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Symphonic Orchestra Manual - Soundsonline

1. o O a 4 fiev accom susto SSS S S fiw Enot OXF Ca tev emmo S Enotn i WWbplepkeD A Fi i mW egtsupm Emon OXFVe 2 Chapter 4 Instruments Articulations Keyswitches 42 EASTWEST QUANTUM LEAP SYMPHONIC ORCHESTRA VIRTUAL INSTRUMENT 18 VIOLINS 5 18V KS Master Elements 6 18V KS Shrt RR c0 F 0 8 18V KS Sus CO A0 4 18V Sord Mod Dyn _4 18V Sus Vib DXF Legvel 4 18V Sus Vib DXF 4 18V Sus Vib DXF Sur2vel 4 18V Sus Vib DXF Slurvel 4 4 18V Sus Vib XF Trem Many people use the 11 Violins articulations for the Second Violins section of a large orchestra but not everyone Note that the lists of articulations are significantly different in the two large violin sections V11 and V18 especially in the effects so you may want to have the First and Second Violins use each other s articulations as needed This sec tion also sits in the left half of the orchestra s sound space 11 VIOLINS 5 TIV KS Master Silver version 8 TIV KS Master Elements 6 11V KS Shrt RR 60 80 6 TIV KS i iiv Butter tegone 1 1 TIV Butter Legato 1 VEmDim
2. SFL Psycho unna Li sumi 0 FW E SW 1 A SFE tush Accented O i SW SOLO ALTO FLUTE 8 Master Elements 8 AFLKS Sus c0 6 0 1 Exp Legato Bright 1 AFLExplegatolyrio E0 AFL Exp Legato F o FO 1 AFLExp AFLLegato CH DO 1 AFLNon vib D 0 1 AFLSusVib CO 00 1 o 2 GO 2 3 4 Acc i O 4 AFLExpOXF 02 continued Chapter 4 Instruments Articulations Keyswitches 61 EASTWEST QUANTUM LEAP SYMPHONIC ORCHESTRA VIRTUAL INSTRUMENT SOLO ALTO FLUTE 8 AFLKS Master Elements 6 AFLKS Sus C0 6 0 4 AFL Legato OXF Acc O 4 J AFLNVVibXFade SOLO PICCOLO FLUTE 5 PFL KS Master Silver version o 5 PFLKS Master Elements 6 PFLKS Sus CO F 0 PFLKSFXeo 60 Cid 1 PFLexp lee CCH 1 PLEp 1 PFL eg CHO CHO Slvr 1 PFL Sus NV ppp FO F 0 00 Slvr 1 PFLSusVib 0 co 00 Sw 1 P Sscg A erisera o 2 pristac 3 0 A 3 PFL8vaUpDn 3 PLivaUp 80 3 PLGliss DO i 3 PFLPsychoFal
3. O SSC i mmm OSS SOLO VIOLA 75 T SVA KS Waster s SVAKSWasterElements 2 5 H 0 Chapter 4 Instruments Articulations Keyswitches 54 EASTWEST QUANTUM LEAP SYMPHONIC ORCHESTRA VIRTUAL INSTRUMENT SOLO VIOLA Ls T SVA KS Master Siver version 2 oo M 8 _ _ Ca SSCS SOS S 8H W O _ o o 8 SOLO CELLO 8 SVC KS Master Silver version 8 KS Master Elements ___ B SVC KS Shrt RR CO FO 8 SVCKSSusCO MD 1 SVC Double Bow Exp 1 13 1 sveexvib continued Chapter 4 Instruments Articulations Keyswitches 55 EASTWEST QUANTUM LEAP SYMPHONIC ORCHESTRA VIRTUAL INSTRUMENT SOLO CELLO
4. P 2 2 tion but these notes be changed G O Exp F If within the list of articula the D1 keyswitch can be moved to Al Chapter 3 The EastWest Quantum Leap Symphonic Orchestra User Interface 27 EASTWEST QUANTUM LEAP SYMPHONIC ORCHESTRA VIRTUAL INSTRUMENT This feature provides very few restriction on which note you select so be aware of the following e f you assign an articulation to a note that is already a keyswitch and don t move the other keyswitch then that note will trigger both the old and the new articulation effectively playing two articulations at once That might sometimes be useful and at other times a problem f you assign an articulation to a playable note in white on the onscreen keyboard then playing that note will also change the articulation The articulation will be changed after the start of the note so the note itself will not be in the new articula tion it only starts with the next note e f you change the keyswitch note for the currently selected articulation then all the notes temporarily stop being playable until you select a new articulation by selecting a keyswitch note Visually this means all the white keys on the onscreen keyboard turn the darker tan color Remember that the lowest keyswitch note usually CO is the default keyswitch so it is considered currently selected until another keyswitch note is selected e f you open the context menu on a slot th
5. 20e susvin 1 E soe in ESEN 3 CLARINETS 5 BCL KS o Pi 1 Chapter 4 Instruments Articulations Keyswitches 59 EASTWEST QUANTUM LEAP SYMPHONIC ORCHESTRA VIRTUAL INSTRUMENT 3 CLARINETS 5 3CL KS Master Elements 6 361 KS Sus CO C 0 1 3CL Sus co 2 3CLStacRRx3 HO 4 3CLSusOXFAccVel O 4 JS SusDXE 4 136 Solo Instruments SOLO FLUTE 5 SFLKS Master Silver version Ls SFLASMasterelements 2 6 SFLKS Sus C0 6 0 0 1 SFL Exp Legato i HW 1 OMO ___ 1 SFLNonVib 1 SFL 0 C 0 DO Slw 1 SFL Sforzando Vib 1 SFLSlowExp2 1 SFLSusNVppp 1 SFL Sus Vib Bright 1 SFLSusVib CO 0 0 5 2 SflShotStac RRx2 2 slShortStac 0 FO Shr 2 2 srustac 3 5 3 2 continued 02 Chapter 4 Instruments Articulations Keyswitches 60 EASTWEST QUANTUM LEAP SYMPHONIC ORCHESTRA VIRTUAL INSTRUMENT SOLO FLUTE s T SFLKS Master Silver version O s SFLKS Master Etements Pe srussuscoc 771
6. 8 ATBKSMaster Elements 8 4TB KS Cres 1 ate FortePiano D5 1 ATB Mute Sus continued Chapter 4 Instruments Articulations Keyswitches 71 EASTWEST QUANTUM LEAP SYMPHONIC ORCHESTRA VIRTUAL INSTRUMENT 4 TROMBONES 5 STB KS Master Silver versio O O O O Ts aB kS Nasterflements 5 amus cress 2 5 asks sses 2 90027 8 8 SW O 2 ae Mute 2 aT Mute tac RR 802 ENCE HB 85 o 7 Mute Fircrest 5 are Ware 7 are Wate us OXF Ca fassus eo 88 O Chapter 4 Instruments Articulations Keyswitches 72 EASTWEST QUANTUM LEAP SYMPHONIC ORCHESTRA VIRTUAL INSTRUMENT 3 WAGNER TUBAS 5 3WT KS Master Elements 1 3WT Big Sus 0 1 3WTPort Leg EO 1 j3WISusPot CHO 1 BWT Sus Leg o0 3 y F0 4 3WT Sus X Fade 2 Way 00 Solo Instruments SOLO TRUMPET 1 STP KS Master Elements E ENEI ENE o 8 H6 8 O
7. 8 Li Ca ste wv vo Ca stPsus heem U Li ste sus 2 SCS Chapter 4 Instruments Articulations Keyswitches 73 EASTWEST QUANTUM LEAP SYMPHONIC ORCHESTRA VIRTUAL INSTRUMENT A second Solo Trumpet was added when the additional articulations for the Pro XP ver sion were recorded Because the timbres of the two instruments are somewhat different it is recommended that you not mix articulations from the two instruments when in a featured role SOLO TRUMPET 2 s T STZ KS Master Elements Pe C1 S12 marc vinto 8 steroniee o szen o SW stesusteg r szWe O S sses oo sptes2se n i srtessserrr n i szhs i sterutertrestst w E a szegem i ste sus oF accvel O Pa stesuswoxr Chapter 4 Instruments Articulations Keyswitches 74 EASTWEST QUANTUM LEAP SYMPHONIC ORCHESTRA VIRTUAL INSTRUMENT SOLO PICCOLO TRUMPET 5 KS Master Elements 1 PTP Sus Leg 00 1 jPIPSU CO 2 PrP Marc 2 PTPStacRRx6 2 PIPStcRR Fo 3 o 3 PIPTiIWT oo 4 PIPSushccDTMod 4 PIP Sus DXF Acc Vel 4 PIPSU DF i SOLO FRENCH HOR
8. e 3 Effects trills crescendos slides sul ponticello and so on e 4 ModXfd articulation files that respond to the Mod Wheel including cross fades and dynamic cross fades DXFs e 5 Keysw Keyswitch files including the Master file and the Elements file e 6 Old KeySw Older style keyswitch files that provide compatibility with projects begun in an earlier version of EWQLSO The tables of articulations later in this chapter include the category number 1 through 6 in the first column to help you find the correct folder in the browser Using the Instruments and Their Articulations The tables later in this chapter list all the instrument files for both individual instruments and keyswitches They are grouped in the following order e Strings starting on page 43 Woodwinds starting on page 61 e Brass starting on page 71 e Percussion starting on page 81 Within each table the keyswitches are grouped first when they exist The colored bands for the keyswitches help to draw the eye down the rest of the table where note names specify which of the listed articulations are included in each one Keyswitches Gold Platinum and Platinum Plus In this manual the term keyswitch refers to any collection of articulations whether or not it contains keyswitch notes See a more complete descriptions of keyswitches start ing on page 105 There are three types of keyswitches that appear in the tables that appear later in this chapte
9. 5 VCS KS Master Elements 6 VCS KS Shrt RR 6 VCS KS Sus CO A 0 0 ves Butter 1 VCS Butter Legato 1 VCS O VCS Exp Vib Fst 6O 0 1 JWSEmVib M S VCS Flowing 120 t vestyrrast POO 1 jWsty 1 VCS NonVib 1 VCS Port Shrt ___ 1 JWsPotleg O 1 vesPot OO O 1 JWS legSod 00 5 1 VCS Oleg C40 C 0 DO Slvr 1 VCS Run Simulator 1 VCS Run simulator 1 VCS Sord leg dim oo 1 VCS Sus 1 VCS Sus Vib Soft 1 vessusvib 0 1 00 0 1 veSTremteg __ 1 vestrem 2 VCS Bartok PizzRR 2 VCS Bartok Pizz RRx3 2 WSBartokPzz continued Chapter 4 Instruments Articulations Keyswitches 48 EASTWEST QUANTUM LEAP SYMPHONIC ORCHESTRA VIRTUAL INSTRUMENT 10 CELLOS 5 VCS Master Silver version 8 VCS KS Master Elements i 6 VCS KS Shrt RR CO F 0 6 VCS KS Sus CO A 0 2 VtSCollegnoRR BS 2 VCS Col Legno RRS 2 2 VeSMarcModColRRxB 2 2 VCS Marc RR CH0 G 5 FO 2 jWsMatUpbn o 65 2 VCS Pizz New 2 JWsPzzRR 6050 2 VCS PizzRR33 2 VCS Pizz vs Bart RRx3 vio 2 VCS Quick Up DNx6 2 VCS Quick UpDn 1 2 VesspiccatoRRxB 2 VCS Spiccato RR EO M5 GO Slvr 3 O O 3
10. El 2nd tom hit left hand Al Middle tom hit right hand D2 Highest tom hit left hand E2 Highest tom hit right hand BASS DRUM CONCERT Silver G3 Bass drum roll loud start then soft slow crescendo C4 Bass drum hit left hand continued Chapter 4 Instruments Articulations Keyswitches 83 EASTWEST QUANTUM LEAP SYMPHONIC ORCHESTRA VIRTUAL INSTRUMENT BASS DRUM CONCERT Silver 4 Bass drum hit lower in pitch F4 Bass drum hit louder G4 Bass drum long roll looped BASS DRUM WAGNER Cl Bass drum roll slow crescendo 1 62 Bass drum long roll looped FIELD ENSEMBLE D4 Field drum single hit right hand FIELD FUNERAL AND TENOR DRUMS C4 Field drum single hit left hand D4 Field drum single hit right hand F4 Field drum roll mf accent at release 4 sec G4 Field drum roll f looped 4 Field drum roll fast crescendo 1 sec Chapter 4 Instruments Articulations Keyswitches 84 EASTWEST QUANTUM LEAP SYMPHONIC ORCHESTRA VIRTUAL INSTRUMENT FIELD FUNERAL AND TENOR DRUMS C5 Funeral drum hit left hand Funeral drum roll looped f Tenor drum hit left hand Tenor drum hit right hand MAHLER HAMMER C1 E1 Mahler hammer multi velocity hits left 62 0 Mahler hammer multi velocity hits right ROTO TOMS RR B0 C3 Roto toms multi velocity hits left pitched B3 C6 Roto toms multi velocity RR hits right pitched SNARE ENSEMBLE LARGE C3 Large snare drum single hit l
11. 6M 1 TIV Grand 1 11V Harmonies 1 FO G 0 EO Slvr 1 TIV Oleg Flaut 1 TIV Oleg Sord 00 6 0056 continued Chapter 4 Instruments Articulations Keyswitches 43 EASTWEST QUANTUM LEAP SYMPHONIC ORCHESTRA VIRTUAL INSTRUMENT 11 VIOLINS TWAS Master Silver version 00000000 Ca Pe rivassinmeoo ro 5 rv Run Simulator rv un Simulator ENUEN fiiv sus visoog i msswst O O O i nvssw o oo 6H S OSS GN ED a S rv Med i Upon are rv awk upon pie Sr 88 wsie 11V Spiccato 2 RR x6 11V Spiccato 2 RR F 1 MO Slvr 11V Stac Mod Col RR x2 2 11 Stac RR x2 D 0 0 Slvr Chapter 4 Instruments Articulations Keyswitches 44 EASTWEST QUANTUM LEAP SYMPHONIC ORCHESTRA VIRTUAL INSTRUMENT 11 VIOLINS 8 MVKSMaster Siverversio 5 11V KS Master Elements 6 11V KS Shrt RR CO FO 6 11V KS Sus 0 6 0 3 Scratching FX M 5 _3 MV5tSlideDNHrd 3 MIV 5t
12. Recorded by Prof Keith O Johnson Custom Recording Equipment Built and Designed by Prof Keith O Johnson Assistant Engineer Rhys Moody Concept by Doug Rogers Nick Phoenix and Rhys Moody Sample Editing Arne Schulze Nick Phoenix Claudia Phoenix Rhys Moody Justin Harris Scott Plunkett Pierre Martin Charles Fielding John Hug Robert Phoenix Scott Jennings James Rickabaugh Pacemaker Rob Williams Michael Becker Jonathan Marmor Nick Pavey and Jared Selter Software Doug Rogers Nick Phoenix Klaus Voltmer Klaus Lebkucher Patrick Stinson Stefan Kersten Toine Diepstraten Thomas Merkle Sam Fischmann David Kendall Nick Cardinal and Jonathan Kranz Programming Nick Phoenix and Justin Harris Score and Articulations Nick Phoenix Chapter 1 Welcome EASTWEST QUANTUM LEAP SYMPHONIC ORCHESTRA VIRTUAL INSTRUMENT Performance Programming Gunter Hirscher Surround Looping and Custom Editing Tools Arne Schulze Art Direction Steven Gilmore and Doug Rogers photo by Mike Itashiri Manual John Philpit Special Thanks All of the musicians we salute you and all at EastWest Chapter 1 Welcome 8 EASTWEST QUANTUM LEAP SYMPHONIC ORCHESTRA VIRTUAL INSTRUMENT How 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 t
13. ing limitations will apply even if the above stated remedy fails of its essential purpose 9 Export Control You may not use or otherwise export or reexport the EASTWEST SOFT WARE except as authorized by United States law and the laws of the jurisdiction in which the EASTWEST SOFTWARE was obtained In particular but without limitation the EASTWEST SOFTWARE may not be exported or reexported a into any U S embargoed countries or b to anyone on the U S Treasury Department s list of Specially Designated Nationals or the U S Department of Commerce Denied Person s List or Entity List By using the EASTWEST SOFTWARE you represent and warrant that you are not located in any such country or on any such list You also agree that you will not use the EASTWEST SOFTWARE or any purposes prohibited by United States law including without limita tion the development design manufacture or production of missiles nuclear chemical or biological weapons 10 Government End Users The EASTWEST SOFTWARE and related documentation are Commercial Items as that term is defined at 48 C F R 2 101 consisting of Com mercial Computer Software and Commercial Computer Software Documentation as such terms are used in 48 12 212 or 48 C F R 227 7202 as applicable Consistent with 48 C F R 12 212 or 48 C F R 227 7202 1 through 227 7202 4 as applicable the Commercial Computer Software and Commercial Computer Software Documentation are being l
14. 16 0 DISK VOICES RAM MULA Chapter 3 The EastWest Quantum Leap Symphonic Orchestra User Interface 20 EASTWEST QUANTUM LEAP SYMPHONIC ORCHESTRA VIRTUAL INSTRUMENT e Microphones Performance Portamento Repetition Legato and Round Robin Reset Stereo Double Reverb Master Voice Limit and Bit Depth Articulations the graphical representation of the Envelope Master Controls The Master controls are presented in a strip along the right side of the EWQLSO interface They affect the overall output for the selected articulation file Channel Source In the upper right corner is the Channel Source drop down list Use this list to choose how you want to use the two stereo channels of the output Stereo uses the two stereo channels as they were originally recorded with no added pro cessing Mono Sum combines the left and right channels into an output that is identical in both channels approximating the sound of a single microphone at the center of the stage Mono From Left copies the left channel of the audio to the right output channel discarding the audio from the right channel Mono From Right copies the right channel of the audio to the left output channel discard ing the audio from the left channel Stereo Swapped uses both stereo channels but reverses the left and right audio Because of the natural positioning of the instruments on the concert PEE stage in Symphonic Orchestra this choice appears to rev
15. 2 meter spacing between the left and right mics the audio provides the inten sity cues necessary for detailed stereo imaging while including sufficient phase information to produce an open and spacious sound In addi tion the middle microphone generates a solid central image A lot of post production work and active DSP is mandatory to align the multiple time phase paths from each of the sample groups In addition a large concert space was re quired to avoid claustrophobic wall sounds and to capture the instrument sound we hear at an appropriate distance These ultimately achieve overall clarity in the mix 1 la 2 meters gt To provide process headroom for this work super resolution recording chain was used FM microphone responses extended to at least 26 kHz all signal paths had minimal discrete circuit electronics plus conversions and files were at least 24 bit 88 2kHz We Chapter 2 EastWest Quantum Leap Symphonic Orchestra An Overview 13 EASTWEST QUANTUM LEAP SYMPHONIC ORCHESTRA VIRTUAL INSTRUMENT also recorded everything at 176 4kHz for future updates All these Gigabytes of data are needed to capture the sounds of instruments from different angles placements and distances The six channel high resolution files containing close full and reverberant feeds can produce a real 3D orchestral sense like that from a good concert hall record ing To do this simplified user commands or presetable instrument pl
16. F Portato A QLeg 60 C 0 Slvr Sfz 6FH Stop fast 6FH Stop 6FH Sus 6FH Sus 4 Lay Smooth 6FH Sus 4 lay 6FH Sus 5 lay Sus Accent Sus Adventure 6FH Sus Bright Sus Forte Piano 6FH Sus Mellow 6FH Sus Leg 6FH 1sec Marc 6FH Repetitions ce m c c m ojo 6FH Stac Long RR x3 6FH Stac Long D5 D 0 Slvr 6FH Stac Short RR x3 6FH Stac Short D 5 EO Slvr 1sec Cres 60 E5 2 2sec Cres C30 F5 3 3sec Cres Fitr DO F 5 Chapter 4 Instruments Articulations Keyswitches 70 EASTWEST QUANTUM LEAP SYMPHONIC ORCHESTRA VIRTUAL INSTRUMENT 6 FRENCH HORNS 5 BFH KS Master Silver version OOO O 6FH KS Master Elements KS Cres 0 0 0 KS Sus 60 60 FH KS FX C0 D 0 FH Bend Dn HT Clstr Bend WT 6FH Clstr Gliss Up Clstr G 5 FO Slvr Flutter Cres Fst D 0 65 FX Hell 6FH Rips 6FH Rips L 6FH Rips 6FH Rips X 6FH Shake Trill HT Trill WT 6FH Emotn DXF Leg 6FH QLeg DXF slud vs 6FH QLeg DXF Slvr 6FH QLeg Power DXF 4 Sus Vel DXF Slvr 4 Sus DXF GFH Sus X Fade m e e c c e gt rn gt 4 TROMBONES 8 ATBKS Master Silver version
17. On Off button A value of 100 calls for the maximum spread available Select between the left and right signal with the buttons on either side of the knob Reverb Master The Reverb control is described in the main PLAY System manual but Symphonic Orchestra and a small number of other virtual in 66 struments include a Master button as part of the group When the button is pressed and the On light is illuminated the Reverb for this instrument applies to all the other instruments in this instance of PLAY including instruments from libraries that do not include a Master button Chapter 3 The EastWest Quantum Leap Symphonic Orchestra User Interface 25 EASTWEST QUANTUM LEAP SYMPHONIC ORCHESTRA VIRTUAL INSTRUMENT If the Master button is already engaged in another instrument in the current instance of PLAY and the Master button is pressed in a new instrument then the settings in the UI of the new instrument become the settings for all instruments in this PLAY instance 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 Voice Limit and Bit Depth Controls The Voice Limit control allows the user to specify the maximum number of voices to re serve spac
18. SW oo iste 8 o 771 1i stsm no o a setova Runon t 3 i setova Runvpra oo set erase motes 1 stt ey SCL Trill HT D 0 FO DO Slvr 3 SCL Trill WT EO F 0 D 0 Slvr Chapter 4 Instruments Articulations Keyswitches 65 EASTWEST QUANTUM LEAP SYMPHONIC ORCHESTRA VIRTUAL INSTRUMENT SOLO CLARINET 5 SCLKS Master Silver version s i set sus accommo i Key clicks can be turned on or off in the Master keyswitch When on they are heard as release trails that is as soon as the note is released and they can be adjusted with the Mod Wheel to be more or less prominent SOLO BASS CLARINET 5 KS Master Silver version 5 BCLKSMaster Elements 6 BCLKS Sus CO F 0 BCL Exp Fast ete 1 E wooo 1 BCL Portato FO FO C 0 5 1 BCL QLeg C 0 C 0 00 1 BeLSus 2 Marcato 2 BCLStacRRx3 oo 2 00 5 o 3 BCLKey ClicksMODRT 5 5 4 4 BELSusDXF 0 Key clicks be turned on or off in the Master keyswitch When they heard as release trails that is as soon as the
19. T SVE KS Master Siver version O sve kS Masterelements UO sve rs sirr coo SSCS OS sve su tasot 2 sve Sus Vin Smoon co swr sve Ca 2 UN RB 72 sve mart up Dn wares 2 2 8 B _ M HS SOS SSS a wesw sew vore svevo SOLO CONTRABASS SCB NS master Siler version _ 5 ooo o o o Chapter 4 Instruments Articulations Keyswitches 56 EASTWEST QUANTUM LEAP SYMPHONIC ORCHESTRA VIRTUAL INSTRUMENT SOLO CONTRABASS s T SCB NS master Silver version O s xs Masterelements 5 e sesks srr eea 05 SSO o CH CH Sr HM 1 a Sr sec 7 sce S 1r sstdigm sce GM O sce sce wareato OO OO sce OOS sce warteeR 88 sce spie marenn S OOS sce sport see sus Wb The Harp does not include any keyswitch
