Yamaha DVX-S80 Cinema Home Theatre System User Guide
Contents
1. There are three primary ways of changing articulations and playing techniques in your score articulation markings text instructions and lines Symbols may also be used but are not as common Through the sound set these instructions are interpreted and the appropriate MIDI data is generated whether that be a keyswitch continuous con troller change or other similar message invisibly and automatically Each of these methods creates sound changes in slightly different ways and while stan dard notation practice will generally dictate which method is used in a given context understanding how each one works together and separately is important Articulation Markings Includes such markings as staccato staccatissimo marcato tremolo etc Articulation markings are in effect for the duration of the note to which they are attached after which the sound is reset or changes to the next indicated sound Using articulation markings is perhaps the most obvious way of changing sounds in a score but may not be the most efficient in all contexts Articulation marks generally change sounds by way of a sound ID change with a fall back behavior that will simulate the technique in the event a matching sound ID is not found For example if a staccato mark is written but a staccato sample is not available Sibelius will shorten the note duration to mimic the staccato effect The fallback behavior while useful is not entirely reliable with different2. Windows Vista or Windows 7 32 bit 64 bit The size of your score number of voices to be used complexity and a number of other factors will determine how much computing power is required for your work As a general rule we suggest that your system should meet the recommended rather than the minimum system requirements for both the version of Sibelius you are using and the sample library you intend to use For large libraries we recommend streaming samples from a dedicated hard drive or solid state drive SSD for the best performance When working with large libraries laptop users in particular are encouraged to work with an external hard drive connect ed via FireWire 800 eSATA or other high performance data transfer protocol this excludes USB 1 0 and 2 0 as the system drive in many laptop computers is too slow and not suited to sample streaming i res ystem M iB Is Downloaded From TheatreS ystem Manua 2m a ua 5 Sibelius Savad Sar User Monel i5 2 2 Package Structure Each sound set package contains a variety of files that serve different purposes in the integration of that sample library or hardware MIDI device To better distinguish these files and make installation quicker we have separated them by function and structured each sound set package in a consistent manner After extracting the sound set zip archive the folders in the sound set package include 01 Documentation 02 Sound Sets 03 House Styles 04 Playba
3. Sibelius will arbitrarily select one of these sounds which may or may not be the desired sound To instruct Sibelius from which device a sound should play Preferred Sounds rules can be added in the playback configuration Using Preferred Sounds sounds can be as signed very specifically or very broadly to a particular device based on their sound IDs Nore Preferred Sounds despite their use in directing sounds to a device are not a replacement for a manual sound set when one must be used They should be used in addition to any channel assignments made in a manual sound set Preferred Sounds Tab Active Devices Manual Sound Sets Preferred Sounds Effects From the Playback Devices dialog select the Preferred Sounds tab to view currently applied Preferred Sounds rules if any and add new rules Select a sound ID using the expanding list at Preferred Sounds Sound ID Selection the left of this dialog The more specific your Sound IDs selection the more targeted the preferred g gt Keyboard sound rule will be For example if you select TASAA Strings all instruments whose sound IDs gt Guitar begin with strings will be allocated to the i mna designated device However if you select ERREA Strings gt Violin only instruments whose Y Strings sound IDs begin with strings violin will be allocated to the designated device Once youve made your selection use the drop down menu at t
