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eastwest/quantum leap hollywood brass - Soundsonline

1. EastWest Quantum Leap Hollywood Brass Virtual Instrument Diamond Edition Users Manual EASTWEST QUANTUM LEAP HOLLYWOOD BRASS The information in this document is subject to change without notice and does not rep resent a commitment on the part of East West Sounds Inc The software and sounds described in this document are subject to License Agreements and may not be copied to other media except for the purpose of copying the data to the personal computer system hard drive of the licensed user No part of this publication may be copied reproduced or otherwise transmitted or recorded for any purpose without prior written permission by East West Sounds Inc All product and company names are or trademarks of their respective owners PLAY s a trademark of East West Sounds Inc East West Sounds Inc 2011 All rights reserved East West Sounds Inc 6000 Sunset Blvd Hollywood CA 90028 USA 1 323 957 6969 voice 1 323 957 6966 fax For questions about licensing of products licensing eastwestsounds com For more general information about products info eastwestsounds com http support soundsonline com oO 00 00 1 9 OF B W W W EASTWEST QUANTUM LEAP HOLLYWOOD BRASS PLAY About EastWest Producer Doug Rogers Producer Nick Phoenix Producer Thomas Bergersen Sound Engineer Shawn Murphy Credits How to Use This and the Other Manuals Using the Adobe Acrobat Features The Master Navigat
2. The team then assigns the pp samples to say velocities 0 25 the p samples to velocities 26 45 and so on Because each dynamic level of a violin has its own timbre a note s velocity can affect not only its loudness but also its timbre Chapter 5 Orchestral Technique 47 EASTWEST QUANTUM LEAP HOLLYWOOD BRASS Velocity changes are therefore a much better way than volume changes to achieve natural sounding dynamics The disadvantage of velocity is that it cannot be changed mid note Using loudness and velocity together gives the orchestrator more control over all aspects of dynamics Do note though that Hollywood Brass often uses the Mod Wheel CC 1 instead of Ve locity to control dynamics especially in notes that can be held for a long time See the descriptions of specific patches to see which of them use this approach Expression is represented by another MIDI control code CC11 The usual way to use CC11 is for continuous control of the loudness That is while Velocity cannot change mid note and it is recommended that CC7 be set only once at the beginning of the piece or at least only at the start of major sections CC11 can provide the kind of dy namic shaping of notes that give music its expressive life hence the name Expression for this Control Code Use it to create swells in the middle of a note or of a phrase With CC11 you create the crescendos and fluid dynamics of expressive music It is possible to shape
3. Tuba this pattern of keyswitch notes is transposed up to a higher octave You can always use the blue notes in PLAY s on screen keyboard or the names in the Articulations win dow to find the correct octave 05 Legato For most brass Instruments a legato sound is created with a slur that joins the two con secutive notes without a fresh attack at the start of the later note This slur occurs only when there Is no significant gap between the end of the earlier note and the start of the later note In addition the two notes have to be at most an octave apart Moving from D3 to D4 generates a legato slur moving from D3 to D 4 does not Trombones by virtue of their slide mechanism can generate another kind of legato one in which there is some amount of portamento connecting the two notes an audible anticipatory movement of the pitch toward the next note This effect is known as slide legato Legato Slur The basic slur legato patch creates a slur between notes as long as there is no delay between the end of the first note and the start of the following note Plus the interval between the two notes has to be no more than an octave The volume is controlled with the Mod Wheel and not with Velocity In addition in the loudest range of dynamics the Mod Wheel opens a low pass filter to allow the rougher sound of overblowing to color the notes more and more as the Mod Wheel value gets closer to the maximum of 127 Because these p
4. or a diagram seems fuzzy or illegible then zoom in using one of several means provided in the Acrobat Reader software Note that images are clearest and screen shots most legible at 200 and next best at 100 The Master Navigation Document Because the EastWest PLAY System is a collection of components each with its own User s Manual a Master Navigation Document MND is provided to allow users to jump quickly between these PDFs when being read on the computer screen This MND is a one page file with hyperlinks to the PLAY System documentation and to all the library manuals Hyperlinks to this Master Navigation Document are found on the title page of each chapter in each document From there you can open any other document in the collection For example if you re reading something in this documentation for the EastWest Quan tum Leap Hollywood Brass library and need to open the manual for the PLAY System as well go to any chapter title page and click on the link that says Click on this text to open the Master Navigation Document It will open in a new window on the screen In that document click on the icon for the PLAY System and its manual will open in the Same window hiding the MND You now have both the Hollywood Brass library manual and the PLAY System manual open in separate windows so you can refer to them both Chapter 1 Welcome 8 EASTWEST QUANTUM LEAP HOLLYWOOD BRASS Separate Gold and Diamond Manuals The East
5. Brass instruments are greater than in other PLAY libraries you will likely need an even more capable system than is recommended for those other libraries e Intel or AMD quad core processor or higher running at a minimum of 2 66 GHz e 8GB of RAM or more e a 64 bit operating system and a 64 bit host when running PLAY as a plug in Note that this is a recommended system and is more powerful than the minimum of what Is required Solid State Drives There is no doubt solid state drives SSDs are a revolution for storing and streaming samples While currently more expensive than traditional hard drives the seek and re trieval times are almost instantaneous which means you may be able to create even larger projects and or to use lower latencies without needing workarounds to avoid dis ruption of the audio output For the largest instruments in Hollywood Brass SSDs may be your only option light programs are provided for other users and the number of mic positions that can be accessed simultaneously may also be dependent on solid state drives Installing 2 or more smaller SSDs with a true hardware RAID O solution offers the best performance For professional users we recommend consulting computer system Specialists to achieve the best performance EastWest has done extensive testing in which PLAY running with solid state drives for the samples and instruments was able to reproduce over 700 concurrent voices without any pops clicks or othe
6. Simulation that is these buttons control scripts that help to simulate the named feature A fourth button turns on or off the restriction that a legato instrument should interpret all notes as monophonic even when the notes overlap in time e Monophonic True Legato The fifth button in the group Round Robin Reset is described in its own section below See the section on Performance Scripts starting on page 20 for information on how to use the three scripts that have user modifiable parameters Portamento Legato and Repetition You can also read there about using MIDI control codes to turn these scripts on and off When you first open an articulation there are default settings On or Off for each of these three scripts as chosen by the EastWest sound designers If you want a different set of defaults you will need to save the ewi file that way and load your new version when you need it Legato Sim Button Legato is the style of playing notes in a phrase with no significant silence between them in order to produce a smooth and flowing melodic line Use this button to turn on a legato effect for the articulation This script based effect is separate from the actual Legato instruments included in Hollywood Brass For information on how the Legato script com pares with the Legato instruments see the discussion starting on page 50 Portamento Sim Button Portamento also sometimes called glissando is the technique of a continuo
7. You will get a better idea of what is available by listening than by reading any attempt at descriptions 04 Keyswitch If you are not familiar with how to use a keyswitch instrument in PLAY see more informa tion starting on page 38 In this manual and also the Keyswitches section in the main PLAY System manual Note the first release of this library shipped without the keyswitch files that will be pro vided in a updated release scheduled to follow shortly after the first public release If the library installed on your hard drive does not include keyswitch files check with EastWest Customer Support to see whether they are available All the Hollywood Brass keyswitch files follow the same pattern The list below spells out which articulation is assigned to each keyswitch note But be aware that not every solo instrument and section includes the same set of articulations If an articulation Is not available in any particular file using that keyswitch note results in no sound being produced until a working keyswitch note is played Chapter 4 Instruments Articulations and Keyswitches 38 EASTWEST QUANTUM LEAP HOLLYWOOD BRASS KEYSWITCH NOTES CO SUS C 0 sus accent DO marcato long plus sus or marcato short if long is not available D 0 legato repetitions E0 staccatissimo F trill half step F 0 trill whole step GO crescendo Mod Wheel For any instrument that extends down to this range with playable note such as the Solo
8. from one instance of PLAY and you open multiple instruments in this instance then all the instruments will be mixed in the PLAY audio engine and written to the track as a single stereo signal If instead you ve selected to set up multiple tracks then you can select the track for each individual instrument and possibly each individual microphone position Outputs that share the same channel are mixed in the PLAY audio engine and written out as a Single track Outputs on different channels are written independently to different se quencer tracks and available to be mixed within the sequencer at a later time ADVANCED Note that the sequencer may be able to generate a monophonic track from the stereo output but that will happen in the sequencer PLAY always outputs a stereo signal See the sequencer s documentation if you want to generate a monophonic track The 5 Microphone Positions in Hollywood Brass Hollywood Brass contains 5 mic positions that can be controlled from the Player view as shown in the image at the right All the instruments in EastWest Quantum Leap Hollywood Brass were recorded simultaneously from multiple locations in the stu dio The photograph on the next page gives you an idea of the number of different positions the sound of the orchestra was cap tured from including e at the front of the room and high above using a Decca tree e other locations at the front of the ensemble e directly in front of eac
9. in the Solo Trumpet this instrument starts out with no vibrato and adds vibrato as the note progresses Use this instrument when you want the faster moving notes to be non vibrato but the longer notes to add an expressive vibrato 02 Short Articulations included in the 02 Short folder include varieties of e Staccato and Staccatissimo e Marcato e Repetitions e Sforzando Important Note on Reverberation and Short Articulations Note that in general short articulations do not include release trails But there is some reverberation at the end of the main sample once the note stops playing This approach allows you to play fast passages without building up a lot of overlapping reverberations Therefore when playing a phrase of staccato notes be sure to play the MIDI notes in a connected fashion so that you do hear the natural reverberation of the recording studio in the short rests between the sounding notes Even if there are no rests between short notes be sure to hold the last note of the phrase long enough to let the reverberation of that last note ring Chapter 4 Instruments Articulations and Keyswitches 34 EASTWEST QUANTUM LEAP HOLLYWOOD BRASS Staccato and Staccatissimo The term staccato refers to any note of short duration that is not connected legato to the following note Staccatissimo is like Staccato but with notes of even shorter dura tion In Hollywood Brass staccato notes with the highest velocity inclu
10. messages after loading the patches and before the first notes are played When playing live that can mean tweaking each of the knobs sliders and wheels enough to send some data to PLAY In a sequencer you can draw a short sloped envelope for each controller before the first notes This advice applies to the Mod Wheel CC 1 CC 7 CC 11 and any other Control Codes in your project Creating a Soundscape Whether listening to an orchestra live on a stage or from a stereo recording we re all used to hearing the sounds of the various instruments coming at us from different direc tions In a traditional symphonic layout for an entire orchestra for example we expect the violins to be on our left and the cellos and basses on our right There are two rea sons we might want to continue this practice The first is to trick the listener s ear into perceiving a recording of a live performance Even when everyone understands that the piece was created inside a computer emulating a traditional sound can have its ben efits The second reason is that it s easier for the human ear to hear two similar sounds as separate when it perceives them as arriving from different locations If the trumpets and the trombones are doubled or even playing an octave apart they will stand out from each other better when they seem to be in separate locations in the soundscape that Surrounds us Panning As was done with EastWest s ground breaking Symphonic Orchest
