Home

Quantum Leap Stormdrum 3 Manual - Soundsonline

Contents

1. As a lifelong Grateful Dead fan and a percussion fanatic it was a dream to create a virtual instrument with Mickey Hart The incredible and oftentimes unique sounds in Quantum Leap Stormdrum 3 will Inspire composers for decades to come SD3 follows the general blueprint of SD2 in that it has acoustic percussion multi samples in the following categories Large Drums Small Drums Metals Woods Shakers and the Taiko Family but the similarities end there SD3 has more extensive techniques more round robins 5 separate mic positions better instruments better execution and performance and even more magic than SD2 lt also has the biggest and most authentic taiko col Chapter 2 Quantum Leap Stormdrum 3 An Overview 10 QUANTUM LEAP STORMDRUM 3 VIRTUAL INSTRUMENT lection ever sampled Everything from piercing tones of a small shime daiko to deep ensembles to an 800 pound 360 kilo monster taiko At the end of the recording session we spent half of a day laying down some mean four man grooves Playing with Mickey was like taking peyote and jumping on a quasar These performances represent a bonus section in SD3 controlled by excellent time com pression and expansion In SD3 our focus was to capture Mickey s unrivaled percussion collection in the best possible multi sampled way It is very flexible And note that even the close mix comprises the input from 8 microphones This virtual instrument is his legacy and mine as well Afte
2. 0 5 2 5 0 5 2 5 The E button in the center toggles the EQ emulation between the G Series and E Series consoles The difference between them is described in the following table G Series E Series The bell curve has a more rounded shape at low The bell curve is slightly more pointed and there is gains and the shelf curve overshoots zero slightly no overshoot on the shelf curve at the base of the curve G Series EQ is more subtle and is generally more E Series EQ is more aggressive and is therefore bet suited to instruments and vocals ter for removing problem frequencies It is generally more suited to drums Note At full boost or full cut the E and G Series curves are identical To switch the EQ into the Dynamics Side Chain press Dyn SC Dynamics Section This section consists of both Compressor controls and Noise Gate Expander controls Both sections work independently but can be operational at the same time providing Chapter 3 The Quantum Leap Stormdrum 3 User Interface 22 QUANTUM LEAP STORMDRUM 3 VIRTUAL INSTRUMENT sophisticated control of signal levels The example image of the Ul is shown below after the description of the Compressor There are two buttons at the top The Dyn In button turns on the whole section The Pre EQ button moves this section before the Equalizer otherwise this processing is per formed after the Equalizer Compressor On the left are 3 blue knobs for controlling the Compres
3. QUANTUM LEAP STORMDRUM 3 VIRTUAL INSTRUMENT Welcome About EastWest and Quantum Leap Founder and producer Doug Rogers has over 35 years experience in the audio industry and is the recipient of many recording industry awards including Recording Engineer of the Year In 2005 The Art of Digital Music named him one of 56 Visionary Artists amp Insiders in the book of the same name In 1988 he founded EastWest the most criti cally acclaimed sound developer in the world and recipient of over 60 industry awards more than any other sound developer His uncompromising approach to quality and in novative ideas have enabled EastWest Quantum Leap to lead the sound ware business for 25 years In 1997 Rogers partnered with producer composer Nick Phoenix and set up the Quan tum Leap imprint a wholly owned division of EastWest to produce high quality no com promise sample libraries and virtual instruments Quantum Leap virtual instruments are mostly produced by Nick Phoenix Some of the larger productions such as Symphonic Orchestra Symphonic Choirs Pianos and the Hollywood Orchestral Series are co pro duced by Doug Rogers and Nick Phoenix As a composer Phoenix began scoring film trailers and television commercials in 1994 To date he has either scored or licensed music for the ad campaigns of over 1000 major motion pictures including Tomb Raider 2 lerminator 3 Lord of the Rings Return of the King Harry Potter 2 Star
4. Daf Turkey Dead The Beast FX Rolls Dead The Beast Hits N Rolls Djembe 16in Remo continued Chapter 4 Instruments Cl Cl Cl Cl Cl Cl Cl Cl 18 12 43 38 14 39 36 30 4 C1 Al Bass Bass with scrape Mute Mute slap Rim Flam BI E3 FX F3 Perf C1 Bl Bass Bass with flam Center 1 Center 2 Edge Rim Rim with flam C2 G2 Perf C1 Al Bass RH Center RH Edge LH Slap RH Cor ner LH Corner Flam B1 C2 velocity sensitive rolls D2 B3 non velocity rolls 4 65 bass non velocity rolls Ab C7 Perf 140 bpm C1 6G1 Bass Slap Corner LH RH Corner Flam A2 D4 Rolls EA E6 Perf 140 bpm C1 Fl Center Edge Mute Slide G1 B1 Finger roll C2 D2 Short shake E2 G2 Long shake A2 B2 Perf A wide variety of rolls short to long and soft to dramatically loud C1 F2 Left rolls G2 D4 Center rolls E4 B5 Right rolls C1 C2 right eye Center LH RH Off center RH FX flam Mute Rim LH RH Rim flam D2 G2 Right rolls C3 E3 home plate Off center LH RH Center F3 G3 center eye FX flam Mute A3 C4 left eye Rim LH RH Rim flam D4 G4 Center rolls 65 65 left eye Off center LH RH Center Flam Mute A5 C6 small drum Rim LH RH Rim flam D6 6G6 Left rolls C1 E1 Bass F1 6G1 Mute LR A1 B1 Mute slap C2 E2 Open F2 A2 Open slap B1 C2 Rim D2 F2 Bass fl
5. Quantum Leap Stormdrum 3 Virtual Instrument Users Manual QUANTUM LEAP STORMDRUM 3 VIRTUAL INSTRUMENT The information in this document is subject to change without notice and does not rep resent a commitment on the part of East West Sounds Inc The software and sounds described in this document are subject to License Agreements and may not be copied to other media No part of this publication may be copied reproduced or otherwise transmitted or recorded for any purpose without prior written permission by East West Sounds Inc All product and company names are or trademarks of their respective owners Solid State Logic SSL Channel Strip Transient Shaper and Stereo Compressor licensed from Solid State Logic SSL and Solid State Logic are registered trademarks of Red Lion 49 Ltd East West Sounds Inc 2013 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 QUANTUM LEAP STORMDRUM 3 VIRTUAL INSTRUMENT About EastWest and Quantum Leap Producer Nick Phoenix Percussionist Mickey Hart Credits How to Use This and the Other Manuals Online Documentation and Other Resources a oO OF B W NN Click on this text to open the Master Navigation Document l
6. Shake short shake G1 D4 Single shake E4 D5 Medium long shake E5 Long shake F5 66 progressively louder shakes E6 B6 D E7 G7 B7 Perf Torpedo Guiro RR Cl 10 2 Cl Al Shakes B1 D2 Double shake E2 Long shake Chapter 4 Instruments 42 QUANTUM LEAP STORMDRUM 3 VIRTUAL INSTRUMENT Nick surrounded by drums Note the many sticks and mallets in the lower left SMALL DRUMS Balinese Murdungham Cl 4 C1 B1 Bass Rim Edge Mute slap Double Mute Roll Bongos Bauer Cl 24 8 C1 A1 Low rim Rim mute Center double Center Center mute Center scrape BI E2 Low long roll p mp mf f F2 62 Low rim short long C3 A3 High rim Rim mute Center double Center Center mute Center scrape B3 E4 High long roll p mp mf f F4 G4 High rim short long Cohongas Cl 35 4 C1 E1 Low open slap mute F1 A1 Mid open slap mute B1 D2 High open slap mute E2 G2 Low roll A2 C3 Mid roll D3 F3 High roll G3 G4 Perf FX A4 B5 Perf FX 130 bpm Cuica Cl 8 4 Cl C2 various squeaky sounds created by rubbing a rod at the center of the drum Cuica Perf FX Gl 14 1 C1 02 Slow perf C3 A3 Fast perf Damarue FX Cl 25 1 CI H Perf FX Frame Drum 8in Iran Cl 25 4 C1 F1 Open thumb Edge 1 Edge 2 God tone G1 E3 Rolls F3 F4 Perf FX Frame Drum 10in Iran MI 40 4 C1 F1 Open thumb Edge Rim God tone G1 D5 Rolls E5 G6 Perf FX Frame Drum 12in
7. m RO C1 Bl Hits C2 E5 Various strokes and hits many of which start out very softly with a slow ringing crescendo C1 D1 Low open RH LH El Rim RH F1 G1 Mute Long Short Al Slap RH B1 C2 Roll mute D2 E2 Roll C3 Open D3 E3 Rim 1 2 F3 Open Double G3 Slap A3 Mute B3 Roll C4 D4 Roll Open C0 G0 Perf group 1 G 0 C 1 Perf group 2 130 bpm D1 G 3 Perf group 3 A3 A 3 Perf group 4 C1 C6 Various clangy metalic sounds C1 6G2 Perf A2 B5 Perf 110 bpm C1 G1 Glissando like runs C1 G4 Hits C1 Fl Hits G1 Hit with clang after some silence Al B1 Clanging C2 Hit with several quiet hits after some silence C1 C4 Various wind chime hits and jangles D3 B4 Tubular bell hits natural sound C3 C6 pitch corrected tubular bell hits and filling in the chromatic scale for 3 octaves C1 D5 Perf C1 F3 Various hits and strokes from a meditation bowl C1 E6 Various scraping and ratcheting sounds C1 E6 More scraping and ratcheting sounds C1 A 3 More scraping and ratcheting sounds C1 E1 Strikes C1 Low hit with multiple dynamic layers D1 High hit with multiple dynamic layers EI A1 Low hits each note with different loudness B1 E2 High hits various loudness F2 B2 Low scrapes various loudness C3 F3 High scrapes various loudness C1 G2 6 pairs of mallet hits mutes 1 note per pai
8. Click on this text to open the Master Navigation Document 8 QUANTUM LEAP STORMDRUM 3 VIRTUAL INSTRUMENT Quantum Leap Stormdrum 3 An Overview The Design Concept For the Stormdrum 3 Virtual Instrument More than 5 years after the release of Quantum Leap SD2 The Next Generation the Producer of that award winning virtual instrument Nick Phoenix is releasing an all new collection of percussion instruments Quantum Leap SD3 Not only has he newly recorded a vast array of both common and unusual sounds but he has taken advantage of the superior technical capabilities of today s recording studio to create a library with an inspiring sonic presence This percussion library was recorded in the same location EastWest Studios in Holly wood California as the 3 titles from the Hollywood series by EastWest Quantum Leap Strings Brass and Woodwinds Therefore all these libraries work together to provide a consistent sound quality And like the Diamond Editions of those earlier Hollywood libraries it includes samples simultaneously recorded with 5 sets of microphones that you can mix together in the PLAY software to achieve the sonic presence you require from close and intimate to expansive More information about the microphone options Is included on page 51 To achieve the breadth of instrument types Nick Phoenix was looking for in his new library he drew on the private collection of legendary percussionist Mickey Hart and multi
9. 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 hid ing the MND You now have both the SD3 library manual and the PLAY System manual open in separate windows so you can refer to them both Chapter 1 Welcome 6 QUANTUM LEAP STORMDRUM 3 VIRTUAL INSTRUMENT Online Documentation and Other Resources For the most up to date information visit the support pages at EastWest s web site There you can find 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 World excluding Europe http support soundsonline com Europe http support soundsonline europe 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 Chapter 1 Welcome QUANTUM LEAP STORMDRUM 3 VIRTUAL INSTRUMENT 2 Quantum Leap Stormdrum 3 An Overview 9 The Design Concept For the Stormdrum 3 Virtual Instrument 10 Statement from the Producer 12 What s Included 12 Hardware Requirements
