The Trombone Manual
Contents
1. Controllers 1 This is an entirely new feature coping with the requirements of musicians using non tempered Controllers Z Controllers 3 scales Controllers 4 Controllers 5 j j j ami Our approach to microtuning yields maximal Mutes Early Reflections flexibility allowing user defined scales where the extent of detuning range 60 60 cents can be precisely set for each note by means of a sliding bar The scale can be saved and recalled as a preset CE remapping 1 CC remapping 2 CC remapping 3 CC remapping 4 The reference note and the overall amount of detuning can be fit to each preset by acting on the Key button and the Amount knob respectively CC remapping 3 Wind Controller Breath Controller Portamento Time Transpose Timbral Shaping Example of Static detuning With this setting all E e all and B notes will be 100 permanently detuned by Preset 1 7 50 cents LZ ka Microtuning By setting the Key button to D all F and C notes would be detuned instead In addition selective detuning can be applied to individual notes in real time by using third level keyswitches similar to those used for split portamenti falls and doits In this case the Preset 2 should be used where all notes are detuned by a predetermined amount of 50 cents which of course can be modified by the user Key Directly using such C a preset wouldn t EE make much sense e since all notes2. The Controllers and their function PB pitchbend not shown in the GUI linearly mapped to three semitones Along with the pitch it controls a seamless crossfade between phase aligned samples for a perfect reproduction of a trombone slide As in the real instrument the overall range of the slide extends over six semitones CC11 expression Controls continuous transition across the dynamics from ppp to fff free from phasing artifacts due to our proprietary Harmonic Alignment Technology An expression pedal or a breath controller routed to C11 are highly recommended for the most realistic realtime playing Please note a medium comfortable trombone dynamics corresponds to CC11 around 60 70 Strong fortissimo is achieved already at about 90 95 Highest CC11 values create an exceptionally bright extreme ff sound which should be used only for short special effects accents etc CC1 modwheel vibrato shake intensity Vibrato intensity increases linearly for CC1 values between 0 and 96 Above 96 vibrato converts into a full step shake The shake intensity linearly increases with CC1 CC19 vibrato rate The frequency range is approximately 2 5 8 Hz Default 64 CC26 note on attack duration Default 84 CC27 note off release duration Default 18 U Note CC26 and CC27 also allow to modify the relative duration of each keyswitch See Performance Keyswitches below CC20 note on pitch modu
3. 0 KS is kept pressed Velocities above 64 activate the toggle mode which maintains the wah wah until the A 0 KS is hit again for more details see Playing techniques below Please note that both activation and deactivation of the wah wah mode will only take place on the next detached note to preserve the integrity of a legato phrase hr Tip The wah wah effect can be applied even when other mutes are used This is easily Ne accomplished by activating the selected mute and pressing A 0 19 Early Reflections Main view The Early Reflections menu will allow to select a vel Mapping e este different IR named Instr 1 2 3 etc At present only a Expr Mapping Instr single IR Instr 1 can be selected NESES Early Reflections This menu is therefore reserved for future use Controllers 2 Controllers 3 Controllers 4 Controllers 3 Mutes CC remapping 1 CC Remapping Five different CC remapping panels allow remapping of all controllers to any CC Vibrate Intensity CCH Dynamics CEH Vibrato Fate CCH Attack Time CCH Releqse Time CCH Attack Modulation CCH Transition Flutter CCH Growl CCF Flutter Tongue CCH Mute CCH 100 CC remapping 2 Dynamics ta Pitch CCH Random Detune CCF Fitch Fluctuation CCH el to Dynamics CCH Fortamento Time CCH Harm Groupi Gain CCH Harm Groups Gain CCF Harm Groups Gain CO Harm Form Shift CEH CC remapping 4 Early Reflections Predelay Pon
4. CC91 Sixth harmonic increased by 2 dB and controlled by CC92 Setting the adjacent bar s to any value with reversed polarity with respect to the first active bar will enable individual control of the corresponding harmonics by CC92 and CC93 Third harmonic increased by 4 dB and controlled by CC91 Second harmonic decreased by 2 dB and controlled by CC92 Fourth harmonic decreased by 1 dB and controlled by CC93 Setting adjacent bars to the same polarity will create a group of harmonics Single harmonic group first second and_ third harmonic increased by 2 4 and 1 dB respectively and controlled by CC91 Three groups of harmonics with different polarities including harm 1 2 3 4 5 6 8 9 10 The three groups are individually controlled by CC91 92 93 EM respectively Preset 1 Timbral Shaping 2l Saving and restoring Timbral Shaping settings Once youre done with your Timbral Shaping settings within a certain preset you need to store it using the save as preset function before selecting another preset otherwise NIE these settings get lost Ten presets are available Preset 1 numbered from 1 to 10 They will be permanently stored Preset 2 when saving the instrument and will be immediately Preset 3 available upon reloading Preset 4 Preset 5 Preset 6 This example shows grouping of the first three harmonic Preset 7 Preset 5 Preset 9 Preset 10 gains stored as preset 1 g
5. in any virtual instrument or sample library Micratuning Timbral Shaping Shaping the timbre using the Harmonics Bars Timbral Shaping allows modifications of the timbre of the instrument by acting on the first 10 harmonics of each note It can be accessed via the drop down menu Going to Menu gt Timbral Shaping displays ten bars which can be dragged with the mouse between 6 dB and 6 dB This is not a graphic equalizer the bars are not assigned to fixed frequencies but to the first 10 harmonics of the played note As a consequence their frequencies vary with the pitch of the note So rising for example bar 1 will boost the fundamental frequency first harmonic of each note played Lowering bar 3 will decrease the intensity of the third harmonics etc For example this bar setting yields the following al slight reduction 1 5 dB of the level of the fundamental frequency 1 harmonic boost of the 3 harmonic 3 5 dB 022 22 Minne Siicht boost of the 5 harmonic 2 dB Preset 1 Wuku Harmonics separation and grouping Setting a single bar corresponding to the desired harmonic number from 1 to 10 to any value different from zero while leaving the adjacent bar s set to zero will enable individual control of that harmonic by the height of the bar and by CC91 See the examples below 26 Second harmonic increased by 2 dB and controlled by CC91 Third harmonic increased by 4 dB and controlled by
6. like a real player does But please read the manual first and learn more about how to do it in the best way It is easy and intuitive but like every music instrument The Trombones needs some practice and experience You will certainly learn it very quickly The demonstrations we prepared show how realistic our instruments are If you want to learn more about how this has been achieved please visit the Trombones Demo page and download the demos we prepared for you as MIDI files http www samplemodeling com en demos_trombone php 2 corresponding to MDI note number60 0 e Snara the middle The Mutes Mutes are devices affecting the timbre and or volume of an instrument The trombone like other brass instruments uses a wide range of mutes which are similar to those of the trumpet the most common are Harmon with or without stem Straight Cup Plunger and Bucket They are mostly cone shaped and are inserted into the bell or simply held or clipped outside the bell Depending on the shape or material metal wood plastic they may significantly vary the sound of the trombone The most common mutes are Straight commonly used cone shaped hollow mute provides more metallic and nasal sound It is available for all the brass instruments The Cup mute which is similar to the Straight decreases high and low frequencies providing a rounder more muffled sound The bulbous hollow Harmon mute provides a very
7. 1 DO buzz or half valve split portamento C1 D 0 arabic scale split portamento C1 EO pentatonic scale split portamento C1 FO mixed mode buzz or half valve split portamento C1 F 0 doit or upward fall C1 GO upward buzz or half valve fall C1 A 0 buzz or half valve fall C1 AO chromatic fall C1 G 0 chromatic long fall 37 Technical Support All questions related to the installation and activation of The Trombone or those pertinent to the Kontakt sampler player or the host sequencer DAW etc should be addressed first to Native Instruments support http www native instruments com support info Specific questions on how to use The Trombone should be emailed to Samplemodeling info samplemodeling com or via the contact page on our website http www samplemodeling com en contact php providing as much information as possible on the system including computer OS audiocard Sampler and sequencer and their settings A MIDI file showing the problem is usually the best approach to debugging Technology related questions exchange of experiences tips amp tricks examples demos mp3 can be posted in our forum http www samplemodeling com forum after registration For Updates of the Trombone 3 0 please check the UPDATE tab within the Service Center the utility belonging to the Kontakt software Refer to the Kontakt Manual for more details ih l