11. mic positions you re using to send the audio to separate tracks in Stead of mixing them within the PLAY audio engine The image above shows the output control open to reveal the drop down list of possible audio outputs Using these controls you can direct the audio to separate tracks in the sequencer or separate tracks in the sound card when running in standalone mode Se lecting Default sends the audio to whichever track is selected in the Master controls selecting anything different sends the audio to that stereo pair of outputs In the se quencer or sound card you can specify which outputs should be captured in each audio track See the documentation for your sequencer or sound card to learn how to do that Note that it is possible to send multiple instruments and even mic positions to the Same track and the PLAY engine will mix them For example you can send the Close mics from the staccato celli the pizzicato violins and as many more as you want to the 3 4 outputs and they will all get bounced down to the same audio track This approach gives you a ability to spread out your audio outputs any way you want up to the maximum number of outputs your system can handle Note that when run as a plug in each instance of PLAY has its own set of outputs That means that if the staccato celli and the pizzicato violins are running in separate in Stances of PLAY and they are both assigned to outputs 3 4 they will
12. more flowing and connected sound for notes In a continu ous phrase The scripts themselves are not modifiable by the user p rrormance but important parameters can be adjusted using MIDI touno rosi control codes See details of how to use the control codes in the descriptions that follow In order for a script to actively affect the notes In an articulation file the script must be activated in the PLAY user interface The image above shows the Legato script turned off and the other two scripts turned on In addition the appropriate MIDI Control Code must not be turned Off that means if MIDI values are being generated for the On Off code on this channel as in the table below they must currently be in the range 64 to 127 If Chapter 3 The EWQL Hollywood Brass User Interface 20 EASTWEST QUANTUM LEAP HOLLYWOOD BRASS MIDI CC values are not being generated the Control Code is considered On as long as the light in the user interface is On The effect of engaging the Portamento or Legato effect is subtle The goal is the sound of smooth connected playing and not anything so pronounced that it will draw attention to the effect itself These two scripts share many features in the ways they affect the sound that is the Legato script includes a small portamento component and vice versa MIDI Control Codes These MIDI values can be controlled in standalone mode by adjusting the controls knobs or sliders on a control surface o
13. or licensed music for the ad campaigns of over 1000 major motion pictures Star Trek Tron Twilight 2012 WALL E Harry Potter 6 Inkheart Tales Of Despereaux 300 A Christmas Carol Watchmen Angels and Demons Night at the Museum Young Victoria Avatar The Fighter Cars 2 Hanna Inception and Harry Potter and The Deathly Hallows are a few recent examples Nick founded Two Steps From Hell with Thomas Bergersen in 2006 www twostepsfromhell com The journey as a composer has inspired Nick to record and program his own sounds and samples Nick founded Quantum Leap Productions in 1997 and Quantum leap has since grown to be the world s top producer of high end virtual instruments A 13 year partnership with Doug Rogers and EastWest has yielded award winning software titles such as Stormdrum 1 and 2 Symphonic Orchestra Symphonic Choirs Silk RA Voices Of Passion Ministry Of Rock Gypsy Quantum Leap Pianos Goliath Hollywood Strings and many others Chapter 1 Welcome A EASTWEST QUANTUM LEAP HOLLYWOOD BRASS Producer Thomas Bergersen Thomas Bergersen holds a composition and orchestration Master s degree and has worked in the capacity of composer orchestrator or music arranger on many Hollywood productions He founded Two Steps From Hell www twostepsfromhell com with Nick Phoenix in 2006 and has si
14. record automation data to a track that already contains other MIDI data Everything written about CC11 in this section also applies to CC1 Mod Wheel and all other MIDI control codes Learning to shape musical lines the same way an instrumen talist does will give your work a more natural musicality By combining velocity control expression Mod Wheel and volume you change digital samples into real living music Using Cross Fades Hollywood Brass makes extensive use of cross fading more than any EastWest library that was created before it The basic idea of a cross fade is that 2 or more samples of the same instrument but that differ in some aspect such as loudness timbre and or vibrato are played back simultaneously And the mix of how much of each sample makes it into the audio output is controlled by some MIDI control code Traditionally that has been Control Code 1 the Mod Wheel Part of the reason for using more cross fades is that they provide a more continuous and gradual change from one sound to another Also they modify timbre along with loud ness even mid note just like an acoustic instrument And a third reason for using more Chapter 5 Orchestral Technique 49 EASTWEST QUANTUM LEAP HOLLYWOOD BRASS cross fades in this library is that recent improvements in hardware and software make this much more realistic approach possible In Hollywood Brass look for cross fades in articulations that can be sustained and
15. shown here so it is in cluded in the manuals for those libraries only e a ms Ams 659 61 ms 3 4106 315 58 Mms as Note that the total width of the graph represents the total length amp CA a I sa of all phases of the envelope Therefore when you change some Pd Co ei thing in one part of the graph for example the length of the decay you may see the slopes of other components the attack and the release change as well because those phases become a larger or smaller percent of the whole this is as expected The Browser View The Browser behaves identically among all PLAY System libraries Read the main PLAY System manual for information about how to use that view Performance Scripts The Hollywood Brass Virtual Instrument includes three user modifiable built in scripts that can provide extra realism to phrases that take advantage of their benefits e The Portamento script provides a sliding pitch between consecutive notes in a phrase This can be used to emulate the subtle portamento that occurs for example when a brass player uses his breath to bend a note a little at the beginning or end of a sound ing note e The Repetition script changes the quality of the notes when a single pitch is played multiple times in quick succession Although similar to what can be achieved with Round Robin patches the effect can be used on any articulation not only those with RR in the name e The Legato script creates a
16. the sound simultaneously The controls in the Player view allow you to turn on or off the various mics adjust their relative volume and pan them however you want You do need to be aware that the samples for each microphone occupy their own space in RAM memory If your computer doesn t have enough RAM to load all the samples you need at once you may want to use only one set of mics most likely the Main mics when composing You can then add in any other mics when you re ready to work on the sound of the performance Understanding the Five Microphone Positions To understand how the five mic positions can help you let s perform a quick thought experiment Imagine yourself in a concert hall with a large brass ensemble on the stage We ll use a hall instead of a recording studio to make the various locations relative to the instruments easier to write about First you re invited to sit directly in front of the trumpet section who play a melody What you hear approximates the sound recorded in the Close mic position The sound coming directly from the instruments is so much louder than the reflections off the walls and other surfaces that these reverberations make up a very small part of what you hear Next you re placed in a seat in the fifth row of the house and you listen to the same trumpet melody Now you hear more of the natural reverberation of the hall because your ears are not so overpowered by the sound coming directly fro
17. these patches each note starts with a marcato attack to add some strength at the beginning but not as forceful an attack as in the Sustain Accent patch The Long or Short in the names specifies the length of this marcato attack The velocity with which you play each note affects the cutoff frequency of a low pass filter on the marcato samples The harder you play a note on the keyboard the more of the higher frequencies are included giving the note a harsher sound during the attack Chapter 4 Instruments Articulations and Keyswitches 33 EASTWEST QUANTUM LEAP HOLLYWOOD BRASS Portato When playing portato an instrumentalist holds each note its full length or close to it but without tying it to the next note This creates a non legato effect but without making the notes sound staccato Legato Repetitions This patch provides retongued repetitions to create the sound of repeated notes within a legato phrase These same samples are used in the Legato Slur Repetition patches where a script plays them only in the appropriate context within a legato phrase In this patch you can determine in which ways you want to use this sound Mariachi Sustain This patch includes a strong attack followed by a sustain with a lot of vibrato in the style of a mariachi band Note that unlike most sustain instruments this one does not use the Mod Wheel to con trol dynamics it uses Velocity instead Expressive Vibrato Available only
18. trill for a half tone trill or play C O in advance for a whole tone trill This instrument responds to the Mod Wheel to control the volume It does not respond to MIDI Velocity This approach allows you to increase or decrease the loudness mid note that is during the trill Rips and Shakes Brass instruments especially the horns but also the trumpets can play a characteristic sound called a rip This is a kind of glissando that works up the scale of harmonics The effect evokes the sound of a natural hunting horn Horns can also perform an effect called a shake the sound is similar to a short trill but coarser less controlled The shake is sometimes used in jazz performances And this library includes a few ex amples with a jazz specific sound These two effects can also be combined into a patch known as a rip shake The patch called Rip Flutter Tongue starts with a short rip and then holds the end note with a flutter tongue The rip at the start has its volume controlled with the Velocity para mater The the loudness of the sustained flutter tongue is controlled with the Mod Wheel Crescendos The crescendo instruments capture the sound of a single note crescendo a common us age In brass music Using one of these instruments can often more realistic than using MIDI volume or expression to achieve the effect In most cases there are Fast Medium and Slow versions available In an instrument called Crescendo MOD SPEED th
19. work of running all those instruments will be restricted to a single core which is less efficient than spreading the work across all the cores But in another case if you create at least as many instances of PLAY as there are cores in the CPU the sequencer can assign the instances across all the cores which most likely means you can open more instruments and play them back without problems As a general rule if you re using more PLAY instruments than you have cores in your computer then it s best to open at least as many Instances as you have cores Let s say you have a 4 core computer and are planning to open 10 PLAY instruments You could open 4 instances of PLAY and spread out the patches 3 3 2 and 2 per instance Or you could open 10 instances with one instrument each Or some arrangement in between The exact arrangement that s best for you depends on which instruments how consis tently each is heard through the piece the complexity of the instruments cross fades are often using more CPU resources at once than other patches and other factors If you come up with an arrangement in which each instance Is using about the same number of voices as the other instances then you re likely using your instances efficiently Chapter 5 Orchestral Technique 44 EASTWEST QUANTUM LEAP HOLLYWOOD BRASS Prepping the MIDI Controllers It is recommended that you tell PLAY what MIDI Control Codes to look for by sending some Control Code
20. 2 Quantum Leap Hollywood Brass An Overview 11 EASTWEST QUANTUM LEAP HOLLYWOOD BRASS When designing the Hollywood Strings and Hollywood Brass libraries the producers decided to take advantage of the recent advances in computer technology that make pos sible instruments of greater complexity to achieve more realistic results than libraries of even two years ago For example for over 20 years libraries have been recording multiple dynamics for each articulation and layering them to capture the different timbres heard at different dynamic levels These libraries usually used the MIDI Velocity parameter to select which layer to play back While this approach achieved excellent results it meant that typically 2 to 5 distinct layers were available and timbre could not change mid note Those libraries would use cross fades for a small number of patches where mid note changes were beneficial But they kept the number of those cross fades small to prevent their greater use of the computer s memory from becoming overwhelming In Hollywood Strings and Hollywood Brass the producers greatly expanded the use of cross fades both in their numbers and in how many concurrent voices participate in the cross fades within a given patch This approach results in instruments that capture the way brass instruments can vary the sound during a crescendo or swell like a live musician playing an acoustic instrument Studio 1 at EastWest Studios during setup for t