10. ME S 45 e 0 8 T 15 23 z KHz KHz COMPRESSOR GATE EXPANDER OUTPUT im z um ere LIETEN d 5 C y E rJ RELE SA E A Tm HOLD 2m ca e g m ues P r RELEA ASE RANG E E no preset SSL s EQ amp Dynamics Channel Strip Plug in both Instrument and Mic Plug in This plug in passes the signal through 5 separate sections as described separately in the text below Input Section and Output Section Tee urn the Gain knob in the Input Section to control the level of the incoming audio i signal The post gain signal level is shown in lights to its left As a rough guide the 6 yellow indicator should occasionally comes on but the red O indicator should remain off Press the button to invert the phase of the input signal ouTPUT gic LISTEN The Output Section is the last step in the processing The Gain knob con trols the audio level of the output signal Adjust this level last to achieve the loudness of the signal that you want The same rules for the yellow and red indicator lights apply here as in the Input Section The S C Listen button directs the Dynamics Side Chain to the channel output Filter Section The Filter controls provide access to two separate kinds of filters The black knob controls an 18dB Octave high pass filter 20Hz to 500Hz Use it to remove lower frequencies from the audio The purple knob controls a 12dB Octave low pass filter 3kHz to 2
11. 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 The Mixer View The Mixer view is new in PLAY 4 As described in the PLAY 4 manual the Mixer view allows the user to view and control the output from all the channels within the current instance of PLAY Here you can control the loudness and the pan position as well as the MIDI input and the audio output channel You can also mute or solo each track the M button or S button respectively In any PLAY virtual instrument that features multiple microphone positions it is also possible to mix and blend the output from those mics MAIN MENU SETTINGS BROWSER TAA PLAYER 36in Thai Gong Hits 1 Channel 1 MIDI INPUT idin 16m Shime Dalka OUTPUT T oueut ourur ourur OUTPUT Main LR fa 1 1 Main LR M ar j The image above shows the PLAY mixer page with the Stormdrum 3 instrument named 36in Thai Gong Hits loaded into the left most column At the top Channel 1 means that it responds to MIDI input on channel 1 only And where the MIDI input for the other instrument reads Omni that means it responds to all MIDI channels Click in this control to see a list of other input options you can select Chapter 3 The Quantum Leap Stormdrum 3 User Interface 18 QUANTUM LEAP STORMDRUM 3 VIRTUAL INSTRUMENT
12. C1 B4 Perf C1 G1 Chime hits with multiple dynamic layers making it velocity sensitive Al F4 Chime hits with some very quiet C1 C6 Perf C3 E5 Pitch corrected chime hits to create a chromatic scale more than 2 octave C1 Lower pitched hit with multiple dynamic layers making it velocity sensitive D1 G1 Hits of vary ing loudness Al Higher pitched hit with multiple dynamic layers making it velocity sensitive BI E2 Hits of varying loudness C1 F3 Various ratchet sounds G3 A4 Perf C1 A5 various ratchet sounds C1 A Various drum hits B1 Shell C2 Mute scrape D2 F2 Scrapes A2 D3 Pert E3 G4 Perf 120 bpm 40 QUANTUM LEAP STORMDRUM 3 VIRTUAL INSTRUMENT METALS supra Bowls Cl 32 4 C1 G1 D2 A2 F3 D4 Hits each for a separate bowl Other notes in D1 B4 Various mutes for the preced ing hit C5 F5 Perf supra FX Cl 15 CI A2 and C3 D3 Pert Turkish Copper Pot Cl 4 4 Cl Low hit Dl Low mute E1 High hit Fl High mute Water Bowls Cl 11 1 CI D2 Bowl hits E2 F2 Bowl strokes Zil Bells C1 10 Cl Low hit with dynamic layers making it velocity sensitive D1 High hit with dynamic layers making it velocity sensitive EI A1 Low hits of varying loudness B1 E2 High hits of varying loudness Next in order in the PLAY Browser is a folder called Mickey Hart LIVE LOOPS The instruments in this folder are looped snippets of multi person per
13. Chant 100 bpm 42 House On Fire 90 bpm 42 Jolly Witch Doctor 115 bpm 42 Kongs Henchmen 105 bpm 38 Log Jamma 115 bpm 42 Monasterista 100 bpm 42 Monte Carlo 90 bpm 42 Poison Darts R Us 100 bpm 42 Red Frog Green Frog 120 bpm 42 Roman Guild 90 bpm 42 sambastique 100 bpm 40 The Lion and The Grasshopper 100 bpm 42 Torture Brigades 90 bpm 23 Undiscovered Country 120 bpm 42 Undiscovered Enemy 120 bpm 42 Abbreviations Used In Instrument Names The names of instruments are sometimes shortened to fit in the browser list The fol lowing table provides a way to look up any unfamiliar abbreviations until you become familiar with the shortcuts Chapter 4 Instruments 49 QUANTUM LEAP STORMDRUM 3 VIRTUAL INSTRUMENT ABBREVIATIONS IN INSTRUMENT NAMES AND DESCRIPTIONS Abbreviations Meaning bpm beats per minute ft foot about 30 cm FX Effects special effects that go beyond the traditional sounds of an instrument in inch about 2 5 cm KS Keyswitch see info on keyswitches in the PLAY manual NSL Not So Loud Remo drums with less resonance and more attack Ib pound 800 Ib 360 kg LH RH Left Hand Right Hand Perf Performances RR Round Robin W with Percussionist Greg Ellis surrounded by lots of the SD3 instruments in EastWest Studio 1 Chapter 4 Instruments 90 QUANTUM LEAP STORMDRUM 3 VIRTUAL INSTRUMENT The SD3 recording session team Greg Ellis Ken Sluiter Mickey Hart Nick Phoenix Chalo Eduardo Ben Jon
14. 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 EASIWEST 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 EASTWEST SOFTWARE that you in turn license as an original composition or soundtrack to third parties for use in film television radio or other media provided the completed compo sition or soundtrack is created solely by you E You may use any included EASTWEST SOFTWARE Audio Loops compositions that contain a combination of sound samples that can be repeated to form a continuous piece of music for a Production Music Library also known as stock music or library mu sic original compositions or soundtracks created entirely by you using the EASTWEST SOFTWARE that you in turn license as an original composition or soundtrack to third parties for use in film television radio or other media subject to the following terms and conditions 1 the Audio Loops must be used in a musical context with at least two other instruments that contribute significantly to the composition and 2 The entire Audio Loop cannot be left exposed at any time in the composition If
15. The small button with the fader symbol lit in yellow has been pressed to open 5 more strips to the right representing the 5 mics available in SD3 Clicking on the yellow but ton again hides the mic strips so that you can see more channel strips but any values you set still apply when the strips are hidden The name of each mic is listed at the bottom In the image above the Close and Hi Fi buttons are lit in white to indicate that those samples are loaded in memory and the mics are currently active To load or unload the samples from memory click on the button for that mic position The meter and slider for each instrument or mic represents the current output level for that audio channel The Pan knob at the top of each strip moves the apparent position of the instrument left or right within the stereo field And note that you can pan the individual mics separately At the very top of a mic strip is another knob marked REV SND which stands for Reverb Send that allows you to indicate how much of the sound from this mic to direct to the currently selected reverb The REV SND control applies a second gain to the signal going to the Reverb allowing you to send up to 12 dB more to the Reverb than to the standard output or to reduce the signal as much as 60 dB In other words both the gain from the strip s vertical fader and the gain from UTE the REV SND knob are applied together to the signal going to the PLAY Reverb This approach maintains a consi
16. This License constitutes the entire agree ment between the parties with respect to the use of the EASTWEST SOFTWARE licensed hereunder and supersedes all prior or contemporaneous understandings regarding such Subject matter No amendment to or modification of this License will be binding unless in writing and signed by EASTWEST Any translation of this License is done for local requirements and in the event of a dispute between the English and any non English versions the English version of 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
17. Wars Episode 2 Spiderman 3 Pirates of the Caribbean 3 Blood Diamond Night at the Museum and The Da Vinci Code EastWest Quantum Leap has now firmly established itself as one of the world s top producers of high end sample libraries and virtual instruments In 2006 EastWest purchased the legendary Cello Studios formerly United Western Re corders on Sunset Boulevard in Hollywood re naming it EastWest Studios The 21 000 sq ft facility since remodeled by master designer Philippe Starck houses five recording studios and is the world headquarters for EastWest Chapter 1 Welcome 2 QUANTUM LEAP STORMDRUM 3 VIRTUAL INSTRUMENT Producer Nick Phoenix Nick founded Quantum Leap and apart from the co productions with Doug Rogers has produced all its titles am a sample maniac Working as a composer has given me a unique perspective into what composers really need Nick has been scoring and creat ing the music for film trailers for the past 19 years His company Two Steps From Hell is the top trailer music company in the world Two Steps albums are consistently in the top 100 on iTunes and the first album is about to go Gold Two Steps From Hell gave its first concert at Walt Disney Concert Hall in June 2013 Chapter 1 Welcome 3 QUANTUM LEAP STORMDRUM 3 VIRTUAL INSTRUMENT Percussionist Mickey Hart Chapter 1 Welcome Mickey Hart is best known for his nearly three decades as an integral part of an extraordi n
18. but the named difference for example Center LH RH Some notes are described as Perf or Perf FX These are either short performances of a few notes or single notes that can be combined into performances They are not as complete or polished as the performances in the Mickey Hart Live Loops folder so consider these as little extras that might help you build a performance In a few cases a tempo is provided for example 130 bpm these are patterns of notes in tempo from the given instrument alone A Quickstart Folder The first folder listed in the Browser is one designed to feature some of the instruments that the Producer thinks are a good introduction to the range of this library When you re getting started with Quantum Leap Stormdrum 3 you may want to begin by opening these instrument files and playing with them Each of these instrument files is also available in another folder and you should look in the table for the patch s home group to find its listing For example Chimes Burma is documented within the Metals table Chapter 4 Instruments 34 QUANTUM LEAP STORMDRUM 3 VIRTUAL INSTRUMENT Once you ve explored this introductory folder take a look at the wide variety of other instruments in the 7 folders grouped by types e Big Drums e Gongs Clocks Waterphone e Metals e Shakers e Small Drums e Taiko Family e Woods BIG DRUMS African Ceramic Ashiko Boule Custom Cajon Black Custom Cajon Remo
19. can use the left and right arrow buttons to move to a dif ferent strip including to a mic strip that is currently hidden Using this Channel list you can move through the various strips without having to close one drawer and open another Included in the FX drawer are e an EQ amp Dynamics plug in consisting of aFilter an EQ a Compressor and Noise Gate Expander e a Transient Shaper plug in e a Convolution Reverb plug in This plug in is available only on channel strips not mic strips e a Stereo Compressor plug in This plug in is available only on channel strips not mic strips The specific controls are described in detail after this overview To hide the UI for all the plug ins click on the X button in the lower right corner The settings are preserved while the controls are hidden with the saved values reappearing when they are reopened with the FX button Chapter 3 The Quantum Leap Stormdrum 3 User Interface 20 QUANTUM LEAP STORMDRUM 3 VIRTUAL INSTRUMENT The following image shows the plug ins that appear when the FX button is clicked in a mic strip Only the plug ins in the top section of the image above are available for the audio output from a single mic This image shows the plug ins for the Close mic as in dicated in the Channel drop down list in the lower right Solid State Logic Oxtord England FILTER pints LF ie pei HMF HF e aig TRANSIENT TO Ty Em Ji GAM GAIN a ir mss k L
