44.1kHZ - 24 Bit &
16 Bit NCW format
16BIT - 32.000+ SAMPLES
24BIT - 32.000+ SAMPLES
16BIT - 17,9GB NCW Format
24BIT - 36,3GB NCW Format
Royalty and copyright free
FOR NATIVE INSTRUMENTS KOMPLETE KONTROL NKS 1.5 and up.
Learn more about Native Instruments’ revolutionary new tools here
FOR NATIVE INSTRUMENTS KONTAKT AND KONTAKT PLAYER 5.1 and up.
Learn more about Kontakt and Kontakt Player here
Native Instruments Kontakt
Time Machine Pro capability
Custom chord recognition and Harmonic Shift capabilities
Intelligent Purging system
3 recorded orchestral sections
- Strings 60 players
- Woodwinds 19 players
- Brass 22 players
4 recorded microphone positions
- Decca tree
- Balcony (Far)
…and a proprietary stereo ‘Tutti’ mix for the ‘lite’ instrument
Learn from our videos & DEMOS
SONOKINETIC PROVIDES TUTORIALS AND VIDEO FEATURES TO HELP YOU GET ALL THE INFORMATION YOU NEED TO WORK WITH OUR TOOLS. EXPLORE OUR VIDEO CHANNELS FOR MORE IN-DEPTH INFORMATION ON OUR COMPOSING TOOLS.
“E = MC2”
Setting up KONTAKT Library
Orchestral sampling with added Ooomph and Braahh!
Maximo fills a space in our phrase-based orchestral line-up that many composers working in media have been waiting for. Like the old adage, we didn't go home, we went BIG! Our enlarged and expanded orchestra worked overtime to play the biggest, baddest orchestral phrases possible. Not only is the sound huge, but the writing has been tailored to this specific set of instruments. Some phrases were composed specifically using unusual harmonic content like the odd flat 6th and flat 2nd intervals. We created a product that will fit in perfectly with any contemporary writing style.
Of course all of the stuff you would expect in a Sonokinetic phrase-based instrument is there, so if you've used any of our instruments before you will be able to put Maximo to work right away without any trouble. Within minutes you'll be adding this big amazing sound to your palette.
Using our midi drag and drop functionality doubling the orchestral phrases with a synth for that hybrid sound has never been easier. The full score is also available within the interface so you can peek under the hood and see what's going on compositionally with the phrases you are using and how the sound coming out of your speakers has been achieved.
Expanding the brass section and having them play their lungs out was a very visceral experience and we think it translates really well to the finished product. The sound has a 'kinetic' strength and brings about a joyous feeling that is hard to ignore. We've been smiling all the way through production with this one!
For the strings and woodwinds the emphasis is on the lower side of things too, with 8 double basses, 16 celli, 6 bassoons and a contrabassoon. We've made sure that the low content has enough pressure and presence to carry a mix all the way through, whatever you decide to add on top.
We, at Sonokinetic BV, are very proud to introduce Maximo to you and can’t wait to hear the amazing things you, our valued customer base, will produce with it.
Sonokinetic has established a name as one of the best value & quality sample producers and with this product we’d like to underline that statement. We stick with our unbeatable pricing module and high quality sampling.
The Sound of Maximo
The recording sessions for Maximo featured the biggest orchestra we’ve ever worked with. We didn’t just just double-up the recordings. We actually gathered all the 101 musicians in the same hall to play together resulting in a huge sound, unlike anything we’ve achieved before.
The orchestra features the following configuration:
- 60 piece strings section
- 22 piece brass section
- 19 piece woodwind section
On the left is the main interface for Maximo. This particular interface is for the Strings instrument but each orchestral group has its own separate Kontakt patch, each of which are color coded: Strings, Woodwinds and Brass. All operate in exactly the same manner.
Whichever instrument you choose, Maximo has 4 user presets, each of which can be assigned up to 3 different fields. The presets can be selected either by clicking them in the interface or with keyswitches shown below.
You can mute / unmute individual fields by clicking the corresponding button.
Cmd / Ctrl left-click on the button to solo that field.