20. USING THE EASTWEST SOFTWARE AUDIO CONTENT OR OTHER INTELLECTUAL PROPERTY YOU ARE AGREEING TO BE BOUND BY THE TERMS OF THIS LICENSE IF YOU DO NOT AGREE TO THE TERMS OF THIS LICENSE DO NOT USE THE EASTWEST SOFTWARE AUDIO CONTENT OR OTHER INTELLECTUAL PROPERTY IF YOU DO NOT AGREE TO THE TERMS OF THE LICENSE YOU MAY RETURN THE EASTWEST SOFT WARE AUDIO CONTENT AND INTELLECTUAL PROPERTY TO THE PLACE WHERE YOU OBTAINED IT FOR A REFUND YOU MUST RETURN THE ENTIRE PACKAGE IN ORDER TO OBTAIN A REFUND IF THE EASTWEST SOFTWARE AUDIO CONTENT OR INTELLECTUAL PROPERTY WERE ACCESSED ELECTRONICALLY AND YOU DO NOT AGREE TO THE LICENSE SIMPLY CLICK DECLINE IMPORTANT NOTE The software audio content and other intellectual property pro vided by EastWest to you may be used by you to create your own original works pursuant to the terms and conditions of this License You may not use distribute or broadcast any of the software audio content or other intellectual property in any manner not expressly permitted by this License If you are uncertain about your rights to use the software au dio content or other intellectual property you should contact your legal advisor before proceeding 1 General The EASTWEST SOFTWARE without limit the software scripts audio con tent audio loops sound files samples impulse responses audio processing tools im ages formulas designs inventions works documentation fonts and other intellectual prope
21. 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 many recording industry awards including Recording Engineer of the Year In 2005 The Art of Digital Music named him one of 56 Visionary Artists amp Insiders in the book of the same name In 1988 he founded EastWest the most criti cally acclaimed sound developer in the world and recipient of over 50 industry awards more than any other sound developer His uncompromising approach to quality and in novative ideas have enabled EastWest to lead the sound ware business for 20 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 sam ple libraries and virtual instruments Quantum Leap virtual instruments are mostly pro duced by Nick Phoenix Some of the larger productions such as Symphonic Orchestra Symphonic Choirs and Quantum Leap Pianos are co produced by Doug Rogers and Nick Phoenix As a composer 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 maj
22. administration attending and or working at an educational institutional facility i e col lege campus public or private K 12 schools EASTWEST SOFTWARE provided for this purpose may NOT be used for any revenue generating activity that includes the use of the EASTWEST SOFTWARE without the written consent of EASTWEST 4 Consent to Use of Data You agree that EASTWEST and its subsidiaries may collect and use technical and related information including but not limited to technical infor mation about your computer system and application software and peripherals that is gathered periodically to facilitate the provision of software updates security product support and other services to you if any related to the EASTWEST SOFTWARE and to verify compliance with the terms of this License EASTWEST may use this information as long as it is in a form that does not personally identify you to improve our products or to provide services or technologies to you 5 Termination This License is effective until terminated Your rights under this License will terminate automatically without notice from EASTWEST if you fail to comply with any term s of this License Upon the termination of this License you shall cease all use of the EASTWEST SOFTWARE and destroy all copies full or partial of the EASTWEST SOFTWARE 6 Limited Warranty on Media EASTWEST warrants the media on which the EASTWEST SOFTWARE is recorded and delivered by EASTWEST to be free f
23. column in which the text Slvr indicates the articulation file is included in the Silver Edition Use the left most column to know which of the 6 num bered folders to select in the browser as in the image at the left The names of the articulations often include shortened forms such as Sus or NV Check the table starting on page 97 if you re not sure what any abbreviation stands for The columns to the right of the names if any are used for keyswitch notes The colored bands can be followed to the names of the keyswitch files at the top The name of the Chapter 4 Instruments Articulations Keyswitches 39 EASTWEST QUANTUM LEAP SYMPHONIC ORCHESTRA VIRTUAL INSTRUMENT keyswitch note is displayed here and also in the Articulations list once you open the keyswitch file in the Player window Note that in any table split across more than one page the keyswitch names repeat at the top of every page to make it clear which column relates to each keyswitch The colors of the bands alternate between yellow and blue to make it easier to follow the name of the keyswitch at the top down the columns at the right otherwise the choice of yellow or blue has no significance Every Master file in the Gold Platinum and Platinum Plus Editions has an associated Elements file Because the two always contain the same collection of articulations the two are listed only once in the table Remember that Elements files contain no keys
24. ear assumes the trumpet is farther away Adjusting independently the timbre with velocity parameters and or cross fading and the volume of the sound you can move individual instruments forward or backward Because sound travels at approximately 340 meters per second 1100 feet per second the ear uses very small time delays to judge relative distance If two violins play pizzicato 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 sec ond a short time but quite 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 Piano Roll view and thereby achieve this effect As discussed in the section covering Platinum s 3 mic positions the farther you are from an instrument in a concert hall the more the natural reverberation of the hall con tributes to what you notice You still hear the echoes from the walls when you re close by you only 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 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 th
25. form of spoon feeding is required A good recording setup often requires a close mic accent pickup to jump start this fo cused perception Once used the accent is often removed as only a few of these spots are effective at any one time Sometimes a reverberation pickup is added or increased to restore a correct sense of hall response to instrument power Generally a good recording setup for an orchestra has accent capability and will be much like the early big sound Decca setups described above Combinations of phase interferences sonic bleeds to microphones time arrivals and special energy convey a best seat perceptual experi ence even though the microphones are much closer to the musicians than is the listener in the hall The sense of instrument directionality and its effect on stage and hall sound is all possible when using the three microphone positions in the Platinum and Platinum Plus editions of EastWest Quantum Leap Symphonic Orchestra The Four Editions of Symphonic Orchestra Because not everyone needs all the features with which this library was recorded the license to EWQLSO Virtual Instrument is offered in four different editions at different prices Chapter 2 EastWest Quantum Leap Symphonic Orchestra An Overview 14 EASTWEST QUANTUM LEAP SYMPHONIC ORCHESTRA VIRTUAL INSTRUMENT The editions differ as follows e Silver provides a limited selection of articulations with a single microphone position plus 16 bit sample
26. from the com puter screen are clearest at a zoom of 200 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 reading them 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 Symphonic Orchestra library and need to open the manual for the PLAY Sys tem 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 EWQLSO library manual and the PLAY System manual open in separate windows so you can refer to them both Chapter 1 Welcome 9 EASTWEST QUANTUM LEAP SYMPHONIC ORCHESTRA VIRTUAL INSTRUMENT 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 information made ava
27. is a style of playing in which the string is pulled away from the finger board allowing the string to snap back forcefully Col legno refers to the sound of hitting the strings with the wood of the bow Flautando is an articulation in which the bow barely brushes the string it is always non vibrato as well Harmonics are notes formed by lightly touching a fractional node of the string while pulling the bow across it The sound is an ethereal usually very high note it is always played as a sustain Martel is a term that describes a playing style in which the bow pushes heavily on the string and the sound stops briefly between notes achieving a strong accent at the start of each note It is usual for the bow to reverse direction at the start of each new note hence the Up Down in the name of most Martel articulation files In some cases Marcato is heard at top velocities of other articulations Spiccato refers to a style of string playing in which the bow bounces off the string with each note In some cases Spiccato is only heard at top velocities Also look for examples of 3 way round robins in which spiccato appears on every third note to give variety to a run of staccato notes plzz arco Pizzicato is the name given to the sound of strings plucked with the fingers instead of bowed It cre ates a very short sound that can cut through even a dense orchestration Sul ponticello refers to the sound of the bow playing very
28. near the instrument s bridge Chapter 4 Instruments Articulations Keyswitches 38 EASTWEST QUANTUM LEAP SYMPHONIC ORCHESTRA VIRTUAL INSTRUMENT e Tremolo describes a rapid repetition of the same note produced by alternating up and down strokes of the bow without having the bow leave the string This tremulous effect sometimes accompanies mysterious or scary scenes in movies e Up Down articulations are a special kind of round robin file they contain separate samples for the bow being played upward and downward In certain types of passages a violinist alternates between up bow and down bow and these articulations automati cally mimic that sound Expression Some of the terms used in EWQLSO articulations are more subjective Because the terms are already descriptive they are listed here without comment as to their meaning for example e Expressive e Emotion e Butter legato e Lyrical Structure of The Instrument Tables There is one table for each solo instrument or instrumental section Each table lists all the available articulations that can be loaded either individually or in a keyswitch file From left to right the columns specify e the articulation type from the following list 1 Long 2 Short 3 Effects 4 Mod Wheel including Cross Fades 5 Keyswitches 6 Old Keyswitches e the name as it appears in the browser optionally one or more color coded columns for the keyswitch notes optionally
29. need a separate iLok for each computer 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 In addition the available space on the hard drive required for a full installation of Symphonic Orchestra depends on which version is being installed Chapter 2 EastWest Quantum Leap Symphonic Orchestra An Overview 17 EASTWEST QUANTUM LEAP SYMPHONIC ORCHESTRA VIRTUAL INSTRUMENT Silver 11 GB Gold 33 GB Platinum 116 GB e Platinum Plus 194 GB Library Specific Installation Instructions for Symphonic Orchestra The instructions for installing the PLAY virtual instruments are covered in the separate PLAY System manual Use one of the links to the other manuals in the lower right corner of any chapter s title page The several sections below provide details that apply to this library only Platinum and Platinum Plus Installations Both of these editions for Symphonic Orchestra include four orchestral sections strings woodwinds brass and percussion each with its own license In these cases the setup program lists options that allow you to specify which of the sections you want to load on this computer in case for example you want to load the strings on one computer and other sections on one or more other computers You are also asked for a drive and path to the folder in which you want to load each section in case you want s
30. note is released and they can be adjusted with the Mod Wheel to be more or less prominent Chapter 4 Instruments Articulations Keyswitches 66 EASTWEST QUANTUM LEAP SYMPHONIC ORCHESTRA VIRTUAL INSTRUMENT SOLO BASSOON 5 BNS KS Master Silver version 5 BSNKSMaster Elements 8 BSN KS Sus C0 60 1 BSN Exp Long Crec 6 0 1 BSN Exp Short Fo GO 1 BSN Exp Leg 1 BSN Forte 1 BSN Non vib FO 1 BSN ales CHO CH Slr 1 BSN Sus Vib CO 0 CO 5 1 BSN Sus Leg 0 2 BSN Stac RRx3 A0 2 BNNSac 3 BsNGliss 0000 3 D 0 ED 3 4 BSN Sus Accent Mod 4 BSN Sus Vib DXF 4 SOLO CONTRABASSOON OTB KS 5 7 ove xp short FH Li 4 tH owe seca a 1 Chapter 4 Instruments Articulations Keyswitches 6 EASTWEST QUANTUM LEAP SYMPHONIC ORCHESTRA VIRTUAL INSTRUMENT SOLO CONTRABASSOON 5 CTB KS Master Elements 6 KS Sus 64 64 2 CTB Stac 3 CTB6liss A 3 erBGrace 4 CTBSusAccentMod 4 JCIBVibDXFAco i 4 erp VibDXF 2 The Brass Family Instrumental Sections 2 TRUMPETS 73 ZTP KS Master Siver version 5 aprscrescoo e
31. sounds are Angels Men s Choir MC and Women s Choir WC Those articulation files that include MOD in the name respond to the Mod Wheel CHOIRS Angels non vib oo oh FX Angels nonvib oo oh The Silver Edition also includes a Church Organ which is not in Gold and Platinum This articulation file can be found in the Percussion section and the Woods folder so that it s in the same folder as the Steinway B piano Chapter 4 Instruments Articulations Keyswitches 77 EASTWEST QUANTUM LEAP SYMPHONIC ORCHESTRA VIRTUAL INSTRUMENT Percussion Tables Unlike the other three orchestral families many percussion instruments make only a single sound or a small repertoire of sounds Therefore instead of creating a separate instrument for each of these johnny one notes they are often grouped together in a single file with different notes mapped to the different sound makers These collections are different from a drum kit often used in pop styles because instead of a collection of dissimilar instruments played by a single musician a live convert these instruments in EWQLSO are usually related for example different types of bells In other cases an instrument file contains multiple articulations of a single physical instrument For example a grouping might contain both hits and rolls for a bass drum The tables in this section list instrument names within the files and indicate which range of notes play whic
32. use If you ve selected to set up a single track to hold all the audio output from this 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 you ve selected to set up multiple tracks then you can select the track for each in dividual instrument and in the case of Platinum or Platinum Plus 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 inde pendently to different sequencer tracks and available to be mixed within the sequencer at a later time ApvaNcED 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 Bit Depth and the Mixing of the Output Those users with Platinum or Platinum Plus need to be aware of the bit depth when mix ing signals The advantages of higher bit depth 24 bit versus 16 bit are most obvious when audio is being mixed especially at lower volumes If you are using 24 bit samples in PLAY and only storing tracks in your sequencer as 16 bit audio then it is best to do the mixing in PLAY As a general rule you want to stay with the highest possible bit depth f
33. ves 3 VCS Sul Pont Trem DXF 3 VesSul Pont 0 2 3 vest Do G0 4 VCS DXF Sus Ace Vel 4 VCS DXF Sus Vib Slow 4 VCS DXF Sus Vib 4 VCS Emotn DXF1 4 VCS Emotn DXF2 4 VCS Emotn DXF3 0 4 VCS Emotn DXF4 continued Chapter 4 Instruments Articulations Keyswitches 49 EASTWEST QUANTUM LEAP SYMPHONIC ORCHESTRA VIRTUAL INSTRUMENT 10 CELLOS 5 VCS Master Silver version 5 VCSKSMaster Elements B VCS KS Shrt RR C0 F 0 o 4 VCS Exp Vib DXF 4 VCS Fast Acc Mod o 4 VCS Non Vib Sus XD 0 2 4 WS legDKFslup 4 VS legDXF 56 4 VCS Qeg Sord DXF 56 4 VCS Soft Vib XFD Trem i 4 VtSsusaccentmod wr This section of 9 Double Basses also know as Contrabasses provides the bottom of the string section It is positioned at the far right in the sounds space in accordance with its usual position in a concert hall 9 DOUBLE BASSES 5 CBS KS Waster Silver version O s ces KSWasterElements Pe ces ces 27 SSS ces erat SC 8 ces Fore Pine SCS Ti Sot ce OH OM Sir Chapter 4 Instruments Articulations Keyswitches 50 EAS
34. ANTUM LEAP SYMPHONIC ORCHESTRA VIRTUAL INSTRUMENT ARTILLERY SHELLS C1 D1 Shell 1 multi velocity hits El Shell 1 roll 61 41 Shell2 multi velocity hits Bl Shell 2 roll C2 D2 Shell 3 multi velocity hits E2 Shell 3 roll BOWED CROTALES C3 C4 bowed long C5 C6 4 Crotales bowed short CELESTA Silver C2 C7 Celesta pitched chromatic scale CROTALES Silver C3 C5 Crotales pitched chromatic scale GLOCK Silver A3 C6 Glockenspiel pitched chromatic scale GLOCK MELLOW Silver A3 C6 Glockenspiel pitched chromatic scale Silver HALL NOISE This is the sound of the hall when no one is making any sound The audio output is barely audible but does register in the meters It can be triggered from all 88 keys Chapter 4 Instruments Articulations Keyswitches 88 EASTWEST QUANTUM LEAP SYMPHONIC ORCHESTRA VIRTUAL INSTRUMENT ORCHESTRAL CHIMES Silver 62 64 X Orchestral chimes pitched chromatic scale SLEIGH BELLS RR Silver This is a collection of steel plate sounds spread out from C1 to B1 Use your ear to find what s best for your piece TRIANGLE Bl Triangle single hit left hand lower pitch D2 Triangle single hit right hand muffled TRIANGLE 2 Silver C1 El Triangle multi velocity hits F1 Al Triangle rolls VARIOUS METALS Silver C1 Bell tree Fast upward glissando 01 Bell tree Medium speed upward glissando El Bell tree Slow upward glissando Chapter 4 Instruments A
35. D A2 F3 Zildjian cymbal 26 ZILDJIAN CRASH Silver C4 Zildjian cymbal multi velocity hits 04 05 Zildjian cymbal crescendos E5 B5 Zildjian cymbal scrapes ALL CYMBALS This is a collection of many many cymbal sounds spread over 7 octaves all the white notes from CO to B6 Use your ear to find what s best for your piece Chapter 4 Instruments Articulations Keyswitches 81 EASTWEST QUANTUM LEAP SYMPHONIC ORCHESTRA VIRTUAL INSTRUMENT This is a collection of many gong sounds both hits and rolls spread over the white keys from CO to F6 Use your ear to find what s best for your piece Drums 3 SNARES D2 Medium snare hit right hand E2 empty F2 Medium snare long roll mf 3 B D Large snare hit right hand E3 empty F3 Large snare long roll mf G3 Large snare long roll f A3 Large snare short roll fast crescendo B3 Large snare long roll slow crescendo Chapter 4 Instruments Articulations Keyswitches 82 EASTWEST QUANTUM LEAP SYMPHONIC ORCHESTRA VIRTUAL INSTRUMENT 3 SNARES DXF ROLLS C4 Small snare long roll D4 Medium snare long roll 4 Large snare long roll Small snare long roll accent at release last hit G4 Medium snare long roll accent at release last hit A4 Large snare long roll accent at release last hit These samples use the Mod Wheel to control volume Dynamic Cross Fade or DXF You can make your own crescendo and diminuendo effects 9 CONCERT TOMS
36. EMS NO ORAL OR WRITTEN INFORMATION OR ADVICE GIVEN BY EASTWEST OR AN EASTWEST AUTHORIZED REPRESENTATIVE SHALL CREATE A WARRANTY SHOULD THE EASTWEST SOFTWARE PROVE DEFEC TIVE YOU ASSUME THE ENTIRE COST OF ALL NECESSARY SERVICING REPAIR OR CORRECTION SOME JURISDICTIONS DO NOT ALLOW THE EXCLUSION OF IMPLIED License Agreement License 4 EASTWEST END USER LICENSE AGREEMENT WARRANTIES OR LIMITATIONS ON APPLICABLE STATUTORY RIGHTS OF A CONSUM ER SO THE ABOVE EXCLUSION AND LIMITATIONS MAY NOT APPLY TO YOU 8 Limitation of Liability TO THE EXTENT NOT PROHIBITED BY LAW IN NO EVENT SHALL EASTWEST BE LIABLE FOR PERSONAL INJURY OR ANY INCIDENTAL SPE CIAL INDIRECT OR CONSEQUENTIAL DAMAGES WHATSOEVER INCLUDING WITH OUT LIMITATION DAMAGES FOR LOSS OF PROFITS LOSS OF DATA BUSINESS IN TERRUPTION OR ANY OTHER COMMERCIAL DAMAGES OR LOSSES ARISING OUT OF OR RELATED TO YOUR USE OR INABILITY TO USE THE EASTWEST SOFTWARE HOWEVER CAUSED REGARDLESS OF THE THEORY OF LIABILITY CONTRACT TORT OR OTHERWISE AND EVEN IF EASTWEST HAS BEEN ADVISED OF THE POSSIBIL ITY OF SUCH DAMAGES SOME JURISDICTIONS DO NOT ALLOW THE LIMITATION OF LIABILITY FOR PERSONAL INJURY OR OF INCIDENTAL OR CONSEQUENTIAL DAM AGES SO THIS LIMITATION MAY NOT APPLY TO YOU In no event shall EASTWEST s total liability to you for all damages other than as may be required by applicable law in cases involving personal injury exceed the amount of fifty dollars 50 00 The forego