20. ear to determine how long of a pre delay works for each instrument The Pre Delay can also be changed with the knob on the Player page Use the Reverb drop down list to select the name of the environment as shown in the image at the right This EastWest Convolution Reverb can use true stereo reverbs The Mono button when illuminated indicates that the processing should be performed without separate left and right channels for the IR The Amount knob controls how much of the effect to include in the output Drag downward with the mouse to create a more subtle reverb or drag up ACME Acousticas Drums Big Drum Room Bright Plate Carlsbad Caverns EMT 240 EW Chamber EW Hall EW Studio Gated HDIR Cathedral Hollywood Hall LA Scoring Stages New Hollywood Hall Piano Hall S5 Cal Hall small Drum Room Solo Violin Concert True Stereo Sample Dark Abbey EW Fat Hall LR Large Church Live Cathedral Psychedelic Reverb Stereo Refl Church Choral Hall 1 LR Fat Drums LR St Mary LR Hamburg Brass London Brass Chapter 3 The Quantum Leap Stormdrum 3 User Interface EW Studio 1 Front N True Stereo EW Studio 1 Rear N True Stereo EW Studio 1 Wide N True Stereo EW Studio 2 N True Stereo 26 QUANTUM LEAP STORMDRUM 3 VIRTUAL INSTRUMENT to increase the effect The Amount can also be changed with the knob on the Player page SSL s Stereo Bus Compressor Instrument Plug in only This
21. ins sit on top of the channel strips in what s called a drawer Note that the bottoms of the channel strips are still visible below the FX drawer as in the image that follows Chapter 3 The Quantum Leap Stormdrum 3 User Interface 19 QUANTUM LEAP STORMDRUM 3 VIRTUAL INSTRUMENT MAIN MENU SETTINGS BROWSER A on PLAYER F Acapulco 115 BPM Omni s 1 1D ci m MG DN Solid State Logic Oxford England Order FILTER EQ DYNAMICS FILTER Iu zu ur XX gy TRANSIENT rini s ER SHAPER m S our 3 ee NM Q m AY J GUT d Hz 00 2 INPUT COMPRESSOR GATE EXPANDER OUTPUT a is e Cy amp lc UR 4 mg Tu am RELEASE ta j tm TWHOD os a 6 FAST A HE 4 C Lp 5 A FAST 20 20 10 20 i xj JE o4 4 z a 20 GAIN T HOLD s RELEASE RANGE GAIN Solid State Logic Oxtord England 5 Us COMPRESSO Big Drum Room 1 MONO STEREO BUS COMPRESSOR thun ur a 2 a 4 d 10 P i Er 30 B 2 a J Re 3 i u i B ak ri p PE L oh fa gl n r F X dB C IPRESSION EU d i THRESHOLD ATTACK mS 9 B 45 E lz pe m x AP Auto gt COMP fa MAKE UP RELEASE amp Acapulco 115 BPM The image above shows the full set of plug ins for the instrument loaded into the second instrument strip Acapulco 115 BPM At the bottom of the drawer are 2 controls a Preset list which is empty in the image and a Channel list where you
22. is a compressor that works only at the instrument level not on individual mic chan nels This SSL compressor has become legendary in the music industry for its unique sound so you may want to see how it can improve the sound of your mix This is a stereo version of the center section stereo bus compressor found on the XL 9000 K Series console It provides high quality stereo compression giving you critical control over the dynamic range of audio signals The compressor UI consists of 1 meter 5 knobs and 1 button as in the image below Compression Solid State Logic Oxford England a Pa a 5 E 10 2 470 MEN RENS LJ This meter shows the real time gain reduction in Biss decibels dB 20 20 THRESHOLD ATTACK mS RATIO Threshold uu E teen calc With this knob you can controls the level at eae which gain reduction is introduced The value Is ee ARMEN continuously variable 20 dB to 20 dB Attack This knob controls response time when the Threshold is crossed Choose among the fol lowing times 0 1 0 3 1 3 10 and 30 ms Make Up This knob selects the level of compensation to offset the compressor s action It is con tinuously variable over the range 5 dB to 15 dB Release This control sets how quickly the level returns to normal Choose between 0 1 0 3 0 6 or 1 2 seconds or you can select Auto In the case of Auto the release time is dependent upon the duration of the signal peak R
23. knob is set the more focused this ringing becomes The graph gives you visual cues about the frequency distribution you are creating with the settings you select Make sure the On button is illuminated for this filter to have any effect Reverb Controls A generic Reverb control is described in the main PLAY manual and that description applies here as well The Reverb controls in Stormdrum 3 contains an extra knob not present in some other PLAY interfaces Pre Delay Increasing the level with this knob delays the onset of the re verb so that the initial section of the sample is unaffected This feature allows the sem of each attack to maintain its true color while the rest of the note still gains the benefit of the reverb effect Time Stretch Tuning This set of controls allows you to control the pitch either with or without also changing the tempo of a performance depending on multiple factors as described below There are three related controls One is a knob for raising or lowering the pitch Then there s a pair of buttons Tune A Tune B for selecting which of two kinds of re tuning you want to use The third control is a switch for selecting the quality e On the left is option A the original EastWest tuning approach With Button A you re changing the speed of playback in order to affect the pitch But if you use Button A with a performance from the Live Loops folder the tempo is not affected that s because t
24. 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 read only memory on any other media or in any other form provided to you is licensed not sold to you by EAST WEST SOUNDS Inc EAST WEST for use only under the terms of this License and EASTWEST reserves all rights not expressly granted to you You own the media on which EASTWEST SOFTWARE is recorded but EASTWEST and or EASTWEST s licensor s retain ownership of the EAST WEST SOFTWARE itself The terms of this License will govern any EASTWEST SOFT WARE upgrades provided by EASTWEST that replace and or supplement the original EASTWEST SOFTWARE unless such upgrade is accompanied by a separate license in which case the terms of that license will govern Title and intellectual property rights in and to any content displayed by or accessed through the EASTWEST SOFTWARE be longs to the respective content owner Such content may be protected by copyright or other intellectual property laws and treaties and may be subject to terms of use of the third p
25. 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 disassemble attempt to derive the source code of decrypt modify or create derivative works of the EAST WEST SOFTWARE or any part thereof except as and only to the extent any foregoing restriction is prohibited by applicable law 3 Transfer Restriction A right to use the EASTWEST SOFTWARE is granted to the origi nal end user of the product Licensee and is NOT transferable You may not rent lease lend sell redistribute or sublicense the EASTWEST SOFTWARE Updates and Upgrades If an EASTWEST SOFTWARE update completely replaces full install a previously licensed version of the EASTWEST SOFTWARE you may not use both versions of the EASTWEST SOFTWARE at the same time nor may you transfer them separately Not for Resale NFR Copies Notwithstanding other sections of this License EASTWEST SOFTWARE labeled or otherwise provided to you for development or on a promotional basis may only be used for development demonstration testing and evaluation purpose
26. 2kHz Use it to remove higher frequencies Turn either knob fully left marked OUT to turn that filter off Turn either one or both clockwise to move the filter frequency in from its extremity Chapter 3 The Quantum Leap Stormdrum 3 User Interface 21 QUANTUM LEAP STORMDRUM 3 VIRTUAL INSTRUMENT You have a choice where to insert the Filters in the audio stream To place the Filters im mediately following the Input control press the Input button To switch the Filters into the Dynamics Side Chain press the Dyn S C button Note that when the Dyn S C button Is engaged the Input button has no effect Equalizer Section To use the EQ switch it into circuit by pressing the EQ In button which is near the top in the center of the UI for this section LMF EQUALISATION The EQ section has four bands each with its own knob color All bands have gain and frequency control The low LF and high HF bands are shelved by default but can be switched to a bell shape parametric by pressing the Bell button the Bell option gives you more control over the exact shape of the EQ curve The low mid LMF and high mid HMF bands have Q controls to adjust the sharpness of the modified curve in addition to what the others have Listed in the table below are the ranges for the knobs in each section Band LF LMF HMF HF Frequency range 40Hz 600Hz 200Hz 2kHz 600Hz 7kHz 1 5kHz 22kHz Gain range 16 5dB 20dB 20dB 20dB Q range
27. Egypt Cl 43 4 CI AI Open thumb Edge 1 Edge 2 Edge flam Open flam God tone B1I E4 Finger rolls FA C7 Perf FX continued Chapter 4 Instruments 43 QUANTUM LEAP STORMDRUM 3 VIRTUAL INSTRUMENT C1 Al Low hits B1 G2 High hits A2 B4 Perf 140 bpm C5 C 6 Perf 149 bpm Perfs 149 bpm use mix of black and white keys C1 E1 C center C rim C mute F1 A1 Bb center Bb rim Bb mute C1 F1 Open rim flam slap G1 C2 Roll p mp mf f SMALL DRUMS Gourd Drum Cl 38 4 Madal Mickey Cl 6 8 Medales Cl 8 4 Nepalese Madal Cl 8 4 New Guinea Drum Cl 18 l Ngara Cl 18 4 Olympic Mini Drums Cl 15 4 Phakwajaj Cl 10 8 Quijada Gl 290 8 Remo 10in Djembe Fiberskin Cl 36 A Remo 10in Pandero Skindeep Cl 22 A Ultratech Remo 12in Italian Tambourine Cl 43 4 Remo 9in Dumbek Skindeep Cl ll 4 Remo Repanique Cl 43 4 continued Chapter 4 Instruments C1 C2 Open Rim Low to high High to low Low open High open High mute Mute C1 Low hit high hit EL B2 Short scrapes C3 F3 Long scrapes C1 C2 Low bass Bass Edge High bass Center Edge High center High flam D2 E2 High pitched hit F2 F3 Rolls Cl Gl Open A B C D E C2 6G2 Rolls A B C D E 63 63 Perf C1 D2 Hits E2 Roll C1 B1 Stick C2 G3 Scrapes A3 C5 Jingles C1 Fl Bass hit Rep Slide Flam G1 F2 Open off center LH RH Rep Rim LH Rim RH Slap Flam G2 F3 Center slap LH RH M
28. IDED 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 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 CORREC
29. ILITY CONTRACT TORT OR OTHERWISE AND EVEN IF EASTWEST HAS BEEN ADVISED OF THE POSSIBIL ITY OF SUCH DAMAGES SOME JURISDICTIONS DO NOT ALLOW THE LIMITATION OF LIABILITY FOR PERSONAL INJURY OR OF INCIDENTAL OR CONSEQUENTIAL DAM AGES SO THIS LIMITATION MAY NOT APPLY TO YOU In no event shall EASTWEST s total liability to you for all damages other than as may be required by applicable law in cases involving personal injury exceed the amount of fifty dollars 50 00 The forego ing limitations will apply even if the above stated remedy fails of its essential purpose 9 Export Control You may not use or otherwise export or reexport the EASTWEST SOFT WARE except as authorized by United States law and the laws of the jurisdiction in which the EASTWEST SOFIWARE was obtained In particular but without limitation the EASTWEST SOFTWARE may not be exported or reexported a into any U S embargoed countries or b to anyone on the U S Treasury Department s list of Specially Designated Nationals or the U S Department of Commerce Denied Person s List or Entity List By using the EASTWEST SOFTWARE you represent and warrant that you are not located in any such country or on any such list You also agree that you will not use the EASTWEST SOFTWARE or any purposes prohibited by United States law including without limita tion the development design manufacture or production of missiles nuclear chemical or biological weapons 10 Government End Us
