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Quantum Leap RA Virtual Instrument Manual - Soundsonline

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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 SOFTWARE or any portion or component parts of the EASTWEST
2. Kalimbas Origins The kalimba is a modern version of the African mbira In the 1920 s Hugh Tracey came from England to Rhodesia now Zimbabwe to help his older brother run a tobacco farm He became fascinated by the local music culture Through the encouragement of prominent composers such as Ralph Vaughan Williams and Gustav Holst he decided to make a study of African music and eventually create the International Library of African Music The mbira was one of his greatest interests and he created the kalimba based on the African mbira Introduced by Tracy in the early 1960 s kalimba was the registered trademark for his diatonic instrument that soon became popular around the world The word kalimba literally means little music It was well suited for Western music and made it easy for the performer to play harmony using both thumbs As with the mbira the name kalimba is known throughout much of Africa but regionally the name mbira Is more commonly used in Zimbabwe Construction The basic kalimba is a modern mbira with a sound box It has metal keys or tongues called lamellas attached on the top The keys or tongues are sometimes made from cane The sound box is kyatt wood an African hardwood with keys or tongues made of European spring steel The keys usually consist of 20 to 24 metal tongues mounted across two bars at one end attached to the sound box with a wooden dowel holding them in place The bar closest to the sound hole ser
3. Quantum Leap RA Virtual Instrument Users Manual QUANTUM LEAP RA VIRTUAL INSTRUMENT The information in this document is subject to change without notice and does not rep resent a commitment on the part of East West Sounds Inc The software and sounds described in this document are subject to License Agreements and may not be copied to other media No part of this publication may be copied reproduced or otherwise transmitted or recorded for any purpose without prior written permission by East West Sounds Inc All product and company names are or trademarks of their respective owners East West Sounds Inc 2008 2011 All rights reserved East West Sounds Inc 6000 Sunset Blvd Hollywood CA 90028 USA 1 323 957 6969 voice 1 323 957 6966 fax For questions about licensing of products licensing eastwestsounds com For more general information about products info eastwestsounds com http support soundsonline com Version of February 2011 Oo ooo A O N QUANTUM LEAP RA VIRTUAL INSTRUMENT PLAY About EastWest Producer Nick Phoenix Credits How to Use This and the Other Manuals Using the Adobe Acrobat Features The Master Navigation Document Online Documentation and Other Resources Click on this text to open the Master Navigation Document l QUANTUM LEAP RA VIRTUAL INSTRUMENT Welcome About EastWest EastWest www soundsonline com has been dedicated to perpetual innovation and un
4. compromising quality setting the industry standard as the most critically acclaimed producer of Sample CDs and Virtual software Instruments Founder and producer Doug Rogers has over 30 years experience in the audio industry and is the recipient of many recording industry awards including Recording Engineer of the Year In 2005 The Art of Digital Music named him one of 56 Visionary Artists amp Insiders in the book of the same name In 1988 he founded EastWest the most criti cally acclaimed sound developer in the world and recipient of over 50 industry awards more than any other sound developer His uncompromising approach to quality and in novative ideas have enabled EastWest to lead the sound ware business for 20 years In 1997 Rogers partnered with producer composer Nick Phoenix and set up Quantum Leap a wholly owned division of EastWest to produce high quality no compromise sam ple libraries and virtual instruments Quantum Leap virtual instruments are mostly pro duced by Nick Phoenix Some of the larger productions such as Symphonic Orchestra Symphonic Choirs and Quantum Leap Pianos are co produced by Doug Rogers and Nick Phoenix AS a composer Phoenix began scoring film trailers and television commercials in 1994 To date he has either scored or licensed music for the ad campaigns of over 1000 major motion pictures including Tomb Raider 2 Terminator 3 Lord of the Rings Return of the King Harry Potter 2 S
5. tT lll Techniques Traditionally it is played seated on the floor The player uses small picks called tsume attached to the thumb index and middle finger of the right hand to pluck the string on the right hand side of the ji At the same time the left hand pushes away to decrease pitch and pulls towards to increase pitch the strings on the left hand side of the ji to create melody Articulations See the table of articulations starting on page 77 Rag Dung Origins The rag dung is used in a specific ritual by a mysteri ous sect of the Karma Kaputa Tibetan monks Q Construction Constructed from copper and range anywhere from 1 to 6 5 meters they are built in sections so that they can be telescoped for easier transportation The shorter horns are used to create higher tones while the longer drones are used to create the fundamental droning pitches Techniques Circular breathing is required to create the uninterrupted drones which are played in intervals of thirds or fifths Articulations See the table of articulations starting on page 79 Chapter 4 The Quantum Leap RA Instruments 46 QUANTUM LEAP RA VIRTUAL INSTRUMENT Shakuhachi Origins Ancient origins of the shakuhachi can be traced to Korea and China although centuries of tradition have resulted in an instru ment with construction and technique much different from its ancestors The shakuhachi is depicted in Japanese sacred art as far back as the 8th
6. technique of striking these drums However for the Conga we have included the following extra techniques e Marcha a technique of rocking the palm on the hand and the fingers back and forth to produce a time marking or subdivision in between the various other techniques e Mute Slap achieved by muting the drumhead with one hand while i striking with slightly curved finger with the other hand e Open Slap much like the Mute Slap only without muting the drumhead Chapter 4 The Quantum Leap RA Instruments 32 QUANTUM LEAP RA VIRTUAL INSTRUMENT Articulations See the table of articulations starting on page 63 Didjeridoo Origins The didjeridoo s ancient origins suggest that it is one of the oldest instruments in the world with an aboriginal history that Stretches back 40 000 years It is used by aboriginals in sa cred ceremonies and healing rituals They believe the continu ous drone to be the voice of the earth which reaches into the universe s collective Subconsciousness Construction A hollowed out cactus which is reversed traditionally a por tion of eucalyptus tree hollowed out by ants is used Resin or bees wax Is formed into a mouthpiece at the end of the tube Techniques Circular breathing is a fundamental technique Tongue shape and momentum create variation in tone Articulations See the table of articulations starting on page 66 Dobro Origins The early desire for a design like th
7. The sitar as with most Indian Classical instruments is learned during an apprenticeship with a master of the Instrument over a long period of time Articulations See the table of articulations starting on page 86 Tablas Origins The Tabla is the most popular percussion instrument used in north Indian classical music The exact origin of the Tabla is not known for sure It is Surrounded in mystery and there are many theories as to Its birth The tabla is shown in temple carvings which date to around Chapter 4 The Quantum Leap RA Instruments 52 QUANTUM LEAP RA VIRTUAL INSTRUMENT the second century C E It is difficult to know how the Tabla was invented as there are SO many stories about its origin Construction The name tabla describes the arrangement of two drums The danya made of wood is the high pitched one and the baya made of metal is the low pitched one Both of the bowl shaped drums feature a very complex drumhead made from five section of mem brane fastened to the body with rawhide straps Wooden dowels are inserted in between the rawhide straps and the drum shell to change the tension on the head thereby affect ing the overall pitch of the drum Techniques Each movement or position of the hand on the tabla produces a different sound and has a specific name or syllable called a bol For this library we have included a variety of sounds that make up almost the entire tabla alphabet Articulations S
8. Uilleann Pipes 42 Uilleann Pipes CO Basic VS KS CO D 0 C 0 Vib VS DO Exp Bend VS D 0 Live Uilleann Pipes Vel 1 Basic VS Live Vel2 Exp Bnd VS Uilleann Pipes Drn and Regulators Elements Vib VS Exp Bend VS Basic VS Far East Erhu 43 Erhu CO Sus Vib KS CO A0 C 0 Exp Vib Soft DO Exp Vib Slow D 0 Exp Vib Fast E0 Leg FO Non Vib Hard F 0 Slide DN 1 GO Slide UP 2 G 0 Stac RR A0 Trill Erhu Vel 1 Exp Vib Soft Live Vel2 Sus Vib Vel3 Slide UP 1 continued Chapter 5 Articulations and Keyswitches 74 QUANTUM LEAP RA VIRTUAL INSTRUMENT Erhu Exp Vib Sft Elements Stac DN Non Vib Sft Non Vib Hrd Exp Vib Fst Non Vib Med Slide DN 2 Stac RR Exp Vib Siw Leg Slide UP 2 Trill Slide UP 1 Slide DN 1 Sus Vib Stac UP FAR EAST PERCUSSION Gamelan 44 Byeon FX Byeon Group Tuned Byeon Group Untuned Calung Tuned Calung Untuned Gamelan Ensemble Tuned Gamelan Ensemble Untuned Gamelan Gong amp Kajar Katana Group Tuned Katana Group Untuned Pamade Tuned Pamade Untuned continued Chapter 5 Articulations and Keyswitches 715 QUANTUM LEAP RA VIRTUAL INSTRUMENT FAR EAST PERCUSSION Gongs 45 Chinese Gong 34 Inches Chinese Gong VS Thai Gong 23 inches Thai Gong VS Taiko Drums 48 Taiko Drums ALL Taiko Drums Dragon 1 Elements Dragon 2 Bass Drum Big and Bassy Big Punch Big Resonance Deep And Woody Earthquake Ensemble Hands Light And Bassy Light Sticks Medium Room Medium Sticks Punchy 2 Punchy Room ambient Soft 2
9. in the PLAY Engine the effect Is created digitally The software program mers however added a tape simulator to mimic the slight speed variations of the two analog tape machines that created the ADT effect Chapter 3 The Quantum Leap RA User Interface 16 QUANTUM LEAP RA VIRTUAL INSTRUMENT The Delay knob specifies in milliseconds the delay between the original signal and the secondary signal A delay of around 40 ms is typical so is often a good starting point when crafting a specific effect The Depth knob specifies the amount by which that delay is modulated You don t want a exactly consistent delay the delay of the secondary signal will vary forward and back ward in time by this much The Speed knob varies the speed at which that delay is modulated The Level knob specifies the relative loudness of the secondary signal Set it to 0 0 dB to hear the effect at its strongest with the same level on both signals higher or lower gives preference to one of the signals The overall effect depends on their combination The On Off button allows you to kill the ADT effect instantly and then reinstate it with the same settings as needed 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 li braries Only some libraries include the graph as shown here so it is included in the manuals for those libraries only Note that
10. sultan or emir of musical instruments the most perfect of those invented by the philosophers Construction There are five pairs of strings on an oud each pair tuned to the same pitch plus a single String which is the thickest and known as the bamteli in Turkish The most common way to tune the oud is with each string a fourth apart The neck of the oud which is Short in comparison to the body has no frets and this contributes to its unique sound The most common string combination Is five pairs of strings tuned in unison and a single bass string although up to thirteen strings may be found Strings are generally made of nylon or gut Techniques Different tunings are used The Turkish style oud has a brighter tone than its Arab coun terpart partially because of higher tuning In RA we use the Arabic oud The strings are traditionally plucked using an eagle s feather known in the Arab world as a risha and in Turkey as a mizrap However eagle feathers are not readily available nowadays so modern players have looked to other materials from which to fashion a pick Many pro fessional players use a risha made from horn of a cow for example To ensure that the oud is at a comfortable height many players use a footstool of the type used by classi cal guitarists but some players simply cross one leg over the other The face of the oud Should be vertical with the strings and neck horizontal Articulations See the table of ar