37. Fine ADVANCED In PLAY there are two ways to transpose a musical phrase the Transpose trol and the Tune control but they work very differently 1 The Transpose control can only move notes up or down in semitone increments nothing smaller It does not change the audio data instead it replaces the incoming MIDI note with a higher or lower value For example if the Transpose control is set to 2 playing MIDI note 60 Middle C will cause PLAY to play back the audio for note 62 2 The Tune control allows adjustments as small as 1 100 of a semitone The audio data is stretched over time to lower the pitch or compressed to raise the pitch For small changes of less than a quarter tone the effect on the timbre is negligible the larger the change in pitch the more noticeable the distortion Note that only the Tune control can let an instrument play above or below the range of provided samples Finally transposing has almost no effect on CPU usage adjustments in tuning require significant CPU processing Pan Control The Pan knob moves the apparent position of the sound source left or right in the audio field by adjusting the relative loudness of the signal in the left and right output channels It preserves the relative panning for the individual panning knobs in the Microphones control The orchestral instruments are already located in their correct position on stage as cap tured in the Stage and Surround mics The Close m
38. INSTRUMENT Abbreviations Used in Instrument Names The names of instruments are often shortened to fit in the instrument list in the Browser View The following table provides a way to look up any unfamiliar abbreviations until you become familiar with the shortcuts ABBREVIATIONS IN INSTRUMENT NAMES Abbreviations 1 5 2 sec etc acc acc vel clstr crec or cres dim dn DT DXF emotn exp flaut ft or fltr gliss or HT harm KS leg LR lyr marc mart med mf mp MOD or mod nv continued Full Words 1 second 2 second etc accented accent controlled by note velocity cluster crescendo diminuendo down double tongue dynamic cross fade emotional expressive flautando flutter tongue effects glissando half tone harmonics keyswitch legato separate left and right hand lyrical marcato martel medium mezzo forte half loud mezzo piano half soft controlled by Mod Wheel non vibrato Chapter 4 Instruments Articulations Keyswitches 94 EASTWEST QUANTUM LEAP SYMPHONIC ORCHESTRA VIRTUAL INSTRUMENT ABBREVIATIONS IN INSTRUMENT NAMES Abbreviations pizz QLeg RR RR x3 x4 etc sft sfz shrt sl slud vs sord spic stac sul pont sus trem UD vel vib or WT XF or X Fade xfast Full Words pizzicato QLegato round robin auto alternation round robin with 3 4 etc samples soft sforzando short slide sli
39. N 5 SFH KS Master Elements 6 SFHKS Sus CO F40 1 SFH CHO DO Slvr SFH Sus Leg CHO JSEHSus 2 SHMarc F0 DO 2 SH Shrt Script 2 SFHStac RR6 S 2 Ow 4 SFH QLeg 4 SFHSusAccentMod 4 SFH Sus Accent 4 SFH Sus DXFACC 4 SFH Sus DXF 8 Chapter 4 Instruments Articulations Keyswitches 75 EASTWEST QUANTUM LEAP SYMPHONIC ORCHESTRA VIRTUAL INSTRUMENT SOLO TROMBONE 5 STBKSMaster Elements 6 STBKS Sus C5 F 5 0000 1 STB Mute Sus O 1 STB Port Leg OW 1 STB Portato 1 STB Leg 5 E5 Slwr 1 STBSu leg 0000190 1 8 t5 2 sTBMarcF OM 2 STBStacRRx3 BS 2 3 STB Bass Stz Cres Go 4 STBMueSusDXF S i ssusem 4 STB Sus Accent Mod ste sus oxa CS a 0 7 SOLO TUBA s TSTU KS vasterfElements Pe 71 _ o Pz suse 1 stu sus Chapter 4 Instruments Articulations Keyswitches 76 EASTWEST QUANTUM LEAP SYMPHONIC ORCHESTRA VIRTUAL INSTRUMENT Choirs and Church Organ Silver Edition only The Silver Edition includes recorded choirs singing specific syllables The three types of
40. On the stage the Harp sits a little to the left center Harp Pluck Long Chapter 4 Instruments Articulations Keyswitches 57 EASTWEST QUANTUM LEAP SYMPHONIC ORCHESTRA VIRTUAL INSTRUMENT HARP 1 Harp Pluck Roll Harp Pluck Short Slvr 3 Harp Gliss 6 Up Dn 3 Harp Gliss 9 Up Dn 3 Harp Gliss Maj Up Dn 3 Harp Gliss WT Up Dn Slvr 3 Harp Psycho Drone The Symphonic Orchestra patch for the Harpsichord includes only the single articulation so no keyswitch is necessary It sits at center stage HARPSICHORD EM Harpsichord Slvr The Woodwinds Family Instrumental Sections 3 FLUTES 5 3FL KS Master Elements 6 3FLKS Sus CO F 0 1 3FL Exp Dim F 0 F 0 EH 3FL Legato C 0 1 Non Vib F FO 3FL Sus Fst 3FL Sus Leg 00 1 3FL Sus 2 Stac x3 60 Ea 3FL Stac 3 3FL Gliss L 6 0 3 3FLGliss 5 0 3 3FL Grace A 0 3 SFL Trill H D 0 D 0 3 SFL Trill W EO E0 4 3FL DXF continued Chapter 4 Instruments Articulations Keyswitches 58 EASTWEST QUANTUM LEAP SYMPHONIC ORCHESTRA VIRTUAL INSTRUMENT 3 FLUTES 5 3FL KS Master Elements 3FLKS Sus CO F 0 4 3FL Non Vib Sus 4 3FL Sus DXF Acc Vel 4 3FL Sus DXF 3 OBOES s 308 KS Masterelements H6 8 208 Legato ENE
41. PLAY EastWest Quantum Leap Symphonic Orchestra Virtual Instrument Users Manual EASTWEST QUANTUM LEAP SYMPHONIC ORCHESTRA VIRTUAL INSTRUMENT 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 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 East West Sounds Inc 2008 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 Version of April 2011 EASTWEST QUANTUM LEAP SYMPHONIC ORCHESTRA VIRTUAL INSTRUMENT O OO CO PLAY About EastWest Producer Doug Rogers Producer Nick Phoenix Recording Engineer Prof Keith 0 Johnson Credits How to Use This and the Other Manuals Online Documentation and Other Resources Click on this text to open the Master Navigation Document 1 EASTWEST QUANTUM LEAP SYMPHONIC ORCHESTRA VIRTUAL INSTRUMENT
42. PT FOR THE LIM ITED WARRANTY ON MEDIA SET FORTH ABOVE AND TO THE MAXIMUM EXTENT PERMITTED BY APPLICABLE LAW THE EASTWEST SOFTWARE IS PROVIDED AS IS WITH ALL FAULTS AND WITHOUT WARRANTY OF ANY KIND AND EASTWEST AND EASTWEST S LICENSORS COLLECTIVELY REFERRED TO AS EASTWEST FOR THE PURPOSES OF SECTIONS 7 AND 8 HEREBY DISCLAIM ALL WARRANTIES AND CONDITIONS WITH RESPECT TO THE EASTWEST SOFTWARE EITHER EXPRESS IM PLIED OR STATUTORY INCLUDING BUT NOT LIMITED TO THE IMPLIED WARRAN TIES AND OR CONDITIONS OF MERCHANTABILITY OF SATISFACTORY QUALITY OF FITNESS FOR A PARTICULAR PURPOSE OF ACCURACY OF QUIET ENJOYMENT AND NON INFRINGEMENT OF THIRD PARTY RIGHTS EASTWEST DOES NOT WARRANT AGAINST INTERFERENCE WITH YOUR ENJOYMENT OF THE EASTWEST SOFTWARE THAT THE FUNCTIONS CONTAINED IN THE EASTWEST SOFTWARE WILL MEET YOUR REQUIREMENTS THAT THE OPERATION OF THE EASTWEST SOFTWARE WILL BE UNINTERRUPTED OR ERROR FREE OR THAT DEFECTS IN THE EASTWEST SOFT WARE WILL BE CORRECTED YOU FURTHER ACKNOWLEDGE THAT THE EASTWEST SOFTWARE IS NOT INTENDED OR SUITABLE FOR USE IN SITUATIONS OR ENVIRON MENTS WHERE THE FAILURE OF OR ERRORS OR INACCURACIES IN THE CONTENT DATA OR INFORMATION PROVIDED BY THE EASTWEST SOFTWARE COULD LEAD TO DEATH PERSONAL INJURY OR SEVERE PHYSICAL OR ENVIRONMENTAL DAM AGE INCLUDING WITHOUT LIMITATION THE OPERATION OF NUCLEAR FACILITIES AIRCRAFT NAVIGATION OR COMMUNICATION SYSTEMS AIR TRAFFIC CONTROL LIFE SUPPORT OR WEAPONS SYST
43. TWEST QUANTUM LEAP SYMPHONIC ORCHESTRA VIRTUAL INSTRUMENT 9 DOUBLE BASSES Ps CBS KS Master Silver version O Ls cos kS i Pi 74 ces wart Upon GM t5 o ees Piz moa sas OOS o cas wick va moasa SCA ces wick upon ca M oa swr Pa mo ECT cas Emon xF Ca essee rasto SSS KECA 4 cs sus Accent Mod OS i cs sus vi xfa ces Chapter 4 Instruments Articulations Keyswitches 51 EASTWEST QUANTUM LEAP SYMPHONIC ORCHESTRA VIRTUAL INSTRUMENT The 4 Violins Section provides two sustained patches They can be useful when creat ing the sound of a larger section playing divisi The section sounds little left of center 4 VIOLINS 1 AVL Sus Vib 4 AVL Sus Vib DXF The 3 Cellos Section is a good match for the 4 Violins Section above They can be use ful when creating the sound of a larger section playing divisi It tracks to the right in the orchestral sound space 3 CELLOS 1 3VC Sus 4 Sus Vib DXF Those patches in Large String Ensembles that are based on 50 piece string orchestras and larger are useful when you need an expansive sound of the whole string section play ing in unison Those patches for chamber orchestra and stri
44. This latency is part of the natural reverb of the hall and it produces a pleasing Chapter 5 Orchestral Technique 111 EASTWEST QUANTUM LEAP SYMPHONIC ORCHESTRA VIRTUAL INSTRUMENT fullness to the sound when the samples are mixed correctly If you want to tighten up the reverb from the Surround 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 decide 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 Stage mics and a different track with only Surround mics The Close mics of course have virtually no latency only a small amount necessary to retain the sonic perspective of the orchestra in the concert hall you don t use the Close mics and you play something that requires very quick and punchy attacks you may notice some small delay 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 experime
45. a closer position however adding in a little of this sound either in a stereo mix or in the rear speakers of surround sound recording can add dimension to the recording This mic position was used to create the Surround samples sometimes called the hall samples Microphone Placement The following schematic shows the three mic positions in a diagram of a typical concert hall The semicircular area at the top is where the orchestra sits All the C s in the diagram represent the various positions of the Close mics as they were set up next to each instrument or orchestral 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 F represents the approximate position of the cluster of Stage mics at the front of the stage formerly call the Far mics They ap proximate the sound from the best seat in the house The S shows approximately where the Surround mics were positioned During sampling the simultaneous recordings from all three positions were phase locked This attention to detail ensures that the samples can be bounced down to a single audio track without introducing phasing problems Adjusting the Delays Because all three sets of samples were record ed 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
46. acements replaced outmoded pan and gain control functions The new controls make complex adjustment of direct to reflected sound time phase relationships and equalizations in order to track an instrument s placement In this manner an instrument can be accented within a group brought forward as a soloist or moved off stage and the acoustic sound will correlate The Orchestral Sound When Using the 3 Microphone Positions in Platinum Sonic perspective close or distant sound experience has been important during the evolution of musical instruments Crafts people develop their sound in the close environs of their shop or studio but composers and listeners perceive and expect instruments to work properly in an acoustic space Both aspects must be sampled and reproduced correctly because a listener can focus or hone in on a direct sound from one instrument when placed amongst others Feedback mechanisms involved with human hearing sub ordinate the other sounds so they are perceived either as diffused or as an ensemble When we can see an instrument this sensitizing feedback or cocktail party hearing acuity is quick and effective It works for a live concert experience but not for a record ing made from the best seat in the house Without visual connection a microphone placed there will capture a diffuse whole sound One can have exact speaker place ments in a symmetrical room and meditate on the experience to focus in but generally some
47. and keeps everything from getting out of whack Also you can eas ily change the prominence of an entire track in the mix by adjusting this single CC7 level at the start of the track Some specific comments e Setting the volume of a DXF program is tricky because it doesn t respond to velocity Give your sequence at least one measure to process all the MIDI control messages before the music starts 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 a lot so it s a good idea to make these windows easy to access You may also want to do things like color coding all brass strings winds and percussion tracks Save your sequence and you re ready to go Performance Scripts Symphonic Orchestra includes three 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 string player s finger moves along the string at the beginning or end of a sounding note e The Repetition script changes the quality of the notes when a single pitch is played multiple times in succession Although similar to what can be achieved with Round Robin patches the effect can b
48. at does not contain a keyswitch the value None will be selected and you will not be able to assign a keyswitch note This feature does work on the older keyswitches in the folder 6 Old Keysw but because these files are included to provide compatibility to projects begun in earlier versions of EWQLSO there are probably fewer reasons to do so than with the Master keyswitches Note that changing the keyswitch note for any given slot in the list does not change the name in the list For example if you change the D 0 keyswitch to F1 a D O will still appear in the name The only way to know the currently assigned keyswitch note is to open the context menu and see which note is checked If you use this feature often you might consider creating your own detailed mapping of what notes have been moved and to where And you might want to save the ewi file un der a new name so you can recall your customized mapping for this and future projects The Graphical Representation of the Envelope The Envelope Controls are described in the main PLAY EA System manual because they are common to all PLAY System libraries Only some libraries include the graph as shown here so it is included in the manuals for those libraries only 18 1ms Note that the total width of the graph represents the total e W AA T d length of all phases of the envelope Therefore when you change something in one part of the graph for example the decay y
49. button in the lower right corner of the user interface See the discus sion starting on page 111 for information about when and how to use the ability to send the output from different microphones to different audio tracks and when to mix them into a single track rmance Controls There are four buttons grouped together in the Performance D Er section They include three buttons for turning on and off Repetition Legato Round Robin scripts specific to Symphonic Orchestra that control perfor mance parameters Portamento Repetition e Legato and one button for resetting the Round Robin counters See the section on Performance Scripts starting on page 101 for information on how to use these scripts When you first open an articulation all three scripts are Off by default If you want them On by default you will need to save the ewi file that way and load your new version Portamento Button Portamento also sometimes called glissando is the technique of a continuous slide in pitch from one note to the next note in the phrase Portamento as used in this virtual in strument is usually a short anticipatory movement between the pitches of two adjacent notes This technique is most common in strings the trombone the human voice and several other instruments that are not restricted to playing notes of the diatonic scale The effect of turning on portamento in a phrase is a subtle way to increase a sense of realistic pla
50. c 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 all three mic positions repeat the process to create the third track Once you have all the tracks you can mix them into a single track adjusting the relative volumes to achieve the sound you want Chapter 5 Orchestral Technique 112 EASTWEST QUANTUM LEAP SYMPHONIC ORCHESTRA VIRTUAL INSTRUMENT There are two principal advantages to this approach 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 re quires a more capable computer setup to handle the extra samples in RAM and the extra concurrent processing In this approach before bouncing down to audio tracks you can load 2 or 3 of the 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
51. ccur during legato playing especially in instruments that can play a continuous range of pitches between the consecutive semitones such as the strings and the trombone Therefore consider turning on the Portamento script when trying to achieve a more natural legato sound 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 First Synth Audio Output Al Synth Audio Outputs Stereo f you are using PLAY as a plug in in a host you can usually Al Synth Audio Outputs Mono Specify whether you want the output audio be captured in a Chapter 5 Orchestral Technique 108 EASTWEST QUANTUM LEAP SYMPHONIC ORCHESTRA VIRTUAL INSTRUMENT single track or maintained as separate tracks The image at the left shows how one se quencer Sonar gives you a choice The first checkbox creates a 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 sequencer to learn how that selection is made in the host software you
52. ced down to the same audio track This approach give 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 oboe and the pizzicato violins are running in separate in stances of PLAY and they are both assigned to outputs 3 4 they will end up in separate audio tracks in the sequencer Chapter 5 Orchestral Technique 113 EASTWEST QUANTUM LEAP SYMPHONIC ORCHESTRA VIRTUAL INSTRUMENT If Using Only One Microphone Position It is certainly possible to create a piece with only a single microphone position Usually the Stage mics are a good choice though in some cases the Close mics might be the right choice It s unlikely you will want to use only the Surround mics because they give such weight to the hall s ambience Chapter 5 Orchestral Technique 114 EASTWEST END USER LICENSE AGREEMENT EASTWEST SOUNDS INC END USER LICENSE AGREEMENT THE EASTWEST SOUNDS INC END USER LICENSE AGREEMENT GOVERNS THE USE OF EASTWEST EASTWEST QUANTUM LEAP AND QUANTUM LEAP SOFTWARE AUDIO CONTENT AND OTHER INTELLECTUAL PROPERTY PROVIDED BY EASTWEST TO THE END USER PLEASE READ THIS LICENSE AGREEMENT LICENSE CARE FULLY BEFORE USING THE EASTWEST SOFTWARE AUDIO CONTENT AND OTHER INTELLECTUAL PROPERTY AS IT GOVERNS THE TERMS AND CONDITIONS OF YOUR USE BY
53. cial articulations later in this section Vibrato Sustained notes often come in two versions Vibrato refers to the slight wavering literally vibrating in the pitch of a note that pro duces a pleasing sound similar to the natural fluctuation of the human voice around a central pitch For sustained notes that do not specify vibrato or non vibrato you may assume the samples include vibrato In many articulations the vibrato characteristi cally starts after a slight delay allowing the samples also to be used in faster passages in which vibrato would not normally be applied Non vibrato describes a note which holds tightly to its main pitch without wavering For long held notes it can sound cold lacking in expression But it is sometimes preferred for certain styles of playing Stress and Dynamics Sforzando describes a note that is played with extra force causing it to be not only louder but also more stressed than other notes near it This term usually applies to Chapter 4 Instruments Articulations Keyswitches 36 EASTWEST QUANTUM LEAP SYMPHONIC ORCHESTRA VIRTUAL INSTRUMENT one note or just a few notes that need to stand out from others near them It is tir ing to the ears and therefore uncommon to hear many Sforzando notes in a row e Attack accent is not an articulation by itself but is a component of many articulations in EWQLSO The amount of accent is often controlled by the Mod Wheel and less often by