30. Perf C1 Fl Various waterphone sounds F 1 E3 Perf C1 G 3 Various waterphone hits A3 A4 Various waterphone rolls METALS African Boat Bells Agogo Asian Crotales Berimbau Ab Berimbau B natural Brass Bowls Tibet continued Chapter 4 Instruments Cl Cl Cl Cl Cl Cl 8 29 39 42 C1 C2 Mallet Mallet mute Mallet Mallet mute Stick Stick mute Stick Stick mute C1 E1 Clack Low High Velocity sensitive high bell like hits C1 Low D note D2 F note E3 D note F3 High D note G3 A note C1 Bl Various mulit part hits C2 Single hit D2 B2 FX effects C3 C5 Perf C1 A multi part hit DI D2 Arame hits E2 Capaca hit F3 Tiki hit G3 F4 Capaca rolls G4 B5 Perf C1 B6 Various bowl sounds some of which are soft slow crescendos 38 QUANTUM LEAP STORMDRUM 3 VIRTUAL INSTRUMENT METALS Brass Bowls Turkey Brass Kettle Drum Taya Brass Kettle Drum Taya Perf CengCeng CengCeng Perf Chimes Brass Chimes Burma Chimes Cymbal Chimes Large Wind Dark Star Bells Dark Star Bells Tuned Dark Star Bells Perf Deep Meditation Bowls Door Stop 1 Door Stop 2 Door Stop 3 Dragon Chasers Earth Plates Englehart Bells Mt w Mutes continued Chapter 4 Instruments Cl Cl C0 Cl Cl Cl Cl Cl Cl D3 C3 Cl Cl Cl Cl Cl Cl Cl Cl 31 47 36 39 26 22 I i 30 65 65 29 24
31. REEMENT 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 SOFTWARE AUDIO CONTENT OR OTHER INTELLECTUAL PROPERTY YOU ARE AGREEING TO BE BOUND BY THE TERMS OF THIS LICENSE IF YOU DO NOT AGREE TO THE TERMS OF THIS LICENSE DO NOT USE THE EASTWEST SOFTWARE AUDIO CONTENT OR OTHER INTELLECTUAL PROPERTY IF YOU DO NOT AGREE TO THE TERMS OF THE LICENSE YOU MAY RETURN THE EASTWEST SOFT WARE AUDIO CONTENT AND INTELLECTUAL PROPERTY TO THE PLACE WHERE YOU OBTAINED IT FOR A REFUND YOU MUST RETURN THE ENTIRE PACKAGE IN ORDER TO OBTAIN A REFUND IF THE EASTWEST SOFTWARE AUDIO CONTENT OR INTELLECTUAL PROPERTY WERE ACCESSED ELECTRONICALLY AND YOU DO NOT AGREE TO THE LICENSE SIMPLY CLICK DECLINE IMPORTANT NOTE The software audio content and other intellectual property pro vided by EastWest to you may be used by you to create your own original works pursuant to the terms and conditions of this License You may not use distribute or broadcast any of the software audio content or other intellectual property in any
32. Short roll Rim LH RH Rim flam Rim flam double Rom roll short E2 A2 Crescendo rolls B2 D3 Crescendo rim rolls C1 E2 Center LH RH Center flam Edge LH RH Edge flam Rim LH RH Rim flam Short roll F2 G2 Crescendo rolls C1 E2 Center LH RH Center flam Edge LH RH Edge flam Short roll Rim LH RH Rim flam F2 B2 Rolls C1 Bl Center LH RH Center flam Edge LH RH Edge flam Short roll C2 D2 Crescendo rolls C1 El Hits C1 E2 Center LH RH Center flam Edge LH RH Edge flam Rim LH RH Rim flam Short roll F2 G2 Crescendo rolls African Wooden Cowbell Angklungs Balaphone Hits Balaphone Flams Balaphone Roll DXF Balaphone KS CO DO Gourd Marimba Japanese Blocks and Slapsticks Log Drum Redwood Tree continued Chapter 4 Instruments Cl Cl A2 A2 A2 A2 A0 Cl Cl Cl 6 20 42 42 42 42 30 16 04 C1 Hit DI Al Perf C1 D3 Hits E3 B3 E4 B4 Pert A2 D6 Hits over a 3 1 2 octave chromatic scale A2 D6 Flams for the same notes as above A2 D6 Rolls for the same notes as above A2 D6 3 way keyswitch of the 3 patches above CO hit C 0 flam DO roll A0 D3 Hits over a 2 1 2 octave chromatic scale C1 E1 Hits on Shinto Japanese blocks RRx3 G1 F2 Shinto Japanese block perf C3 Japanese large slapsticks E3 Japanese large slapsticks pert C4 Japanese temple block hit RRx2 D4 Temple b
33. TED 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 ORAL OR WRITTEN INFORMATION OR ADVICE GIVEN BY EASTWEST OR AN EASTWEST AUTHORIZED REPRESENTATIVE SHALL CREATE A WARRANTY SHOULD THE EASTWEST SOFTWARE PROVE DEFEC TIVE YOU ASSUME THE ENTIRE COST OF ALL NECESSARY SERVICING REPAIR OR CORRECTION SOME JURISDICTIONS DO NOT ALLOW THE EXCLUSION OF IMPLIED License Agreement License 4 EASTWEST END USER LICENSE AGREEMENT WARRANTIES OR LIMITATIONS ON APPLICABLE STATUTORY RIGHTS OF A CONSUM ER SO THE ABOVE EXCLUSION AND LIMITATIONS MAY NOT APPLY TO YOU 8 Limitation of Liability TO THE EXTENT NOT PROHIBITED BY LAW IN NO EVENT SHALL EASTWEST BE LIABLE FOR PERSONAL INJURY OR ANY INCIDENTAL SPE CIAL INDIRECT OR CONSEQUENTIAL DAMAGES WHATSOEVER INCLUDING WITH OUT LIMITATION DAMAGES FOR LOSS OF PROFITS LOSS OF DATA BUSINESS IN TERRUPTION OR ANY OTHER COMMERCIAL DAMAGES OR LOSSES ARISING OUT OF OR RELATED TO YOUR USE OR INABILITY TO USE THE EASTWEST SOFTWARE HOWEVER CAUSED REGARDLESS OF THE THEORY OF LIAB
34. am Open flam Open slap flam 62 2 Nail scrape B2 C3 Finger roll D3 F3 Machine gun FX ocean FX slides amp scratches 39 QUANTUM LEAP STORMDRUM 3 VIRTUAL INSTRUMENT BIG DRUMS Double Ceramic Drum Double Headed Tree Drum Dragon Ens Hits 1 fullmix Dragon Ens Hits 2 fullmix Dragon Ens Rolls 1 fullmix Dragon Ens Rolls 2 fullmix Dumbek Egypt 1972 Frame Drum 22in Renaissance Ghana Solid Rose Djembe Lord of Toms Ensemble Punjabi Dohn Remo 12in Tubano NuSkin Remo 22in Ocean Drum Remo NSL 14in continued Chapter 4 Instruments Cl Cl Cl Cl Cl Cl Cl Cl Cl Cl Cl Cl Cl Cl 4 29 64 AG 68 21 1 20 40 16 29 17 38 C1 Bl Open RH Mute double up down Open edge RH Rim RH Open LH Rim LH Open edge LH C2 A2 Rolls B2 63 Long rolls D4 A6 Perf 130 bpm C1 C2 Openl Open 2 Mute 1 Mute 2 Rim 1 Rim 2 Flam 1 Flam 2 D2 F4 Rolls G4Q C5 Perf C1 E6 Various booming hits often with multiple instruments played together C1 A4 Various booming hits often with multiple instruments played together C1 G6 Various booming rolls often with multiple instruments played together C1 D3 Various booming rolls often with multiple instruments played together C1 G2 Center Bass with slide Mute LH RH Rim Flam Slap 1 Slap 2 Finger edge Finger snap Roll short 1 Short roll 2 A2 D3 L
35. am Rim LH RH Rim flam Rim flam double Rim roll G2 C6 Various rolls C1 E2 Mallet hits Center hit Edge flam Center flam Edge Ensemble hit Bamboo stick hit Buzz roll Ensemble rim Stick rim F2 G2 Mallet long roll Stick long roll A2 D3 Mallet roll crescendo E3 B3 Stick roll crescendo C4 Perf on rim D4 C6 Ensemble scrapes C1 C2 Mallet hit Edge Edge flam Center Center flam Ensemble hit Ensemble rim Stick rim D2 E2 Mallet long roll Stick long roll F2 62 Roll decre scendo A2 C3 Mallet crescendo D3 G3 Roll crescendo short A3 C4 Roll crescendo long D4 Roll decrescendo E4 F4 Mallet crescendo G4 C5 Short scrapes D4 G5 Roll crescendo long C1 C2 Mallet hit Edge Center Center flam Edge flam Ensemble hit Ensemble rim shot Stick rim D2 E2 Mallet long Stick long roll F2 62 Roll decrescendo A2 C3 Mallet crescendo D3 G3 Roll crescendo short A3 C4 Roll crescendo long D4 Roll decrescendo E4 F4 Mallet crescendo G4 C5 Short scrapes D5 G5 Long scrapes 46 QUANTUM LEAP STORMDRUM 3 VIRTUAL INSTRUMENT TAIKO FAMILY Remo 28in Odaiko Remo 32in Nagado Odaiko Remo Shime Daiko 14in shime Daiko 14in shime Daiko 15in Mickey Custom shime Daiko Ensemble shime Daiko Metal Cl Cl Cl Cl Cl Cl 3 16 12 14 12 2 4 C1 E1 Hits C1 D2 Center hit LH RH Center flam
36. and Amount controls If the top red light illuminates reduce the effect The Gain knob controls the detection level of the controller signal and should be set so that only the transients you want to shape are detected If this is set too low then the Shaper will do nothing if it is set too high then the Shaper will detect too many transients resulting in an exaggerated process and the attack appearing too long The default setting of OdB should be a good starting point Note that the Gain setting here does not directly affect the output signal s gain Amount controls the amount of the processed signal added to the unprocessed signal This process can increase the peak level of a signal significantly so watch the output meter carefully Speed controls the length of time the added attack takes to fall back down to the normal signal level once it has reached the top of the attack phase Turn the knob clockwise for a slower speed and longer transients The Inv button inverts the processed signal so that it is subtracted from the unprocessed signal This has the effect of softening the attack resulting in more body in the drum sound Press the Audition button to listen to the processed signal to assist in the setup process Note that when the Inv and Audition buttons are both pressed the signal is not inverted Chapter 3 The Quantum Leap Stormdrum 3 User Interface 2b QUANTUM LEAP STORMDRUM 3 VIRTUAL INSTRUMENT EastWest Convoluti
37. arty providing such content License Agreement License 1 EASTWEST END USER LICENSE AGREEMENT 2 Permitted License Uses and Restrictions You are granted a limited non exclusive license to use the EASTWEST SOFTARE as follows subject to all other terms and condi tions of this License A You may install and use one copy of the EASTWEST SOFTWARE on one computer You will be required to purchase authorize and use a Pace iLok security key not included or other security protection EASTWEST includes to access the EASTWEST SOFTWARE You may not make the EASTWEST SOFTWARE available over a network where it could be used by multiple computers or users at the same time You may make one copy of the EASTWEST SOFTWARE in machine readable form for backup purposes only provided that the backup copy must include all copyright or other proprietary notices contained on the original B You may use the EASTWEST SOFTWARE to create your own original music composi tions or soundtracks for your film video music and audio projects and you may broad cast and or distribute your own original music compositions or soundtracks that were created using EASTWEST SOFTWARE C You may not use the EASTWEST SOFTWARE to create sounds or other content for any kind of synthesizer virtual instrument sample library sample based product musical instrument or competitive product You may not license sell or distribute commer cially or otherwise either the EASTWEST
38. ary expedition into the soul and spirit of music disguised as the rock and roll band the Grateful Dead As half of the percussion tandem known as the Rhythm Devils Mickey and Bill Kreutzmann transcended the conventions of rock drumming Their extended poly rhythmic excursions were highlights of Grateful Dead shows introducing the band s audience to an ever growing arsenal of percussion instruments from around the world Exposure to these exotic sounds fueled Mickey s desire to learn about the various cul tures that produced them His tireless study of the world s music led Mickey to many great teachers and collabora tors including his partners in Planet Drum Zakir Hussain Babatunde Olatunji and Airto Moreira Planet Drum s self titled album not only hit 1 on the Billboard World Music Chart remaining there for 26 weeks it also received the Grammy for Best World Music Album in 1991 the first Grammy ever awarded in this category Hart took home the Grammy for Best Contemporary World Music Album in 2007 for the Global Drum Project with Zakir Hussain Sikiru Adepoju and Giovanni Hidalgo He released his latest criti cally acclaimed album Mysterium Tremendum in 2012 QUANTUM LEAP STORMDRUM 3 VIRTUAL INSTRUMENT Credits Producer Nick Phoenix Executive Producer Doug Rogers Project Coordination Doug Rogers Rhys Moody and Nick Phoenix Engineers Nick Phoenix Ken Sluiter Jeremy Miller Percussionists Mickey Hart Nick P
39. as Jeremy Miller The 5 Microphone Positions Quantum Leap Stormdrum 3 was recorded in EastWest Studio 1 which is equipped with the most up to date technology for creating digital recordings That equipment includes a wide variety of microphones that were set up to capture simultaneously the sound of each instrument from several different vantages and to do so consistently for all instru ments in the collection Here are descriptions of the 5 microphone positions from the recording sessions Close A set of 8 microphones Neumanns and Sennheisers in an array in order to cap ture a complete picture of each instrument including its natural attack and delay and with a dry sound The signal path includes the Gordon preamp the world s most trans parent and fastest Mid A mid tree of mics at roughly 15 feet 4 5 meters from the instruments HiFi A super clean modern high fidelity signal path for fast response and a clear room sound These mics were also positioned at 15 feet 4 5 meters from the instruments but in a slightly wider stance than the Mid mics Main A Decca tree of Neumann M50 mics positioned at 20 25 feet 6 7 5 meters from the instruments Vintage A vintage signal path using RCA ribbon mics positioned 25 feet 7 5 meters from the instruments In the PLAY interface you can combine these various mic positions to achieve whatever sonic mix you want Chapter 4 Instruments DI EASTWEST END USER LICENSE AG
