Shreddage 3.

5 Precision FREE
An Impact Soundworks Instrument
for Full Kontakt 6.7+
Instrument Version 2.0.0

Product Manual
Introduction
Shreddage 3.5 Precision FREE was created to be the ultimate FREE virtual electric bass, flexible
enough to work in any genre, with a great sound that has no crippling limitations, all for Kontakt Full
owners. The samples are taken from the full version of Shreddage 3.5 Precision, with the same
dynamics, round robins, and bit depth. Bassist Tony Dickinson (Trans-Siberian Orchestra) performed all
the samples using a high-end, American 5-string P-bass with flatwound strings for a beautiful, detailed
sound. An all-analog UA|610 DI was used to further enhance the warmth and fullness of every note.

This free instrument includes fingerstyle playing—the most important and widely-used
technique—along with popping and release noises, spread over a two-octave playable range. This
range is big enough to let you write and perform a ton of different basslines and riffs!

Of course, this instrument also includes the same great engine features as all Shreddage 3.5
instruments: a highly-realistic virtual bassist engine (with multiple fretting and performance algorithms),
the Console modular FX rack, and our totally customizable articulation mapping. It’s also fully NKS
Compatible for Komplete Kontrol & Maschine users.

Welcome to the best FREE virtual bass instrument ever released: Shreddage 3.5 Precision FREE!

NB: Red strikethrough text highlights features or content available only in the FULL version of
Shreddage 3.5 Precision!

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Installation
1. Install the Pulse Downloader.*

2. Once Pulse is installed, open it and enter your Shreddage 3.5 Precision FREE product code,
which is also its serial number (e.g., 12345678-four-1234-four-1212twelve12). Follow the
instructions to download and install the library. (If you wish to move the library to an external
drive [for example], then do this before moving on to step 3.)

3. Finally, load the included Shreddage 3.5 Precision FREE NKI in Kontakt. No activation is needed,
as this is not a Kontakt Player instrument. (As such, it will also not appear in the ‘Libraries’ tab in
the Kontakt Browser.) This completes the installation process!

* Pulse is a cross-platform desktop app that lets you download and install your libraries with blazing
speed! You’ll need to create a Pulse account, but once you do, you can access your purchases from any
developers using Pulse, anytime, from any computer.

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The Shreddage 3.5 Performance Engine
As with all Shreddage 3.5 instruments, Shreddage 3.5 Precision FREE features recordings of every
string, from the ‘open’ position all the way up the neck. This means many pitches are sampled multiple
times on different strings, which yields a different tone depending on which string is played.

The Shreddage 3.5 engine features an advanced algorithm that emulates how a real bassist would
perform notes across different strings and fret positions. When a MIDI note is received, Shreddage 3.5
will evaluate a number of factors to determine the best string & fret to place that note. These factors,
which are weighted differently depending on your performance settings, include things like:

➔ What other strings are being held at the same time

➔ Whether the new note is played legato or not (and if so, the legato settings)
➔ The virtual hand position [see the next paragraph, below]
➔ Any ‘force string’ settings
➔ Fretting Mode selection

Shreddage 3.5 uses a virtual ‘hand’ to guide fret & string selection. This generally means if you are
playing on the lower frets, new notes will also be placed on lower frets. If you are playing high up on the
neck, new notes will also end up in that range.

However, for most users, you don’t have to worry too much about any of this, outside of selecting the
Performance Style you want and possibly moving the Hand Position as desired.

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Using Shreddage 3.5 Precision FREE
Snapshots & Script Tabs
Shreddage 3.5 uses Kontakt’s native ‘Snapshots’ feature to handle various types of presets. We’ve
extended this feature allowing you to save and load specific types of Snapshots without overwriting
your entire patch.

Data is loaded and saved in three areas:

A. Shreddage Engine (first bottom-left tab), which contains the main engine performance settings;

B. Console (second bottom-left tab), which contains all FX and mixer settings;

C. Articulations (top tab in Shreddage Engine UI), which contains all articulation mapping info.

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It is important to note that each of these tabs can save or load its data independently!

For example, you can load a bass tone from Console without affecting your mapping, or load a specific
performance preset without affecting your tone.

At the bottom of each tab’s UI, you’ll see two icons: a Lock (lower-left) and a Camera (lower-right):

When the Lock icon is enabled (white), the contents of that tab will not be overwritten when you load a
new Snapshot.

When the Camera icon is enabled (white), the contents of that tab will be saved when you save a
Snapshot.

Snapshots included with Precision FREE are saved for the Console tab by default, meaning they will not
affect your mapping or performance settings. However, you can save your own Snapshots using
whatever combination of tabs you’d like. (Make sure to check your Lock & Camera settings when saving
and loading!)

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View 1: Shreddage Engine
Tab 1: Main

IMPORTANT: Virtually every knob on the interface can be MIDI learned! Simply right click and then
move the desired MIDI CC to create a link. Also, you can hover over any control to see help text at the
very bottom of the Kontakt UI. (See section Setup & Tweaking for more details)

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Tone & Signal Controls
These controls (with the exception of ‘Lite Mode’) behave very similarly to the control setup found on a
physical bass:

Volume
Controls the overall pre-FX gain of the instrument.

Tone
Controls a gentle pre-FX lowpass filter on the entire instrument. Maximum value is ‘wide-open’, while a
lower value results in a darker tone.

Signal Switch
Not used in Shreddage 3.5 Precision FREE.