11. 1 C 0 Sus Non Vib DO Leg D 0 Sxp Vib Slow E0 Exp Vib Fast FO Exp Vib F 0 Stac GO Fast Bend UP G 0 Short HT UP AO Exp Slow Trill A 0 Vib Bend UP 1 BO Vin Bend UP 2 C1 Vib Bend UP 3 C 1 Ornament Bulgarian Duduk Vel 1 Exp Vib Fast Live 1 Vel2 Exp Vib Bulgarian Duduk Vel1 Exp Bend UP 2 Live 2 Vel2 Exp Slow Trill continued Chapter 5 Articulations and Keyswitches 95 QUANTUM LEAP RA VIRTUAL INSTRUMENT Bulgarian Duduk Elements Ney Flute Ney Flute KS C0 A0 Ney Flute Live 1 Ney Flute Live 2 continued Exp Slow Trill Exp Vib Fast 2 Exp Vib Fast Exp Vib SLW Exp Vib Fast Bend Up Leg Ornament Short HT UP Stac RR Sus Non Vib Sus Vib Slow Vib Bend Up 1 Vib Bend Up 2 Vib Bend Up 3 CO Sus Vib C 0 Exp Vib DO Leg D 0 Non Vib E0 Sfz FO F 0 GO G 0 A0 Vel 1 Vel 2 Vel 1 Vel 2 Sus Vib Fall Grace 1 Grace 2 Grace 3 Exp Melody Sus Vib Leg Sus Vib Grace 1 Chapter 5 Articulations and Keyswitches 96 QUANTUM LEAP RA VIRTUAL INSTRUMENT Ney Flute Exp Melody Elements Exp Vib Grace 1 Grace 2 Grace 3 Leg Non Vib Sfz Sus Slur Sus Vib Fall Sus Vib Turkish Duduk 94 Turkish Duduk CO Vib Bend UP KS C0 D1 C 0 Leg Exp 2 DO Exp Vib Slow D 0 Leg Exp 1 E0 Bend UP Fast 3 FO Bend UP Fast 2 F 0 Sus Bend DN GO Slur DN G 0 Slur UP A0 Stac RR A 0 Exp Melody 1 BO Exp Melody 2 C1 Exp Melody 3 C 1 Bend UP Slow D1 Bend UP Fast 1 Turkish Duduk Vell Leg Exp Live 1 Vel2 Vib Bend Vel 3 Be
12. 3rd DN BO Slide Maj 3rd UP C1 Slide Maj 3rd DN C 1 Slide Perf 4th UP D1 Slide Perf 4th DN D 1 Trill HT UP E1 Trill HT DN Esraj RR1 Sus Live 1 RR2 Leg RR3 Leg 3 RR4 Leg 2 RRS Leg 4 continued Chapter 5 Articulations and Keyswitches 82 QUANTUM LEAP RA VIRTUAL INSTRUMENT Esraj Vell Leg Fast Live 2 Vel2 Sus Vel3 Slide HT UP Fast Vel 4 Trill HT UP Esraj Leg 1 Elements Leg 2 Leg 3 Leg 4 Slide 4th DN Slide 4th UP Slide HT DN Slide HT UP Fast Slide HT UP Slide Maj 3rd DN Slide Maj 3rd UP Slide Min 3rd DN Slide Min 3rd UP Slide WT DN Slide WT UP Sus Trill HT UP Trill WT DN continued Chapter 5 Articulations and Keyswitches 83 QUANTUM LEAP RA VIRTUAL INSTRUMENT INDIA BOWED Sarangi Sarangi RT Sarangi KS CO C 1 Sarangi Melody KS CO A0 Sarangi Live continued Vel 1 Vel 2 Vib Leg Vib 1 Leg Vib 2 Non Vib 2 Bend DN Bend UP Trem Melody 1 Melody 2 Melody 3 Melody 4 Melody 6 Melody 7 Melody 8 Melody 1 Melody 2 Melody 3 Melody 4 Melody 6 Melody 7 Melody 8 Melody 9 Melody 10 Melody 11 Vib Bend UP Chapter 5 Articulations and Keyswitches 84 QUANTUM LEAP RA VIRTUAL INSTRUMENT Sarangi Bend DN Elements Bend UP Leg Vib 1 Leg Vib 2 Melody 01 Melody 02 Melody 03 Melody 04 Melody 05 Melody 06 Melody 07 Melody 08 Melody 09 Melody 10 Melody 11 Non Vib 1 Non Vib 2 Non Vib 3 Non Vib 4 Non Vib 9 Non Vib 6 Non Vib 7 Trem Vib INDIA PERCUSSION Tablas 92 Tabla amp
13. Baya Tabla Funky Tabla Only Tablas Basic Chapter 5 Articulations and Keyswitches 85 QUANTUM LEAP RA VIRTUAL INSTRUMENT INDIA PLUCKED Sitar Sitar CO Sus Down KS C0 G0 C 0 Sus Up DO Slide Up HT D 0 Slide Up WT E0 FX 1 FO FX 2 F 0 Tremolo GO Trill HT G 0 Trill WT Sitar C12 Drone Sus Live 1 F2 A4 See Vel 1 and Vel 2 below Vell Tremolo us Vel 2 Bend Sus Sitar Ci D 2 Drone Sus aks E2 A4 See Vel 1 and Vel 2 below Vel 1 Bend Sus Vel 2 Shake Sus Sitar Bends Elements Drone Drop FX FX 1 Fx 2 FX 3 Gliss Slide HT UP Slide WT UP Sus DN Sus RR Sus UP Trem Trill HT Trill WT Tambura Tambura 4 way RR Chapter 5 Articulations and Keyswitches 86 QUANTUM LEAP RA VIRTUAL INSTRUMENT Bansuri 49 Bansuri CO Sus Vib DO Sus Non Vib D 0 Exp Harm 1 E0 Exp Harm FX FO Bend Long F 0 Bend WT UP G0 Flutter Exp G 0 Flutter AO Spit Long RR A 0 Spit Short RR BO Turn Bansuri Vell Leg Live 1 Vel2 Sus Vib Vel3 Exp Harm FX Bansuri Vell Leg Live 2 Vel2 Sus Vib Vel 3 Spit Short 1 Bansuri Bend Long Elements Bend WT UP Exp Harm 1 Exp Harm 2 Flutter Exp Flutter Harm FX Leg continued Chapter 5 Articulations and Keyswitches 87 7 QUANTUM LEAP RA VIRTUAL INSTRUMENT Bansuri Short Spit 1 Elements Spit Long 1 continued Spit Long 1 2 RR Spit Long 2 Spit Short 1 2 RR Spit Short 2 Sus Non Vib Sus Vib Turn Middle East amp Turkish Empire MID EAST BOWED Mid East Fiddle 99 Mid East Fiddl
14. Middle East starting on page 54 Within each region the instruments are listed alphabetically At the end of most descriptions is a reference to the page where a table lists the various articulations with information on how to invoke each sound Click on the page number to be taken to the start of the table Instruments of Africa Bata Origins Bata drums were first introduced in the Yoruba region in the southwest of what is now called Nigeria They were invented during the reign of King Sango and were considered his royal drum The bata drums are mostly played in medium sized ensembles They were traditionally used for a variety of purposes including allowing a king to summon people to court announcing visitors to the king sending messages such as announce ments or warnings to all within hearing range and most importantly for ritual purposes to speak prayers Construction The wood shell carved bata is shaped much like an hour glass It is meant to be played parallel to the ground hung from the shoulder or resting on the musician s lap There are two animal skin heads on either side of the drum One is of lower pitch and the other of higher pitch Batas vary Chapter 4 The Quantum Leap RA Instruments 22 QUANTUM LEAP RA VIRTUAL INSTRUMENT in size A typical ensemble of batas will normally consist of small medium and large drums Techniques Because of the tonal nature of the Yoruba language the batas are typically pla
15. RR Stac 1 Stac 2 Stac 3 Stac RR Sus Vib Slw continued Chapter 5 Articulations and Keyswitches 79 QUANTUM LEAP RA VIRTUAL INSTRUMENT FAR EAST WINDS Shakuhachi 4 Shakuhachi CO Sus Vib KS C0 C 1 C 0 Exp Vib DO Leg Vib D 0 Leg Non Vib E0 Non Vib FO Overblown 2 F 0 Overblown 1 GO Spit 4RR G 0 Harm FX A0 Trill A 0 Melody 1 BO Melody 2 C1 Melody 3 C 1 Melody 4 Shakuhachi Vell Sus Vib Live Vel2 Exp Vib Vel3 Leg Vib All Split 4RR Shakuhachi Exp NV Elements Harm FX Leg NV Leg Vib Leg NV VB MOD Melody 1 Melody 2 Melody 3 Melody 4 continued Chapter 5 Articulations and Keyswitches 80 QUANTUM LEAP RA VIRTUAL INSTRUMENT Shakuhachi Non Vib Elements Overblown 1 continued Overblown Spit 2RR Spit 4RR Spit 6RR Sus Vib Trill India Baritone Violin 90 Baritone Violin CO Leg NV RR KS CO AO C 0 Sus Leg RR DO Leg Exp D 0 Lyrical E0 Exp Vib FO Fis Harm F 0 Marc GO Stac RR G 0 Spic RR A0 Ornament Baritone Violin Vel 1 Exp Vib Live 1 Vel2 Sus Leg DN Baritone Violin Vell Sus Leg DN Live 2 Vel2 Ornament continued Chapter 5 Articulations and Keyswitches 81 QUANTUM LEAP RA VIRTUAL INSTRUMENT Baritone Violin Exp Vib Elements Lyrical Marc Ornament Fis Harm Leg Exp Leg NV RR Spic RR Stac RR Sus Leg RR Esraj 90 Esraj C0 Sus KS CO E1 C 0 Leg Fast DO Leg 2 D 0 Leg3 E0 Leg 4 FO Slide HT UP F 0 Slide HT DN GO Slide WT UP G 0 Slide WT DN A0 Slide Min 3rd UP A 0 Slide Min
16. Slide FX Slide UP HT Slide UP WT Trill HT Trill WT Chapter 5 Articulations and Keyswitches 90 QUANTUM LEAP RA VIRTUAL INSTRUMENT Ou Oud CO Non Vib RR KS CO F 0 C 0 Vib RR DO Wide Vib D 0 Slide UP E0 Slide DN FO Trem F 0 Trem Vib Oud Vell Non Vib DN Live 1 Vel 2 Non Vib RR Vel2 Vib RR Vel 3 Wide Vib Oud Vell Non Vib DN Live 2 Vel 2 Non Vib RR Vel2 Vib RR Vel3 Slide UP Oud Vell Non Vib DN Live 3 Vel 2 Non Vib RR Vel2 Vib RR Vel3 Slide DN Oud Vell Non Vib DN Live 4 Vel 2 Non Vib RR Vel2 Vib RR Vel3 Trem Vib Oud All Vib RR Live 5 Vel2 Trem Oud Non Vib RR Elements SLD DN SLD UP Trem Vib Trem Vib RR Wide Vib continued Chapter 5 Articulations and Keyswitches 91 QUANTUM LEAP RA VIRTUAL INSTRUMENT Santoor 97 Santoor CO Sus RR KS CO G 0 C 0 Mute DO Sfz Exp D 0 Exp Short E0 Exp Long FO Exp Sfz F 0 Exp WT Hard GO Exp WT Soft G 0 Trem Santoor All Sus RR Live 1 All Exp Short Santoor All Sus RR Live 2 All Trem Santoor Exp HT Hard Elements Exp HT Soft Exp Long Exp Sfz Exp Short Exp WT Hard Exp WT Soft Mute Sfz Exp Sus 1 Sus 2 Sus RR Trem MID EAST PERCUSSION Qandahar Dumbek 54 Chapter 5 Articulations and Keyswitches 92 QUANTUM LEAP RA VIRTUAL INSTRUMENT MID EAST WIND Armenian Duduk 94 Armenian Duduk CO Sus Vib 1 KS C0 C 1 C 0 Non Vib 1 DO Non Vib 2 D 0 Exp Vib E0 Exp Vib Short 1 FO Exp Vib Short 2 F 0 Exp Vib Short 3 G0 Exp Vib Grac
17. Typically the taiko drum is made from carved wood in a barrel like shell with animal skin on both sides of the drum Techniques The taiko drums are typically played with wooden sticks that are heavy and large in diameter There are two basic ways to strike the taiko drum Most tradition taiko drum Chapter 4 The Quantum Leap RA Instruments 48 QUANTUM LEAP RA VIRTUAL INSTRUMENT patterns require the player to strike the drum on the animal skinned head and on the wood shelled body All the RA samples were recorded from one large drum More taikos can be found in Stormdrum 2 and EWQL Symphonic Orchestra Articulations See the table of articulations starting on page 76 Vietnamese Jaw Harp Origins Dan Moi Vietnamese Brass Hmong Harps are made by a Hmong tribe of the northern mountains of Vietnam Dan Moi means Lip instrument It is made of curled brass and is much lighter gauge than the Chong Moua Lee de sign The Dan Moi is a courting instrument It has a de lightful sound for when lovers would play music to com municate with each other Construction It is made out of a thin piece of brass with a flexible metal tongue in the middle When you finish playing you tuck it into a bamboo case decorated with colorful ribbon Techniques It is played against the lips instead of the teeth It gives a rewarding sound full of bril liant harmonics but it is fragile and must be treated with care Articulations See the table
18. ascending or descending musical phrase performed in a rapid and gliding manner Arrhythmic embellishment above or below the fundamental note A looped musical phrase establishing a continuous pocket of rhythm A frequency integral to the fundamental created by lightly touching a string or overblowing a wind instrument Higher pitched articulation A more aggressive attack The interval between 2 adjacent tones in the western twelve tone scale A switch between multiple articulations by the stroke of specific keys called keyswitch notes Designed to create quick and smooth musical phrases A velocity switching program which simulates more realistic and characteristic performances A longer phrase of any given articulation Lower pitched articulation A sweeter phrase A medium dynamic An Italian term used to describe a moderately loud dynamic An articulation consisting of major 3rd intervals An articulation consisting of minor 3rd intervals 100 QUANTUM LEAP RA VIRTUAL INSTRUMENT TERMS amp ABBREVIATIONS Abbreviation Midy MOD mp Mute FX Neck NV NVB Non Vib Oct Open Ornament Ovrblwn p P Ath PK RT Resonance RR Scrape Sft Sfz Sht Sid Slur continued Definition Melody Modulation crossfade mezzo piano Mute Effects Neck Non Vibrato Octave Open Ornament Overblown Piano Perfect 4th interval Pick Release Trail Round Robin Scrape Soft Sforzando Short Slid
19. head to mute the sustain of the drum Articulations These instruments do not have separate articulation files PLAY uses separate notes to sound the various articulations Gyil Origins The gyil is a 14 18 key xylophone played by the Dagara people in Ghana Burkina Faso and Cote d Ivoire It is the national instrument of the Lobi and Dagara people Through out West Africa the people believe that its woody sound comes from a vibration of water that physically balances the water in the bodies of humans and animals Construction The gyil s wooden keys resonate over gourds which each have holes lined with papery spider egg sacks These vibrat ing membranes create a buzzing sound or spirit around the melody that Is a crucial element in music across Africa The 14 18 wooden slats are suspended on a frame over the gourds Its sound is like the Western marimba yet more earthy in character Gyil music is to the ear as a kaleidoscope looks to the eye a dazzling matrix of consistent yet ever changing interlocking elements engaged in dynamic conversation Techniques South of the Sahara Desert in West Africa there is a long standing tradition of gyil artistry In the gyil tradition every rural community has its own style of playing its own tonality Chapter 4 The Quantum Leap RA Instruments 26 QUANTUM LEAP RA VIRTUAL INSTRUMENT and its own musical masters The instrument is played with a pair of large soft mallets or
20. in fifths GDAE It is played with a pick serious picking technique such as flat picking and cross picking Is required Chapter 4 The Quantum Leap RA Instruments 35 QUANTUM LEAP RA VIRTUAL INSTRUMENT Articulations See the table of articulations starting on page 65 Pan Flute Origins Panpipes date back to ancient civilizations and are one of the oldest musical instruments according to archaeological record Evidence is found in ancient Egyptian civilizations as well as excavations throughout Europe There is also evidence of the pan pipes in the Mesopotamia of 3 500 B C E And additional evidence of the design has been found in India Asia and Africa Evidence has also been found in Viking civilizations dating to the 10th century and Roman excavations in France have uncovered 7 7 pipes tuned to the ionian scale Today it Is very popular in South America Pan was a god of ancient Greek mythology who protected pastoral people and their herds Pan lovesick over being rejected by the nymph Syrinx played sad songs on a flute that he had made from a cane Construction In ancient times the pan flute was made of hollow animal bones held together with calf rope Today Pipes are traditionally constructed of bamboo As the length of bamboo joint decreases the pitch increases Some makers line the inner tube with a protective cover of wooden ply Techniques Longer pipes are traditionally held in the right hand It is an end blown