4. Text Instructions arco P PP Used alone text instructions should be written in the score at the place the technique is to begin and a reset instruction entered where the technique should end For exam ple a passage to be played pizzicato might be indicated with the text instruction pizz and ended with the instruction arco While some text instructions come in natural pairs such as pizzicato and arco above mute and open etc others do not and will need to be reset with an appropriate instruction such as normal or ord The most important thing to remember is that unlike a live musician who will interpret instructions in the context of the piece Sibelius reacts to markings literally Context may indicate that a marcato text instruction should naturally be discontin ued and any live player would recognize this but Sibelius must receive an explicit instruction or the marcato sound will persist Differences between markup for live players and computer playback are quite evident here but it is possible to prepare scores that play correctly without excess visible and unnecessary markup Any text instruction that you do not want to print can be hidden in the score by entering a tilde in front of the part to be hidden Text Instructions Hidden con espress iie P Downloaded From TheatreSystem M I I DS ramatin S80 Sibelius Sound Ser User Manual 16 Lines Staff lines are similar to articulation marks wit
5. and even then only as a last resort Doing so can result in incorrect sound allocation cause articulations and techniques to switch incorrectly or prevent them from switching at all Downloaded From TheatreS ystem M I I S E rae a 80 ibelius Sound Set User Manual 20 The explanation lies in the way Sibelius allocates sounds Sibelius determines how to allocate a staff based on the sound IDs available in the sound set the Best Sound de fined in the instrument staffs settings and any manual sound set or Preferred Sounds directives present in the playback configuration This is repeated for each staff in the score until all staves are allocated to an appropriate device and sound Manually selecting a sound or device in the mixer tells Sibelius Use this sound regard less of any other setting This overrides the entire allocation system and while Sibelius will still work within the system it s forced to ignore certain things in order to comply with the manual assignment made in the mixer The trouble caused by doing this is not often obvious in fact depending on the complexity of the library or device problems may not appear right away Nevertheless since there are ways of controlling and guiding sound allocation within the system in cluding manual sound sets Preferred Sounds and instrument staves it s best to utilize the methods provided rather than brute forcing and overriding the system through the mixer
6. ibelius Sound Set User Manual 23 Manual Sound Set Instrument channel and device assignments Part of a playback configuration Manuscript template A Sibelius file containing customized settings such as those found in a House Style used as a template when creating a new score Playback Configuration Parameters that determine what plugin s or device s a score will use for playback Playback Dictionary Assigns sound ID changes and other MIDI functions to notation markings Plugin A software virtual instrument Plugin Instance An active software device in a playback configuration A plugin that has been activated once is said to be one instance twice is two instances etc Sound ID A Sound World identifier for instrument sounds and articulations Sound Set Instructions that tell Sibelius what sounds a sample library or hardware device contains and how to use those sounds SoundWorld Defines and establishes the relationship between sounds using sound IDs Standalone Use of a virtual instrument as its own program rather than as a plugin within Sibelius or another host Not all virtual instruments provide a standalone software program VST i Virtual Studio Technology Instrument a common plugin format for virtual instru ments available on both Mac and Windows systems x86 x64 Shorthand indications for software architecture x86 refers to 32 bit and x64 to 64 bit Downloaded From TheatreS
7. t fit into folders 01 06 are included in the Additional Resources folder There is no specific file type or purpose for files this folder so if present in your sound set package it s best to refer to Section 2 3 Files for information about what the files in this folder are and how they are meant to be used 08 Previous Versions In cases where an update would not be backwards compatible e g due to changes in the library patches or programming we may include the previous version files in the sound set package The files in the Previous Versions folder are separated first into sub folders by version number and within that folder structured in the same 01 07 format as the primary current sound set files rom Theatres ystem M iB Is a eee an a 80 S Sibelius Sound Set User Manual 7 2 3 Files The following files are included and required to use the Yamaha S80 Sibelius sound set 01 Documentation Yamaha S80 Sound Set User Manual pdf Sound set user manual 02 Sound Sets Yamaha S80 xml Sound set Theat tem M iB I ee a a 80 Sibelius Sound Set User Manual 8 3 Installation 3 1 General Sound set installation is a series of copy paste actions Before you begin close Sibelius and all other running programs We suggest placing the sound set package on your desktop for convenient access during the installation process The most frequent prob lems encountered during installation are a result of file and folder name mis