54. curity protection EASTWEST includes to access the EASTWEST SOFTWARE You may not make the EASTWEST SOFTWARE available over a network where it could be used by multiple computers or users at the same time You may make one copy of the EASTWEST SOFTWARE in machine readable form for backup purposes only provided that the backup copy must include all copyright or other proprietary notices contained on the original B You may use the EASTWEST SOFTWARE to create your own original music composi tions or soundtracks for your film video music and audio projects and you may broad cast and or distribute your own original music compositions or soundtracks that were created using EASTWEST SOFTWARE C You may not use the EASTWEST SOFTWARE to create sounds or other content for any kind of synthesizer virtual instrument sample library sample based product musical instrument or competitive product You may not license sell or distribute commer cially or otherwise either the EASTWEST SOFTWARE or any portion or component parts of the EASTWEST SOFTWARE on a standalone basis or repackage and sell license or distribute either the EASTWEST SOFTWARE or any portion or component parts of the EASTWEST SOFTWARE on a standalone basis D You may use the EASTWEST SOFTWARE to compose original music compositions or soundtracks or for a Production Music Library also known as stock music or library mu sic original compositions or soundtracks created entirely b
55. d basses on our right and the flutes a little to the left of center There are two reasons we might want to continue this practice The first is to trick the listener s ear into perceiv ing 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 benefits 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 flute and the violin 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 EWQLSO is different from most other collections of orchestral samples in that the pan ning of the various instruments to the traditional locations on a symphonic stage is built in to the stereo samples The double basses for example are already louder in the right 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 panning to achieve your own sound and or a non traditional placement of instru ments that can be accomplished both in the PLAY interface and in the host sequencer ADVANCED The previous paragraph has one exception the Close microphones in the Plati num and Platinum Plus Editions These sampl
56. dd CC1 changes while playing in real time In a sequencer you can use controller automation to capture the movement of the Mod Wheel while entering notes from the keyboard Achieving a Legato Sound There are three different technologies available in Symphonic Orchestra for simulating a legato sound QLegato was introduced in the Pro XP version of Symphonic Orchestra The several patch es of this type were created by recording the instrumentalist playing a legato passage and cutting each note out of the phrase It captures the way a note sounds in a legato phrase but does not adjust to all possible intervals between consecutive notes Some patches have names ending in Leg for example e Sus Leg sustained legato yr Leg lyrical legato Exp Leg expressive legato These articulations include two samples for each note legato and non legato There is an internal voice timer that judges whether two notes sound close enough one after the other to be considered legato and it selects the appropriate sample for the second of these notes Because this patch allows for real time judgments it requires less fiddling with notes in the sequencer to achieve a legato sound where and only where it should be heard The Legato script is most flexible because it allows the user to turn it on and off with a MIDI control code CC 68 and to adjust the duration of the legato effect with a different control code CC 5 Portamento may also o
57. de up down velocity switch con sordino with mute spiccato staccato sul ponticello sustain tremolo up down velocity vibrato whole tone cross fade extra fast Chapter 4 Instruments Articulations Keyswitches 95 EASTWEST QUANTUM LEAP SYMPHONIC ORCHESTRA VIRTUAL INSTRUMENT 97 98 101 102 103 105 106 107 108 108 109 110 PLAY 5 Orchestral Technique Setting Up Templates Performance Scripts Short Scripts Keyswitch Instruments Creating a Soundscape Volume Velocity and Expression MIDI Envelopes and Control Data Using Cross Fades Achieving a Legato Sound Directing the Audio Output Run Simulators The 3 Microphone Positions in Symphonic Orchestra Click on this text to open the Master Navigation Document 96 EASTWEST QUANTUM LEAP SYMPHONIC ORCHESTRA VIRTUAL INSTRUMENT Orchestral Technique This chapter discusses ways to use EastWest Quantum Leap Symphonic Orchestra to achieve the traditional sound of an orchestra We start with advice from the producers about setting up templates in EastWest Quantum Leap Symphonic Orchestra Setting Up Templates An ideal way to work with the orchestra 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 programs effects and percussion programs or an epic template that has a lot of Legato DXF ensemble programs Obviously
58. dress this trade off Gold and Silver are designed for those users for whom the subtle advantages of 24 bit mixing are not as important and who will be writing the output to 16 bit media Platinum is designed for those users who have computers capable of handling the greater load of 24 bit processing and or will be writing to 24 bit media such as DVDs Platinum Plus gives users the ability to work in either environment as needed That in cludes the trick of composing and auditing with 16 bit samples and then quickly chang Chapter 2 EastWest Quantum Leap Symphonic Orchestra An Overview 16 EASTWEST QUANTUM LEAP SYMPHONIC ORCHESTRA VIRTUAL INSTRUMENT ing to 24 bit samples when mixing down the final output In this way you can build a 16 bit score that might cause problems on your hardware with 24 bit samples and then render the final audio output in 24 bit by rendering only a fraction of the tracks at a time and then mixing all of these frozen tracks into the total mix at the end See the documentation for your sequencer about how to freeze tracks Symphonic Choirs a Companion Library The EastWest Quantum Leap Symphonic Choirs Virtual Instrument EWQLSC extends EWQLSO to include choral samples Because Symphonic Choirs was recorded in the same concert hall using the same recording equipment and engineers it blends perfectly with Symphonic Orchestra EWQLSC breaks new ground with its WordBuilder technology that allow
59. e for in the computer s RAM Note that a voice in this context is the number of samples being played at once Some EWQLSO instruments routinely play more than one sample at a time And the release trail for each note also uses its own voice It is not uncommon for a monophonic line to require 10 to 20 voices especially when play ing rapidly so that multiple release trails are playing simultaneously The best way to see how many voices are required is to play the piece and watch the Voices display just above the right side of the keyboard The voice limit can be set to any whole number from 1 to 999 The Default value is 64 Setting the Voice Limit too low causes notes to end too soon when PLAY is forced to stop already playing notes in order to start a new note If you hear notes being clipped check to see whether you need to raise this setting as described in the previous paragraph Setting the Voice Limit too high reserves unnecessary data buffers in RAM The total number of voice buffers that can be reserved is limited by the amount of computer mem ory RAM The larger the project the more likely it is you will run out of RAM in such cases you may want to check the Voice Limit of each instrument to determine whether you can reduce the value The image at the left shows the Voice Limit spin control and the Bit Depth 24 Bit Depth 24 Bit Depth drop down list On the right the drop down list has been opened t
60. e used on any articulation not only those with RR in the name The Legato script creates a more flowing and connected sound for notes in a continu ous phrase The scripts themselves are not modifiable by the user but one important parameter can be adjusted using a Performance ON ON ON RESET Portamento Repetition Legato Round Robin Chapter 5 Orchestral Technique 98 EASTWEST QUANTUM LEAP SYMPHONIC ORCHESTRA VIRTUAL INSTRUMENT MIDI control code 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 two of the scripts turned on and the Repetition script left off 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 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
61. eft hand D3 Large snare drum single hit right hand F3 Large snare drum long roll looped mf G3 Large snare drum long roll looped f SNARE ENSEMBLE SMALL Silver C3 Small snare drum single hit left hand D3 Small snare drum single hit right hand F3 Small snare drum long roll looped mf G3 Small snare drum long roll looped f Chapter 4 Instruments Articulations Keyswitches 85 EASTWEST QUANTUM LEAP SYMPHONIC ORCHESTRA VIRTUAL INSTRUMENT TAIKO DRUMS C1 Fl 26 drum multi velocity hits left Gl 26 drum rimshot C2 F2 22 drum multi velocity hits left G2 22 drum rimshot C3 F3 26 drum multi velocity hits right G3 26 drum rimshot C4 F4 22 drum multi velocity hits right G4 22 drum rimshot TIMPANI CRESCENDO LONG C1 A2 Timpani crescendo roll pitched chromatic scale These are very slow crescendos from silence with a diminuendo at the end The higher pitched samples tend to reach the maximum volume a little more quickly than the lowest pitched samples TIMPANI CRESCENDO SHORT C1 A2 Timpani crescendo roll pitched chromatic scale These are crescendos with a diminuendo at the end They are about half the duration of Timpani Crescendo Long As with the previous file the higher pitched samples tend to reach the maximum volume a little more quickly than the lowest pitched samples TIMPANI HITS Silver C1 A2 Timpani single hit left hand pitched chromatic C3 M Timpani single hit right hand pi
62. emembers which sample should be played the next time the note sounds If for example a round robin patch contains two samples and B and a piece uses that note 7 times the PLAY Engine plays A B A B A B A 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 consistent 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 Set tings dialog in the PLAY System manual for more information about this articulation specific approach Stereo Double Controls This knob with its three buttons gives the user the option of using BI clusively the left stereo signal or right when Stereo is selected from the Channel Source drop down For any other setting this control has no ef fect punt 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
63. emory and click again ien to reload them into memory Use this facility to unload any samples you will not be using visible check means Buon the samples are loaded i Change the loudness of the individual articulations Click and drag up down to make that articulation louder or softer without affecting the other articulations The fourth column lists the name of the articulations or other components of the play back such as release trails and key clicks Be sure to read the discussion on page 37 about using the Articulations control to man age the release trails D EET tions you right click on a or Control click on you will open a context menu listing all the available notes to which you can move a keyswitch The image to the left show part of the context menu that opens for the articula tion G O Exp Fst The check mark next to G 0 shows the current keyswitch note Select any different note to change the keyswitch The image at the right shows how Changing Keyswitch Notes in the Articulations Control Z When viewing keyswitch file the fourth column includes the i keyswitch note as a prefix The C 0 at the beginning of the NN QLeg name in the second slot in image above indicates FP 24 that the note C 0 can be used to initiate that articulation C The control lists the default keyswitch note for each articula
64. er s CPU If you want to temporarily turn off the processing for this articulation file uncheck the Active checkboxes for all loaded entries in the Articulations control The Solo button temporarily silences the output for all articulation files that are not cur rently soloed The same note about CPU load from the previous paragraph applies here as well Use this button to listen to the sound or one instrument or just a few without the distraction of others playing at the same time Output Channels Control This drop down list at the bottom of the Master controls allows the user to select the pair of stereo audio channels to which the output will be sent This control can be used to send the audio output from each loaded instrument to separate audio tracks in the system s sound cards when in standalone mode or in the host sequencer when in plug in mode If two or more instruments within the same instance of PLAY share the same output channels then their audio signals will be mixed into a single stereo pair of audio channels Microphones Controls loading C 0 Mute Sus Surround When EastWest recorded the instruments in Symphonic Orchestra it used three sets of microphones in different parts of the concert hall e Close directly in front of each instrument or section e Stage centered at the front of the stage e Surround high above the back of the house Details about the three microphone positions are provided sta
65. erest to a phrase by changing the bow s pressure on the strings moment to moment The dark horizontal lines near the top are the notes Chapter 5 Orchestral Technique 106 EASTWEST QUANTUM LEAP SYMPHONIC ORCHESTRA VIRTUAL INSTRUMENT 11 40 0 When saved as MIDI data this same envelope appears as a finite set of commands 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 two passes notes first then control data if your setup allows you to 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 m
66. erse the orchestral layout For example the double basses which normally play to the audi ence s right will appear to be playing from the left 1 Most applications will use the Stereo setting to achieve natural stereo ambience One of the Mono settings might be used to bring a single instru ment to center stage to create the feel of a pre stereo recording or for other special effects The Tune Controls These controls include two buttons to select between Coarse tuning and Fine tuning as well as a knob and two digital readouts that allow the user to change the Coarse and Fine tuning settings When set at 0 0 the instru ments play at concert pitch Coarse tuning adjusts the pitch up or down in semitone increments Fine tuning measured in cents moves the pitch up or down in increments of 1 100 of a semitone One possible use is to move Chapter 3 The EastWest Quantum Leap Symphonic Orchestra User Interface 21 EASTWEST QUANTUM LEAP SYMPHONIC ORCHESTRA VIRTUAL INSTRUMENT Symphonic Orchestra up or down to the same pitch as live recordings or other sample libraries Adjustments can be made by turning the knob moving up or down with the mouse but ton held down or by selecting one of the two digital readouts and entering a new value by typing a number or by using the Up Arrow and Down Arrow keys on the computer key board Double clicking the knob returns the value to O for whichever mode is selected Coarse or
67. es were recorded with the instrument s directly in front of the stereo mics The Close mic articulation uses the Pan control to move the playback of those samples to the same perceived space as the Stage and Surround samples The diagram at the right shows the 3 microphone specific Pan controls for one of the Solo Tuba articulations The tuba player sits on stage way to the audi ence s right This image shows the way the file opens with no user changes Note that the Stage and Surround Pan controls are in the center because those samples were recorded with the tuba player sitting way to the right no panning adjustment is necessary The Pan control for the Close mics is turned to the right so that when all three samples are played together the sound cues position the tuba in a consistent location Ga AN Note that the natural panning within the EWQLSO Stage and Surround samples has one subtle feature 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 o
68. essional XP expansion pack took another 3 years total 2 of them in post production approximately doubling the number of available articulations Now after several more years of planning and hard work we are proud to present the latest version of Symphonic Orchestra one that takes advantage of our own PLAY Advanced Sample Engine Through all the versions we have kept to our original goal to create a full orchestral sample library one that can be used to create recordings in surround sound will blend perfectly with EastWest Quantum Leap Symphonic Choirs and all recorded where orchestras and choirs sound most natural in a state of the art concert hall First we had to find the right team to execute the plan To capture the sounds we needed someone with an impressive history of recording choirs and orchestras live The answer was Prof Keith O Johnson His 90 plus recordings have long been considered the standard for high fidelity and include three GRAMMY award winners and eight ad ditional GRAMMY nominations All of the recording equipment used in the project was either hand built or extensively modified by him to optimize fidelity Next we had to find the right concert hall in which to record EWQLSO and EWQLSC Fortunately his experience was invaluable here as well He had recorded in most of the critically acclaimed concert halls throughout the world and had a short list of favor ites It s extremely difficult to book a p
69. fassus Cr aP mess 6H oo Sr 6 r msmsp o E 78 3 2TP 15 Cres C0 3 2TP 2sec Cres CHO CH TP Arp FX Fi Chapter 4 Instruments Articulations Keyswitches 68 EASTWEST QUANTUM LEAP SYMPHONIC ORCHESTRA VIRTUAL INSTRUMENT 2 TRUMPETS 8 2TPKSMaster Silver version 5 2TPKSMaster Elements 6 2TPKS Cres 6 HPKSSusCO HO 3 2TPMuteCres Fir _3 NPMuetresFst 3 3 w 4 PTP Mute Sus DXF S 4 4 P egDXEsudvs 4 4 PSusAccMOD 4 TRUMPETS 5 ATP KS Master Elements 1 Forte Piano 0 1 jPsz ow 1 m 1 _ 0 2 ATP StacRRx3 _ ED 2 4TP stas 3 w 4 ATP Sus Acc Vel DXF 4 ATP Sus DXF Leg 4 4 ATP SusAccentMod Chapter 4 Instruments Articulations Keyswitches 69 EASTWEST QUANTUM LEAP SYMPHONIC ORCHESTRA VIRTUAL INSTRUMENT 6 FRENCH HORNS 5 FH KS Master Silver version 000000 KS Master Elements KS Cres 0 0 0 KS Sus 60 60 FH KS FX 0 0 0 FH 3Sec Marc C 5 Mute Sus C 0 6FH Port Leg
70. ganization of the Symphonic Orchestra Library At the highest level the EWQLSO library is organized into 4 orchestral sections or 5 sections in the case of Silver Edition that correspond to the way a live orchestra groups its instruments e Strings Woodwinds e Brass e Percussion Choirs Silver only Within the first three of these groups EWQLSO includes both instrumental sections and solo instruments The ta bles later in this chapter list the sections before the soloists The percussion group contains 4 subgroups e Cymbals and Gongs e Drums Metals Woods and the Steinway B piano and in Silver only a church organ In the image above you see all the groups and subgroups listed alphabetically as fold ers within the PLAY Browser Those using Gold or Silver will see those names instead of Platinum Most of the EWQLSO instruments excluding the percussion instruments and a few oth ers group their articulation files which always end with the extension ewi into the following 6 categories The names include a number at the front to force them to alpha betize themselves in this order e 1 Long sustained articulations many of which are looped so they be held indefi nitely e 2Short articulations of short duration such as staccato notes and the strings played pizzicato Chapter 4 Instruments Articulations Keyswitches 3l EASTWEST QUANTUM LEAP SYMPHONIC ORCHESTRA VIRTUAL INSTRUMENT
