrMX-Perc1-Fl.aif

DrMX-Perc2-Fl.alt

Dipen-BgoHai

Dr. C#-SgoLoSh DrRoof CoHicif

DrPzf-CeJLo-af

DrP=if-Tarab-axif

Drstar-Bou Acc.ail

Drstar-Bgo.Hi.aiif

Drstar-Bgolc.ai

Drstar-CgaAuc.ai

Drstar-CgalTi.alt

Distal+Cgal.n. al

Distal-Aml-Ra. al Droster-Tamb-af

Drstar-Tel Laif

Drstar-Tel S. alf

DRtk-Tamb 07.ai

HRax-Agg-P2aif

HRαx-CαHi SL-P2.aif

HRax-CgoLo SL-P2.aif

HRsx-Snap-12.ai

HRsa-SU-12.ail

P.2023-1:49:18-P/31

HRoxB-Scratch-P3.aif	SADr-TmbHi.aif	YDUt-CgaLo.aif
HRoxB-S8Ks-P3.aif	SADr-TmbLo.aif	YQYt-AgglHi.aif
HRoxB-Symb-Ibloc-P3.aif	SADr-VibrasLap.aif	YQYt-AgglLo.aif
HRoxB-Tamh-P3.aif	S8Dr-WbkI.Haif	YQYt-CgaII.aif
HRoxB-Torque Wrench-P3.aif	S8Dr-WbkLo.aif	YQYt-CgaLo.aif
HRoxB-Trash Can P3.aif	T50S-CgaOP Acc.aif	YQYt-CgaMt.aif
Id2o1-Tamb T2 D4.aif	T50S-CgaSI Acc.aif	YQYt-TimbiH.aif
KDDM2h-CgaHI.aif	T50S-Timb Acc.aif	YQYt-TimbiLo.aif
KDDM2h-CgaLo.aif	T7o7-Tamb.aif	YRXe-AgglHi-P2.aif
KDDM2h-Tamb.aif	T8o8-CgaHi-T01.aif	YRXe-BgaHi-P1.aif
KDDM2h-Timb.aif	T8o8-CgaLo-T01.aif	YRXe-BgaLo-P1.aif
KMRSx-CgaHI.aif	T8o8-CgaMI-T01.aif	YRXe-CgaHi Mr-P1.aif
KMRSx-CgaLo.aif	T626-CgaHI Mr P06.aif	YRXe-CgaHi Op-P1.aif
KMRSx-Tumb.aif	T626-CgaHI Op P06.aif	YRXe-CgaLo-P1.aif
KMRSx-Timb.aif	T626-CgaLo P06.aif	YRXe-Cuice-P1.aif
KSh-Bgo FX.aif	T626-Tanb P06.aif	YRXe-Tanb-P1.aif
KSh-BgoHI.aif	T626-TanbHi P06.aif	YRXe-Tanblii-P1.aif
KSh-BgoLo.aif	T626-TanbLo P06.aif	YRXe-TanbLo-P1.aif
KSh-BgoOpn.aif	T727-BgolIr-Acc.aif	YRAf-Tamb.ai
KSh-CgaLaiif	T727-Bgolr-Acc.ai	YRxAs-AgglLaiif
KSh-Cga2.aiif	T727-Cgal Hi Mt-Acc.aiif	YRxAs-AgglLo.aiif
KSh-Timb.aiif	T727-Cgal Hi Op-Acc.aiif	YRxS-Helltree.aiif
KSh-TimbHI.aiif	T727-CgaLo Acc.aiif	YRxS-IgbyLaiif
KSh-TimbHI.aiif	T727-Qurjida Acc.aiif	YRxS-IgbyLo.aiif
19000-Cga1-T3.aiif	T727-Star Chime Acc.aiif	YRxS-Castneta.aiif
19000-Cga2-T3.aiif	T727-TinbHI.aiif	YRxS-CgaHi Mt.aiif
19000-Tanb-T3.aiif	T727-Whistle Lag-Acc.aiif	YRxS-CgaHi Op.aiif
LDevun-Cga Ps.aiif	T727-Whistle Sht-Acc.aiif	YRxS-CgaLo.aiif
LDevun-Tamb.aiif	TXc-8o8-CgaHI.aiif	YRxS-Cuica.aiif
OMBf-BgoAcc.aiif	TXc-8o8-CgaLo.aiif	YRxS-Tanbab.aiif
OMBf-BgoHI.aiif	TXc-8o8-CgaMI.aiif	YRxS-TanbHi.aiif
OMBf-BgoLo.aiif	UviVx-Guiro 2.aiif	YRxS-TanbLo.aiif
OMBf-CgaAccaiif	UviVx-Guiro 2.aiif	YRxS-Tamp.aiif
OMBf-CgaLI.aiif	UviVx-Guiro 2.aiif	YRxS-VibrasLap.aiif
OMBf-CgaLo.aiif	WerDr-CgaI P2.aiif
OMBf-Guirraaiif	WerDr-Cga2 P2.aiif	7 Shaker and co
OMBf-Tamh.aiif	WerDr-Cga3 P2.aiif	ArgD-SILK-Acc.aiif
OMBf-Tpl LAif	WerDr-Tamb P2.aiif	BhmD-SILK.aiif
OMBf-Tpl SAif	WerDr-Timp PIIa.aiif	cR/8-Guirra Ling.aiif
RHNd-Cga P08.aiif	WerMa CgaFI.aiif	cR/8-Guirra Sht LAif
RHNd-Tamh P08.aiif	WerMa CgaLO.aiif	DrMX-SHK1-P1.aiif
RHNd-Timb P08.aiif	WerMa Guivo.aiif	DrMX-SHK3-P1.aiif
Sarix-Cga 3.aiif	XRt-AggHI.aiif	Dretar-Chs.aiif
Sarix-Tamb 3.aiif	XRt-AggLo.aiif	DRk-Cbs 07.aiif
Sarix-Timb 3.aiif	Xlt-CgaOP HI.aiif	HRax-Cbs-P2.aiif
SRDs-BgoHL.aiif	Xlt-CgaOP Lo.aiif	HRax-Mcr1-P2.aiif
SRDs-BgoLo.aiif	Xlt-CgaSL HAIiif	HRax-Msr2-P2.aiif
SRDs-Casture Ling.aiif	Xlt-CgaSL Lo.aiif	HRax-SHK-P2.aiif
SRDs-Casture Sklaiif	Xlt-Guiro Ling.aiif	HRaxB-Cns-P3.aiif
SHIR-Cgs Box AI.ajif	Xlt-Guiro Shi.aiif	HRaxF-Fast Che-DS.aiif

RHnd-SHK P08.xif

Smix-Cbs 3.ai

SRDr-SHK Laif

SRDr-SITK 4.ai

SKDF-SHK 72 T8-8, Mavif

T626-S1UK Pd6 aif

T727-Cos-Acc-alf

T727-Mar-Accait

TRc-8a8-SHK.aif

VrmDr-SHK Lingaif

XRt-Cbs.aif

YDDt-SHK.aif

YQYt-SHK.aif

YIKX-SHK-PT-M

YRXs-SHKai

8 FX and more

dADD1-FX1.aif

dADD1-FX2.aif

ETIDrS-FX.aif

ETIDrS-R1 a.aif ETIDrS-5D3-aif

Tun Star 500 Percussive

The 55

The 66

The 77

The Ki

Turn I.D Toms only

TR Clane 808 TR Clane 402

TR Clance 509 Univox

Сптах Усмо!

Wers Matic

YMR Ten

-

Arranger Du

Bhara Drums

D.Rhythm 110

D.Rhythm 220

D.Rhythm 220E

D.Rhythm Pad Vel Pitch

Drum Performer

Drumstar Dom. A25N

Dyn ADDI basic Dyn ADDI Electric

Dyn ADDI PROPER

K-DDD One |

K-DDD One 2 Hi

K-DDD One 3 Lat

K-DDD One Electro

K-DDD One Gate Reverb

K-MR Sixteca

K-S Three Acoustic

K-S Three Electronic Laser

L 9000

MILIP FATH

YDD Ten

YQY Ten

YRX Eight

YRX Seven

KIT MENU

1 Classic

DR Tracks Menu

DR Tracks BD+SD+RIM+CLP+CWB

DR Tracks HH+CC+RI

DR Tracks TOM+Chs+Tamb

Drum MX Menu

Drum MX Menu 1

Drum MX Mebl 2

HK SixteenB Menu

11K Sixteen Men 1 UP Sixteen Men 2

HD Green D Mean?