40. atio This knob controls the degree of compression Choose among the ratios of 2 1 4 1 and 20 1 Comp In This button switches the compressor in and out of the signal path Use this button to do a quick comparison between the compressed and uncompressed signal to judge the effect of the current settings Chapter 3 The Quantum Leap Stormdrum 3 User Interface 2 QUANTUM LEAP STORMDRUM 3 VIRTUAL INSTRUMENT The Preset Control In the bottom left corner of the plug in drawer is a drop Treble Boost EHE greens down list labeled Preset Once you have set the values of the MIDI controls in a configuration you might want to use again you can click on the drop down list and select Save Preset Then provide a name for that preset Later on when you want to set all controls to the saved configuration select the named preset from the drop down list Control Codes in Stormdrum 3 This library uses special behavior for MIDI control codes compared to some other PLAY libraries The reason for this difference is that some users will want to select up to 16 Stormdrum 3 instruments to create a kind of ad hoc drum kit with a single PLAY instance and trigger all the notes within a single track in the sequencer This difference between global and instrument level control codes was first introduced in Stormdrum 2 Individual SD3 instruments within an instance of PLAY respond independently to CC11 and CC12 messages to affect the loudness a
41. ch diagram The lower straight DYNAMICS line is the standard audio path When the EQ and or Filter is EESEESMEES Nas in the upper path then that component is in the Side Chain MSSE a as described below The one of these 8 diagrams currently in effect appears in the upper right corner of the drawer The default order is Filter gt gt EQ gt gt Dynamics with nothing in the Side Chain as shown in the 5th diagram in the image To place the Filter section after the EQ section deactivate the Input button in the Filter section so that its light is off To place the Dynamics before the EQ press the Pre EQ button in the Dynamics section so that its light is on When the Input and Pre EQ switch are active simultaneously the processing order be comes Filter Dynamics EQ The Side Chain The Side Chain is a path for the audio signal that is used to control the Dynamics section when it acts on the main audio signal The Side Chain is not normally audible but can highlight aspects of the audible signal that need processing The EQ and Filter sections can be assigned to the Dynamics Side Chain allowing for advanced processes like de essing as described below This is done using the Dyn S C switches in the respective sections Both EQ and Filter sections can be assigned to the Side Chain together in which case the EQ precedes the Filter Here s an example of using the Side Chain to remove the hissing sound of the lett
42. er S when it s too prominent First the audio is split into 2 signals EQ is applied to the signal in the Side Chain to make the hisses louder so that the compressor can use the louder o sounds as a clue that the main signal needs to be compressed made softer at those moments more than at other moments In the main signal the S sounds are made softer Chapter 3 The Quantum Leap Stormdrum 3 User Interface 24 TRANSIENT leaving the decay and held note unchanged In an So GAIN e 3 T AMOUNT QUANTUM LEAP STORMDRUM 3 VIRTUAL INSTRUMENT To listen to the signal feeding the Side Chain press the S C Listen button in the Output section to route the Side Chain signal to the channel output Itis important to remember to cancel the S C Listen button once you have finished auditioning the Side Chain SSL s Transient Shaper Plug in both Instrument and Mic Plug in The Transient Shaper allows you to augment the attack at the start of a drum hit or any note by increasing the amplitude of the attack portion of the signal while the image at the right the right hand waveform Is a processed version of the one on the left It has been passed through the Transient Shaper where the amplitude of the attack portion has been in creased owitch the Shaper on by clicking on the Power button in its top left hand corner The lights at the right give visual feedback on how much attack is being added using the Gain
43. ers The EASTWEST SOFTWARE and related documentation are Commercial Items as that term is defined at 48 C F R 2 101 consisting of Com mercial Computer Software and Commercial Computer Software Documentation as such terms are used in 48 C F R 12 212 or 48 C F R 227 7 202 as applicable Consistent with 48 C F R 12 212 or 48 C F R 227 7202 1 through 227 7202 4 as applicable the Commercial Computer Software and Commercial Computer Software Documentation are being 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
44. es are described in the PLAY System manual The 6 controls described here are e Round Robin Reset e Stereo Spread e Filter e Reverb e Sensitivity e the graphical representation of the Envelope Round Robin Reset Button ROUND ROBIN RESET I O A round robin articulation is one in which several different samples are recorded with all parameters such as volume speed of attack and so on being essentially constant The PLAY Engine then knows to alternate between the two or more samples during playback The goal is to avoid what s often called the machine gun effect in which playing the same sampled note repeatedly causes the unnatural sound of consecutive notes being mechanically identical 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 the PLAY Engine plays AB AB AB A If the piece Is played again from the beginning the engine will play starting with B because that s next in order The second rendition will be subtly different Being able to reset all round robin articulations to the beginning of the cycle allows for consistent playback You can use this button to reset all round robin instruments on demand Or use your choice of a MIDI note or MIDI control code to reset them o
45. formances that were recorded in EastWest Studio 1 They can be combined with each other into percussion tracks can be merged with your own percussion playback or can be played as loops under any other instruments you want to add See a complete listing of the loops later in this chapter starting on page 48 Percussionist Greg Ellis sitting among an extensive assortment of copper bowls Chapter 4 Instruments 41 QUANTUM LEAP STORMDRUM 3 VIRTUAL INSTRUMENT Bamboo Jingle Cl 28 2 CI AI Long jingles B1 F2 Short jingles G2 A3 E4 G4 B4 Short Perf B3 D4 F4 Long Perf Deerhoof Rattle RR Cl 2 Cl Rattle with dynamic layers D1 Short rattle with dynamic layers El Louder rattle with dynamic layers C2 F2 Perf Ganza RR Gl 23 2 CI EI Shake front to back F1 G1 Shake front Al B1 Shake back C2 Yo shake short D2 Yo shake long E2 D4 Shake front MC Escher Rattle Cl 43 1 Cl C Various rattle sounds Rain Stick Cl 25 1 Cl F4 Perf of various lengths seed Pods Cl 5 4 Cl Seed pod 1 D1 Seed pod 2 EI F1 Seed pod 3 up and down Gl Scrapes Shakers Remo and Custom Cl 92 4 CI Bl Hits C2 F2 Small hits G2 E3 Rolls F3 F5 Perf Sioux Rattle Cl 4 Cl Long rattle D1 Short rattle EI B1 Perf Small Gourd 1 C1 15 4 CIl El Hits F1 F2 Rhythmic perf G2 C3 FX perf Small Gourd 2 C1 21 4 Cl Gl Hits Al G2 Rhythmic perf A2 B3 FX rolls pert Snake Rattles Cl 38 C1 D1
46. he tempo of those performances is controlled by the host s tempo setting or when running in standalone mode by the Engine Tempo Sync setting in the Advanced Chapter 3 The Quantum Leap Stormdrum 3 User Interface 16 QUANTUM LEAP STORMDRUM 3 VIRTUAL INSTRUMENT Instrument Properties from the Main Menu In the Live Loops folder this Tune A op tion only changes the pitch e With Button B the playback speed remains unchanged even as the output Is re tuned And that s consistent across all folders In other words in most folders the A and B approaches are very different But in the Live Loops folder the basic effect will be about the same either way though the timbre of the instrument may sound a little different depending on whether you select A or B There s also a switch to choose between two modes Normal and High Quality labeled N and H respectively Normal Quality is the default and you should only consider chang ing to the High Quality setting if you re running PLAY on a more capable computer with enough processing power to handle the extra computations required to achieve this extra level of quality Note that this selection of Quality applies to the B Tuning option for all instruments and to the A Tuning option only for loops such as those in the Mickey hart Live Loops folder because loops always use time stretching Sensitivity This control defines a mapping between the velocity of the MIDI notes and the velocity
47. hoenix Chalo Eduardo Greg Ellis Editing and Programming Justin Harris Nick Phoenix Mike DiMattia Andrzej Warzocha Jason Coffman Pierre Martin Arne Schulze Art Direction Steven Gilmore Thomas Merkle Doug Rogers Nick Phoenix Rhys Moody Software Klaus Lebk cher Klaus Voltmer Bartlomiej Bazior Adam Higerd Truc Phan Stefan Holek Doug Rogers Nick Phoenix Rhys Moody Elon Arbiture Helen Evans Manual John Philpit Special Thanks Remo Chapter 1 Welcome QUANTUM LEAP STORMDRUM 3 VIRTUAL INSTRUMENT How to Use This and the Other Manuals All documentation for the EastWest PLAY Advanced Sample System and its libraries Is provided as a collection of Adobe Acrobat files also called PDFs They can be viewed on the computer screen or printed to paper Each time you install one of the PLAY System libraries two manuals are copied to the file system on your computer e he manual that describes the whole PLAY System The largest of the manuals it addresses how to install and use all aspects of the software that are common to all libraries e he library specific manual such as the one you are currently reading This smaller document describes aspects that differ from one library to the next such as the list of included instruments and articulations Using the Adobe Acrobat Features By opening the Bookmarks pane along the left edge of the Adobe Acrobat Reader the user can jump directly to a topic from the
48. icense 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 materials License Agreement License 3 EASTWEST END USER LICENSE AGREEMENT and workmanship under normal use for a period of ninety 90 days from the date of the original purchase Your exclusive remedy under this Section shall be at EASTWEST s option a refund of the purchase price of the product containing the EASTWEST SOFT WARE or replacement of the EASTWEST SOFTWARE that is returned to EASTWEST or an EASTWEST authorized representative with a copy of the original receipt THIS LIMITED WARRANTY AND ANY IMPLIED WARRANTIES ON THE MEDIA INCLUDING BUT NOT LIMITED TO THE IMPLIED WARRANTIES OF MERCHANTABILITY OF SATISFACTORY QUALITY AND OF FITNESS FOR A PARTICULAR PURPOSE ARE LIMITED IN DURA TION TO NINETY 90 DAYS FROM THE DATE OF ORIGINAL PURCHASE SOME JU RISDICTIONS DO NOT ALLOW LIMITATIONS ON HOW LONG AN IMPLIED WARRANTY LASTS SO THE ABOVE LIMITATION MAY NOT APPLY TO YOU THE LIMITED WARRAN TY SET FORTH HEREIN IS THE ONLY WARRANTY MADE TO YOU AND IS PROV
49. ilable space on the hard drive required for a full installation of Quantum Leap Stormdrum 3 is approximately 87 GB Gigabytes Chapter 2 Quantum Leap Stormdrum 3 An Overview 12 QUANTUM LEAP STORMDRUM 3 VIRTUAL INSTRUMENT 3 The Quantum Leap Stormdrum 3 User Interface 15 Round Robin Reset Button 15 Stereo Spread 16 Filter Controls 16 Reverb Controls 16 Time Stretch Tuning 17 Sensitivity 17 The Graphical Representation of the Envelope 18 The Browser View 18 The Mixer View 19 FX Plug ins in the Mixer View 28 MIDI Control Codes in Stormdrum 3 29 The 6 Pole Filter Click on this text to open the Master Navigation Document LS QUANTUM LEAP STORMDRUM 3 VIRTUAL INSTRUMENT The Quantum Leap Stormdrum 3 User Interface Overview of the User Interface Each library presents its own interface when one of its instruments is the current one as specified in the Instruments drop down in the upper right corner The image below provides an overview of the entire window when in Player View L j j GI Nepalese Madal Omni 0 DELAY on gS ERED D aa REVERB TUNING TUNE A r _ 5 ATTACK HOLD DECAY SUSTAIN RELEASE IET Omni 0 64 1 ILE UANTUM LEA PUNTA TAT TIT Chapter 3 The Quantum Leap Stormdrum 3 User Interface 14 QUANTUM LEAP STORMDRUM 3 VIRTUAL INSTRUMENT Much of this interface is shared by all PLAY System libraries and the common featur