8. A 0 is hit at velocities below 64 In this case the wah wah effect will be active as long as the A 0 KS is kept pressed Velocities above 64 activate the toggle mode which maintains the wah wah until the A 0 KS is hit again Activation deactivation of the wah wah actually takes place on the next detached note to preserve the integrity of the legato phrase BO Short fall This KS reproduces a typical short fall from the currently played note This obviates the necessity of playing a very quick scale with staccato notes to get the same effect The fall Starts upon pressing the KS The duration of the fall is determined by the KS velocity The fall can be interrupted before its natural end by releasing the KS or by playing a new note while the fall is still sounding C1 Automated split portamento This KS modifies the normal portamento pattern into a harmonically based split portamento very typical for a trombone This obviates the necessity of playing a very complex arpeggio with staccato notes instead of just overlapping the start and destination notes The overall portamento duration is similar to that of a normal portamento and is therefore determined by the velocity of the overlapped note and by the played interval Q Note C1 pressed along with another KS such as CO to A 0 will activate non default e different types of split portamento and falls C1 CO chromatic split portamento C1 C 0 semi chromatic split portamento C
9. Distance CC remapping Sr Note CC128 Pitchbend cannot be remapped nor used to control other parameters If one tries to do so the remapper will automatically switch to CC129 Wind controller Mode Main view Vel Mapping This option opens the WindController panel Expr Mapping Controllers 1 By clicking on Use Windcontroller button Controllers z Controllers 3 Controllers 4 Controllers 5 you will activate the universal Windcontroller mode Mutes Eorly Reflections CC remapping 1 The selected mode will appear on the main view GUI CC remapping 2 WC Mode CC remapping 3 Maoin view r CC remapping CC remapping 3 Breath Contraller WC mode automatically maps the Dynamics to CC2 and gives complete 100 control of Portamento Time see below to CC5 In Keyboard mode the duration of portamento is determined by the velocity of the overlapped note Since note on velocities output by Windcontrollers generally reflect the current CC2 value portamento time becomes a function of the current dynamics This is undesirable since for example playing pp will always lead to long portamento and vice versa Linking portamento time to a separate controller such as CC5 permits to overcome this limitation The duration of portamento can now be controlled with any suitable physical controller mapped to CC5 If no controller is available one might still set CC5 to a suitable value by directly acting with t
10. NEW Simply play at very low dynamics and lowest velocity and you will get a very realistic breathy noise preceding the tone of the trombone For Unison Ensemble IR NEW A specially devised Impulse Response markedly reducing the phasing which may occur when several instruments are driven from the same MIDI track i e in unison Unison Ensemble Multi NEW Special consideration has been given to creation of realistic ensembles from solo instruments whether driven from separate MIDI tracks or when playing unison An advanced ensemble maker has been developed affecting timing static and dynamic pitch evolution phase response to dynamics pitchbend velocity portamento time in such a way that even if driven from a single MIDI source each instrument will sound slightly different as if played by a different musician A ready to use Multi including three specially devised trombones the ensemble maker and an appropriate convolution reverb suitable for unison playing straight out of the box is included in the package The Instruments The Trombone package includes several instruments belonging to the same family Their playing range corresponds to that of a top professional player which is E1 F4 Tenor Trombones and Bb 1 Bb3 Bass Trombone The Trombone package includes several instruments belonging to the same family Their playing range corresponds to that of a top professional player which is E1 F4 Tenor Tromb
11. R THE INSTRUMENT WILL NOT WORK displaying a warning Other physical MIDI controllers like sliders knobs or modwheel though not recommended can be used for this purpose Please refer to the Remapping section of this manual for further details Tip Logic users deactivating the Trombone track may reduce the CPU load and greatly improve the overall performance Tip Sonar users might experience hanging notes upon stopping the playback This is due to the fact that Sonar sends an All Notes Off command when the Stop button is pressed The problem can be easily solved by checking the box Accept all notes off all sounds off under Instrument Options gt Controller as shown below Instrument Options Instrument MIDI Controller 64 Sustain Pedal acts as DFO Accept all notes off all sounds oft Controller Accept standard controllers for Yolurne and Fan Infos Midi Controller 7 CYolurne range Introduction The Trombone is one of the most versatile dynamic flexible and expressive musical instruments It covers an incredibly wide range of sounds and moods Whether dealing with a huge orchestral arrangement a pop song a powerful fanfare a classical sacred work or a military march the trombone is an indispensable instrument in a vast majority of musical styles However it s extremely difficult to emulate a true challenge for developers of virtual instruments Our virtual instrument uses re
12. Selected Mute The mutes are selected on the drop down menu ei Mansi RERE You may choose among Straight Cup Bucket 66 Eupr Mapping k Harmon and Harmon Stem Controllers 1 Straight o a a In addition to the conventional mutes you may also up n Boe a ee ae se select for Unison ensemble This is a specially devised IR aimed at markedly reducing the phasing which may occur when several instruments are driven from the same MIDI track Contrallers 4 Harman Controllers 5 Harmon Stem For Unison Ens Early Reflections Please note that the actual activation of the mute will occur on the first detached note i e the note which is separated from the preceding one in order to preserve the continuity of a legato phrase To disable the mute and restore the normal sound please select None on the Mutes menu The unmuted sound will occur on the first detached note Loading of a mute can be also accomplished via MIDI using CC100 see Controllers and their function above Ok Tip Unlike the other mutes the Plunger does not appear in the GUI menu but is Nod activated by pressing the Key Switch A 0 In this mode CC11 controls directly the wah wah effect Both a momentary and a toggle mode are available The momentary mode is activated when the KS A 0 is hit at velocities below 64 In this case the wah wah effect will be active as long as the A
13. The Trombone 3 User Manual Version 3 0 for Kontakt 4 amp 5 bead te oe peat p3 t L O Siedlaczek amp Gi roio Tag ent gare L HFE I by ab 3 Tenor 1 Valve amp 1 Bass trombone V AA a Eu INSTRUMENTS MAC PC ty hoo ce VIRTUAL Created by Giorgio Tommasini amp Peter Siedlaczek Table of Contents Before you start Kontakt 5 Installation System requirements MOST IMPORTANT Introduction The Instruments The Mutes The Graphical Interface GUI Velocity Mapping Expression Mapping Controller knobs The Controllers and their function Virtual Soundstage Volume control by CC7 The Mutes Early Reflections CC remapping Wind Controller Mode Breath Controller Mode Portamento Time Transpose Microtuning Timbral Shaping Playing Techniques Unison Ensemble Multi The Performance Keyswitches Technical Support JIA WUW On 30 33 35 38 Before you start What s new in Trombone v 3 0 This new release includes several new features For a detailed description please refer to the dedicated chapter 1 New Early Reflections algorithm 2 Virtual Soundstage including distance control 3 Real time Timbral Shaping 4 Microtuning 5 Expression Mapping 6 Breathy Attacks 7 For Unison Ensemble Impulse Response 8 Unison Ensemble Multi Kontakt 5 Player The Trombone 3 is supplied with the Kontakt Player 5 the read only version of Native In