108 (67) 400, Mowu

11K Sixteen Menu HP Sixteen Menu 1

HR Sixteen Menu 2

HR Sirleya Menul 3

R Hundred Menu

R-Hundred Menu 1

R-Hundred Menu 2

R-Hundred Menu 3

R-Hundred Menlo 4

R-Furksafei Mencl S

SMS Clap Menu

SMS Cap Hunsizer SMS Gas Number

SMS Cap Mena 1 SMS Cap Mena 2

SMS (Can Meru 3

The 808 Menu

The Soft All BD Menu 1

The 808 All BD Menu 2

The 808 All CC Menu 1

The 808 All OC Menu 2

The 809 All EHA Mena

The \$0.9 All SD Mew 1

The 808 All SD Menu 2

The 808 All Tom Menu.

The 909 Menu

The 909 All BD Menu 1

The 909 All BD Menu 2

The 909 All BD Menu 3

T. 0.01111111

The 909 Low Tom Menu

The 909 Mid Turn Menu

......

AceTI

AceT6

Classic R-78

Classic R-8000

DR Tracks

Drimplator

Drum MX

HR Sixtoen

HR SixtoenB

K-DDM Hundreds

L Drum

R Hundred

RZ One

SMS 400

SMS Clap 1

SMS Clap 2

The 606

The 307-727

The Bos Basis

The 808 Punch

The 909 Basic

The 909 Decay

The 909 Short

YRX Five

24

2 Analog

P Fight Menu

P Fight All BD+SD

P Fight All HH and Cymbals

P Fight All Toms

TR Clone Menu

TR Clone 808

TR Clone 905

Tam Star 200 Menu

Tara Star 200 Tru1 Menu 1

Taro Star 200 Tr30 Menu 2

Tom Star 200 Trial Menu 1

Toro Star 200 Tri1 Menu 2

Tam Star 500 Percussive

The 55

The 65

The 77

The Kit

Tom ED Toms only

TR Clone 808

TR Clone 909

UniVox

VermoDrums

Wers Mati

YMIL Tea

a. Dis it is

3 Digital

K-DDD One Extensions Menu

K-DDD One Ext 1 All BD

K-DDD One Ext 2 All SD

K-DDD One Ext 3 All BD+SD

K-DDD One Ext 3 All HH+TOM

K-DDD One Ext 4 All Ride Crambels

K-DDD One Ext 4 All Solsah and Sw

K-DDD One Est 5 All Flex BD

K-DDD One Ext 5 All Elec SD

K-DDU Omy Est 5 All Fluv TX

K. DDI2 Only List 6, All Cuts R121

K. DINDO: First of All Guts TGN

K-DDD Oil EAT 0 All Chile TOM

K-DDD ONE EX? All CX4TH

K-1010 One Ext / Air K+10A

K-DDD One Menu

K-DDD One | All BD

K-DDD One 2 All SD

K-DDD One 3 All RIM

K-DDD One 4 All TOM

K-DDD One 5 All HH

K-DDD One 6 All Cymbals

K-DDD One 7 All Petc

K-S Three Menu

K.S Terms Very

K.S Times Many 2

7.000025

1. АКИ МЕЦА

L 9000 MCLU T

L9000Menu2

SMS 9 Menu

SMS 9 All BD+SD+RIM

SMS 9 All Turns

SMS Trix Menu

SMS Trix All No Rvb

The 626 All BD

The 626 All Cga+Tumb

The 626 All HH+Cymbals

The 625 All RIM+CLV+CWB+CLP

The 625 All SD

The 625 All Toms

Wers Drums Menu

Wers Drums All BD+SD+CLP+TOM

Wes Drums All Cga + Tamb + Tinop

Wers Drums All HH + CWB + Whistle + Voices

YRX Seven Menu

YRX Seven Menu 1

YRX Seven Menu 2

[Non-Text]

Arranger Drums

Blom Drums

D.Rhythm 110

D.Rhythm 220

D.Rhythm 220E

D. Rhythm Pad Vel Pitch

Drum Performer

Druckman

Den ADJ11 Basic

12cn A12131 Electr

Den ADDI Power

K-DDD One

K-DDD One 21 Hi

K-DDD One 3 Low

K-DDD One Electro

K-DDD One Gate Reverb

K-MR Sixteey

K.S. Three Acoustic

X.S. Three Electronic

1 9000

MDP

OMP Flows

B. D. 1000 X

SMS 9

SMIS R

SMX Tria

SIL-12

28 5 5

THE 3D

THE 625

Werts Drums

XR Ten

YIDITen

YQY Ten

YRX Eight

ANTHOLOGY ABBREVIATIONS

The following abbreviations are used for BeatBox

Anthology presets.

General

RD Bass Drum
SD Snare Drum
SDe Electronic Snare Drum
HHC Closed Hi-Hat
BHF Foot Closed Hi-Hat
IHI Hi Hat (Generic)
RJ Cap Ride (Cup)
RJ Bell Ride (Bell)
TOM Tom (Generic)
HITOM Hi Tom
METOM Mid Turn
PERC Misc. Porc
CWB Cwebell
CLP Hard Caps
Stk. Sticks
Mar Macacas
Tamh Tambourine TimbHi: Hi Tinabule
Timp Tinpani
CgaOP Open Gonga
CgaHi	Hi Couga
CgaLo	Low Coug
Tgl S	Triangle Short
AggLo	Low Agungo
Bgo Bougo (Generic)
BgaHi	Hi Bongo
SIK	Shaker
Spl	Splash Cymbal
Cai	Chinese Splash
Metro p Metronome piano

Tam Star 200

SMS CLAP

BM Balance Medium

BN Balance Noise

CP Clap Pitch

H Humanizer

Misc

Acc Accounted
Sat Short
P Pitch
Hi High
Mi Mid
By Reverb
Cp Open
Ride Electronic Bass Drum
SDs Break Snee Drum
RIM Runshot
H1IO Open Hi Hat
H1II Half Open Hi-Hat
RI Ridge (Genetic)
RI Edge Ride (Edge)
CC Grash Cymbal
eTOM Electronic Tom
LoTOM Low Tom
HIT Orchestra Hit
CLV	Claves
SSik	Sidestick
Wok	WoodBlock
Obs Cohara
Turb	Timbales (Generic)
Timble Low Timble
Cpa Couga (Generic)
CgaSt.	Couga Step
CgaMl	Vid Couga
Tgj Triangle (Generic)
TgJ	Triangle Loep

DT Decay Time
Tr Tone
BC Balance Clap
NP Noise Pitch
CD	Clap Decay
dAcc	Delayed Accent
T	Tune
D	Decay
Lo Low
Lng Long
Mt Mute
Stapi	Sampled

APPENDIX B Effects

OVERVIEW

BPM provides dozens of included DSP effects (Figure B-1). Each effect is described briefly in this appendix, along with a list of factory presets for each effect. You can also create as many of your own user presets as you wish.

For general information about using effects processing in BPM, see "Effects" on page 99.

Figure B-1: Double-click on an effects slot menu to open the effects browser.

Delays 240

Reverberation 241 IDVerb 242

Modulation 246

Filters 247

EQ 248

Stereo & Amplitude....249

Drive & distortion....250

Dynamics 251

3 Band Processors 252

Miscellaneous 253

Sync

Some effects have parameters, such as delay taps, that can be synced to BPM's tempo (or the tempo of your host). To do so, enable the sync button provided, as demonstrated with the Simple Delay effect (page 240). When the sync button is engaged, the time line is specified in note values, rather than in seconds or milliseconds (msec).

This is the same setting as explained in "Sync" on page 100.