Lite Mode [Leaf Icon]

When enabled, time stretching is disabled for slides and tremolos, freeing up a good amount of RAM
and reducing CPU usage.

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Performance Controls

Performance Style
This drop-down menu selects from various preset styles that determine how the virtual bassist decides
which strings and fret positions to play:

Standard Plays lower on the neck and prefers open strings.

Solo Melody Plays mid or high on the neck in ‘mono’ mode, perfect for lead parts.
(Mid/High)

Solo Virtuoso Plays mid or high on the neck with a small amount of Poly Input Latency,
(Mid/High) making it easier to play realistic chords and strums in between riffs.

No Legato Plays without legato in the specified area of the neck.

(Low/Mid/High)

Workstation Enables Keyboard Mode and plays without legato, alternating between up and
down strokes for each note.

Custom Allows you to set your own preferences.

Keyboard Mode When enabled, the regular string/fret selection algorithm is disabled. You can
play unlimited notes ‘per string’, and every MIDI note is pre-assigned to a
specific string/fret. In other words, the instrument will behave like a traditional
workstation keyboard patch, which may be more useful in some situations.
Mono
When enabled, only one note can be played at a time. Overlapping notes will always trigger legato.

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Bite
Applies an EQ to all signals pre-FX, adding more brightness and removing some low-mid ‘body’ from the
sound. The resulting tone becomes more and more aggressive as the knob value is increased.

Extra Attack
Adds an emphasized pre-transient pluck noise to notes. This scales with velocity, so playing softly will
result in quieter attacks. This is useful for emphasizing some notes and not others.

Pitch Bend Range

Changes the maximum range for the MIDI pitch bend message, defaulting to +/- 2 semitones. This
means that when your pitch controller (hardware, or in automation) is at maximum or minimum values,
the instrument will be shifted down or up 2 semitones.

Unison Bend
When moving this knob above minimum value, the LOWEST held note will be pitch bent, as long as the
lowest note is no more than a perfect fourth away from the higher note.

Vibrato Amount
Introduces pitch modulation (vibrato) into the sample. The specific vibrato settings can be adjusted by
clicking the gear icon:

Controller Selects from either modwheel (CC1) or aftertouch to trigger vibrato.

Mode Precision FREE features only Emulated (most flexible & lightest on CPU; uses an
LFO to modulate pitch) mode.

Speed The rate of the oscillation.

Depth The maximum intensity of the vibrato in Emulated mode.

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Multi-Tracking
Sets which virtual guitar track(s) should be used. Each virtual guitar uses a different sequence of
samples during playback. For example, if guitars 1 & 2 are enabled, two unique sets of samples will be
played back with extra stereo panning.

If you would prefer to use multiple NKIs for double/quad-tracking (in order to use more channels in your
host), you can always enable a single guitar at a time for each NKI. You can do this by enabling the
guitar of choice (e.g. Guitar 2) and then disabling any other guitars in that NKI.

NB: It is important, if using multiple NKIs for multi-tracking, to set the anti-repetition parameters to be
identical in each instance. Otherwise, phasing will occur as different NKIs may trigger the same sample
in differing track numbers.

Responsiveness

Controls the sample playback offset for all groups. Note that all samples were edited to preserve a
certain amount of finger pluck and ‘pre-pluck’ sound, so while increasing this value makes the
instrument more responsive (as the sound becomes more ‘immediate’), doing so will also decrease the
amount of realistic performance noise in each sample. This offset value is mixed with other offsets for
specific articulations and strokes.

Poly Input Latency

When this knob is above 0ms, a small amount of latency (controlled by the knob) is introduced before
sample playback. The S3.5 Engine will capture any notes played within that latency window and create
more realistic voicing for playback. Think of this as a ‘Lookahead’ that results in better performances
when playing chords or other polyphonic parts.

➔ Poly Input Latency does apply to the following: playable range guitar notes when strum mode is
OFF; thrash notes; slide notes; full strums; partial strums; and individual string plucks; in other
words, any key-triggers that actually play sounds.
➔ Poly Input Latency does not apply to the following: playable range guitar notes when strum mode
is ON (e.g., to set the voicing); MIDI CC changes; MIDI pitch bends; TACT keyswitches;
Shreddage 3.5 custom keyswitches; and strum mode keyswitches; in other words, any
key-triggers that do not directly result in sounds.

Note 1: For very fast guitar parts, we recommend setting the latency either very low or at 0ms!
The polyphonic fretting placement will interfere with the natural fretting of the
algorithms and fast passages will quickly devolve into fretting placements that jump
around the fretboard, which is anatomically impossible and creates an unnatural tone.

For reference, 16th notes performed at 120 BPM are 125ms apart. Playing passages at
(or faster than) 120 BPM 16th notes at a latency of 125ms will result in a malfunctioning
fret selection.

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Note 2: Even when latency is set to 0ms, Shreddage 3.5 is programmed to always process with
a tiny default latency of 50μs (i.e., 0.05ms) so that chords ‘blocked in’ plainly in your
MIDI editor will still work perfectly! Try with Strum On Poly for very quick and easy
realistic chord parts with effectively no latency.

Additionally, this default latency enables processing of features listed above (such as
keyswitches) before latency features (like note playback and strums). This means you
can always place a keyswitch at the same grid position as a note, or in strum mode,
you can place a chord voicing at the same grid position as a strum trigger. This is
intended as a quality of life improvement for MIDI editing so that the user isn’t required
to nudge keyswitches or chord voicings behind the grid.