71. h Slide UP HA 3 pwer 12 mP o 3 MVPsychoRip O ___ 3 MIV Run Dn Psycho 3 TIV Run Up 3 MIV Run Up Psycho RR 3 MIV SFX Clusters 00000 ET ies 3 msumm 1 p 7 3 MViemlo wo 3 3 h E 4 MVAcentsusmd 4 11V DXF Exp Fast 00 4 11V DXF 4 MVDXFSusVibAcVI 4 4 1V Emotn DXF _______________ 4 Flaut Harm DXF o 0 4 MV legDXFsdvs 4 MV legDE 4 MV legSoriDXF S 4 TIV Sus NV Vib X Fade 4 MVSusVibDXFSlw 00 0 4 The 10 Violas section sits in the right half of the orchestral sound space Be sure to audi tion some of the articulations unique to this instrumental section Chapter 4 Instruments Articulations Keyswitches 45 EASTWEST QUANTUM LEAP SYMPHONIC ORCHESTRA VIRTUAL INSTRUMENT 10 VIOLAS 5 VAS KS Master Silver version o 5 VASKS Master Elements 6 VASKS Shrt RRCO FHO 0 6 VASKS Sus C0 60 S o 1 VAS Butter Leg 00 4 1 Exp Fst F 0 G 0 DO 1 VAS JWSbpSow 0 1 5 1 VAS Qleg Flaut 1 JWS legSord D 0 Sir 1 vasdleg 00 DA CH 5 1 VAS Run Simulator 1 5582 _ 1 VAS Sus Softleg 0 00 1 VAS Sus Soft O 1 VASSus teg 0H 1 JMsSu o co 00 56 2 VAS Bartok OMO O 2 VAS Bartok 2 VAS Bartok Pi
72. h instrument or articulation Note that sometimes there are different timbres when there are different sizes or shapes of a single instrument group for example there are several sizes of snare drums No attempt is made to describe these differences here You will have to audition the various sounds and decide which sound or sounds are best suited to your project In some cases the differences are very subtle For most unpitched instruments but not all only the keyboard s white keys are used Of course for chromatic percussion instruments like timpani or the xylophone all 12 notes in the octave are used When the text Silver is included at the top right of the table it indicates that the file is available in Silver in addition to Gold and Platinum Cymbals and Gongs 12 BAND CYMBAL C3 Cymbal pair hit leave open long ring D3 Cymbal pair hit short ring then close E3 Cymbal pair hit close immediately 12 CYMBAL C3 Suspended cymbal roll slow crescendo D3 Suspended cymbal roll medium crescendo Suspended cymbal roll fast crescendo F3 Suspended cymbal hit long ring Chapter 4 Instruments Articulations Keyswitches 78 EASTWEST QUANTUM LEAP SYMPHONIC ORCHESTRA VIRTUAL INSTRUMENT 16 GERMAN CYMBAL Silver C3 Cymbal pair hit stay open D3 Cymbal pair hit then close 18 CYMBAL C3 Suspended cymbal roll slow crescendo D3 Suspended cymbal roll medium crescendo Suspended cymbal roll fast crescend
73. hat you do no overwrite the original If you do so by accident the original ewi file can be found on the installation DVD in the appropriate Instruments folder Do not use a Master keyswitch to evaluate which of several articulations to use if you will eventually select only one The Elements keyswitch is the better choice here If you re not sure for example whether to use Lyrical or Lyrical Fast or Expressive Lyrical for your 18 Violins patch try loading the Elements patch instead and you can play with each one to hear the difference Also with an Elements patch try doubling the patches leaving two articulations active at the same time to get a composite sound Once you decide there s no need to remove the Elements file and load the individual file leave the Elements file in the project in case you want to re evaluate your decision when other instruments are added to the mix but do be sure to unload from the Elements file all the articulations you will not be using to save on RAM Release Trails Many instruments in Symphonic Orchestra include release trails These are the ambient sounds in the hall immediately after the instrumentalist stops playing While it is generally recommended that you leave them active they can be turned off to save on RAM or for any other reason To do so uncheck both the Activate and Load checkboxes on the release trail Note that short articulations staccato pizzicato and
74. he Three Microphone Positions To understand how the three mic positions can help you let s perform a quick thought experiment Imagine yourself in Carnegie Hall with a full symphony orchestra on the stage First you re invited to sit directly in front of the oboe player who plays a melody What you hear approximates the sound recorded in the Close C mic position The sound coming directly from the instrument 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 Chapter 5 Orchestral Technique 110 EASTWEST QUANTUM LEAP SYMPHONIC ORCHESTRA VIRTUAL INSTRUMENT Next you re placed in a chair at the very front of the stage or maybe the front row of the house and you listen to the same oboe melody Now you hear more of the natural reverberation of the hall because your ears are not so overpowered by the sound coming directly from the oboe This sound is captured by the Stage mics a cluster of micro phones near the front of the stage Finally you re asked to sit nearer the back of the house and high up maybe at the front of the Balcony The same oboe melody is played From this perspective the full acoustics 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
75. he various layers within a DXF articulation vary not only in loudness but also in timbre therefore using the Mod Wheel results in natural sounding Chapter 5 Orchestral Technique 105 EASTWEST QUANTUM LEAP SYMPHONIC ORCHESTRA VIRTUAL INSTRUMENT perceived volume level dynamics in which the instrument not only gets louder but also has the sound of being played louder Expression is represented by another MIDI control code CC11 In EWQLSO 11 is used to control dynamics It is possible to shape the dynamics of a line either by play ing a CC11 controller in real time or by drawing an envelope in a sequencer Most MIDI keyboards and control surfaces 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 move ments of the knob or slider and save them as part of the project Such manual control over the shape of an instrumental line is usually more efficient than drawing in an enve lope and often achieves more convincing results EWQLSO s choice to use CC11 allows CC7 volume to be used in other ways For ex ample you can use the volume slider in your sequencer to adjust the overall volume level of each track in the mix The ability to do this is especially helpful in Platinum Edition when using more than one mic position If you want to experiment with how m
76. icensed to U S Government end users a only as Commercial Items and b with only those rights as are granted to all other end users pursuant to the terms and conditions herein Unpublished rights reserved under the copyright laws of the United States 11 Controlling Law and Severability This License will be governed by and construed in accordance with the laws of the State of California as applied to agreements entered into and to be performed entirely within California between California residents This License shall not be governed by the United Nations Convention on Contracts for the International Sale of Goods the application of which is expressly excluded If for any License Agreement License 5 EASTWEST END USER LICENSE AGREEMENT reason a court of competent jurisdiction finds any provision or portion thereof to be unenforceable the remainder of this License shall continue in full force and effect 12 Complete Agreement Governing Language This License constitutes the entire agree ment between the parties with respect to the use of the EASTWEST SOFTWARE licensed hereunder and supersedes all prior or contemporaneous understandings regarding such subject matter No amendment to or modification of this License will be binding unless in writing and signed by EASTWEST Any translation of this License is done for local requirements and in the event of a dispute between the English and any non English versions the English version of th
77. ics were recorded with the instrument directly in front of the stereo microphones so in the center but the Close instruments have their Pan control adjusted to sound in the same location as the other mic posi tions It is not necessary to adjust the Pan control of individual instruments or orchestral sections to achieve a natural concert hall sound e g violin sections on the left viola and cello sections on the right but you can use this control to achieve a more personal sound or special effects See a much more detailed discussion of panning EWQLSO instruments within a sound scape starting on page 106 Master Volume Control and Meters This vertical slider adjusts the volume of the final output It preserves the relative mix of volumes specified in the individual sliders within the Microphones control The two vertical volume meters for the left and right audio channels display the real time volume of the output signal Chapter 3 The EastWest Quantum Leap Symphonic Orchestra User Interface 22 EASTWEST QUANTUM LEAP SYMPHONIC ORCHESTRA VIRTUAL INSTRUMENT Mute and Solo Buttons The Mute button temporarily silences the output for the selected articulation file without affecting other open articulation files Note that the Mute button like all the Mute but tons in PLAY does not stop PLAY from processing the MIDI and audio data for received note data therefore using the Mute button does not reduce the load on the comput
78. iculations Keyswitches 63 EASTWEST QUANTUM LEAP SYMPHONIC ORCHESTRA VIRTUAL INSTRUMENT SOLO ENGLISH HORN Ems sus coo ENCE E H0 1 8 ew iss 1 Li em wv oF ESCO ESCE A second English Horn was added when the additional articulations for the Pro ver sion were recorded Because the timbres of the two instruments are somewhat different it is recommended that you not mix articulations from the two instruments when in a featured role SOLO ENGLISH HORN 2 8 KS Master Silver version 5 EH2KSMaster Elements 6 EH2 KS Sus C0 F 0 _ ______ 1 EH2Exp leg EO 1 EH2Exp F o G o D O Sir 1 EH2Port Leg 00000002 1 EH2 Portato Nv FO Go 10 Siwr 1 EN20leg CHO CHO CH Siwr 1 E2 Sus Leg oo 5 continued Chapter 4 Instruments Articulations Keyswitches 64 EASTWEST QUANTUM LEAP SYMPHONIC ORCHESTRA VIRTUAL INSTRUMENT SOLO ENGLISH HORN 2 5 KS Master Silver version 5 EH2 KS Master Elements 6 EN2KSSusCO FHO 3 EH2 Grace Notes oooO EECA ESCAT 4 EH2 Sus Ace Mod 4 EN2Su DXF SOLO CLARINET PS T SCL KS aster Silver version O s kS MasterfElemons O 71 seters 1 sttosmte
79. ight for example be used as a pickup to a melodic phrase Because of its speed using such a built in phrase sounds more natural than writing it out as separate notes The other usage is the standard meaning in harp writing a run achieved by strumming the strings with the fingertips instead of plucking them Rips describe the brass section version of a short upward run preceding the main note tr Trill refers to the rapid alternation of two notes either a half step or whole step apart Fall refers in EWQLSO to a fast downward chromatic scale starting at the given note and ending an octave below Chapter 4 Instruments Articulations Keyswitches 37 EASTWEST QUANTUM LEAP SYMPHONIC ORCHESTRA VIRTUAL INSTRUMENT Technique Flutter tongue refers to the rapid movement of the tongue while blowing into the instru ment s mouthpiece The technique is sometimes compared to the rolled R of some southern European languages Double tongue is a technique of articulating the tongue alternately against the front and back of the mouth as if saying tiki tiki to produce a fast staccato sound es pecially in brass instruments Shake describes a brief coarse trill like sound characteristic of the French Horn Sordino refers to a sound played with a mute in place Each instrument has a char acteristic muted sound sometime considerably different from the same instrument unmuted String specific Articulations Bartok pizzicato
80. ilable after these manuals were written FAQ pages that may already list answers to questions you have suggestions from EastWest and other users of the EastWest PLAY System news about upcoming releases The address is http support soundsonline com You are also invited to visit the EastWest online forums There you can read comments and questions from others who use EastWest products and post your own The many fo rum participants 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 Chapter 1 Welcome 10 EASTWEST QUANTUM LEAP SYMPHONIC ORCHESTRA VIRTUAL INSTRUMENT PLAY 2 EastWest Quantum Leap Symphonic Orchestra 12 14 17 17 17 18 An Overview The Design Point for Symphonic Orchestra The Four Editions of Symphonic Orchestra Symphonic Choirs a Companion Library What s Included Hardware Requirements Library Specific Installation Instructions for Symphonic Orchestra Click on this text to open the MasterNavigationDocument 11 EASTWEST QUANTUM LEAP SYMPHONIC ORCHESTRA VIRTUAL INSTRUMENT EastWest Quantum Leap Symphonic Orchestra An Overview The Design Point for Symphonic Orchestra The original EastWest Quantum Leap Symphonic Orchestra library was the result of years of planning scoring recording editing and programming by over 100 creative profes sionals And the Prof
81. is License shall govern 13 Third Party Software and Service Terms and Conditions Portions of the EASTWEST SOFTWARE utilize or include third party software and other copyrighted material Ac knowledgements licensing terms and disclaimers for such material are contained in the online electronic documentation for the EASTWEST SOFTWARE and your use of such material is governed by their respective terms License Agreement License 6
82. ix com Chapter 1 Welcome EASTWEST QUANTUM LEAP SYMPHONIC ORCHESTRA VIRTUAL INSTRUMENT Recording Engineer Prof Keith 0 Johnson Prof Keith O Johnson has spent over 30 years developing a reputation for innovative thinking technical achievement and musicianship which has elevated him to a position in the audio industry occupied by only a handful of visionaries His intensive investiga tion of electronic behavior and acoustic perception have led most recently to his devel opment with digital engineer Michael Pflaumer of the revolutionary High Definition Compatible Digital encoding process produced and marketed by Pacific Microsonics recently acquired by Microsoft HDCD is widely considered to be the most accurate recording process ever invented His 90 plus recordings have long been considered the standard for high fidelity and include three GRAMMY award winners and eight addi tional GRAMMY nominations SOME REVIEWS OF HIS RECORDINGS How Johnson got that huge climax at the end of the Dances cleanly onto tape tran scends engineering and goes into the realm of magic Harry Pearson THE ABSOLUTE SOUND Keith Johnson s engineering mastering and production have in this case produced the finest orchestral recording have ever heard Russell Lichter SOUNDSTAGE Chapter 1 Welcome 6 EASTWEST QUANTUM LEAP SYMPHONIC ORCHESTRA VIRTUAL INSTRUMENT Credits Produced by Doug Rogers and Nick Phoenix
83. 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 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 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 Release Trails with Legato and Portamento Scripts When either of these two scripts is turned On Release Trails for that articulation are automatically turned off To leave them on might interfere with the portamento and or legato effect Because the release trails will be turned off you may then want to turn on some reverb the choice of one of the EW Hall convolution reverbs in the PLAY engine will most c
84. lFst E0 3 PFLRipsUp3rd 3 PFLRips Up 5th F 0 D 1 EO 10 5 Premin Hi ME 4 PFL Sus Accent Mod 4 PFLVibBDXF Ac 4 PFLVib DXF Chapter 4 Instruments Articulations Keyswitches 62 EASTWEST QUANTUM LEAP SYMPHONIC ORCHESTRA VIRTUAL INSTRUMENT SOLO OBOE 5 SOB KS Master Silver version SOB KS Masterelements 6 SOBKSSusCO 6H0 1 SOB F 0 GO C 0 Slvr 1 SoBexpvib 6o eo 1 SOB Exp Leg 05600 1 SOBNonVib FO FM 1 SOB Leg C 0 C 0 00 1 sos 1 SOB Sus Vib 59000 1 SOB Sus Leg Do 2 soBStacRRX 2 soBStc 0 5 3 6 3 soBGlss 0 3 sos rae 3 SOB key Clicks MODRT 5 3 SOB Trill HT D 0 EO DO Sivr 3 4 SOBNVVDDXE S 4 soB legDX 5 4 SOB SusAccMod Key clicks be turned on or off in the Master keyswitch When on they heard as release trails that is as soon as the note 15 released and they can be adjusted with the Mod Wheel to be more or less prominent SOLO ENGLISH HORN 5 KS Master Elements 6 EHN KS Sus CO F 0 1 EHN Exp Leg D 0 1 JENNEp 1 EHN Legato CHO CH 1 EHN New Legato 0 O Chapter 4 Instruments Art
85. llowing instrument folders e 18 Violins 2 files 11 Violins 2 files 10 Violas 10 Cellos 9 Double Basses Solo Violin Solo Viola Solo Cello 2 Trumpets 6 French Horns 2 files Solo French Horn Chapter 5 Orchestral Technique 101 EASTWEST QUANTUM LEAP SYMPHONIC ORCHESTRA VIRTUAL INSTRUMENT Keyswitch Instruments Sometimes one instrument needs to play different articulations within a single phrase For example some of the notes might best be played legato and others staccato While it s possible to put all the staccato notes in one MIDI track all the legato notes in another track and then assign a staccato instrument to the first track and a legato instrument to the second track there are many reasons that s awkward Keyswitch instruments can often though not always simplify the work Assume a keyswitch file that includes these notes among the switches e DO assigned to legato e GO assigned to staccato up bow e G 0 assigned to staccato down bow Then you can set up your tracks to look like the adjacent diagram This drawing that fol lows is of a Piano Roll a view available in most sequencers The short notes at the bottom are the keyswitches They are below the range of the instru ment so they do not make any sound Note that these notes are slightly before the note they are intended to affect The first note in the melody an A is preceded by the note that means staccato up bow the very sho
86. losely match the natural reverb of the rest of the library 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 machine gun effect The Round Robin patches are one way to fix this problem The Repetition 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 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 specified 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 Chapter 5 Orchestral Technique 100 EASTWEST QUANTUM LEAP SYMPHONIC ORCHESTRA VIRTUAL INSTRUMENT The EWQLSO producers have selected which of these three approaches will be used for each articulation 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 to not have the equivalent of the Round Robin Reset button to ensure an identical s
87. ly continues to the start of the next note but also makes a smooth transition to it In the samples these notes are cut out of phrases to achieve the instrumentalist s natural flow preparing to start the next note But be aware that achieving a realistic legato line is not as easy a stringing together notes from a Legato patch the effective use of expression velocity and selective attack ac cent can sometimes be needed to make the Legato samples come alive Professional XP s QLegato improves on the original legato samples See page 111 for a comparison of the several way of achieving a legato sound in Symphonic Orchestra e Sustain refers to a note which is held for as long as needed but does not prepare for a following note Many of these samples are looped meaning that the sound will continue indefinitely until the Note Off event Non looped samples decay and end at some fixed time if no Note Off is reached first You may want to make the last note of a Legato phrase Sustain instead whenever it sounds as if that note is headed to a next note that never appears Chapter 4 Instruments Articulations Keyswitches 35 EASTWEST QUANTUM LEAP SYMPHONIC ORCHESTRA VIRTUAL INSTRUMENT Slur at least in this library refers to a note that includes a short half step rise at the beginning of the sample This articulation only exists in string instruments that can move continuously from one note to the next by sliding a finger along the string a