8. the Sibelius user settings directory locate the folder User Settings Directory Mac named Sounds If the folder is missing create itand Chord Symbols r name it appropriately douse Styles t E Ideas r Copy the XML files from the 02 Sound Sets folder in the sound set package to the Sounds folder in the Menus and Shortcuts Sibelius user settings directory C Playback Configurations lt gt PlaybackConfig xml C PlogueEngine lt gt PluginWindowPos xml lt gt ScoreWindowPos xml I Sounds gt Word Menus Worksheet Creator Downloaded F Theat tem M I I ownloaded From Theatres ystem Manua Amaha S80 Sibelius Sound Set User Manual 10 3 3 Windows Installation under Windows operating systems requires copying files to the Sibelius user settings directory which can be found in the following locations Sibelius 5 Windows XP C Documents and Settings wsername Application Data Sibelius Software Sibelius 5 Sibelius 5 Windows Vista Windows 7 C Users username AppData Roaming Sibelius Software Sibelius 5 Sibelius 6 Windows XP C Documents and Settings wsername Application Data Sibelius Software Sibelius 6 Sibelius 6 Windows Vista Windows 7 C Users username AppData Roaming Sibelius Software Sibelius 6 Sibelius 7 Windows Vista Windows 7 C Users username AppData Roaming Avid Sibelius 7 Note The Application Data and AppData folders are hidden by default If not visible follow
9. the instructions in our knowledge base article AppData Folder Not Visible Windows or Application Data Folder Not Visible Windows before continuing with the installation In the Sibelius user settings directory locate the folder User Settings Directory Windows named Sounds If the folder is missing create it and I Chord Symbols name it appropriately I House Styles I Ideas Copy the XML files from the 02 Sound Sets folder I Manuscript paper in the sound set package to the Sounds folder in the Sibelius user settings directory J Menus and Shortcuts J Playback Configurations J PlogueEngine jb Sounds J Word Menus Ji Worksheet Creator PlaybackConfig Downloaded F Theat tem M I I ownloaded From Theatres ystem Manua Amaha S80 Sibelius Sound Set User Manual 11 4 Using the Sound Set 4 1 Selecting the Sound Set To use the sound set a new playback configuration needs to be created so Sibelius knows which plugin s device s and sound set s to use for playback To create a new playback configuration open the Playback Devices dialog from Play gt Playback De vices in Sibelius s menu Sibelius 5 and Sibelius 6 or by clicking the dialog launcher button in the Play gt Setup group in the ribbon Sibelius 7 At the top of this dialog Sibelius displays the name of the currently active playback configuration with buttons for several different actions including Save New Rename and Delete Clic
10. Downloaded From Theatres ystem Manual ji amaha S80 Sibelius Sound Set User Manual 21 5 4 Implied Articulations In Section 5 1 Articulations Techniques mention was made of the difference be tween a live player s contextual interpretation of the score and the literal interpretation used by Sibelius This difference extends beyond techniques that are actually written in the score as well as a player interprets and phrases his part notes will become longer shorter perhaps staccato or accented without any of these markings being present in the written part Sibelius itself does not allow articulations to be hidden independently of the note to which they are attached making this sort of phrasing difficult as it will clutter the score with markings that are desired for playback alone not in print However a solution can be found in a third party plugin Hide or Show Articulations which as the name suggests allows articulation markings to be entered for playback sake and then hidden so they do not print Simple and elegant it solves an important problem and is highly recommended Implied Articulations Playback amp ae St Implied Articulations Printed Part f The Hide or Show Articulations plugin was developed by Roman Molino Dunn and is available from his website The Music Transcriber Downloaded From TheatreSystem Manual ji amaha S80 Sibelius Sound Set User Manual 22 6 Common Terms While