Finally, it is recommended to program the DAW track’s offset to negate the Poly Input
Latency. In other words, if the latency is set to 50ms, programming the DAW track
offset to -50ms will allow the user to compose on the DAW grid with great confidence
in timing accuracy.

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Fretting Controls

The Fretboard
Shows what notes are being played on which strings and frets. Note that you can drag horizontally
across the fretboard to set a virtual capo position, which changes how the fretting and playback engine
will select notes realistically.

Capo Position
Guitar-style transposing by placing a ‘virtual clamp’ in the shape of a wooden or metal bar on a
particular fret. This can be MIDI-learned and automated by right-clicking. If Capo Position parameter
has a larger value than Hand Position, Hand Position is disregarded. The Capo is used to allow a
transposed set of open strings.

Fretting Mode
Selects which performance algorithm should be used. The factors described above will be evaluated
differently depending on which of these modes you select:

Natural This mode is the most common usage for leads and leads mixed with chords
created by polyphonic input. The fretting follows the hand size, where a bassist
will ascend up and down strings to play notes at a static hand position.

Sweep This mode is very similar to Natural fretting, with the sole exception that it will
slightly prioritize playing notes on adjacent strings a little more to simulate the
sweep picking technique used in fast bass playing.

Moving Lead This mode is similar to Natural fretting but ascends the hand slightly when
moving to strings upward in pitch. This allows a three-octave range for scales
at a static hand position from bottom string to top string instead of about two.
The same range played in Natural mode would play the last octave all on the
last string, which is not ideal.

Polyphonic Prioritizes using as many strings as possible simultaneously. This is ideal for any
kind of chordal playing, ensuring that each note of your chord is played (as
opposed to triggering legato, fret changes, etc.)

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Picking Mode
Selects how pick direction is determined for each note press. 'Up' and 'Down' will use ONLY up or down
strokes, respectively; 'Alternate' will switch back and forth between down/up per press; 'Economy' uses
a consistent stroke direction when crossing strings.

Force String
Selects a single string that will be used for ALL played notes, if possible. The ‘forced’ string will be
highlighted on the fretboard.

Hand Position
Sets the fret at which the hand starts its reach to other frets (taking Hand Size into account). Notes that
don’t fit into this hand position and size will play outside of the range, but will not move the virtual hand
from this position.

Current Parameter Display

Parameter Display
Displays the most recently-active knob or control and its value (e.g., Volume: 100%).

Articulation Display Option

When this option is enabled (white; disabled is grayed out), displays the most recently-active
articulation in the Parameter Display area.

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Tab 2: Strumming
This feature allows you to easily play realistic-sounding strummed chords without finicky MIDI input or
pixel-perfect sequencing. There is now a dedicated ‘Strumming Mode’, but all strumming features (with
the exception of Strum Audition) can be used even in regular performance mode!

Before we go over the strumming controls, let's take a look at the dedicated strumming keyswitches
(multi), picking keyswitches (light blue), and other performance keyswitches (berry/magenta) located
above the instrument’s normal playable range:

Strumming Keyswitches
F♯3 Toggles Strumming Mode to the opposite of what is currently set in the GUI when
pressed down, and returns to the previously-selected setting when released. This is
used in either mode to quickly and temporarily switch modes. (Only available if
Strumming Mode is set to ‘Keyswitchable’)

G3 Toggles Strumming Mode on or off. (Only available if Strumming Mode is set to

‘Keyswitchable’)

G♯3 Plays a down-strum (i.e., all downstrokes). The strummed notes will be whatever is
currently being held in the normal playable range. The speed and dynamic of the
stroke is based on the control settings on the Strumming page (see below).

A3 Plays an up-strum (all upstrokes), again based on what is being held in the normal
range.

A♯3 Plays a partial down-strum. This plays an down-strum starting from the bottom string,
with the engine selecting the number of strings traveled based on the Strum Distance
setting (see below).

B3 Plays a partial up-strum. This plays an up-strum starting from the top string, with the
engine selecting the number of strings traveled based on the Strum Distance setting
(see below).

C4 Temporarily toggles strums to muted strums.

NB: For Force String (C6 thru F6) and Force Hand (G6, G♯6) keyswitches, see page 34.

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Picking Keyswitches
Starting with G5 and moving up chromatically to B5, each note here corresponds to one of the five bass
strings, starting with the lowest string (low B). Playing one of these notes will ‘pick’ the note that is
being voiced on that string. If no note is ‘voiced’ on the selected string, the algorithm chooses another
valid string to play, so that all pick keys will ensure that a note is performed. This allows you to retain
the same picking patterns in MIDI data while changing the voicing on the strings, which is a common
way of playing bass in many pop and rock songs. (In general, this is a very useful and musical way of
triggering notes from a chord: give it a try!

Other Performance Keyswitches

Sets Picking Mode to ‘Up’.

Sets Picking Mode to ‘Down’.

Sets Picking Mode to ‘Alternate’.

Sets Picking Mode to ‘Economy’.

F♯7 Sets Fretting Mode to ‘Natural’.

G7 Sets Fretting Mode to ‘Sweep’.

G♯7 Sets Fretting Mode to ‘Moving Lead’.

A7 Sets Fretting Mode to ‘Polyphonic’.

