Zero-G and Xfonic present SPIRITOSO Live Cello Phrases - 17Gb of 24bit live audio magic! Together with our extremely popular Animato and Luminoso titles, Spiritoso forms a trilogy of titles dedicated to introducing more realism to sampled instruments. Performed by Ian Bracken, a world-class cellist from the Liverpool Royal Philharmonic Orchestra and recorded in Liverpool's famous Parr Street studios, Spiritoso: Live Cello Phrases is a 17Gb collection of thousands of live recorded phrases, rhythms, chords and arpeggios all compressed down to 8Gb of material using Kontakt 4's new lossless compression technology.
The fifty-seven Kontakt 4 instruments allow patterns to automatically sync to the tempo of your projects and a wide variety of chord, rhythm and scale types can be selected using key-switches. The dynamic level pp to ff can be smoothly crossfaded by mod wheel, the ensemble size can be zoomed from solo to 12 players, and two mic positions (close and room) can be chosen or blended. All of this adds up to incredible sonic control.
A great tool in itself, Spiritoso also works incredibly well blended with other premium orchestral sample libraries as a way of introducing a new layer of realism into your scores.
A total of six months combined work by an expert team of audio editors, scripters and GUI designers, with many genuine innovations emerging in the process and eventually having successfully met the initial goals and more, Spiritoso is ready to be enjoyed by the world's most demanding producers and composers.
LIBRARY CONTENTS
**Chord/Arpeggio Types (selectable from key switches): Major, minor, sus2, sus4, diminished, augmented, minor 6th, minor 7th, 7th, major 7th.
**Rhythm Types (selectable from key switches): quarter notes, 8ths, 16ths, 8th triplets, 16th triplets, quarter note triplets
**Phrase Types: Alberti 8th arpeggios, 8th arpeggios, quarter note arpeggios, 8th chords, quarter note chords, up down (two-note) patterns in 8ths and half notes.
**Ensemble Size: continuously selectable from solo to 12 players
**Mic Positions: Close and Room (with separate volume and pan controls).
**Effects suite: convolution and algorithmic reverbs, delay, modulation effects, distortion, compression.
**Patch Types: Live (real), Mutated (processed, sound designed patches), Mod Wheel Filter versions (versions of the Live patches, but with the Mod Wheel controlling the filter for a gently synthesized effect)
WHY IT WAS CREATED
Spiritoso began with composer and sample library producer Dan Graham asking 'what can be done to make state of the art orchestral samples sound more real?' It became a more urgent question when one of his pitches was rejected because, despite an expensive collection of orchestral sample libraries, the client thought that the strings sounded 'a bit fake'.
The underlying problem is that however good premium orchestral sample libraries get, and however hard you try to add realism with slight randomness in the quantizing or tuning, there is always something not quite right, a little artificial, perhaps a little too clean, a little too regular and in tune. And so Dan set to work on an approach designed to work alongside the premium libraries, something that adds an extra edge of realism – a sample library built around recorded phrases and yet maintaining the flexibility needed to wrap the sound around the production and not the other way around.
Six months of combined work by a team of audio editors, scripters and GUI designers followed, with many genuine innovations emerging in the process, and finally having successfully met the initial goals and more, Spiritoso is ready to be enjoyed by the world's most demanding producers and composers.
BENEFITS OF LIVE PHRASES
Because the cellist played the actual patterns you hear, they sound real. They are built from generous 6 bar loops so that no two notes or consecutive bars sound exactly the same - there is natural variation. When you hear slight legato connections between notes it's because that's what he played, not a clever reconstruction of a legato interval using advanced scripting. And with fast rhythms, you are not hearing 5-way round robin performance repetition articulations; you are hearing 6 bars of completely different notes being hit in slightly different ways, flowing smoothly just as they were performed.