DELAYS

Simple Delay

This is a basic all-purpose delay. The delay time can be entered in seconds or synchronized to the host application's tempo. Use cutoff to add a low-pass or high-pass filter to the delay feedback.

Simple Delay presets

Cheap Re-verb.faps

Old School.faps

Simply Eight.faps

Sixteen.faps

Stereo Delay

This delay has all the capabilities of the simple delay, including the feedback filter, plus independent left- and right-channel delay times. As the name implies, it only supports stereo signals.

Stereo Delay presets

Cycle-faps

Everywhere faps

Xperiment faps

Fat Delay

Fat delay is a versatile effect. It is in fact four delays with their parameters initially linked; your signal is mixed and sent to the two first delays (one left and one right). The result of this first delay stage is then mixed with the original signal being again delayed in a left/right delay with two different delay times. Each delay pair has an independent left and right delay time that is calculated from the diffusion

This simple scheme, combined with the feedback parameter and the ubiquitous delay filter, allows you to create advanced delays with incredible repeating patterns and even reverb like sounds.

Fat Delay presets

Delayweb.fops

Dreamland.fops

Far Fight.fops

Warna Fight.fops

FX Delay

This effect is phunky! Built on the simple delay, a bit of magic is added that sounds a lot like a distorted filter inside the delay.

FX Delay presets

Nice one.fips

One bar pain.fips

Robotic.fips

Shake it.fips

Ping Pong Delay

This effect is a simple stereo ping-pong delay in which you can easily set how much stereo effect you want just by adjusting the stereo spread parameter. Of course, the filter is still there, as well as the ability to sync it to your host application's tempo.

Ping Pong Delay presets

Before Eight.fqps

Doubling.fqps

Eight MF or fqps

Analog Tape Delay

The Analog Tape Delay effect is modeled after classic analog tape delays. In addition to the standard controls for controlling wet/dry mix, delay and feedback, this delay adds several additional settings: Trash adds an element of "dirt" to the sound, as you might experience with dust on a piece of magnetic tape. Spread adds stereo spread to the delay lines. Dist Mode lets you choose between three distinct vintage sounds: tape, tape/tube and analog.

Analog Tape Delay presets

Eight Tape fxps

Four Tube fxps

Radio Delay fxps

Retro Sixteen fxps

REVERBERATION

Fast reverbs

If your computer cannot handle the convolution reverb acoustic spaces provided by IR Verb (page 243), try using the fast reverbs described in this section. These are non-convolution (synthesized) reverbs that place a negligible load on your host computer.

Fast reverb settings

Fast reverbs have the following settings:

Fast

setting Unit Range Explanation

Decay time

sec 0-11 Reverb time controls the length of the reverb load (the portion of the sound as it trails off to silence). Longer reverb times make your music sound like it is in a larger space; shorter times sound like a smaller space. The maximum allowed time varies and depends on the specific acoustic space you have chosen.

High	-0-1 A low pass filter that reduces
Damp	high frequencies as you increase the high damp setting.

Max dB -∞ to 6 A signal with no reverb applied

to it is commonly referred to as being dry. Therefore, a signal that is being processed with reverb is referred to as being wet. The Mix setting controls the amount (volume) of the treated (wet) signal. If you want more reverb, turn up this setting, if you want less reverb, turn it down.

Simple Reverb

This is a musically useful reverberation effect. Of course, a filter has been added, so that you can control which part of the signal gets affected (for example, you can get rid of muddy bass). The filter, combined with the dampening parameter, will keep your reverberated sound fresh and clean.

Simple Reverb presets

Background Verbs.faps

Big Cathedral.faps

Big Room.faps

Canyon Percussion.faps

Ceacert Hall.faps

Jazz Cab.faps

Large Hall.faps

Opera Cosmic.faps

Plano Room.faps

Short Verbs.faps

Warm Quartet Room.faps

Warm Room.faps

Predelay Reverb

This effect is built on the simple reverb, but it's been tweaked it a bit with delay lines to produce a predelay reverb. Again, the predelay time can be synced to your host application's tempo.

Predelay Reverb presets

Madness.fxps

Perc Room.fxps

Roommate.fxps

Subtle.fxps

Gate Reverb

This effect takes the Predelay & reverb effect a bit further by adding a gate effect to the reverberated sound, producing a gated reverb right out of the 1980s. As usual, tweaking the knobs will get you some new incredible sounds from it, not just the usual "thump" gated drums.

Gate Reverb presets

Drum Gate/lxps

Radical/lxps

Sixteen HiHats.faps

IR VERB

BPM is equipped with convolution (sampled) reverb processing called IR Verb. Convolution is a process where the characteristics of a real acoustic space are directly sampled, such as a church, concert hall, theater, or outdoor space. The resulting impulse response (IR) consists of an audio file that holds the actual sound decay characteristics of the acoustic space. By sophisticated signal processing, that impulse response can then be applied to any audio material, making it sound exactly as if it were being heard in the acoustic environment captured by the impulse response.

Convolution reverb is the most realistic type of reverb ever developed because it faithfully reproduces the actual characteristics of real acoustic spaces. As a result, it requires intense processing. Therefore, when you use IR Verb, be mindful of the amount of processing demands it imposes on your computer.

Computer performance

Because of the intensive processing required to produce a convolution reverb in real time, a fast PC or Mac computer is highly recommended when using IR Verb. The processing demands of convolution reverb can be reduced by the following techniques:

- Shorter reverb times require less processing power. Choose shorter reverbs. You can also simply turn down the reverb (see "Time (0-100%)" in the next section).

- Raise the buffer size of your hardware as explained in "Hardware buffer size" on page 36.

■If your host audio application has a track freeze or bounce-to-disk feature, you can use it to "print" CPU-intensive BPM tracks and then take them off line.

IR Verb settings

Here is a brief summary of the reverb settings for IR Verb.

PreDelay is the amount of time before you hear the very first reflections. For example, if you are in a large room, it takes longer for the first reflections return. PreDelay is useful for clarifying the original sound. For example, if you apply a larger amount of prodelay to an instrument, the reflections won't start until after a note has been played.

To conserve CPU bandwidth, try to keep the predelay setting to 40 mscc or longer. Shorter predelay times impose a much larger hit on the computer's processor.

Time (0-100%)

Time controls the length of the reverb tail (the portion of the sound as it trails off to silence). Longer reverb times make your music sound like it is in a larger space; shorter times sound like a smaller space.

The maximum allowed time varies and depends on the specific acoustic space you have chosen.

Longer reverb times cause your computer to work harder. So you can conserve computer resources by choosing shorter reverb times.

12.0000000/14:11

DampingHigh (-1 to +1)

DampingHigh is a low pass filter that reduces high frequencies as you increase the LP damp setting. Positive values damp low frequencies; negative values expand low frequencies.

Width (-1 to +1)

Width controls the stereo imaging of the reverb. If you turn this control down, the reverb effect will become mono.

Wet (-∞ to +6dB)

A signal with no reverb applied to it is commonly referred to as being dry. Therefore, a signal that is being processed with reverb is referred to as being wet. The Wet setting does what its name implies: it controls the amount (volume) of the treated (wet) signal. If you want more reverb, turn up this setting; if you want less reverb, turn it down.

Dry (- to +6dB)

Dry controls the volume of the original dry (unprocessed) signal. This allows you to precisely control the amount of the original dry signal that is mixed in with the wet (processed) signal.

IR Verb presets

Real acoustic spaces throughout the world were carefully selected and recorded to be included with BPM. A wide variety of spaces are provided, and each space can be fine-tuned even further by adjusting the reverb settings. These reverbs were captured in cathedrals, temples, concert halls, forests, canyons, caves and other locations.

Remember, the longer the reverb time, the more processing it requires, and the greater the demand placed on your computer.

IR Verb organizes its factory supplied convolution reverb presets into five sub-menus.

Cathedrals & Churches

Big Chapel Hall.fxps

Bright Cathedral.