21. 35 Staccatissimo Double Tongue RRx9 v v v Staccato 8va Ped RRx4 v Staccatissimo RRx9 v 35 Staccatissimo Double Tongue RRx9 v Shorts Mod Speed v v v v v 35 Sforzando Crescendo v v v 36 03 Effects Trpt Trbn Cimb Tuba Horn Crescendo v 37 Crescendo Fast v v v v Crescendo Medium v v v v Crescendo Slow v v v V Crescendo Mod Speed v v v v Trill HT v v Trill WT v Trill KS v 8va Ped v Flutter Tongue v v v Flutter Crescendo v 38 continued Chapter 4 Instruments Articulations and Keyswitches 2 EASTWEST QUANTUM LEAP HOLLYWOOD BRASS INSTRUMENT OVERVIEW SOLO INSTRUMENTS Shake Fast v Shake Medium V Ped Flutter v Rips v 37 Rips RR v Rip Flutter v Rip Shake Fast Rip Shake Medium Rip Shake Slow Rip Trill 04 Keyswitch Trpt Trbn Cimb Tuba Horn Keyswitches available in an update 38 05 Legato Trpt Trbn Cimb Tuba Horn Legato Slur v v v v 39 Legato Slur Accent v v 40 Legato Slur Repetitions v 40 v Vv 3 SISTSIS SISTS SISTS Legato Slur Runs 40 Vibrato Legato Slur 06 Mutes or 06 Jazz for Trombone Trpt Trbn Cimb Tuba Horn Mute Sus v v 40 Mute Sus Accent v v Stop Sus v Stop Sus Accent v Stop Staccato RRx4 v Mute Stac issimo Dble Tongue RRx9 Vv v oth Slide Crescendo Doit RR Falls Growl Growl Crescendo Half Tone Slide Crescendo Jazz Marcato Jazz Shake Medium Jazz Shake Slow continued SISTSATSTISTSISISIS Chapter 4 Instruments Articulations and Keyswitches 28 EASTWEST QUANTU
22. Bass Trombone e Cimbasso Solo e Tuba Solo e French Horns Solo 2 6 e Low Brass the sound of multiple brass instruments playing usually in unison The following pages include a table that lists each instrument in the Hollywood Brass library You might want to print out the pages containing this table as a reference The Tables of the Instruments The sounds of each instrument are provided in the form of one or more instrument files with extension ewi in the Browser view often representing separate articulations Within some instrument files may be several articulations that can be selected In one of several ways e through the on screen UI e with keyswitch notes e by moving the Mod Wheel Most of the rest of this chapter documents the instruments and articulations for this library Chapter 4 Instruments Articulations and Keyswitches 24 EASTWEST QUANTUM LEAP HOLLYWOOD BRASS The Categories of Instruments For all 6 sections and all of the 5 solo instruments in this library the list of instruments is divided into categories In the Browser they appear as separate folders e 01 Long e 02 Short e 03 Effects e 04 Keyswitches e 05 Legato e 06Mutes The number at the start of each category name Is there to make sure this list always appears in this order within the Browser table to help you find instrument files in the tables and in the Browser D Mutes An Important Note on Dynamics in H
23. M LEAP HOLLYWOOD BRASS INSTRUMENT OVERVIEW SOLO INSTRUMENTS Trpt Trbn Cimb Tuba Horn v v v v v v v v v v v v v v v v v v v v Legato Slide Long Falls Mute Falls Mute Slide Up RR Mute Tongue Slur RR Mute Cab Slide Up Mute Old Timey Mute Vibrato Fall Old Timey Slide Up Old Timey Staccato RRx3 Plunger Fast Sus Plunger Fast Plunger Growl Plunger Sputter Plunger Staccato RRx3 Plunger Wah wah Plunger Forte Slide Up RR Staccato Growl Sus Vibrato Table of the Instrumental Sections Note that in the Trombones column the heading 2 1B refers to a section that in cludes 2 Tenor Trombones and 1 Bass Trombone INSTRUMENT OVERVIEW SECTIONS Trumpets bones Horns Low 2 3 2 18 2 6 _ Brass Sus V Vv vv xy 33 Sus Lite vv wv viv Vv 33 Sus Accent vv x Vv x 33 Sus Marcato Long vv x Vv 33 Portato vv wv vv 34 Legato Repetitions RRx4 Vv Vv Vv 34 continued Chapter 4 Instruments Articulations and Keyswitches 29 EASTWEST QUANTUM LEAP HOLLYWOOD BRASS INSTRUMENT OVERVIEW SECTIONS 02 Short Trumpets Tbones Horns Low Marcato Long RRx4 V VW v 35 Marcato Long Double Tongue RRx4 Marcato Short Double Tongue RRx4 v Repetitions Fast 170 v Repetitions Medium 145 v Repetitions Slow 120 v Sforzando Sforzando Crescendo v 36 Staccato RRx9 v 35 Staccato Double Tongue RRx8 Staccato Double Tongue RRx8 MOD Staccatissimo RRx5 v 35 Staccatissimo RRx9 v Stacatissimo Double Tong
24. Star Wars Episode 2 Spiderman 3 Pirates of the Caribbean 3 Blood Diamond Night at the Museum and The Da Vinci Code Quantum Leap has now firmly established itself as one of the world s top producers of high end sample libraries and virtual instruments In 2006 EastWest purchased the legendary Cello Studios formerly United Western Re corders on Sunset Boulevard in Hollywood re naming it EastWest Studios The 21 000 sq ft facility since remodelled by master designer Philippe Starck houses five record ing studios and is the world headquarters for EastWest Chapter 1 Welcome 2 EASTWEST QUANTUM LEAP HOLLYWOOD BRASS Producer Doug Rogers With over 30 years experience in the audio industry founder and producer Doug Rogers is the recipient of over 60 industry awards more than any other sound developer His uncompromising approach to quality and innovative ideas have enabled EastWest to lead the sound ware business for more than 22 years The Art of Digital Music named him one of 56 Visionary Artists amp Insiders in the book of the same name He released the very first commercial Drum Samples CD in 1988 and followed it with the multiple award winning Bob Clearmountain Drums sample collection which he co produced In the years that followed he practically reinvented the sound ware industry EastWest introduced loop sample libraries to the market in the early nineties followed closely by the first midi driven loop
25. West Quantum Leap Hollywood Brass virtual instrument is available in two ver sions Gold and Diamond And each has a manual slightly different from the other so it Is important that you use the correct version of the manual This is the manual for the Diamond Edition If you have the Incorrect version of the manual contact Technical Support at EastWest Online Documentation and Other Resources For the most up to date information visit the support pages at EastWest s web site There you can find e information made available after these manuals were written e FAQ pages that may already list answers to questions you have e suggestions trom EastWest and other users of the EastWest PLAY System e news about upcoming releases The address is http support soundsonline com You can also visit the EastWest online forums There you can read comments and ques tions from others who use EastWest products and post your own The many forum par ticipants are a good source of helpful information about both the technical and musical aspects of this software The address of the forums Is http Www soundsonline forums com If you visit the forums to receive support from EastWest instead of going directly to the support site listed above make sure you post your support request in the Support forum and not in the General Discussion forum Chapter l Welcome 9 EASTWEST QUANTUM LEAP HOLLYWOOD BRASS 2 Hollywood Brass An Overview 11 T
26. a mute is called a stop It is most characteristic of the French Horn Chapter 4 Instruments Articulations and Keyswitches 40 EASTWEST QUANTUM LEAP HOLLYWOOD BRASS See the descriptions of the unmuted versions of these instruments for details about Mod Wheel usage and other factors The Solo Trombone instruments in the 06 Mutes folder include some specialized hard ware such as the plunger mute You should audition these muted patches to see which ones provide the sounds you re looking for In general it is more effective for you to audition the many varieties of muted articula tions than to read about them in a manual Chapter 4 Instruments Articulations and Keyswitches 41 EASTWEST QUANTUM LEAP HOLLYWOOD BRASS 5 Orchestral Technique in Hollywood Brass 43 Setting Up Templates 44 Opening Multiple Instances of PLAY 45 Prepping the MIDI Controllers 45 Creating a Soundscape 47 Volume Velocity and Expression 48 MIDI Envelopes and Control Data 49 Using Cross Fades 50 Achieving a Legato Sound 50 Directing the Audio Output 51 The 5 Microphone Positions in Hollywood BrassBrass Click on this text to open the Master Navigation Document 42 EASTWEST QUANTUM LEAP HOLLYWOOD BRASS Orchestral Technique in Hollywood Brass This chapter discusses ways to use EastWest Quantum Leap Hollywood Brass to achieve the traditional sound of instruments in an orchestra The first section is advice from the producers a
27. actually has no effect because the script is turned off at that point Monophonic Behavior Both the Portamento and Legato scripts change the instrument so that it can play only one note at a time whenever the script is turned on If a note is still playing when a new Chapter 3 The EWQL Hollywood Brass User Interface 21 EASTWEST QUANTUM LEAP HOLLYWOOD BRASS note starts the first note will end at that moment This behavior allows for no ambiguity in how the notes form a phrase One consequence of this behavior is that if you want two concurrent legato lines or one legato and one non legato line played with the same articulation you need to open the same articulation file more than once and turn on the Legato script where appropriate Of course the same rule holds for the Portamento script Repetition Script When playing consecutive notes of the same pitch the use of a single sample over and over In quick Succession can sound mechanically identical which is called the ma chine gun effect The Round Robin patches are one way to fix this problem The Repeti tion script solves the same problem in another way For any articulation this script uses One or more of three randomly selected options to keep the sound a little different on each repetition e Use the sample for a nearby note for example a half step higher or lower and retune it to the needed pitch e Start the note a tiny amount before or after the specifi
28. ally the RAM and the processors As is mentioned in some of the instrument descriptions below PLAY might be playing up to 7 concurrent samples for each note not including release trails Chapter 4 Instruments Articulations and Keyswitches 25 EASTWEST QUANTUM LEAP HOLLYWOOD BRASS Use the guidelines earlier in this section to learn whether to use Velocity the Mod Wheel or both but if you find that an instrument is not responding to one of the ways of specify ing loudness investigate using other means to get the dynamics you re looking for Overview of the Instruments in Hollywood Brass The following 2 tables each of which extends over several pages list the instrument files available for each solo instrument or each section A check mark in a cell indicates that an ewi file as named at the left of the row is available for that solo instrument or section named at the top of the column This table does not explore the articulations available within each instrument file that level of detail is provided later in this chapter When one section does not include an instrument or articulation you re looking for you may be able to try one of the following approaches to get an approximation of the sound you want e Use that same patch from a different section You may be able to mask differences in timbre with the use of EQ and or by doubling with a different patch from the correct section e Use a similar patch from the correct i
29. also instruments where you can move between several short articulations as the Mod Speed patches The only real reason not to use cross fade instruments as often as they d be useful in your projects is that they use significantly more of your computer s resources For example some Sustain instruments can open as many as 8 concurrent voices at once Achieving a Legato Sound There are two different technologies available in Hollywood Brass for achieving a legato sound e the instruments in any of the Legato folders e the Legato and Portamento scripts The Legato instruments in Hollywood Brass include recordings of live musicians playing true legato transitions of up to an octave both upward and downward The PLAY engine combines these seamlessly with other notes to create very convincing legato passages These legato transitions are heard not only in instruments you might use for flowing le gato phrases but also in the playable runs that are intended for very fast passage work Most of the time for brass instruments this legato sound is slur legato But for the trom bone a slide legato is also possible Use the true legato instruments when you want a convincing legato sound in your phras es and you don t need some other articulation to predominate The individual legato instruments are described starting on page 39 The Legato and Portamento scripts can simulate legato transitions with scripts There fore they are usef
30. atches always start playing 4 sustain samples and cross fade between them based on the Mod Wheel and also use separate sample to provide the slurs be aware that the patches use more computer resources than most of the simpler instru ments Chapter 4 Instruments Articulations and Keyswitches 39 EASTWEST QUANTUM LEAP HOLLYWOOD BRASS Legato Slur Accent This patch works the same as the basic Legato Slur described above except that it in cludes an accent at the attack While the volume of the notes is controlled with the Mod Wheel the strength of the accents Is controlled with the Velocity Legato Slur Repetitions This patch is similar to the basic Legato Slur except that it also uses separate samples to handle repeated notes For example if in a phrase 3 notes of the same pitch are played consecutively without space between the notes the second and third occurrences use a retongued version of the note to achieve the correct sound Slur Runs This patch provides a slur legato sound with a lot of portamento that works well in very fast runs Each note can be held indefinitely so if you want to for example run up to a note and hold it you can use this patch for both the run and the held note The characteristic sound occurs only when the interval between consecutive notes is either a minor second or a major second Larger intervals do not create the strong slur Dynamics for this instrument are controlled with the Mod Wheel n