14. a note separated from the previous one by some amount of time They consist of an attack a sustain and a release phase The type of the attack depends on the interaction between note on velocity and CC11 As a general rule the higher the velocity the more punchy the attack However a much more sophisticated approach linked to CC25 as described above in The Controllers and their function page 14 allows the player to shape virtually any attack from a crescendo low key velocity to a neutral medium velocity attack to a sharp high velocity sforzato effect One can also vary the pitch modulation depth of the attack and its duration adding a characteristic timbral richness acting on CC20 and CC26 respectively The dynamics of the sustain phase is entirely under control of CC11 You may continuously morph from pp to ff by acting on your expression pedal or breath controller 30 A natural release curve is performed on note off The duration of the default release can be varied with CC27 The default setting of 27 corresponds to a rather short decay Please refer to the Controllers section above for more details Legato Portamento notes Legato means bound together legato notes are not separated but rather connected to the previous note by some form of transition The transition time and type between subsequent notes represents one of the most important elements of expression If it s short it is usu
15. ae would be detuned Preset 2000 the same way Microtuning However since the player wishes only certain notes to be detuned he simply needs to hold the sustain pedal CC 64 down while pressing the keyswitches CO to C1 for the Tenor Trombone C 2 to C 1 for the Bass Trombone corresponding to the keys he wants to detune For example pressing the sustain pedal plus DO F 0 and AO detunes all D F and A notes by the preset amount The currently detuned notes will be displayed in the GUI as shown below 24 Key L T Amount e o E 100 Preset 2 Micratuning r Each time one presses the sustain pedal the detuning of all notes will be reset allowing a new set of detuned notes to be chosen O Note Using the sustain pedal for this purpose requires that the CC only Ny option is enabled under Instrument Options gt Controller gt MIDI Controller 64 see below This corresponds to the default setting Instrument Options Instrument MIDI Controller 64 Sustain Pedal acts as OFO Accept all notes off all sounds off Controller Accept standard controllers for Volume and Fan Infos Midi Controller 7 volume range Saving and restoring Microtuning settings Any Microtuning setting can be stored as a preset Ten presets are available numbered from 1 to 10 They will be stored when saving the instrument and will be immediately available upon reloading Please note unlike the st
16. al Shaping cca o cca ry cca3 64 64 64 Harm Form Shift N Their default setting is 64 In this neutral middle position the timbre will e m entirely reflect the bar settings in the Harmonics Gain menu between 6 dB and z 6 dB Controllers CC90 CC93 can be however used to shape the timbre in real time Please refer to the Menu page Controllers 4 Timbral Shaping for further details Tip O If you intend to use the real time control by any of the controllers CC91 93 consider using very small shallow settings of the bars close to 0 as much as possible like for example in the Preset 4 These settings since different from zero will make the particular harmonic active i e fully responsive to CC91 93 However their level will be fully under control of the CC91 93 knobs in both directions 6 dB with practically zero gain no changes in timbre if the controllers are set to the middle 64 Timbral Shaping is intended to be used for effective sound shaping of the instrument by permanent gentle enhancement or reduction of certain groups of harmonics introducing for example a warmer softer more nasal or midrange sound dynamic CC controlled real time modulation of the tone quality adding more liveliness to the sound special effects like modulating the frequency of fancy gain settings of single harmonics for example f
17. ally named legato If exceeds a certain time the transition may carry from one note to another by a slide which is called portamento On a real trombone this can be achieved by skilled control of the lip tension and or by changing the tube length with the slide To get a legato or portamento with our virtual trombone is indeed very easy You only need to overlap subsequent notes with the appropriate velocity The duration of legato portamento ranges from 30 msec to about 1 sec depending on the velocity of the overlapped note and on the played interval Normal legato is obtained with velocities ranging from 70 to 90 Lower velocities lead to a more trombone like portamento effect Portamento may be interrupted by overlapping a new note This leads to the very realistic effect of a split portamento especially if a wide interval is played in an arpeggio like fashion Please note very low velocities below 10 which are necessary for longer portamentos might be difficult to play on some keyboards so the proper calibration of the velocity response of your keyboard may be very helpful Under these circumstances we strongly recommend using our velocity remapping tool Please refer to the Menu description above to learn more how to apply it Breathy Attacks NEW This new feature does not need any particular settings of the instruments Simply play at very low dynamics and lowest velocity and you will get a very realistic air nois
18. ally linking rs the duration of portamento to both velocity and CC5 ce a C allowing even greater flexibility and expressiveness In sn cue this example portamento time is determined 30 by the velocity of the overlapped note and 70 by CC5 Portomento Time controlled by Portomento tine Transpose This option opens the Transpose panel Moin uien Wel Mapping Transpose Expr Happing e 0 Controller 1 Controllers 2 Transpose Controllers 3 Controllers 4 Controllers 5 This is the most convenient way of transposing the Mutes incoming MIDI flow in order to cope with the mapping of Early Reflections the instrument For example the Bass Trombone is CC remapping 1 mapped from A 1 to A 3 The Keyswitches are CC remapping 2 consequently mapped from C 2 to C 1 Even if you are CC remapping 3 using a seven octave keyboard transposing the midi flow CC remapping 4 two octaves down is the only way to make this CC remapping 5 instrument playable Wind Controller PEEDU ESTUENA Note When transposing always use the Transpose knob described Portamento Time Q above or the transpose function of your MIDI source Do not use Transpose wy MIDI Transpose function of the Kontakt software Instrument Microtuning Options since it does not transpose the key switches and limits the instrument range 23 Microtuning Main view This option opens the Microtuning panel Vel Mapping Expr Mapping
19. characteristic sound similar to the Miles Davis sound of the trumpet It completely blocks the air output forcing it to pass the hole in the middle of the mute providing a very bright buzzy sound frequently used in Jazz Harmon can be combined with the stem which is a short metal pipe with a funnel like end fitted into the hole of the Harmon mute The Bucket mute uses some soft materials which remove the high frequencies providing a much softer darker sound The Plunger which indeed is very similar to an unused toilet plunger is kept by the player in one hand and manipulated in front of the bell By closing and opening it the typical wah wah effect even imitating the human voice can be obtained All these mutes are available for use with our trombones We used sophisticated technologies to capture the fingerprints of each mute which were ultimately coded into a suitable impulse response IR The latter can be instantly loaded from a drop down menu of the graphical interface or via MIDI using CC100 see MIDI loadable mutes page 15 Tip In the drop down menu Mutes you will also find an entry named for Unison Ens This is a specially devised IR markedly reducing the phasing which may occur when several instruments are driven from the same MIDI track i e in unison The Graphical Interface gt ame ae amp 7 j LWztOVVMUII OF te WARNING CCT not received yet The instrument will not wo
20. control of all three harmonics or harmonic Harm Group Gain A CCH groups with just one MIDI controller is required you can use Harm Group Gain CCH the remapping feature CC remapping 4 from the drop down menu and assign a single CC ex CC91 to each Harm Group Gains Harm Form Shift CC Harm Groups Gain CCH CL remapping 4 17 Virtual Soundstage NEW Early Reflections Predelay This new feature allows precise positioning of the instruments in a ccz29 cost dimensionless virtual space using early reflections pre delay amp a0 a z convoluted panning and perceived distance algorithms This will set you free of adding a further suitable acoustic environment without incurring multiple ambience issues This can be carried out within e ECO oe CCS the same Kontant Player which provides a high quality convolution 64 A 0 reverb Distance CC29 early reflections As reported above all samples were recorded in an anechoic chamber This recording technique provides the cleanest sound devoid of any contamination with an arbitrary ambience However even the most directional instrument has a complex radiation pattern that contributes to the richness of the sound Using the spatial information gathered from multi microphone recording a specially devised early reflection impulse response has been developed which recreates the original radiation pattern in a virtual space from the anechoic sound The intensity of thi