21. sometimes with sticks Articulations There are multiple articulation files for the gyil but they do not appear in their own folder Kora Origins The kora is found in all Mande cultures It is played by the Mandin ka in Gambia Senegal and Guinea Bissau the Malinke or Maninka in Guin e the Bambara or Bamana in Mali and the Dioula in C te d Ivoire Ivory Coast though it s Gambia and Casamance South Senegal where it has the greatest importance for social life The kora has a centuries old tradition and has been played at royal courts where the musicians and griots belonged to the personnel The kora was mentioned for the first time in literature in 1799 by Mungo Park Construction The Kora is a West African harp in the family of bridge harps or harp lutes The Kora is often said to be a mix between a harp and banjo lute guitar It s the most highly developed string instrument of Africa The construction of the instrument as well as the music is unique in the world The Kora has a large hemispherical body a long neck and two planes with 11 and 10 strings running in notches at the sides of an upright mounted bridge Its body is traditionally made from a calabash cut in half and covered with cow hide Strings are commonly made from fishing line and are arranged into two planes one for the right hand and one for the left Techniques The playing style resembles the finger picking blues guitar the placement of the strings
22. the SESS SoA nn use of sympathetic strings It is made entirely of wood and has a resonator on B ma Chapter 4 The Quantum Leap RA Instruments 50 QUANTUM LEAP RA VIRTUAL INSTRUMENT made from a stretched animal skin Its long neck has 20 frets 4 playable metal strings and 12 to 15 sympathetic strings It is played with a violin or sarangi bow Techniques The esraj is so similar to the dilruba that if you learn either you can trade off easily between the two The frets on the esraj are used primarily as pitch guidelines proper technique does not require that they be played The left hand rests on the strings lightly above the fret The right hand holds the bow It is played while sitting on the floor and it rests between the legs much like a cello Articulations See the table of articulations starting on page 82 Sarangi Origins Many of India s musical instruments especially those ones that are bowed are said to originate from the dhanuryantram otherwise known as the bow and arrow The reverberating sound of the ar row leaving the bow Is said to have inspired many early native tribes to create bowed instruments The Sarangi has a deep history the instrument Is so old that there are many theories as to Its origins many are grandiose legends and there are none that are known to be true One legend tells of a physician who one day weary from travelling and seeking shelter from the hot sun lay down in the shade of a t
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24. the resonator while a tone ring lines the inside of the top The tone ring is made of brass steel or wood birch or maple and is what gives the banjo its characteristic tone the choice of material used to create the ring is what each banjo its very distinctive tone different from those made with other materials Techniques There are many different tunings used to play a banjo the most common being the Open G tuning which is gDGBD the small g being an octave higher than the G on the third string Traditionally the banjo is played while seated resting the banjo s body between the legs Finger picks are used to pluck the banjo the most common being metal picks on the finger and plastic on the thumb Articulations See the table of articulations starting on page 64 Berimbau Origins Much is unknown about the exact native origins of the berimbau However it is known that Afri cans brought it to Brazil during the massive slave trade to South America It was in Brazil where the berimbau became closely associated with the Afro Brazilian martial dancing art know as Capoeira Chapter 4 The Quantum Leap RA Instruments 31 QUANTUM LEAP RA VIRTUAL INSTRUMENT Construction The berimbau is composed of a bow like body with a metal string attached to both ends Attached to the bottom end of the bow closest to the performer s body is a gourd shaped resonator made from calabash know as the caba a The caba a
25. the tailpiece of a cello might hang a wheel which requires rosin is turned by a crank Strings rest on the wheel and when the crank Is turned the wheel vibrates the strings this simulates a bow gliding over Strings A box rests where the neck of a cello would be The box holds keys which press down on the strings to create pitches Some strings have fixed pitches which are used as drone strings much like a bagpipe s drones Chapter 4 The Quantum Leap RA Instruments 40 QUANTUM LEAP RA VIRTUAL INSTRUMENT Techniques The right hand turns the wheel while the left hand plays the tune on the keys Continu ously turning the wheel allows for uninterrupted sound much like a bag pipe to give the effect that it is one long continuous breath It is easy to bang out a basic tune on the hurdy gurdy but it does take some time to develop advanced technique Articulations See the table of articulations starting on page 70 Irish Low Whistle Origins The Irish low whistle is used in traditional folk music It is a descendent of the recorder family and of all end blown flutes Its exact origins are unclear Construction Early designs were made of wood Later metals such as nickel and brass were used This is an end blown fipple flute The bore the hollow main tube of the instrument has six finger holes The bore can be either cylindrical or conical The whistle contains a mouthpiece at one end which houses the Tfipple and a duct w
26. 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 at tack and the release change as well because those phases become a larger or smaller percent of the whole this is as expected The Browser View The Browser behaves identically among all PLAY System libraries Read the main PLAY System manual for information about how to use that view Performance Scripts The RA Virtual Instrument includes three built in scripts that can provide extra realism to phrases that take advantage of their benefits e he Portamento script provides a sliding pitch between consecutive notes in a phrase This can be used to emulate the subtle portamento that occurs for example when a string player s finger moves along the string at the beginning or end of a sounding note e The Repetition script changes the quality of the notes when a single pitch is played multiple times in quick succession Although similar to what can be achieved with Chapter 3 The Quantum Leap RA User Interface 17 QUANTUM LEAP RA VIRTUAL INSTRUMENT Round Robin patches the effect can be used on any articulation not only those with RR in the name e The Legato script creates a more flowing and connected sound for notes in a continu ous phrase The scripts themselves are not modifiable by the user
27. vertical flute Articulations See the table of articulations starting on page 68 1890 Washburn Guitar This Washburn Guitar was bought in an eBay estate sale in 2003 for 200 On the inside is a wood press label which states PTET AEAT Lyon amp Healy of Chicago At the tip of the MA ELTT iste head Patent Applied For is stamped into J the neck It was in pretty rough shape the finger board was damaged the bridge was decayed several flathead screws used as pegs held three loose strings together in a word it was unplayable called upon the services of Tim Frick a gifted luthier friend of mine and an excellent builder of electric basses located in the San Francisco Bay area While lived several months as a wallflower in his shop he restored it for me fashion ing a new fingerboard with a re fret job and a new bridge from Brazilian rosewood As Chapter 4 The Quantum Leap RA Instruments 36 QUANTUM LEAP RA VIRTUAL INSTRUMENT always he does excellent work it is the nicest guitar have ever played The samples you have here are a taste of what it can do Pacemaker Articulations See the table of articulations starting on page 63 Ukelele also Ukulele Origins Manuel Nunes together with Joao Fernandes and Augustine Dias migrated to Hawaii in 1879 to wok in the sugar cane fields Nunes was a master instrument builder from Portugal and over time he together with Fernandes and Dias invent
28. vocabulary of the Ewe drums The Axatse Is played by striking it lightly on the thigh and the palm When struck off the thigh a dry rattling sound is produced When struck with the hand tn a clap like manner it produces a rattling sound combined with a higher tonal component due to the vibration of the air inside the gourd The Gonkowe is thought of as a substitute for the human voice and imitates the manner in which the mouth produces speech It is played with a stick held in one hand and the larger bell resting on the thigh of the performer who usually sits Articulations These instruments do not have separate articulation files PLAY uses separate notes to sound the various articulations Chapter 4 The Quantum Leap RA Instruments 25 QUANTUM LEAP RA VIRTUAL INSTRUMENT Frontomfrom Origins The Frontomfrom is from the central region of Ghana It is most ly played by the Ashanti tribe Construction The wood shell carved Frontomfrom is a large cylindrical up right standing drum Typically the Frontomfrom can range from 3 feet to 8 feet high The head is made from goatskin and Is tied by string to a number of tuning pegs around the drum Techniques The Frontomtfrom is struck by an angled stick or with the bare hand There are three basic ways to play the Frontomfrom the open stick hit the open hand hit and the stick mute The stick hit is produced by stick ing the head of the drum while firmly pressing the stick against the
29. 140bpm Loop C 160bpm Loop C 165bpm Loop C 185bpm Loop C 201bpm continued Chapter 5 Articulations and Keyswitches 66 QUANTUM LEAP RA VIRTUAL INSTRUMENT AMERICAS amp AUSTRALIA WIND Didjeridoo Loop C 73bpm Grooves Loop C 74bpm continued Loop C 80bpm Loop D 100bpm Loop D 103bpm Loop D 122bpm Loop D 128bpm Loop D 130bpm Loop D 150bpm Loop D 156bpm Loop D 170bpm Loop D 77bpm Loop D 80bpm Loop D 88bpm Loop F 105bpm Loop F 115bpm 6 4 Loop F 115bpm Loop F 130bpm Loop F 74bpm Loop F 80bpm Loop F 85bpm Loop F 95bpm First Nations Cedar Flute 8 FNC Flute C0 Leg Vib Exp KS CO G 0 C 0 Leg Non Vib DO Leg Exp 2 RR D 0 Non Vib Exp E0 Exp Vib 1 FO Stac F 0 Exp Melody 1 GO Exp Melody 2 G 0 Flutter continued Chapter 5 Articulations and Keyswitches 67 QUANTUM LEAP RA VIRTUAL INSTRUMENT AMERICAS amp AUSTRALIA WIND FNC Flute Vell Leg Vib Exp Live Vel2 Exp Melody 2 FNC Flute Exp Melody 1 Elements Exp Melody 2 Flutter Leg Non Vib Leg Vib Exp Non Vib Exp Stac Vib Exp 1 2 Pan Flute CO Sus Vib KS CO D 0 C 0 Non Vib DO NV VB MOD D 0 Stac RR Pan Flute Non Vib Elements NV VB MOD Acc NV VB MOD Stac NV RR Stac Sus Vib Europe LL E Gadulka CO Sus Vib 1 KS CO FO C 0 Non Vib1 2RR DO Dbi Bow Exp D 0 Bow Dn Up RR E0 Tremolo FO Stac Gadulka CO Leg Vib 1 Live C 0 Dbl Bow Exp continued Chapter 5 Articulations and Keyswitches 68 QUANTUM LEAP RA VIRTUAL INSTRUMENT Gadulka
30. A worship was Heliopolis a Greek word meaning city of the sun We thought RA would be an appropriate name for the largest and most comprehensive rare and ethnic virtual instrument ever made RA was born a few years ago as a sample library called Rare Instruments All of the sounds from Rare Instruments are included in RA but this represents approximately one tenth of the content We recorded the other ninety percent of RA at Ocean Way Stu dios in Hollywood Because of the size and complexity of the project we brought in two talented producers Pacemaker and Tony Austin as co producers They have worked on other Quantum Leap projects and had some great ideas for RA We spent time hunting down the best ethnic artists on the West Coast Los Angeles is so ethnically diverse and blessed with excellent institutions like Cal Arts it is actually the ideal place to record a rare and ethnic collection The result of this effort was the original Quantum Leap RA Once EastWest created the PLAY System with its advanced sample playback engine it was only natural to recreate RA within that new environment This new version offers the exact same set of rare and ethnic instruments as the older version but now part of the growing set of libraries available within the PLAY System RA is a 13 Gigabyte virtual instrument that covers many typical and some unusual in struments from diverse parts of the World Africa the Americas Australia Europe the Fa
31. ARTICULATION S Mini gt a i a z Leg Exp 2 transpose sensitivity wel mir INFO CPU 0 Disk 0 KBis Mem 1 Mb Chapter 3 The Quantum Leap RA User Interface 13 QUANTUM LEAP RA VIRTUAL INSTRUMENT e Performance e Round Robin Reset e Stereo Double e Filter e Microtuning e ADT e the graphical representation of the Envelope Performance There are four buttons grouped together in the Performance sec tion They include three buttons for turning on and off scripts Specific to RA that control performance parameters e Portamento e Repetition e Legato The fourth button in the group Round Robin Reset labeled as rr reset is described below See the section on Performance Scripts starting on page 17 for information on how to use these scripts When you first open an articulation there are default settings On or Off for each of the three scripts as chosen by the EastWest sound designers If you want a different set of defaults you will need to save the ewi file that way and load your new version Legato Button Legato is the style of playing notes in a phrase with no significant silence between them in order to produce a smooth and flowing melodic line Use this button to turn on a legato effect for the articulation Portamento Button Portamento also sometimes called glissando is the technique of a continuous slide in pitch from one note to the next note in the phrase Portamento as used in th