31. ay which can be cured by adding in some of the Close mics In most cases you would want to use the Close mics to add definition to an instrument or section The idea is to experiment until you find a combination that works Microphone Positions Release Trails and Digital Reverb All three of these technologies can be used to control the apparent ambience of your audio output It is important to understand the effect of each and to use them wisely Microphone Positions The way you choose to mix the microphones in your project can result in a sound that varies from small and dry to large and wet What you are adding in or leaving out to some degree is the natural ambience of the room exactly as it occurred during the recording sessions This ambience is heard as long as the samples are playing and that includes the release trail samples but cannot extend past the end of the samples Release Trails These are samples that begin at the moment the instrumentalist stopped playing each note and capture the sound that continues to ring in the natural reverberation of the recording studio It is possible to turn off release trails for any instrument but doing so only removes the room s ambience after the note ends not while it is being played Turning them off can result in unnaturally abrupt endings to the notes but that can be effectively hidden by turning on the Reverb effect Note that staccato and other short articula
32. being essentially constant The PLAY Engine then knows to alternate between the two or more samples during playback The goal is to avoid what s often called the machine gun effect in which playing the Same sampled note repeatedly causes the unnatural sound of consecutive notes being mechanically identical Any articulation with RR in its name uses round robin technology Those with an x3 x4 or the like in the name use 3 4 or more different samples for each note PERFORMANCE There s one potential problem with round robin technology and one way to solve it IS roes e Round Robin Reset button The PLAY Engine remembers which sample should be played the next time the note sounds If for example a round robin patch contains two samples A and B and a piece uses that note times the PLAY Engine plays A B ABABA If the piece is played again from the beginning the engine will play starting with B because that s next in order The second rendition will be subtly different Being able to reset all round robin articulations to the beginning of the cycle allows for consis tent playback You can use this button to reset all round robin articulations on demand Or use your choice of a MIDI note or MIDI control code to reset them one instrument at a time from a MIDI keyboard or the data stored in a sequencer project See the description of the Settings dialog in the main PLAY System manual for more information about th
33. bout setting up templates Setting Up Templates An ideal way to work with any large orchestral ensemble is to set up templates once you have gotten to know the sounds and how all the features of PLAY work You might for instance have a comedy template that has a lot of staccato articulations rips and crescendos and or an epic template that includes a lot of legato patches Obviously the more computers you have and or the more capable the computers the bigger your templates can be Once you have decided on what patches will go inside your template and have made sure they will all fit into your available RAM you should load everything and save the setup for each instance of PLAY to its own ewi file or if you have multiple instances of PLAY loaded inside a sequencing program or VST host it is as simple as saving the sequence or VST host file This will remember everything inside If you are using multiple comput ers make sure you have created a track in your sequence for every program on every computer One last thing to consider when deciding which computer will load which sounds is the amount of work each computer will have to do Make sure to spread the sounds that you use most onto different computers so one computer doesn t end up carrying a majority of the load Remember that if you re running Hollywood Brass on more than one computer concur rently you will need an iLok security key and a license for each computer The ne
34. d in three ways 1 Dynamics relative to timbre 2 Delay 3 Presence Diamond Edition only 1 When most musical instruments change from being played louder to softer the timbre of the sound changes Even if you let someone else adjust the volume control on your stereo you can still tell whether the trumpet you re hearing was played loud or soft based on the instrument s tone most Instruments have a harsher sound when played louder So in an orchestral mix if the trumpets seem to be played loud but the volume level of that instrument compared to others is softer then the ear assumes the trumpets are farther away Adjusting independently the timbre with velocity parameters and or a cross fade using the Mod Wheel or CC 11 and the volume of the sound you can move individual instruments forward or backward 2 Because sound travels at a fixed speed of approximately 340 meters per second 1100 feet per second the ear uses very small time delays to judge relative distance If two trumpets play staccato notes simultaneously and one is 15 meters 50 feet further away the note from the more distant violin arrives 0 044 seconds later That s about one twenty third of a second a short time but noticeable to the ear It s very easy in a sequencer to delay a track by a specific time either with a Delay plug in or by shifting the notes in the sequencer s Piano Roll view and thereby achieve this effect 3 As discussed in the secti
35. de an attack that in cludes the rougher sound of overblowing which features more of the higher pitched harmonics Marcato When used in a score the term marcato indicates that every note is to be accented This articulation contains notes of a short duration that begin with a strong accent Some 02 Short folders contain both Short and Long versions differing in how long the note is held after the attack These are a Round Robin instruments with 4 sets of samples in rotation Shorts MOD SPEED This instrument allows you to use the Mod Wheel to move continuously among several Short articulations As you push the Mod Wheel up from the bottom the articulations you hear are in order e Staccatissimo 0 25 e Staccato 26 51 Marcato Short 52 77 e Marcato Long 78 103 e Marcato Long with a Sustain 104 127 The numbers in parentheses the Mod Wheel values that trigger each level Repetitions In this patch the same note is played repeatedly at least a dozen times in quick succes sion For fewer repetitions end the note before the end of the sample This sequence of notes is more realistic than just playing the same staccato note multiple times This is not a Round Robin instrument If you do repeat a MIDI note perhaps because you need more repetitions than are recorded in the samples the listener will hear the last repetition followed by the first one so there s no concern about mechanically identi cal notes follow
36. e speed of the crescendo is controlled by the Mod Wheel CC 1 the further you push up the Mod Wheel the faster the loudness Increases e Slow 1 42 e Medium 43 85 e Fast 86 127 The numbers in parentheses specify the Mod Wheel CC 1 values that trigger each speed These are 3 discrete levels so for example pushing the Mod Wheel from 50 up to 70 does not increase the speed These patches do not include release trails Chapter 4 Instruments Articulations and Keyswitches 37 EASTWEST QUANTUM LEAP HOLLYWOOD BRASS Flutter Tongue When a brass player flutters his tongue while playing similar to the rolled R in some languages it produces a characteristic sound captured in the several Flutter Tongue files in this library The Mod Wheel affects the loudness allowing a continuous crescendo or decrescendo mid note Velocity does not control loudness for this instrument Clusters When the several players in a section play different notes close to each other in pitch usually a minor or major second apart the effect is called a cluster Use the Mod Wheel to control the loudness even in the middle of a single note The Velocity parameter does not influence the dynamics Because more than one pitch Is being played you may need to experiment to find the best MIDI note to achieve the sound you want Special Effects FX Rises and Oddities The Hollywood Brass library contains several instrument files with unusual effects
37. e 38 05 Legato Trumpets T bones Horns Low 2 3 2 18 2 6 Brass Legato Slur V VW Vv 39 Legato Slur Accent V L xy Vv 40 Legato Slur Repetitions V L xy Vv 40 Legato Slur Runs Vv Vv 40 Legato Slide v 39 06 Mutes Trumpets T bones Horns Low aaa Brass Mute Sus V Ls Vv v 40 Stop Sus Vv 40 Mute Sus Accent Vv x v Stop Sus Accent Vv Mute Legato Slur v Mute Staccato RRx3 v Stop Staccato RRx4 v Stop Staccato Double Tongue RRx9 v Mute Staccatissimo Dbl Tongue RRx9 v v Mute Cluster Bend Mute Cluster Out Mute Flutter Crescendo Mute Flutter Crescendo Decrescendo Mute Short Fall Mute Insects SISTSTSISISIS Instrument Types The following paragraphs explain many of the various types of instruments ewi files available in Hollywood Brass The principles described here apply across all sections and all solo Instruments Chapter 4 Instruments Articulations and Keyswitches 32 EASTWEST QUANTUM LEAP HOLLYWOOD BRASS 01 Long The instrument types in this folder include various types of e Sustain often written as Sus e Portato e Legato Repetitions Not all varieties of these articulations for example accented attack and non vibrato are available for all solo instruments and orchestral sections All of them can be held indefinitely this is achieved by looping the samples Sustain All Sustain instruments continue to play a note audibly as long as the note is held They are a good cho
38. e sets of Samples were recorded simultaneously for each note in the library there are predictable and natural delays in the time it take the music to reach each set of more distant mics This latency is part of the natural reverb of the hall and it produces a pleasing fullness to the sound when the samples are mixed correctly If you want to tighten up the reverb from the Surround or Vintage samples it is possible with modern sequencers and mixers to adjust the audio track from the Surround samples a little forward in time Either perform a calculation using the speed of sound at sea level approximately 340 meters second 1100 feet second if you prefer or let your ears de cide what works best If you do plan to micro adjust the audio as in the previous paragraph be aware that you will need to record the output from the individual mics to separate audio tracks You can not have the PLAY engine mix the audio tracks in a single plug in instance or standalone instance That is you need to record one track with for example only Main mics and a different track with only Surround mics Chapter 5 Orchestral Technique 54 EASTWEST QUANTUM LEAP HOLLYWOOD BRASS The Close mics of course have virtually no latency only a small amount necessary to retain the sonic perspective of the brass ensemble in the concert hall If you don t use the Close mics and you play something that requires very quick and punchy attacks you may notice some small del
39. ed start time e Detune the sample a few cents hundredths of a semitone higher or lower This variability gives the sound a more human less robotic feel After all what human instrumentalist plays every note exactly on pitch and at exactly the notated time The producers have selected which of these three approaches will be used for each ar ticulation file and how much variability to allow to achieve the most realistic behavior That is some patches randomly use all three approaches while others may use only one or two of them Note that Repetition scripts do not have the equivalent of the Round Robin Reset button to ensure an identical sound every time the same track is bounced to audio The random ness of the results is a feature You need to decide how important exact repeatability is when selecting either a round robin patch or the Repetition script The Articulations Control and Keyswitches In the center of the Player view is a control that lists the articu lations available in the current window Often this list is short Pin sus containing only the one articulation given in the instrument aeg name and perhaps its release trails on a separate line The Gia legato siur vit image at the right shows the control for the 6FH Legato Slur instrument The checkboxes at the left of the control allow you to deactivate any articulation turn it off while leaving its samples in memory or separately to unload the samples fr
40. end up in separate audio tracks in the sequencer If Using Only One Microphone Position It is certainly possible to create a piece with only a single microphone position Usually the Main mics are a good choice though in some cases the Close or Mid mics might be the right choice It s unlikely but not impossible you will want to use exclusively the Surround or Vintage mics because they give such weight to the hall s ambience Chapter 5 Orchestral Technique 57 EASTWEST QUANTUM LEAP HOLLYWOOD BRASS EASTWEST QUANTUM LEAP LICENSE AGREEMENT EASTWEST END USER LICENSE AGREEMENT Please read the terms of the following audio samples License Agreement before using these audio samples By opening the packaging and installing these audio samples you agree to become bound by the terms of the License Agreement If you do not agree with the terms of the License Agree ment do not open the packaging or use these audio samples East West Sounds Inc Licensor guarantees that all of the samples with these discs have been created and recorded specially for this project and any similarity to any other recording is uninten tional 1 The audio samples recorded with these discs remain the property of Licensor and are licensed not sold to you for use with your sampling software or equipment 2 A right to use the enclosed sounds is granted to the original end user of the product Licensee and is NOT transferable 3 The Licensee may modify the