Cathedral Hall fxps

Church Organ Hall.fxps

Church Reflections.fxps

Huge Church.fxps

Mystic Canyon.fxps

Requiem Room.fips

Small Chapel.frps

Concert Halls

Bright Concert Hall.fqps

Concert Half. frps

Concert Hall.fxps

Large Ensemble Room.fxps

Majestic Roorn.fxps

Open Opera Space.fxps

Symphonic Hallfaps

Warm Ambience.fxps

Other Rooms

Capital Hall.flops

Close Piano Room.fxps

Pink Concert Room.fxps

Quartet Room.fxps

Small Concert Hall.fxps

Small Concert Room.fxps

Warm and Small Room.fxps

Wood Ambience.fxps

Deluxe Reverb

Flat Room.fxps

Large Hall.Fvps

Large Plate.fxps

Medium Hall.1xps

Medium Plate.fxps

Small Hallcaps

Small Plate.Exps

Warm Room fixps

Wood & Large.flops

Temple & Co

Calm And Beauty.fxps

Hypnotic Reflections.fxps

Meditation Temple.fxps

Small Temple Ambiance.fxps

Spacious Church.faps

THE Cathedral.faps

Wama Chapel.fxps

MODULATION

Chorus

There is no such thing as a multi-effect section without a chorus. BPM is no exception and provides a nice 4-stage stereo chorus that you can even sync to your host application's tempo.

Chorus presets

Deep Chorus.faps

Deep Slow.faps

Dimension.faps

Ensemble.faps

Mild Chorus.fips

Flanger

This flanger can give you a varied palette of sounds, from smooth to deadly to synced and fast flange.

Flanger presets

Boulart.faps

Cool Flange.faps

Extremcfaps

Phaser

In the phaser you can control the minimum and maximum frequency of the sound on which the phaser will operate. You can also set the speed — syncable to your host application's tempo as usual — of the feedback and the depth of this 6-stage phaser.

Phaser presets

My phase laps

Cross Phaser

The Cross Phaser is essentially an enhanced double phaser with stereo cross-feedback in between the 12 stages of the effect.

Cross Phaser presets

Low phase.fips

Stereo phase.fips

Synchrn.fips

Whistle.fips

Analog Chorus

The Analog Chorus is modeled after a very popular chorus/flanger guitar pedal. It produces smooth analog sound with pleasing, authentic transient shaping.

Analog Chorus presets

Analog Feel.fps

Chorus Deluxe.fps

Make it Big.fps

My Pedal.fps

Nice and Slow.fps

Analog Flanger

Similar to the Analog Chorus, the Analog Flanger is modeled after a very popular chorus/flanger guitar pedal.

Analog Flanger presets

Anos Flange.fxps

Flanger Mania.fxps

My P Pedal.fxps

FILTERS

Analog Filter

The Analog Filter is modeled after the filter section of a very popular American synth.

Analog Filter presets

IIP.fxps

IIP.fxps

LP.fxps

Synth.fxps

Rez Filter

The Rez Filter is modeled after the filter section of a very popular Japanese synth.

Rez Filter presets

HP.fxps

HP.fxps

LP.fxps

Synth.fxps

TalkBox Filter

The TalkBox Filter is a vowel filter with lowpass, highpass and bandpass capability as well.

TalkBox Filter presets

HP Words.fps

Roger.fps

TalkBoxing.fps

Vocal Filter.fps

UVI Filter

This is a simple resonant filter that can be used in two ways: low-pass and high-pass. You can change the resonance of the filter to sharpen any sound.

UVI Filter presets

The BPM Autowah can be used in sync or in free mode. In free mode the input level will drive the wah filter frequency. When synchronized, an internal LFO will change this frequency over time. You can change the level of sensibility with the input gain and sens parameters, and the color of the effect can be changed thanks to the resonance and the amount of overdrive to add to the filter output.

Autowah presets

Disco Wah fxps

Metro Wah fxps

Orange fxps

EQ

2-band EQ

This two-band equalizer can adjust the frequency content of any instrument — or even a complete mix as a master effect.

2-band EQ presets

Iloos, Bass.

Hi-FiLaps

High Guitar exps

Penchy fxps

Telephonic.fxps

3-band EQ

This is a simple, effective 3-band equalizer. You can adjust the low and high frequencies by controlling the two shelving filters, and the third band is a parametric middle filter with adjustable resonance, frequency and gain.

3-band EQ presets

Bass fixps

Medium Airfreps

Not Flat fps

Percussion.fips

Phone.fxps

Vocal.fxps

8-band EQ

Use the scroll bar to access all of the 8-band EQ's parameters in the left-hand column.

8-band EQ presets

All On Flat Exps

Boost a Sub.fips

Clean Guitar taps

Dark Bass.fxps

Dig a Loop.fxps

EQ my bass exps

Telephone 1.5px

Telephone 2.5ps

Vocal Female.aps

Vocal Make fops

Vinyl Refresh fps

Tube Tape

The Tube Tape effect combines the emulation of analog tape saturation and classic aural exciter effects.

Tube Tape presets

Mix Tape,fxps

Tube Rules, fpx

Tubissimo.fps

STEREO & AMPLITUDE

Tremolo

This very simple volume effect from the sixties lets you control the depth and speed — and synchronize it to your host application's tempo using the Sync button.

Tremolo presets

Fast Tremolo.Laps

FX TramoloLaps

Sixteen Deep.Exps

Autopan

This easy-to-use autopan effect modulates the signal across the stereo spectrum.

Autopan presets

FX Tremokl/fxps

Slowly.fxps

Sync Rhodes.fxps

Rotary Speaker

This double-rotating speaker simulation will work miracles on all vintage keyboards and guitar sounds. Even the microphone distance is simulated.

Rotary Speaker presets

Full.fcps

Good A Organ.fvps

Like it.fxps

Rotary Simple

The simple version of our rotary speaker emulation contains only one speaker, but is still very effective.

Rotary Simple presets

For Fun fixps

JK Organ.fxps

Make Big.fxps

Try It.fxps

UVI Wide

UVI Wide is a stereo enhancer that employs phase and delay to produce a unique widening effect.

UVI Wide presets

Extension.Exps

Mono.fips

More Stereo.fxps

Pacific Time fxps

Really Wide.fxps

DRIVE & DISTORTION

UVI Drive

This unique combination of an analog overdrive simulation and a UVI Filter can give a nice tone to most guitars, drums and keyboards.

UVI Drive presets

Bad Radio.faps

Bass drive.faps

Color exps

Electric fixps

Out da Club.fxps

Double Drive

The Double Drive combines an analog drive simulation, followed by a UVI Filter that is reinjected into a strong digital distortion effect.

Double Drive presets

Animal Style.Exps

Double Double.faps

Extremely fixps

Hard Drive.fxps

Guitar Amps (boxes)

The Guitar Amps effect emulates the sound of fourteen popular guitar cabinets.

Guitar Amps presets

Beas Deluxe.flops

Cheap Radio.fxps

Chelsea.fxps

Chipped Glass.fxps

Classic.fxps

Combo.fxps

Electric Shock fxps

JazzLxps

Leicester Combo.fxps

Lincoln Standard.fxps

Metal Bowl fxps

Northbridge.fcps

Sweep.fxps

Tin Can.fxps

Vintage.fxps

Analog Crunch

The Analog Crunch effect emulates classic

"crunchy" guitar distortion.

Analog Crunch presets

Crunchy.fxp

Hardcore.fqps

Hornest.fxps

Subtle.fxps

Fuzz

The Fuzz effect emulates classic "fuzz" guitar distortion.

Fuzz presets

Fuzz Mania.fips

Middle.fips

Rasta Fuzz.fips

Strong.fips

Overdrive

The Overdrive effect emulates classic "overdrive" guitar distortion.

Overdrive presets

Driving.fqps

For my Gutan.fqps

No Limit fqps

Overdrive.fqps

DYNAMICS

Compressor

The RPM compressor provides conventional controls and superior sonic performance.

Compressor presets

Good for Drums.lxps

Guitar Compression.lxps

Power Mix.lxps

Gate & Expander

The BPM Gate & Expander has also provides conventional controls and exceptional sonic performance.