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33. Bow Dn Elements Bow Up Dbi Bow Exp Non Vib 1 Non Vib 2 Resonance Stac Sus Vib 1 Sus Vib 2 Trem Hardanger Fiddle 40 Hardanger Fiddle CO Sus Vib KS CO G 0 C 0 Leg Non Vib RR DO Exp Vib D 0 Exp Non Vib E0 Short RR FO Spic RR F 0 Melody GO Trill HT G 0 Trill WT Hardanger Fiddle Vel 1 Exp Vib Live Vel2 Trill WT Hardanger Fiddle vths Elements Exp NV Exp Vib Legato NV RR Melody NV VB MOD Short RR Spic RR Sus Vib Trill HT Trill WT continued Chapter 5 Articulations and Keyswitches 69 QUANTUM LEAP RA VIRTUAL INSTRUMENT EUROPE BOWED LE Hurdy Gurdy CO Non Vib VS KS CO FO C 0 Double Low DO Double Hi D 0 Drone 1 E0 Drone 3 FO Drone 9 Hurdy Gurdy Vell Drone 1 Live Vel2 Drone 2 Vel3 Drone 3 Vel4 Drone 4 Vel5 Drone 9 1 3 Double Low 4 5 Double Hi Hurdy Gurdy Double Hi Elements Double Low Drone 1 Drone 2 Drone 3 Drone 4 Drone 9 Non Vib f Non Vib mf Non Vib mp Non Vib p Nov Vib VS continued Chapter 5 Articulations and Keyswitches 70 QUANTUM LEAP RA VIRTUAL INSTRUMENT Hurdy Gurdy Groove 01 Grooves Groove 02 Groove 03 Groove 04 Groove 05 Groove 06 Groove 07 Groove 08 Groove 09 Groove 10 EUROPE PERCUSSION Frame Drum 38 Large Frame Basic Large Frame FX Medium Frame Small Frame EUROPE WINDS amp REEDS Alpenhorn 37 Alpenhorn C5 Sus Vib KS C5 65 C 5 Sus D5 Non Vib D 5 Exp ES Exp Fast F5 Slide Octave DN F 9 Slide Octave UP G5 Stac continued Chapter 5 Articulations and Ke
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35. ERMS amp ABBREVIATIONS Abbreviation Siw Spic Spit Stac Strum Sus Trem Trm Trl Trill Turn UP VB VIB VS Western Wide WT Definition Slow Spiccato Spit Staccato Strum Sustained Tremolo Trill Turn Up Vibrato Velocity Switch Western Feel Wide Whole Tone Full Tone Chapter 5 Articulations and Keyswitches Notes or Examples A longer phrase An Italian term used to describe short articulations of the bow bouncing off the string Short accents course in timbre created by saliva forced through a wind instrument An Italian term used to describe stiff and detached performance Designed to simulate the characteristic attack of a pick strumming A sustained phrase An Italian term used to describe rapid repetition of the fundamental An Italian term used to describe the rapid repetition between the fundamental and a note above or below A small embellishment Describes the direction of the bow or pick An Italian term used to describe the perpetual but expressive wobbling in pitch of the fundamental A program which uses MIDI velocity to switch between multiple articulations A feel not necessarily characteristic of the native musical qualities of the instrument Slower and wider vibrato The interval representing one tone two semitones in the western twelve tone scale 102 EASTWEST END USER LICENSE AGREEMENT EASTWEST SOUNDS INC END USER LICENSE AGREEMENT THE EAST
36. Perf 4th UP NVB Dobro Vel1 Open Live 2 Vel 2 Slide WT UP Fall Dobro Vel1 Open Live 3 Vel2 Slide WT Dobro Vel1 Open Live 4 Vel2 Slur DN UP Dobro Vell Open Live 9 Vel 2 Trem FX continued Chapter 5 Articulations and Keyswitches 64 QUANTUM LEAP RA VIRTUAL INSTRUMENT AMERICAS amp AUSTRALIA PLUCKED Dobro Vell Open Live 6 Vel2 Trem FX WT UP Dobro Mute FX Elements Open Slide Fast DN Slide Fast UP Slide Full DN Slide Full UP Slide P4th NV Slide P4th VIB Slide Power UP A Slide Power UP B Slide Slow DN Slide WT UP Fall Slide WT UP Slur UP DN Trem FX WT UP Trem FX Mandolin 39 Mandoline CO Sus RR KS CO E0 C 0 Slide UP DO Trem Slow D 0 Trem Fast E0 Live 2 Mandoline Vel 1 Sus RR Live 1 Vel2 Trem Slow Mandoline Vel 1 Sus RR Live 2 Vel2 Slide UP Mandoline Mandolin Noises Elements Mandolin Slide UP Mandolin Sus RR Mandolin Trem Fast Mandolin Trem Slow continued Chapter 5 Articulations and Keyswitches 65 QUANTUM LEAP RA VIRTUAL INSTRUMENT AMERICAS amp AUSTRALIA PLUCKED Ukulele also Ukelele 3 Pick DN Pick RR Pick UP AMERICAS amp AUSTRALIA WIND Didjeridoo also Didgeridoo 33 Drones A Drones C Drones D Drones F Drones Live Selected Drones A C D F Drones FXA Drones FX C Drones FX D Drones FX F Didjeridoo Loop A 100bpm Grooves Loop A 135bpm Loop A 160bpm Loop A 165bpm Loop A 95bpm Loop C 100bpm Loop C 115bpm Loop C 120bpm Loop C 125bpm Loop C 139bpm Loop C
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41. allows for the playing of chords and harmonies and fast melodic runs The strings are plucked by the thumb and forefinger of each hand The Kora can also be tapped like a drum for rhythms and effects It is played as a solo instrument accompanying a singer or as part of an orchestra Articulations This instrument is provided in a single articulation file Chapter 4 The Quantum Leap RA Instruments 2 QUANTUM LEAP RA VIRTUAL INSTRUMENT Log Drums Origins This particular log drum natively called Ekwe originates from the eastern region of Nigeria Construction The log drum is made from a hollowed out wooden log with two rectangular holes carved out from one Side of it The piece of wood that separates the two rectangular holes is severed in the middle This is done to produce two areas of the drum that vary in pitch Techniques Typically the log drum is played by striking the side of the drum over either of the two carved out rectangles The log drum is most commonly played with a bare stick or a rub ber tipped mallet Articulations These instruments are available in both an unpitched articulation file and a pitched ver sion called Log Drums Melodic Ngoni Origins The ngoni is a lute There is a lot of con fusion about this name Ngoni signifies a string instrument which can be a harp or a lute Possibly this is the ancestor of the 5 string banjo as some tunings and playing styles s
42. ally played outside during festive and celebratory events With an approximate range of one octave partially covering finger holes known as half holing allows the performer to ob tain chromatic pitches outside the range of the horn Much like the duduk the zourna is often played in pairs one player called the damkash sustains a dam drone while the other performs the melody Traditionally it is almost always accompanied by the Armenian dhol drum Articulations See the table of articulations starting on page 98 Chapter 4 The Quantum Leap RA Instruments 59 QUANTUM LEAP RA VIRTUAL INSTRUMENT 5 Articulations and Keyswitches 61 The Tables of the Instruments 61 Africa 63 The Americas amp Australia 68 Europe 714 Far East 81 India 88 Middle East amp Turkish Empire 99 Terms and Abbreviations Used in Articulation Names Click on this text to open the Master Navigation Document 60 QUANTUM LEAP RA VIRTUAL INSTRUMENT Instruments Articulations Keyswitches This chapter provides tables that lists each instrument in the RA library You might want to print out the pages containing these tables as a reference The Tables of the Instruments The sounds of each instrument are provided in the form of one or more instrument files with extension ewi in the Browser view All of these instrument files are listed below They are grouped into geographical regions and then generally into tables based on the way they ar
43. ange the values of control codes The following table lists the codes that affect these scripts Note that the MIDI Control Codes have no effect unless the corresponding script is turned on in the PLAY interface Code Portamento Repetition Legato 5 Time Time 65 On Off 68 On Off 69 On Off The three On Off control codes all work the same way a value 64 or higher turns the script on and any other value 0 63 turns the script off CC 5 affects the duration of the portamento or legato The possible values are 0 127 The higher the value the longer the effect takes to complete that is you should set higher values to make the sound more pronounced Use your ear to find the right values for each note in the phrase Chapter 3 The Quantum Leap RA User Interface 18 QUANTUM LEAP RA VIRTUAL INSTRUMENT The image at the left shows two envelopes affecting the Portamento script in a host The nine white horizontal bars are the notes The light gray line that jumps from the top to near the bottom and back to the top is CC 65 that turns the script on and off so that only some notes use portamento The curving line near the middle is CC 5 setting the effect s Portamento time parameter for each note individually Note that the middle section when the CC 65 line Is near the bottom CC 5 actually has no effect because the script Is turned off at that point Monophonic Behavior Both the Portamento and Legato scripts change the inst
44. at includes the use of the EASTWEST SOFTWARE without the written consent of EASTWEST If you are not sure which license type you own LICENSE NFR please check your iLok or other identified security account or contact licensing eastwestsounds com Educational Copies You must be an Eligible Educational End User to use the EAST WEST SOFTWARE Eligible Educational End Users means students faculty staff and administration attending and or working at an educational institutional facility 1 e col lege campus public or private K 12 schools EASTWEST SOFTWARE provided for this purpose may NOT be used for any revenue generating activity that includes the use of the EASTWEST SOFTWARE without the written consent of EASTWEST 4 Consent to Use of Data You agree that EASTWEST and its subsidiaries may collect and use technical and related information including but not limited to technical infor mation about your computer system and application software and peripherals that is gathered periodically to facilitate the provision of software updates security product Support and other services to you if any related to the EASTWEST SOFTWARE and to verify compliance with the terms of this License EASTWEST may use this information as long as it is In a form that does not personally identify you to Improve our products or to provide services or technologies to you 5 Termination This License Is effective until terminated Your rights under t
45. but one im portant parameter can be adjusted using a MIDI control code See details of how to use the control codes in the descriptions that follow In order for a script to actively affect the notes in an articulation file the script must be activated in the PLAY user interface The image above shows the Portamento script turned on and the other two scripts left off In addition the appropriate MIDI Control Code must not be turned Off that means if MIDI values are being generated for the On Off code on this channel as in the table below they must currently be in the range 64 to 127 if MIDI CC values are not being generated the Control Code Is considered On as long as the light in the user interface is On The effect of engaging the Portamento or Legato effect is subtle The goal is the sound of smooth connected playing and not anything so pronounced that it will draw attention to the effect itself These two scripts share many features in the ways they affect the sound that is the Legato script includes a small portamento component and vice versa MIDI Control Codes These MIDI values can be controlled in standalone mode by adjusting the controls knobs or sliders on a control surface or MIDI keyboard When run as a plug in inside a se quencer or other host you can create a controller envelope to automatically adjust values during playback See the documentation from your hardware or software for information about how to ch
46. century It earned a reputation as a spiritual meditation instrument of the travelling Komoso a Fuke sect of Zen Buddhist monks whose meditation pieces for the shakuhachi were called hon kyoku The honkyoku songs are arrhythmic and many are very technically demanding During the Meiji period the Fuke sect was abolished and so shakuhachi performance was temporarily forbidden Modern shakuhachi performances consists of both solos and ensembles Construction The shakuhachi is a hollowed out bamboo tube with 4 holes in front and one in back The word shakuhachi can be divided into two parts shaku and hachi and both relate to measurement One shaku is equal to 30 centimeters 994 feet Hachi is the number 8 The length of 1 8 shaku equals 54 centimeters the most common length of the shakuhachi While most bamboo shoots are cut at 1 8 shaku the bamboo shoots vary in length be tween joints and so graduated sizes are manufactured in tenths of a shaku 1 8 1 6 E 2 1 B and 2 4 A The larger the instrument the lower the pitch The lip which the player blows out of is sharped so as to achieve maximum precision in pitch definition Techniques The shakuhachi is held vertically and end blown much like a recorder The most com mon range is 2 octaves plus a fifth The five holes are tuned to a pentatonic scale and any note can be bent in pitch by up to a full tone so it is possible to play a complete chromatic scal