You can also use the velocity sensitive keyswitches shown here to mute fields. Any velocity below 84 will mute a field, higher will unmute.
This is very useful when you want to sequence mutes in your DAW. The keyswitches are laid out low to high in groups of black or white keys per section, to make them easy to identify and remember.
Each of the instruments (strings, brass etc) has different keyswitches to change presets, from MIDI C3 to B3. This enables you to load multiple Maximo instruments in one instance of Kontakt and assign all of them to the same MIDI channel.
Below is an example of the muting & preset change keyswitches for Strings but be aware that the keyswitches vary depending on the instrument as shown on the picture below.
|Maximo Instruments||Mute Keyswitches||Preset Change Keyswitches|
|Strings||G0, A0, B0||C3 to D#3|
|Woodwinds||A#-1, C#0, D#0||E3 to G3|
|Brass||A-1, B-1, C0||G#3 to B3|
The information overlay shown below is also helpful for identifying the mute and preset keyswitches. Just click the info button and you’ll be presented with a graphic of a virtual keyboard, showing you the mute and preset buttons for all Maximo instruments, not just the one you’re working with.
Each field has a number of options which can be activated / deactivated. Regardless of which preset or field is in use, they all have the same options, outlined below.
Mute: See the previous page for information on muting / unmuting fields and mute keyswitches.
By default the MOD wheel of your MIDI keyboard will control the output volume of a field. This icon will be displayed.
The adjustable volume function can be disabled within individual fields by clicking the MOD wheel icon so that it changes to this graphic depicted.
This allows greater expression as you can keep the volume of one or more fields constant whilst changing others with the MOD wheel. Use this to create interesting, constantly changing phrases and crescendos / decrescendos.
Phrases in Maximo have been recorded from 120-130 BPM in 4/4 time. Regardless of the time signature of your composition, most phrases will be completely suitable.
Click this icon to change the playback speed of the phrase, relative to your DAW’s BPM. The phrases will always sync to your host DAW tempo, being time-stretched within Kontakt to match the BPM.
Original recorded speed, relative to DAW BPM
Playback at 2 x speed, relative to DAW BPM
Playback at ½ speed, relative to DAW BPM
Automatic - “Intelligent Tempo Mapping” - Playback at recorded speed, but at automatic half / double time at extreme tempi. This is generally the best speed setting. However, if your project has a tempo change mid-phrase, you may find that an alternative speed setting may be more useful. Also, when you are doing gradual tempo changes across a large range, it might be a good idea to opt for one of the fixed values instead of ITM.
There is just one limitation with speed adjustments in Maximo: If you choose exactly the same section, phrase and variation in two or more fields and change the speed within one, then they’ll all change. This can be remedied by using another instance of Maximo on a new track.
Maximo features intelligent purging. Click the icon to purge the samples from memory. This will apply to all fields of the current preset. If a sample is being used in another preset it will not be purged. Use this function to free up system RAM.
TIP: You don’t have to stick to the standard configurations of high, medium and low. It’s possible to load more than one identical set. For example, you could load 3 sets of high strings and choose completely different patterns for each. The only limitation to this is that if you duplicate an identical set and pattern and variation in one instance of Maximo, the MOD wheel volume and speed controls will not operate independently.
The phrases in Maximo are represented by graphics instead of actual notations. However, clicking on the score icon shown here will access the original notation.
This will open a large Score View, where you can view the currently selected phrase in a notated form. Strings are depicted here.
Clicking on the key signature graphics at the top of the window will change the displayed score key. Click the MA or mi icons to display either the major or minor variations of the phrase, where available.
A large contingent of phrases are gender neutral (so basically without thirds, sixths or sevenths)
You can either click on the ‘x’ or anywhere in the score area to return to the main window.
The Maximo interface features a drag MIDI button. Click the button, hold and drag into your DAW to paste the MIDI information from the Maximo score straight into a track in your DAW.
One or more MIDI tracks will be created in you DAW which correlate with the number of staves shown in the score view for that particular phrase. You can then assign your own virtual instruments to these tracks and edit the MIDI data in the normal way.