11. SOF Yamaha S80 Sibelius Sound Set User Manual Downloaded From TheatreSystem Manual com Manuals The information in this document is subject to change without notice and does not represent a commitment on the part of The Sound Set Project The software described by this document is subject to a License Agreement and may not be copied to other media No part of this publication may be copied reproduced or otherwise transmit ted or recorded for any purpose without prior written permission by The Sound Set Project All product and company names are trademarks or registered trademarks of their respective owners User manual by Joel Avery and Jonathan Loving Copyright 2012 The Sound Set Project All Rights Reserved The Sound Set Project a wholly owned division of Sound Notes LLC has no affiliation with Avid Technology Inc The Sound Set Project Sound Notes LLC PO Box 811 Bowling Green OH 43402 USA info soundsetproject com www soundsetproject com Downloaded From TheatreS ystem Manual com Manuals Contents 1 Introduction 4 2 Overview 5 ZL Requirements cjescieysdidvccstyieineisbesievevacvessevecuessencvecsevecseres 5 2 2 Package Structure csy ccelsescesbasvieesseaascueteecheroeste obadbagavee 6 D oa oS ETR 8 3 Installation 9 De WCeMe ral sat 2a a taeecasdecus tears fe casessece sear ee 9 32 Mae OSX decccdsssssoccessdsssscnlssesssncaiectsiadeevecssades duces essiacede 10 3 3 Windows 1 s 3iii0 asinine nat Adon
12. ai lemon 11 4 Using the Sound Set 12 4 1 Selecting the Sound Set wc eceseeeesesseeeeeeeeeseeeteneees 12 4 2 Preferred Sounds cccccssscecsecesseesecesssesecescecssssesseeeees 13 5 Working with Sounds 15 5 1 Articulations Techniques ccseesesesesseeeeeecneseeseeeaees 15 5 2 Dy Batnics sicasis ss enirir ee EEE EEEE REEE EEE EREE 18 5 3 The Mixer eis raren E E ER 20 5 4 Implied Techniques s sseeeeseeereerisesreresrrrrsssserrererene 22 6 Common Terms 23 7 Contact and Support 25 8 Credits 26 D Ioaded From TheatreS ystem Manual com Manuals ownloaded From Theatres ystem Manu amaha Sibelius Sound Set User Manual iii 1 Introduction Thank you for choosing The Sound Set Project The Sibelius sound set you are using is a product of countless hours of trial error research and development working towards an integration that not only provides deep functionality but does so in an intuitive easy to use and flexible way that meets the diverse needs and workflows of our users With each integration we aim to provide you a powerful and efficient way of using today s sampled sounds within a notation based composing environment with as little extraneous markup as possible allowing you to focus and spend more time on your music and less on the technical challenges this medium presents We are committed to continually evaluating and improving our integrations and it s through the support of users like you that we are n
13. ck Configurations 05 Manuscript Templates 06 Patches 07 Additional Resources 08 Previous Versions The package you download may not contain all of these folders or some of the folders may be empty depending on the requirements for that specific integration Folders may contain additional subfolders that further separate files by Sibelius version func tionality operating system Mac Windows or other important differences A brief description of these folders is given below For specific information about the files included in your sound set download refer to Section 2 3 Files in this user manual 01 Documentation The Documentation folder is present in all sound set packages It contains the user manual drum and percussion maps MIDI input maps changelogs addenda and other written documents that provide important information regarding the sound set and its use 02 Sound Sets The foundation of every integration the Sound Sets folder holds the Sibelius sound set XML files Depending on the integration there could be anywhere from one to four or more sound sets included in this folder each addressing a different compatibility or workflow requirement This folder is present in all sound set packages Downloaded From TheatreS ystem Manual 2m a uals Sibelins Sund Sa User Monel 03 House Styles A majority of our sample library integrations include House Style files in the lib for mat These files contain additional sett
14. d Prom Iheatresystem Manu rae a 80 ibelius Sound Set User Manual 18 Dynamics Hidden P eee u ff This works because the second hidden dynamic mark is the mark interpreted during playback and triggers the same velocity layer as the note following the crescendo By using the Cresc Dim Playback plugin the entire range of 0 127 is available for this upper velocity layer allowing for a distinct and noticeable dynamic change across the duration of the note Recording Dynamics As evidenced by the workaround presented above dynamics in Sibelius are linear in nature In the right or wrong context this can result in very unnatural dynamic move ment lacking the subtleties that make the music come alive If you are working with a MIDI keyboard or controller that is capable of inputting continuous data via a fader knob wheel foot pedal etc you can overcome this by recording dynamic changes in real time shaping the performance while preserving the appearance of the score Open the Flexi time Options dialog from Notes gt Flexi time Options in Sibelius s menu Sibelius 5 and Sibelius 6 or by clicking the dialog launcher button in the Note Input gt Flexi time group in the ribbon Sibelius 7 Flexi time Overdub On the Flexi time tab select Overdub in the Existing Existing Music Music section at the lower left of the dialog Under Replace Voices at the upper right deselect Record into mul f Overdub ti