FLEXIBILITY
It may seem that triggering pre-recorded patterns may limit your control but there is in fact a surprising degree of flexibility. The tempo will fit your project. The same patterns were recorded at 3 dynamic levels, pp (soft) mf (medium loud) and ff (a bit hair raising), and by controlling this with your mod wheel (or by automating the mod wheel CC1 controller in your host sequencer) you can make the patterns constantly undulate, expressively following the crescendos and diminuendos of your compositions, and you can even use this mod wheel control to accent particular notes and therefore create syncopations and rhythmical emphasis tailored exactly to the needs of the music.
As a case in point, with the 'Rhythms' patch you can automate the rhythm-type key switches (e.g. 8ths, 16ths, 8th triplets) in fine detail in your sequencer, and therefore build your own custom rhythm patterns, and finally add accents by automating the mod wheel dynamics.
THE HIDDEN POWER OF THE UNOBTRUSIVE
Whereas some of the patterns might start to sound too recognizable if overused, others are very neutral, for example simply going up and down from root to fifth, or straight rhythms played on one note - that is to say, patterns which will blend unobtrusively within a more complex piece of music, whilst imparting the elusive quality of realism, expressiveness, humanity and live playing which is still missing from other expensive, beautiful, premium orchestral libraries. You may find these 'Up Down' and 'Rhythms' instruments to be the ones you keep going back to.
6 x ROUND ROBIN
These instruments have a 6 x round-robin effect created by randomizing the start point of the 6 bar loops, which greatly helps realism by avoiding machine-gun effects.
The fifty-seven Kontakt 4 instruments allow patterns to automatically sync to the tempo of your projects and a wide variety of chord, rhythm and scale types can be selected using key-switches. The dynamic level pp to ff can be smoothly crossfaded by mod wheel, the ensemble size can be zoomed from solo to 12 players, and two mic positions (close and room) can be chosen or blended. All of this adds up to incredible sonic control.
A great tool in itself, Spiritoso also works incredibly well blended with other premium orchestral sample libraries as a way of introducing a new layer of realism into your scores.
A total of six months combined work by an expert team of audio editors, scripters and GUI designers, with many genuine innovations emerging in the process and eventually having successfully met the initial goals and more, Spiritoso is ready to be enjoyed by the world's most demanding producers and composers.
LIBRARY CONTENTS
**Chord/Arpeggio Types (selectable from key switches): Major, minor, sus2, sus4, diminished, augmented, minor 6th, minor 7th, 7th, major 7th.
**Rhythm Types (selectable from key switches): quarter notes, 8ths, 16ths, 8th triplets, 16th triplets, quarter note triplets
**Phrase Types: Alberti 8th arpeggios, 8th arpeggios, quarter note arpeggios, 8th chords, quarter note chords, up down (two-note) patterns in 8ths and half notes.
**Ensemble Size: continuously selectable from solo to 12 players
**Mic Positions: Close and Room (with separate volume and pan controls).
**Effects suite: convolution and algorithmic reverbs, delay, modulation effects, distortion, compression.
**Patch Types: Live (real), Mutated (processed, sound designed patches), Mod Wheel Filter versions (versions of the Live patches, but with the Mod Wheel controlling the filter for a gently synthesized effect)
WHY IT WAS CREATED
Spiritoso began with composer and sample library producer Dan Graham asking 'what can be done to make state of the art orchestral samples sound more real?' It became a more urgent question when one of his pitches was rejected because, despite an expensive collection of orchestral sample libraries, the client thought that the strings sounded 'a bit fake'.
The underlying problem is that however good premium orchestral sample libraries get, and however hard you try to add realism with slight randomness in the quantizing or tuning, there is always something not quite right, a little artificial, perhaps a little too clean, a little too regular and in tune. And so Dan set to work on an approach designed to work alongside the premium libraries, something that adds an extra edge of realism – a sample library built around recorded phrases and yet maintaining the flexibility needed to wrap the sound around the production and not the other way around.
Six months of combined work by a team of audio editors, scripters and GUI designers followed, with many genuine innovations emerging in the process, and finally having successfully met the initial goals and more, Spiritoso is ready to be enjoyed by the world's most demanding producers and composers.