41. evel at the start of the track At this point you should save the sequence before moving on Then go to your matrix edi tor or whatever it s called in your sequencer to set up windows that display CC7 CC11 and CC1 Mod Wheel information You will be editing these last two a lot so It s a good idea to make these windows easy to access Save your templates and you re ready to go Opening Multiple Instances of PLAY With the PLAY 2 software it s possible to open more than one instrument in each in Stance you run and this is true whether running PLAY in standalone mode or within a host But there are often compelling reasons for spreading instruments across multiple instances An instance Is each open window running PLAY So if for example you see exactly 3 PLAY windows inside your sequencer or on your desktop when running Standalone then you have opened 3 Instances The main reason for opening the PLAY software more than once especially when using PLAY as a plug in within a sequencer or other host is to be able to take full advantage of the multiple cores available in today s high end computers If for example your computer s CPU has 4 cores then each of the 4 cores can be independently running separate parts of the software Sequencers typically assign all the processing in any given instance of a plug in to a Single core So In one case if you load all your instruments into a single instance of PLAY the
42. h section i a e away from the instrumentalists to capture the room s natural W ws MAIN ambience E HORDE Ni z Default two or more of them are mixed into a stereo recording they are r4 E las All the recorded samples are phase locked meaning that when i r 3 4 necessarily in phase and there will be no destructive interference 5 6 The ability to combine the multiple auditory perspectives gives J you the same kind of control that a recording engineer enjoys N i when recording a live concert performance from multiple micro MICRA phone feeds 17 18 Chapter 5 Orchestral Technique b EASTWEST QUANTUM LEAP HOLLYWOOD BRASS The image on the previous page shows the PLAY System interface that allow you to mix the various samples With the available knobs sliders and buttons you pan each mic separately change their dynamics to suit your needs load unload the samples trom RAM mute and solo each mic to achieve the sound you want both while composing and when mixing the final output And as shown in the drop down menu at the bottom of the image you can assign the audio output from each set of microphones to Its own output channel These controls are described in more detail starting on page 51 For another photo of the mics in the studio see page 12 The photo above taken during the setup at EastWest Studios in Hollywood California gives you some idea of how many microphones were capturing
43. he Design Point For the Hollywood Brass Library 13 Comparison of the Diamond and Gold Editions 13 What s Included 13 Hardware Requirements Click on this textto open the Master Navigation Document 10 EASTWEST QUANTUM LEAP HOLLYWOOD BRASS Hollywood Brass An Overview The Design Point For the Hollywood Brass Library Following in the tradition of the companion Hollywood Strings library Hollywood Brass was designed to be the most detailed collection of brass orchestral instruments ever as sembled And with their long history of creating virtual instruments writing and scoring the music for hundreds of actual Hollywood trailers and films co producers Doug Rogers Nick Phoenix and Thomas Bergersen already understood what was needed to create the authentic Hollywood sound Another factor in defining the sound of this library is that it was recorded in EastWest Studio 1 formerly Western Recorders and then Cello Studios The recordings created in this building have for decades received more engineering awards than those in any other studio Producers Doug Rogers Nick Phoenix and Thomas Bergensen with 2nd from left Sound Engineer Shawn Murphy The combination of the right producers an actual Hollywood recording studio the best mics and other recording hardware available and brass players familiar with the Holly wood sound all came together to capture the authentic sound you can hear in this virtual instrument Chapter
44. he image at the bottom of the page provides an overview of the entire window in Player View when the current instrument is from the Hollywood Brass library Much of this interface is shared by all PLAY System libraries and the common features are described in the PLAY System manual The Hollywood Brass specific controls de scribed later in this section are those listed on the next page If you don t see a control described in this chapter look at the PLAY System manual that s the other manual installed on your hard drive during program setup Doms me mini port STO i i ms ail N Stereo CHANNEL 8 rrausrose CO ia ue CHANNEL SOURCE VEL MIN MR Sao E zde eat ia N SE 3 pe i sa Ma Fs A Run AI Ft CA Eos iw of Aim A ms THA MS 12 6 d THA MS em 3 Chapter 3 The EWQL Hollywood Brass User Interface 16 EASTWEST QUANTUM LEAP HOLLYWOOD BRASS Here are the controls described in this manual and not in the PLAY System manual e Performance 4 buttons e Round Robin Reset e Stereo Double e the graphical representation of the Envelope Performance There are five buttons grouped together in the Perfor prrrormance mance section They include three buttons for turning C row on and off scripts specific to Hollywood Brass that can control performance parameters e Portamento Sim e Repetition Sim e Legato Sim Sim Is short for
45. he recording sessions The EastWest sample player software known as PLAY had to undergo a few improve ments in versions 2 0 and then 3 0 to make these larger instruments possible especially to Improve the efficiency of the software when loading and playing back large numbers of samples in a single instrument When all these factors come together they create a virtual instrument of unparalleled detail and power With about 360 instruments and over 370 000 sample files the library Chapter 2 Quantum Leap Hollywood Brass An Overview 12 EASTWEST QUANTUM LEAP HOLLYWOOD BRASS captures the great variety of sounds possible in a modern brass orchestra The PLAY Sample engine lets you create performances that will excite your creativity Comparison of the Diamond and Gold Editions The Gold Edition is mostly a subset of the Diamond Edition It is intended for those with smaller or less capable computer systems and for those looking for most of the features and power of the Diamond Edition but at a smaller price Here are the differences e Bit Depth the samples in the Diamond Edition are 24 bit those in the Gold Edition are 16 bit e Delivery the Diamond Edition is provided on a hard drive the Gold Edition is provided on a set of DVDs e Mic Positions The Diamond Edition includes samples from 5 independent mic posi tions that can be mixed together to achieve control over both acoustic vantage and Spaciousness of the sound the Gold Ed
46. ice for slow moving lines that need a consistent sound no matter how long the notes are held The dynamics of the Sustain patches are controlled with the Mod Wheel The further you push it up the louder the sound By using the Mod Wheel instead of Velocity to control loudness you can create a realistic crescendo and or decrescendo during a held note When you play any note in one of the patches all 4 dynamic layers start to play simul taneously but only one or two of them are audible at any one time as controlled by the Mod Wheel This approach increases the voice count in PLAY and makes more demands on the computer processor If you need to reduce these demands consider using the Sustain Lite patch described below when available Sustain Accent Most solo instruments and sections include a patch which is sustained but with an ac cent at the beginning of the note The MIDI Velocity parameter controls the loudness of the attack The Mod Wheel controls the loudness of the sustained note Push up the Mod Wheel or increase CC 1 to swell the overall volume of this instrument And strike the keys harder or increase the velocity In a sequencer whenever you want a louder accent Sustain Lite The Sustain Lite patches behave like the regular Sustain instruments except that only 2 dynamic layers are available This approach starts half the number of concurrent voices compared to the usual Sustain patch Sustain Marcato Long and Short In
47. ing each other The Mod Wheel affects the loudness allowing you to Increase or decrease the loudness during the repetitions within a single MIDI note Repetitions are available in 3 speeds e Fast 1 0 e Medium 145 e Slow 120 Chapter 4 Instruments Articulations and Keyswitches 35 EASTWEST QUANTUM LEAP HOLLYWOOD BRASS The numbers are the base tempos for the repetitions that is what was played during the recording session These instruments all sync to tempo which means e n standalone mode the tempo matches the value entered in the Engine Tempo Sync control available in the dialog box from Main Menu gt Current Instrument gt Advanced Properties e When PLAY is hosted in a sequencer the tempo matches the speed of the MIDI tempo in the sequencer Each patch sounds best when the tempo to which it is being synced is close to its base tempo For example at a tempo of 160 use the closest patch Fast 1 0 for the most lifelike playback You may need to adjust the length of the MIDI note a little bit in order to end the se quence between repetitions and not in the middle of one of the repeated notes Note unlike most instruments in the 02 Short folder this one does include release trails Triple Performance For the 3 Trumpets there s a patch called Triple Performance that repeats the selected note exactly 3 times in quick succession Unlike the Repetitions patches this does not respond to the Mod Wheel t
48. ion Document Online Documentation and Other Resources Click on this textto open the Master Navigation Document l EASTWEST QUANTUM LEAP HOLLYWOOD BRASS Welcome About EastWest EastWest www soundsonline com has been dedicated to perpetual innovation and un compromising quality setting the industry standard as the most critically acclaimed producer of Sample CDs and Virtual software Instruments Founder and producer Doug Rogers has over 30 years experience in the audio industry and is the recipient of over 60 industry awards more than any other sound developer His uncompromising approach to quality and innovative ideas have enabled EastWest to lead the sound ware business for more than 22 years In 1997 Rogers partnered with producer composer Nick Phoenix and set up Quantum Leap a wholly owned division of EastWest to produce high quality no compromise sample libraries and virtual instruments Quantum Leap virtual instruments are mostly produced by Nick Phoenix Some of the larger productions such as Symphonic Or chestra Symphonic Choirs Quantum Leap Pianos Hollywood Strings and Hollywood Brass are co produced by Doug Rogers and Nick Phoenix As acomposer Phoenix began scoring film trailers and television commercials in 1994 To date he has either scored or licensed music for the ad campaigns of over 1000 major motion pictures including Tomb Raider 2 Terminator 3 Lord of the Rings Return of the King Harry Potter 2
49. is articulation specific approach Chapter 3 The EWQL Hollywood Brass User Interface 18 EASTWEST QUANTUM LEAP HOLLYWOOD BRASS Stereo Double Controls This knob with its three buttons gives the user the option of using STEREO pouerte exclusively the left stereo signal or right when Stereo is selected tui from the Channel Source drop down For any other setting this con 4 trol has no effect The knob lets the user determine the spread of the signals how far apart the ear per ceives the stereo channels to be A value of 0 brings the two channels together at the center unless the Pan knob positions the output differently and is the equivalent of turning off the controls with the button below the knob A value of 100 calls for the maximum spread available Select between the left and right signal with the L and R buttons respectively The Master Button and Pre Delay Knob in the Reverb Controls The common features of the Reverb Controls are explained in the main PLAY System manual but the Hollywood Brass user interface includes two feature not in all PLAY libraries The Master Button When this button is pressed and the On light is illuminated the Reverb for this instru ment applies to all the other instruments in this instance of PLAY including instruments from libraries that do not include a Master button If the Master button is already engaged in another instrument in the REVERE pe current instance
50. ition provides a single mic position The list of articulations for the two libraries are the same except as described above What s Included This EastWest Quantum Leap Hollywood Brass library Diamond Edition you purchased includes all the following e a complete set of sample based instruments enumerated later in this manual e approximately 150 Gigabytes of 24 bit 44 1 kHz samples e the EastWest PLAY Advanced Sample Engine e the unique authorization code that identifies the license you bought e manuals in Adobe Acrobat PDF format for both the EastWest PLAY System and the EastWest Quantum Leap Hollywood Brass Virtual Instrument e an installation program to set up the library software and documentation on your computer e an Authorization Wizard for registering your license in an online database One required item not usually included is an iLok security key If you already have one from an earlier purchase of software you can use it Otherwise you need to acquire one They are available from many retailers that sell EastWest and Quantum Leap products or you can buy one online at www soundsonline com Hardware Requirements See the Play System manual for a complete list of the Hardware and Software Require ments for Installing and running any PLAY System library Chapter 2 Quantum Leap Hollywood Brass An Overview 13 EASTWEST QUANTUM LEAP HOLLYWOOD BRASS Because both the size and complexity of many of the Hollywood