Strumming Controls

Strumming Mode
When Strumming Mode is enabled, playable range notes no longer result in sound playback. Instead,
the fretboard algorithm will visually display the most recent notes held together (up to the number of
available strings), re-calculating the shown voicing on every new note to select the best and most
‘natural’ way to play the chord. This voicing is stored in perpetuity, so all string picks and strum triggers
will act on this voicing.

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Strum on Poly Input
When Strumming Mode is disabled, notes played within the Poly Input Latency window will activate a
full down-strum following the strum mappings for timings and velocities. Using this option, you can
seamlessly mix strummed chords and lead/melody parts without doing any keyswitching at all!

Strum Speed Map

Selects how the speed of strums is modified (velocity or MIDI CC).

Strum Speed CC
This CC is used for calculating strum speed when ‘CC’ is selected in the Strum Speed Map menu.

Strum Speed Invert

Inverts the input values when calculating strum speed.

Strum Volume Map

Selects how the volume of strums is modified (velocity or MIDI CC).

Strum Volume CC
This CC is used for calculating strum volume when ‘CC’ is selected in the Strum Speed Map menu.

Strum Volume Invert

Inverts the input values when calculating strum volume.

Strum Distance Map

Selects how the distance of partial strums is modified (velocity or MIDI CC).

Strum Distance CC
This CC is used for calculating partial strum distance when ‘CC’ is selected in the Strum Speed Map
menu.

Strum Distance Invert

Inverts the input values when calculating partial strum distance.

Strum Audition Mode

Setting this to ‘New Note’ will play new individual notes in the playable range. Setting this to ‘All Notes’
will play all current stored notes in the set voicing on every new note.

Hint: When this is set to ‘New Note’, you can essentially play notes in the playable range with full
confidence that they will be voiced polyphonically and as close to the actual played voicing as possible.
This can be just as effective—if not more so—than the Polyphonic fretting mode!

Keyswitchable
This control will activate the keyswitches that can toggle Strumming Mode on or off. Deactivated by
default to prevent accidentally swapping modes.

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Tab 3: Articulations
Our ‘Total Control Articulation Control’ (TACT) technology has been upgraded to Version 3 in this
product, offering more convenience and power than ever in a single UI!

TACT Overview

Enabling / Disabling Articulations

Any articulation can be disabled or enabled by alt+clicking or by pressing the power button in the
Sound tab (located at the bottom of the UI). Disabled articulations will not trigger, and will be purged
from memory (thereby freeing up RAM).

Selecting an Articulation
To select an articulation for editing, simply click on it. The selected articulation will be highlighted with
a red border. If you are using latching keyswitches (see next page for more details) for articulation
selection (which is the default setting), clicking on an articulation will also activate your corresponding
keyswitch, blotching it fully red. This functionality makes quickly auditioning articulations a snap!

Multi Selection
To select more than one articulation at once: hold Control or Shift, and click the articulations you want
to select. When multiple articulations are selected, adjustments made to the Sound tab will be applied to
all of the selected articulations.

Mappings (made in the Map tab; more information below) cannot be applied to multiple articulations
simultaneously.

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Mapping Info
The text in each articulation box (such as Vel 1 - 27 or KS (L) C-2) shows the current mapping for
that articulation.

The current mapping section shows how the articulation is currently triggered. Here are the relevant
abbreviations:

KS Keyswitch. Press the listed key (in this example, C-2) to trigger the articulation.

(L) Latching. A latching keyswitch does not need to be continually held down to work.

C-2 The MIDI note that will trigger the articulation. (C-2 is the lowest MIDI note.)

Here are some other examples of mapping abbreviations you might see:

Vel 1 - 19 Articulation must be played at MIDI velocities 1 and 19 to trigger.

CC1 12-127 MIDI Controller 1 (CC1) must be between values 12 and 127 for the articulation to
trigger.

PW 1024-8192 The Pitch Wheel controller must be between values 1024 and 8192 to trigger.
(NB: The minimum Pitch Wheel value is -8192.)

Key C4 - C5 The articulation will only trigger on MIDI notes between C4 and C5.
(NB: This is NOT a KS; this refers to actual playable notes that make sound.)

Ped Down / Up The Sustain Pedal (CC64) must be down (or up) for the articulation to trigger.

Legato Toggle Button

This button can be clicked to enable, for certain articulations. When disabled, a ... symbol will
instead appear, and that articulation will not trigger legato or portamento transitions.

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The Sound Tab
Each articulation has slightly different controls in the Sound Tab. These include:

SUSTAIN

Volume
Controls the overall volume of the articulation.

Offset
Controls the sample start offset. At 0, the sample will be played back from its natural beginning. For
values above 0, the early part of the recording will be ‘cut off’.

Vel -> Vol

Controls the degree to which velocity affects the volume of this articulation. At 0, velocity will have no
impact on volume (but will still be used to switch which dynamic [’velocity’] layer is selected.)

Velocity Layer
For short articulations with multiple dynamics (such as Sustain, shown above) this table can be used to
assign the dynamic levels to be triggered within certain MIDI velocities:

➔ The X-axis of the table is the MIDI velocity, so the leftmost side is velocity 1, and the rightmost
side is velocity 127.
➔ The Y-axis is the dynamic level, with the lowest at the bottom and the highest at the top. This
will automatically ‘snap’ into place.