47. cultural ceremonies rituals and celebrations when they are accompanied by an ensemble of dancers and singers Construction The drums Atsimevu and Kidi are constructed of wood either as One solid carved piece or aS is more common of wooden slats bound by metal rings The drum heads are usually made out of a skin of a deer or antelope and are held on the drums by strings at tached to a number of tuning pegs The shaker Axatse is made of a gourd hollowed out by removing the seeds and covered with a net of beads or seeds It looks very similar to the shekere but with one noticeable difference the top of the gourd is not cut off This is done to give the Axatse a brighter and sharper sound that makes it cut through the loud ensemble of drums that it accom panies The bells Gonkowe are made from iron hand forged in a distinct traditional shape by blacksmiths The structure of the Gonkowe consists of a larger low pitch forged iron A bell and a smaller high pitch one permanently stacked together The larger iron bell is considered the parent and Smaller one is considered the child in the protective bosom of the parent They look very similar to and could even be considered relatives of the agogo bells Techniques The drums are played by striking the head with a full bare hand and or a stick Striking different positions and manipulating the head by damping it with the hand produces a series of pitches which form the basic
48. d articulation The most basic articulation is the Open Tone It is accomplished by striking the drum with a bare flat hand toward the edge of the head while allowing the drum to fully sustain When played correctly the Open Tone produces a full round and fundamental sound The easiest articulation to play is the Bass Tone accomplished by striking the drum with a flat bare hand in the center of the head while allowing the sound to sustain This produces a sub harmonic bass sound The most difficult articulation of the basic three is the Open Slap This is accomplished by striking the drum towards the edge of the head with a slightly curved hand When played correctly it produces a brighter higher pitched sound We have also included a Grace Note articulation Many Djembe players use this articulation in order to quietly subdivide or keep time while play ing patterns or solos The Grace Note articulation is accomplished by quietly tapping the tips of the finger on the edge of the drumhead Articulations These instruments do not have separate articulation files PLAY uses separate notes to sound the various articulations Ewe Percussion Instruments Ewe Drum Ensemble Atsimevu Kidi Axatse and Gonkowe Chapter 4 The Quantum Leap RA Instruments 24 QUANTUM LEAP RA VIRTUAL INSTRUMENT Origins These instruments are from the West African country Ghana and are EEE native to the Ewe tribe The Ewe people mostly use these instru ments for
49. e Slur Chapter 5 Articulations and Keyswitches Notes or Examples A program consisting of melismas characteristic of the native musical qualities of the instrument Modulation crossfades between more than one articulation An Italian term used to describe a moderately soft dynamic Effects that mute the string An articulation where pick finger or bow is positioned over the fretboard or neck of the instrument An articulation where the fundamental maintains consistent pitch for its duration The fundamental stretches one octave higher or lower during the phrase Most commonly performed articulation of an instrument A small embellishment characteristic of the native musical qualities of the instrument The wind instrument is overblown to create an overtone or harmonic in place of the fundamental An Italian term used to describe a softer dynamic A slide or chord sampled in perfect fourth Intervals Pick on string Decay of the articulation in the sampled space The press of every key alternates between up and down bow and pick or left and right hand strokes Pick is scraped across the string creating a harsh timbre Soft articulation An Italian term used to describe a strongly accented note A short phrase An uninterrupted transition in pitch from one fundamental to another A smoother transition in pitch from one fundamental to another that the slide above 101 QUANTUM LEAP RA VIRTUAL INSTRUMENT T
50. e Additional tones outside the basic range of the instrument are obtained by partially covering the holes of the instrument and changing the blowing angle Articulations See the table of articulations starting on page 80 Shamisen Origins The shamisen s ancient origins can be traced to China It evolved from the Chinese instrument called the Sanxian and was brought from China to the Southern Islands of Ryukyu and was then imported into Japan shamisen is the principal instrument of the Japanese musical theater called Kabuki The shamisen is played in the debayashi the main music ensem ble of the Kabuki on a raised platform on the right side of the Stage Shamisen is found in both the nagauta and joruri styles of Japanese music In the Chapter 4 The Quantum Leap RA Instruments 47 QUANTUM LEAP RA VIRTUAL INSTRUMENT latter part of the seventh century nagauta known as long song consisted of a lyrical and simple style joruri accompanies a narrator during a play of the joruri theatre The mod ern style of shamisen playing known as tsugaru jamisen evolved in the early part of the 20th Century from the interpretation of traditional folk songs by a blind man Chikuzan Takahashi The tsugaru jamisen style is very improvised and has a bluegrass flavor with a lot of flashy finger work Construction The shamisen is a three stringed instrument almost one meter in length The top similar to the violin s scroll is called a tenjin w
51. e G 0 Exp Short HT UP A0 Exp Long HT UP A 0 EXP WH UP BO Exp Melody 1 C1 Exp Melody 2 C 1 Exp Melody 3 Armenian Duduk C0 Melody 1 Melody KS 1 C0 C2 C 0 Melody 2 DO Melody 3 D 0 Melody 4 E0 Melody 5 FO Melody 6 F 0 Melody 7 GO Melody 8 G 0 Melody 9 AO Melody 10 A 0 Melody 11 BO Melody 12 C1 Melody 13 C 1 Melody 14 D1 Melody 15 D 1 Melody 16 E1 Melody 17 continued Chapter 5 Articulations and Keyswitches 93 QUANTUM LEAP RA VIRTUAL INSTRUMENT MID EAST WIND Armenian Duduk F1 Melody 18 Melody KS 1 C0 C2 F 1 Melody 19 continued 3 Melody 20 G 1 Melody 21 Al Melody 22 A 1 Melody 23 B1 Melody 24 C2 Melody 25 Armenian Duduk C0 Melody 26 Melody KS 2 C0 B0 C 0 Melody 27 DO Melody 28 D 0 Melody 29 E0 Melody 30 FO Melody 31 F 0 Melody 32 G0 Melody 33 G 0 Melody 34 AO Melody 35 A 0 Melody 36 BO Melody 37 Armenian Duduk Vel 1 Exp Vib Live 1 Vel2 Exp Short HT UP Armenian Duduk Vel 1 Exp WT UP Live 2 Vel2 Melody 1 Armenian Duduk Drone Exp Vib Elements Drone Non Vib Drone Sus Soft Drone Sus Vib Exp Long HT UP Exp Melody 1 Exp Melody 2 Exp Melody 3 continued Chapter 5 Articulations and Keyswitches 94 QUANTUM LEAP RA VIRTUAL INSTRUMENT MID EAST WIND Armenian Duduk Exp Short HT UP 1 Elements Exp Short HT UP 2 continued Exp Vib Grace Exp Vib SHT 1 Exp Vib SHT 2 Exp Vib SHT 3 Exp Vib Exp WT UP Non Vib 1 Non Vib 2 Sus Vib 1 Bulgarian Duduk 94 Bulgarian Duduk C0 Sus Vib Slow KS CO C
52. e CO Sus Vib KS CO A0 C 0 Non Vib DO Exp Sfz D 0 Slur UP 1 EO Slur UP 2 FO Slur DN 1 F 0 Slur DN 2 GO Turn 1 G 0 Turn 2 A0 Melody Slow Mid East Fiddle Vel 1 Sus Vib Live Vel2 Slur HT UP Mid East Fiddle Exp Sfz Elements Melody Slow Non Vib F Non Vib M Non Vib P Non Vib VS continued Chapter 5 Articulations and Keyswitches 88 QUANTUM LEAP RA VIRTUAL INSTRUMENT MID EAST BOWED Mid East Fiddle Slur DN 1 Elements Slur DN 2 continued Slur UP 1 Slur UP 2 Sus Vib Turn 1 Turn 2 Mid East String Section 99 Mid East Strings CO Sus Vib KS CO FO C 0 Exp Vib DO Leg D 0 Slur UP E0 Slur DN FO Turn Mid East Strings All Sus Vib Big 1 All Leg Mid East Strings All Exp Vib Big 2 All Leg Mid East Strings All Exp Vib Big 3 All Sus Vib Mid East Strings Vel 1 Sus Vib Live 1 Vell Leg Vel2 Slur UP Mid East Strings Vel 1 Sus Vib Live 2 Vell Leg Vel2 Turn Mid East Strings Exp Vib Elements Leg Slur DN Slur UP Sus Vib Turn continued Chapter 5 Articulations and Keyswitches 89 QUANTUM LEAP RA VIRTUAL INSTRUMENT MID EAST BOWED Yali Tambur or Yayli Tanbur 58 Yali Tambur C0 Leg KS CO0 A0 C 0 Leg Fast DO Exp D 0 Exp Vib E0 Grace HT FO Slide WT UP F 0 Trill HT GO Trill WT G 0 Melody HT A0 Slide FX Yali Tambur Vel 1 Exp Vib Live 1 Vel2 Trill HT All Drone Yali Tambur Vell Leg Live 2 Vel2 Trill HT All Drone Yali Tambur Drone Elements Exp Non Vib Exp Vib Exp Grace HT Leg Fast Leg Short Leg Melody HT
53. e modern day do bro was to create a guitar that could compete with the loud brass instruments used in popular music of the early 1900 s John Dopyera and Rudy Beauchamp are credited with the 1927 National tri cone resonator de sign with a body made of metal One year later John Dopyera had started his own company with the help and financial backing of the Beauchamp brothers He debuted the patented DOBRO a single cone reso nator with a spider bridge and a body made of wood Not long after that National manufactured its single resonator version of the DOBRO After some legal battles with each side suing the other they formed the National Dobro company in 1932 Family members founded the Original Musical Instrument company in 1967 and made resonators up until 1970 when they re acquired the DOBRO name Gibson musical instruments acquired Original Musical Instruments in 1993 and after that time because they owned the patent to the DOBRO name decided that these instruments should be referred to as resophonic guitars Chapter 4 The Quantum Leap RA Instruments 33 QUANTUM LEAP RA VIRTUAL INSTRUMENT Construction A wood or metal bodied guitar with one to three aluminum cone resonators to enhance amplification Maple is the traditional wood of choice but the construction varies de pending on the luthier Wood painted with steel enhances the tone There Is a resonator placed in the guitar which depending on
54. e played bowed instruments plucked Instruments wind instruments per cussion and so on Each entry for a keyswitch file includes a list of its keyswitch notes with their articula tions Each entry for a Live articulation file includes information on its velocity switches or round robin switches Note names such as CO and D 1 are the keyswitches Vel 1 and Vel 2 are velocity switches Names with RR are round robin files Learn more about such features in the PLAY System manual the companion volume to this one And read the section on Instrument Types which starts on page 21 to find out about how Keyswitch Live and Big files are used in the RA library as well as what to expect in the Elements folders The number to the right of an instrument s name is the page number in this manual where the instrument is described When reading this manual on the computer screen click on one of those numbers with the mouse cursor to be taken directly to that page Note that a few instruments do not have this type of description so have no page number Finally note that some tables are quite long and extend across multiple pages Africa AFRICA BELLS Ewe Large Bombshell Ewe Medium Bombshell Gankokwe Large 24 Gankokwe Small 24 Chapter 5 Articulations and Keyswitches 61 QUANTUM LEAP RA VIRTUAL INSTRUMENT AFRICA DRUMS 3Ft FromfonFrom 26 Ft FromlonFrom 26 Atsimevu 24 Batas 22 Berkete 23 Dejembe Ensemble 24 Ewe Drum E
55. e the table of articulations starting on page 74 Dizi Origins Di is a term used to describe all Chinese flutes and Hengdi describes a transverse flute one which ts slide blown Chinese origins of transverse Chapter 4 The Quantum Leap RA Instruments 43 QUANTUM LEAP RA VIRTUAL INSTRUMENT flutes can be traced back to the Han Dynasty 206 B C E Dizi is the Chinese term used to describe any flute with a membrane This unique membrane addition the muo kong was added by Liu Xi during the Tang Dynasty 618 907 C E Without the muo kong the transverse flute is found in many cultures around the world and its ancient origins can be traced back to paintings of the ney flute depicted in paintings in the pyra mids of ancient Egypt The dizi is used to accompany in Chinese Opera Construction The dizi is most commonly constructed from bamboo but Is also fashioned from stone or jade It consists of six finger holes and the unique additional hole the muo kong located between the lip and other holes The muo kong is a thin membrane made from the inside of the bamboo shoot or sometimes It s said constructed from a thin piece of rice paper When played the membrane vibrates to create the characteristic buzzing resonating sound of the flute which enhances the projection of its sound Techniques The most common range is about two and one quarter octaves The instrument itself Is tuned to a diatonic major scale w
56. echnique in clude proper breath and tongue techniques Modulation of tone and timbre such as glis sando and half tones can be achieved by partially covering holes Recently the bansur has been used in film scores to achieve shakuhachi type overblown effects Articulations See the table of articulations starting on page 87 Electric Baritone Violin Origins The electric baritone violin is a string instrument of recent origin It is very popular in modern South Indian music Construction It is a string violin with a wide bridge and an electronic pickup Techniques Technique is similar to a violin except more chordal music can be achieved because of the extra strings The extended scale in its low notes is well suited to the mysterious melodies of India In RA we used the pickups Neumann mics and a guitar amp to get the sound you hear Articulations See the table of articulations starting on page 81 Esraj Origins Of Indian origin the esraj is approximately 200 years old It is used in central and eastern regions of India while the dilruba is found throughout the north The esraj is used in a wide variety of musical genres and it happens to be Sri Chinmoy s instrument of choice Construction The esraj is half sitar the neck and half sarangi the resonator and n body It is also considered the twin sibling to the dilruba the main as E ek differences in construction are in the tuning peg construction and
