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Hollywood Orchestral Percussion Gold Manual

1. PLAY 5 Orchestral Techniques in Hollywood Orchestral Percussion Setting Up Templates Opening Multiple Instances of PLAY Prepping the MIDI Controllers Creating a Soundscape Volume Velocity Expression and the Mod Wheel MIDI Envelopes and Control Data Using Cross Fades Achieving a Legato Sound Directing the Audio Output Click on this text to open the Master Navigation Document 31 HOLLYWOOD ORCHESTRAL PERCUSSION Orchestral Technique in Hollywood Orchestral Percussion This chapter discusses ways to use the Hollywood Orchestra to achieve the traditional sound of instruments in a live orchestra The information in this chapter applies equally well to all the various EastWest libraries But note that some information especially how to achieve legato playing is more relevant to strings woodwinds and brass than to the shorter sounds of much of the percussion section Setting Up Templates The simplest way to work with any large orchestral ensemble is to set up templates once you have gotten to know the sounds and how all the features of PLAY work You might for instance have a comedy template that has a lot of staccato articulations effects and crescendos and or an epic template that includes a lot of legato patches Obviously the more computers you have and or the more capable the computers the bigger your templates can be Once you have decided what patches will go inside each template and have made
2. HOLLYWOOD ORCHESTRAL PERCUSSION Orchestral Percussion exclusively the balance of instruments is easier than if you re bringing in other instruments If for example you re using Hollywood Strings Hollywood Brass and other EastWest libraries in addition to Hollywood Orchestral Percussion then start by playing the french horns some big string ensembles and your noisiest percus sion really loud and at the same time that will give you a reference of what the loudest passages will be like Together they should be at least 3 dB below O Then adjust the other instruments to blend with these loudest instruments It s recommended you not use MIDI volume CC7 for any other purpose than this volume setting at the start of each track Use CC11 or the Mod Wheel when appropriate to change volume and breathe life into your compositions This way CC7 acts as a limiter and keeps everything from getting out of whack Also at a later time you can easily change the prominence of an entire track in the mix by adjusting this single CC7 level at the start of the track You should save the sequence before moving on Then go to your matrix editor or what ever it s called in your sequencer to set up windows that display CC7 CC11 and CCl Mod Wheel information You will be editing these last two a lot so it s a good idea to make these windows easy to access Label your saved templates and you re ready to go Opening Multiple Instances of P
3. 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 Or in this library check the third column in the tables of instruments if that column contains a number other than 1 then it s a round robin instrument PERFORMANSE There s one potential problem with round robin technology and one way to solve it is the Round Robin Reset button The PLAY Engine remembers which sample should be played the next time the note sounds If for example a round robin patch contains two samples A and B and a piece uses that note 7 times over the whole piece 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 Chapter 3 The Hollywood Orchestral Percussion User Interface 16 HOLLYWOOD ORCHESTRAL PERCUSSION You can use this button to reset all round robin articulations on demand Or use yo
4. only the loudness Hollywood Orchestral Percussion instruments use either MIDI Velocity or the Mod Wheel to affect the sound of the instruments when they are played louder or softer As a general rule in this library e Unless it is specifically stated otherwise Velocity is used e The Mod Wheel is used on rolls where the table of instruments below states that it uses a DXF Dynamic Cross Fade Overview of the Instruments in Hollywood Orchestral Percussion The following 5 tables which extend over several pages list the instrument files avail able for each category of instruments e The left most column is the name of the instruments e The second column lists the lowest playable note usually C1 or C3 e Next is the number of playable notes available within that instrument file e The fourth column specifies how many distinct samples are included in the Round Robin a value of 1 means that it is not a Round Robin instrument e The last column provides general information When separate articulations are as signed to separate MIDI notes the mapping is specified in this column Chapter 4 Instruments Articulations and Keyswitches 22 HOLLYWOOD ORCHESTRAL PERCUSSION As is stated in many places in EastWest manuals the naming of MIDI notes such as C1 can vary with different vendors EastWest uses the convention that Middle C MIDI note 60 is called C3 in all of its documentation So when you see that the lowest
5. A Crash C3 Cymbal 22 Zillidian Crash Cymbal E3 20 Zildian Sus Cymbal G3 Cres 32 Medium Tam Tam C4 Puilli Sticks F4 Shakers A4 continued 18 Ww W Ro PO C0 El a chromatic scale of long hits alternating LH and RH 2 Fl short hit Gl long hit Al roll Bl cresc 1 sec 2 C2 short hit D2 long hit E2 roll F2 cresc 1 sec 2 G2 A2 center hit LH RH B2 flam C3 rim shot D3 bounce E3 roll F3 G3 center hit LH RH A3 flam B3 rim shot C4 bounce D4 roll E4 F4 center hit LH RH G4 flam A4 rim shot B4 bounce C5 roll D5 long hit E5 short hit F5 long hit G5 short hit Ad long hit B5 short hit C6 long hit D6 short hit E6 cresc F6 A6 crescendo sustain 2 CO short hit DO long hit EO roll FO cresc 1 sec 2 G0 A0 center hit LH RH BO flam Cl rim shot D1 bounce El roll F1 Gl center hit LH RH Al flam Bl rim shot C2 bounce D2 roll 2 E2 F2 hits G2 rolls 2 A2 long crash B2 short crash 2 C3 long crash D3 short crash 2 E3 long crash F3 short crash 2 G3 B3 crescendo sustain G3 fastest to B3 slowest 2 C4 long D4 short E4 crescendo 2 F4 G4 hits 2 A4 B4 short shakes Chapter 4 Instruments Articulations and Keyswitches 24 HOLLYWOOD ORCHESTRAL PERCUSSION COMBO KITS Castanets C5 4 2 C5 D5 Castanet LH RH E5 Castanet flam F5 Castanet roll Anvils G5 6 1 G5 anvil A5 Carol Sound anvil B5 Carol Sound anvil mute C6 railroad track D6 E6 railroad track mute T
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7. be used on any articulation not only those programmed to include RR technology script must be activated in the PLAY user interface The image to the right shows the Repetition Sim script turned on In addition the appro priate MIDI Control Code must be turned On meaning in the range 64 to 127 This script uses MIDI Control Code 69 CC 69 In order for a script to actively affect the notes in an instrument file the Chapter 3 The Hollywood Orchestral Percussion User Interface 18 HOLLYWOOD ORCHESTRAL PERCUSSION When playing consecutive notes of the same pitch the use of a single sample over and over in quick succession can sound mechanically identical which is called the ma chine gun effect The Round Robin patches are one way to fix this problem The Rep etition script solves the same problem in another way For any articulation this script uses one or more of three randomly selected options to keep the sound a little different on each repetition e Use the sample for a nearby note for example a half step higher or lower and retune it to the needed pitch e Start the note a tiny amount before or after the 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 The producers have selected which of
8. flam F2 Castanet 2 roll C2 F2 4 different glissando effects C2 C6 chromatic scale of 4 octaves C3 C7 chromatic scale of 4 octaves C1 lowest pitch Dl medium El highest C1 G1 5 different hits Al C6 chromatic scale of rolls loudness is con trolled with DXF e with the Mod Wheel 2 A1 C6 chromatic scale 1 Same as full Marimba above but with no Round Robin C1 D1 lower pitched hits EI Fl higher pitched hits C1 Gl short ratchet sounds under 1 second C2 F2 ratchet rolls several seconds long 7 different shakers each set using C D and E in a different octave C and D are each a single shake E is a roll 4 Cl lower pitched slap Dl higher pitched slap 4 3 different temple blocks each set using C D and E in a different octave C hit D flam E roll 3 different high pitched wood blocks each set using C G in a different octave C hit with RRx4 D LH hit E RH hit F flam with RRx4 G roll 6 different wood blocks each set using C G in a different octave C hit with RRx4 D LH hit E RH hit F flam with RRx4 G roll F2 C6 chromatic scale loudness is controlled with DXF e with the Mod Wheel F2 C6 chromatic scale of rolls loudness is controlled with DXF e with the Mod Wheel F2 C6 chromatic scale Same as full Xylophone Sus above but with no Round Robin Chapter 4 Instruments Articulations and Keyswitches 30 32 33 34 34 36 38 39 39 40 HOLLYWOOD ORCHESTRAL PERCUSSION