15. h two notable differences they may act on multiple sequential notes and the length of the line determines the point at which the technique or effect ends Staff lines require less discussion than articulations or text instructions but the behavior of three common lines deserves a mention Playback of slurs is dependent on a minimum of two notes the first note to which the slur is attached and the last note and any notes in between While the slur marking will create a sound ID change at the beginning of the first note the legato transition will not be heard until a subsequent note has been triggered The transition will then sound for each note under the slur line Glissando and portamento lines react the same way as slurs but are worth mention ing on their own because the effect of waiting for the second note is much more pronounced When written glissando and portamento lines often indicate a transi tion should be applied in the space between the notes to which the line is attached Live players accomplish this by looking ahead finding the desired ending pitch and applying the transition accordingly By contrast Sibelius is not able to look ahead to determine the ending pitch and instead must wait for that note to be triggered before applying the transition effect The result is a transition that triggers in the space of the second note rather than the space between notes Unfortunately there is no easy way of overcoming this sho
16. he right to select the device you want to use for this sound and click Add to apply the rule Be sure to save the playback configuration after adding or editing rules so that the changes are stored Downloaded F Theat tem M I I ownloaded From Theatres ystem Manua amaha S80 Sibelius Sound Set User Manual 13 An important aspect of preferred sound assignments is the use of wildcard characters in the sound IDs that are selected Using the solo violin example the complete rule is For the sound ID strings violin prefer this device My Plugin While it s the use of wildcards that makes Preferred Sounds so flexible each rule should be evaluated to see what effect it may have on other sounds In this case not only has the solo violin sound been assigned because of the wildcard character violin section sounds have also been assigned to this device If the violin section sound should play from a different device than the solo violin sound a second rule is required For the sound ID strings violin ensemble prefer this device My Other Plugin This second and more specific rule overrides the broader rule created previously al lowing violin section sounds to play from a different device Keep this in mind while assigning Preferred Sounds rules and you ll be able to target sounds correctly Downloaded From TheatreS ystem M I ji E rae a 80 ibelius Sound Set User Manual 14 5 Working with Sounds 5 1 Articulations Techniques
17. ings such as playback dictionary entries custom instrument staves and percussion mappings House Styles are version specific mean ing they are designed for a specific version of Sibelius When included there will be a minimum of three lib files in this folder 04 Playback Configurations The Playback Configurations folder contains preset playback configurations that define sounds and assign channels They are generally included as a way of reducing setup time for large sample libraries that are not able loaded automatically and when custom programming or simulated autoload is used in an integration Playback configurations like sound sets are XML files and will often be separated by operating system Mac Windows and plugin format VST AU 05 Manuscript Templates Included as an alternative to manually configuring new scores the manuscript paper templates can be selected during score creation to save some time These files are in cluded for all packages that contain House Styles and are likewise version specific 06 Patches Sometimes it s necessary to re program all or part of a sample library to achieve the best integration We may also include preset instrument and multi files often in packages that contain playback configurations to reduce setup time and provide a comprehen sive starting template Any such instrument programming multi or preset is included in the Patches folder 07 Additional Resources Files that don