57. ed what Is now known as the ukelele Impressed with the beautiful timbre the instrument could create Hawailans gave the title Ukelele to the in strument meaning jumping fleas This instru r ment is a symbol of Hawaiian identity and spirit Construction The ukelele is a 4 stringed some builders make between 4 and 10 string ukeleles small shaped guitar The wooden body is traditionally constructed from wood harvested from the Hawaiian Islands such as Koa wood Hawaiian Mahogany Milo Kulawood the wood varies dependent on the luthier Different sizes are made as well which are of different registers standard size concert size tenor and baritone Traditionally nylon Strings are the strings of choice some makers prefer to use steel Techniques The soprano concert and tenor standard tunings are as follows AECG The baritone though is tuned as follows EBGD Soft picks are sometimes used to create a uniquely mellow tone Articulations See the table of articulations starting on page 66 Instruments of Europe Alpenhorn Origins Also known as alphorn this instrument comes from Switzerland and some other Alpine countries It is traditionally used by mountaineers Two thousand years ago or more Celtic tribes first settling in the Northern Alps used the alpenhorn for everyday rituals both sacred and secular Chapter 4 The Quantum Leap RA Instruments 37 QUANTUM LEAP RA VIRTUAL INSTRUMENT Constr
58. ee the table of articulations starting on page 85 Tambura Origins The tambura is used in both Hindustani north ern and Carnatic southern Indian classical mu sics In northern India it is Known as tanpura in southern India it is called tambura Construction This is a long necked four stringed wooden in strument with no frets The jawari or flat bridge on which the strings rest increases the width of the string vibration which is the character istic sound of the warm drone of the tambura Three of the four strings are made of steel the fourth is made of brass There are three different constructions of the Tambura e The northern Indians use the miraj style Between 1 and 2 meters the main body Is made of teak or tun wood and the resonator section is made from a gourd e The southern Indians use the tanjore style Also being between 1 and 2 meters with the main body made of teak or tun wood it is similar but the tanjore style differs in that the long neck narrows at the head and the resonator section is constructed from wood e The tampuri style is smaller in size less than 1 meter the resonator is smaller and its construction entirely from wood Increases its durability The smaller size makes It easier to transport Chapter 4 The Quantum Leap RA Instruments oo QUANTUM LEAP RA VIRTUAL INSTRUMENT Techniques Tuning for the four strings are in the dominant tonic tonic tonic order and are plucked v
59. ell 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 available Space on the hard drive required for a full installation of Quantum Leap RA is approxi mately 13 2 GB Gigabytes Chapter 2 Quantum Leap RA An Overview 11 QUANTUM LEAP RA VIRTUAL INSTRUMENT PLAY 3 The Quantum Leap RA User Interface Performance Legato Button Portamento Button Repetition Button Round Robin Reset Button Stereo Double Controls Filter Controls Microtuning Controls ADT Controls The Graphical Representation of the Envelope The Browser View Performance Scripts Click on this text to open the Master Navigation Document 12 QUANTUM LEAP RA VIRTUAL INSTRUMENT The Quantum Leap RA User Interface Each library presents its own interface when one of its instruments is the current one as specified in the Instruments drop down in the upper right corner The image at the bottom of the page provides an overview of the entire window when in Player View when the current instrument is from the RA library Much of this interface is shared by all PLAY System libraries and the common features are described in the PLAY System manual The controls described later in this section are those listed on the next page Volume MIDI PORT
60. enix Nick Phoenix Doug Rogers Pacemaker and Tony Austin Special Thanks Ocean Way Studio and the artists Chapter 1 Welcome 4 QUANTUM LEAP RA 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 The manual that describes the whole PLAY System This the largest of the manuals addresses how to install and use all aspects of the software that are common to all libraries e The 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 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 c
61. eplace all of the instruments with their ethnic counterparts strings with middle eastern string section solo violin or cello with electric baritone violin hardangerfiddle or erhu french horn with alpenhorn flute with dizi oboe with duduk western percussion with taikos and African percussion harp with kora trombones with rag dung etc etc Or perhaps try the hurdy gurdy hardanger fiddle washburn guitar mandolin and the dizi and make an interesting folk ensemble or try the gamelan ensemble with the ney flute duduk and esraj And don t forget the reverb to bring them all together in the same acoustic space Nick Phoenix Producer QUANTUM LEAP Chapter 2 Quantum Leap RA An Overview 9 QUANTUM LEAP RA VIRTUAL INSTRUMENT The Instruments in Quantum Leap RA The tables that follow provide a brief but complete listing of all 65 instruments avail able in Quantum Leap RA Descriptions of these instruments along with pictures are in Chapter 4 starting on page 21 And for a listing of all the available articulations go to Chapter 5 starting on page 61 African Dual Wooden Shakers Ewe Ekpiri Kidi African Metal Shakers Ewe Ewe Drum Ensemble Kora Atsimevu Ewe Bombshell Log Drums Axatse FromlonFrom Ngoni Batas Gankokwe Large Udu Berkete Gyil Dejembe Ensemble Kalimbas AMERICAS amp AUSTRALIA 1890 Washburn Guitar Cuban Percussion Mandolin American Jaw Harp Didjeridoo Pan Flute Banjo Dobro Ukelele Berimbau First Nati
62. er to them both Chapter 1 Welcome D QUANTUM LEAP RA 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 trom EastWest and other users of the EastWest PLAY System e news about upcoming releases The address Is http support soundsonline com You can also visit the EastWest online forums There you can read comments and ques tions from others who use EastWest products and post your own The many forum par ticipants are a good source of helpful information about both the technical and musical aspects of this software The address of the forums Is http www soundsonline forums com Chapter 1 Welcome 6 QUANTUM LEAP RA VIRTUAL INSTRUMENT 2 Quantum Leap RA An Overview 8 The Design Point for the RA Library 10 The Instruments in Quantum Leap RA 11 What s Included 11 Hardware Requirements Click on this text to open the Master Navigation Document 7 QUANTUM LEAP RA VIRTUAL INSTRUMENT Quantum Leap RA An Overview The Design Point For the RA Library In ancient Egypt RA was regarded as the creator of everything the god of the sun RA is usually represented with the body of a man and the head of a hawk holding an ankh and scepter The chief location of R
63. ery softly to create a drone The tambura is the main instrument to accompany vocal performance in Indian classical music The resonator is placed on the right thigh and held upright while playing Articulations See the table of articulations starting on page 86 Instruments of the Middle East amp Turkish Empire Qandahar Dumbek Origins Arabian in origin the dumbek is commonly found in Turkey the Bal kan countries and North Africa This large and deep sounding dum bek comes trom Iraq Constructions The body of the dumbek is shaped like an hourglass and is typically made from nickel ceramic or compressed aluminum The instrument we sampled for this library was made of metal and much larger then most typical dumbeks thus giving a much lower fundamental pitch Techniques The name dumbek is derived from the two basic techniques of striking the drum dum is the bass tone and bek is the high pitched crack sound made by striking the drum towards the edge of the drumhead We have also sampled a number of non tradi tional techniques for the purpose of this library Articulations This drum does not use separate articulation files The different articulations are as signed to individual notes Duduk Origins The Armenian duduk dziranapogh is a traditional Armenian name meaning apricot pipe has perhaps the richest and oldest history of all of the double reed woodwind instruments stretch ing back be
64. fore the common era Duduk is the adopted name taken from a Russian pipe instrument called dudka The duduk design emigrated from Armenia to many other countries In Tur key It is called a mey in Iraq and Iran it is called a balaban in Georgia a dudki in Azerbaijan a balamam and it is also found in derivatives form throughout areas such as Persia and the Bal kans Many consider the duduk the heart and soul of Armenian Chapter 4 The Quantum Leap RA Instruments 54 QUANTUM LEAP RA VIRTUAL INSTRUMENT music For RA we sampled 3 duduks one from Armenia one from Turkey and one small duduk from Bulgaria Construction In ancient times it was constructed from bone today the double reed wind instrument is most commonly constructed from aged apricot wood There are 8 holes on the front and on the back there is a thumb hole An additional tuning hole is constructed on the horn end of the instrument and depending on the maker can be on the front or back Sizes vary the most common being 28 33 and 40 cm The ramish the double reed is anywhere from 9 to 14 cm in length and consists of two pieces of cane cut from a reed of the shores of the Arax River in Armenia The reeds are assembled in a duck billed configuration Tuning the Duduk is accomplished with an adjustable wood binding which surrounds the ramish Sliding this binding along the ramish opens or closes the reeds The reed is generally wider than most reeds which gi
65. g The frame drum is typically played by combining various different finger hand and muting tech niques to produce complex conversational patterns Articulations See the table of articulations starting on page 71 Gadulka Origins The gadulka s origins are Bulgarian Today it is found in central Bulgaria the Balkans and Thrace It is the most ancient folk instrument in Bulgaria An older relative of the gadulka is the Greek Lyra Construction It is a pear shaped hollow wooden stringed in strument played with a bow The entire instrument is carved from a single piece of wood cut from a sycamore walnut or pear tree It has 3 playable strings and 11 sympathetic strings Techniques The 3 main strings are often tuned AEA I V I although tuning can vary depending on the country of origin It is played while held upright and resting on the knee or horizon tally and held with a strap resting in the center of the chest like a saxophone The finger tips of the left hand form the melody by playing the strings on the neck sliding up and down the neck without touching the fingerboard Articulations See the table of articulations starting on page 68 Chapter 4 The Quantum Leap RA Instruments 39 QUANTUM LEAP RA VIRTUAL INSTRUMENT Hardanger Fiddle Origins A Norwegian violin called the hardingfele is recog nized as the national instrument of Norway The oldest known fiddle of this type was made in Ullensvaang N
66. hich connects to a neck called the sao which in turn is joined with the body called the dou This dou has a drum shape manufactured of wood It is covered on either side with cat or dog skin which amplifies its sound Both neck and body are detachable to assist in transportation The strings are manufactured from silk A characteristic buzzing sound called shawari is created when the bottom String travels over a hump The bachi is the pick used to strike the strings It can be fashioned from a variety of different sources wood plastic or other natural materials Techniques Shamisen is most commonly used to accompany a singer as described in the styles above though in more modern eras It has evolved into a solo classical instrument There are three main tunings 7 Hon chosi main tuning IV 8 Niagari raising the second string V 9 San sagari also lowering the third string I V VII Articulations See the table of articulations starting on page 77 Taiko Drums Origins Taiko drums are native to the Japanese culture and date back to well before the 6th century One of the first uses of taikod was as a battlefield instrument They were primarily used to intimidate and scare the enemy The modern ver sion of the taiko Is a design that is only about 100 years old Construction Literally the Japanese word taiko means fat drum al though there is a vast array of shapes and sizes of these drums