We’ve developed this to be a real time-saver when you need access to the MIDI data of Maximo outside of the instrument itself. Drag MIDI is useful for several things and gives you ultimate flexibility over the notation of the phrases within Maximo. For example, for doubling instruments, transposing or more complex editing. Drag MIDI also allows a quick and easy way for orchestrators to transfer Maximo’s phrases to a score prepared for live players.
Please note that the MIDI is derived from the original score that the musicians performed, not from the performance itself. Therefore the MIDI will not reflect the nuances of play, and you will have to adjust it manually to get a perfect match with the played performance when doubling it with external instruments. Also note that the MIDI dragged cannot be used as an input for Maximo, you'll need other virtual instruments on different tracks in your DAW to play the dragged and dropped MIDI files.
Click the + icon at the bottom left hand side of the interface to open the options menu. From here you can control volume, panning, crossfade times, sample offset, microphone placement, global tuning and Harmonic Shift.
Click the VOLUME legend at the bottom left of the options interface to display the volume controls (shown here with the Woodwinds instrument).
In each field, drag the black overlay lines up and down to adjust the overall volume of that field.
Click the TUNING legend at the bottom of the options interface to display the tuning setting for the instrument (shown here with the Strings instrument).
It’s easy to change the global pitch within Maximo. Choose from either standard pitch (440Hz) or an alternative concert pitch (441 - 443Hz). Some live orchestras may be tuned to these alternative pitches so this function makes it easy to match the samples in Maximo to live recordings.
Click the PAN legend at the bottom of the options interface to display the panning controls (shown here with the Brass instrument).
Click the X-FADE legend at the bottom of the options interface to display the crossfade controls (shown here with the Strings instrument).
Due to the natural human playing that’s been sampled and the wide variety of phrases within Maximo, it may sometimes be necessary to adjust the crossfade of phrases when a new chord is played.
This control will help to smooth out or tighten up transitions when used carefully.
We’ll cover transitions and chord changes later in this manual.
Click the MICS legend at the bottom of the options interface to display the microphone mixing controls (shown here with the Woodwinds instrument).
The samples for Maximo have been recorded in the same hall as sister libraries Sotto, Capriccio, Grosso, Minimal, Da Capo, Tutti and Vivace. As such, Maximo has similar options for microphone mixing; Close, Decca Tree, Wide and Far (balcony). It is possible to use just one microphone position or mix between two different positions.
These different positions can be selected by clicking on the microphone position name.
Mixing is controlled by dragging the slider within the triangles. The crossfade operates in such a way that the central position will play both microphone positions at full volume.
Microphone mixing options are global and apply to the entire instance of Maximo including all phrases and fields. Note that activating multiple microphone sections puts additional strain on CPU usage.
If you plan on using just one microphone position, set the other position to NONE to conserve CPU and RAM.
We have included ‘Lite’ versions of all Maximo instrument patches. These patches function in exactly the same way as the full versions but do not have microphone-mixing options. Instead, the samples have been pre-mixed from the four recorded positions. Use these patches when you only need just one pre-mixed version of Maximo, which will conserve RAM and CPU.
This function enables you to change the sample start point of a field.
Click the OFFSET legend at the bottom of the options interface to display the offset controls (shown here with the Woodwind instrument).
Each mark on the slider represents a 16th note, so the maximum and minimum values are one beat forwards and backwards relative to the original first beat of the phrase. Note that when you double or halve the tempo of a phrase, the offset value will stay relative to the host tempo, so relative to the phrase content tempo these values will change. e.g. when the tempo button is set to 2x all offset values are doubled.
You can use the sample offset function subtly, for very minor adjustments, to tighten up the timing of phrases relative to one another.
You can also use the function to make more dramatic timing changes by offsetting one or more fields by entire beats, resulting in more complex patterns including polyrhythms and syncopation.
The Harmonic Shift function allows the user to play phrases simultaneously in different, but related, keys. This function (shown here with the Strings instrument) can be used to access more complex chords other than the standard major / minor phrases within Maximo.
Harmonic Shift can be turned on or off for each field with the +/- button but it’s most useful if you turn it on in some fields and off in others.