50. lam shell B1 Short roll C1 Fl Open G1 C2 Shell D2 B2 Shell mute C3 A3 High open B3 A4 High shell B4 F5 High mute G5 F6 Bend G6 C7 Hit with bend 45 QUANTUM LEAP STORMDRUM 3 VIRTUAL INSTRUMENT TAIKO FAMILY 14in and 16in Shime Daiko Japan 20in Okedo 26in Okedo Daiko 36in Nagado Head A 36in Nagado Head B Adin Hira Daiko Abin 800 Ib Nagado Daiko 48in Hira Daiko 60in Hira Daiko continued Chapter 4 Instruments Cl Cl Cl Cl Cl Cl Cl Cl Cl 22 13 16 Zi 2 36 36 J3 33 8 C1 F1 Low center Center double Rim Rim double G1 A Low rim flam B1 C2 Low buzz rolls D2 6G2 High center Center double Rim Rim double A2 B2 High rim flam C3 D3 High buzz rolls E3 A3 Ensemble low hits Low rim High hits High rim B3 B4 Velocity sensitive rolls 5 D5 Rolls E5 F5 Perf C1 E1 Hits LH RH Flam F1 A2 Various rolls including short long and crescendo C1 D2 Hit LH RH Flam Roll shot Rim LH RH Rim flam Rim flam double Rim short roll E2 D3 Crescendo rolls C1 B1 Ensemble hit Flam Hit Buzz roll Ensemble rim Rim Roll C2 F2 Rolls G2 D3 Crescendo rolls E3 M Ensemble scrapes C1 A Ensemble hit Flam Hit Buzz roll Ensemble rim Stick rim BI A2 Crescendo rolls B2 B3 Ensemble scrapes C1 F2 Center LH RH Flam Off center LH RH Off center fl
51. lap rep Slap flam Mallet rim LH RH D3 G3 Machine gun roll p mp mf f C4 C 5 Perf FX D 5 C8 Perf FX 110 bpm only Perfs use mix of black and white keys C1 C2 Bass LH RH Rep Open LH RH Rep Mallet LH RH F2 F6 Perf 110 bpm C1 F3 deep thunderous resonant hits C1 D1 Gong 1 Gong 2 E1 B1 Gong stick head C2 F2 Light mallet Small mallet Medium mallet LH RH G2 B2 Stick C3 A3 Repetitions 1 Repeti tions 2 Center Off center Edge Repetitions B3 E4 Perf Combines sounds of 16in 20in and 22in Surdos C1 G1 22in Open 22in Hand mute 1 22in Hand mute 2 Rim 1 Rim 2 C2 E2 20in Open 20in Hand mute 20in Rim C3 F3 16in Open 16in Mute 16in Muting 16in Rim C1 Al Open Jungle Thumb center Slap center Jungle slap Rim edge B1 A2 Rolls GONGS CLOCKS WATERPHONE 10in Woohan Gong 2lin Woohan Gong 22in Woohan Bowed Cymbal 24in Turkish Epic Cymbals 30in Burmese Nipple Gong 35 in Woohan Gong continued Chapter 4 Instruments Cl Cl Cl Cl Cl Cl 10 26 22 28 16 l C1 E3 various sounds from a small gong C1 G4 various sounds from a medium size gong C1 C4 various sounds created by using a bow on a large cymbal medium size gong C1 B4 various crash sounds with the cymbal pair open half closed or closed Gong hit with mallet CI EI include dynamic layers making them very velocity sensitive n
52. lock short E4 Temple block pert C1 F1 Hits C1 A 1 Soft hits B1 G4 Medium hits G 4 F5 Loud hits 4 QUANTUM LEAP STORMDRUM 3 VIRTUAL INSTRUMENT Redwood Tree Perf FX DL 39 1 CI D4 Perf and FX stomping Tubes GI 12 1 CI G2 Hits Stomping Tubes _pitched Gl 13 GI G2 Hits tuned to a 1 octave chromatic scale l Thailand Frogs Cl R C1 F4 Low pitched scrapes of wooden frogs G4 C7 High pitched scrapes Tongue Drum Cl 26 2 C1 Al Hits C2 A2 Mutes C3 B4 Perf Wood Slit Gong and Cowbell C1 35 3 CI F1 Slit gong Long low Long high Short low short high GI Al Slit gong perf C2 B2 Wooden cowbell hits C3 C6 Wooden cowbell perf Yambu b 13 4 Cl 6Gl Bass right Edge right Flam Slap left Slap right C2 C3 Rolls The Mickey Hart Live Loops Folder The ewi files in this folder are different from the individual instrument files found in other folders Here you ll find recorded snippets of multi instrument jam sessions held in EastWest Studio 1 Each of the playable notes within a file is a different portion of the session divided up so that they can be pieced together into whatever order fits the needs of your work All the snippets within a named file are recorded at the same tempo allowing you to keep a consistent tempo as you piece them together Note that you ll need to ensure that the beats from one snippet move in synch into the beats of the next one And y
53. nd cymbals collected by Mickey on his world travels Some are well known like the Brazilian berimbau which is played on a metal wire others are unusual such as hammered copper pots and handmade doorstop drums Chapter 4 Instruments 31 QUANTUM LEAP STORMDRUM 3 VIRTUAL INSTRUMENT Chalo Eduardo plays the berimbau from Brazil one of the instruments in the Metals folder Shakers The instruments in this group include several made from naturally occurring ob jects such as snake rattles seed pods and deer hoofs in addition to the more common ganza modern shakers and Mickeys mighty rainsticks Playability here is key Small Drums Here you ll find a very large collection of smaller drums Some have names you re probably familiar with such as bongos frame drums and tambourines But there are so many others that will surprise and delight you Many of the Indian drums in this category are particularly special such as the tuned tablas and madal Performance tech niques are stellar Taiko Family This collection includes taiko drums ranging from huge to small Many of the sampled instruments came from the collections of Mickey Hart and Remo to create a wide variety of sounds Others came from the top taiko builders in Japan They are played both individually and in ensembles This is the holy grail of taiko samples Finally Woods In this group you ll hear unpitched sounds from wooden resonators tuned chro matic instruments such a
54. nd the pan position respectively This is in contrast to CC7 and CC10 which affect the loudness and pan of all notes in the track Instrument level Panning Control Let s say you load 3 instruments into one instance of PLAY inside a sequencer or other DAW a Gourd Drum an Agogo and a Log Drum and assign them to MIDI channels 1 2 and 3 within PLAY Assign the gourd drum notes to channel 1 the agogo notes to channel 2 and the log drum notes to channel 3 Check your sequencer s documentation if not sure how to do that Continuing that example say you want to simulate the agogo player walking back and forth across the stage Set up an envelope on the track or physical slider knob if per forming live into the sequencer and assign it to MIDI channel 2 the agogo and control code 12 individual pan position As the value of that control code changes it affects the pan position of the agogo without affecting the 2 drums in the same track If you had used the standard control code for panning CC1O all three drums would have moved together Instrument level Volume Control It is likewise possible to control the dynamics of one SD3 instrument at a time when 2 or more share a single instance of multi timbral PLAY within the sequencer Using the same example as above if you want the log drum to get louder without affecting the gourd drum or the agogo create an envelope or slider knob and assign it to MIDI channel 3 log drum and cont
55. ne instrument at a time from a MIDI keyboard or the data stored in a sequencer project See the description of the settings dialog for more information about this instrument specific approach Stereo Spread The knob in this set of controls affects the apparent width of the sound of the instrument within the soundscape Turning the knob all the way to the left makes the sound seem to come from a specific location as indicated by the Pan control The more this knob is ST SPREAD 9 gt turned to the right the wider the apparent source of the sound making on it harder to pinpoint in the stereo field The Left and Right L and R buttons specify the source of the audio input for this control the left or right channel Note that you can click either button to change the input to the one currently off The button titled On must be illuminated for the controls to have any effect Chapter 3 The Quantum Leap Stormdrum 3 User Interface 15 QUANTUM LEAP STORMDRUM 3 VIRTUAL INSTRUMENT Filter Controls The Filter controls take the sound of the instrument and modify it by filtering out some of the sound above a certain frequency This type of effect is commonly called a Low Pass Filter The Frequency knob determines where the sound starts to be filtered out In the image at the right the frequency is set to 2 kilohertz The Resonance knob specifies how much the filter rings at the dialed frequency The higher the resonance
56. of the notes that sound Being able to control the sensitivity is primarily useful when playing live for example on a keyboard or drum pad For example suppose you want to play notes at the high end of the velocity range maybe 80 to 120 out of 127 for some instrument but find it difficult to play the keyboard in a way that lets you consistently play the sounds you want Drag up with the mouse over the Sensitivity graph so the graph looks like the picture at the left A medium touch on the keyboard sounds louder than it would otherwise and a wider range of touches will all generate sounds in the louder range you want Conversely drag the graph downward to gain more control over the lower half of the velocity range The Graphical Representation of the Envelope The Envelope Controls are described in the main PLAY Sys tem manual because they are common to all PLAY System libraries Only some libraries include the graph as shown here so it is included in the manuals for those libraries only Note that the total width of the graph represents the total length of all phases of the envelope Therefore when you change something in one part of the graph for example the decay you may see the slopes of other components the Chapter 3 The Quantum Leap Stormdrum 3 User Interface 17 QUANTUM LEAP STORMDRUM 3 VIRTUAL INSTRUMENT attack and the release change as well because those phases become a larger or smaller percent of the whole
57. on Reverb Instrument Plug in only This Convolution Reverb is an extension of the one in the Player view It adds some fea tures that are not part of the Player page Reverb e the ability to load true stereo reverbs e a high pass and low pass filter set with 2 handles on the graph for modifying the filters visually e a mono button e additional reverb environments that are not available on the Player page Reverb To include a reverb effect on an instrument turn it on by clicking on the button in the upper left corner Or you can also turn it on from the Re verb controls on the Player page When the but ton is illuminated the plug in is turned on To add reverb on a specific mic channel turn up the Reverb Send at the top of that mic s channel strip That mic s signal is then directed into the reverb in the instrument channel Turn on the Filter for the Convolution Reverb by clicking on the Filter button so that it is illuminated Then use the two circular handles on the graph to control the frequencies affected by the filter Drag the handles with the mouse or with a stylus or finger when a touch screen provides that capability The Pre Delay knob controls the amount of time If any that the Reverb effect is delayed after the attack of each note Postponing the start of the ef fect allows the attack to sound without processing and to have the reverb affect only the sound of the note as it is held and or decays Use your
58. ong rolls E3 Perf C1 B1 Open LH RH Flam Rim LH RH Edge flam C2 E2 Snaps F2 62 Double snaps A2 A3 Perf C1 D1 Open Double E1 F1 Low mute G1 A1 Low slap B1 Slap C2 Flam slap D2 A2 Rolls B2 G6 Perf C1 C2 Various booming hits C1 B1 Low center Low flam Low flam wide 1 Low flam wide 2 Rim Low center roll High center roll C3 C4 High center High rim High multi hit High multi hit double High multi hit flam High rim flam High rim double High edge double High edge roll C1 F2 Bass rep Bass Bass and slide Bass flam Open off center LH RH Open rep Rim LH RH Open rep slap Open Flam G2 F3 Slap off center LH RH slap flam Slap mute LH RH Mute off center LH RH G3 Machine gun roll A324 Rim roll D4 65 Scrapes C1 F1 Edge tone with RR GI E2 Edge tone with no RR F2 B2 Rolls C3 E3 Perf C1 A2 Center Fist Bass LH Bass RH Base flam Mallet open Slap LH Open LH RH Slap RH Mallet rim LH RH Slap flam Open flam C3 E6 Perf 36 QUANTUM LEAP STORMDRUM 3 VIRTUAL INSTRUMENT BIG DRUMS Remo NSL Tubano 12in Reno NSL Tubano LaDombe 12in Remo Rose Bowl 10ft Drum 10ft Drum 20HZ Remo Table Drums Surdos Tambourine 16in Dbl Cl Cl Cl Cl Cl Cl 48 38 24 12 IS 4 C1 F2 Bass center Bass rep Mallet LH RH Bass flam Open center LH RH Off center LH RH Rep Flam G2 C3 S