51. l Attack of the Clones Star Wars Episode Ill Revenge of the Sith Star Wars A Musical Journey Jurassic Park Jurassic Park The Lost World Harry Potter and the Prisoner of Azkaban Titanic The Curious Case of Benjamin Button The Bourne Ultimatum Minority Report Saving Private Ryan Munich The Passion of the Christ score mix X Men The Last Stand Memoirs of a Geisha Ice Age 2 and Ice Age 3 Hollywood Strings was the first virtual instrument collection he engineered And his work with EastWest Quantum Leap continued with Hollywood Brass Chapter 1 Welcome EASTWEST QUANTUM LEAP HOLLYWOOD BRASS Credits Producers Doug Rogers Nick Phoenix Thomas Bergersen Sound Engineer Shawn Murphy Production Coordinator Rhys Moody Programming Justin Harris Nick Phoenix Thomas Bergersen Scripting Patrick Stinson Thomas Bergersen Klaus Voltmer Editing Arne Schulze Pierre Martin Justin Harris Michael DiMattia Jay Coffman Spencer Putnam Andrzej Warzocha Art Direction Steven Gilmore Thomas Merkle Doug Rogers Nick Phoenix Thomas Bergersen Software Doug Rogers Nick Phoenix Rhys Moody Klaus Voltmer Klaus Lebk cher Julian Ringel Patrick Stinson Adam Higerd Ezra Buchla Truc Phan Nick Cardinal Jonathan Kranz Manual John Philpit Chapter 1 Welcome EASTWEST QUANTUM LEAP HOLLYWOOD BRASS Ho
52. m the violas This sound is captured by the Main mics a cluster of microphones called a Decca Tree above the front of the whole orchestra Note that the Decca tree together with its outriggers is in an ideal position to balance the sound from all the sections for a big and unified sound Chapter 5 Orchestral Technique 52 EASTWEST QUANTUM LEAP HOLLYWOOD BRASS ApvanceD A Decca tree for those interest ed is an arrangement of three microphones originally designed at the English Decca Re cords and still used for orchestra recordings especially when recording movie scores The mics are arranged as in the diagram at the right Because of the 2 meter spacing between the left and right mics the audio provides the inten Sity cues necessary for detailed stereo imaging i while including sufficient phase information to 2 meters produce an open and spacious sound In addi tion the middle microphone generates a solid central image For the next position you are seated right at the edge of the stage approximately at the midpoint between the first two seats What you hear is similar to what s captured by the Mid mics You get a little more individual definition than in the Main mics but without the proximity effect achieved with the Close mics Finally you re asked to sit anywhere closer to the back of the house and high up The Same trumpet melody is played again From this perspective the full ac
53. n be cranked up a loud trumpet section can be turned way down Volume can be adjusted mid note that is the listener can experience a crescendo or diminuendo for a held note Even un natural sounds can be created such as a crescendo for a single pizzicato note on a violin n N N I l And as with a live orchestra the various instru ments are changing their loudness independently something you cannot do with the stereo s loud ness knob E But as was mentioned in the section on setting up templates on page 43 it Is not recommended that the MIDI volume parameter be used in this Way UIL Velocity a term based on how strongly a keyboard player hits the keys controls how forcefully the note is played Adding force changes not only the loudness of the notes but usually also changes the notes timbre With a piano s action the velocity cannot affect what happens to the sound after the hammers hit and leave the strings and veloc ity works the same way here In the current implementation of MIDI velocity is usually designated by a number between O and 127 Many software sequencers display velocity as vertical bars something like those at the bottom of the image above Most modern sample players PLAY included can play different samples for different ranges of velocity For example the team creating the samples record Middle C with the solo trombone for pp p mp mf etc
54. nce written music for countless movie trailers Star Trek Harry Potter 6 Tales of Despereaux The Dark Knight Valkyrie The Hulk Rendition Spider Man 3 Golden Compass The Assassination of Jesse James Pirates of the Carib bean 3 Babel Hitman I Am Legend 300 No Country For Old Men Harry Potter 5 The Brave One Wall E Blood Diamond Speed Racer and Night at the Museum are a few recent examples Thomas is also a trumpetist and has performed on major TV productions including NBC News In his pursuit of the ultimate realism in samples he has produced a great num ber of orchestral sample libraries for his own use With Hollywood Strings it was time to join forces with veteran producers Doug Rogers and Nick Phoenix and to share this knowledge with the rest of the world And this collaboration has continued with Holly wood Brass Thomas studio is located in Santa Monica California www thomasbergersen com Chapter 1 Welcome EASTWEST QUANTUM LEAP HOLLYWOOD BRASS Sound Engineer Shawn Murphy Shawn Murphy is an Academy Award C A S Cinema Audio Society BAFTA and Emmy award winning sound engineer who has recorded and mixed the scores for more than 300 feature films including Indiana Jones and the Kingdom of the Crystal Skull Star Wars The Phantom Menace Star Wars Episode I
55. nstrument Then experiment with changing the AHDSR envelope and or other parameters to bring the sound more into line with the sound you want You may find that the sound is close enough to what you wanted in the first place that no one will notice especially in the middle of multi part writing The page numbers in the last column are hyperlinks to descriptions and features avail able for that instrument file click on any number when the manual is viewed on a screen to jump to that page Solo instruments are listed in the first table Instrumental sections are listed in a follow ing table Table of Solo Instruments INSTRUMENT OVERVIEW SOLO INSTRUMENTS 01 Long Trpt Trbn Cimb Tuba Horn Sus v v v 33 Sus Vibrato v Sus Non Vibrato v v Sus Lite v v v v v 33 Sus Marcato Long v v v v 33 Sus Marcato Short v 33 Sus Accent v v v v v 33 continued Chapter 4 Instruments Articulations and Keyswitches 26 EASTWEST QUANTUM LEAP HOLLYWOOD BRASS INSTRUMENT OVERVIEW SOLO INSTRUMENTS Expressive Vibrato v Sus with Pitch Waver v Portato v v 34 Portato Short v Portato Long v Legato Repetitions RRx4 v v v v 34 Mariachi Sus v 34 02 Short Trpt Trbn Cimb Tuba Horn Marcato Long RRx4 v v 35 Marcato Short RRx4 v v v v Marcato Long Double Tongue RRx4 v v Marcato Short Double Tongue RRx4 Vv Repetitions Fast 170 v v v v 35 Repetitions Medium 145 v v v v v Repetitions Slow 120 v v v v Staccato Double Tongue RRx9 v
56. ntrols with emphasis on the individual microphone positions When considering the possibilities of multiple instruments each with its own microphone positions the ways of setting up the outputs are too numerous to list here Use the principles de scribed here to define your own approach 1 Greating separate audio tracks for each microphone one at a time In this approach you can set up one or more instruments with a single mic position and the output going to one or more audio tracks in the sequencer Usually you will work with the Main mics during the composition phase especially if this is the mic position that will dominate in the final mix Once you re ready to commit the composition to the audio track s bounce down the track s to create a single mic recording Then go into every instrument in PLAY that contributed to those audio tracks so you can unload the Main mics and replace them with a different set for example the Close mics Bounce down new audio track s making sure you name your tracks to indicate which mic position was used Don t worry about the loudness of this track relative to the first audio track you will adjust that in the final mix down If you re using more than 2 mic positions repeat the process to create the rest of the tracks Once you have all the tracks you can mix them into a single track adjusting the relative volumes to achieve the sound you want There are two principal advantages to this app
57. o affect the loudness Double Tongue Some articulation files indicate that they use the technique known as double tonguing This effect lets the user achieve a faster sequence of notes by stopping the airflow alter nately with the tip of the tongue and with the back of the tongue against the palate The tongue moves in the same pattern as when saying tiki tiki tiki Sforzando Crescendo The Solo Horn and Solo Tuba include a patch called Sforzando Crescendo Each note starts with an accented attack sforzando which is followed by a strong crescendo MIDI Velocity controls the loudness and the timbre of the attack as well as the loud ness of the crescendo When a note Is played short enough to end before the crescendo this patch can act as a sforzando staccato patch 03 Effects The instruments in this folder fall into several types e trills e rips and shakes e crescendos e flutter tongue e clusters e special effects FX rises and oddities Chapter 4 Instruments Articulations and Keyswitches 36 EASTWEST QUANTUM LEAP HOLLYWOOD BRASS Trills A trill is the rapid alternation between two notes either a half tone or a whole tone apart Any file with HT in the name contains a half tone trill And with WT in the name it contains a whole tone trill With KS in the name it contains both versions of the trill and the user can select which version using a keyswitch note play CO in advance of the
58. of PLAY and the Master button is pressed in a new I instrument then the settings in the UI of the new instrument be come the settings for all instruments in this PLAY instance meer vo The processing of high quality reverb can be very CPU intensive and it is often the case that you want to use the same reverb on all the instruments in an audio track Engaging the Master Reverb button allows you to run a single instance of the reverb processor and have the effect apply to multiple instruments Reverb Master On will make all other instruments share this reverb and its settings This is designed to conserve DSP resources by using one reverb for all instruments OF When you engage the Master button PLAY puts up a warning message as shown above to remind you that the reverb settings in this instrument will now apply to all instruments in this instance The Pre Delay Knob Increasing this level delays the onset of the reverb so that the initial section of the sample is unaffected This feature allows the sound of each attack to maintain its true color while the rest of the note still gains the benefit of the reverb effect Chapter 3 The EWQL Hollywood Brass User Interface 19 EASTWEST QUANTUM LEAP HOLLYWOOD BRASS The Graphical Representation of the Envelope Sebi The Envelope Controls are described in the main PLAY System manual because they are common to all PLAY System libraries Only some libraries include the graph as
59. ollywood Brass Instruments As discussed in multiple places within EastWest manuals there are several ways you can affect with MIDI parameters how loudly an instrument should play e MIDI Velocity e the Mod Wheel CC 1 e Volume CC 7 e Expression CC 11 Volume and Expression work on any and all instruments Volume should be used to set a loudness level relative to other Instruments And Expression should be used to shape the continually changing dynamics and expressiveness of each instrument Neither Volume nor Expression change the timbre of the instruments only the loudness Hollywood Brass instruments use either MIDI Velocity or the Mod Wheel or both to affect the sound of the instruments when they are played louder or softer As a general rule in Hollywood Brass e Staccato Marcato and Portato use Velocity e Sus Accent Slur accent Marcato Light Sus and Shorts Mod Speed use both Velocity and the Mod Wheel to affect different parts of the sound e the rest use the Mod Wheel For more detail see the description of specific instruments later in this chapter Many Hollywood Brass instruments rely on the Mod Wheel to cross fade between sam ples instead of selecting which sample to play based on the MIDI Velocity parameter of each note This approach gives the composer much more of a continuous control over both the loudness and the timbre But this control comes with a price greater use of the computer s resources especi
60. om memory The small knobs in the third column allow you to adjust the loudness of each articulation without affecting the loudness of the others Chapter 3 The EWQL Hollywood Brass User Interface 22 EASTWEST QUANTUM LEAP HOLLYWOOD BRASS 4 Instruments Articulations and Keyswitches 24 The Tables of the Instruments 26 Table of Solo Instruments 29 Table of the Instrumental Sections 33 01 Long 34 02 Short 36 03 Effects 38 04 Keyswitch 39 05 Legato 40 06 Mutes Click on this text to open the Master Navigation Document 3 EASTWEST QUANTUM LEAP HOLLYWOOD BRASS Instruments Articulations and Keyswitches The EastWest Quantum Leap Hollywood Brass virtual instrument is a library designed to create brass orchestrations of the kind heard in movie soundtracks but of course It can be used for many other types of brass music as well And it mixes well with other virtual instruments from EastWest Quantum Leap so feel free to add in strings guitars percussion voices whatever you can imagine This library and other libraries in the EastWest Quantum Leap Hollywood series are designed to work together particularly well they include the same variety of microphone positions and other features that help them blend into a unified sound The library contains instruments that cover several groups of brass instruments In various configurations e Trumpets Solo 2 3 e Trombones Solo section of 2 Trombones plus 1