88. mix quickly without working through multiple mix downs 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 multiple mic positions simultaneously then you can use this approach Set up your instruments as in case 2 above but use the individual output controls for the three mic positions to send the audio to separate tracks instead 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 three controls you can direct the audio to separate tracks in the sequencer or separate tracks in the sound card when running in standalone mode Selecting Default sends the audio to whichever track is selected in the Master con trols selecting anything different sends the audio to that stereo pair of outputs In the sequencer 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 oboe the pizzicato violins and as many more as you want to the 3 4 outputs and they will all get boun
89. nd in brass instruments where a bend can be effected with a change in embouchure This articulation when placed in the middle of a phrase on a note that the instrumen talist might reach using such a half step slide can add realism to the phrase It can also be used to create an upward chromatic scale that moves not in discreet jumps but quickly passes through the intervening sounds as well Of course you may find additional novel uses for this articulation Slide refers to a slide into a sustain Note especially the slup vs and slud vs ar ticulations that use the velocity parameter to control which notes get a slide in these files MIDI velocity does not affect volume If playing these articulations at a keyboard you can make the notes slide by digging into the keys Portato notes are held as long as needed but then leave a small but noticeable gap between notes Staccato refers to very short notes often with lots of space between the sounds of the individual notes It is notated with a dot above or below the note In some cases in the string section EWQLSO provides separate samples for staccato played with an up bow and down bow Because it s usual for string players to alternate between up bow and down bow in staccato passages those articulations with Up Down in the name automatically alternate between the samples for you For string players there are other ways to achieve short notes See those spe
90. ng quartet provide a unison sound with smaller ensembles all cases there are breaks in the timbre as you move up and down the scale when new instruments join or leave the ensemble because of limitations in their ranges LARGE STRING ENSEMBLES 70 Piece Str Sec Pizz 70 Piece Str Sec Sus Chamber Ens Flautando Chamber Ensemble Chapter 4 Instruments Articulations Keyswitches 52 EASTWEST QUANTUM LEAP SYMPHONIC ORCHESTRA VIRTUAL INSTRUMENT LARGE STRING ENSEMBLES String Quartet QLeg RR String Quartet Solo Instruments SOLO VIOLIN 75 master Silver version 0000000 s Svr kS 5 coro 5 7 M X 55 o 2 Sr 0 svesusvib sot SC S Svt mare Non vinnara OHO sware SC OSS Ca Svt repons Chapter 4 Instruments Articulations Keyswitches 53 EASTWEST QUANTUM LEAP SYMPHONIC ORCHESTRA VIRTUAL INSTRUMENT SOLO VIOLIN 75 T SVLKS master 5 seks sereoo SSS SS OSS O a fse O fas 8
91. nix Nick 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 pic tures Rendition Spider Man 3 Golden Compass The Assassination of Jesse James Pirates of the Caribbean 3 Babel Hitman 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 Nick and Thomas Bergersen founded the ultimate trailer music company Two Steps From Hell in 2006 www twostepsfromhell com Nick has also scored numerous TV shows for NBC CBS Showtime and Fox In Pot We Trust a Showtime original film is playing in the fall of 2007 The journey as a composer has also 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 10 year partnership with Doug Rogers and East West has yielded countless award winning soft ware titles such as Stormdrum Symphonic Orchestra Symphonic Choirs RA Voices of Passion Ministry of Rock Gypsy QL Pianos VOTA QL Brass QL Guitar and Bass Hardcore Bass Goliath and Colossus Nick s studio is located in Venice California and is 100 solar powered www nickphoen
92. nstances 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 per formance Make sure to spread the sounds that you use most onto different computers so one computer doesn t end up carrying all the load Chapter 5 Orchestral Technique 97 EASTWEST QUANTUM LEAP SYMPHONIC ORCHESTRA VIRTUAL INSTRUMENT The next stage is crucial and highly subjective EWQLSO responds to two different vol ume controllers CC7 volume and CC11 expression It is highly recommended you record a CC7 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 orchestra This is tricky and will never be perfect but the more time you spend the less hair you ll lose later Start by playing the timpani horns and big string ensemble really loud and at the same time that will give you a reference of what the loudest passages will be like To gether they should be at least 3 db below O We recommend you not use MIDI volume for any other purpose than this initial volume setting Use CC11 to change volume and breathe life into your compositions This way CC7 acts as a limiter
93. nstruments in EastWest Quantum Leap Symphonic Orchestra were simul taneously recorded from three locations in the hall e directly in front of the instrument e at the front of the stage near the back of the hall and far above the floor These three sets of samples are phase locked meaning that when two or three of them are mixed into a stereo recording they are necessarily in phase and there will be no de structive interference The ability to combine the three sets of samples gives you the same kind of control that a recording engineer enjoys when recording a live concert performance from multiple microphone feeds The image at the right shows PLAY System interface that allow you to mix the three sets of samples With the various knobs sliders and buttons you pan each mic separately change their dynam ics to suit your needs load unload the samples from RAM mute and solo each mic to achieve the sound you want both while composing and when mixing the final output These controls are described in more detail starting on page 26 You do need to be aware that the samples for each microphone occupy their own space in RAM memory So you may want to use only one set of mics most likely the Stage mics when compos ing You can then add in the Close and or Surround mics when you re ready to work on the sound of the performance See a more complete discussion of the topic later in this chapter i Understanding t
94. nt until you find a combination that works 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 controls with emphasis on the individual microphone positions When considering the possibilities of multiple instruments each with its own three 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 Creating 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 Stage mics during the composition phase because that 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 Stage 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 mi
95. ntage of the new PLAY engine If you re upgrading from an earlier version be sure to read carefully both this manual and the PLAY System manual to find out how to use the many new features We hope you enjoy this latest incarnation of the EastWest Quantum Leap Symphonic Orchestra Virtual Instrument as much as we do and we would love to hear what you create with it Technical Details of the Recordings Each instrument sample contains high resolution components recorded from microphone groups placed to achieve close full and ambient sound Setups are modeled after tradi tional Decca setups see below having front omnidirectional microphones for full string sound a directional center tree to focus woodwinds and brass and a number of stereo pair accents for solo and close up work Instruments are placed on stage where they usu ally perform so that signals from these microphone groups can be mixed and have the general technical feel and acoustic properties of a live session Soloists can be brought forward other instruments can be accented yet remain back or in the orchestra and off stage effects can be produced all with correct acoustic perspective 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
96. o Suspended cymbal hit long ring 18 GERMAN CYMBAL C3 Cymbal pair hit stay open D3 Cymbal pair hit then close 18 VIENNESE CYMBAL Silver C3 Cymbal pair hit stay open D3 Cymbal pair hit then close 19 FRENCH CYMBAL C3 Cymbal pair hit stay open D3 Cymbal pair hit then close 20 CYMBAL Silver C3 Suspended cymbal roll slow crescendo D3 Suspended cymbal roll medium crescendo Suspended cymbal roll fast crescendo Suspended cymbal hit long ring Suspended cymbal brush Suspended cymbal hit long ring and brush Chapter 4 Instruments Articulations Keyswitches 79 EASTWEST QUANTUM LEAP SYMPHONIC ORCHESTRA VIRTUAL INSTRUMENT 20 FRENCH CYMBAL C3 Cymbal pair hit stay open D3 Cymbal pair hit then close 21 FRENCH CYMBAL C3 Cymbal pair hit stay open D3 Cymbal pair hit then close 22 CYMBAL Caution In the 22 Cymbal and the otherwise similar 20 Cymbal the C3 and E3 notes are reversed 23 GONG Silver 61 Gong hit long ring 28 GONG Silver Chapter 4 Instruments Articulations Keyswitches 80 EASTWEST QUANTUM LEAP SYMPHONIC ORCHESTRA VIRTUAL INSTRUMENT 28 GONG Silver G2 Gong hit long ring 37 CHINESE TAM TAM Silver C0 Tam tam multi velocity hit 00 1 Tam tam bowed effects 2 62 Tamtam scrapes 48 GONG C3 Gong roll very slow crescendo D3 Gong hit long ring 18 ZILDJIAN ROLL DXF A2 F3 Zildjian cymbal rolls 26 ZILDJIAN ROLL DXF MO
97. o collection ever produced and Fab Four inspired by the sounds of the Beatles featuring the same kind of vintage instruments and original EMI Abbey Road recording equipment as the Beatles used to create their music He persuaded audio legend Ken Scott who was involved in the recording of five Beatles albums and engineer for Magical Mystery Tour and The Beatles also known as the White Album to work with him on Fab Four He also acquired one of Hollywood s most famous recording studio complexes in 2006 formally United Western now EastWest Studios recipient of more engineering awards and RIAA certified Gold and Platinum recordings than any other studios worldwide He persuaded top international design superstar Philippe Starck to redesign the non techni cal areas of the studios Over the last decade he has partnered with producer composer Nick Phoenix and set up the Quantum Leap imprint a subsidiary of EastWest to pro duce high quality no compromise sample libraries and 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 His latest technical achievement was unveiled at the 2007 NAMM convention the world s first 64 bit audio engine named PLAY which powers EastWest Quantum Leap s latest suite of virtual software instruments Chapter 1 Welcome 4 EASTWEST QUANTUM LEAP SYMPHONIC ORCHESTRA VIRTUAL INSTRUMENT Producer Nick Phoe
98. o 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 Anything you cannot find in this manual is likely to be covered in the PLAY System manual e The library specific manual such as the one you are currently reading This document describes aspects that differ from one library to the next such as the list of included instruments and articulations as well as some of the controls in the user interface Using the Adobe Acrobat Features By opening the Bookmarks pane along the left edge of the Adobe Acrobat Reader the user 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 word of the previous sentence 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 or a diagram seems fuzzy or illegible then zoom in using one of several means provided in the Acrobat Reader software Images
99. o show the two available values Note that only in the Platinum Plus edition of EWQLSO are both options selectable The Bit Depth control allows the user to select whether to play 16 bit or 24 bit samples Samples recorded with the higher bit depth contain more data that can provide for more realistic playback especially when mixing multiples instruments at low volumes But be aware that 24 bit samples take up 50 more RAM and use more CPU processing Note that some editions of Symphonic Orchestra are installed with only one set of sam ples 16 bit or 24 bit and therefore this control is not functional e Silver 16 bit only e Gold 16 bit only Platinum 24 bit only Platinum Plus both 16 bit and 24 bit Chapter 3 The EastWest Quantum Leap Symphonic Orchestra User Interface 26 EASTWEST QUANTUM LEAP SYMPHONIC ORCHESTRA VIRTUAL INSTRUMENT Articulations Control This control is much larger and more prominent than in the other EastWest and Quantum Leap virtual instruments Where most libraries show a maximum of 4 articulations at a time EWQLSO shows 16 at once Quem The first 3 columns within the Articulations control allow you to do the following tasks Activate and De activate an articulation Click in the first col umn a visible check mark means that the articulation will H8 sound when played Cw Load and Unload samples Click in the second column re 7 lease the samples from computer m
100. ollowed it with the multiple award winning Bob Clearmountain Drums sample collection 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 loops Dance Industrial He released the first sample library to include multiple dynamics followed by the first sample library to stream from hard disk an innovation that led to the detailed collections available today His recent productions of Symphonic Orchestra awarded a Keyboard Magazine Key Buy Award EQ Maga zine Exceptional Quality Award Computer Music Magazine Performance Award and G A N G Game Audio Network Guild Best Sound Library Award and Symphonic Chapter 1 Welcome 3 EASTWEST QUANTUM LEAP SYMPHONIC ORCHESTRA VIRTUAL INSTRUMENT Choirs awarded Electronic Musician 2006 Editor s Choice Award G A N G Best Sound Library Award and Keyboard Magazine Key Buy Award He persuaded audio legend Prof Keith O Johnson to record EWQLSO and EWQLSC and came up with the revolutionary idea of recording all instruments and voices with 3 simultaneous stereo mic setups so users can control the tone of the performances and the acoustics of the concert hall as well as create surround sound mixes His latest productions include Quantum Leap Pianos another 3 mic setup and the most detailed virtual pian
101. ome section on the same computer but with the libraries on separate hard drives If you are installing Platinum Plus the setup wizard also installs the Plus sample files and always in the same parent folder as the basic Platinum sample files That is you cannot specify different locations for the main Platinum files and the corresponding Plus files Note that if you are installing Platinum or Platinum Plus sections on separate computers you must assign your license files to separate iLok security keys in the same manner For example if you install Platinum Plus like this Computer 1 Strings Computer 2 Woodwinds and Percussion Computer 3 Brass then you must own 3 iLok keys and load them with licenses as follows iLok 1 Strings and Strings Plus licenses iLok 2 Woodwinds Woodwinds Plus Percussion and Percussion Plus licenses e iLok 3 Brass and Brass Plus licenses Uninstalling Because the EastWest Quantum Leap Symphonic Orchestra uninstall program does not delete the sample libraries if you uninstall EWQLSO from one or more computers you will have to manually remove the library files from that computers Chapter 2 EastWest Quantum Leap Symphonic Orchestra An Overview 18 EASTWEST QUANTUM LEAP SYMPHONIC ORCHESTRA VIRTUAL INSTRUMENT 21 23 24 25 25 26 27 28 29 PLAY 3 The EastWest Quantum Leap Symphonic Orchestra User Interface Master Controls Microphones Controls Performance Control
102. opular concert hall for weeks at a time but we managed to do it during the resident orchestra s summer breaks Needless to say the orchestra missed some summer vacation because they were working on this project After the recording was completed the post production team was put to work which included some of the finest sound designers and programmers in the business Special software was developed to edit the multiple tracks simultaneously and keep them in phase Nearly a year of post production was necessary to achieve the final result a re sult we are all extremely proud of To date the EastWest Quantum Leap Symphonic Orchestra has received more awards than any other orchestral library ever created The decision by the EastWest Quantum Leap team to design its own sample player the PLAY Advanced Sample Engine provided an opportunity to improve on an already im Chapter 2 EastWest Quantum Leap Symphonic Orchestra An Overview 12 EASTWEST QUANTUM LEAP SYMPHONIC ORCHESTRA VIRTUAL INSTRUMENT pressive range of features Just of a few of the new EWQLSO specific features made pos sible in the PLAY version are performance scripts full integration of the original and Pro XP libraries on screen mixing of the three microphones Platinum and Platinum Plus only a more intelligent release trails engine and the availability of larger and more flex ible keyswitches And the whole collection of samples has been reprogrammed to take adva
103. or as long as possible through the workflow If your goal is a 16 bit audio file to write onto a CD then it s best to do the dithering down to 16 bit at the very end And if you goal is 24 bit output then you need to be working entirely at 24 bit or higher Run Simulators The 5 instrumental section in the String family include articulations known as Run Simulators They are good at creating the sound of a very fast run that s almost too fast to hear the individual notes The producers suggest that such a run will seem most real istic when played manually and not generated as notes of mechanically equal duration Such imperfections emulate how real string players would be too rushed to play each note carefully In addition it is recommended that the articulations be run with the Portamento script turned on to emulate the way a real string player s fingers necessarily move a short dis tance along the string before and after being lifted from one note to the next because of the speed Chapter 5 Orchestral Technique 109 EASTWEST QUANTUM LEAP SYMPHONIC ORCHESTRA VIRTUAL INSTRUMENT The 3 Microphone Positions in Symphonic Orchestra Note that this discussion of the 3 microphone positions applies only to the Platinum and Platinum Plus editions of Symphonic Orchestra If you are using the Silver or Gold edition you can skip this section or you might want to read it to know some of what you gain by upgrading to Platinum Almost all the i
104. or motion pictures including Tomb Raider 2 Terminator 3 Lord of the Rings Return of the King Harry Potter 2 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 SYMPHONIC ORCHESTRA VIRTUAL INSTRUMENT Producer Doug Rogers Doug Rogers has over 30 years experience in the audio industry and is the recipient of many recording industry awards including Recording Engineer of the Year In 2005 The Art of Digital Music named him one of 56 Visionary Artists amp Insiders in the book of the same name In 1988 he founded EastWest the most critically acclaimed sound developer in the world and recipient of over 50 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 20 years In the late eighties he released the very first commercial drum sample CD and f
105. ou may see the slopes of other components the attack and the release Attack Hold Decay Chapter 3 The EastWest Quantum Leap Symphonic Orchestra User Interface 28 EASTWEST QUANTUM LEAP SYMPHONIC ORCHESTRA VIRTUAL INSTRUMENT 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 Chapter 3 The EastWest Quantum Leap Symphonic Orchestra User Interface 29 EASTWEST QUANTUM LEAP SYMPHONIC ORCHESTRA VIRTUAL INSTRUMENT PLAY 4 Instruments Articulations Keyswitches 31 Organization of the Symphonic Orchestra Library 32 Using the Instruments and Their Articulations 35 Names of the Articulations 39 Structure of The Instrument Tables 40 The String Family 58 The Woodwinds Family 68 The Brass Family 77 Choirs and Church Organ Silver Edition only 78 Percussion Tables 94 Abbreviations Used in Instrument Names Click on this text to open the MasterNavigationDocument 30 EASTWEST QUANTUM LEAP SYMPHONIC ORCHESTRA VIRTUAL INSTRUMENT Instruments Articulations Keyswitches This chapter provides specific information about each of the instruments in the Sym phonic Orchestra library as well as their articulations and keyswitches You might want to print out the pages containing these tables as a reference Or