59. otes F1 D3 vary from soft to loud and each note is not as velocity sensitive C1 D1 include dynamic layers making them very velocity sensitive notes EI E2 vary from soft to loud and each note is not as velocity sensitive 37 QUANTUM LEAP STORMDRUM 3 VIRTUAL INSTRUMENT GONGS CLOCKS WATERPHONE 36in Thai Gong Hits Cl 36in Thai Gong Rolls amp perf FX C1 8in Mongolian Gong Clockwork 1 mix Clockwork 2 mix Clockwork 3 mix Waterphone 1 Waterphone 2 Waterphone 3 Waterphone Percussion Cl Cl Cl Cl Cl Cl Cl Cl 4 599 40 43 Z3 61 67 129 46 e m m C1 E1 include dynamic layers making them very velocity sensitive F1 A6 provide many differ ent pitches and dynamics and each note is not as velocity sensitive C1 F5 various rolls and performances C1 hit velocity sensitive D1 C2 each note is a hit of a different loudness D1 softest and C2 loudest C1 C3 Tick sounds D3 F4 Clockwork sounds G4 A4 Ring sounds B4 G6 Various other tick ring and clockwork sounds C1 El Tick sounds F1 A1 Clockwork sounds B1 C7 Various other tick ring and clockwork sounds C1 D1 Tick sounds El Clockwork sound F1 B1 Tick sounds C2 G2 Clockwork sounds A2 B2 Tick sounds C3 Cuckoo sound D3 D4 Tick sounds C1 C 3 Various waterphone sounds D3 C6 Perf C1 F 3 Various waterphone sounds G3 F 6
60. otes form a chromatic scale the back keys may be used An asterisk before the number of notes in a patch for example 34 means that black keys are playable The fourth column in the tables specifies the number of Round Robin samples recorded for each note But be aware that this number usually applies only to the individual ar ticulations and not to the effects FX or the performances Note that 1 means there are no Round Robin notes In the right most column individual notes and ranges of notes within an instrument are named when there are distinct differences based on technique and or the part of the instrument being played No attempt is made to describe or differentiate between note sounds qualitatively use your ear to determine which sound is most appropriate for your piece When you are not reading from the tables note that as a general principle as the notes go from low to high the sounds range from inside to outside of the instrument with any special effects and then performances at the upper end of the playable notes When a range of notes lists multiple articulations each articulation is assigned to a single note for example C1 E1 Clack Low High When a range of notes names a single articulation every note in that range plays some variant of that articulation for example C2 F2 Center roll When two articulations in a list have a complete description followed by something less complete assume they share all
61. ou might find that it s sometimes effective to move from one snippet to another before the first snippet ends giving you even more possible variations on the output One or more of the MIDI notes may play a snippet designed as the end of a sequence coming to a full stop The loops are tempo synced based on how you re running PLAY When run as a plug in inside a sequencer the loops sync to the tempo you set in the DAW When PLAY is run in standalone mode the loops sync to the tempo you set in the Advanced Properties settings for each instrument The loops were recorded at a specific tempo and you ll get the best results if you stick close to the number specified in the file name The more time expansion or compression you ask PLAY to do the more likely it is that the sound quality will degrade None of these patches uses Round Robin technology so you can count on consistent playback each time a snippet is heard The following table lists the names of the 23 files along with the tempo of each and the number of notes to which snippets have been assigned All files use C1 MIDI note 60 2 octaves below Middle C as the lowest playable note Chapter 4 Instruments 48 QUANTUM LEAP STORMDRUM 3 VIRTUAL INSTRUMENT MICKEY HART LIVE LOOPS 6 Minutes in Tibet 100 bpm 30 Acapulco 115 bpm 42 Acapulco Again 115 bpm 20 Beast Feast 150 bpm 30 Cave Racer 120 bpm 32 Crow Flies North 120 bpm 30 Drunken Spoons 95 bpm 10 Fantasy Bird 120 bpm 42 Guru
62. ple drums on loan from the Remo company hand picked by drum pioneer Remo himself Nick Phoenix Mickey Hart and Remo in the control room at EastWest Studios Chapter 2 Quantum Leap Stormdrum 3 An Overview 9 QUANTUM LEAP STORMDRUM 3 VIRTUAL INSTRUMENT The SD3 library is not exclusively about unusual instrumentation It features some of the most naturally played and realistically recorded standard percussion available This includes such instruments as bongos tabla doumbek cajon and djembe One of the favorite instrument groups in SD2 has been the taiko drums This new library features a wholly new assortment of these sometimes huge Japanese marvels the most comprehensive authentic and awe inspiring group of taiko drums ever sampled v E at 2 ETS Remo Chalo Eduardo and Mickey Hart set up one of the larger Remo drums The SD3 virtual instrument includes not only individual sampled instruments but also tempo synced percussion performances directed and played by Mickey Hart along with Chalo Eduardo and Nick Phoenix They are multi instrument looped snippets from 23 different jams As an example one of these jam sessions called Sambastique has been carved into 40 unique snippets at a consistent tempo that can be arranged in any order you want Read more about these performance loops in the section called The Mickey Hart Live Loops Folder starting on page 48 Statement from the Producer
63. r C3 6G4 6 pairs of stick hits mutes 1 note per pair e g Cl and D1 are a hit mute pair on the same note DU QUANTUM LEAP STORMDRUM 3 VIRTUAL INSTRUMENT METALS Englehart Bells Tuned Englehart Bells Tuned Stick Finger Cymbals 1 Finger Cymbals 2 Ghanaian Bells Gongs in Water Ice Bells Japanese Bells Metal Slit Gong Mongolian Chimes 1 Mongolian Chimes 1 Perf Mongolian Chimes 2 Mongolian Chimes Various Pert Mongolian Chimes Chromatic Nepalese Tinshaw Ratchet Small Indonesian Ratchet Spring Drum continued Chapter 4 Instruments F2 F2 Cl Cl Cl Cl Cl Cl Cl Cl Cl Cl Cl C3 Cl Cl Cl Cl M was 17 12 16 of 39 i 15 Zs 28 29 36 29 2 34 26 4 4 RO Fe Re fe F2 F4 pitch corrected mallet hits to create chromatic 2 octave scale F2 F4 pitch corrected stick hits to create chromatic 2 octave scale C1 A1 Closed 1 Open 1 Scrape 1 Closed 2 Open 2 scrape 2 BI E3 Clusters C1 E1 Medium long ding C2 D2 Mute short ding C3 D3 D 3 F3 G3 G 3 A 3 Perf C1 F1 Big low bell GI C2 Big high bell D2 G2 Small low bell A3 D4 Small high bell C1 D6 Various gong sounds C1 G2 Hits A2 B5 Perf C1 B1 Various bell hits C1 E1 G1 B1 Hits D1 F1 Al C2 Mute for corresponding note just below D2 C3 Perf C1 E2 Various high chime hits C3 A4 more high chime hits
64. r the sessions Mickey told me was a maniac and that he knows one when he sees one m proud of that Nick Phoenix Jamming in EastWest Studio 1 Nick Mickey Chalo lots of percussion and lots of mics Chapter 2 Quantum Leap Stormdrum 3 An Overview 11 QUANTUM LEAP STORMDRUM 3 VIRTUAL INSTRUMENT What s Included This Quantum Leap Stormdrum 3 library you purchased includes all of the following e a complete set of sample based instruments enumerated later in this manual e approximately 8 Gigabytes of 24 bit 44 1 kHz samples e the EastWest PLAY Advanced Sample Engine e the unique authorization code that identifies the license you bought e manuals in Adobe Acrobat format for both the EastWest PLAY System and the Quan tum Leap Stormdrum 3 Virtual Instrument e an installation program to set up the library software and documentation on your computer e an Authorization Wizard for registering your license in an online database One required item not usually included is an iLok security key If you already have one from an earlier purchase of software you can use it Otherwise you need to acquire one They are available from many retailers that sell EastWest and Quantum Leap products or you can buy one online at www soundsonline com Hardware Requirements See the PLAY System manual for a complete list of the Hardware and Software Require ments for installing and running any PLAY System library In addition the ava
65. rint out the pages containing these tables as a reference The chapter also contains a table of abbreviations used in instrument names The Stormdrum 3 Collections The PLAY System browser lists seven collections of instruments from which an individual instrument file ewi can be selected as described briefly below Note that two other folders do not contain more instruments Instead one of them A Quickstart Folder lists some of the producer s favorite instruments for providing a quick overview when you first get started with SD3 The second of these folders Mickey Hart Live Loops contains short multi instrument performance loops cut from recorded jam sessions You can re combine these snippets into your own percussion tracks These loops are described in more detail starting on page 48 Big Drums These are the larger drums that do not fall in the Taiko family Many of them include large deep and booming sounds but others are more complex in nature There are some real gems in here from Mickey s magical warehouse of one of a kind hand drums Highlights in the epic genre here are The Beast Double Headed Tree Drum Lord Of Toms Ensemble and Dragon Ensemble Gongs Clocks Waterphones These instruments provide the iconic sounds of several gongs and waterphones some played underwater The Clockworks patches are the result of Nick s field recordings in six antique clock shops Metals This group includes bells deep bowls chimes a
66. rol code 11 Expression As the value of this control code changes the volume of only the log drums changes not the gourd drum or the agogo You can use CC to change the dynamics of all three together Chapter 3 The Quantum Leap Stormdrum 3 User Interface 28 QUANTUM LEAP STORMDRUM 3 VIRTUAL INSTRUMENT Cross Fading of SD3 Drum Rolls Some but not all SD3 drum rolls have pairs of recordings that differ mostly in their loudness and can work together in an effective dynamic cross fade The MIDI control code 2 CC2 implements this dynamic cross fade DXF Increase the value of CC2 to make the drum roll louder even in the middle of a roll Here is a list of the instruments that respond to CC2 e Balaphone KS CO DO e Balaphone Roll DXF e 14in and 16in Shime Daiko Japan e 20in Okedo e 36in Nagado Head A e 46in 800 Ib Nagado Daiko e 48in Hira Darko e 60in Hira Daiko Note that in other PLAY libraries it is the Mod Wheel CC1 that gives you access to dy namic cross fades But in SD3 the Mod Wheel is assigned to the Filter sweep capability See a discussion of that feature in the next paragraph Also note that CC2 is usually intended to implement a breath controller SD3 is replac ing that with this implementation of the drum roll cross fades The 6 Pole Filter In Stormdrum 3 the Mod Wheel MIDI Control Code 1 engages a 6 pole low pass filter in order to allow the reduction of the upper frequencies during playback of
67. s and may NOT be used for any revenue generating activity that includes the use of the EASIWEST 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 attending and or working at an educational institutional facility i e col lege campus public or private K 12 schools EASTWEST SOFTWARE provided for this purpose may NOT be used for any revenue generating activity that includes the use of the EASTWEST SOFTWARE without the written consent of EASTWEST 4 Consent to Use of Data You agree that EASTWEST and its subsidiaries may collect and use technical and related information including but not limited to technical infor mation about your computer system and application software and peripherals that Is gathered periodically to facilitate the provision of software updates security product support and other services to you if any related to the EASTWEST SOFTWARE and to verify compliance with the terms of this License EASTWEST may use this information as long as it is in a form that does not personally identify you to improve our products or to provide services or technologies to you 5 Termination This L