BENEFITS OF LIVE PHRASES
Because the cellist played the actual patterns you hear, they sound real. They are built from generous 6 bar loops so that no two notes or consecutive bars sound exactly the same - there is natural variation. When you hear slight legato connections between notes it's because that's what he played, not a clever reconstruction of a legato interval using advanced scripting. And with fast rhythms, you are not hearing 5-way round robin performance repetition articulations; you are hearing 6 bars of completely different notes being hit in slightly different ways, flowing smoothly just as they were performed.
FLEXIBILITY
It may seem that triggering pre-recorded patterns may limit your control but there is in fact a surprising degree of flexibility. The tempo will fit your project. The same patterns were recorded at 3 dynamic levels, pp (soft) mf (medium loud) and ff (a bit hair raising), and by controlling this with your mod wheel (or by automating the mod wheel CC1 controller in your host sequencer) you can make the patterns constantly undulate, expressively following the crescendos and diminuendos of your compositions, and you can even use this mod wheel control to accent particular notes and therefore create syncopations and rhythmical emphasis tailored exactly to the needs of the music.
As a case in point, with the 'Rhythms' patch you can automate the rhythm-type key switches (e.g. 8ths, 16ths, 8th triplets) in fine detail in your sequencer, and therefore build your own custom rhythm patterns, and finally add accents by automating the mod wheel dynamics.
THE HIDDEN POWER OF THE UNOBTRUSIVE
Whereas some of the patterns might start to sound too recognizable if overused, others are very neutral, for example simply going up and down from root to fifth, or straight rhythms played on one note - that is to say, patterns which will blend unobtrusively within a more complex piece of music, whilst imparting the elusive quality of realism, expressiveness, humanity and live playing which is still missing from other expensive, beautiful, premium orchestral libraries. You may find these 'Up Down' and 'Rhythms' instruments to be the ones you keep going back to.
6 x ROUND ROBIN
These instruments have a 6 x round-robin effect created by randomizing the start point of the 6 bar loops, which greatly helps realism by avoiding machine-gun effects.
REQUIREMENTS
Native Instruments KONTAKT version 4.2.2 or above is needed. Kontakt's Time Machine 2 algorithm requires it to run entirely in memory. It is recommended therefore that you use this in a 64bit environment with over 4GB RAM.
Features:
* 8Gb of sounds
* 5000 sound files in total, which are provided in Native Compressed Wave format (.ncw files, not .wav files, but you can use Kontakt to batch convert the samples to .wav format if you ever need to)
* 57 Kontakt 4 Instruments (.nki files) with custom Graphic Interface
*When ordering the download product from Big Fish Audio you will be given one or more links for each of your product purchases. The links will be active for 24 hours. During this time you should download the file and expand it. You can return to your Big Fish Audio account at any time and download your products. You will find your products in the "My Products" area of your account page.
Native Instruments KONTAKT version 4.2.2 or above is needed. Kontakt's Time Machine 2 algorithm requires it to run entirely in memory. It is recommended therefore that you use this in a 64bit environment with over 4GB RAM.
Features:
* 8Gb of sounds
* 5000 sound files in total, which are provided in Native Compressed Wave format (.ncw files, not .wav files, but you can use Kontakt to batch convert the samples to .wav format if you ever need to)
* 57 Kontakt 4 Instruments (.nki files) with custom Graphic Interface
Download Sizes
| Version | Compressed Download Size |
| Kontakt 4 Download includes | |
| Part 1: 2 GB | |
| Part 2: 2 GB | |
| Part 3: 2 GB | |
| Prat 4: 1.68 GB | |
| RAR Unarchive Instructions: | |
*When ordering the download product from Big Fish Audio you will be given one or more links for each of your product purchases. The links will be active for 24 hours. During this time you should download the file and expand it. You can return to your Big Fish Audio account at any time and download your products. You will find your products in the "My Products" area of your account page.