9. iTunes a phenomenon never before seen in the music industry The journey as a composer has inspired Nick to record and program his own sounds and samples A 17 year partnership with Doug Rogers and EastWest has yielded award win ning software titles such as the Hollywood Series Stormdrum 1 2 and 3 Symphonic Orchestra Symphonic Choirs Silk RA Voices Of Passion Ministry Of Rock 2 Gypsy Quantum Leap Pianos Goliath and many others Chapter 1 Welcome 4 HOLLYWOOD ORCHESTRAL PERCUSSION Producer Thomas Bergersen Thomas Bergersen holds a composition and orchestration Master s degree and has worked in the capacity of composer orchestrator or music arranger on many Hollywood productions He founded Two Steps From Hell www twostepsfromhell com with Nick Phoenix in 2006 and has since written music for countless movie trailers Star Trek Harry Potter 6 Tales of Despereaux The Dark Knight Valkyrie The Hulk Rendition Spider Man 3 Golden Compass The Assassination of Jesse James Pirates of the Carib bean 3 Babel Hitman Am Legend 300 No Country For Old Men Harry Potter 5 The Brave One Wall E Blood Diamond Speed Racer and Night at the Museum are a few recent examples Thomas is also a trumpetist and has performed on major TV productions including NBC News In his pursuit of the
10. improvements in hardware and software make this much more realistic approach possible In Hollywood Orchestral Percussion look for cross fades in articulations that can be held for a long time such as the Rolls The only real reason not to use cross fade instruments as often as they d be useful in your projects is that they use significantly more of your computer s resources Achieving a Legato Sound There are two different technologies available in Hollywood Orchestra for achieving a legato sound e the instruments in any of the Legato folders e the Legato and Portamento scripts The Legato instruments in Hollywood Orchestral Strings Brass and Woodwinds include recordings of live musicians playing true legato transitions of up to an octave both up ward and downward The PLAY engine combines these seamlessly with other notes to Chapter 5 Orchestral Technique 39 HOLLYWOOD ORCHESTRAL PERCUSSION create very convincing legato passages These legato transitions are heard not only in instruments you might use for flowing legato phrases but also in the playable runs that are intended for very fast passage work But Legato playing is not usually a feature of percussion instruments This section is included here for those users who own licenses to other sections of the orchestra Use the true legato instruments when you want a convincing legato sound in your phras es and you don t need some other articulation to predominate The
11. in the Gold Edition are 16 bit Delivery the Diamond Edition is provided on a hard drive The Gold Edition is avail able by download or the user can purchase the CCC Gold Sound Data Hard Drive http www soundsonline com CCC Gold HD which contains the sound data only and can then purchase product licenses online Mic Positions The Diamond Edition includes samples from 5 independent microphone positions that can be mixed together to achieve control over both acoustic vantage and spaciousness of the sound the Gold Edition provides a single mic position The list of articulations for the two libraries are the same Those with a Gold Edition license can upgrade to the Diamond Edition license and receive the extra content by contacting EastWest Details about upgrading are also available on the SoundsOnline com website What s Included This Hollywood Orchestral Percussion library Gold Edition you purchased includes all of the following a complete set of sample based instruments enumerated later in this manual approximately 10 Gigabytes of 16 bit 44 1 kHz samples the EastWest PLAY 4 Advanced Sample Engine Note that PLAY 4 is required earlier versions are not supported with this library the unique authorization code that identifies the license you bought manuals in Adobe Acrobat PDF format for both the EastWest PLAY 4 System and the Hollywood Orchestral Percussion Virtual Instrument an installation program to set up
12. is 5 meters from the wall to our right and 45 meters from the wall to our left We are seated half way between the walls The reflection from the right wall which will be louder in our right ear travels 30 meters 5 plus 25 the reflection from the left wall louder in our left ear travels 70 meters 45 plus 25 That 40 meter difference means that the reflection arrives in our right ear approximately one ninth of a second sooner than in our left ear a significant difference And the other instruments all have their characteristic left right delay based on where they sit on the stage It is impossible for a single digital reverb to achieve that level of realism Proximity Clues Panning left or right is not the only way to separate instruments It is also possible to move them forward and backward This can be achieved in three ways 1 Dynamics relative to timbre 2 Delay 3 Presence Diamond Edition only 1 When most musical instruments change from being played louder to softer the timbre of the sound changes Even if you let someone else adjust the volume control on your stereo you can still tell whether the trumpet you re hearing was played loud or soft based on the instrument s tone most instruments have a harsher sound when played louder So in an orchestral mix if the trumpets seem to be played loud but the volume level of that instrument compared to others is softer then the ear assumes the trumpets are farther away Adjust
13. is recommended that there be one Volume MIDI event on each track to set the starting loudness for the whole track Chapter 5 Orchestral Technique 36 HOLLYWOOD ORCHESTRAL PERCUSSION Gem tl m mm Velocity a term based on how strongly a keyboard player hits the keys controls how forcefully the note is played Adding force changes not only the loudness of the notes but usually also changes the notes timbre With a piano s action the velocity cannot affect what happens to the sound after the hammers hit and leave the strings and velocity works the same way here In the current implemen tation of MIDI velocity is usually designated by a number between O and 127 Many software sequencers display velocity as vertical bars something like those at the bottom of the image above Most modern sample players PLAY included can select different samples for different ranges of velocity For example the team creating the samples recorded Middle C on the snare drum patch at p mp and f The team then assigns the p samples to say veloci ties 0 74 the mf samples to velocities 75 109 and so on Because each dynamic level of a snare drum has its own timbre a note s velocity can affect not only its loudness but also its timbre from gentle to angry Velocity changes are therefore a much better way than volume changes to achieve natural sounding dynamics The disadvantage of velocity is that it ca
14. left hand hits right hand hits and flams assigned to separate notes within the same instrument file These instruments can be used on their own or they can be integrated into a larger or chestral framework with other members of the EastWest Hollywood series Hollywood Strings and Hollywood Brass and Hollywood Orchestral Woodwinds All these members of the EastWest Hollywood series have been designed to work together to create an inte grated orchestral sound e They were all recorded in the same studio e They were all recorded with the same microphones in the same positions within the recording space e They were all engineered by Sound Engineer Shawn Murphy e They were all produced by Producers Doug Rogers Nick Phoenix and Thomas Berg ersen e They were all programmed using the same practices and software So even though they are sold as separate products and were released over the course of five years they form a single platform for orchestration and music realization Chapter 2 Hollywood Orchestral Percussion An Overview 11 HOLLYWOOD ORCHESTRAL PERCUSSION Comparison of the Diamond and Gold Editions The Gold Edition is mostly a subset of the Diamond Edition It is intended for those with smaller or less capable computer systems and for those looking for most of the features and power of the Diamond Edition but at a smaller price Here are the differences Bit Depth the samples in the Diamond Edition are 24 bit those
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16. of 50 up to 100 represents a smaller change in loudness when the volume control CC7 is reduced CC11 100 perceived volume level 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 marimba player adds musicality and interest to a phrase by changing the strength of the hits moment to moment The dark horizontal lines near the top are the notes CC 11 40 0 When saved as MIDI data this same envelope appears as a finite set of commands as in the next image In a sequencer track these often appear as vertical lines each line being a command to change the value in this case to change CC11 The other way and many say it s the better way to send CC11 events to the sample player is with a MIDI controller either a keyboard or a control surface As long as you or your group has an extra hand or foot if you use a pedal you can enter these control codes while playing the notes into the sequencer This allows you to hear the interchange Chapter 5 Orchestral Technique 38 HOLLYWOOD ORCHESTRAL PERCUSSION among the notes their velocities how hard you re hitting the keys and the expression being added with CC11 This process can also be done in two passes notes first then control data if your setup allows you to r