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This can be useful if, for example, you’re writing a very quiet piece and don’t want to use the recordings
of the top sustain dynamic. You could use your mouse to draw the Velocity Layer table such that the
2nd ‘step’ extends all the way to the right, like so:

Or, if you want the highest dynamic to require a very hard key press (that is to say, a very high velocity),
you could draw this table like this:

ADSR (Volume) Envelope

Controls the volume envelope triggered each time the articulation is played.

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MUTE

Tightness
Adjusts how quickly palm mutes decay. This is basically a combination of adjusting the Decay and
Sustain controls on the ADSR envelope.

Vel -> Tightness

When enabled, lower velocities will decay even faster than normal.

LEGATO (HAMMER/PULL)

Range
Sets the max distance in semitones that hammer/pulls can trigger. Defaults to 2 semitones.

Force Same-String
Enabled by default. When disabled, the engine will allow triggering hammer/pulls from one string to
another, which isn’t technically realistic but may ‘feel’ better in certain situations.

Realistic Volume
When enabled, the volume of hammer/pulls will scale down over time until you strike a new non-legato
note.

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LEGATO (SLIDE)

Speed
Time stretches or compresses the slide transition samples to make slide transitions faster or slower
overall. Not available when ‘Lite’ is enabled.

Vel -> Speed

When enabled, higher velocities will trigger faster slides.

Realistic Volume
When enabled, the volume of slides will scale down over time until you strike a new ‘non-legato’ note.

X-Fade
Note that in the Legato (Slide) image above, there is a third tab in the top-right corner of this area of
the UI: X-Fade. This tab only appears for Legato (Slide) articulations, and is covered in the section
directly below.

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The Special, Additional Legato (Slide) Tab: X-FADE

This tab is only available for the Slide articulation and should generally only be used by advanced users!

NB: For the purposes of describing these controls, we will use an example interval of C3 (the ‘source’)
transitioning to G3 (the ‘destination’). The controls are described from left to right, starting with the
Source knob.

Source [Fade-Out Time]

When a legato transition is detected, the source note (C3) will be faded out over this much time.

Transition [Fade-In Time]

The transition recording (C3 to G3) will be faded in over this much time.

Transition [Length]
The amount of time the transition recording will be played for before fading out.

Transition [Fade-Out Time]

After the transition length, the amount of time before the transition fades out completely.

Destination [Fade-In Time]

The destination note (G3) will be faded in over this much time.

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The Map Tab

Each articulation can have up to three ‘rules’, or conditions under which that articulation may trigger.

In the example image above, Sustain will trigger if the keyswitch C-1 is pressed. The Latch button is
enabled, meaning the keyswitch will stay down even if you were to release the keyswitch.

Multiple articulations can share the same keyswitch or velocity range. However, if you do this, the UI
may show a conflict, e.g.,:

(Note that the above screenshot and this example use the Articulations view from the full version of
this instrument.)

Here, Sustain and Pop are both set to trigger on the keyswitch C-2. Note the warning triangle ⚠ and the
red fill in both the Sustain and Pop articulations.

If you encounter such a conflict, you must then add an additional, unique rule to each of these
articulations to tell the engine when and how to play them, and thereby remove the conflict.

In this instance, for example, you could assign an additional rule to Pop to be triggered via velocity
values 120 through 127, and a complementary rule to Sustain to be triggered only via velocity values 1
through 119. This way, though they share the same C-2 keyswitch, they are uniquely situated in their
velocity ranges, and thus no longer have a conflict.

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Tab 4: Advanced

In this tab, you can easily control a number of engine playback parameters.

Transpose
Shifts all MIDI input up to +/- 12 semitones.

MIDI Guitar Mode

When enabled, the patch is enabled for use with MIDI guitars or pickups that send MIDI messages on
different channels for each string of the guitar. The lowest string corresponds to MIDI ch. 6, while the
highest string corresponds to MIDI ch. 1. You MUST first set the patch to OMNI MIDI input in Kontakt for
this to work!
NB: If your MIDI guitar has 6 strings, its lowest string will not correspond to any virtual string.

Invert MIDI Channels

When MIDI Guitar Mode is enabled, this simply flips the expected channel input: the lowest string
corresponds to MIDI ch. 1, while the highest matches with MIDI ch. 6. You may need to do this
depending on the configuration of your MIDI-equipped guitar.
NB: If your MIDI guitar has 6 strings, its highest string will not correspond to any virtual string.

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Curve [Dropdown Menu]
There are two options, which select which engine curve the graphical curve (and its controls, outlined
below) currently controls:

Velocity Curve This curve maps input velocity for the Velocity -> Volume processing.
Lower values result in quieter samples at the chosen velocity, while higher
values are louder. The degree of the effect is controlled personally by each
articulation in the TACT tab on the second parameter page. (See the TACT
manual for more information.)

Strum Speed Curve This curve maps input velocity to select different dynamic layers. Due to
different articulations having a different number of layers, it is a general
curve from 1 to 127.

Curve Minimum Value (left vertical slider)

Adjusts the value at which the velocity curve starts. Holding Alt [Option] will also move the maximum
value at the same time, making it a fixed value across the whole velocity range.

Curve Maximum Value (right vertical slider)

Adjusts the value at which the velocity curve ends. Holding Alt [Option] will also move the minimum
value at the same time, making it a fixed value across the whole velocity range.

Curve Curvature (bottom horizontal slider)

Adjusts the curvature of the velocity curve, from concave -> linear -> convex.