Gate & Expander presets

Cut Me.fxps

More Attack.fxps

Slow Attack.fxps

Studio Limiter

The BPM Studio Limiter is a high-performance limiter with three basic controls. It performs as effectively as the very best software limiters available, on a wide variety of audio material.

Studio Limiter presets

Hard Limiting fxps

Soft Limiter fxps

3 BAND PROCESSORS

3 Band Compressor

The 3 Band Compressor provides classic three-band compression.

3 Band Compressor presets

Bass and High.fxps

Discrete Punchy Peres.lxps

Focus in High fxps

Focus In Low fxps

More NRI exps

Subtle HiFiExps

3 Band Limiter

The 3 Band Limiter provides classic three-band limiting.

3 Band Limiter presets

Bass Saving.fxps

Extreme Boarding.faps

Hardware Limiting.fxps

Peres Efficiency.faps

Sweety Punchay exps

UVI Master

UVI Master provides advanced mastering processing with combined 3-band compression, limiting, EQ and tape emulation.

UVI Master presets

Classical Piece.fxps

Extreme Makeover.fups

Grunge Tube.fxps

Hip Hop.fxps

Jazz Club laps

Lanitube.Laps

Master Proflops

Mix Tape Master .flops

More Bass fxps

Phat and Subtle fxps

Punchy Mix.fxps

Rock Master/fxps

Techno System .fsp

Ultra Compression fxps

MISCELLANEOUS

UVInyl

UVInyl makes audio sound like it is being played from a vinyl record on a turntable. Settings include (needle) wear amount, dust amount, year (era) and turntable RPM (33, 45 or 78).

UVinyl presets

Maxi Vinylaps

Seventies.Laps

Sustes faps

Too Old fixps

UVI Destructor

The UVI Destructor has it all in one package:

■ Bit reduction. You can simulate any number of bits, from (almost) 0 to 24 bits.
■ Sample rate reduction from 2,000Hz to 48kHz.
■ An Analog overdrive.
■ A UVI Filter.
■ All of the above in series.

UVI Destructor presets

Abuse.frps

Crushy.fxps

Insect.hyps

Mirage.fxps

\$900.faps

Ring Modulator

This is a very basic ring modulator. A ring modulator has the ability to add harmonics to a signal in an odd fashion. For example, if you play a 1000Hz signal into a ring modulator at 100Hz, you will obtain a signal that contains the original 1000Hz signal mixed with a composited 900Hz and 1100Hz signal (1000-100 and 1000+100, respectively). It is very effective for creating special effects on drums and even guitars and synth sounds. You can set the frequency of the composited signal from 0.1Hz to 1000Hz.

Ring Modulator presets

Parasite.fvps

Pure ring.lxps

Useless.Exps

Robotizer

The Robotizer is a ring modulator with a twist: it adds a frequency modulation parameter (that distorts the frequency of the ring modulator) and a UVI filter to smoothen the resulting sound.

Robotizer presets

Brotomoto.fips

Cricket.Erps

Ulysse.https

Vocalise.lxps

FreezBeat

The best way to learn about FreezBeat is to try it!

FreezBeat presets

Mister Envoilical Fore

APPENDIX C Troubleshooting

OVERVIEW

BPM FAQ....255

Improving performance....257

General troubleshooting 257

MIDI troubleshooting....258

Audio troubleshooting 259

Preventing Catastrophe 259

Technical support....259

BPM FAQ

When installing BPM, should I install those huge UFS files?

BPM ships with 19 gigabytes (GB) of included sounds. All of these sounds are stored in the .ufs/.ufs1 files, so to use BPM, you must also install those files on your hard drive. You can place them on any available drive. The faster the hard drive, the better, as sounds will load faster.

Where should I put my BPM UFS files? Can I change the location later?

It doesn't matter where you put the .ufs/.ufs1 files on your hard drive. The only thing that matters is that there are Mac OS X aliases or Windows shortcuts to them, with exactly the same names, in the correct folder or directory.

For the BPM .ufs/.ufs1 files, those locations are:

Mac

/Library/Application Support/MOTU/BPM

Win

Program Files\MOTU\BPM

When I try to copy the UFS files to my hard drive, I get an error message and it won't copy successfully. What should I do?

First, make sure that you have enough free disk space; the .ufs/.ufs1 files are up to 8 GB each, for a total of 19 GB. Next, check the format of your hard drive. The UFS files cannot be copied to a FAT32 formatted hard drive, as the FAT32 format has a 4 GB file size limit.

For Macs, you should copy the UTFs files to a hard drive formatted as Mac OS Extended (also called HIS+) or Mac OS Extended (Journaled). To check the format of your drive, go to /Applications/ Utilities and launch Disk Utility. Select the drive from the list on the left, and check the Format item in the info strip along the bottom of the window. Mac OS Extended (Journaled) is the default drive format for OS X.

For Windows, you should copy the UFS files to a hard drive formatted as NTFS. To check the forma of your drive, go to My Computer, right-click the drive, and choose Properties. In the Properties window, check the File system item. NTFS is the default file system for Windows XP and later.

When I try to access the browser, the browser is empty. Why is it empty?

If the preset menu is empty, then BPM has lost the location of the BPM soundbank files. These are the .ufs/.ufs1 files in which BPM stores all of its sounds. If this happens, quit your host application. Search

Mac

/Library/Application Support/MOTU/BPM

Win

(Program Files\MOTU/BPM)

Then repeat these steps with the BPM.ufs1 file.

How do I make BPM work in my sequencer? BPM is an audio instrument plug-in. You will call up BPM in your sequencer on an audio track, aux track, or instrument track, depending on how your sequencer handles virtual instruments.

To get MIDI into BPM, you need a MIDI track (or instrument Track). The MIDI or instrument track must be record-enabled in order to receive MIDI from an external source into BPM. For complete setup details, see chapter 6, "BPM Plug-in" (page 35).

I have a kit / instrument sound loaded, but I don't hear anything.

If you are playing notes from an external controller, make sure the MIDI track or instrument track in your host software is record-enabled. For other MIDI troubleshooting tips, see "MIDI troubleshooting" on page 258.

BPM's MIDI activity LEDs are flashing, so it's receiving MIDI data successfully, but I still don't hear any sound.

Be sure you are playing within the kit or instrument's note range. If you are not sure what the note range is, try playing some notes through the entire range of the keyboard. If you still don't hear any sound, it's time to check audio. See "Audio troubleshooting" on page 259.

complete details, see "Managing latency" on page 36. Also refer to the section in chapter 6, "BPM Plug-in" (page 35) that refers to your host software.

When I load a loop, it plays but sounds weird, as if the pitch of the loop starts low and keeps going up. The loop's map mode is turned off and the entire loop is being triggered by the slice notes in the Piano Roll Sequencer. Click the Sequencer button and then click Bypass button above the grid. Stop BPM's main transports and start again. Now the loop should play normally. Alternatively, you can enable map mode for the loop.

When I click a loop in the browser to AutoLoad it into a part, it sounds like two loops are playing instead of just one, and their tempos don't match. This can happen when both AutoLoad and AutoPreview are enabled. AutoLoad causes the loop to load and begin playing, as usual, but the browser's AutoPreview option also causes the loop to play — at its original tempo, which may be different than BPM's current tempo setting. The result is two loops playing at the same time, out of tempo with each other. To avoid this, turn off AutoPreview when using AutoLoad while BPM is playing back.

How do I get BPM to send each pad or part to a different audio output? See "Outputs" on page 98.

When I move the cutoff frequency knob for the Filter, nothing happens. Make sure the envelope depth in the filter section is set to a value where you can actually hear the envelope. For example, if you have set the depth to

Why is the output of BPM distorted? It is possible for BPM to output more than unity gain. This can happen if you layer presets, or in some cases, if you use filter resonance that adds gain. Keep an eye on the output level of BPM track and attenuate that signal if it gets too hot.