You should note that Harmonic Shift only designates an interval, relative to C. For example, playing an Em chord and then using the Harmonic Shift keyswitch at D# (an interval of a third) would add a major / minor third up from Em. This would result in a G major / minor phrase being added.
By default we have chosen a relative major and minor for each interval, which we deem most useful. However, it’s possible to setup your own variations of major and minor intervals using the matrix shown below:
Note that setting different values in the Harmonic Shift Matrix only makes a difference for ‘gender-specific’ phrases.
The effectiveness and musicality of the Harmonic Shift varies, depending on the phrases you assign to each field and the major / minor intervals you choose in the matrix. Experiment with different phrases and settings to create interesting and surprising textures and note combinations.
The basic method of playing Maximo is to play three-note triads in the keyrange C1 to G2.
The chord recognition system will automatically detect inversions and will choose a major or minor phrase based on the MIDI chord played. Phrases that are ‘gender-neutral’ (so containing no thirds, sixths or sevenths) or atonal phrases, will be triggered for both major and minor chords and will naturally not change when you go from major to minor or vice-versa.
Once you’ve played a chord it’s possible to sustain it by holding just one of the notes (voice leading). This enables easy switching to new chords without any gap in the playback. Chords can also be held by using a sustain pedal. Alternatively, a chord can be sustained by holding any key down in the playable area, thus allowing changes between chords
Maximo features release samples for all phrases. These give a realistic and appropriate release note or reverb tail when keys are released. The release samples become especially important if you choose to truncate the playback of a phrase, where a realistic end note will be played. The release samples can be turned on and off by using velocity sensitive MIDI note F6. High velocity (>84) will turn releases on, low velocity (<83) will turn them off.
You can also use the link / unlink option within the Volume menu to adjust the relative volumes of the release note samples.
Phrase Continue / Retrigger
When playing different chords or applying different Harmonic Shift intervals, you have the choice whether to retrigger the phrases or to simply continue the phrase but in the new key. This function is controlled by velocity sensitive keyswitch D6. High velocity (>84) will turn phrase continue on, low velocity (<83) will turn it off.
Another feature unique to Maximo is the ‘Bar Sync’ option. This is controlled by velocity sensitive keyswitch E6. High velocity (>84) will turn it on, low velocity (<83) will turn it off.
This feature works in conjunction with the ‘Phrase Continue’ function. When switched on, the scripting within Maximo will read the position of the bar in your host DAW and retain playback of the phrases in line with that bar. For example, if Bar Sync is turned on and you trigger a phrase on the second beat of a bar, the sample will play from its second beat too.
- Note that Bar Sync can only be used in Phrase Continue mode. If Phrase Retrigger is engaged instead, Bar Sync will automatically switch off.
- When Phrase Continue mode is switched on again, Bar Sync will return to whichever setting was being used previously, either on or off.
Bar Sync Reset
There may be rare occasions when you wish to change meter in a project and the Bar Sync function behaves rather oddly and becomes out of sync with the bars in your DAW. This happens because some DAWs, including Logic Pro X for instance, will send an incorrect bar start to Kontakt in these cases, depending on which bar the meter change actually is. To remedy this we have provided a ‘hidden’ keyswitch at MIDI key G#-1. Trigger this keyswitch at high velocity (>84) just before beat 1 of the next bar after a meter change and this will reset the Bar Sync function. Trigger the keyswitch again at the start of your project (on bar 1, beat 1) with a low velocity (<83) to ‘reset’ this offset, ensuring that your project begins with the correct Bar Sync settings.
As explained previously, there are a number of different ways to play Maximo and change chords. You can either use the sustain pedal to hold chords, use voice leading on one or more notes or simply release and retrigger. These different modes become important when it comes to using Maximo in your chosen DAW.
Whether you play Maximo ‘live’ into your DAW and edit the MIDI afterwards, or if you sequence directly using your DAW’s piano roll, there a few things you should know which will help you get the best from the instrument.