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Keyswitch Functions

These dropdown menus let you specify keyswitches for specific engine functions. You must ensure
these don’t conflict, as they exist outside of TACT and have no built-in conflict detection. The keyswitch
notes created by these menus are all latching.
Force String Sets up a keyswitch note for each string, plus a note to disable ‘Force String’. When
enabled, all notes will be played on the desired string if at all possible.

Set Hand Sets up a keyswitch note that, when pressed, sets the current hand position. The
hand position selected equals the velocity of the keyswitch note (velocity 1 = fret
position 1, velocity 2 = position 2, etc.)

Picking Mode Sets up a keyswitch note for each possible picking mode.

Fretting Mode Sets up a keyswitch note for each possible fretting mode.

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Shred Window
The maximum amount of milliseconds between subsequent notes to trigger Shred processing.

Shred processing uses a combination of sample offset and low-pass filtering to reduce pick energy
during fast passages and create much smoother lines. This functionality is one of the latest
developments towards the namesake of this series!

Shred Offset
The amount of sample offset to use during Shred processing.

↓ Stroke Offset
Increases the sample offset for all articulations’ downstroke RRs.

↑ Stroke Offset
Increases the sample offset for all articulations’ upstroke RRs.

Anti-Repetition On/Off
When enabled, the instrument will randomly use neighboring samples during playback to create more
variation.

[Anti-Repetition] Chance
Sets the probability that neighboring samples will be used during playback, when Anti-Repetition is
enabled.

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Ringing
When enabled, the virtual bassist will occasionally ‘flub’ a note, touching an adjacent open string or two.
Useful for adding extra ‘dirtiness’ and overtones to your parts, but it does cost extra CPU, so be careful!

Chance
Controls % chance of Ringing occurring per note.

Volume
Controls the volume of the Ringing resonance.

DI Line Noise
Increases the volume of constant line noise. The noise will start when you start playing, and will fade
out when you finish.

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Hand Reset Time
Once all notes are released, the engine will reset the virtual hand position after this much time has
passed. If you are using a forced hand position, this does nothing.

[Hand Reset] On Daw Start

When enabled, the hand position will reset on DAW transport start.

Release On Hand Move

When enabled, if the virtual hand moves to a new position, all held notes will be released.

Release On Chord Change

When enabled and strum mode is activated, all held notes will be released when new notes are entered
into the playable (i.e., blue range), changing the chord voicing.

Poly Release Retrigger

When enabled, released notes will retrigger legato-style just as in Mono Lead Mode. Unlike Mono Lead
Mode, however, this behavior is constrained to each individual string.

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Articulations
Sustain C-2 Standard fingered single notes that ring out fully. Simple! Defaults to velocities
(Fingered) 1-119.

Pop C-2 When playing with lots of force and enthusiasm, the strings produce a ‘pop’
before the tone is heard. We’ve isolated these pops so you can mix them in at
whatever delay, volume, and dynamic threshold you would like. Defaults to
velocities 120-127.
NB: This articulation plays before whatever articulation it is layered with, such
as Sustain. It’s ideal to emphasize lead notes while playing a melody.

Mute Palm-muted, fingered, single notes recorded with multiple degrees of

(Fingered) palm-muting, from ‘very muted’ to ‘half-muted’. The amount of palm-muting is
controlled by velocity.

Staccato Short, fingered, unmuted notes.

(Fingered)

Sustain Standard picked single notes that ring out fully. This has a more-defined
(Picked) attack than Sustain (Fingered).

Mute Palm-muted, picked, single notes recorded with multiple degrees of

(Picked) palm-muting, from ‘very muted’ to ‘half-muted’. This has a more-defined attack
than Mute (Fingered). The amount of palm-muting is controlled by velocity.

Sustain Standard thumb-slapped single notes that ring out fully. Simple!
(Slapped)

Staccato Short thumb-slapped unmuted notes.

(Slapped)

Harmonics Natural harmonics that ring out fully.

FX Various decorative performances to sprinkle in for added realism.

Buzz Trill A quick ‘turn’ that goes up a semitone and back down to the played note,
before being quickly stopped.

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About Legato Articulations

Legato articulations are generally triggered when one note is held and another note within 12 semitones
is played simultaneously (that is, their MIDI in the piano roll is overlapping). To ensure that you trigger
legato only when intended, and not in the place of chord strums, remember to use Poly Input.

Hammer-On & Brief transitions that end on a sustained note. Hammer-Ons are triggered when
Pull-Off playing within the Hammer-On Range on the same string while ascending in
pitch; one finger is used to ‘hammer’ the fret a semitone higher. Pull-Offs are
triggered the same way, but descending in pitch by one semitone, and have a
softer attack. With the Force Hammer-On button disabled, this articulation will
not play on strings that have not yet been picked.

Slide Also known as portamento, this is a slide from one fret to another. The virtual
hand will move to the new note as if the exact same finger had been on both
the source and destination notes. In Shreddage 3.5, the Slide transition is
limited to 12 semitones (that is, one octave).

About Release Articulations

As the name suggests, Release articulations trigger when a MIDI note is released (note-off message).
These are incredibly useful for making your virtual bass parts sound more realistic by automatically
adding scrapes, squeaks, and other little noises throughout the performance.

Pitched Release The sound of a string being released on a given pitch.

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Keyswitches
FX & FX Keyswitches

Dedicated ‘slide’ keyswitch. Performs a slide transition between the current note
and the next note.

'Slide note' keyswitch: If activated before a note, performs a slide from the end of
the fretboard up to that note. If activated during a note, performs a slide from that
note down to the end of the fretboard.