18. issues ap pearing in different versions of Sibelius The two most common issues which extend to staff lines as well include fallback behavior overriding a sound ID change and the fallback behavior being executed in addition to the sound ID change unmeasured tremolo and slurs respectively are examples In practice this will have little effect on your work since the sound set and House Styles are built to accommodate these incon sistencies but it s something to be aware of Because articulation markings are automatically reset changed at the end of the note repeated notes using the same articulation e g staccato can suffer from a pulsing and ill defined effect especially at faster tempi as superfluous MIDI data is generated a reset and retrigger for each individual note as opposed to once per passage Our Knowledge Base article Fast Staccato Passages Muddy sheds some light on this issue Downloaded From TheatreS ystem M I I ownlosded Prom Theatres ysiem Manus ama a 80 ibelius Sound Set User Manual 15 Text Instructions Given that there are a limited number of articulation markings but seemingly infinite technique variations text instructions are responsible for a substantial number of sound changes Typically entered using Expression and or Technique Text nearly all text instructions remain in effect until explicitly disabled making them an ideal choice for sound changes that should persist for an extended period of time
19. k New enter a name for the playback configuration and then click OK to create it When you create a configuration Sibelius uses the settings of the current configura tion to create the default state of the new one Select each plugin or device listed in the Active Devices pane that is not required and click the lt lt Deactivate button to remove it from the configuration Playback Devices Once the unneeded plugins have been removed select the appropriate device Device Type Sound Set UltraLite mk3 MIDI Yamaha S80 from the Available Devices pane and click the Activate gt gt button to add it to the configuration In the Active Devices pane use the drop down menu in the Sound Set column to select the Yamaha S80 sound set Click the Save button at the top of the Playback Devices dialog to save your changes and close the Playback Devices dialog Downloaded From TheatreS ystem M I I ownlosded From Iheatresystem Manua rae a 80 ibelius Sound Set User Manual 12 4 2 Preferred Sounds When multiple sound sets are used in the same playback configuration there is a good chance that some instruments will be available in more than one device For example Library A and Library B may both have a solo violin sound Even though the patch names in the sound sets are probably different to Sibelius these two solo violin sounds are equivalent because the underlying sound ID is the same This poses a prob lem because
20. ot only able to create new integra tions but refine and expand our existing integrations to better serve your needs As these products evolve we will release updates often for free that feature new func tionality and address users concerns requests or other issues We encourage you to periodically check our website or subscribe to our newsletter so you can be certain you have the best and most recent integration available If you have any questions comments concerns or suggestions please contact us using the information found at the end of this user manual Your feedback helps shape the integrations you use by providing invaluable insight into working methods prefer ences computer environments and more The more you share with us the more we can do for you We sincerely hope that you enjoy working with this Sibelius sound set and wish you the best in all of your musical endeavours The Sound Set Project D loaded From TheatreS ystem M iB Is 2 romal hestresyrteu Manua am a 80 S Sibelius Sound Set User Manual 4 2 Overview 2 1 Requirements Minimum system requirements for the Yamaha S80 Sibelius sound set are set out below separated by the version of Sibelius with which the sound set is to be used Sibelius 5 Mac OS X 10 4 or higher Windows XP Windows Vista or Windows 7 32 bit 64 bit Sibelius 6 Mac OS X 10 4 or higher Windows XP Windows Vista or Windows 7 32 bit 64 bit Sibelius 7 Mac OS X 10 6 or higher
21. ozart Horn Concerto No 3 in E flat major K 447 p 16 Richard Strauss Horn Concerto No 1 in E flat major p 22 Special Thanks Sam Butler Chelsea Myers Daniel Spreadbury Downloaded F TheatreS ystem M I I Own oaded irom neamesystem vanua aha S80 Sibelius Sound Set User Manual 26 SSP www soundsetproject com Downloaded From TheatreS ystem Manual com Manuals