License Agreement
The Following End User License Agreement is included with Spiritoso. This License is only valid for the individual who has purchased an unopened, new and lawfully made copy of Spiritoso from a dealer or distributor authorized by Big Fish Audio.
"Zero-G USER LICENSE and FAQs Thank you for purchasing and downloading this Zero-G product. Please note that when you purchase and download a Zero-G Sample CD or Download Pack, you do not become the owner of the sounds. In fact you have purchased a license to use the sounds within your musical compositions, and you can release such musical compositions commercially. Please see our full License Agreement below for further details. You may use these sounds in combination with other sounds within your musical compositions, and release such compositions commercially without payment of any further fees or royalties for such usage. For example, if you are the original purchaser of a Zero-G Sample CD or Download Pack and you use sounds from it to create the soundtrack of a television commercial or the theme tune for a popular TV show, and your composition is broadcast hundreds of times, you would keep all the royalties that you earn from this, because you already purchased a license to use the sounds commercially. However, you cannot use these sounds to make another sample CD, or "library music" sound file album, or multimedia sound library CD-ROM or use any of the sounds as any type of download, or make any other similar type of product from any of these sounds that effectively competes against Zero-G; and you may not share these sounds with others. For further clarification, see our FAQs and the full license below. FREQUENTLY ASKED QUESTIONS ABOUT USING ZERO-G SAMPLE LIBRARIES Do I have to pay additional licensing fees if my use of these samples ends up on a hit record or other high-profile projects? NO, your original purchase of the Zero-G sample library is your only license fee. We hope you do get to use our sounds on a hit! Do I have to credit this sample library title if I use any of it on a recording? NO, but it would be appreciated!! Can my writing partner, colleagues or friends use these samples once I’ve bought the sample library? NO, each person who uses the sounds must purchase their own copy (which licenses them to use the sounds). Anyone other than the original purchaser of the disc, who uses the sounds is doing it illegally - risking legal action against both them and their clients! Are these samples legally safe to use? YES, we guarantee that Zero-G libraries are 100% copyright clean and that you can use them safely in your music. Can I offer these sounds to clients as part of my recording studio or rental company services? NO, sorry, but each person who uses the sounds (the creative person) has to be a licensed user. This situation could cause tremendous legal problems for studio or rental clients. Can I use these samples to make “Music Libraries”? YES, unlike some Soundware companies, this is fully allowed with Zero-G products. The samples have to be used within a musical context, however, and cannot be presented isolated or “solo’ed”. So, for the purposes of creating so called ‘library music’ clips or ‘production music’ clips intended for commercial exploitation, the Zero-G sound samples may be used ‘in combination’ within musical compositions. For such usage, any rhythm loop samples (which Zero-G regards as being musical clips in themselves) must also be combined with other types of samples or sounds to effectively form a new composition, rather than simply being looped. Is it OK to loan the sample library to a friend to check it out as long as I bought it? NO, please don’t let your copy out of your possession. Instead, show them the sounds in person. Can I post my favourite Zero-G sounds to people or sites on the Internet? NO, but you’re welcome to comment on them! All forms of user copying and distribution are prohibited. Is it OK to sell the sample library 'used' to someone else if I’m finished with the project that I needed it for? NO, this is VERY IMPORTANT. Unlike your musical gear or even software, you can’t give away or sell the sample library 'second hand' to someone else - YOU DIDN’T PURCHASE THE SAMPLE LIBRARY ITSELF, YOU PURCHASED A LICENSE TO USE OUR SOUND RECORDINGS IN YOUR MUSIC. The sample library download (the file(s) you downloaded when you purchased a particular Zero-G downloadable sample library) is merely the container of the sounds we licensed to you. The license you bought is not transferable to another person. When there is a demo song accompanying the sample library, can I use it? NO, these are the only samples included with the products that you cannot use, since they’re for demonstration purposes only. As a freelance sound designer, can I put