106. ound 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 path or the Repetition script Short Scripts The PLAY version of EastWest Quantum Leap Symphonic Orchestra contains articula tions in the 2 Short folders of some string and brass instruments that are called Short Scripts This feature does not apply to the Silver Edition These patches use the same voice timer as in the patches with names ending in Leg see page 111 but they also respond to the Mod Wheel MIDI CC 1 For example in the patch VCS Shrt Script as in the image at the right the Articula tions control displays three layers e Marc RR e Mod 0 64 Mart Up Dn e Mod 65 127 Spic RR If you play disconnected you will hear just Marcato round robin If you play connected with the Mod Wheel down 64 or below the first hit will be Marcato and then all connected notes after that will play Martel Up Down If you have the Mod Wheel up 65 or above Marcato round robin will switch to Spiccato round robin after the first note when playing connected Marc RR RI a 24 2 Check out each Short Script to see what articulations will sound under each set of ditions Note that a few instruments contain two such files named Shrt Script 1 and Shrt Script 2 Short Scripts occur in the fo
107. r e Some recreate keyswitches from earlier versions of this library specifically Pro XP for Gold and Platinum Editions They are named the same as in those prior versions and contain the same articulations and keyswitch notes as before This approach allows users to easily port old projects to this newer PLAY version The names of all such keyswitches end in a range of note names such as CO G 0 e Master keyswitches often contain a more complete range of the available articulations than those mentioned in the previous paragraph For the most part all articulations from the older sustain and short keyswitches are included in the Master file The names of these keyswitches all contain the word Master e Element keyswitches contain the same articulations as the related Master file except that they contain no keyswitch notes instead the articulation must be selected in the PLAY user interface The names of these keyswitches all contain the word Ele ments Chapter 4 Instruments Articulations Keyswitches EASTWEST QUANTUM LEAP SYMPHONIC ORCHESTRA VIRTUAL INSTRUMENT Be sure to read the section below on how to improve performance by customizing the keyswitches Keyswitches Silver only The Silver Edition of Symphonic Orchestra includes Master keyswitch files whenever an instrument or orchestral section includes at least 2 Silver articulations Silver does not though include Elements keyswitches nor does it include those key
108. rberation They all add a sense of space to an audio file but in different ways 1 Release trails are the actual sound of the concert hall that was recorded as soon as each instrument stopped playing They do not affect the playback during the note itself Using them pro vides the natural sound as each instrument s notes die out 2 Natural reverberation is what the EWQLSO Stage and Surround mics provide The Stage mics at the front of the concert hall stage and the Surround mics high above the back section of the audience capture more of the natural hall ambience than the Close mics directly in front of the instrument on stage 3 A Reverb effects processor simulates the sound of a real world space with digital programming The PLAY System s Reverb engine includes impulse response files from the actual concert hall in which the instruments were recorded as well as many other spaces Names of the Articulations The EWQLSO library includes a great number of articulations for instruments in the string brass and woodwind sections Some of the differences among these sounds can be subtle And some terms may not be familiar to all users Let s start by comparing in words at least some of the articulations The descriptions here are specific to how EWQLSO uses the terms Duration and Attachment e Marcato refers to notes that are a little longer than a staccato and with a diminuendo e Legato describes a note that not on
109. ree principles or the first two if you use Silver or Gold you can achieve quite convincing front back positioning in your orchestral mix Giving the ear contradictory signals can confuse it achieving either a good or bad effect depending on your intentions Chapter 5 Orchestral Technique 104 EASTWEST QUANTUM LEAP SYMPHONIC ORCHESTRA VIRTUAL INSTRUMENT And then of course there s 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 A flute played softly can be cranked up a blasting trumpet 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 plucked chord on a harp And as with a live orchestra the various instruments are changing their loudness inde pendently something you cannot do with the stereo s loudness knob Velocity a term based on how fast 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 al
110. rom defects in materials License Agreement License 3 EASTWEST END USER LICENSE AGREEMENT and workmanship under normal use for a period of ninety 90 days from the date of the original purchase Your exclusive remedy under this Section shall be at EASTWEST s option a refund of the purchase price of the product containing the EASTWEST SOFT WARE or replacement of the EASTWEST SOFTWARE that is returned to EASTWEST or an EASTWEST authorized representative with a copy of the original receipt THIS LIMITED WARRANTY AND ANY IMPLIED WARRANTIES ON THE MEDIA INCLUDING BUT NOT LIMITED TO THE IMPLIED WARRANTIES OF MERCHANTABILITY OF SATISFACTORY QUALITY AND OF FITNESS FOR A PARTICULAR PURPOSE ARE LIMITED IN DURA TION TO NINETY 90 DAYS FROM THE DATE OF ORIGINAL PURCHASE SOME JU RISDICTIONS DO NOT ALLOW LIMITATIONS ON HOW LONG AN IMPLIED WARRANTY LASTS SO THE ABOVE LIMITATION MAY NOT APPLY TO YOU THE LIMITED WARRAN TY SET FORTH HEREIN IS THE ONLY WARRANTY MADE TO YOU AND IS PROVIDED IN LIEU OF ANY OTHER WARRANTIES IF ANY CREATED BY ANY DOCUMENTATION OR PACKAGING THIS LIMITED WARRANTY GIVES YOU SPECIFIC LEGAL RIGHTS AND YOU MAY ALSO HAVE OTHER RIGHTS THAT VARY BY JURISDICTION 7 Disclaimer of Warranties YOU EXPRESSLY ACKNOWLEDGE AND AGREE THAT TO THE EXTENT PERMITTED BY APPLICABLE LAW USE OF THE EASTWEST SOFTWARE IS AT YOUR SOLE RISK AND THAT THE ENTIRE RISK AS TO SATISFACTORY QUAL ITY PERFORMANCE ACCURACY AND EFFORT IS WITH YOU EXCE
111. rt ing on page 113 AN The Microphones controls shown at the right with an Output drop down list open allow the user to select the microphones from which to use the recorded audio and how to mix them when generating audio tracks The knobs at the top can pan the audio separately within the sound space The volume sliders can adjust the individual loudness of each microphone in the mix The three lights above the word Loaded indicate whether the f samples for that microphone position have been step 165 2759 loaded Clicking on any of the lights toggles it s loading or unloading the indicated samples from memory Note that when you click on a light to load Chapter 3 The EastWest Quantum Leap Symphonic Orchestra User Interface 23 EASTWEST QUANTUM LEAP SYMPHONIC ORCHESTRA VIRTUAL INSTRUMENT Perfo Performance ON Portamento samples for a new microphone position a small window like the one at the left appears to show you the progress and let you abort the loading of samples if you change your mind At the bottom is a Mute button with the letter M and an output button with three dots on it The Mute button temporarily silences the output for that microphone The Output button allows the user to specify the stereo track to receive the audio output from this microphone Note that Default sends the output to whichever output pair is selected in the main Output
112. rt GO near the beginning Then be fore the B flat plays there s a D near the bottom that means play the next note s legato That s followed by several notes that al ternate between staccato up bow and staccato down bow lt 0 second D near the bottom causes not only the G above it to play legato but also the first 4 D s in a row A keyswitch remains in effect until another keyswitch is set in this case the final GO stops the legato and causes the last D and G to play staccato up bow lt The exact position in time and the duration of the keyswitches are not important And their note off events are ignored Just make sure the start of the keyswitch is before the first note it is supposed to affect but after the start of the last note of the previous articulation if any Try to work with these collections when you can but sometimes you have to break a musical line across two separate MIDI channels and assign a different articulation to each track Chapter 5 Orchestral Technique 102 EASTWEST QUANTUM LEAP SYMPHONIC ORCHESTRA VIRTUAL INSTRUMENT Creating a Soundscape Whether listening to an orchestra live on a stage or from a stereo recording all used to hearing the sounds of the various instruments coming at us from different directions In a traditional symphonic layout we expect the violins to be on our left the cellos an
113. rticulations Keyswitches 89 EASTWEST QUANTUM LEAP SYMPHONIC ORCHESTRA VIRTUAL INSTRUMENT VARIOUS METALS Silver Bell tree Upward glissando playing last notes over and over E2 Bell lower pitch Roll tremolo crescendo F2 Bell higher pitch Single hit G2 Bell higher pitch Roll tremolo A2 Bell higher pitch Roll tremolo B2 Bell higher pitch Roll tremolo crescendo VIBES F1 F4 Vibraphone pitched chromatic scale WATERPHONE C1 D5 Waterphone effects Woods CASTANETS C1 Castanets short roll 1 sec left hand D1 Castanets short roll 1 sec right hand Castanets long roll 3 sec Castanets single hit left hand Gl Castanets single hit right hand GUIRRO RR Silver 1 1 Guirro round robin shakes Chapter 4 Instruments Articulations Keyswitches 90 EASTWEST QUANTUM LEAP SYMPHONIC ORCHESTRA VIRTUAL INSTRUMENT MARIMBA Silver Fl C6 Marimba pitched chromatic scale PUILLI STICKS C1 D1 Puilli sticks multi velocity hits TINY PUILLI STICKS C1 D1 Tiny puilli sticks multi velocity hits SLAP STICKS C1 D1 Slap sticks multi velocity hits This is a collection of slapstick and puilli stick sounds spread out from C1 to A2 Use your ear to find what s best for your piece TAMBOURINE Silver Tambourine single hit left hand F3 Tambourine single hit right hand 3 Tambourine slow shake 3 sec G3 Tambourine fast shake 2 sec G 3 Tambo
114. rty whether on disk in read only memory on any other media or in any other form provided to you is licensed not sold to you by EAST WEST SOUNDS Inc WEST for use only under the terms of this License and EASTWEST reserves all rights not expressly granted to you You own the media on which EASTWEST SOFTWARE is recorded but EASTWEST and or EASTWEST s licensor s retain ownership of the EAST WEST SOFTWARE itself The terms of this License will govern any EASTWEST SOFT WARE upgrades provided by EASTWEST that replace and or supplement the original EASTWEST SOFTWARE unless such upgrade is accompanied by a separate license in which case the terms of that license will govern Title and intellectual property rights in and to any content displayed by or accessed through the EASTWEST SOFTWARE be longs to the respective content owner Such content may be protected by copyright or other intellectual property laws and treaties and may be subject to terms of use of the third party providing such content License Agreement License 1 EASTWEST END USER LICENSE AGREEMENT 2 Permitted License Uses and Restrictions You are granted a limited non exclusive license to use the EASTWEST SOFTARE as follows subject to all other terms and condi tions of this License A You may install and use one copy of the EASTWEST SOFTWARE on one computer You will be required to purchase authorize and use a Pace iLok security key not included or other se
115. s The original Silver did not include release trails The PLAY version does include them for a more natural ambience The PLAY version of Silver provides a selection of keyswitches that are similar in func tion to those in Gold and Platinum Silver edition no longer uses the Legato Pedal keyswitches of the earlier versions The result of this different approach to Silver is that the user gets an experience much closer to Gold including the trademark EWQLSO sound It also means that Silver users who upgrade to Gold get its much greater range of articulations without having to restart projects begun with Silver Chapter 2 EastWest Quantum Leap Symphonic Orchestra An Overview 15 EASTWEST QUANTUM LEAP SYMPHONIC ORCHESTRA VIRTUAL INSTRUMENT Over all Silver is now identical to Gold but with fewer articulations available Licensing Gold and Silver each include a single license that allows you to use the library on a single computer at a time If you want to run EWQLSO on more than one computer at once contact EastWest about obtaining additional licenses Platinum users receive 4 licenses one for each orchestral section strings woodwinds brass percussion This allows the user to install the different sections on up to 4 sepa rate computers by loading the licenses into separate iLok keys Those with projects large enough to require more computers should contact EastWest about obtaining additional licenses Platinum Plus u
116. s Stereo Double Controls Reverb Master Voice Limit and Bit Depth Controls Articulations Control The Graphical Representation of the Envelope The Browser View Click on this text to open the Master Navigation Document 19 EASTWEST QUANTUM LEAP SYMPHONIC ORCHESTRA VIRTUAL INSTRUMENT The EastWest Quantum Leap Symphonic Orchestra User Interface Each 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 The image at the bot tom of the page provides an overview of the entire window when in Player View Much of this interface is shared by all PLAY System libraries and the common features are described in the PLAY System manual The controls described here are Channel Source e Tune e Master Pan Volume Mute Solo and Audio Channel Output MAIN MENU SETTINGS BROWSER STE KS Master 3 Channel 3 z MIDI Port fil areo Double Transpose 8 _ Vel Min E j at Reverb a D Vel 2 gt Deon 00 Port Leg Tune 8 8 Voice Limit 48 23m 0 8 0 7 Bit Depth Sensitivity _ E8 OLeg Vin 2 F8 Port Performance ON RESET Portamento Repetition Legato Round Robin edb 68 MarcUibLng ims 8ms Attack Hold Decay Sustain Release 711 OKB Orchesia 8
117. s See the tables of the articulations starting on page 43 to see which articulation files are included in Silver Gold provides all the listed articulations with a single microphone position plus 16 bit samples e Platinum provides all the listed articulations with three microphone positions plus 24 bit samples e Platinum Plus provides all the listed articulations with three microphone positions plus both 16 and 24 bit samples In every other way the four editions are identical The following table highlights the dif ferences among the four editions of EastWest Quantum Leap Symphonic Orchestra Microphone Positions Bit Depth Every listed Close Stage Surround 16 bit 24 bit articulation Silver Gold Platinum Platinum Plus Silver Edition PLAY Version Compared to the Original The new Silver Edition is closer in its approach to the new Gold than was true with the original Silver Three very significant changes relate to chromatic sampling release trails and the use of keyswitches e Inthe original Silver samples were stretched meaning that samples for some notes were intentionally not available on the hard drive so the sample player automatically transposed available notes by a semitone or two to create the missing notes This approach meant that the amount of storage on the hard drive could be reduced sig nificantly In the PLAY version all notes are directly available as samples so no such stretching occur
118. s in the table below Silver users will find it in the 11 Violins folder and in the 11 Violins KS Master keyswitch 18 VIOLINS 5 18V KS Master Elements 6 18V KS Shrt RR CO F 0 18V KS Sus C0 A0 1 18V Butter Leg Forte continued Chapter 4 Instruments Articulations Keyswitches 40 EASTWEST QUANTUM LEAP SYMPHONIC ORCHESTRA VIRTUAL INSTRUMENT 18 VIOLINS Fs 18V KS MasterrElememts O O OO fiers 5 rev utter 8 i mBehs o M MW M 6H _ chen ENCIM _ Run Simulator tev sordsiow O ENCEN ENCEN softteg 7 oo o iv Barok Piz fiw Banoi 2 rev Mare Long tev Mare Wed Stok tev Mare Short rev Mart rev Mart uo Ware sire SCS Chapter 4 Instruments Articulations Keyswitches 41 EASTWEST QUANTUM LEAP SYMPHONIC ORCHESTRA VIRTUAL INSTRUMENT 18 VIOLINS 5 18V KS MasterrElememts O O fiers rev ize vse 2 uowares rev ave upon tev shot Way
119. s the user to cre ate choral text through a simple to use graphical interface Type in words phonetically and Symphonic Choirs will create vocal lines using the words you tell it to sing Visit the EastWest web site www soundsonline com to learn more about this and other virtual instruments that can complement Symphonic Orchestra What s Included This EastWest Quantum Leap Symphonic Orchestra Virtual Instrument you purchased includes all the following a complete set of sample based instruments enumerated later in this manual collection of 44 1 kHz samples e the EastWest PLAY Advanced Sample Engine unique authorization codes that identify the license s you bought e manuals in Adobe Acrobat format for both the EastWest PLAY System and the East West Quantum Leap Symphonic Orchestra Virtual Instrument e an installation program to set up the library software and documentation on your computer e an Authorization Wizard for registering your licenses 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 Note that if you will be installing EastWest Quantum Leap Symphonic Orchestra on more than one computer and want to use them at the same time you will
120. sers receive the same 4 licenses mentioned above and also 4 additional licenses Strings Plus Woodwinds Plus etc that provide access to the Plus specific content If for example you are running Platinum Plus on a single computer it is neces sary to install all 8 licenses in a single iLok The corresponding licenses for Platinum and Platinum Plus must be installed on the same computer for example the licenses for Brass Platinum and Brass Platinum Plus Therefore the maximum number of computers for a single installation of Platinum Plus is still 4 unless additional licenses are purchased Microphone Positions When the producers recorded the live orchestral instruments the audio was captured simultaneously from three groups of microphones The Platinum and Platinum Plus packages include samples from all three mic positions The Silver and Gold packages contains samples from only one of the mic positions See the section starting on page 113 for more details including recommendations on how Platinum and Platinum Plus users can take advantage of these extra microphone positions Bit Depth The samples from the recording sessions are available in both 16 bit and 24 bit audio While creating audio output from 24 bit samples can provide a more detailed mix even when the audio file ends up on 16 bit media such as a CD the process of working with 24 bit audio can make greater demands on the hardware and software The three EWQLSO editions ad
121. so 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 velocity 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 below ol oe Most modern sample players PLAY included play different samples for different ranges of velocity For example the team creating the samples record Middle solo violin for mp mf etc The team then assigns the pp samples to say ve locities 0 25 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 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 the two together gives the orchestrator more control over all aspects of dynamics In MIDI velocity is an attribute of the Note On message it can only be transmitted at the onset of a note Volume in contrast is a control code CC7 it can be transmitted at any time EWQLSO actually uses the Mod Wheel CC1 to control volume inside dy namic cross fades DXFs T