21. corded samples of real trombones as base material This proved to be the best choice to preserve the timbral characteristics of the original instrument We used state of the art recording techniques including multi microphone placement according to the radiation characteristics of the instrument But we went beyond All sounds were recorded in an anechoic chamber To our knowledge The Trumpet The Trombone and French Horn amp Tuba are the only sample based anechoic virtual instruments developed so far Like the other Kontakt based Samplemodeling instruments the Trombone 3 uses Giorgio Tommasini s proprietary Harmonic Alignment technology It enables realtime seamless morphing over the entire dynamic range from pp to ff an impossible task for conventional sample based libraries Why anechoic The purpose of anechoic recording was threefold 1 avoid contamination of the pure trombone sounds with the uncontrolled resonances of a particular ambience 2 allow artefact free harmonic alignment processing 3 provide clean articulations and phrases as a database to build the adaptive model see below Early Reflections A NEW ER algorithm exploits the directional information of multi microphone anechoic recordings to recover the full rich timbre of the instrument along with its radiation pattern adding a proper virtual space to the anechoic sound Virtual Soundstage NEW This new feature allows precise positioning of th
22. ding very realistic effects O Real Time Timbral Shaping Harmonics Gain NEW Controllers CC90 CC93 are reserved for real time control of the Harmonics Gain related to the entirely new feature of Timbral Shaping see page 26 Harm Groupi Gain Harm Group2 Gain Harm Groups Gain Their default setting is 64 In this neutral middle position the timbre will entirely reflect the bar Ea a ae settings in the Timbral Shaping menu between 6 dB c is and 6 dB Harm Form Shift ees Outside the default value CC90 CC93 allow to shape the timbre in real time e E according to the following rules 64 CC91 controls the first lowest active harmonic or group of harmonics CC92 controls the second active harmonic or group of harmonics if any CC93 controls the third active harmonic or group of harmonics if any CC90 controls the frequency shift of the harmonics settings pseudoformant shift Active harmonics means the harmonics which bars are set to any value different from 0 Ba mE In this example CC91 will control the harmonic number 2 which is the first lowest separate bar set to a value different from 0 CC92 will control the group of harmonics centered around the harmonic no 4 5 and CC93 the group of harmonics centered around harmonic 8 4 5 6 FY OUR URS O IO Timbral Shaping 16 Please note acting on the controllers CC91 93 will not displace the dis
23. e instruments in a dimensionless virtual space using early reflections pre delay convoluted panning and perceived distance algorithms This will set you free of adding a further suitable acoustic environment without incurring multiple ambience issues This can be carried out within the same Kontakt Player which provides a high quality convolution reverb Real time Timbral Shaping NEW This revolutionary new feature adds a virtually infinite timbral variety to sample based instruments by acting on the amplitude of individual harmonics or groups of harmonics even in real time This is not a graphic equalizer the controlling bars are not assigned to fixed frequencies but to the first 10 harmonics of the played note As a consequence the affected frequencies vary with the pitch of the note So rising for example bar 1 will boost the fundamental frequency first harmonic of each note played yielding a rounder sound Rising bars 3 4 5 will increase the intensity of the corresponding harmonics for a more nasal sound etc Microtuning NEW Another new feature is microtuning applicable to individual keys even in real time to better cope with non tempered scales so essential in for example Middle Eastern and Asian music Expression Mapping NEW User drawn rescaling nonlinear of the expression CC may give better control of the dynamics particularly with such input devices like breath or wind controllers Breathy Attacks
24. e preceding the tone of the trombone The maximum length is obtained when playing the lowest dynamics CC11 or CC2 equal zero and lowest velocity The higher the dynamics or velocity the shorter the breath noise At velocity above 20 or CC11 CC2 at about 20 25 or higher the breath noise is very short or none depending on velocity Please note that since this effect is related to pianissimo it requires high gain volume settings to be fully perceived Slide This is a unique feature of the Trombone Due to the presence of the slide the trombone is one of the few wind instruments that can produce a true glissando up to six semitones Though very difficult to obtain with a sample based instrument the effect of the slide has been perfectly reproduced in our virtual trombone by a novel application of the Harmonic Alignment technology Ultra realistic slide effects can be obtained by proper use of the pitchbend but are also automatically activated by overlapped legato A continuous glissando effect will be obtained if the portamento interval is within 3 semitones Half valve sound This only applies to the Valve Trombone To perform legato portamento on a valve trombone the player frequently applies the so called half valve technique By pressing the valves only about half way down the tone collapses providing a characteristic squeezed sound During this very unstable status of the instrument the player is able t
25. ed IMAI ct i Wapping is active e white You may als aoe TTT correct the compensated curve with your mouse pping Calibration fel Mapping Please note that all changes will be maintained upon storing and reloading the instrument Tips left clicking and dragging the mouse allows free hand drawing Right clicking and X dragging enables drawing of straight lines Please note that constructing curves with multiple straight segments can be easier and faster Left clicking and dragging the mouse while pressing Cntrl resets the corresponding bars to zero 11 Expression Mapping NEW Main view The default setting for the expression controllers CC11 or Yel Mapping CC2 is linear in a dB scale This means that a linear rise of Expr Mapping the expression CC yields a perceived linear crescendo While Controllers 1 Realtime soundshaping this is perfectly suitable for most applications there might be cases where a nonlinear mapping would be advantageous A very intimate piece never entering the high dynamic range or a windcontroller too easily jumping to very high CC2 value are examples where a nonlinear mapping of expression could be very useful If Expr Mapping is selected in the drop down menu the velocity mapping GUI will be displayed As a default Expression Mapping is disabled Expression mapping is activated by clicking on the Active button until it turns white aml Now the relationsh
26. ent note with a characteristic shorter and more definitive vibrato like pattern Note off keyswitches GO Release pattern 1 Imparts a longer rich release pattern to the next note off G 1 Release pattern 2 Imparts a characteristic vibrato like ending release pattern to the next note off 36 A1 Release pattern 3 Imparts a characteristic vibrato like ending release pattern to the next note off Very suitable for faster sequences X Tip note on on the fly and note off KS may be simultaneously activated for multiple modulations For example by holding down CO and AO one can obtain an accented pattern with vibrato like endings on each next staccato note Note CC26 also allow to modify the relative duration of each note on and on the fly keyswitch To perform this you need to set the controller while holding down the keyswitch Similarly CC27 will allow to modify the relative duration of each release keyswitch A message on the lower bar will report the new value Please note that this new value will be stored along with the instrument replacing the default By pressing a keyswitch the associated value will be displayed on CC26 and CC27 GUI knobs v Non modulating keyswitches A 0 Wah wah effect This KS activates the wah wah effect of the plunger In this mode CC11 directly controls the wah wah intensity Both a momentary and a toggle mode are available The momentary mode is activated when the KS