How do I record the audio output of BPM? Some sequencers have a freeze function that renders the output of BPM as an audio file. If your sequencer doesn't have this feature, bus the output of BPM track to another audio track, and record the audio output of BPM onto that track. Here is a step by step procedure for sequencers without a freeze function:

1 Create a new stereo audio track (not the one where BPM is used) and name it Record BPM.

2 Route BPM track to an unused bus (e.g.: Bus 1-2).

3 Select Bus 1-2 as the input pair for your Record BPM track.

4 Record-enable the Record BPM track, and start recording.

If you wish to hear BPM while recording, select auto-input monitor in the Operations menu.

That's it! BPM audio output will be recorded into the new track.

Everything is working fine, except that intermittently, samples don't play for no apparent reason. Why? Check your polyphony setting for the pad or part.

shouldn't load more than about 70% of the total amount of RAM your computer has (±10%). For example, if your computer is equipped with 1 GB, don't load more than around 700 MB of samples into BPM.

Note to Mac OS X users: because of Mac OS X's built-in memory management features, there is potentially an unlimited amount of "virtual RAM", but when Mac OS X runs out of real RAM, it starts caching the overflow to disk. This can wreak havoc on BPM performance. Unfortunately, Mac OS X doesn't provide any means for applications to know — or report to the user — that it has run out of real RAM, so there is no way for BPM to alert you if Mac OS X is caching BPM samples to disk. Therefore, if you are loading lots of presets, you need to keep an eye on how much RAM they use up. There are third-party utilities available that can help you keep tabs on your RAM usage.

IMPROVING PERFORMANCE

See "Conserving CPU resources" on page 36 and "Managing latency" on page 36 for tips on how to to get the best performance from BPM.

GENERAL TROUBLESHOOTING

Troubleshooting is always simplest and most effective when the exact problem can be specified clearly and concisely. If you are surprised by an error message or by seemingly erratic behavior in the program, take a moment to jot down the relevant details: exactly what the error message said (including any error ID numbers), what actions were done just before the problem occurred, what kind of file you were working with, how you recovered from the problem, and any unusual

If the problem you are encountering seems inconsistent, try to determine what the necessary pattern of actions are that will cause it to occur. Genuine bugs in application software like BPM are almost always consistent in their manifestation: the same set of actions under the same conditions invariably brings about the same results. Determining the exact cause of a bug often requires experiments that replicate the problem situation with one factor changed: choosing a different (smaller) preset, opening BPM in a different host application, etc.

If the problem is truly inconsistent, then it is likely to be a hardware problem: a faulty hard drive, a failing computer motherboard, a loose connection, etc.

Isolate the problem...

One of the best troubleshooting techniques is to try to isolate the problem. If you can whittle down a complicated setup or scenario to a much simpler case, chances are you'll zero in on the problem more quickly. For example, you could try running BPM in a different host application to see if the problem persists. If it does, it may have to do with the actual samples, presets, and/or performances being used.

Simplify your setup...

One of the most common causes of problems is a conflict with other software in the system. Run BPM by itself, with no other plug-ins or virtual instruments, and see if the problem you are having still happens.

Check the 'Read Me First'...

If you cannot open a particular BPM project or session in your host application...

First try opening other existing files, or a new file, to be sure BPM is working at all. If other files work fine, try temporarily removing BPM plug-in, or disable audio in your host application. If other files also exhibit similar behavior, then you know that the problem is not specific to one file.

MIDI TROUBLESHOOTING

The most important tool for tracking down MIDI input problems are the MIDI activity indicators for each pad or part (pads will darken when receiving MIDI, and rack parts have special MIDI input LEDs). If there is a hardware problem, or if your channel assignments are wrong, the problem should be apparent by looking at the MIDI LEDs.

In order for external MIDI to get to BPM, the MIDI track or Instrument track must be record-enabled. A quick test to determine whether MIDI is reaching the track is to hit record and tap a few notes on your controller. If no MIDI appears in the track, check that your controller and MIDI interface are set up properly. If MIDI data does show up in the track, and your sequencer uses a separate MIDI and audio track for virtual instruments, make sure the MIDI track output is assigned to BPM and is assigned to a part that has a preset sound ready to go.

If BPM is unable to play any MIDI data...

Does your host software receive MIDI data from your MIDI controller? Does MIDI play back successfully to other MIDI instruments? If the answer is no to either question, double-check your cable connections and MIDI controller settings.

If you are trying to play BPM from your MIDI controller, make sure that BPM MIDI track or instrument track in your host software is record-enabled.

Often only A/B tests will reveal the source of the problem. It may be necessary to switch your MIDI cables, and if possible, to try using a different MIDI interface or synthesizer for input/output. The easiest way to test if MIDI data is actually getting to BPM is to look at the MIDI activity LEDs in the Parts section.

AUDIO TROUBLESHOOTING

In order for audio to be heard from BPM, the output of the audio, aux, or instrument track in your host software must be sent to an output that is connected to speakers or headphones. Can you play back any pre-recorded audio? That's always a good way to check that the rest of the audio system is set up correctly. In some cases, a sequencer requires an available voice for BPM playback. Make sure all outputs and voice assignments are correct for BPM track.

If you still don't hear sound, check the following things:

■ Make sure the volume is turned up on the pads or parts you are playing, as well as BPM's global volume setting.

■ Make sure that the appropriate faders are up in your host application.

■ Make sure you have cables connected to the correct plugs on the outputs of your audio hardware.

Keep plenty of free space on your hard drives. This will prevent the computer from running out of disk space.

TECHNICAL SUPPORT

We are happy to provide customer support to our registered users. If you haven't already done so, please take a moment to complete the registration card in the front of the manual and send it in to us, or visit motu.com to register on line. When we receive your card, you'll be properly registered for technical support.

Registered users who are unable, with their dealer's help, to solve problems they are encountering with BPM may contact our technical support department in one of the following ways:

■Phone: [phone]

■ Online: motu.com/support

■ Web site (for information, tech support database and downloads): www.motu.com

Technical support is staffed Monday through Friday 9 AM to 6 PM, Eastern Time.

If you decide to contact technical support, please have your BPM manual at hand, and be prepared to provide the following information to help us solve your problem as quickly as possible:

- The serial number of the program. This is printed on the cardboard page (at the front of the manual) that holds the registration card. (If you purchased BPM as an upgrade, your manual won't have this cardboard page. Instead, MOTU will have

■ The host application software you are using to run BPM.
■ A brief explanation of the problem, including the exact sequence of actions that cause it, and the contents of any error messages that appear on the screen. It is often very helpful to have brief written notes to refer to.
■ The pages in the manual that refer to the parts of the program that you are having trouble with.

We're not able to solve every problem immediately, but a quick call to us may yield a suggestion for a problem that you might otherwise spend hours trying to track down.

Our technical support telephone line is dedicated to helping registered users solve their problems quickly. In the past, many people have also taken

the time to write to us with their comments, criticism and suggestions for improved versions of our software. We thank them. If you have features or ideas you would like to see implemented in our music software, we'd like to hear from you. Please log on to motu.com/suggestions, or write to BPM Development Team, MOTU Inc., 1280 Massachusetts Avenue, Cambridge, MA 02138.

Although we do not announce release dates and features of new versions of our software in advance, we will notify all registered users immediately by mail as soon as new releases become available. If you move or otherwise change your mailing address, please send us a note with your change of address so that we can keep you informed of future upgrades and releases.