17. piano collection ever produced Fab Four inspired by the sounds of the Beatles The Dark Side Fab Four and The Dark Side were both M I P A Award winners judged by 100 music magazines Hollywood Strings Hollywood Brass Hollywood Orchestral Woodwinds Hollywood Orchestral Percussion ProDrummer 1 co produced with Mark Spike Stent ProDrummer 2 co produced with Joe Chic carelli and Ghostwriter co produced with Steven Wilson Over the last 17 years he has partnered with producer composer Nick Phoenix and set up the Quantum Leap imprint a subsidiary of EastWest to produce high quality no compromise virtual instruments EastWest Quantum Leap virtual instruments are considered the best available and are in daily use by the who s who of the industry Chapter 1 Welcome 3 HOLLYWOOD ORCHESTRAL PERCUSSION Producer Nick Phoenix Nick began scoring film trailers in 1994 To date he has scored or licensed music for the ad campaigns of over 1000 major motion pictures Godzilla Ender s Game Skyfall World War Z Rush The Hobbit Avengers Star Trek 2 Inception and Harry Potter and The Deathly Hallows are a few recent examples Nick founded Two Steps From Hell with Thomas Bergersen in 2006 www twostepsfromhell com Two Steps From Hell has grown from a production music library into the top epic music artist in the world with millions of fans and six top selling CDs on
18. playable note is C1 that name refers to the C two octaves below Middle C two ledger lines below the bass staff Unless otherwise noted only the white keys are used for generating sounds For example if an instrument uses 3 MIDI notes starting on C3 the playable notes are C3 D3 and E3 The notes C 3 D 3 and other black keys are skipped The only exceptions to this rule in this library are the pitched instruments such as the Xylophone or the Orchestral Chimes where a complete chromatic scale is provided Some descriptions of an articulation use the abbreviation DXF which stands for Dynamic Cross Fade In a DXF the Mod Wheel MIDI Control Code 1 affects the loudness Push the wheel up to increase the loudness and down to make the sound softer That ap proach happens in rolls where you may want to adjust the loudness in the middle of the note s duration Where a round robin instrument includes both hits and rolls among its articulations it is most likely that only the hits are represented by multiple samples in the round robin pattern The rolls are unlikely to participate in the round robin feature Five of the pitched instruments include Lite versions They are designed to use fewer computer resources and so might be a good choice if you are encountering problems when using more instruments than your computer system can handle at once Tables of Instruments These five tables provide details about the instrume
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20. sure they will all fit into your available RAM you should load everything and save the setup for each instance of PLAY to its own ewi file or if you have multiple instances of PLAY loaded inside a sequencing program or VST host it is as simple as saving the sequence or VST host file This will remember everything inside If you are using multiple comput ers make sure you have created a track in your sequence for every program on every computer One last thing to consider when deciding which computer will load which sounds is the amount of work each computer will have to do Make sure to spread the sounds that you use most onto different computers so one computer doesn t end up carrying a majority of the load Remember that if you re running any of the Hollywood Orchestral libraries on more than one computer concurrently you will need an iLok security key and a license for each computer The next stage is crucial and highly subjective All PLAY libraries responds to three dif ferent volume controllers CC7 volume CC11 expression and the Mod Wheel CC1 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 ensemble This is tricky and will never be perfect but the more time you spend on the setup the more time you ll save later If you will be using Hollywood Chapter 5 Orchestral Technique 32
21. the center back of the stage in live performances But feel free to pan them left or right to achieve whatever effect you want including spreading a large section across the entire width of the stage to make each one more discernible from the others in the mix Chapter 5 Orchestral Technique 34 HOLLYWOOD ORCHESTRAL PERCUSSION ApvanceD The previous paragraph has one exception the Close microphones These samples were recorded with the stereo mics directly in front of each instrumental section The Close mic articulations use the Pan control to move the playback of those samples to the same perceived space as the Main Mid and Surround samples The image at the right shows the 4 microphone specific Pan controls for one of the MICROPHONES Clarinet articulations in Hollywood Orchestral Woodwinds The per 2 cussion instruments in this library are all centered The clarinet HU rar p player sits on stage to the audience s left This image shows the way the file opens with no user changes Note that the Main Mid and Surround Pan controls are in the center because those samples were recorded with the stereo mics centered at the center of the studio no panning adjustment is necessary Note that the natural panning within all the samples in the whole EastWest Hollywood series 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
22. the library software and documentation on your computer an Authorization Wizard for registering your license in an online database One required item not usually included is an iLok security key If you already have one from an earlier purchase of software you can use it Otherwise you need to acquire one They are available from many retailers that sell EastWest products or online www amazon com Chapter 2 Hollywood Orchestral Percussion An Overview 12 HOLLYWOOD ORCHESTRAL PERCUSSION 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 Because both the size and complexity of many of the Hollywood Orchestra instruments are greater than in some other PLAY libraries you will likely need an even more capable system than is recommended for those other libraries e Intel or AMD quad core processor or higher running at a minimum of 2 66 GHz e 8 GB of RAM or more e a 64 bit operating system and a 64 bit host when running PLAY 4 as a plug in Note that this is a recommended system and is more powerful than the minimum of what is required Solid State Drives There is no doubt solid state drives SSDs are a revolution for storing and streaming samples While currently more expensive than traditional hard drives the seek and re trieval times are almost instantaneous which means you may be able to create even larger p
23. ultimate realism in samples he has produced a great number of orchestral sample libraries for his own use With Hollywood Strings it was time to join forces with veteran producers Doug Rogers and Nick Phoenix and to share this knowl edge with the rest of the world And this collaboration has continued with Hollywood Brass Hollywood Orchestral Woodwinds and Hollywood Orchestral Percussion Thomas studio is located in Santa Monica California www thomasbergersen com Chapter 1 Welcome 5 HOLLYWOOD ORCHESTRAL PERCUSSION Sound Engineer Shawn Murphy Shawn Murphy is an Academy Award C A S Cinema Audio Society BAFTA and Emmy award winning sound engineer who has recorded and mixed the scores for more than 300 feature films including Indiana Jones and the Kingdom of the Crystal Skull Star Wars The Phantom Menace Star Wars Episode II Attack of the Clones Star Wars Episode Ill Revenge of the Sith Star Wars A Musical Journey Jurassic Park Jurassic Park The Lost World Harry Potter and the Prisoner of Azkaban Titanic The Curious Case of Benjamin Button The Bourne Ultimatum Minority Report Saving Private Ryan Munich The Passion of the Christ score mix X Men The Last Stand Memoirs of a Geisha Ice Age 2 and Ice Age 3 Hollywood Strings was the first virtual instrument collection he engineered And his wor
24. 1 A2 LH C3 A4 RH Timpani Felt Sus Pedal Cl 44 2 C1 H2 LH C3 A4 RH with felt mallet pedal CC64 changes between short when off and long when on Timpani Hard Cresc Cl 66 1 3 separate 22 note chromatic scales played with a felt mallet each scale C1 A2 C3 A4 C5 A6 has a different speed for the crescendo Timpani Hard Flam Cl 22 2 scale of 22 chromatic notes played as a flam with a hard mallet Timpani Hard KS See note below this table Timpani Hard Long Cl 44 2 scale of 22 long held hits played with a hard mallet C1 A2 LH C3 A4 RH Timpani Hard Rolls Cl 22 1 scale of 22 rolls played with hard mallets loudness is controlled with DXF e with the Mod Wheel Timpani Hard Short Cl 44 2 scale of 22 hits played with a hard mallet and muted quickly C1 A2 LH C3 A4 RH Timpani Hard Sus Pedal Cl 44 2 C1 H2 LH C3 A4 RH with hard mallet pedal CC64 changes between short when off and long when on A Note on the 2 Keywsitches for the Timpani Each keyswitch for the instrument provides access to 5 different articulations e Long Hit CO Short Hit C 0 e Flam DO Roll D 0 e Crescendo EO If you are unfamiliar with the way keyswitch instruments work read about the topic in the main PLAY System manual Note that the information in the above table for each of the 5 articulations also applies when that articulation is selected in the keyswitch instrument That rule applies to the number of playable notes the number of