22. ple voices and then select an unused voice 1 4 for Sons the MIDI data to be recorded in Flexi time Voices Switch to the Notation tab briefly and verify that Keep Y lt controller messages is selected in the MIDI Messages J Record into multiple voices section and then click OK to apply your settings Record into one voice e f fy 010620304 Align the playback cursor where you would like to re cord dynamics and when ready start recording by pressing the record button in Sibel ius s transport When finished stop recording and your MIDI messages will be entered in the score as hidden text instructions in the voice designated in Flexi time Options Downloaded From TheatreS ystem M I I aded Tom Mearesysien nhs S80 Sibelius Sound Set User Manual 19 5 3 The Mixer The Sibelius mixer provides control over a variety of parameters associated with play back including MIDI volume level panning plugin audio levels effects and sound assignments With the exception of sound assignments all of these behave as you would expect and allow for finer control of the sounds used in the score Audio and MIDI Levels and Control An important distinction needs to be made between audio and MIDI levels as con trolled by the meters in the Mixer For staff channel strips the meters show MIDI activity level and are not indicative of the audio signal The volume faders for these channel strips are linked to MIDI CC7 and
23. rt of entering hidden pitches between the notes in an effort to fake it but with the growing number of libraries offering true glissando and portamento transitions many include the ability to control the speed of the transition Though not a perfect solution in every situation when this control is available altering the speed of the transition may help to disguise this effect in some small way Downloaded From TheatreS ystem M I I aded ee a he S80 Sibelius Sound Set User Manual 17 5 2 Dynamics Fundamentally dynamics in Sibelius consist of two parts the Attack strength and the Dynamic level The Attack and Dynamic values are set in the playback diction ary with a number in the range 0 127 Attack and Dynamic are assigned to MIDI functions in the sound set for each patch and optionally for specific articulations techniques allowing the values set in the playback dictionary to be sent using whatever MIDI function s a device responds to Different libraries and devices use different methods of controlling dynamic and attack levels some of which respond better than others in Sibelius but generally fall into two categories crossfaded velocity layers and separate velocity layers Crossfaded Velocity Layers Crossfaded patches often abbreviated XF or DXF allow for even continuous changes in level from the quietest to loudest sample Crossfading frequently uses MIDI CC1 commonly mapped to the ModWheel to control dynamic
24. s and may or may not utilize note velocity at all or may assign it to another related function such as attack speed These patches are generally preferable in Sibelius as they allow for smooth crescendo and diminuendos over sustained notes Depending on patch programming the Attack value sent by Sibelius may have no effect Separate Velocity Layers Patches programmed with separate velocity layers allow attack and dynamic to be con trolled separately but usually prevent the continuous change in dynamics resulting in staggered and jumping dynamics Because the MIDI controller assigned to dynamics typically MIDI CC7 or CC11 operates within the active velocity layer rather than the instrument as a whole the output of low velocities at a fff dynamic is not the same as high velocities at that same dynamic While there are exceptions to this the majority of devices that use velocity layers for sustaining instruments will pose a problem when it comes to continuous dynamic changes in a Sibelius score Perhaps the best workaround is to utilize hidden dynamics and a plugin to create a smooth dynamic change that ends at the desired level Enter the dynamic mark that should appear print in the score followed by a hidden marking that is the same as the ending dynamic such as p fff Then use the Cresc Dim Playback plugin to create the crescendo from p to fff using either MIDI CC7 or CC11 Downloaded From TheatreS ystem M I I ownlosde
25. takes so read each step carefully and you ll be able to avoid those issues The locations given are the only locations in which the files should be installed and where they will all work correctly If you have trouble finding a folder take note of any special instructions regarding hidden folders and then contact our support team for as sistance rather than attempting to install in similarly named folders located elsewhere When installing do not copy entire folders from the sound set package to the des ignated location instead copy the files contained in the named folders unless the instructions explicitly state co e folder truct plicitly stat y the fold Installation will require approximately one to five minutes fi treSystem M iB Is Downloaded From TheatreS ystem Manua 2m a als Bibclina Sond Ser User Monil 9 3 2 Mac OS X Installation under Mac OS X requires copying files to the Sibelius user settings direc tory which can be found in the following locations Sibelius 5 Users username Library Application Support Sibelius Software Sibelius 5 Sibelius 6 Users username Library Application Support Sibelius Software Sibelius 6 Sibelius 7 Users username Library Application Support Avid Sibelius 7 Note If using Mac OS X 10 7 the user Library folder is hidden by default Follow the instructions in our knowledge base article Library Folder Not Visible OS X 10 7 before continuing with the installation In