custom compilation discs together which include Zero-G sounds for my composer clients? NO, not unless they already own the original Zero-G products. Remember that each person who uses the sounds MUST have a license to use them. Otherwise, they can get in serious legal trouble. Is there any limit to how often or how long I can use these samples in my music? NO, you’re free to use them in as many musical recordings as you want. We hope that you find them inspiring and useful for many years to come! Why is all this so important? Basically, if you respect our work by purchasing the sounds, we’ll be able to make more exciting products. You may also be asked some of these same questions by people who are contracting your services and this information can protect you and your clients from potential misuse of Zero- G sounds. You can avoid legal hassles if you use this product properly. If you are still in doubt over any particular kind of usage, please contact Zero-G by email at: info@zero-g.co.uk ZERO-G SAMPLE LIBRARY DOWNLOADS: END USER LICENSE AGREEMENT BY USING THE ZERO-G SAMPLE LIBRARY, YOU AGREE TO BE BOUND BY THE FOLLOWING TERMS AND CONDITIONS. 1. Use of Sounds. All sounds included in this sample library (“Sounds”) are licensed, not sold, to You by Zero-G Limited. Zero-G Limited is either the owner or licensee of the Sounds. The payment You make to download the Sounds gives You the perpetual, non-exclusive right to incorporate these Sounds in any audiovisual production (“Production”), such as a film, television show, advertisement, website, videogame, or other media production, without paying any additional royalties, license fees, or any other fees to Zero-G Limited or third parties. You may not distribute, sell, rent, lease, sublicense, assign, or otherwise transfer any of the Sounds except as incorporated in a Production. You may not distribute the Sounds independently of a Production, or with any directions or instructions as to how the Sounds may be extracted from a Production, or with any invitation, suggestion or authorization that the Sounds may be extracted from a Production. You may not alter or delete any "watermark" or other ordinarily imperceptible identifier embedded within the Sounds. You may not distribute the Sounds, either in native format or reformatted, filtered, resynthesized or otherwise edited, for use as sounds, multi-sounds, samples, multi-samples, programs or patches in a sampler, sample playback unit, website, compact disc, DVD or computer. The Sounds cannot be used as source playback from ROM or chip sets or embedded in any chip set. You will exercise due diligence and maintain strict safeguards on all Sounds included in the Zero-G sample library downloaded and received by You, to prevent unauthorized use or distribution thereof. If You become aware of any unauthorized use or distribution of the Sounds, You shall immediately notify Zero-G Limited via email at info@zero-g.co.uk or via the contact page provided at the Zero-G website (http://www.zero-g.co.uk). 2. Indemnification. You will indemnify, save, hold harmless and defend Zero-G Limited from and against any and all claims, demands, suits, damages, liabilities and all reasonable expenses, including attorneys' fees, against or suffered by Zero-G Limited with respect to any matter that arises as a result of a breach of this Agreement by You. 3. Injunctive Relief. You acknowledge that Zero-G Limited has a proprietary interest in the Sounds and that any use by You that intends to frustrate the purpose of this Agreement, including but not limited to selling, renting, or otherwise distributing the Sounds independently of a Production would cause irreparable injury to Zero-G Limited in way that could not be adequately compensated by damages. You agree that, in the event of such improper use, Zero-G Limited shall be entitled to an immediate injunction (to the fullest extent permissible by law). 4. Disclaimer of Warranties. Zero-G Limited expressly disclaims all warranties of conditions of any kind, express or implied, including without limitation, the implied warranty of title, noninfringement, merchantability and fitness for a particular purpose. 5. Limitation of Liability. You agree that Zero-G Limited's cumulative liability with respect to any claims made in relation to or arising out of this agreement on any theory or basis will not exceed the license fee paid by You for the Sounds. 6. Choice of Laws; Jurisdiction. This License Agreement will be governed by and construed in accordance with the laws of England. 7. Entire Agreement. This License Agreement constitutes the entire agreement between Zero-G Limited and You with respect to the Sounds. This document is Copyright: ©2007 Zero-G Ltd. ZERO-G® is a registered trademark of Zero-G Limited. All rights reserved."