25. 2 roll with DXF E2 G2 roll cresc 3 versions C1 felt short D1 felt long El felt roll Fl felt roll with DXF G1 E2 felt cresc 2 versions at 1 sec then 2 at 2 sec and 2 at 3 sec C3 E4 are the same pattern but with hard mallet C1 felt short D1 felt long El felt roll Fl felt roll with DXF G1 E2 felt cresc 2 versions at 1 sec then 2 at 2 sec and 2 at 3 sec C3 E4 are the same pattern but with hard mallet C1 felt short D1 felt long El felt roll Fl felt roll with DXF G1 E2 felt cresc 2 versions at 1 sec then 2 at 2 sec and 2 at 3 sec C3 E4 are the same pattern but with hard mallet Chapter 4 Instruments Articulations and Keyswitches 26 HOLLYWOOD ORCHESTRAL PERCUSSION 5in x 14in Brass Ludwig Snare 5in x 14in Mahogany Ludwig Snare 5in x 14in Pearl Philharmonic Snare 6in x 14in Brass Calf Head Ludwig Snare 6in x 14in Pearl Philharmonic Snare 8in Concert Tom Black Swamp Tambourine Concert Toms Combo Ludwig Headless Tambourine Marching Drum Ensemble Taos Drum with Mallet Timpani folder Timpani Felt Cresc Timpani Felt Flam Timpani Felt KS Timpani Felt Long Timpani Felt Rolls continued Cl 12 4 C1 D1 center hit LH RH E1 Fl edge hit LH RH Gl flam Al rim shot Bl bounce C2 roll D2 roll with DXF E2 G2 roll cresc 3 versions C1 D1 center hit LH RH E1 Fl edge hit LH RH Gl flam Al rim shot Bl bounce C2 roll D2 roll with DXF E2 F2 roll cresc 2 versions C1 D1
26. Close samples for an instrument makes it seem closer to the listener By combining all three principles you can achieve quite convincing front back position ing in your orchestral mix Giving the ear contradictory signals can confuse it achieving either a good or bad effect depending on your intentions And then of course there s multi channel surround sound but that discussion is out of scope in this section Volume Velocity Expression and the Mod Wheel There are at least three ways to make any given 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 CC7 is simply the increase or decrease in loudness of the audio output Changing volume is the same as turning the volume knob on your stereo system The horns played softly can be cranked up a loud trumpet section can be turned way down Volume can be adjusted mid note that is the listener can experience a crescendo or diminuendo for a held note Even un natural sounds can be created such as a quick crescendo for a single hit on a drum One limitation of using only Volume is that in a live orchestra the various instruments are changing their loudness independently something you cannot do with the stereo s loudness knob But as was mentioned in the section on setting up templates on page 32 it is not recommended that the MIDI volume parameter be used in this way It
27. E 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 property whether on disk in
28. EST 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 by you using the EASTWES
29. 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 SYSTEMS NO
30. Included Hardware Requirements Click on this text to open the Master Navigation Document 10 HOLLYWOOD ORCHESTRAL PERCUSSION Hollywood Orchestral Percussion An Overview The Percussion Section for the Hollywood Orchestral Series This EastWest virtual instrument contains a selection of percussion heard in both tradi tional and modern orchestras The included instruments fall into four families e Cymbals e Drums e Metals e Woods Together these instruments provide a very large battery of percussive instruments for many different styles of orchestral writing See the tables starting on page 26 for more detail on the individual instruments 10in x 14 The instruments were recorded in a wide variety of articulations Differences include left hand and right hand hits a variety of mallets and hits on different parts of the in strument to achieve distinctive sounds for example rim shots edge shots and center shots And performance techniques such as flams and rolls are well represented In some cases these various articulations are presented as separate entries in PLAY s Browser view For example the Timpani are presented as 12 separate instruments ewi files 6 with felt mallets and 6 with hard mallets And the separate instruments include flams crescendi rolls and so on In other cases the articulations have been assigned to separate MIDI notes within a single instrument For example the 13in Concert Tom includes
31. LAY With the PLAY 4 software it s possible to open more than one instrument in each in stance you run in a sequencer or other host but that s not true when running PLAY in standalone mode But there are often compelling reasons for spreading instruments across multiple instances An instance is each open window running PLAY If for example you see exactly 5 PLAY windows inside your sequencer then you have opened 5 instances The main reason for opening the PLAY software more than once is to be able to take full advantage of the multiple cores available in today s high end computers If for example your computer s CPU has 4 cores then each of the 4 cores can be independently run ning separate instances Sequencers typically assign all the processing in any given instance of a plug in to a single core So in one case if you load all your instruments into a single instance of PLAY the work of running all those instruments will be restricted to a single core which is less efficient than spreading the work across all the cores But in another case if you create at least as many instances of PLAY as there are cores in the CPU the sequencer can assign the instances across all the cores which most likely means you can open more instruments and play them back without problems As a general rule if you re using more PLAY instruments than you have cores in your computer then it s best to open at least as many instances
32. Legato and Portamento scripts can simulate legato transitions with scripts There fore they are useful when you want a touch of legato sound between notes for some other articulation such as between consecutive trills or marcato notes See more about these scripts where Performance scripts are described on page 18 Directing the Audio Output The output from PLAY is one or more stereo audio signals The image at the m 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 7 First Synth Audio Output If you are using PLAY as a plug in in a host you can usually F Al Synth Audio Outputs Stereo specify whether you want the output audio to be captured in a Al Syah Audo ups ere single track or maintained as separate tracks The image at the left shows how one sequencer Sonar gives you a choice The first checkbox creates a single track to hold all the audio output with the assumption it will be the first stereo pair 1 2 The second checkbox creates 9 audio tracks one for each of the stereo pairs in the drop down list shown at the right The third creates 18 mono tracks in case you want to keep the left and right tracks separate See the documentation for your se quencer to learn how that selection is made in the host software you use If you ve selected to set up a single track to hold all the au
33. PLAY Hollywood Orchestral Percussion Virtual Instrument Gold Edition Users Manual HOLLYWOOD ORCHESTRAL PERCUSSION The information in this document is subject to change without notice and does not repre sent acommitment on the part of East West Sounds Inc Use of the product and sounds described in this document is subject to the Software License Agreement included in this package and may not be copied to other media except for the purpose of copy ing the data to the personal computer system hard drive of the licensed user No part of this publication may be copied reproduced or otherwise transmitted or recorded for any purpose without prior written permission by East West Sounds Inc All product and company names are or trademarks of their respective owners PLAYTM is a trademark of East West Sounds Inc C P Copyright East West Sounds Inc 2014 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 000008 9 0 PR W NY HOLLYWOOD ORCHESTRAL PERCUSSION PLAY About Hollywood Orchestral Percussion Producer Doug Rogers Producer Nick Phoenix Producer Thomas Bergersen Sound Engineer Shawn Murphy How to Use This and the Other Manuals Using
34. T 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 reverse engineer disasse
35. a reference gt gt gt gt gt gt gt gt In addition there are Combo Kits that collect a variety of these sounds into a single ewi file Chapter 4 Instruments Articulations and Keyswitches 21 HOLLYWOOD ORCHESTRAL PERCUSSION The Tables of the Instruments The sounds of each instrument are provided in the form of one or more instrument files with extension ewi in the Browser view sometimes representing separate articulations Or within some instrument files you may find several articulations that can be selected in one of several ways e through the on screen Ul e with keyswitch notes e by moving the Mod Wheel A Note on Dynamics in Hollywood Orchestral Percussion Instruments As discussed in multiple places within EastWest manuals there are several ways you can affect with MIDI parameters how loudly an instrument should play e MIDI Velocity e the Mod Wheel CC 1 e Volume CC 7 e Expression CC 11 In the list above CC refers to MIDI Control Codes Read the section Volume Veloc ity Expression and the Mod Wheel starting on page 36 for more information on this topic Volume and Expression work on any and all instruments Volume should be used to set a loudness level relative to other instruments And Expression should be used to shape the continually changing dynamics timbre and expressiveness of each instrument Neither Volume nor Expression change the timbre of the instruments