67. hich draw air towards a cut in the side of the mouthpiece Techniques The range is roughly one octave The characteristic technique uses very fast vibrato Articulations See the table of articulations starting on page 72 Launeddas Origins Origins date back to at least 700 900 B C E in Sardinia where secular statuettes depict a player of the Launeddas It is a symbol of Sardinian iden tity Construction A polyphonic reed instrument it is made up of three different sizes of fen canes The lowest and longest is called tumbu which is tuned to the tonic sa mancosa manna and man cosedda are the other two pipes they are both melodic pipes On these two canes there are five finger holes each fingered by the left and right hands simultaneously Chapter 4 The Quantum Leap RA Instruments 41 QUANTUM LEAP RA VIRTUAL INSTRUMENT Techniques The instrument requires a constant flow of air and so a circular breathing technique is necessary Sa mancosa manna and mancosedda are played simultaneously and dif ferent combinations of the holes creates different types of cunzertus Articulations See the table of articulations starting on page 73 Highland Pipes Origins The highland pipes Scottish history dates back to the 14th century By the 16th and 17th centuries elaborate decoration of pipes was commonplace Historically they are played outdoors at secular events Construction His
68. his 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 PROVIDED IN LIEU OF ANY OTHER WARRANTIES IF ANY CREATED
69. ignature and or signature of the flute maker These are etched and ink filled or burned in Techniques Different lengths determine pitch and most players have a set of flutes to play in dif ferent keys Accomplished players though can achieve a 3 octave range on one ney through advanced finger and blowing techniques The rast mode is the Arabic maqam mode easiest to achieve from the ney for those of you with a more Euro centric world view the rast is the same as the dorian mode The bridge is a characteristic polyphonic mode of the ney it is achieved when the ney player plays the same note an octave apart Characteristically the player plays notes within the musical range of the instrument plus their sub harmonics to achieve the bridge Articulations See the table of articulations starting on page 96 Oud Origins The oud is a short necked half pear shaped plucked lute of the Arab world a direct ancestor of the European Chapter 4 The Quantum Leap RA Instruments 56 QUANTUM LEAP RA VIRTUAL INSTRUMENT lute It first appears in Mesopotamia during the Kassite period 1600 1150 B C E with a small oval body The oud s name derives from the Arabic for wood which refers to the Strips of wood used to make its rounded body It is the principal instrument of the Arab world and is of secondary importance in Turkey ud Iran Armenia and Azerbaijan It is known both from documentation and through oral tradition as the king
70. ion 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 8227 7202 as applicable Consistent with 48 C F R 12 212 or 48 C F R 227 7202 1 through 227 202 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 This License constitutes the entire agree
71. is used for amplification and it produces the trademark wah wah sound that uniquely identifies the instruments Techniques The berimbau is played by striking the metal string with a thin wooded stick The per former then controls the timbre of the sound by moving the caba a against his or her body Further control of the sound can be achieved by pressing a coin shaped stone against the vibrating string to produce a raspy muting sound that gradually chokes the sustain of the instrument Articulations See the table of articulations starting on page 63 Cuban Percussion Instruments Congas Bongos and Timbales Origins The exact origins of these instruments are unknown due to the fact that they were brought to Cuba during slave trade to southern North America around the 19th century Many agree that these instruments JIEN derived from a mixture of African cultures ma Construction The congas are constructed of wood either as one solid carved piece or of wooden slats bound by metal rings The drumhead is fastened on the top of the drum by metal lugs The bongos are constructed by attaching two small circular drums to a small wooden block Typically the two drums vary in size in order to create two different pitches The timbales consist of two different sizes of one headed tom tom like brass drums suspended on a metal stand Techniques For the purpose of this library we have sampled the basic open tone
72. is virtual in strument is usually a short anticipatory movement between the pitches of two adjacent notes This technique Is most common in instruments that are not restricted to playing notes of any specific scale such as where bending of notes is possible Turning on portamento in a phrase is a subtle way to increase a sense of realistic playing Repetition Button Repetition in this context refers to the playing of a single pitch more than once with no different notes played between them in the same phrase Turning on this button causes repeating notes to sound slightly different avoiding the sense of mechanical repetition Chapter 3 The Quantum Leap RA User Interface 14 QUANTUM LEAP RA VIRTUAL INSTRUMENT Round Robin Reset Button A round robin articulation is one in which several different samples are recorded with all parameters such as volume speed of attack and so on being essentially constant The PLAY Engine then knows to alternate between the two or more samples during playback The goal is to avoid what s often called the machine gun effect in which playing the Same sampled note repeatedly causes the unnatural sound of consecutive notes being mechanically identical There s one potential problem with round robin technology and one way to solve It Is ZEA 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 co
73. itar came from the Indo Pakistan subcon tinent during the collapse of the Mughal Empire in the 17th century Persian lutes were used in the Mughal courts for centuries and it Is evi dent that the sitar evolved from these A 18th century fakir named Amir Khursru is accredited with the first sitar design said to be developed from the Pesian Sehtar Khursru s grandson Masit Khan continued in the family tradition Khan is recognized as one of the most influen tial musicians in the development of this early sitar design and his style of compositions are remembered today as Masitkhani Gat In modern times the sitar is used in Hindu Stani northern classical Indian music Construction The sitar is a fretted long necked stringed instrument made of tun or teak wood with a resonator typically made of a gourd Most designs have 20 strings 7 playable and 13 sympathetic The 20 Frets are raised to allow room underneath for sympathetic strings to pass And they are and adjustable for more accurate tuning Fine tuning is accomplished via beads at the base of the bridge and with the pegs It Is characteristically difficult to tune A plectrum called a mezrab is used by the right hand to pluck the strings while the left hand plays on the neck Techniques The 7 playable strings are set up as follows 3 strings cover the upper three octaves 3 Strings called cikari are designated rhythm strings a seventh string covers the lower bass octave
74. ith the seventh slightly lowered in pitch Notes outside the scale are accomplished by partially blocking holes Many accomplished dizi players own a Set of seven flutes one for each key Despite the limited technique of the instru ment the standard of technical ability can be very high Articulations See the table of articulations starting on page 78 Balinese Gamelan Origins The Balinese gamelan is native to the Indonesian culture There are two types of gamelan orchestras For the purposes of this sample library we sampled gamelan instruments that originate from the country of Ball The other type of gamelan ensemble which origi nates from the country of Java differs slightly in construction Instrumentation and compo Sition Traditionally gamelan is only played at certain occasions such as ritual ceremonies Special community celebrations shadow pup pet shows and for the royal family gamelan is also used to accompany dances in court tem ple and village rituals Construction The gamelan orchestra is comprised of a large variety of instruments For this library we have sampled two instrument types The metallophones calung katana and pamade are constructed much like a vibraphone They are made from a number of tuned metal bars suspended above an elaborately carved wooden stand Chapter 4 The Quantum Leap RA Instruments 44 QUANTUM LEAP RA VIRTUAL INSTRUMENT The gongs gamelan gong and kajar and byeon look li
75. ke most brass Chinese gongs with one distinct difference Instead of having a flat Striking surface the gamelan gongs have a bell or nipple shaped Striking surface in the center of the gongs This is done to pro duce a tone that Is rich in the fundamental harmonic of the gong The gongs are tuned to specific notes in the gamelan scale The gamelan gong and kajar serve a time keeping purpose it is because of this that they are mostly tuned to the root note of the scale of the particular gamelan composition The byeon is a group of scale tuned gongs suspended horizontally on a wooden stand Techniques The metallophones are played by striking the tuned metal bars with a metallic hammer Shaped stick The larger gong is played by striking the nipped shaped center with a large soft circular mallet The kajar and byeon are play by striking the nipple shaped center with a miniature bat shaped wooden mallet Articulations See the table of articulations starting on page 5 Gongs Origins According to Chinese tradition gongs came from the country of Hsi Yu in the western region between Tibet and Burma The gong is mentioned in writings during the early sixth century in the time of Emperor Hsuan Wu 500 516 C E Constructions Most gongs are made from casting molten metal compos ites of brass tin copper lead zinc and iron These mol ten composites are hammered into shape smoothed by a lathing tool then tuned After tuning some g
76. lations are listed as Vel 1 Vel 2 etc When playing live dig into the keys when you want to hear one of these special sounds gt A Round Robin Switch alternates among the Included articulations In the next chap ter s tables the articulations are listed as RR 1 RR 2 etc Chapter 4 The Quantum Leap RA Instruments 21 QUANTUM LEAP RA VIRTUAL INSTRUMENT e A Big program layers 2 sets of samples e plays the two samples simultaneously in order to achieve a sound bigger that what was heard during the recording session Articulations can also be opened individually within PLAY When one or more of the groups listed above Is present the individual articulations are usually contained in an Elements folder as in the image above A few instruments for example most of the African instruments contain only one articu lation file so you will see none of the special collections above Finally note that unpitched percussion instruments usually assign the different articula tions to different notes within a single instrument file For example C3 might be a hit at the center and D3 might be a roll and E3 might be a hit near the rim The descriptions are grouped into instruments from each of the following geographical regions in this order l Africa starting on page 22 2 The Americas and Australia starting on page 31 3 Europe starting on page 37 4 The Far East starting on page 43 5 India starting on page 49 6 The
77. lic for the struggle for emancipation of the Armenian na tion The zourna is widely used in Armenia and Chapter 4 The Quantum Leap RA Instruments 58 QUANTUM LEAP RA VIRTUAL INSTRUMENT Bulgaria Derivatives are found in many places including India shenay Greece zourna Yugoslavia zurla France bombarde Tunis zokra Iran tzurnay Lebanon and Iraq zamr Morocco ghaytah or raita and Turkey Construction In Armenia the zourna is traditionally constructed from the wood of an apricot tree while derivatives in other countries are constructed from the woods of plum walnut and saber trees There are seven holes in front and one in back with an additional tun ing hole at the horn end kalak Wider finger holes allow for one to achieve chromatic tones more easily The zourna is constructed in different sizes ranging from 30 to 60 centimeters Different lengths of the instrument determine different ranges of pitch The metem is the protruding tube at the reed end of the horn On the metem the avurtluk is a hollowed out circular tube designed to assist the player in circular breathing The ramish or reed consists of two elements A piece of flattened cane makes up the reed portion which attaches to a circular tube of metal forming the mouthpiece Techniques Characteristically a very loud instrument proper technique requires heavy air pressure and circular breathing Due to the loud volume of the instrument It is tradition