61. on covering the 5 mic positions not available in the Gold Edition the farther you are from an instrument in a concert hall the more the natural re verberation of the hall contributes to what you notice You still hear the echoes from the walls when you re close by you notice them less because of how loud the instrument Is It s harder to hear the crinkle of a cough drop wrapper standing near a roaring jet engine than in a hushed concert hall even though the wrapper makes the same sound This Chapter 5 Orchestral Technique 46 EASTWEST QUANTUM LEAP HOLLYWOOD BRASS presence of the sound is another distance clue Mixing in more of the Close samples for an instrument makes it seem closer to the listener By combining all three principles you can achieve quite convincing front back position ing in your orchestral mix Giving the ear contradictory signals can confuse it achieving either a good or bad effect depending on your intentions And then of course there s multi channel surround sound but that discussion is out of scope in this section Volume Velocity and Expression There are at least three ways to make a sampled instrument sound louder or at least make the real instrument seem to have been played louder The skilled MIDI orchestrator uses all three Volume is just the loudness of the generated sound Changing volume is basically the Same as turning the volume knob on your audio system The horns played softly ca
62. ot Velocity And as with the basic Legato Slur patch this one uses a lot of resources because each note uses 4 Voices for the 4 dynamic levels playing concurrently Monophonic Behavior in Legato Instruments By default all legato instruments are monophonic By allowing only one note to play at a time PLAY makes sure that there is no ambiguity about what two notes should have a legato transition between them It is possible to turn off the monophonic behavior with MIDI Control Code 22 When in the top half of its range 64 127 the controller preserves the default behavior But whenever CC 22 is in the range 0 63 polyphonic behavior is turned on You do need to listen to the output carefully to see whether there are unwanted legato slurs between notes in different polyphonic voices If so one remedy is to move those two voices to separate MIDI tracks 06 Mutes The use of mutes provides brass instruments with a wide variety of timbres significantly different from the un muted sounds These mutes fit into the flared bell of the instru ments but are fashioned into various shapes to achieve the desired sound The 06 Mutes folder contains muted instruments performing many of the articulations listed in previ ous sections such as staccato legato slur crescendo and clusters See the tables above for what Is available for each section or solo instrument Another way to mute a brass instrument is to place one s free hand in the bell Such
63. oustics of the hall are most evident because you hear clearly the sound bouncing off the ceiling the walls all the reflective surfaces in front of you and even behind It can be a very lush sound though perhaps lacking in the immediacy of a closer position however adding in a little of this sound either in a stereo mix or in the rear speakers of a surround sound recording can add dimension to the recording This mic position was used to create the Surround samples Leaving the thought experiment there is still another sets of microphones to discuss The Vintage mics are an alternative to the Surround mics They capture Dan the Same perspective but use RCA44 ribbon mics similar to what 1 was used when making soundtracks for classic Hollywood movies The switch to the right of the Surround button in the PLAY inter face lets you select whether to use the more modern mics pushed up or the vintage mics pushed down Microphone Placement The schematic below gives you an idea of where the various mics capture their sound but in a diagram of a typical concert hall The semicircular area at the top is where the orchestra sits The rest of the diagram is where the audience would sit but is not there in the actual EastWest Studio where Hollywood Brass was recorded Note that this is not an accurate map of where the mics actually stood the diagram s goal is to help you understand what each mic is intended to capture A photo of
64. presents a smaller change in loudness when the volume control CC 7 is reduced CC11 100 perceived volume level time MIDI Envelopes and Control Data Most modern sequencers let you draw an envelope for MIDI control codes The diagram below with the yellow curve is an example of an envelope for CC11 Notice how the val ues are constantly changing the same way a trumpet player adds musicality and interest Chapter 5 Orchestral Technique 48 EASTWEST QUANTUM LEAP HOLLYWOOD BRASS to a phrase by changing the pressure of her breath moment to moment The dark hori zontal lines near the top are the notes CC 11 40 0 When saved as MIDI data this same envelope appears as a finite set of commands as in the next image In a sequencer track these often appear as vertical lines each line being a command to change the value in this case to change CC11 The other way and many say It s the better way to send CC11 events to the sample player is with a MIDI controller either a keyboard or a control surface As long as you or your group has an extra hand or foot If you use a pedal you can enter these control codes while playing the notes into the sequencer This allows you to hear the interchange among the notes their velocities how hard you re hitting the keys and the expression being added with CC11 This process can also be done in two passes notes first then control data if your setup allows you to
65. r MIDI keyboard When run as a plug in inside a se quencer or other host you can create a controller envelope to automatically adjust values during playback See the documentation from your hardware or software for information about how to change the values of control codes The following table lists the codes that affect these scripts Note that the MIDI Control Codes have no effect unless the corresponding script is turned on in the PLAY interface Code Portamento Repetition Legato 9 Time Time 65 On Off 68 0n Off 69 0n Off The three On Off control codes all work the same way a value 64 or higher turns the script on and any other value 0 63 turns the script off CC 5 affects the duration of the portamento or legato The possible values are 0 127 The higher the value the longer the effect takes to complete that is you should set higher values to make the sound more pronounced Use your ear to find the right values for each note in the phrase The image at the left shows two envelopes affecting the Portamento script in a host The nine white horizontal bars are the notes The light gray line that jumps from the top to near the bottom and back to the top Is CC 65 that turns the script on and off so that only some notes use portamento The curving line near the middle is CC 5 setting the effect s Portamento time parameter for each note individually Note that the middle section when the CC 65 line Is near the bottom CC 5
66. r artifacts that can occur when the same sequence streams from a traditional hard drive This difference indicates that it is not the PLAY software that provides the bottleneck in the data flow but rather the seek time required to locate the many hundreds of Samples on a traditional hard drive when they need to be streamed to the CPU all at once For those composers and orchestrators looking to build large projects using the kinds of instruments that add realism through the use of complex cross fades solid state drives along with more than 8 GB of RAM can help make that happen Requirements for Sample Storage The available space on the hard drive required for an installation of EastWest Quantum Leap Hollywood Brass Diamond Edition is approximately 150 GB Gigabytes Chapter 2 Quantum Leap Hollywood Brass An Overview 14 EASTWEST QUANTUM LEAP HOLLYWOOD BRASS 3 The Hollywood Brass User Interface 17 Performance 18 Round Robin Reset Button 19 Stereo Double Controls 19 The Master Button and Pre Delay Knob in the Reverb Controls 20 The Graphical Representation of the Envelope 20 The Browser View 20 Performance Scripts Click on this textto open the Master Navigation Document LES EASTWEST QUANTUM LEAP HOLLYWOOD BRASS The Hollywood Brass User Interface Each PLAY library presents its own interface when one of its instruments is the current one as specified in the Instruments drop down in the upper right corner T
67. r left is turned to the right so that when all four sets of samples are played together the sound cues position the basses in a consistent location Chapter 5 Orchestral Technique 45 EASTWEST QUANTUM LEAP HOLLYWOOD BRASS The spread of the sections in Hollywood Brass is smaller than in Symphonic Orchestra If you want a wider feel you can pan the instruments a little to achieve that effect Note that the natural panning within the Hollywood Brass samples has one subtle fea ture that reverb plug ins do not offer correctly timed reflections from all surfaces To understand this concept consider a double bass player who is 5 meters from the wall to our right and 45 meters from the wall to our left We are seated half way between the walls The reflection from the right wall which will be louder in our right ear travels 30 meters 5 plus 25 the reflection from the left wall louder in our left ear travels 70 meters 45 plus 25 That 40 meter difference means that the reflection arrives in our right ear approximately one ninth of a second sooner than in our left ear a significant difference And the other instruments all have their characteristic left right delay based on where they sit on the stage It is impossible for a single digital reverb to achieve that level of realism Proximity Clues Panning left or right is not the only way to separate instruments It is also possible to move them forward and backward This can be achieve
68. ra Hollywood Brass is different from most other collections of orchestral samples in that the panning of the various instruments to the traditional locations on the sound stage Is built in to the stereo samples The French Horns for example are already louder in the left channel Therefore one can leave the panning level at center for all instruments and they will be correctly placed on the stage in the final mix Of course if you want to adjust the pan ning to achieve your own sound and or a non traditional placement of instruments that can be accomplished either in the PLAY interface or in the host sequencer ADVANCED The previous paragraph has one exception the Close microphones These playback of those samples to the same perceived space as the Main lations The bass players sits on stage way to the audience s right This image shows the centered at the center of the studio no panning adjustment is necessary The Pan con Samples were recorded with the stereo mics directly in front of each instrumental sec tion The Close mic articulation uses the Pan control to move the MICROPHONES i Mid and Surround samples The diagram at the right shows the 4 GO 9 microphone specific Pan controls for one of the Double Bass articu way the file opens with no user changes Note that the Main Mid and Surround Pan controls are in the center because those samples were recorded with the stereo mics trol for the Close mics at the fa
69. roach First it requires a smaller computer system or network than trying to load multiple sets of samples into RAM at once Sec ond you have separate audio tracks for the three mic positions which you can use to cre ate a wetter or drier remix or to create a surround sound version at a later time And you can do so with the confidence that you will have no phasing issues to contend with 2 Creating ready mixed audio tracks all at once It is also possible to work with more than one mic position at a time though this requires a more capable computer setup to handle the extra samples in RAM and the extra con Current processing In this approach before bouncing down to audio tracks you can load multiple mic positions in all instruments You will need to adjust the individual volume Sliders for the three microphone positions at this time to achieve the balance you want This approach works best when you want to get a final mix quickly without working through multiple mix downs Chapter 5 Orchestral Technique 56 EASTWEST QUANTUM LEAP HOLLYWOOD BRASS 3 Creating parallel audio tracks from a single instrument file If you want to create the separate audio files described in the first approach and have a very capable computer system that will allow you to process mul IK tiple mic positions simultaneously then you can use this approach Set up aiga your instruments as in case 2 above but use the individual output controls for the
70. s collection Dance Industrial He released the first library to include multiple dynamics followed by the first sample library to stream from hard disk an Innovation that led to the detailed collections users expect today His recent productions are Symphonic Orchestra awarded a Keyboard Magazine Key Buy Award EQ Magazine Exceptional Quality Award Computer Music Magazine Perfor mance Award and G A N G Game Audio Network Guild Best Sound Library Award and Symphonic Choirs awarded Electronic Musician 2006 Editor s Choice Award G A N G Best Sound Library Award and Keyboard Magazine Key Buy Award Most recently his productions include Quantum Leap Pianos the most detailed virtual piano collection ever produced Fab Four inspired by the sounds of the Beatles and The Dark Side Fab Four and The Dark Side were both M I P A Award winners judged by 100 music magazines plus Hollywood Strings and Hollywood Brass Over the last decade he has partnered with producer composer Nick Phoenix and set up the Quantum Leap imprint a subsidiary of EastWest to produce high quality no com promise virtual instruments EastWest Quantum Leap virtual instruments are considered the best available and are in daily use by the who s who of the industry Chapter 1 Welcome 3 EASTWEST QUANTUM LEAP HOLLYWOOD BRASS Producer Nick Phoenix Nick began scoring film trailers in 1994 To date he has scored