36. as you have cores Let s say you have a 4 core computer and are planning to open 10 PLAY instruments You could open 4 instances of PLAY and spread out the patches 3 3 2 and 2 per instance Or you could open 10 instances with one instrument each Or some arrangement in between Chapter 5 Orchestral Technique 33 HOLLYWOOD ORCHESTRAL PERCUSSION The exact arrangement that s best for you depends on which instruments how consis tently each is heard through the piece the complexity of the instruments cross fades are often using more CPU resources at once than other patches and other factors If you come up with an arrangement in which each instance is using about the same number of voices as the other instances then you re likely using your instances efficiently Prepping the MIDI Controllers It is recommended that you tell PLAY what MIDI Control Codes to look for by sending some Control Code messages after loading the patches and before the first notes are played When playing live that can mean tweaking each of the knobs sliders and wheels enough to send some data to PLAY In a sequencer you can draw a short sloped envelope for each controller before the first notes This advice applies to the Mod Wheel CC 1 CC 7 CC 11 and any other Control Codes in your project Creating a Soundscape Whether listening to an orchestra live on a stage or from a stereo recording we re all used to hearing the sounds of the various instrume
37. center hit LH RH E1 Fl edge hit LH RH Gl flam Al rim shot Bl bounce C2 roll D2 roll with DXF E2 F2 roll cresc 2 versions C1 D1 center hit LH RH E1 Fl edge hit LH RH Gl flam Al rim shot Bl bounce C2 roll D2 roll with DXF E2 F2 roll cresc 2 versions C1 D1 center hit LH RH E1 Fl edge hit LH RH Gl flam Al rim shot Bl bounce C2 roll D2 roll with DXF E2 F2 roll cresc 2 versions 4 C1 LH D1 RH El flam 8 Cl hits Dl slow roll El slow roll with DXF Fl tight roll Gl tight roll with DXF Al cresc Bl roll then hit 2 different floor toms C1 LH D1 RH El flam is first floor tom and F1 LH G1 RH Al flam is another floor tom Then 6 different concert toms in the same 3 note pattern starting at C2 F2 C3 F3 C4 F4 4 C1 D1 hits El slow roll Fl slow roll with DXF 2 C Fl hits 4 C1 D1 2 hits with different mallets 3 separate 22 note chromatic scales played with a felt mallet each scale C1 A2 C3 A4 C5 A6 has a different speed for the crescendo scale of 22 chromatic notes played as a flam with a felt mallet See note below this table scale of 22 long held hits played with a felt mallet C1 A2 LH C3 A4 RH scale of 22 rolls played with felt mallets loudness is controlled with DXF e with the Mod Wheel Chapter 4 Instruments Articulations and Keyswitches 27 HOLLYWOOD ORCHESTRAL PERCUSSION Timpani Felt Short Cl 44 2 scale of 22 hits played with a felt mallet and muted quickly C
38. dio output from one instance of PLAY and you open multiple instruments in this instance then all the instruments will be mixed in the PLAY audio engine and written to the track as a single stereo signal If instead you ve selected to set up multiple tracks then you can select the track for each individual instrument and possibly each individual microphone position Outputs that share the same channel are mixed in the PLAY audio engine and written out as a single pair of tracks Outputs on different channels are written independently to different sequencer tracks and available to be mixed within the sequencer at a later time Apvanceb 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 Chapter 5 Orchestral Technique 40 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 USING THE EASTWEST SOFTWAR
39. e next such as the user interface and the list of included instruments and articulations Using the Adobe Acrobat Features By opening the Bookmarks pane along the left edge of the Adobe Acrobat Reader the user can jump directly to a topic from the section names Note that some older versions of Acrobat Reader might not support all these features The latest Acrobat Reader can be downloaded and installed at no cost from the Adobe web site As an example of a hyperlink you can click on the last words of the previous sentence Adobe web site to be taken directly to the Adobe site When reading this and other manuals on the computer screen you can zoom in to see more detail in the images or zoom out to see more of the page at once If an included picture of the user interface or a diagram seems fuzzy or illegible then zoom in using one of several means provided in the Acrobat Reader software Note that images are clearest and screen shots most legible at 200 and next best at 100 Important Note If you have a computer or tablet with a touch screen you might have received pre installed a version of Acrobat Reader designed to work with touches to the screen In some cases these touch friendly versions don t behave exactly the same way as the of ficial Adobe product If you are encountering problems navigating through this document consider downloading the free Acrobat Reader from the adobe com website It is OK to have both vers
40. ecord automation data to a track that already contains other MIDI data Everything written about CC11 in this section also applies to CC1 Mod Wheel and all other MIDI control codes Learning to shape musical lines the same way an instrumen talist does will give your work a more natural musicality By combining velocity control expression Mod Wheel and volume you change digital samples into real living music Using Cross Fades The EastWest Hollywood libraries make extensive use of cross fading more than any EastWest library that was created before this series The basic idea of a cross fade is that 2 or more samples of the same instrument but that differ in some aspect such as loudness timbre and or vibrato are played back simultaneously And the mix of how much of each sample makes it into the audio output is controlled by Control Code 1 the Mod Wheel For example when the Mod Wheel is at the bottom of its range only the p sample is audible and as you push the Mod Wheel up the sound of the p is reduced while the sound of the mp sample is increased Eventually the p drops to inaudibility while the f samples begin to be heard Part of the reason for using more cross fades is that they provide a more continuous and gradual change from one sound to another Also they modify timbre along with loud ness even mid note just like an acoustic instrument And a third reason for using more cross fades in this library is that recent
41. ed continued Chapter 4 Instruments Articulations and Keyswitches 25 HOLLYWOOD ORCHESTRAL PERCUSSION 2 C3 F3 crescendo sustain C3 fastest to 20in Zildjian w Cutouts Sus Cymbal Cresc 22in Dream Sus Cymbal Cresc Large Sizzle Sus Cymbal Cresc Table of Drums C3 C3 C3 8 8 8 2 2 F3 slowest G3 B3 crescendo stopped G3 fastest to B3 slowest 63 F3 crescendo sustain C3 fastest to F3 slowest G3 B3 crescendo stopped G3 fastest to B3 slowest C3 F3 cresc sus G3 C4 cresc stopped 10in x 14in Black Swamp Field Drum 10in x 14in Ludwig Field Drum 12in Lefima Tambourine 12in x 15in Slingerland Field Drum 16in x 16in Antique Field Drum 32in Gretsch Bass Drum 36in Ludwig Bass Drum 40in Ludwig Bass Drum continued Cl 11 12 11 12 20 20 20 4 C1 D1 center hit LH RH E1 Fl edge hit LH RH Gl flam Al rim shot Bl bounce C2 roll D2 roll with DXF E2 F2 roll cresc 2 versions C1 D1 center hit LH RH E1 Fl edge hit LH RH Gl flam Al rim shot Bl bounce C2 roll D2 roll with DXF E2 G2 roll cresc 3 versions C1 hits D1 slow roll El slow rolls with DXF Fl tight rolls Gl tight rolls with DXF Al cresc long Bl cresc short C1 D1 center hit LH RH E1 Fl edge hit LH RH Gl flam Al rim shot Bl bounce C2 roll D2 roll with DXF E2 F2 roll cresc 2 versions C1 D1 center hit LH RH E1 Fl edge hit LH RH Gl flam Al rim shot Bl bounce C2 1roll D
42. ending 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 from defects in mate
43. fferent glissando across the bar chimes each MIDI note is a different glissando across the bar chimes 6 different triangles each set using C D and E in a different octave C and D are each a single hit E is a roll F2 F5 chromatic scale of 3 octaves see note below this table Same as full Vibraphone above but with no CC64 sensitivity and no Repetition script The sound of the Vibraphone changes to reflect the way the user plays it Hitting notes when the Sustain pedal MIDI Control Code 64 is off plays back short notes Engage the Sustain pedal and the notes ring longer There is also a Repetition script running in PLAY which affects how notes sound when a note is struck twice within a short time span be cause the bar is already vibrating at the time of the second strike a somewhat different sound is generated by the second hit as on a real Vibraphone All these features provide for a very realistic reproduction of the Vibraphone sound Chapter 4 Instruments Articulations and Keyswitches 29 Table of Woods HOLLYWOOD ORCHESTRAL PERCUSSION Castanets Celesta FX Celesta Sus Celesta Claves Mahler Hammer Marimba Rolls Marimba Marimba Lite Puilli Sticks Ratchet Shakers Slapsticks Temple Blocks Wood Blocks Piccolo Wood Blocks Xylophone DXF Xylophone Rolls Xylophone Sus Xylophone Lite ll Ir C1 D1 Castanet 1 LH RH El Castanet 1 flam Fl Castanet 1 roll C2 D2 Castanet 2 LH RH E2 Castanet 2