2-band EQ effect 248

3 hand compressor effect 252

3 band limiter effect 2

5-Danu 1.0/ effect 243 64 bit 17

8-band EQ effect 248

A

AAX 39 MIDI channel support 71

Ableton Live 46-47

Audio Buffer Size 47

BPM audio output 4

Dr. M. M231 Input 15

opening BPM 46

Add button (Part list) 70

Add FX button 67

Add to Favorites 5

ADSK 87

Akai MPD32 94

modulation source 77

AHD envelope 87, 88

AHDSR (envelope modulation) 88

八、备注

MPD14 15

MPT32 13, 94

THE WORLD

ation course 27

Amp. Buy 77

Amplitude envelope 87

velocity modulation 88

Analog Chorus effect 246

Analog Circuit sheet 2.90 Analog Film effect 247

Analog Flanger effect 246

Analog Tape delay effect 241

API 31

Apply Groove 74

Apply Grooves 74

Arpeggator 17-79

ASIO51,32

Attack 87 Attack time 97

ALL (see Audio Units)

Audio

Devices tab 31

drivers 31

inter-application 30

Others (VST) 47

Pro Tools 40

standalone operation 28,31

Audio Units

Ableton Live setup 46

BPM studio output 42

BPM MIDI input 43

Digital Performer setup 38

latency 43

Logic setup 4

MIDI channel support 71

opening BPM 42

Others setup 42

plug-in location 41, 42

Authorization

transferring

Authorization (see I.0k)

A##1.34

instruments 70

In our 70

options 55

many 60

Automation 92

op ellrcl 249

AutoPlay 72, 80, 90, 94

AutolPreview 55,70

AutoScroll 59

Autowah effect 247

Aux

channel sends 89

mixer channels 98

B

Backup copies of files 259

Bandwidth,conserving 36,60

Bam

button 55

defined 5:

loading a kit into 55

MIDI receive channel 71

mixing 97

muting 55

nothing 52

SP mode 55

step sequencer 38

viewing 32

Beat Box Anthology

DVD II

installation 13

presets 53, 109

ufs file 13,255

n ...

version number 259

BPM (Heats Per Minute) 90

BPM5ampler 95

Browser 51

AutoLoad 54

categories 52

soundbanks 53

tabs 51

tempos 52

xtra folders 53

Buffer size (see Hardware buffer size)

Bypass 59, 73, 99

C

Change Oscillator Type 68

Change Playing Direction to Reverse/For-

y prm

Chorus effect 246

Clear

All (Plano Roll Sequence) 74

Fig. 106

pad command 57

Performance 115 Selection (Tianu Hall Summary) 74

(2) L_i = (6 - 5) / 50

Clear Tare (Aep. Sequential) of Glove Pattern (Fam Fosummon) 60

clear Pattern (Inter-frequency) to

cmp

Batham A

Convolution reserb 243

Copy 6

Line (Step Sequencer) 60

pad command 57

Core Audio 31

Core MIDI 38, 40, 41, 42, 43

CPU, conserving resources 36, 65

Create Loop 67

Crop 67

CrossPhaser effect 246

Cubase 7,43-45

Audio Buffer Size 45

BPM audio output 44

BPM MIDI input 44

latency 45

opening BPM 43

Customer support 14, 259

contacting 14

registration 14

Delete 67

All But Notes 74

All Notes 74

loop 67

Depth 75

Deselect All 74

Destructive editing 66

Digital Performer

BPM audio output 38

BPM MIDI

Buffer Size 39

inter-application MIDI 29

latency 39

opening BPM 38

Disks, keeping enough free space 259

Dist Mode 241

Double button

Double drive effect 250

DP (see Digital Performer)

Drag and drop

exporting patterns 58

instrument presets into part list 70

into a pad 64

kit+patterns 55

loops (exporting) 84

loops into part list 70

MIDI files 74

pads 56

patterns into Piano Roll Sequencer

74

patterns into Step Sequencer 55

sample layers 64

summary 108

Drive 8

Driver selection 31

Drum oscillator 68

saving 106

Drum synthesizer (see Drum oscillator)

Dry 244

DVDs 13

C

E

Edit All Layers 65

Edit button 7

Effects 99-100

accessing 99

aux sends 88

bypassing 99

conserving bandwidth 36

controls 100

presets 100

sample layer effects 67

...4...020.95

depth (amplitude) 87

filter 87

modulation 88

release time 87

sustain level 87

Eraser 74

Errors 257, 258

file 258

system 260

o Instrument

reading sounds from 53

Ex. Group (exclusive pad groups) 65

Exclusive pad groups 65

rting 107

patterns 58

via drag and drop 108

External modulation 77

F

Trade Inv/Out 67

Fat density effect 2(1)

Pat denny effect 240 Tilagarns 1/15

The men's Audio

AUDI and AMDI settings 31 performances 105

40% of the 125

Hill Line (Stem Se

For time (step sequenced) of little

Pfizer

cui)IT frequency 87

catch frequency of drive: 87

atve

envelope of modulation

cyclopro depth 87

envelope velocity

resistance 87

section 86

trace 86

Filter Ery. 77

Fine SS

Fine (Graph Sequencer) 62

Fine-tune

parts/presets 88

Flanger effect 246

lineex/heat effect 25

Functions (Graph Sequencer) 62

[1]uxz effect 25

lix delay effect 240

EX Section 239-253

FX tab (Pad Editor) 67

G

Gate & Expander effect 251

Grid menu 73

Grooves 91

applying globally 91

applying in Piano Roll Sequencer 74

saving a custom groove 63

Guitar Amps (boxes) effect 250

“

H

Halfbutton 82

Hardware buffer size 31, 36, 39, 40, 42, 45,

47,48

Hi-hat programming (see Exclusive pad

groups)

1

I/O buffer size (see Hardware buffer size)

iLck

installing 14

transferring authorization 11.14

Import MIDI In Current Pattern 106

Japporting

via drag and drop 108

Impulse response (see IR Verb)

Installation 11.13

(1)基因通过控制 通过控制

Instantiate

[Non-Text]

Instruments

browsing 70

defined 50

using 51

Inter-application

audio 30

MIDI 29

IR Verb 243

dry 244

width 244

K

Key (modulation source) 77

Key (Institutional Source) 77 Kumming 80, 93

Key Setting 50, 60 Kit Settings (Auto

Kit+patterns | 5

browsing 5

construction kits 52

defined 50

Kits

browsing51

clearing 106

defined 15,5

loading 55, 106

playing with pads 56

compensation 37

Cubase/Nuendo 45

Digital Performer 39

Logic 42

Others (Audio Units) 43

Others (VST) 48

Pro Tools 40

Launching BPM 30

Layer Rules 64

Learn MIDI Key 57

Length (Graph Sequencer) 62

Length (Piano Roll Sequencer) 73

LFOs 77

Part Editor 74

retriggering 75

sync mode 75

Line templates (Step Sequencer) 60

Live (see Ahleton Live)