27. ents within a minor third interval The later technique requires considerable skill though Fading Vibrato amp Vibrato like endings If you analyse any real trombone phrase you will notice that many notes have a brief tasteful kind of vibrato at the very end This vibrato is mostly just a single oscillation one period long and adds a very typical expression to the sound These articulations nearly impossible to perform by the interaction of the main controllers can be easily obtained by simply hitting a keyswitch Keyswitch EO yields a characteristic fading vibrato FO provides a most typical expressive end vibrato F 1 triggers a very expressive short end vibrato KS EO F 0 are of the on the fly type which immediately affects the currently played note Other KS GO AQ provide articulations which are activated upon the release of the note GO yields a slightly prolonged natural release G 1 and A1 trigger longer and shorter vibrato like endings respectively Since the intensity via KS velocity and duration are entirely under your control these keyswitches are one of the most important articulation tools allowing incredible realism to be easily achieved Trills shakes amp ornamentations Realistic trills ornamentations and shakes can be obtained by simply playing them on a keyboard However a very helpful retrigger feature greatly facilitates this task upon release of an overlapped note the previous note will be pla
28. ffect A 0 2 Default fall BO 3 Modeled split portamento and falls C1 Note on legato portamento on the fly and release KS do not produce repetitive stereotypical patterns as a presampled articulation would do Rather they act by modulating the note so that the current dynamics pitch and evolution are preserved This ensures that a virtually infinite series of nuances can be elicited by pressing a single KS The intensity of the effect carried out by a modulating keyswitch is linked to the KS note on velocity from none to slightly excessive for special effects The duration of the modulating KS articulation has a default value of 64 which is generally most appropriate It can however be varied by holding down just the selected KS while setting CC26 for note on or 27 for release to the desired value Note on and legato portamento keyswitches CO Accent Adds an accent to the next detached note s C 0 Fast Crescendo Imparts a slight crescendo pattern to the next detached and legato note s DO Upward pitchbend Applies an upward pitchbend to the next detached note s On the fly keyswitches D 0 Transient Vibrato Adds a particular type of expressive transient vibrato to the current note EO Fading Vibrato Adds a characteristic short fading vibrato to the current note FO Vibrato like ending 1 Modulates the current note with a typical vibrato like pattern F 0 Vibrato like ending 2 Modulates the curr
29. he mouse on the appropriate knob in the Controllers 1 panel Portamento Time controlled by Velocity aoe A mixed mode behaviour is also possible partially linking the meen duration of portamento to both dynamics velocity and CC5 seem allowing even greater flexibility and expressiveness Portomento tine Reece A pitch sensitivity knob is provided to compensate different pitch SE responses to lip pressure among different brands For example the A pitch output of the Yamaha WC is generally smaller This can be fixed by setting Pitch Sensitivity to a higher 200 value The default setting 100 should be generally adequate for Akai devices EWI mimir o UU vo 21 WC mode is deactivated by clicking again on the Use Windcontroller yellow button Dynamics control will be automatically remapped to CC11 Breath controller Mode Main view This option opens the Breathcontrol panel Yel Mapping Expr Mapping By clicking on Use Breathcontroller button Controllers 1 Controllers z Controllers 3 Controllers 4 you will activate the Breathcontroller mode Controllers 3 Mutes Eorly Reflections CC remapping 1 The selected mode will appear on the main view GUI CC remapping 2 AC Mode CC remapping 3 COC remapping 4 CC remapping 3 Wind Controller Fortamento Time BC mode automatically maps the Dynamics to CC2 In addition it s now the BC which triggers note on amp off
30. i il il il i modeling Copyright 2014 Peter Siedlaczek amp Giorgio Tommasini All rights reserved First printing 2010 This guide is written by Giorgio Tommasini and Peter Siedlaczek Art design by Vadim Nekrasov Shramm 38
31. ip between in X axis and out Y Active Smooth zee axis expression values is represented by the upper graph A straight line from bottom left to top right means linear mapping i e no changes The graph can be directly edited with your mouse so that you can program any expression response you need The Smooth button facilitates the task of drawing smooth curves An example of a nonlinear mapping This example shows how to avoid very high dynamics Mapping may be bypassed by clicking on the Active button until it turns grey Please note that all changes will be maintained upon storing and reloading the instrument Active Smooth Expr Mapping Tips left clicking and dragging the mouse allows free hand drawing Right clicking and dragging enables drawing of straight lines Please note that constructing curves with multiple straight segments can be easier and faster Left clicking and dragging the mouse over the bars while pressing Cntrl resets these bars to zero Controller Knobs 12 Main uiewu Yel Mapping Expr Mapping Controllers 2 Controllers 3 Controllers 4 Controllers 5 Dynamics Attack Modulation oe D G J Flutter Tongue Gd LLZ5 Ka 0 Dynamics to Pitch CC24 Yel to Dynamics te DF a e gt gt gt ae f Harm Group Gain Early Reflections i Modulation EFrects amp Mutes Pitch amp Tirme related Timbral Shaping Virtual Soundstage Vibrat
32. is made via USB Keyboard or Windcontroller A five octave midi keyboard mappable from C 2 to C5 with pitchwheel modwheel and an expression pedal or breath controller constitute the minimum requirements for real time playing Six octave keyboards with several physical MIDI controllers including expression and sustain pedals or a Windcontroller are recommended for full exploitation of the expressiveness of the instrument Sequencer If real time playing is not contemplated you will miss a great fun though programming midi tracks in a sequencer may obviate the need for several physical MIDI controllers while maintaining full control of the instrument expressiveness The Trombone 3 0 has been thoroughly tested on several sequencers including Cubase Ableton Live Digital Performer Logic Sonar and Protools Supported Plugin Formats PC VST AAX or RTAS 32 or 64 bit Mac AU AAX or VST 32 or 64 bit For more details please refer to Kontakt 4 2 or 5 Specifications on the Native Instruments site 1 O MOST IMPORTANT Like a real instrument and differently from conventional sample libraries the Trombone allows continuous transition across the dynamics from ppp to fff free from any side effects To accomplish this a suitable continuous physical MIDI controller such as an expression CC11 or volume CC7 pedal a breathcontroller or a windcontroller CC2 is absolutely necessary WITHOUT THIS CONTROLLE
33. lation depth Reproduces the typical slight pitch modulation of the real attacks May vary from none more precise initial intonation to slightly excessive Default 64 CC22 on transition flutter intensity Bursts of high frequency flutter are automatically generated on transitions reproducing the behaviour of the real instrument CC22 controls the overall intensity of this flutter The recommended range is 45 to 75 Default 64 CC21 growl intensity High frequency flutter may be added by directly acting on this controller to produce a growly or dirty sound Default 0 14 CC23 frullato intensity Flutter tongue like effect may be added by directly acting on this controller Default 0 Ok Tip Different types of frullato can be obtained by adding CC21 to CC23 CC100 MIDI loadable mutes Loaded mutes are None default for CC100 between 0 and18 Straight 19 36 Cup 37 54 Bucket 55 73 Harmon 74 91 Harmon stem 92 109 for Unison Ens a specially devised IR to reduce phasing when playing unison 110 127 CC24 dynamics to pitch modulation In the real instrument the current pitch is affected by transient changes of the dynamics The Trombone exactly reproduces this behaviour The intensity of this pitch response can be varied with CC24 to better cope with different styles For example baroque music generally exhibits less fluctuations and the overall pitch