If you are just triggering one simple chord and then releasing, it is normally best to quantise the start and end of the MIDI chords. We would also advise leaving the Phase Follow and Bar Sync keyswitches set to off. Keeping the release samples turned on will provide a clean end hit or release tail to the chord.
Quantised blocks of MIDI chords as shown is the simplest way to create a chord change. However, this often does not give satisfactory transitions with strings, woods and brass as the phrases have longer attack times. This method is most successful with choir and percussion.
You may find that turning the release samples off also helps with the transitions.
Taking these attack times into consideration, it is often best to quantise the very first chord, whilst ensuring that Phrase Follow is set to on. Subsequent chords can be triggered slightly before the beat so that the attack portions of a new chord are maintained. However, it is difficult the program blocks of chords in this manner as the end of one chord has to perfectly line up with the start of the next. This, in itself, is a challenge in most DAWs. It’s much easier to utilise the sustain pedal or voice leading…
Both voice leading and using the sustain pedal produce the same effect; a sustained chord which is held until 3 notes of a new chord are engaged. This is by far the best way to get great chord transitions with Maximo. Offset the MIDI notes of every chord except the first, slightly before the beat (in the same way as described above) to capture the new attack phase. Use the Phrase Follow so that the new chord plays the new phrase where the old one left off.
Adjusting these elements in conjunction with the individual field crossfade times will give smooth transitions. For a demonstration of these techniques check out the Maximo videos online.
Tempo syncing and Transitions
The Maximo orchestra recorded their parts to a click-track at 120-130 BPM in 4/4 time. Tens of thousands of samples have been edited by hand to create seamless loops. When you change from chord to chord in Maximo this can sound extraordinarily realistic but you may also find times when the transitions are not as smooth as you’d like. There are a number of ways to smooth out these transitions and different methods are more appropriate for different instruments and phrases.
- Ensure that Phrase Continue is switched on (MIDI key D6)
- Play with the sustain pedal held down or use voice leading to sustain one chord until the new one plays
- Adjust your MIDI notes so that they finish approximately half a beat before the new chord starts. Turn on the release samples (MIDI note F6) and the gap will be filled by a release sample, avoiding the attack portion of the current chord.
- Offset your MIDI notes by a few milliseconds. Also, try avoiding using quantisation and experiment with timing chord changes in different ways. Playing chords in by ear often works more effectively than strict quantisation.
- If you are working with more than one Maximo patch in one instance of Kontakt you may find that offsetting MIDI notes is creating nice smooth transitions with one instrument but not another. In this case, duplicate your track and just run one Maximo patch on each track. You can then adjust the timings of MIDI notes on each track separately.
- If you find that multiple phrases in one instance of Maximo are not sounding perfect together, use the sample offset feature to subtly adjust the start point of fields relative to one another, resulting in a tighter sound.
- Reduce the crossfade time of the field so that the end of the current chord sample is faded out quickly, before the new one comes in.
- You can learn more about the tempo syncing aspects of Sonokinetic’s phrase-based libraries with the comprehensive tutorial videos for sister libraries Capriccio and Sotto. The techniques shown in these videos can be applied to Maximo as the engine works in exactly the same way.
Tempo Syncing with Sotto
Tempo Syncing with Capriccio
Maximo Conductor Scores
Maximo – Conductor score content:
- 1 Copy protected PDF file
- 142 pages (A4 format)
- Full Rehearsal marks to easily find phrases from the kontakt version.
- 150 dpi resolution
- Covers all phrases recorded for our “Maximo” library
- Password to access the pdf file
This file has been locked. No copying options will be available. This score only covers cues in the keys recorded for the product.
There are three recorded keys for each cue, and three more where a separate minor version was needed.
This product is for educational purposes only and licensed to the buyer/user solely. A share of the revenue is going directly to the artists involved in this product.
Use your purchase email address to unlock the pdf file upon receipt.
Support and Manual Download
A representative will follow-up with you as soon as possible,
typically within 48 hours of your request.
We often try to respond quicker than this,
but please note we are in a European time zone and Sonokinetic offices
and studios are opened on European business hours.
please follow: support.sonokinetic.net to submit your support ticket