Live input latency 36

Live mode 103

Load

bank FX (AutoLoad) 55

current pattern 1

from MachFive Program 106

kit 106

oscillator 106

pad 106

pattern+kit 106

Performance 105

Logic 7,41-42

Audio Unit plug-in 41

BPM audio output 41

BPM MIDI input 41

latency 42

opening BPM 41

Loop Editor 79

LoopRe 31

Loops

Autol. loading 54

browsing 51,70

construction kits 53

defined 50,79

effects 99

exporting as audio 84

exporting as MIDI 84

latch mode 82

map mode 81

mode summary 81

modes 80

playing 72, 90

sample mode 80

slice mode 80

alisa in Diana Tall Cammarar 7d

basic knowledge is required 14

inter-application MIDI 30

shortcuts 51

MachFive

creating slice loops 80

Load from MachFive program 106

reading sounds from 5

Map button 81

MAS

Digital Performer operation 38

MIDI channel support 71

plug-in location 38

Master channel 99

effects 99

Master mixer tab 98

Master output 91

Master section (drum oscillator) 69

M-Audio

Trigger Finger 13

Metronome 90

MIDI

activity LED 71

between applications 29

channel assignment 71

controllers (automating with) 92

Devices tab 27,

importing MLDI file 106

input 27, 33, 93

Ableton Live 46

Cubasc/Nuendo 44

Digital Performer 38

keyboard 70

Logic 41

Others (Audio Units) 43

Others (VST) 48

parts 711

Pro Tools 40

standalone application 27, 33

learn

playback latency 37

settings (part editor) 75

setup 2

timing accuracy 36, 37

Ableton Live 47

Cubase/Nuendo 45

Digital Perfor

Logic 42

Others (Audio Units) 43

Others (VST) 48

Pro Tools 40

MIDI automation

pads 57

wav adi+ov 74

MIDI Select 49,57

MIDI Yoke software 30

Mix 241

Mix control (drum oscillator) 69

Mixer 97

accessing 97

channel strips 97

master channel 99

master tab 98

outputs 98

Modulation 76

alternate 77

envelope 88

envelope depth 87

external (MIDI) 77

organ pan 77

random 77

velocity 87, 88

wheel 77

Mono button 76

Multi-stage envelopes 88

Multi-timbral operation

Ahleton Live 46

Audio Units 42

Cubase/Nuendo 44

Digital Performer 38

Logic 41

Pro Tools 39

VST47

Mute

banks 55

parts 71

racks 69

Normalize 67

Note: Repeat 49, 94

Nurdo 43-45

Audio Buffer Size 45

BPM audio output 44

BPM MIDI import 44

latency 45

opening BL

0

Octave

parts/presets 75

One Shot 67

Opening BPM

in Ableton Live 46

in Audio Units host 42

in Cubase/Nuendo 43

Cubase/Nuendo 44

Device menu 28,31

Digital Performer 38

Logic (Audio Units) 41, 42

Pro Tools 40

VST hosts 47

Overdrive effect 251

lub 94

button 50 Overwrite Tempo (AutoLoad) 55

P mode

racks 69

Packing list 11

Pad Editor 63 accessing 57, 63

Pads

assigning a MIDI note to 57

AutoLoad 56

automating 9

aux sends 88

clearing settings 57

copying and pasting settings 57

drag and drop into 56, 61

effects 99

envelope modulation 88

exclusive groups 65

leading multiple samples 63

leading settings 106

playing a kit 56

polyphony 65

recording 56

renaming 57,60

sample layers 63

sampling into 96

saving settings 106

selecting 57

settings 56

synth parameters 58

velocity programming 64

Pan

Graph Sequencer 62

parts 71

Part Editor 74

accessing 74

MIDI automation 74

play section 76

Parts

adding 69

alternate modulation 77

audio output

4.1.1.1.1.1.1.1.

deleting 69

drag and drop into 70

effects 99

envelope modulation 88

external (MIDI) modulation 77

Line-tune 88

layering 71

LFO sync mode 75

MIDI activity LED 71

MIDI automation 72

MIDI channel assignment 71

MIDI input

Ableton Live 46

Cubase/Nuendo 44

Digital Performer 38

Logic 41

Others (Audio Units) 43

Others (VST) 48

Pro Tools 40

mute 71

octave 7

organ pan modulation 77

pan 71

parameters 86-89

play parameters?

playing using keyboard 70

random modulation 77

selecting 69

sequences 58

settings 71

volume 71

wheel modulation 77

Paste 66, 67

line (Step Sequencer) 60

nad command 57

Patterns 58

AutoLoading 54

browsing 51

clearing 60

defined 15.50

experting 58

leading 106

recording via pads 56

resolution 59

saving 106

using 50

Pencil 74

Perform

clearing 105

defined 105

folders 105

loading 105

vanishing 1105

Piano Roll Sequencer 72

accessing 72

drag and drop into 74

loop slices 74

tools

Ping pong delay effect 240

Pitch Bend

modulation source 77

Pitch envelope 77, 88

Pitch settings 99

Play button 90

individual parts 72

PlaySelection 67

in formats

supported formats 7

Polyphony 36, 7

pads 65

Portamento 76

Pos knob (groove position) 91

Position sync 83

PreDelay 243

Predelay Reverb effect 242

Preferences 107

18 109-257

Bend range 75

effects 100

Line-Tune 88

octave 75

tempo 32 vol.7,20

Pro Tools 7, 39 TDM on line output 42

BPM studio output 40

ВРМ МИЛЯ ШЕРЕТ 40

latency 40

opening BPN Processing 238, A53

Processing 239-253

Quantize

button 91

Piano Roll Editor 74

real-time input 94

Start Guide 15

Rocks 64

button 69

defined 69

drag and drop into 70

effects 99

layering parts 71

MIDI channel assignment 71

missing 97

… ”

Random modulation source 77

Rate 75

Record button 91

Record Unde 94

Recording 93

MIDI input 93

overhub mode 94

patternus via pads 56

Recording (see Sampling)

Redo 66

Iletresh

Audio Devices 32

MIDI Devices 34

Registration 14

card 11,259

number 254

Release

Release time (envelope) 87

Remote Control (see VIDI Remote Con

(tral)

Rename (pad settings menu) 57

Reset (Graph Sequencer) 62

Resolution (sample format) 8

Resolution menu 59

Resonance 87

Resonance Mod 62

Retriggerine 75

Reverb

DampingHigh 244

DampingLow 243

mix 241

PreDelay 243

time 241, 243

wet 244

Reverse

Rez Filter effect 247

Right-clicking 51

King modulator effect 253

Robotizer effect

Roll 61

Rotary simple effect 249

Rotary speaker effect 249

Route MIDI input 93

Routines lab 32

ETAS

MIDI channel surgery: 71

Pro Tools operation 39

s

S button (see Solo)

Sample button 80

Sample Editor 66

Sample accurate timing 39

Sampling 95

from host software 56

into a pad 96

menu 95

Save

current pattern 106

graph

kit 106

Line (Step Sequencer) 60

oscillator 106

pad 106

Performance 105

Performance As 105

Scene Editor 102

accessing 102

options [0]

Scenes 101-102

trigger options 103

Scroll wheel support 51

Select All 74

Selection Tool 74

Semi (Pitch) 88

Graph Sequencer 62

Seq button 58,61

Sequence Editor 15

Sequences 58

Serial number 259

Set As One Shot 67

Shortcuts 5

Silence 66, 67

Simple delay effect 240

Simple reverb effect 242

Slice button 80

Slicing loops 8

SmartKey

transferring authorization 11

SmartKey (see iLok)

Snap to Grid 72

Solo

banks 20

racks 6

Song Editor 104

accessing 104

building a song 104

Song mode 104

building a song 104

overview 101

Sound Library 51, 53, 109

construction kits 52

DVDs

presets 119-237

2014.42.15

Speed control 81

Spread

analog tape delay 241

Standalone operation 27

multiple outputs 9

setup 27

Step Sequencer 58

accessing 58

AutoScroll 59

Bypass 59

drag and drop MIDI file into 56,74

drag and drop pattern into 55

resolution menu 59

Steps menu 59

time line 60

Steps men: 59

Stereo delay effect 240

Stop button 911

Stretch button 81

Studio Limiter effect 251

Sustain 87

Sustain level (envelope) 87

honic instrument

reading sounds from 53

Syna

effects 239

effects parameters 100

LFO sync 75

loop sync 83

position sync 83

scene editor options 103

Sync to Host 90, 94

Synth parameters 86

pads 58

System

errors 257, 260

troubleshooting 258

T

TalkBox Filter effect 247

Tap Tempo 50

Tape/tube 241

Technical support 14, 259

contacting 1

Tempo 90

preset tempos 52

setting in sync menu 83

syncing to host 90

Time (reverb) 243

Time line

piano roll sequencer 73

step sequencer 60

甲(二)甲(乙)

error messages 257, 260

file errors 258

MIDI activity LED 71

system errors 260

Tube Tape effect 248

Tune setting (global section) 91

Tutorial (QuickStart Guide) 15

les

installing 13

Undo (Record Undo) 94

Undo/Redo 66

Unlimited Unde/Redo 66

Updates 14

USB Key (sec iLok)

USB MIDI controller 33

UVI destructor effect 253

UVT drive effect 250

UVT filter effect 247

UVT instruments

soundhanks 53

UVT Master effect 252

UVI Wide effect 249

UVInyl 253

V

Vel knob (groove velocity) 91

Velocity 61, 62, 87, 88

curves /b

Amidization source 77

Version numbers

BPM 260

Volume

global (Global section) 91

Mixer view 97

parts 71

VST

Ableton Live setup 46

BPM audio output 47

BPM MIDI input 48

Cabase/Nuendo setup 43

I/O Buffer Size 48

latency 48

MIDI channel support 71

opening BPM in a VST host 47

other host setup 47

plug-in location 43, 46, 47

W

Wet 244

->modulation source 77

modulation source 77

Wheel modulation 77

Width 244

Windows

audio driver selection 31

basic knowledge is required 14

inter-application MIDI 30

X

Xtra folders 53

Z

Zoom (Sep Sequencing) 53