71. sounds LICENSEE MAY ONLY USE THE SOUNDS FOR COMMERCIAL PURPOSES WITHIN MUSICAL COM POSITIONS 4 This license expressly forbids resale relicensing or other distribution of these sounds either as they exist on these discs or any modification thereof You cannot sell loan rent lease assign upload to or download from any server or transfer all or any of the enclosed sounds to another user or for use in any competitive product 5 Li censor will not be responsible if the contents of the hard drive does not fit the particular purpose of the Licensee If in doubt over usage please contact East West Sounds Inc by fax USA 323 957 6966 or email licensing eastwestsounds com ALL RIGHTS RESERVED 2010 EAST WEST SOUNDS INC e Windows XP Vista are registered trademarks of Microsoft Corporation Pentium Is a registered trademark of Intel VST Instruments Is a registered trademark of Steinberg Media technologies AG OS X Audio Units and Core Audio are registered trademarks of Apple Inc All other product and company names are trademarks of their respective holders All specifications are subject to change without notice Hard Drive Use The hard drive on which Hollywood Brass Diamond Edition ships is a bare internal drive If you don t want to Install it to copy the data we suggest purchasing a hard drive dock The hard drive is supplied for installation purposes and as product media only It is not intended for daily use such as for
72. storing the samples for streaming EastWest assumes no responsibility or risk if the drive is used for other purposes Hard Drive Warranty The hard drive containing Hollywood Brass is covered by EastWest s Limited Replace ment Only 30 Day Return Policy If the hard drive develops a defect it may be returned to EastWest within 30 days of shipment Hollywood Brass may only be returned for a replacement of the hard drive No refunds are available Return constitutes receipt of the product by EastWest and not the mere issuance of an RMA Beyond 30 days the manufacturer s warranty will apply and returns and service must be arranged with the drive manufacturer EastWest will replace the data should a drive replacement become necessary License Agreement 58
73. the actual studio and its mics Is on page 12 Chapter 5 Orchestral Technique DI EASTWEST QUANTUM LEAP HOLLYWOOD BRASS All the C s in the diagram represent the various po sitions of the Close mics next to each brass section The mics were near enough to capture the presence of the instrument but far enough away to allow the sound of the instrument to breathe The center T represents the approximate position of the Decca Tree a cluster of mics at the front of the ensemble These Main mics are positioned high enough and far enough forward to capture a well ee e Main mics balanced sound Note that these Main mics also C Close mics include a pair of outriggers which are the left and DI RO right T s in the diagram The M ts the location of the Mid mics which are a smaller version of a Decca tree positioned a little closer to the Instruments so that more definition Is captured without creating a close sound The V s and S s have been placed in the auditorium in this diagram to convey that they capture the full ambient sound of the room In the recording studio which has no auditorium they are placed around the studio at a distance from the instruments Two separate sets of Surround mic samples were created for the Quantum Leap Holly wood Brass library You can switch between them with the use of the Vintage button in the lower right of the Microphones controls Adjusting the Delays Because all thre
74. the dynamics of a line either by playing a CC11 controller in real time or by drawing an envelope in a sequencer Most MIDI keyboards and control sur faces have programmable knobs and or sliders that can be set to send CC11 messages to a specific MIDI channel Sliders are generally more sensitive for real time control If your sequencer supports automation it can record the movements of the knob or slider and save them as part of the project Such manual and real time control over the shape of an instrumental line is usually more efficient than drawing in an envelope and often achieves more convincing results EastWest s choice to use CC11 allows CC7 volume to be used in other ways The usual convention is to use the volume slider in your sequencer to adjust the overall volume level of each track in the mix and to do that once at the beginning of each track Although the volume and expression controls can be adjusted separately the volume setting does change how expression af fects perceived volume Think of CC as setting an upper limit on the dynamics at any moment Expression like most con tinuously changeable values in MIDI takes values between O and 127 CC specifies how loud a sound to generate for the CC11 50 maximum expression 127 The diagram seen here shows that when volume decreases the fixed changes in expression repre sent smaller changes in perceived loudness Changing from an expression level of 50 up to 100 re
75. tions do not as a rule include release trails Digital Reverb Convolution Reverb is a digital effect that simulates the sound of a room s ambience through a set of mathematical algorithms that use known reflection times of a set of test tones and apply that data to generate artificial reflections in real time PLAY includes such a reverb and the data called impulse responses or IRs with which to recreate many different sizes of rooms The IRs built into Hollywood Brass include the exact EW Studio 1 in which the Hollywood Brass recording sessions took place as well as the hall in which the Symphonic Orchestra library was recorded for those who want to use the two libraries together You will have to decide in what way to use each of these technologies for each project As long as you understand how each of these three components contributes to the sound you are hearing and the limitations of each technology you can use your ear to deter mine how to get exactly the sound you want Chapter 5 Orchestral Technique 955 EASTWEST QUANTUM LEAP HOLLYWOOD BRASS Mixing Microphones From Separately Bounced Tracks versus Mixing in PLAY Because mixing 2 or 3 of the mic positions in the right proportions can add dimension to a stereo or surround sound recording you need to understand the various approaches to combining them into the final mix The following three cases describe some basic setups to show how you can use the Out put co
76. ue RRx9 vv x Triple Perf RRx3 v 36 Shorts MOD SPEED Vv Vv 39 03 Effects Trumpets T bones Horns Low 2 3 2 18 2 6 Brass Clusters vv v 38 Cluster Bend v Cluster Dance FX Clusters Blast Clusters Tight Clusters Wide Creepy Sustains Crescendo Fast Crescendo Medium Crescendo Slow Crescendo MOD SPEED Crescendo Split Crescendo Split Slow v Elephants v continued 39 SISISIS Sd S amp S SIS 37 SISISISISINSIS SSL NS SISSI SN SISSI SN SISSI S SISSI S lt Chapter 4 Instruments Articulations and Keyswitches 30 EASTWEST QUANTUM LEAP HOLLYWOOD BRASS INSTRUMENT OVERVIEW SECTIONS Trumpets T bones Horns Low 2 3 2 18 2 6 Brass Flutter Crescendo Fast v Flutter 5th v Fall Long v Fall Short v Flutter Tongue Vv Vv Vv Flutter Clusters v Fourth Split v Rips v 37 Rips RR v Rips 2 RRx3 v Rips ff RRx3 v Rip Flutter v v Rip Shake RR Vv Rip Trill v Shake v 37 Sforzando Crescendo Trill HT v Trill WT v Trills KS v Run Trill Rises and Oddities Sus FX Chaos FX Hockey Rise Repetition Crescendo Fast Repetition Crescendo Slow Slow Rise FX Stab Cluster RRx3 Sus Pitch Waver continued S an S SISIS SISITS S amp S 38 38 a XEN ENE NEN PENIS Chapter 4 Instruments Articulations and Keyswitches st EASTWEST QUANTUM LEAP HOLLYWOOD BRASS INSTRUMENT OVERVIEW SECTIONS 04 Keyswitch Trumpets T bones Horns Low 2 3 2 18 2 6 Brass Keyswitches available in an updat
77. ul when you want a touch of legato sound between notes for some other articulation such as between consecutive trills or marcato notes See more about these scripts where Performance scripts are described such as page 49 Directing the Audio Output The output from PLAY is one or more stereo audio signals The image at the right shows 9 stereo pairs of outputs in the drop down list from the Master Output control Each instance of PLAY has its own outputs separate from those of every other instance M First Synth Audio Output If you are using PLAY as a plug in in a host you can usually All Synth Audio Outputs Stereo Specify whether you want the output audio to be captured in a 7 All Synth Audio Outputs Mono i i i i single track or maintained as separate tracks The Image at the left shows how one sequencer Sonar gives you a choice The first checkbox creates a Chapter 5 Orchestral Technique 5O EASTWEST QUANTUM LEAP HOLLYWOOD BRASS single track to hold all the audio output with the assumption it will be the first stereo pair 1 2 The second checkbox creates 9 audio tracks one for each of the stereo pairs in the drop down list shown at the right The third creates 18 mono tracks in case you want to keep the left and right tracks separate See the documentation for your se quencer to learn how that selection is made in the host software you use If you ve selected to set up a single track to hold all the audio output
78. us slide in pitch from one note to the next note in the phrase Portamento as available with this script is usually a short anticipatory movement between the pitches of two adjacent notes Chapter 3 The EWQL Hollywood Brass User Interface 17 EASTWEST QUANTUM LEAP HOLLYWOOD BRASS Turning on the Portamento script in a phrase is a subtle way to increase a sense of real istic playing Repetition Sim Button Repetition in this context refers to the playing of a single pitch more than once with no different notes played between them in the same phrase Turning on this button causes repeating notes to sound slightly different avoiding the sense of mechanical repetition See a more complete description of the repetition script starting on page 22 for more on how to use this feature Monophonic True Legato Button Turning on this button causes a legato instrument to become monophonic That is if one note is still playing when another note starts the first note will be terminated even though the MIDI note has not yet reached the Note Off event If you choose to turn off this behavior so that you can have more than one melodic line at once in a single in Stance of a legato patch you run the risk of PLAY making inappropriate slurs from one melodic line to the other Round Robin Reset Button A round robin articulation Is one in which several different samples are recorded with all parameters such as volume speed of attack and so on
79. w to Use This and the Other Manuals All documentation for the EastWest PLAY Advanced Sample System and its libraries is provided as a collection of Adobe Acrobat files also called PDFs They can be viewed on the computer screen or printed to paper Each time you install one of the PLAY System libraries two manuals are copied to the file system on your computer e The manual that describes the whole PLAY System This the largest of the manuals addresses how to install and use all aspects of the software that are common to all libraries e The library specific manual such as the one you are currently reading This smaller document describes aspects that differ from one library to the next such as the list of included instruments and articulations Using the Adobe Acrobat Features By opening the Bookmarks pane along the left edge of the Adobe Acrobat Reader the user can jump directly to a topic from the section names Note that some older versions of Acrobat Reader might not support all these features The latest Acrobat Reader can be downloaded and installed at no cost from the Adobe web site As an example of a hyperlink you can click on the last words of the previous sentence Adobe web site to be taken directly to the Adobe site When reading this and other manuals on the computer screen you can zoom in to see more detail in the images or zoom out to see more of the page at once If an included picture of the user interface
80. xt stage is crucial and highly subjective All PLAY libraries responds to two differ ent volume controllers CC7 volume and CC11 expression It is highly recommended you record a CC message at the beginning of every track Spend some time to set the initial volume of every track at a level in natural balance with the rest of the ensemble This is tricky and will never be perfect but the more time you spend the less hair you ll lose later If you will be using Hollywood Brass exclusively the balance of section IS eas ier than if you re bringing in other non brass instruments If for example you re using Hollywood Strings plus the woodwinds and percussion of EWQLSO in addition to Hol lywood Brass then start by playing the timpani french horns and big string ensemble really loud and at the same time that will give you a reference of what the loudest pas Chapter 5 Orchestral Technique 43 EASTWEST QUANTUM LEAP HOLLYWOOD BRASS sages will be like Together they should be at least 3 db below O Then adjust the other instruments to blend with these loudest instruments It s recommended you not use MIDI volume CC7 for any other purpose than this volume setting at the start of each track Use CC11 to change volume and breathe life into your compositions This way CC acts as a limiter and keeps everything from getting out of whack Also you can easily change the prominence of an entire track in the mix by ad justing this single CC7 l

eastwest/quantum leap hollywood brass - Soundsonline

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