44. h version of this 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
45. he other so it is im portant that you use the correct version of the manual This is the manual for the Gold Edition If you have the incorrect version of the manual contact Technical Support at EastWest Online Documentation and Other Resources For the most up to date information visit the support pages at EastWest s web site There you can find e information made available after these manuals were written e FAQ pages that may already list answers to questions you have e suggestions from EastWest and other users of the EastWest PLAY System e news about upcoming releases The address is http support soundsonline com You can also visit the EastWest online forums There you can read comments and ques tions from others who use EastWest products and post your own The many forum par ticipants are a good source of helpful information about both the technical and musical aspects of this software The address of the forums is http www soundsonline forums com If you visit the forums to receive support from EastWest instead of going directly to the support site listed above make sure you post your support request in the Support forum and not in the General Discussion forum Chapter 1 Welcome 9 HOLLYWOOD ORCHESTRAL PERCUSSION gt PLAY 2 Hollywood Orchestral Percussion An Overview 11 12 12 13 The Percussion Section for the Hollywood Orchestral Series Comparison of the Diamond and Gold Editions What s
46. ing independently the timbre with velocity parameters and or a cross fade using the Mod Wheel and the volume of the sound you can move individual instruments forward or backward 2 Because sound travels at a fixed speed of approximately 340 meters per second 1100 feet per second the ear uses very small time delays to judge relative distance If two oboes play staccato notes simultaneously and one is 15 meters 50 feet further away the note from the more distant oboe arrives 0 044 seconds later That s about Chapter 5 Orchestral Technique 33 HOLLYWOOD ORCHESTRAL PERCUSSION one twenty third of a second a short time but noticeable to the ear It s very easy in a sequencer to delay a track by a specific time either with a Delay plug in or by shifting the notes in the sequencer s Piano Roll view and thereby achieve this effect 3 As discussed in the section covering the 5 mic positions not available in the Gold Edition the farther you are from an instrument in a concert hall the more the natural re verberation of the hall contributes to what you notice You still hear the echoes from the walls when you re close by you notice them less because of how loud the instrument is It s harder to hear the crinkle of a cough drop wrapper standing near a roaring jet engine than in a hushed concert hall even though the wrapper makes the same sound This presence of the sound is another distance clue Mixing in more of the
47. ion are being licensed 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 Englis
48. ions installed at the same time The Master Navigation Document Because the EastWest PLAY System is a collection of components each with its own Users Manual a Master Navigation Document MND is provided to allow users to jump quickly between these PDFs when being read on the computer screen This MND is a one page file with hyperlinks to the PLAY System documentation and to all the library manuals Hyperlinks to this Master Navigation Document are found on the title page of each chapter in each document From there you can open any other document in the collection Chapter 1 Welcome 8 HOLLYWOOD ORCHESTRAL PERCUSSION As one example if you re reading some chapter in this documentation for the Hollywood Orchestral Percussion library and need to open the manual for the PLAY System as well go to any chapter title page and click on the link at the bottom of the page that says Click on this text to open the Master Navigation Document It will open in a new window on the screen In that document click on the icon for the PLAY System and its manual will open in the same window hiding the MND You now have both the Hollywood Orchestral Percussion library manual and the PLAY System manual open in separate windows so you can refer to them both Separate Gold and Diamond Manuals The Hollywood Orchestral Percussion virtual instrument is available in separate versions Gold and Diamond And each has a manual slightly different from t
49. k with EastWest Quantum Leap continued with Hollywood Brass Chapter 1 Welcome 6 HOLLYWOOD ORCHESTRAL PERCUSSION Credits Producers Doug Rogers Nick Phoenix Thomas Bergersen Sound Engineer Shawn Murphy Engineering Assistance Ken Sluiter Jeremy Miller Production Coordinator Rhys Moody Programming Justin Harris Nick Phoenix Jason Coffman Andrzej Warzocha Editing Justin Harris Michael DiMattia Jay Coffman Andrzej Warzocha Art Direction Steven Gilmore Thomas Merkle Doug Rogers Nick Phoenix Software Doug Rogers Nick Phoenix Rhys Moody Klaus Lebk cher Bartlomiej Bazior Stefan Holek Adam Higerd Truc Phan Helen Evans Elon Arbiture Manual John Philpit Chapter 1 Welcome 7 HOLLYWOOD ORCHESTRAL PERCUSSION 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 to paper Each time you install one of the PLAY System libraries two manuals are copied to the file system on your computer e The manual that describes the whole PLAY System This the largest of the manuals ad dresses how to install and use all aspects of the software that are common to all libraries e The library specific manual such as the one you are currently reading This smaller document describes aspects that differ from one library to th
50. llation of Hollywood Orchestral Percussion Gold Edition is approximately 10 GB Gigabytes Chapter 2 Hollywood Orchestral Percussion An Overview 13 16 16 17 17 18 18 18 19 HOLLYWOOD ORCHESTRAL PERCUSSION PLAY 3 The Orchestral Percussion User Interface Performance Round Robin Reset Button Stereo Double Controls The Master Button and Pre Delay Knob in the Reverb Controls The Graphical Representation of the Envelope The Browser View Repetition Sim Script The Articulations Control and Keyswitches Click on this textto open the MasterNavigationDocument 14 HOLLYWOOD ORCHESTRAL PERCUSSION The Orchestral Percussion User Interface Each PLAY library presents its own interface when one of its instruments is the current one as specified in the Instruments drop down in the upper right corner See below Much of this interface is shared by all PLAY System libraries and the common features are described in the PLAY System manual The controls specific to Hollywood Orchestral Percussion as described later in this section are those listed on the next page If you don t see a control described in this chapter look at the PLAY System manual that s the other manual installed on your hard drive during program setup mau MENLJ _SETmNGS JC mixer mini ror QD cane SD transpost REED ver win GED VEL MAX BEE OICE LIMIT CHANNEL SOURCE amp Mt PERFORMANCE j MICROPHONES a CA J g
51. mble 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 administration att
52. ncluding instruments from libraries that do not include a Master button If the Master button is already engaged in another instrument in revere the current instance of PLAY and the Master button is pressed in inte a new instrument then the settings in the user interface UI of Q the new instrument become the settings for all instruments in this rei 4 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 Chapter 3 The Hollywood Orchestral Percussion User Interface 17 HOLLYWOOD ORCHESTRAL PERCUSSION Turning on Master will make all other instruments in this instance share this reverb other send effects and settings This is designed to conserve DSP resources and therefore tax your CPU less overall Note that the volume and pan of the Master Instrument will also affect the overall reverb return signal when used in this manner Close When you engage the Master button PLAY puts up a warning message as shown above to remind you that the reverb settings in this instrument will now apply to all instruments in this instance of PLAY The Pre Delay Knob Increasing this level delays the onset of the reverb so that the initial section