68. s a gourd marimba and a balaphone the mighty gourd drum a playable redwood tree branch 12 feet long and wonderful scraped sounds such as the Thailand frogs Chapter 4 Instruments 32 QUANTUM LEAP STORMDRUM 3 VIRTUAL INSTRUMENT e Am A 07507 vert T ME oer Mg f Nick Phoenix sits next to a waterphone in the foreground as Mickey Hart plays a gourd marimba across the room Tables of the Instruments The tables of Quantum Leap Stormdrum 3 instruments are grouped into the 7 collections described above The columns in the tables include from left to right e the name of the file as you ll see it in the PLAY Browser e the lowest playable note e the number of playable notes e the number of Round Robin samples e some descriptive text about how articulations are assigned to notes Mickey Hart stretches near some of the instruments recorded in this library Chapter 4 Instruments 33 QUANTUM LEAP STORMDRUM 3 VIRTUAL INSTRUMENT Unless there is a reason not to do so C1 MIDI note 36 two octaves below middle C was usually selected as the lowest playable note in SD3 instruments And all note names in EastWest and Quantum Leap products use the same naming convention where Middle C MIDI note 60 is know as C3 Other vendors may use different conventions with Middle C known as C4 or C5 Generally only the white keys on the keyboard are used But when there are more than 52 playable notes in a single patch or the n
69. section names Note that some older versions of Acrobat Reader might not support all these features The latest Acrobat Reader can be downloaded and installed at no cost from the Adobe web site As an example of a hyperlink you can click on the last word of the previous sentence to be taken directly to the Adobe site When reading this and other manuals on the computer screen you can zoom in to see more detail in the images or zoom out to see more of the page at once If an included picture of the user interface or a diagram seems fuzzy or illegible then zoom in using one of several means provided in the Acrobat Reader software The Master Navigation Document Because the EastWest PLAY System is a collection of components each with its own User s Manual a Master Navigation Document MND is provided to allow users to jump quickly between these PDFs when being read on the computer screen This MND is a one page file with hyperlinks to the PLAY System documentation and to all the library manuals Hyperlinks to this Master Navigation Document are found on the title page of each chapter in each document From there you can open any other document in the collection For example if you re reading something in this documentation for the Quantum Leap Stormdrum 3 library and need to open the manual for the PLAY System as well go to any chapter title page and click on the link that says Click on this text to open the Master Navigation Document
70. sor Threshold Re lease and Ratio To activate the Compressor Limiter turn the Ratio knob so that its ratio Is no longer set at 1 1 To turn the compressor into a oo 1 limiter turn the knob fully to the right There is no gain makeup control because the T HOLD threshold knob controls both the level at which gain reduction is introduced and the gain make up thus keeping the output level steady regardless of the compression The Release knob controls how quickly the level returns to normal after the input level has dropped below the threshold measured in seconds The attack time is adjusted automatically to match the audio To choose a consistently fast attack time press the Fast Att button Turn on the PK button to switch from RMS to Peak signal detection In normal RMS mode the compressor reacts to the average signal level and has a soft knee characteris tic When switched to Peak mode it responds to peak signal level and introduces a hard knee characteristic resulting in more dramatic compression The level of compression being introduced is shown in the left hand of the two meters in the centre of the Dynamics section Ti Ed iD T HOLD RATIO Noise Gate Expander To activate the Noise Gate Expander turn the Range knob so that Its range Is no longer zero The green indicators in the right hand of the two meters in the centre of the Dynamics section show the amount of gain reduction being introduced By defaul
71. stent ratio between the strength of the main and reverb outputs At the very bottom Just above a horizontal scrollbar which is only visible when the channels strips together are wider than the width of the window Is a drop down list labeled Output This control allows you to select which of the 9 stereo pairs of audio buses should receive the output e For an instrument strip the default is Main L R the first pair and in many projects the only pair used Click on the control to open a list of other options e For a mic strip the Default setting directs the audio to the output for its instrument strip immediately to the left of the 5 mic strips Selecting any of the other pairs di rects the output to a different bus pair You would likely want to select anything other than Default only if you want to do mixing of the individual mic signals in a mixing board or mixing program external to PLAY FX Plug ins in the Mixer View Stormdrum 3 and PLAY 4 include a collection of FX processors licensed from Solid State Logic SSL plus a Reverb from EastWest They can be used to modify the audio output for either any specific instrument or any specific mic position for the instrument To open the plug in UI for an instrument first change to the Mixer view then click on the FX button in the channel strip for that instrument To open the plug in UI for a single mic position click on the FX button in that mic s strip The controls for the plug
72. t the Noise Gate Expander section functions as a Gate To switch to the Ex pander press the Exp switch The Threshold function uses different levels to open the gate to audio and to close it again the level at which the expander opens is higher than the level at which it closes again In other words when the expander is opened it stays open until the signal level crosses the quieter Close threshold This is known as hysteresis and is very useful as it allows instruments to decay more naturally The word Threshold normally refers to the Open threshold Chapter 3 The Quantum Leap Stormdrum 3 User Interface 23 QUANTUM LEAP STORMDRUM 3 VIRTUAL INSTRUMENT The Hold knob controls the delay before the signal level starts reducing again The Release knob controls how quickly the level then reduces Note that the Release knob interacts with the Range knob which determines the depth of gain reduction The Attack Time the time taken for the Expander Gate to recover once the signal level Is above the deactivate threshold is normally set to 1 5ms per 40dB Press the Fast Att button to introduce a faster attack time of 1OOys per 40dB This is useful when gating signals with a steep rising edge such as drums Processing Order The graphic at the right shows the 8 possible orderings for the 3 processing stages with and without a Side Chain The original audio signal starts at the left and the processed sig nal exits at the right of ea
73. the samples The effect is similar to that of the Frequency knob in the Filter control except that it can be modified in real time including while a note is still playing For example you can push the Mod Wheel all the way on then hold down a note to start playing it almost silently then pull the Mod Wheel downward to reveal the note starting with its lowest frequencies while the note is still held This example assumes that the recorded sound lasts long enough to be revealed this way In a sequencer the Mod Wheel can be controlled with an envelope assigned to MIDI CC1 in order to achieve the same effects as using the Mod Wheel on a keyboard or control surface Chapter 3 The Quantum Leap Stormdrum 3 User Interface 29 QUANTUM LEAP STORMDRUM 3 VIRTUAL INSTRUMENT 31 The Stormdrum 3 Collections 33 Tables of the Instruments 34 A Quickstart Folder 35 Big Drums 37 Gongs Clocks Waterphone 38 Metals 42 Shakers 43 Small Drums 46 Taiko Family 47 Woods 48 The Mickey Hart Live Loops Folder Click on this text to open the Master Navigation Document 30 QUANTUM LEAP STORMDRUM 3 VIRTUAL INSTRUMENT Instruments This chapter provides specific information about each of the many instruments in the Stormdrum 3 library First the seven collections are briefly described The main part of this chapter is the seven tables that list all the instruments and the articulations as signed to individual notes You might want to p
74. ute LH RH Flam Mute Off center mute LH RH G3 Finger roll rim A3 Machine gun roll B3 Mail scrape shot C4 C5 Scratches D5 66 Slides C1 F2 Thumb open Thumb note bend Flam Flam note bend Thumb Slap center Palm center Back and forth Finger 1 Finger 2 Finger edge G2 B2 Jungle down Jingle up Palm roll C3 D3 Jingle down E3 F3 Jingle up G3 C4 Finger roll C1 D2 Open Jingle open Edge Jingle rim Mute Center thumb Center slap Jingle thumb Jingle slap E2 E3 Roll jingle F3 F4 Roll open G4 D5 Roll fast E5 F6 Roll slap 66 C Roll slap short C1 C2 Bass hit Open off center LH Flam Open Slap LH Rim LH Slap flam Mute center LH Mute off center LH D2 E2 Finger roll rim F2 Rough roll C1 C2 Open Slap Off center Edge Rim loud Rim soft Buzz Buzz off center D2 G2 Hand roll 44 QUANTUM LEAP STORMDRUM 3 VIRTUAL INSTRUMENT SMALL DRUMS south Indian Kohl Tabla Guru Talking Drum Tambourine with Stick Tan Tan Tarang Tri Bongo Cuba Udu India Udu Large Ghana Udu Large Ghana RR Udu Pakistan Chapter 4 Instruments Cl Cl Cl Cl Cl Cl C0 Cl Cl Cl Cl 39 38 29 22 26 22 39 40 43 4 C1 C2 Bass Rim Double Double hands Open RH 1 RH 2 Slap RH Mute D2 D3 Roll E3 D4 Perf 120 bpm E4 Perf FX C7 F8 Mute finger releases C1 02 E Open E Mute E M
75. ute slap bend up E Rim E Rim double E Hit double B1 C1 E Mute slap D2 C3 A Open A Rim A Rim harmonic A Rim double A Center double A Center mute A Rim mute D3 D4 A Hand switch EA E5 C Open C Double C Rim C Rim harmonic C Rim double C Mute rim C Mute center C Mute center double F5 E6 C Hand switch C1 C2 Low hit Low slap mute Mid hit High hit High slap mute Drum shell Drum bend up Drum bend down D2 G2 Drum squeeze A2 Drum unsqueeze B2 D4 Rolls E4 F4 Perf FX C1 E1 Stick back Stick front Stick grace notes C1 D2 Open Bass side Mute center Slap Palm Back and Forth Finger Shell with thumb Shell with finger tip E2 C3 Perf short D3 C4 Perf long Progressively higher each of 4 octave groups C1 A1 Openl Open 2 Rim Flam Mute Roll C2 F2 Open Rim Mute Roll C3 G3 Open Rim Flam Mute Roll C4 G4 Open Rim Flam Mute Roll 5 A5 Perf C0 A0 Open RH 1 Open RH 2 Bass Side Mute both hands Flam fast Roll BI G1 Open 1 Open 2 Slap 1 Slap 2 Slap RH Roll Al Roll B1 Perf FX C2 03 Scrapes C1 Bl Open hit C2 B2 Shell hit C3 B3 Shell hit mute CA B4 Flam 65 B5 Pitch Bend C1 A1 Open B1 A2 Shell hit B2 A3 Shell mute B3 A4 Shell flam B4 F5 Bend 5 66 Bend short D6 G6 Short roll C1 Open D1 Bend El Bend Short F1 Shell G1 Mute shell Al F

Download Pdf Manuals

Related Search

Related Contents

Liste des formations CEGOS Developpement personnel  File - Incident Tracker  Bedienungs- anleitung 3 Operating instructions 5  CFW700 - Manual de Programação e Manutenção  PRIMERGY TX120 S3 - Fujitsu manual server  invertec 135s, 150s & 170s - Rapid Welding and Industrial Supplies  Samsung Galaxy Note modèle 2014 (10.1) Manuel de l'utilisateur(User Manual)    Fisherr FIELDVUE™ DVC6200デジタルバルブ コントローラ  user guide  

Copyright © All rights reserved. Failed to retrieve file