"Zero-G USER LICENSE and FAQs Thank you for purchasing and downloading this Zero-G product. Please note that when you purchase and download a Zero-G Sample CD or Download Pack, you do not become the owner of the sounds. In fact you have purchased a license to use the sounds within your musical compositions, and you can release such musical compositions commercially. Please see our full License Agreement below for further details. You may use these sounds in combination with other sounds within your musical compositions, and release such compositions commercially without payment of any further fees or royalties for such usage. For example, if you are the original purchaser of a Zero-G Sample CD or Download Pack and you use sounds from it to create the soundtrack of a television commercial or the theme tune for a popular TV show, and your composition is broadcast hundreds of times, you would keep all the royalties that you earn from this, because you already purchased a license to use the sounds commercially. However, you cannot use these sounds to make another sample CD, or "library music" sound file album, or multimedia sound library CD-ROM or use any of the sounds as any type of download, or make any other similar type of product from any of these sounds that effectively competes against Zero-G; and you may not share these sounds with others. For further clarification, see our FAQs and the full license below. FREQUENTLY ASKED QUESTIONS ABOUT USING ZERO-G SAMPLE LIBRARIES Do I have to pay additional licensing fees if my use of these samples ends up on a hit record or other high-profile projects? NO, your original purchase of the Zero-G sample library is your only license fee. We hope you do get to use our sounds on a hit! Do I have to credit this sample library title if I use any of it on a recording? NO, but it would be appreciated!! Can my writing partner, colleagues or friends use these samples once I’ve bought the sample library? NO, each person who uses the sounds must purchase their own copy (which licenses them to use the sounds). Anyone other than the original purchaser of the disc, who uses the sounds is doing it illegally - risking legal action against both them and their clients! Are these samples legally safe to use? YES, we guarantee that Zero-G libraries are 100% copyright clean and that you can use them safely in your music. Can I offer these sounds to clients as part of my recording studio or rental company services? NO, sorry, but each person who uses the sounds (the creative person) has to be a licensed user. This situation could cause tremendous legal problems for studio or rental clients. Can I use these samples to make “Music Libraries”? YES, unlike some Soundware companies, this is fully allowed with Zero-G products. The samples have to be used within a musical context, however, and cannot be presented isolated or “solo’ed”. So, for the purposes of creating so called ‘library music’ clips or ‘production music’ clips intended for commercial exploitation, the Zero-G sound samples may be used ‘in combination’ within musical compositions. For such usage, any rhythm loop samples (which Zero-G regards as being musical clips in themselves) must also be combined with other types of samples or sounds to effectively form a new composition, rather than simply being looped. Is it OK to loan the sample library to a friend to check it out as long as I bought it? NO, please don’t let your copy out of your possession. Instead, show them the sounds in person. Can I post my favourite Zero-G sounds to people or sites on the Internet? NO, but you’re welcome to comment on them! All forms of user copying and distribution are prohibited. Is it OK to sell the sample library 'used' to someone else if I’m finished with the project that I needed it for? NO, this is VERY IMPORTANT. Unlike your musical gear or even software, you can’t give away or sell the sample library 'second hand' to someone else - YOU DIDN’T PURCHASE THE SAMPLE LIBRARY ITSELF, YOU PURCHASED A LICENSE TO USE OUR SOUND RECORDINGS IN YOUR MUSIC. The sample library download (the file(s) you downloaded when you purchased a particular Zero-G downloadable sample library) is merely the container of the sounds we licensed to you. The license you bought is not transferable to another person. When there is a demo song accompanying the sample library, can I use it? NO, these are the only samples included with the products that you cannot use, since they’re for demonstration purposes only. As a freelance sound designer, can I put custom compilation discs together which include Zero-G sounds for my composer clients? NO, not unless they already own the original