26. the pan controls to MIDI CC10 As these are MIDI level controls their values can be altered by data in the score such as dynamic changes For devices that offer a secondary volume control via CC11 the staff volume faders can be used to set overall MIDI volume levels and the value will not change If how ever the device uses CC7 alone the value set in the mixer is subject to change when different dynamics are entered in the score Note that the display in the mixer will not track these changes Although generally of little consequence understanding how these faders operate can prevent frustration when the displayed levels seem to be changing or ignored alto gether Unlike staff channel strips the virtual instrument and master channel strips display au dio signal and control each plugin s audio output level and the summed audio output level of all plugins respectively The virtual instrument faders in particular are useful when mixing libraries together that have widely varied output By balancing the output levels at the plugin stage the staff channel strips can be left to mix each instrument at the MIDI level allowing greater flexibility and range Sound Assignments Two types of sound assignment are possible using the mixer device assignments and patch assignments However with the exception of hardware MIDI synths assigning sounds and devices in the mixer is bad practice and is best avoided in all but a few spe cific cases
27. working with the sound set reading this manual or corresponding with The Sound Set Project you may encounter unfamiliar terms To alleviate confusion and improve understanding some common terms associated with the integrations are given below ASIO A low latency audio driver for Windows systems that accesses sound hardware directly improving performance AU Audio Unit the native Mac OS X plugin format Audio Interface Sound Card Chip The interface used to route audio signal to and from the computer Automatic Loading A feature available to certain software plugins whereby Sibelius is able to load required instrument sounds without user input Device Encompassing term for software plugins and hardware MIDI modules External Host Third party software used to load virtual instruments possibly on a different computer An external host may communicate with Sibelius via virtual or physical MIDI connec tions or other proprietary software interface Host Program The software application in which virtual instrument plugins are loaded and config ured Plugins loaded activated in Sibelius are said to be hosted in Sibelius House Style A set of rules settings and preferences that establish a score s layout appearance play back capabilities and more Latency The time between an instruction to play a note and when that note actually sounds loaded From TheatreS ystem M I I I hront Lhiestresyatei Manua Ae a 30
28. ystem Manual i Duone rom res aren anu aie a 80 ibelius Sound Set User Manual l 24 7 Contact and Support A number of resources are available if you run into trouble using the sound set in cluding our Knowledge Base with articles describing common issues error messages behaviors tips and more If you don t find an answer to your question or have ad ditional concerns you can submit a support ticket or contact support directly by email and we ll work with you to resolve the issue Please note that while support can be con tacted directly submitting a ticket allows us to process your request more efficiently FAQ www soundsetproject com support fag Knowledge Base www soundsetproject com support kb Submit a Support Ticket www soundsetproject com support Email Technical Support support soundsetproject com All other non technical support inquiries can be submitted via our website or you can contact us using the information below On the Web www soundsetproject com company contact General Inquiries info soundsetproject com Orders Sales orders soundsetproject com Postal Mail The Sound Set Project Sound Notes LLC PO Box 811 Bowling Green OH 43402 Downloaded F Theat tem M I I ownloaded From Theatres ystem Manua Amaha S80 Sibelius Sound Set User Manual 25 8 Credits Integration The Sound Set Project Project Lead Jonathan Loving User Manual Joel Avery Jonathan Loving Musical Excerpts W A M
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