53. nnot be changed mid note Using loudness and velocity together gives the orchestrator more control over all aspects of dynamics The Mod Wheel CC1 replaces Velocity for a few instruments in the Hollywood Orchestral Percussion library specifically several instruments with long rolls that is those articula tion files do not respond to the Velocity parameter of a MIDI note at all Use the Mod Wheel to add swells and other custom dynamics to these rolls Once you learn to use the Mod Wheel whether playing live or in a sequencer you will find it to be an excellent means of controlling the continuous dynamics of the notes Expression is represented by another MIDI control code CC11 The usual way to use CC11 is for continuous control of the loudness That is while Velocity cannot change mid note and it is recommended that CC7 be set only once at the beginning of the piece or at least only at the start of major sections CC11 can provide the kind of dynamic shap ing of phrases that give music its expressive life hence the name Expression for this Control Code Use it to create swells in the middle of a note or a phrase With CC11 you create the crescendos and fluid dynamics of expressive music It is possible to shape the dynamics of a line either by playing aCC11 controller in real time or by drawing an envelope in a sequencer Most MIDI keyboards and control sur faces have programmable knobs and or sliders that can be se
54. nts coming at us from different direc tions In a traditional symphonic layout for an entire orchestra for example we expect the violins to be on our left and the cellos and basses on our right There are two rea sons we might want to continue this practice The first is to trick the listener s ear into perceiving a recording of a live performance Even when everyone understands that the piece was created inside a computer emulating a traditional sound can have its ben efits The second reason is that it s easier for the human ear to hear two similar sounds as separate when it perceives them as arriving from different locations If the trumpets and the trombones are doubled or even playing an octave apart they will stand out from each other better when they seem to be in separate locations in the soundscape that surrounds us Panning For most of the Hollywood Orchestral series the left right position of instruments is different from most other collections of orchestral samples in that the panning of the various instruments to the traditional locations on the sound stage is built in to the stereo samples The French Horns for example are already louder in the left channel Therefore one can leave the panning level at center for all instruments and they will be correctly placed on the stage in the final mix In this Percussion library most of the sounds appear in the center of the sound stage the percussion instruments are often at
55. nts you find in the five top level folders of ewi files in the PLAY Browser It is not always possible to describe in text the differences between the sounds of separate articulations so use your ear to determine which ones to use for your own requirements Table of Combo Kits These two kits take a sampling of the individual instruments listed later in this manual and combine multiple physical instruments into a single instrument file This approach allows the user to place a whole variety of percussion instruments in a single MIDI track and select which ones to sound based on the notes played The layout of this first table is different than the others Under the name of each kit you can see the indented names of the included instruments with each instrument s range of articulations to the right Chapter 4 Instruments Articulations and Keyswitches 23 HOLLYWOOD ORCHESTRAL PERCUSSION COMBO KITS Basic Kit 1 Timpani Felt Long co 32 Bass Drum Fl 40 Bass Drum C2 6x14 Brass Calf Head G2 Ludwig Snare Drum 5x14 Brass Ludwig Snare F3 Drum 12x15 Slingerland Field E4 Drum 15 Old Italian Crash D5 Cymbal 19 Sabian Crash Cymbal F5 20 Zildian Crash Cymbal A5 38 Large Tam Tam C6 18 Zildian Sus Cymbal F6 Cres Basic Kit 2 36 Ludwig Bass Drum Felt CO 6x14 Pearl Philharmonic GO Snare Drum 10x14 Black Swamp Field Fi Drum Black Swamp Tambourine 2 16 Sabian Crash Cymbal A2 19 Zildian
56. of the sample is unaffected This feature allows the sound of each attack to maintain its true color while the rest of the note still gains the benefit of the reverb effect The Graphical Representation of the Envelope Bez ost The Envelope Controls are described in the main PLAY System manual because they are common to all PLAY System libraries Only some libraries include the graph as shown here so it is in cluded in the manuals for those libraries only 659 81ms 9 44108 349 38 m ae Note that the total width of the graph represents the total length CI a EN of all Phases of the envelope Therefore when you change some thing in one part of the graph for example the length of the decay you may see the slopes of other components the attack and the release change as well because those phases become a larger or smaller percent of the whole this is as expected The Browser View The Browser behaves identically among all PLAY System libraries Read the main PLAY System manual for information about how to use that view Repetition Sim Script Where the other three section of the Hollywood Orchestra series include 3 customiz able scripts the The Hollywood Orchestral Percussion library includes only one The Repetition Sim Script This script changes the quality of the notes when a single pitch is played multiple times in quick succession Although similar to what can be achieved with Round Robin patches the effect can
57. ood Orchestral Percussion 23 Table of Combo Kits 25 Table of Cymbals 26 Table of Drums 29 Table of Metals 30 Table of Woods Click on this textto open the MasterNavigationDocument 20 HOLLYWOOD ORCHESTRAL PERCUSSION Instruments Articulations and Keyswitches The Hollywood Orchestral Percussion library contains a wide variety of instruments typi cal in an orchestral movie soundtrack and of course it can be used for many other types of music as well It mixes well with other virtual instruments from EastWest so feel free to add in strings guitars ethnic instruments voices whatever you can imagine This library and the other libraries in the same EastWest Hollywood series are designed to work together particularly well they include the same variety of microphone positions and other features that help them blend into a unified sound For the purpose of the tables in this chapter the library can be grouped into four sets of instruments based on how the sound is generated Here are some examples e Cymbals gt Tam Tams Cymbal crashes Cymbal rolls e Drums Concert Toms Field Drums Snare Drums Bass Drums Timpani e Metals Crotales Chimes and Bells Triangle Vibraphone e Woods Castanets Celesta Marimba Wood Blocks Xylophone All these instruments with their various articulations are enumerated in the four tables that follow You might want to print out the pages containing these tables as
58. rials 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 EXCEPT FOR THE LIM
59. riangle F6 3 2 F6 G6 triangle hits A6 triangle roll Table of Cymbals CYMBALS Cymbal Pairs folder 12in Old Zildjian K Crash C3 3 3 C3 long D3 short E3 even shorter 14in Old Zildjian K Crash C3 3 3 C3 long D3 short E3 even shorter 15in Old Italian Crash C3 3 3 C3 long D3 short E3 even shorter 16in Sabian Crash C3 3 3 C3 long D3 short E3 even shorter 17in Istanbul Crash C3 3 3 C3 long D3 short E3 even shorter 19in Sabian Crash C3 3 3 C3 long D3 short E3 even shorter 19in Zildjian A Crash C3 3 3 C3 long D3 short E3 even shorter 19in Zildjian Crash C3 3 3 C3 long D3 short E3 even shorter 20in Constantinople C3 3 3 C3 long D3 short E3 even shorter Crash 20in Zildjian Crash C3 3 3 C3 long D3 short E3 even shorter 22in Zildjian K Crash C3 3 3 C3 long D3 short E3 even shorter 28in Small Tam Tam Cl 5 2 Cl long Dl short El fastest crescendo Fl medium fast crescendo Gl slowest crescendo 32in Med Tam Tam Cl 5 2 Cl long Dl short El fastest crescendo Fl medium fast crescendo Gl slowest crescendo 38in Large Tam Tam Cl 21 2 Cl long Dl short E1 Gl crescendo El fastest to Gl slowest and some FX patches Al E3 bowed F3 B3 scraped Sus Cymbals folder 14in Paiste Sus Cymbal C3 8 2 C3 F3 crescendo sustain Cresc G3 B3 crescendo stopped 18in Wuhan Sus Cymbal C3 8 2 C3 F3 crescendo sustain Cresc G3 B3 crescendo stopped 18in Zildjian Sus Cymbal C3 8 2 C3 F3 crescendo sustain Cresc G3 B3 crescendo stopp
60. rojects and or to use lower latencies without needing workarounds to avoid dis ruption of the audio output When using multiple products from the EastWest Hollywood series SSDs may be your only option in some cases light patches are provided for other users and the number of mic positions that can be accessed simultaneously may also be dependent on solid state drives Installing 2 or more smaller SSDs with a true hardware RAID O solution offers the best performance For professional users we recom mend consulting computer system specialists to achieve the best performance EastWest has done extensive testing in which PLAY 4 running with solid state drives for the samples and instruments was able to reproduce over 700 concurrent voices without any pops clicks or other artifacts that can occur when the same sequence streams from a traditional hard drive This data indicates that it is not the PLAY 4 software that provides the bottleneck in the data flow but rather the seek time required to locate the many hundreds of samples on a traditional hard drive when they need to be streamed to the CPU all at once For those composers and orchestrators looking to build large projects using the kinds of instru ments that add realism through the use of complex cross fades solid state drives along with more than 8 GB of RAM can help make that happen Requirements for Sample Storage The available space on the hard drive required for an insta