G♯-1 'Thrash note' keyswitch: Re-triggers the last-played note, allowing you to easily
riff between this and another note for fast patterns!

Behavioral Keyswitches

Legato ON. This is the default.

Legato OFF. This forces Legato OFF despite whether Legato articulations are
active in the Articulations tab.
(NB: The performance styles which disable legato do it via this keyswitch!)

C6 thru F6 ‘Force string’ keyswitch: C6 forces lowest B string (string 5); each subsequent key
forces each subsequent string, respectively.

F♯6 Disables ‘force string’ behavior.

G6 ‘Force hand position’ keyswitch. Hand position corresponds to MIDI velocity on

this keyswitch such that higher velocities trigger higher hand positions.

G♯6 Disables ‘force hand position’ behavior. Hand position is now AUTO.

NB: for Strumming, Picking, and other Performance Keyswitches, see the Tab 2: Strumming section
(starting page 15).

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View 2: Console

For more about the Console view, please see our standalone Console Manual.

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Setup & Tweaking
Tips for Getting the Most out of the User Interface
➔ Almost all controls can be MIDI-learned by (1) right-clicking the UI and (2) selecting ‘MIDI Learn’.
You will then need to move the control of your choice (i.e., fader, knob, et al.) on your MIDI
control surface or in your DAW to establish the link.

Pro tip: Once you MIDI-learn something, you should save your modified version of that NKI so
you won’t have to do it again!

➔ You can view Help Text by hovering over controls in the Shreddage 3.5 Precision FREE UI. The
Help Text will appear at the bottom-left of the Kontakt UI plug-in window. You can go to the
Panels drop-down menu by clicking the . (Panels) icon at the top-right of the plug-in
window and ensure ‘Info’ is checked:

➔ The colorful Kontakt virtual keyboard, seen in our videos, is a Kontakt feature and not specific to
Shreddage 3.5 Precision FREE. To enable the virtual keyboard, simply press F3 on your
computer (not MIDI!) keyboard. Alternatively, you can go to the Panels drop-down menu by
clicking the (Panels) icon at the top-right of the plug-in window and ensure ‘Keyboard’ is
checked:

➔ Shreddage 3.5 Precision FREE is fully NKS Compatible and features quite a few existing
host-automatable controls. If you have a Komplete Kontrol keyboard or use the Komplete Kontrol
application, you will be able to benefit from this functionality!

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Tips for More Realistic Mockups
As with many aspects of music creation, think of these as guidelines, not hard-and-fast rules that can
never be broken!

Recording Live vs. Sequencing

If you have decent keyboard skills, it’s a good idea to try performing your bass parts one at a time,
recording the MIDI data. The natural variations in timing and expression will often lead to a better result.

Stay Off the Grid

For bass, keeping every single hit 100% quantized to the grid will not sound very natural. Bassists
usually push and pull with the beat to add emotion and musical ‘direction’.

If you’re quantizing your live playing, try using a 50% to 75% quantization value instead of 100%.

If you’re clicking in notes with a mouse, try manually making very slight adjustments to certain notes!

Use Dynamics
It’s tempting to gravitate toward very high dynamics, particularly when you are writing heavy rock &
metal tracks. But even in these ‘high-octane’ genres, real bassists do not play at 100% maximum energy
at all times, and this sound can quickly fatigue the ear. Even for very heavy parts, try using a spread of
velocities within the same (albeit ‘high’) range.

Another possibility to make sure you retain volume/power in a loud mix is to decrease the values of
Velocity -> Volume on the Advanced page, then using a wider range of MIDI input velocities. This
method acts somewhat like a compressor, pushing the maximum and minimum dynamic layer volumes
closer together while maintaining timbral variety.

Finally, ensuring that you’re monitoring your music at an appropriate level to begin with (not too quietly,
not too loudly) will help you make correct, informed decisions about dynamic performance and dynamic
range—not just for your bass parts, but for each element in your mix!

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More Musical Tips for Mockups
➔ You can make the bass sound deeper, darker, and larger than it actually is by lowering the Tune
knob of the Kontakt instrument slot itself by about 5 semitones, then increasing the Transpose
knob within the S3.5 UI by the same 5 semitones. The result is the same pitch but with a more
robust tone. This is also a handy tool for creating even more convincing double-tracks. You can
try less OR more extreme values as well!

➔ Since Shreddage 3.5 Precision FREE was recorded DI, you can easily achieve
drastically-different tones by experimenting with different amp, cab, and EQ combinations.
Check out the included presets and dive into Console to find out more!

➔ Switching the Fretting Mode of the instrument can dramatically change the tone and character
of your performances. If you aren’t 100% pleased with the voicing of your parts, try simply
changing modes; you may discover that you do not need to do any automation or MIDI tweaking
whatsoever to get your ideal result!

➔ When mixing and mastering rock and metal (or any other genre where strict rhythmic precision is
paramount) using Shreddage 3.5 instruments, offset the bass tracks backwards (in other words,
apply a negative track offset) of 20ms to 30ms. If you are using poly input latency, add that
number of milliseconds to that offset amount. If you are using global sample offset, subtract that
number of milliseconds from that offset amount.

Applying this negative delay offset will dramatically reduce the audible delay of the bass
transients against (the grid-quantized) drum sounds. The bass will ‘pop’ better: drum transients
hitting a master compressor will compress bass notes that arrive with or after them, whereas
bass transients that arrive before the compression has fully kicked in will have a chance to be
lively and sound with better detail.