34. n be obtained by hitting one or more of the modulating keyswitches Non modulating keyswitches perform several specific tasks such as wah wah effects automated split portamentos and other typical phrases such as falls or semi legato The reserved keyswitch range is CO C1 Tenor Trombones or C 2 C 1 Bass Trombone The Trombone Keyswitch Assignment Fast Fading Vibrato Vibrato Wah wah Crescendo Vibrato Ending3 Release co c OO Mirae EO FO eile CO BC ee AO BPN oO Accent U Vibrato Vibrato Long Vibrato Fall Split Pitchbend Ending1 Ending2 Release Release2 Portamento ee eee eee Oe Oe eee eee eee F Note on keyswitch a On the fly keyswitch Ei On release keyswitch press before playing press while playing press before releasing key activates the Second Level keyswitches Mixed Arabic Doit Half valve Half valve doit co c OO Mra EO FO iS CO BC AO BPN BO Half valve Chromatic doit Pentatonic Mixed Half valve Chromatic Half valve E Split Portamento E Falls Keyswitches 35 Three types of modulating KS are available 1 Note on KS CO D0 When held down these KS will affect the next detached note s 2 On the fly KS D 0 F 0 They immediately affect the currently played note adding some characteristic modulation patterns 3 Note off KS GO AO They affect the release of the current note s Three types of non modulating KS are also available 1 Wah wah e
35. nt The convolution reverb itself can be accessed in the Output section of the Kontakt Kontakt Player see Kontakt Manual for details BC and WC are versions ready to play with a Breath or Wind Controller Tip while opening a multi the following question appears Replace multi pressing No will merge in the new instruments Click on YES if you want to load the multi with the convolution reverb Click on NO only if you need a setup without ambience reverberation or you prefer to use your own reverb Note loading multiple instruments on a single instance of Kontakt leads to a less efficient use of the multiple cores and to an increased CPU load In case you are experiencing excessive CPU load and or dropouts with this Multi we strongly recommended to use a separate instance of Kontakt for each instrument Please load the Trombones labeled for unison ensemble They are perfectly suitable for unison playing even if driven from a single MIDI source Please note that in this case the ambience reverb must be provided by the user 34 The Performance Keyswitches Basic concepts The keyswitches KS are conceived to ease the task of shaping complex articulations or phrases which are impossible or too difficult to perform with the usual interaction of the expression pedal pitchbend and modwheel For example accent fast crescendo upward pitchbend on the fly modulation and different types of release ca
36. o Intensity cot gt i 0 Release Time b iy 1S Transition Flutter te E L OT a Mute None CCi00 ie a Random Detune a EP L Zo Vibrato Rate CC19 Controllers 1 Growl All the controllers needed for proper functioning of the instrument are mapped to virtual knobs in five GUI panels which can be activated by a drop down menu The function of each controller is indicated by the associated label The virtual knobs permit to monitor the incoming midi data but can also be used to directly control the instrument This allows users of keyboards without physical MIDI controllers or knobs to explore the expressive capabilities of The Trombone The five Controllers GUIs show each MIDl controlled function the associated CC number and its current value Each knob is bidirectionally mapped to its CC This means that you may set each CC by moving the associated knob Conversely any incoming MIDI CC will be mirrored by the corresponding knob and its current value will be shown on the display panel Controllers 2 Pitch Fluctuation Controllers 3 Harm Group3 Gain Controllers 4 Predelay E3 KC gt 0 Distance Please note that for realistic and expressive playing the controller knobs cannot substitute the essential controllers such as CC11 modwheel C1 and pitchbend which must be provided by your keyboard or sequencer Controllers 5 v 13
37. o perform within some limits a nearly continuous glissando In our virtual valve trombone the half valve sound is automatically activated if low velocity is applied Please note that in order to maintain realism larger portamento intervals shouldn t be played entirely with the half valve sound instead some intermediate fixed notes should be inserted This might be sometimes quite difficult in the realtime for that reason some keyswitches have been programmed to perform ready to use split portamento transitions Please refer to the keyswitch section for more details 31 Vibrato An extremely important element of musical expression The vibrato of a real trombone has a very complex anatomy which can be described as a modulation of pitch intensity and timbre Also vibrato intensity and frequency slightly vary over time Our virtual trombone creates a realistic vibrato by reproducing these subtle variations by advanced Al techniques Vibrato intensity is controlled by the ModWheel CC1 vibrato rate by CC19 available also on the instrument GUI Note a particular type of expressive transient vibrato can be added by pressing D 0 on the fly keyswitch Slide Vibrato In addition to the standard lip vibrato controlled by CC1 the less common but very expressive slide vibrato can be mimicked by suitable back and forth movement of the pitchbend as well as with the overlapped legato technique by playing slow trills or ornam
38. ones and Bb 1 Bb3 Bass Trombone Tenor Trombone This is the main instrument of the library Most of the functions will be very familiar to our customers The main difference however is the slide emulation which is done by the Pitch Bend It allows extremely realistic pitch bending of 3 semitones augmented fourth corresponding to the full stroke of the real trombone slide The slide emulation on legato notes portamento though is automatically performed when playing lower velocities on small intervals see below for further details Tenor Trombones 2 amp 3 Technically the same instruments However they sound slightly different and are optimized for use in a trombone section without phasing artifacts Valve Trombone The real valve trombone uses valves instead of the slide Although the typical trombone like gslissando portamento effects are not possible here in our instrument the Pitch Bend is limited to 1 semitone the overall sound is similar to that of the Tenor Trombone The Valve Trombone needs slightly less CPU resources due to the fact that no slide emulation is required Bass Trombone Sounds fuller and more voluminous due to its wider bore and larger mouthpiece Our virtual Bass Trombone goes down to Bb 1 1 5 octave lower than the tenor trombone which is actually the lowest pitch playable on this instrument All these instruments are now at your fingertips You can really PLAY them shaping the sound
39. or some interesting vowel like effects creating fully unconventional sounds far away from the timbre of the real trombone 29 Playing Techniques Despite its structural complexity this instrument is very intuitive and easy to play The Trombone does not use pre recorded articulations and shaping the sound is the task of the player carried out by proper use of a few midi controllers However extensive use of advanced Artificial Intelligence Al techniques greatly facilitates this task Our revolutionary Adaptive Model approach acts by minimizing the differences with the real instrument whatever articulation or phrase you play You can therefore concentrate on creating music rather than mastering complex sample bank management Nevertheless thorough knowledge of the controllers and the keyswitches and some practice are certainly needed to get virtuoso effects Before starting to play please make sure your expression pedal or breath controller is connected to the keyboard and properly mapped to CC11 or CC2 Playing range Active notes of the Tenor Trombone 1 are in the range E1 F4 D 1 and F 4 are silent notes useful for portamento amp falls to nowhere CO to C1 are reserved for the performance keyswitches The range of the other instruments is Tenor Trombone 2 amp 3 E1 F4 Valve Trombone E1 F4 Bass Trombone Bb 1 Bb3 Basic playing techniques Detached notes Detached non legato is
40. orage function within the Timbral Shaping feature see below storing Microtuning settings does not require clicking on save as Preset The user acts by directly modifying the preset so that any previous setting is automatically overwritten Example presets Preset 1 Empty Default preset used when no microtuning is required Preset 2 Template for detuning on the fly using the Keyswitches see above There are several wonderful Arabic scales modi using quartertones and other micro intervals stored under Presets 3 7 Preset 3 Rast C D E 50 F G A B 50 C Preset 4 Husseini D E 50 F G A B 50 C D Preset 5 Sigah E 50 F G A B 50 C D E Preset 6 Saba D E 50 F Gb A Bb C D Bayati D E 50 F G A Bb C D Preset 7 Garib Higaz D Eb 15 F 25 G A Bb C D 25 Timbral Shaping Main view This option opens the Timbral Shaping panel Yel Mapping Expr Mapping Contrallers 1 Controllers 2 Controllers 3 Controllers 4 Controler 1 2 3 4 5 6 7 85 95 Mutes Preset 1 Timbral Shaping Eorly Reflections CC remapping 1 CE ing 2 a This revolutionary new feature adds a virtually infinite timbral variety to sample based instruments by acting on the amplitude of individual harmonics which can be accomplished in real time CC remapping 3 CC remapping 4 CC remapping 5 Wind Controller Breath Controller l To our knowledge this has never been implemented Fortamento Time Ginn cweee