122. so it will be ready to go the next time you need to load the modified keyswitch Use the Save command in the Main Menu to do this Customizing Keyswitches to Improve Performance The EastWest Quantum Leap Symphonic Orchestra Virtual Instrument can use a lot of RAM when loading a large ensemble with lots of articulations per instrument It is there fore important to manage resources wisely when building a project Failure to do so can result in audio problems such as pops and dropouts in the audio When loading a keyswitch be sure to unload the samples for any articulations you do not plan to use For example when first loaded the Master keyswitch for 18 Violins requires 81 MB of RAM memory If you plan to use only 5 of the articulations you can reduce that by more than half when you unload those samples you will not need You can unload the samples for any articulation by clicking on the checkbox in the column labeled Load Chapter 4 Instruments Articulations Keyswitches 33 EASTWEST QUANTUM LEAP SYMPHONIC ORCHESTRA VIRTUAL INSTRUMENT within the Articulations control When the check is no longer visible the samples have been removed from memory Once you set up your keyswitches the way you want you can save the details in order to be able to quickly reload the customized template each time it s needed Just be sure to give the save a new name or at least put it in a different folder in the file system so t
123. so on often do not include release trails because of how they tend to be used In Elements files each articulation within the keyswitch has a separate entry for its own release trails These are the items that end in RT as in the image to the right To get the full and proper sound be sure to turn on and off the articulation and its release trails as a pair All keyswitches other than Elements files have only a single entry for release trails at the bot tom of the table as in the figure at the left because you will be playing only one instrument at a time Therefore unloading or deactivating the release trails does so for the whole keyswitch Leg D Tfill ht Dst Trill wt The objective of using release trails is to reduce the need for artificial reverb which can seriously degrade the realism especially of the notes attacks The release trails require a lot of computing power but they are absolutely worth it Chapter 4 Instruments Articulations Keyswitches 34 EASTWEST QUANTUM LEAP SYMPHONIC ORCHESTRA VIRTUAL INSTRUMENT In the PLAY System the notes and their release trails are amplitude matched The soft ware analyzes the amplitude of the waveform when the key is released then activates the release trail automatically adjusting the release trail dynamics so the two samples blend seamlessly The result is very natural ApvaNcED Do not confuse release trails with reverb processing or natural reve
124. switches that provide compatibility with earlier versions of EWQLSO When Silver includes a Master keyswitch it is included in its own column labeled KS Master Silver version near the top of the table Customizing Keyswitches by Changing Keyswitch Notes The Articulations window in Symphonic Orchestra lets you change which keyswitch note controls each articulation within the keyswitch file For example if you want to move the keyswitch note for Sus Vib to BO instead of CO you can do so See the description of the Articulations control on page 30 for instructions on how to do this Power users may find this feature a good way to decide between similar articulations auditioning how changing the articulation affects the piece as a whole For example the Master keyswitch for 10 Cellos includes Exp Lyr Fst and Exp Vib Fst on AO and A 0 respectively You can orchestrate the whole piece using the AO keyswitch note whenever you want Exp Lyr Fst to sound If you wonder what it would sound like with Exp Vib Fst instead you can simply swap the keyswitch notes for AO and This is probably much faster than changing every AO to A 0 throughout the score Another use for this feature is to allow those users with keyboards having fewer than 88 keys to move keyswitches to a different part of the keyboard Remember that if you want to retain any changes you make to keyswitch notes you have to save the keyswitch file
125. tched chromatic Chapter 4 Instruments Articulations Keyswitches 86 EASTWEST QUANTUM LEAP SYMPHONIC ORCHESTRA VIRTUAL INSTRUMENT TIMPANI ROLLS DXF MOD C1 A2 Timpani roll pitched chromatic scale looped These are rolls with a dynamic cross fade controlled by the Mod Wheel Use this file to achieve greater control over the dynamics of the rolls TIMPANI ROLLS DXF MOD HITS C1 A2 Timpani single hit left hand pitched chromatic C3 M Timpani single hit right hand pitched chromatic C5 A6 Timpani roll pitched chromatic scale looped This patch combines rolls and hits If you need both opening this articulation file is more efficient than rolls and hits separately TIMPANI SOFT MALLET HITS C1 A2 Timpani softer single hit L hand pitched chromatic C3 M Timpani softer single hit R hand pitched chromatic These are timpani hits with a softer mallet Metals This is collection of 41 anvil and railroad track sounds all white and black notes from C1 to E4 Use your ear to find what s best for your piece This is a collection of 12 sounds from larger anvils than the collection above It uses only white notes in two ranges C3 to G3 and C4 to B4 This collection combines the 52 anvil and railroad track sounds from the previous two patches It uses all white and black notes from C1 to E5 Use your ear to find what s best for your piece Chapter 4 Instruments Articulations Keyswitches 87 EASTWEST QU
126. the more computers you have the bigger your templates can be Nick Phoenix one of the EWQLSO producers took the time to set up a large template that can handle anything To do this he used 8 computers But no matter how many computers you have some kind of a template can make writing music easier One thing to keep in mind when setting up a template is that you should always try to keep similar sounds in the same instance of PLAY Let s say you use a lot of articulations for the 6 French Horns section and you want to have the 6FH Master keyswitch available as well as the QLeg Power DXF program DXF s give you more control over the sound than what is in the keyswitches It is important that these are loaded into the same in stance of PLAY because they use the same samples It is usually the case that the DXF programs use the same samples as the similarly named program without DXF Also keyswitches tend to have most of the samples of the instrument or ensemble in them So it is very likely that the samples for a DXF patch and for pretty much any basic sustain program will already be contained within the keyswitch Loading the DXF into the same instance as the keyswitch means that you won t waste RAM Once you have decided on what patches to 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 i
127. the velocity of the Note On event This term refers to a brief stress at the beginning of a note It is similar to but not the same as the following term Forte piano describes an articulation whose notes start loud forte and quickly drop to a softer level piano for the sustained part Crescendo refers a continuous rise in loudness Articulations with this label record the live instrument in a crescendo on a single note so the effect is somewhat smooth er and more natural than a cross fade between layers in a DXF Crescendo on release is an attribute of several articulations in which the release trail instead of capturing the natural release and the reverb of the hall actually supplies an after the fact brief crescendo followed by its release and reverb Be careful not to hold the main note so long that it starts its decay or else the sudden resumption of the note at the start of the release trail will sound unnatural unless that s what you want of course e Diminuendo is the opposite of crescendo a continuous decrease in loudness Ornamentation and Phrases Grace notes are single short notes that immediately precede the main note In EWQLSO all provided grace notes rise a half step to the main note and the accent is on the main note not the grace note Glissando in general usage has multiple meanings In this library it refers to two us ages One is a short upward run that precedes the main note It m
128. uch Close Stage and Surround of a given instrument to include use CC7 to do that Need to hear the solo flute staccato more crisply throughout the piece Raise the CC7 level for the Close mics on SFL Stac and lower it for the corresponding Stage mics CC11 is some what independent and can still adjust dynamics to shape phrases within the tracks Even if you don t use Platinum using CC7 to adjust overall levels has many uses Although the volume and expression controls can be adjusted separately the volume setting does change how expression af fects perceived volume Think of CC7 as setting an upper limit on the dynamics at any moment Expression like most con tinuously changeable values in MIDI takes values between O ccn so 557 127 specifies how loud a sound to generate for the 11 50 maximum expression 127 The diagram seen here shows that when volume decreases the fixed changes in expression repre sent smaller changes perceived loudness Changing from an expression level of 50 up to 100 represents a smaller change when the volume control CC7 is reduced 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 values are constantly changing the same way a clarinet player modulates her breath to shape the musical line or a cello player adds musicality and int
129. ur right ear approximately one ninth of a second sooner than in our left ear a Chapter 5 Orchestral Technique 103 EASTWEST QUANTUM LEAP SYMPHONIC ORCHESTRA VIRTUAL INSTRUMENT significant difference And the bassoon and harp and tuba all have their characteristic left right delay based on where they sit on the stage It is impossible for a single reverb to achieve that level of realism ADVANCED Because the previous paragraph discusses the sound of ambient reverbera tions it applies less to the Close mics in Platinum and Platinum Plus than to the Stage and Surround samples Therefore one can mix in the sound from the Close mics without reducing the natural effect caused by the varying distance to the concert hall s walls 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 achieved in three ways e Dynamics relative to timbre e Delay e Presence 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 ste reo 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 a trumpet seems to be played loud but the volume level of that in strument compared to others is softer then the
130. urine fast shake 3 sec TAMBOURINE 2 1 01 Tambourine multi velocity hits 61 61 Tambourine rolls 1 2 Tambourine effects Chapter 4 Instruments Articulations Keyswitches 91 EASTWEST QUANTUM LEAP SYMPHONIC ORCHESTRA VIRTUAL INSTRUMENT VARIOUS PERCUSSION Silver C1 Castanets short roll left hand 1 sec 1 Castanets single click right hand Slide whistle roller coaster down up down up etc F3 Tambourine single hit Tambourine slow shake 3 sec Tambourine fast shake 2 sec Tambourine fast shake 3 sec Chapter 4 Instruments Articulations Keyswitches 92 EASTWEST QUANTUM LEAP SYMPHONIC ORCHESTRA VIRTUAL INSTRUMENT WASHBOARD RR Silver C1 B2 Washboard round robin scrapes WIND MACHINE C1 B1 Wind machine effects WOODBLOCK SYMPHONY Silver G0 C2 Woodblock symphony multi velocity blocks pitched left 62 64 Woodblock symphony multi velocity blocks pitched right XYLOPHONE Silver F2 F6 Xylophone pitched chromatic scale STEINWAY B PIANO Silver A 1 C7 Piano pitched chromatic scale Even in the Platinum and Platinum Plus Editions the Steinway B piano contains only the Stage microphone positions CHURCH ORGAN B0 C5 Church organ pitched chromatic scale Silver only Note that this is not the same PMI organ that was used in the earlier versions of Silver Chapter 4 Instruments Articulations Keyswitches 93 EASTWEST QUANTUM LEAP SYMPHONIC ORCHESTRA VIRTUAL
131. usic Using Cross Fades articulations in the 4 ModXfd folder use the Mod Wheel CC1 to cross fade be tween samples in real time that is even in the middle of a note The name of each file indicates what effect the Mod Wheel will have The most common are DXF Dynamic Cross Fades respond by fading smoothly between velocity layers within the same instrument As described in the section Volume Velocity and Expression above each velocity layer captures not only the dynamic differences between pp mp mf and 50 on but also the differences in timbre Therefore this is a more realistic way than us ing volume or CC11 to create fluid dynamic changes within a phrase Acc or Acc Vel Accent cross fades behave the same as DXF files above but they also use each note s velocity to determine how strong that note s attack is A weak attack provides a more flowing and even sound to the phrase A strong attack accentuates the start of the note making the notes feel more detached from the other notes in the phrase Chapter 5 Orchestral Technique 107 EASTWEST QUANTUM LEAP SYMPHONIC ORCHESTRA VIRTUAL INSTRUMENT Other examples are a cross fade between vibrato and non vibrato and one that moves from sustained to tremolo when the Mod Wheel moves Look through all the patches in the 4 ModXfd folder for more of these files When adding a Mod Wheel envelope to a track in a sequencer use CC1 The Mod Wheel on a MIDI keyboard lets you a
132. versa See also the general discussion on legato playing starting on page 111 MIDI Control Codes These MIDI values can be controlled in standalone mode by adjusting the controls knobs or sliders on a control surface or 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 inter face Code Portamento Repetition Legato 5 Time Time 65 On Off 68 On Off 69 On 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 less time the effect takes to complete that is you should set lower values to make the sound more pronounced Use your ear to find the right values for each note in the phrase Chapter 5 Orchestral Technique B9 EASTWEST QUANTUM LEAP SYMPHONIC ORCHESTRA VIRTUAL INSTRUMENT 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
133. verse engineer disassemble attempt to derive the source code of decrypt modify or create derivative works of the EAST WEST SOFTWARE or any part thereof except as and only to the extent any foregoing restriction is prohibited by applicable law 3 Transfer Restriction A right to use the EASTWEST SOFTWARE is granted to the origi nal end user of the product Licensee and is NOT transferable You may not rent lease lend sell redistribute or sublicense the EASTWEST SOFTWARE Updates and Upgrades If an EASTWEST SOFTWARE update completely replaces full install a previously licensed version of the EASTWEST SOFTWARE you may not use both versions of the EASTWEST SOFTWARE at the same time nor may you transfer them separately Not for Resale NFR Copies Notwithstanding other sections of this License EASTWEST SOFTWARE labeled or otherwise provided to you for development or on a promotional basis may only be used for development demonstration testing and evaluation purposes and may NOT be used for any revenue generating activity that includes the use of the EASTWEST SOFTWARE without the written consent of EASTWEST If you are not sure which license type you own LICENSE NFR please check your iLok or other identified security account or contact licensing eastwestsounds com Educational Copies You must be an Eligible Educational End User to use the EAST WEST SOFTWARE Eligible Educational End Users means students faculty staff and
134. witch notes so use the presence of a note name merely as an indicator that the articulation is included Every Elements file has a default articulation that is loaded and active when the key switch is first opened The lowest note is always the default articulation often CO but sometimes C4 or another note when the range of the instrument extends below Advanced Note names such as CO are not always used the same by every manufacturer of MIDI equipment and software EastWest uses CO to refer to MIDI note 24 the low est C on a standard 88 key piano keyboard If you re using note names in a sequencer or other product that interacts with EastWest software and get results that are off by one or two octaves that s the reason The String Family String instruments have a much larger range of articulations than the brass and wood winds so their tables are significantly longer If you re not familiar with some of the words that describe the playing techniques such as martel or spiccato see the glossary of terms above Instrumental Sections The 18 Violins articulations work very well for the First Violins section of a large orchestra and are positioned to the left of the stage to recreate the First Violins sound Note that in the Silver Edition there is only one section of Violins It is mostly taken from the 11 Violins files but does include one patch from 18 Violins namely Pizzicato Although that single Silver patch i
135. y you using the EASTWEST SOFTWARE that you in turn license as an original composition or soundtrack to third parties for use in film television radio or other media provided the completed compo sition or soundtrack is created solely by you E You may use any included EASTWEST SOFTWARE Audio Loops compositions that contain a combination of sound samples that can be repeated to form a continuous piece of music for a Production Music Library also known as stock music or library mu sic original compositions or soundtracks created entirely by you using the EASTWEST SOFTWARE that you in turn license as an original composition or soundtrack to third parties for use in film television radio or other media subject to the following terms and conditions 1 the Audio Loops must be used in a musical context with at least two other instruments that contribute significantly to the composition and 2 The entire Audio Loop cannot be left exposed at any time in the composition If you have any doubt a composition or soundtrack by you meets the foregoing criteria you may submit the composition to licensing eastwestsounds com for written approval Please do not send audio or MP3 files send us a link to your composition on your web server License Agreement License 2 EASTWEST END USER LICENSE AGREEMENT F You may not and you agree not to or to enable others to copy except as and only to the extent permitted in this License decompile re
136. ying Repetition 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 Legato 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 Chapter 3 The EastWest Quantum Leap Symphonic Orchestra User Interface 24 EASTWEST QUANTUM LEAP SYMPHONIC ORCHESTRA VIRTUAL INSTRUMENT 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 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 There s one potential problem with round robin technology and the way to solve it is the Round Robin Reset button The PLAY Engine r
137. zz 2 VaSCollegnoRR FO Bn 2 VASColLegnoRRx3 _ 2 VAS Col Legno 2 VAS Mare Lons 2 VAS Mare Shrt OOo 2 VAS Mart Up Dn Mare 2 2 JWSPizRR 2 VAS Pizz RR o 2 JWSPizwsBartRRi 0 0 2 VAS Repetitions 2 VASS Mart UD Mare Sx6 2 continued Chapter 4 Instruments Articulations Keyswitches 46 EASTWEST QUANTUM LEAP SYMPHONIC ORCHESTRA VIRTUAL INSTRUMENT 10 VIOLAS VASKS Master Silver version 000000000 Ls ASKS e vasks sent oor e vasks suso yass man vonas vas sirtwart upon o s assesi 7 vasse woo cor 5 SW 5 i Wsmm 18 EH usta 8 RH 1H Ca yas ox Ca asem 3 vas Emon 8 wsuegsup 88 3 Ca yas su 8 Ta yas y O Chapter 4 Instruments Articulations Keyswitches 47 EASTWEST QUANTUM LEAP SYMPHONIC ORCHESTRA VIRTUAL INSTRUMENT The 10 Cellos section sits on the right side of the stage In its higher notes above C2 the effects from this cello section may be able to pass for the 10 Violas if the violas don t have a needed effect or vice versa 10 CELLOS 5 VCS Master Silver version

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