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Tips for CPU & Memory Optimization
If you experience high CPU and memory usage with Shreddage 3.5 Precision FREE, there are a number
of things you can do to mitigate the issue.

Balance memory and CPU with DFD preload settings

Kontakt does not load all samples fully into memory; it only loads (or buffers) a small chunk of each one.
By clicking on the wrench icon next to a loaded patch, clicking Instrument Options, and going to the
DFD tab, you can adjust this preload buffer amount.

A higher buffer means less CPU usage but more RAM usage. A lower buffer means higher CPU usage
but less RAM usage.

It’s up to you to determine which setting is best for you.

Save CPU and memory by quitting unnecessary applications

For experienced users, this may seem obvious, but it’s easy to lose track of how much computing power
is being used by seemingly-innocuous applications. For example, it’s not uncommon to have a Chrome
browser, Discord, Slack, Skype, Zoom, and Dropbox all running at the same time. All of these not only
take up RAM, but can also interfere with real-time audio playback by causing pops & crackles.

So, anytime you work on a very intensive DAW project, it’s a good idea to close all applications and
services you don’t need - even if they just run in the background.

Avoid pops and crackles with a higher buffer size

This applies to your DAW settings in general. Typically, every DAW’s audio settings allow you to change
the ‘buffer size’ of the playback drivers. Sometimes, this may only be changeable in a separate
application, such as with some RME products.

The buffer size (measured in milliseconds or samples, like 8ms / 512 samples) determines the amount of
latency in DAW output and input, inversely correlated to CPU usage. In other words, lower buffer sizes
are much more demanding on your CPU than higher ones.

Though it feels great to perform and record MIDI at very low buffer sizes, this is also most taxing on
your CPU. Consider increasing your buffer size once you’re out of the MIDI recording phase, and on to
editing, mixing, and mastering.

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Credits & Acknowledgements
Executive Producer: Andrew Aversa

Programming: Nabeel Ansari, Mario Krušelj, Sarah Mancuso

UI Design: Dickie Chapin, Paulo Nunes

Recording & Performance: Tony Dickinson

Editing: Andrew Aversa, Anthony Mena

Marketing: Lauren Liebowitz

User Manual: Kent Kercher

Quality Assurance: Fredrik Häthén

Troubleshooting
Having trouble with Shreddage 3.5 Precision FREE? Use it in a project you want to tell us about? Drop
us a line via our Contact page (but be sure to read the FAQ first!)

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Copyright & License Agreement
License Agreement
The following license is granted non-exclusively to all purchasers of our products. This version (updated
20 December 2022) supersedes any prior printed or digital versions of our license.

Overview
All sound recordings, performances, scripting and/or code contained in this product is the intellectual
property of Impact Soundworks LLC (‘ISW’) unless otherwise noted, and remains the property of ISW
after the product is purchased. When purchasing an ISW product, you are purchasing a non-exclusive
license to use, edit, perform, or otherwise utilize the contained recordings, performances, scripting
and/or code for commercial and non-commercial purposes as defined below.

Authorized Users
Depending on the type of customer and usage scenario, authorized users of this license will vary.
ALL purchases fall into category A or B:

A. Individual Purchase
This license is extended to customers who are purchasing as the primary user of the product, OR are
purchasing on the behalf of another primary user (i.e. as a gift). The licensee (primary user) MAY install
the product on as many computer systems as they have access to. However, ONLY the licensee may
use the product. No other users are authorized.

B. Corporate/Academic/Institutional Purchase
This license is extended to customers who are purchasing for a multi-user setting, such as a shared
studio, networked workstation, computer lab, etc. In this case, the licensee is the institution and not any
one user. In contrast with individual purchases, an institutional license applies to ONE computer /
workstation. All users of that workstation who belong to the purchasing institution (licensee) shall be
considered ‘authorized users’. However, at no point may multiple authorized users access one license
simultaneously. Multiple licenses must be purchased if the product is to be used by multiple users
simultaneously.

Scope of License (Virtual Instruments, Sample Libraries)

The licensee is entitled to the use and unlimited editing of the Product within the scope of music
production, performance, recording, and composition. This includes both non-commercial and
commercial usage of all types, including, but not limited to, film scores, television scores, music
libraries, video game soundtracks, digital and physical music releases, albums, compilations, etc.

The licensee is entitled to distribute, sub-license, sell, stream, edit, monetize, or otherwise utilize any
music created with the Product.

Exceptions to this scope are listed below.

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The licensee MAY NOT use the Product in the production of any other sample library or virtual
instrument products.

The licensee MAY NOT sell individual sounds from the Product in any audio marketplace (e.g. stock
audio websites, sound effect libraries, etc.)

For clarity: The licensee MAY use sounds from the Product to create individual sound effects (SFX) for
use in film, TV, advertising, and video games. The limitation is strictly on selling individual sounds in a
marketplace, SFX library, or similar.

Ownership, Resale and Transfer

Redistributing, reselling, electronically transmitting, uploading, sharing, or renting the Product in any
way, shape, or form is prohibited by law. The licensee may create a physical backup copy of any
digitally purchased and downloaded Product. This backup copy is subject to the same limitations as the
original copy of the Product, and may not be transferred to any other individual for any reason.

Copyright © 2023 Impact Soundworks, LLC. All Rights Reserved.

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