61. round robin samples and the text in the right most column If you plan to use only one timpani articulation at a time then this instru ment allows you to easily include all the articulations in a single MIDI channel And if you don t plan to use all 5 in your piece you can unload the samples using the Articula tions control in the Player view for any you won t play Chapter 4 Instruments Articulations and Keyswitches 28 Table of Metals HOLLYWOOD ORCHESTRAL PERCUSSION METALS Brake Drum and Anvils Hits Crotales Hard Crotales Soft Finger Cymbals Glockenspiel Glockenspiel Lite Orchestral Chimes Orchestral Chimes Lite Sleigh Bells Spectrasound Mark Tree 1 Dbl Length Spectrasound Mark Tree 2 Triangles Vibraphone Vibraphone Lite Note on the Vibraphone A 1 47 1 kas a a A 1 D0 brake drum EO D1 brake drum mute G1 D2 anvil E2 C3 anvil mute E3 F4 Carol Sound anvil G4 C5 Carol Sound anvil mute F5 D6 railroad track E6 C7 railroad track mute C3 C5 scale of 2 chromatic octaves C3 C5 scale of 2 chromatic octaves C1 Fl1 G3 C6 chromatic scale of 2 octaves release trails are include Same as full Glockenspiel above but with no release trails C3 F4 chromatic scale of 1 octaves release trails are included Same as full Orchestral Chimes above but with no release trails C1 lower pitched sleigh bell D1 higher pitched sleigh bell El both played together each MIDI note is a di
62. t P P P P iin ENVELOPE Q N E ey _ Mb CTD Ul Chapter 3 The Hollywood Orchestral Percussion User Interface 15 HOLLYWOOD ORCHESTRAL PERCUSSION Here are the controls described in this manual and not in the PLAY 4 System manual e Performance 2 buttons e Round Robin Reset e Stereo Double e the Master button and Pre Delay knob in the Reverb controls e the graphical representation of the Envelope Performance There are two buttons grouped together in the Perfor ja ropmance mance section One button turns on and off a script that can control what s called Repetition Sim where Sim is short for Simulation The other button resets the Round Robin counters so that all instruments start with the first sample in the collection Both buttons are described in detail below Repetition Sim Button Repetition in this context refers to the rapid 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 rep etition See a more complete description of the repetition script starting on page 19 for more on how to use this feature 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
63. t to send CC11 messages to a specific MIDI channel Sliders are generally more sensitive for real time control If your sequencer supports automation it can record the movements of the knob or slider and save them as part of the project Such manual and real time control over the shape Chapter 5 Orchestral Technique 37 HOLLYWOOD ORCHESTRAL PERCUSSION of an instrumental line is usually more efficient than drawing in an envelope and often achieves more convincing results The Mod Wheel and the Expression control achieve similar mid note dynamic results But do remember that only some instruments respond to the Mod Wheel Expression works for all instruments in PLAY and may therefore be a better choice for changing dynamics over the length of a phrase or whole piece You should decide which dynamic controls work best for your style and become accustomed to using them consistently 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 and 127 CC7 specifies how loud a sound to generate for the CC11 50 maximum expression 127 The diagram seen here shows that when volume decreases the fixed changes in expression repre a sent smaller changes in perceived loudness Changing from an expression level
64. the Adobe Acrobat Features The Master Navigation Document Separate Gold and Diamond Manuals Online Documentation and Other Resources Click on this text to open the Master Navigation Document 1 HOLLYWOOD ORCHESTRAL PERCUSSION Welcome About Hollywood Orchestral Percussion This extensive library is the fourth installment of the very popular Hollywood series from EastWest Like the three libraries that preceded it to market it was recorded engi neered and produced with the superior level of quality for which the EastWest brand is known Like all its predecessors it was recorded in Studio 1 at EastWest Studios giving the four libraries consistent sound and ambience Hollywood Orchestral Percussion was designed from the start to be the orchestral per cussion library that works with the other libraries in the Hollywood series to provide the sound of a traditional and large studio orchestra It focuses on the mainstream percus sive instruments in such an orchestra If you seek a wider range of percussion EastWest has created other libraries stocked with many other kinds of drums metals woods and ethnic sounds that can add less conventional sounds Studio 1 at EastWest Studios during setup for the recording sessions Chapter 1 Welcome 2 HOLLYWOOD ORCHESTRAL PERCUSSION Producer Doug Rogers With over 30 years experience in the audio industry founder and producer Doug Rogers is the recipient of over 70 industr
65. these three approaches will be used for each ar ticulation file and how much variability to allow to achieve the most realistic behavior That is some patches randomly use all three approaches while others may use only one or two of them Note that Repetition scripts do not have the equivalent of the Round Robin Reset button to ensure an identical sound every time the same track is bounced to audio The random ness of the results is a feature You need to decide how important exact repeatability is when selecting either a round robin patch or the Repetition script The Articulations Control and Keyswitches In the center of the Player view is a control that lists the ar ticulations available in the current window Often this list is short containing only the one articulation given in the instru ment name The image at the right shows the control for a Timpani keyswitch instrument The checkboxes at the left of the control allow you to deac tivate any articulation turn it off while leaving its samples in memory or separately to unload the samples from memory The small knobs in the third column allow you to adjust the loudness of each articulation without affecting the loudness of the others Chapter 3 The Hollywood Orchestral Percussion User Interface 19 HOLLYWOOD ORCHESTRAL PERCUSSION PLAY 4 Instruments Articulations and Keyswitches 22 The Tables of the Instruments 22 Overview of the Instruments in Hollyw
66. ur choice of a MIDI note or MIDI control code to reset them one instrument at a time from a MIDI keyboard or the data stored in a sequencer project See the description of the Settings dialog in the main PLAY System manual for more information about this articulation specific approach Stereo Double Controls This knob with its three buttons gives the user the option of using stereo pous A exclusively the left stereo signal or right when Stereo is selected U e from the Channel Source drop down For any other setting this con trol has no effect The knob lets the user determine the spread of the signals how far apart the ear per ceives the stereo channels to be A value of O brings the two channels together at the center unless the Pan knob positions the output differently and is the equivalent of turning off the controls with the button to the left of the knob A value of 100 calls for the maximum spread available Select between the left and right signal with the L and R buttons respectively The Master Button and Pre Delay Knob in the Reverb Controls The common features of the Reverb Controls are explained in the main PLAY System manual but the Hollywood Orchestral Percussion user interface includes two features not in all PLAY libraries The Master Button When this button is pressed and the On light is illuminated the Reverb for this instru ment applies to all the other instruments in this instance of PLAY i
67. y awards more than any other sound developer His uncompromising approach to quality and innovative ideas have enabled EastWest to lead the sound ware business for more than 25 years The Art of Digital Music named him one of 56 Visionary Artists amp Insiders in the book of the same name He released the very first commercial Drum Samples CD in 1988 and followed it with the multiple award winning Bob Clearmountain Drums sample collection which he co produced In the years that followed he practically reinvented the sound ware industry EastWest introduced loop sample libraries to the market in the early nineties followed closely by the first midi driven loops collection Dance Industrial He released the first library to include multiple dynamics followed by the first sample library to stream from hard disk an innovation that led to the detailed collections users expect today His recent productions are Symphonic Orchestra awarded a Keyboard Magazine Key Buy Award EQ Magazine Exceptional Quality Award Computer Music Magazine Performance Award Sound On Sound Readers Award twice and G A N G Game Audio Network Guild Best Sound Library Award and Symphonic Choirs awarded Electronic Musician Editor s Choice Award G A N G Best Sound Library Award and Keyboard Magazine Key Buy Award Most recently his productions include Quantum Leap Pianos the most detailed virtual

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