41. played bars in the Timbral Shaping menu Instead the controllers will introduce an additional gain which must be added or subtracted from the current bar setting s according to their current values following the rules below CC91 93 64 0 dB i e no changes the harmonics gain corresponds exactly to the bar settings CC91 93 between 64 and 127 adds up to 6 dB to the current bar setting s CC91 93 between 64 and 0 subtracts up to 6 dB from the current bar setting s Similarly no frequency shift is applied if CC90 64 default setting rising the value up to 127 will gradually shift the settings up to one octave higher decreasing the value down to O will shift the settings down to one octave lower ne Tips If you intend to use the real time control by any of the controllers CC91 93 consider using very small shallow settings of the bars close to 0 as much as possible These settings will make the particular harmonic active i e fully responsive controllable by CC91 93 However their level will be fully under control of the CC91 93 knobs in both directions 6 dB with practically zero gain if the controllers are set to the middle 64 Please note that acting on single harmonics provides usually more radical changes in timbre suitable for special effects whereas acting on a group of harmonics using wider curves and not too excessive gains yields more natural results If simultaneous
42. reshold 80 a sforzato effect is obtained In the opposite case one gets a fast crescendo The intensity of either effect is proportional to abs velocity 80 CC25 some complex math here Thus the overall dynamic excursion is proportional to CC25 It varies from zero no dependence on velocity to 127 initial dynamics determined only by velocity Default 127 15 CC5 portamento time By default the duration of Beco ead aler portamento is controlled by the velocity of the overlapped note Under some circumstances it may be Transpose preferable to control the duration of portamento with a dedicated CC This is particularly true when using a Wind Controller where the velocity of the overlapped note basically corresponds to the current dynamics Lower dynamics unavoidably yield long portamentos and vice versa Portamento Time controlled by CO oe D oe 100 a O vo By activating Portamento time in the drop down menu you will open a dedicated window The two knobs show how the duration of portamento is currently controlled Default is 100 by velocity as already stated By acting on the knobs you may set the relative weight of velocity vs CC5 for controlling portamento time Portamento tinte Tip The aftertouch is particularly suitable for controlling Growl or Flutter Tongue The slightly increased pressure associated with a keystroke may add some extra growl to the initial part of the note yiel
43. rk properly Keyboard Mode PETER SIEDLACZEK GIORGIO TOMMASINI Main view This is how the instrument looks upon loading A warning message appears reminding you that An Expression controller CC11 CC7 or CC2 is absolutely necessary for proper functioning of the instrument THE f i SHIMLA ALAA DA V Keyboard Mode PETER SITEDLACZEK GIORGIO TOMMASINI Main view Upon receiving the appropriate CC from your keyboard or other midi sources such as a windcontroller or sequencer the warning disappears and the instrument is fully functional The grey button in the lower right corner opens a drop down menu You may choose among several options Yel Mapping Expr Mapping Controllers 1 Realtime soundshaping Controllers 2 Modulation Effects amp Mutes Controllers 3 Pitch amp Time related Controllers 4 Timbral Shaping Controllers 3 Virtual Soundstage Mutes Early Reflections CO remapping 1 Realtime soundshaping CO remapping 2 Modulation Effects amp Mutes CC remapping 3 Fitch amp Time related CC remapping 4 Timbral Shaping CO remapping 3 Virtual Soundstage Wind Controller Breath Controller Portamento Time Transpose Micratuning Timbral Shaping 10 Velocity Mapping Main view It is well known that MIDI keyboards have different and uneven velocity response and this may heavily influence the Expr Mapping performance of a virtual instrument To obviate this problem the instrument include
44. s automatic detection of any velocity inhomogeneities or non linearity emitted by the keyboard and provides automatic remapping to any desired curve If Vel Mapping is selected in the drop down menu the velocity mapping GUI will be displayed As a default velocity mapping is disabled Velocity mapping is activated by clicking on the Mapping button until it turns white Now the relationship between in X axis and out Y axis velocity values is represented by the upper aan erem mee graph A straight line from bottom left to top right means linear mapping i e no changes The graph can be directly edited with your mouse so that you can program any velocity response you need To compensate for a nonlinear behaviour of your keyboard an automatic calibration procedure is provided Just click on the Calibration button until it turns white Now what you have to do is hitting any key at random velocity trying to cover the whole velocity range Each new output velocity will appear as a new bar in the lower panel The overall velocity curve output of your keyboard will progressively be updated in the upper panel The response of a nonlinear keyboard After you re finished with the automatic mapping procedure i e when you notice that no new velocity bar appears anymore disable Calibration by clicking on it until it turns grey From now on compensation for nonlinearity of note on velocities will be carri
45. s effect can be controlled with CC29 Default value 80 CC31 pre delay Controls the time delay of the first early reflections Default 0 corresponding to about 20 msec CC10 panning It spans from zero extreme left to 127 extreme right Default 64 middle CC14 distance Controls the perceived distance from the player Default 0 U Note When panning do not use the standard pan slider on the Kontakt GUI 7 Always use the Virtual Soundstage pan knob CC10 described above which provides a much better spatial localization Q Note setting CC29 to zero sets the early reflection convolution in a bypass mode leading to a decreased CPU load This setting is however generally best avoided since it spoils the sound and the spatialization of the instrument In any case it may only be used in conjunction with an external reverberation unit including a suitable ER algorithm 18 Volume control by CC7 forget to enable this function by checking the box Accept standard controllers for Ok Tip If you wish to control the instrument volume not the dynamics by CC7 don t lt Volume and Pan under Instrument Options gt Controller as shown below Instrument Options l Instrument i A i i HIDI Controller 64 Sustain Pedal acts as OFO l Accept all notes otf all sounds off Controller Accept standard controllers for Volume and Fan Infos Midi Controller 7 CYolume range The Mutes eaten
46. semble maker algorithm has been developed affecting timing Static and dynamic pitch evolution phase response to dynamics pitchbend velocity portamento times in such a way that each instrument of the ensemble sounds as if driven from a different track even if played in unison Unlike conventional ensemble libraries any articulation will always sound different yet real A ready to use Multi including three specially devised Tenor Trombones suitable for unison playing from a single MIDI source along with an appropriate ambience convolution reverb is included in the package The screenshot below shows the three trombones included in the Multi displayed in the reduced instrument header view rather than in the larger Performance View Tenor Trombone 1 for unison ensemble RC 1 4 gt e Tune 0 00 Output st 1 e wt VYoices O Max 32 Purge v H Midi Ch omni g Memory 54 54 MB ula Tenor Trombone 2 for unison ensemble RC 4 gt Tune 0 00 Output st 1 amp Voices O Max 32 Purge Midi Ch omni Memory 53 59 MB nema Kja Tenor Trombone 3 for unison ensemble RC 4 ry Tune 0 00 Output st 1 v amp Voices OQ Mas 32 Purge 6 Midi Ch omni Q Memory 3 59 MB am MI JF Clicking on the small AUX icon on the right margin of the instrument opens the AUX sends section of the instrument as shown above They control the amount of the reverb separately for each 33 instrume
47. struments sampler It involves many new features and bugfixes including 64 bit extended memory and multicore support DFD optimisation better compliance with some OS and hosts etc The Player is included as a separate installer and no additional software is required to play the instrument Stand alone mode as well as plugin formats VST AU RTAS and AAX are supported The Trombone v 3 0 is also fully compatible with the Kontakt Player 4 2 Earlier Kontakt versions cannot be used For further details please refer to the Player Manual Kontakt 4 5 Sampler The instruments can be also loaded and played in the full version of Kontakt 4 2 or 5 Please note however that they cannot be opened or modified and no access to the samples impulse responses or instrument programming is provided Note for Kontakt 4 Kontakt Player 4 users due to a bug in Kontakt 4 the instrument output volume settings other than 0 change the relation between the dry signal and early reflections For example rising the output volume 6 dB adds an additional level of 6 dB to the dry signal as expected but as much as 12 dB to the early reflections Please re adjust the Early Reflections level accordingly when working with volume settings other than zero The same applies when controlling the output volume via CC7 Installation Please read carefully and follow the instructions found in the separate Installation Guide System requirements Operating sys