Zero-G products. Remember that each person who uses the sounds MUST have a license to use them. Otherwise, they can get in serious legal trouble. Is there any limit to how often or how long I can use these samples in my music? NO, you’re free to use them in as many musical recordings as you want. We hope that you find them inspiring and useful for many years to come! Why is all this so important? Basically, if you respect our work by purchasing the sounds, we’ll be able to make more exciting products. You may also be asked some of these same questions by people who are contracting your services and this information can protect you and your clients from potential misuse of Zero- G sounds. You can avoid legal hassles if you use this product properly. If you are still in doubt over any particular kind of usage, please contact Zero-G by email at: info@zero-g.co.uk ZERO-G SAMPLE LIBRARY DOWNLOADS: END USER LICENSE AGREEMENT BY USING THE ZERO-G SAMPLE LIBRARY, YOU AGREE TO BE BOUND BY THE FOLLOWING TERMS AND CONDITIONS. 1. Use of Sounds. All sounds included in this sample library (“Sounds”) are licensed, not sold, to You by Zero-G Limited. Zero-G Limited is either the owner or licensee of the Sounds. The payment You make to download the Sounds gives You the perpetual, non-exclusive right to incorporate these Sounds in any audiovisual production (“Production”), such as a film, television show, advertisement, website, videogame, or other media production, without paying any additional royalties, license fees, or any other fees to Zero-G Limited or third parties. You may not distribute, sell, rent, lease, sublicense, assign, or otherwise transfer any of the Sounds except as incorporated in a Production. You may not distribute the Sounds independently of a Production, or with any directions or instructions as to how the Sounds may be extracted from a Production, or with any invitation, suggestion or authorization that the Sounds may be extracted from a Production. You may not alter or delete any "watermark" or other ordinarily imperceptible identifier embedded within the Sounds. You may not distribute the Sounds, either in native format or reformatted, filtered, resynthesized or otherwise edited, for use as sounds, multi-sounds, samples, multi-samples, programs or patches in a sampler, sample playback unit, website, compact disc, DVD or computer. The Sounds cannot be used as source playback from ROM or chip sets or embedded in any chip set. You will exercise due diligence and maintain strict safeguards on all Sounds included in the Zero-G sample library downloaded and received by You, to prevent unauthorized use or distribution thereof. If You become aware of any unauthorized use or distribution of the Sounds, You shall immediately notify Zero-G Limited via email at info@zero-g.co.uk or via the contact page provided at the Zero-G website (http://www.zero-g.co.uk). 2. Indemnification. You will indemnify, save, hold harmless and defend Zero-G Limited from and against any and all claims, demands, suits, damages, liabilities and all reasonable expenses, including attorneys' fees, against or suffered by Zero-G Limited with respect to any matter that arises as a result of a breach of this Agreement by You. 3. Injunctive Relief. You acknowledge that Zero-G Limited has a proprietary interest in the Sounds and that any use by You that intends to frustrate the purpose of this Agreement, including but not limited to selling, renting, or otherwise distributing the Sounds independently of a Production would cause irreparable injury to Zero-G Limited in way that could not be adequately compensated by damages. You agree that, in the event of such improper use, Zero-G Limited shall be entitled to an immediate injunction (to the fullest extent permissible by law). 4. Disclaimer of Warranties. Zero-G Limited expressly disclaims all warranties of conditions of any kind, express or implied, including without limitation, the implied warranty of title, noninfringement, merchantability and fitness for a particular purpose. 5. Limitation of Liability. You agree that Zero-G Limited's cumulative liability with respect to any claims made in relation to or arising out of this agreement on any theory or basis will not exceed the license fee paid by You for the Sounds. 6. Choice of Laws; Jurisdiction. This License Agreement will be governed by and construed in accordance with the laws of England. 7. Entire Agreement. This License Agreement constitutes the entire agreement between Zero-G Limited and You with respect to the Sounds. This document is Copyright: ©2007 Zero-G Ltd. ZERO-G® is a registered trademark of Zero-G Limited. All rights reserved."