48. t Save as Preset 1 gt Saue as Preset 2 gt Saue as Preset 3 gt Saue as Preset 4 gt Saue as Preset 6 Example presets There are 4 example presets stored under Preset 2 5 Preset 1 flat no predefined settings Preset 2 Boost of middle harmonics more nasal or brassy sound used in Trombone 2 Preset 3 Boost of lower harmonics for a warmer fuller sound used in Trombone 3 Preset 4 Prepared for the use with the realtime control via CC91 93 where CC91 controls the first harmonic CC92 the second and CC93 the third harmonic all bars are set to minimal values making them active see Tip on page 29 below Preset 5 Talkbox like effect to be used with modulating CC90 Pressing the Bypass button transiently switches off the effect of Timbral Shaping Tip To reset a single bar left click on the bar you want to reset to zero while pressing the Cntrl key To reset all the bars simply drag across the bars while left clicking and holding the Cntrl key 28 Note Timbral Shaping activates an automatic loudness compensation which keeps the overall volume virtually constant independently of the settings of the bars and of CC91 93 v Harmonics Gain vs external controllers TRC emcee Controllers CC90 CC93 are reserved for real time control of the Harmonics Gain They can be accessed and monitored on the Menu page Controllers 4 Timbr
49. tems PC Windows 7 Vista or XP 32 or 64 bit Mac Intel only Mac OS 10 5 10 9 Computer The Trombone 3 0 like the other Samplemodeling instruments The Trumpet French Horn amp Tuba and the Sax Brothers provides unprecedented realism and expressiveness However it s a demanding software in terms of CPU load A modern PC or Mac with at least 1 6 GHz Core2Duo CPU is required Less powerful systems may also prove satisfactory but may require larger buffer sizes involving higher latencies and may even reduce the amount of simultaneously playable instruments down to 1 Note This may not represent a real problem though Using the freeze feature or bouncing the single MIDI tracks to audio is a useful remedy v Important note on CPU load Loading multiple instruments on a single instance of Kontakt leads to a less efficient use of the multiple cores and to an increased CPU load In case you are experiencing excessive CPU load and or dropouts we strongly recommended to use a separate instance of Kontakt for each instrument Audio Interface sound card A good quality audio hardware with suitable low latency drivers ASIO for the PC is required Recommended buffer sizes may range from 128 low latency hight CPU load to 512 samples higher latency but less CPU load MIDI interface A MIDI interface is required if using a MIDI keyboard another MIDI controller or an external sequencer unless the connection
50. tends to be more steady You may reproduce this behaviour by decreasing CC24 somewhat from the default value of 64 Conversely a funny trombone mimicking the performance of a beginner or a drunken player see The Trumpet performance at http www sample modeling com Demos 5 Oktoberfest mp3 can be obtained by increasing CC24 to very high values Tip Higher settings of CC24 may also allow BC players to perform a realistic vibrato by simply modulating the air flow CC28 random detune Real playing is almost invariably characterized by slight pitch fluctuations and the average pitch often departs from the tempered scale The latter phenomenon is also likely to affect more the initial part of the note before the players starts to to correct the pitch This behaviour is reproduced with the Trombone according to a pseudo random model The intensity of this effect can be controlled with CC28 Zero means no detuning Default setting is 64 CC32 pitch fluctuation NEW Controls the extent of the slight pitch fluctuations described above from very slight CC32 0 to strong CC32 127 Default setting is 64 CC25 dynamics linked to velocity The dynamic is normally controlled by CC11 only CC25 allows to control the initial dynamics by note on velocity This allows fast sforzato crescendo effects often too difficult to create with the expression pedal CC11 If CC25 is greater than zero and note velocity is higher than a preset th
51. when exceeding or falling below a certain threshold As in the real instrument the pressed key only determines the note which will be played The note on velocity is related to the steepness of the initial CC2 curve so that a quickly rising CC2 will trigger a stronger attack This does not apply to legato notes where legato portamento duration is determined as usual by the velocity of the overlapped notes BC mode is deactivated by clicking again on the Use Breathcontroller yellow button Dynamics control will be automatically remapped to CC11 22 Portamento Time Hain uiers This option opens the Portamento Time panel Yel Mapping Expr Mapping Controllers 1 Controllers 2 Portamento Time controlled by Controllers 3 gt Velocity CCHS Controllers 4 Y D lt oo o Controllers 5 Mutes Early Reflections In Keyboard default mode the duration of portamento is determined by the velocity of the overlapped note While this represents a very convenient approach to portamento control there might be cases where linking portamento time to a separate controller such as CC5 would be preferable By setting the right knob to 100 the duration eee of portamento could be linked to any physical controller Portamento Time mapped to CC5 Transpose CO remapping 1 CC remapping 2 CC remapping 3 CC remapping 4 CC remapping 3 Wind Controller A mixed mode behaviour is also possible parti
52. wling accomplished by singing a tone of a different pitch vocalizing while playing a note The flutter tongue frullato is accomplished by modulating the airflow while playing a note the trombone player flutters his tongue making the typical Frrrrr sound similar to pronouncing a rolling R The Trombone uses 2 controllers to obtain growling and frullato effects CC21 and CC23 where CC21 uses higher modulating frequency To differentiate the results they can be used separately or mixed in different proportions Trombone ensembles The package includes three Tenor Trombones which slightly differ in timbre dynamic response natural pitch drift early reflections pattern etc The Bass Trombone is a separate instrument using different samples A very convincing trombone section can be obtained by loading the three tenor trombones with or without the bass trombone Best result will be obtained by playing them individually using separate tracks and applying slightly different timing intonation pitch bending portamento vibrato depth and frequency etc Those small differences in sound and articulations are essential for a natural section sound Please note that even real trombones if played in a very similar perfect manner may produce some phasing like sound Unison Ensemble Multi NEW Special consideration has been given to creation of realistic ensembles from solo instruments playing unison An advanced en
53. yed again retriggered if the key is still held down So in order to play a trill keep the initial note pressed while pressing and releasing the other note Try different velocities which noticeably determine the character of the trill shake This technique works also in more complex ornamentations using two or more overlapping notes Typical trombone shakes can be played either using the technique described above or raising the ModWheel CC1 to 110 127 In this latter case a very realistic vibrato to shake transition will be obtained Falls Falls are descending glissandos going to nowhere i e they just fade out and do not stop ona particular note If performed using only buzz kind of collapsing sound used for slow transitions on the slide trombone or half valve which are more suitable for longer falls they sound smoother and softer If a punchy or sloppy fall is needed a series of notes usually in f ff is played either chromatic or using any other e g harmonic series of notes These articulations may be directly executed on the keyboard by skillful players However and more conveniently the same effect will be obtained by using dedicated keyswitches For more details please refer to the Performance Keyswitches below 32 Growl amp Flutter tongue These playing techniques provide a characteristic dirty sound which is the result of a frequency modulation of the sound The most common is gro
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