78. ly sustain generates the sound of the open hit e The mute hit is produced by striking the drum with a stick while pressing the stick firmly into the head to cut off the sustain of the drum Articulations These instruments do not have separate articulation files PLAY uses separate notes to sound the various articulations Chapter 4 The Quantum Leap RA Instruments 23 QUANTUM LEAP RA VIRTUAL INSTRUMENT Djembe Ensemble Origins The Djembe originated from the Mali Empire around the time of the 12th century The Mali Empire covered an area that encompasses significant portions of the present day countries of Mali southern and western Mauritania Guinea and Senegal It has been said that the Djembe was invented for King Sunjata Keita and was held as a shrine for many years before it was publicly played Construction The Djembe is carved from wood It has a shape similar to a wine glass Presently the drumheads are made from calf deer or goat skin The heads are strung with rope in a very particular pattern around the drum in order to fasten the drum skin to its wooden body As an option some Djembe players attach metal fin shaped ornaments to the drum called Ksink Ksink These are usually made from tin or aluminum and have metal rings fastened to them This produces a raspy rattling sound when the drumhead is struck Techniques For the purpose of this sample library we have included three basic articulations and one extende
79. 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
80. mount udu drums and play them standing up For RA we sampled a very large udu played with a paddle Articulations These instruments do not have separate articulation files PLAY uses separate notes to sound the various articulations Chapter 4 The Quantum Leap RA Instruments 30 QUANTUM LEAP RA VIRTUAL INSTRUMENT Instruments of the Americas amp Australia Banjo Origins The Banjo was acquired into the traditions of many cultures through the African slave trade African slaves built the design of the early banjo on instruments native to their regions of Africa It eventually reached America where the instrument became popular among white men in the Minstrels During the American parlour era or classical era there were many virtuoso banjo players and it became popular as both a symphony or chestra member and solo instrument Additionally ERN the banjo became an essential instrument during the jazz era and was used in many jazz ensembles The 1929 stock market collapse and following de pression is credited with wiping out the banjo s popularity because its sound was so joyful it was quickly replaced with the arch top guitar It was re popularized into American country and bluegrass by Bill Monroe in which style it is most commonly used to this day Construction The modern construction is a metal body in the form of a drum and fretted wooden neck with five strings A gut or animal skin is stretched across the top to make
81. n M50 AKG C12 and Shoepps Another cool aspect of this virtual instrument is the fact that we recorded ethnic ensem bles This was done with African drums bagpipes gamelan and a Middle Eastern string section The sound of these ensembles cannot be realistically simulated by layering solo instruments RA was a very expensive project but well worth the cost A lot of thought went into se lecting instruments that would appeal to composers of all types from dance music to film You might want to put the middle eastern string section in your next pop tune or the hardanger fiddle in a Sweeping romantic score a la Lord of the Rings You might also be surprised at how little percussion is included in this giant ethnic col lection The reason we already covered much of the world s diverse ethnic percussion in Quantum Leap Stormdrum and even more so in the follow up product Storndrum 2 Both RA and Stormdrum 2 are PLAY libraries so they can be mixed in the a single instance of PLAY resulting in a seamless and complementary combination of the two libraries You can have a lot of fun with RA The possibilities are endless especially when you mix the sounds of different cultures together Load up the middle eastern string sec tion apply an Indian or Egyptian tuning from the micro tuning presets and play them in octaves Make a really cool groove with the didgeridoo effects and the Vietnamese jaw harp Take a classical filmscore piece and r
82. nd UP Fast Turkish Duduk Vell Leg Exp Live 2 Vel2 Vib Bend Vel3 Exp Melody 1 continued Chapter 5 Articulations and Keyswitches 97 QUANTUM LEAP RA VIRTUAL INSTRUMENT Turkish Duduk Bend Up Fast 1 Elements Bend Up Fast 2 Bend Up Fast 3 Bend Up Slow Exp Melody 1 Exp Melody 2 Exp Melody 3 Exp Vib Slow Leg Exp 1 Leg Exp 2 Slur DN Slur Up Stac 2RR Stac 3RR Sus Bend DN oe Zourna CO Sus Vib RR KS CO A 0 C 0 Non Vib DO Exp D 0 Leg1 EO Leg 2 FO Grace F 0 Trill GO Exp Melody 1 G 0 Exp Melody 2 A0 Exp Melody 3 A 0 Exp Melody 4 Zourna Vell Leg Live Vel 2 Sus Vib RR Vel 3 Trill continued Chapter 5 Articulations and Keyswitches 98 QUANTUM LEAP RA VIRTUAL INSTRUMENT Zourna Exp Melody 1 Elements Exp Melody 2 Exp Melody 3 Exp Melody 4 Exp Grace Leg 1 Leg 2 Non Vib Sus Vib RR Trill Terms and Abbreviations Used in Articulation Names TERMS amp ABBREVIATIONS Abbreviation Definition 5ths Perfect 5th interval Acc Accent Arp Arpeggio Basic Basic articulation Big Big Bend Bend of note Body Body generated Bow Horsehair and wood Bridge Wooden object supporting the strings Chrom Chromatic Dbl Double DN Down continued Chapter 5 Articulations and Keyswitches Notes or Examples A slide or chord sampled in perfect fifth intervals Accent made by bow biting a string or tongue tightening on wind hole Broken ascending or descending chord played in sequential order Most commonly performed ar
83. notated time The producers have selected which of these three approaches will be used for each ar ticulation file and how much variability to allow to achieve the most realistic behavior That is some patches randomly use all three approaches while others may use only one or two of them Note that Repetition scripts do not have the equivalent of the Round Robin Reset button to ensure an identical sound every time the same track is bounced to audio The random ness of the results is a feature You need to decide how important exact repeatability is when selecting either a round robin patch or the Repetition script Chapter 3 The Quantum Leap RA User Interface 19 21 22 31 37 43 49 94 QUANTUM LEAP RA VIRTUAL INSTRUMENT 4 The Quantum Leap RA Instruments Instrument Types Instruments of Africa Instruments of the Americas amp Australia Instruments of Europe Instruments of the Far East Instruments of India Instruments of the Middle East amp Turkish Empire Click on this text to open the Master Navigation Document 20 QUANTUM LEAP RA VIRTUAL INSTRUMENT The Quantum Leap RA Instruments This chapter describes the instruments sampled in this library Because many of them will be unfamiliar to readers the text provide background information as well as an over view of the traditional techniques for playing each instrument Specifically the section for each instrument includes a photograph and these three topic
84. nsemble 24 Kidi 24 Large Udu 30 Log Drums 28 AFRICA PITCHED PERCUSSION Gyil Mallet Stick 26 Gyil Mallet Untuned 26 Gyil Mallet 26 Gyil Stick 26 Kalimba Low Untuned 29 Kalimba Low 29 Kalmiba Hi Untuned 29 Kalmiba Hi 29 Kalmiba Hi Wah Untuned 29 Kalmiba Hi Wah 29 Log Drums Melodic 28 AFRICA PLUCKED Kora 21 Ngoni RR 28 Chapter 5 Articulations and Keyswitches 62 QUANTUM LEAP RA VIRTUAL INSTRUMENT AFRICA SHAKERS AND RATTLES African Dual Wooden African Metal Axatse 24 Ekpiri Shelled BODY Ekpiri Shelled Sht The Americas amp Australia AMERICAS amp AUSTRALIA PERCUSSION Berimbau 31 Basic Chrom FX RR Chrom Cuban Percussion 32 RR AMERICAS amp AUSTRALIA PLUCKED 1890 Washburn Guitar 36 Washburn Guitar C0 Finger KS CO D 0 C 0 Pick DO Strum RR D 0 Harm Washburn Guitar Vell Pick Live Vel2 Slide Washburn Guitar Finger Elements Harm Pick RR Strum DN Strum RR Strum UP continued Chapter 5 Articulations and Keyswitches 63 QUANTUM LEAP RA VIRTUAL INSTRUMENT AMERICAS amp AUSTRALIA PLUCKED Co e Jawharp VS Bano So Bridge Neck a i Sl Dobro CO Open KS CO D1 C 0 Slide Slow DN DO Slide P4th UP NVB D 0 Slide P4th Up Vib E0 Slur UP DN FO Slide WT UP Fall F 0 Slide WT UP GO Trem FX WT UP G 0 Trem FX A0 Slide Fast DN A 0 Slide Fast UP BO Slide Power UP A C1 Slide Power UP B C 1 Slide Full DN D1 Slide Full UP All Mute FX Dobro Vel1 Open Live 1 Vel2 Slide
85. ntains two samples A and B and a piece uses that note times the PLAY Engine plays A B ABABA 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 consis tent playback You can use this button to reset all round robin articulations on demand Or use your choice of a MIDI note or MIDI control code to reset them one instrument at a time from a MIDI keyboard or the data stored in a sequencer project See the description of the Settings dialog for more information about this articulation specific approach Stereo Double Controls This knob with its three buttons gives the user the option of using ex clusively the left stereo signal or right when Stereo is selected from the Channel Source drop down For any other setting this control has no effect The knob lets the user determine the spread of the signals how far apart the ear perceives the stereo channels to be A value of O brings the two channels together at the center unless the Pan knob positions the output differently and is the equivalent of turning off the controls with the button below the knob A value of 100 call for the maximum spread available Select between the left and right signal with the buttons on either side of the knob Filter Controls The Filter co
86. nter Playing chromatically is possible with the use of dry reeds Articulations See the table of articulations starting on page 74 Instruments of the Far East Erhu Origins The erhu evolved from the xigin an early Chinese form of bowed instrument that was popular in the 8th century Chinese origins of the erhu date back as early as the 18th century The erhu together with the zhonghu gaohu and xihu form the huqin family of Chinese Instruments Construction This 80 centimeter fiddle consists of two steel Strings and is played with a horsehair bamboo bow The bow hair rosined on both sides is at tached to the main instrument and in perfor mance Is passed through the strings The head of the neck similar to the western violin s scroll is often carved in shapes such as a bat or dragon head The base of the neck attaches to a ma hogany ebony or sandalwood body and Is cov ered with a snakeskin membrane which helps to amplify the sound of the fiddle Techniques Played in a seated position the erhu rests vertically on the left thigh while the left hand holds the neck of the fiddle and the right hand holds the bow Pushing the bow sounds the lower string and pulling the bow sounds the higher string The erhu is most common ly tuned in fifths the lower string usually tuned to D and the upper string to A The range Is anywhere from one to three octaves depending on the skill level of the performer Articulations Se
87. ntrols 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 The Resonance knob specifies how much the filter rings at the dialed frequency The higher the resonance knob is set the more fo amp cused this ringing becomes _ Chapter 3 The Quantum Leap RA User Interface 15 QUANTUM LEAP RA VIRTUAL INSTRUMENT The graph gives you visual cues about the frequency distribution you are creating with the settings you select Microtuning Controls The instruments in Quantum Leap RA have origins all over the world Many of these cultures have developed their own distinctive scales different from the diatonic scale of the European tradition on which much of western music is based RA makes it easy to incorporate these various scales in your music to provide an authentic feel There are two Microtuning controls The one at the left is a drop down list of all the scales available in RA At the top of the list is Western which tunes the 12 notes in each octave to the traditional scale heard in all the other libraries this choice in effect turns off microtuning The other options in the list adjust the pitch of some or all of the 11 non root notes to achieve the characteristic sound of the chosen scale The control at the right is another dr
88. ntum Leap RA Instruments J5 QUANTUM LEAP RA VIRTUAL INSTRUMENT violin it is easily able to adapt to playing in the quartertone structures of the magam The ensemble in RA was recorded with 4 violins on the left and 3 cellos on the right playing one octave below Articulations See the table of articulations for the Mid East Fiddle starting on page 88 The table of articulations for the whole string section start on page 89 Ney Flute Origins Tomb paintings of the pyramids of Ancient Egypt dating between 3 000 and 2 500 B C E depict ney flute players and archae ological excavations at Ur an ancient city in Mesopotamia now known as Iraq have uncovered early specimens of the ney flute It is common throughout the Arabic world Persia and Turkey Ney is the Farsi word for reed so the flute is named after a plant from which it is fashioned Construction Traditionally cut from a nine segment section of the Arundo donax plant taken from the Nile River the ney is an end blown flute with six finger holes on the front and one thumb hole on the back On the front the hole closest to the mouthpiece is partially open while the rest are fully open The embouchure is bevelled and in modern times is fitted with turned wood bone and horn Traditional Egyptian neys have wire wrapped at the mouthpiece end of the flute to add decoration and support to the flute s construction Emblems at the mouthpiece end signify the flute s key s
89. o scored numerous TV shows for NBC CBS Showtime and Fox The journey as a composer has also inspired Nick to record and program his own sounds and samples Nick founded Quantum Leap Productions in 1997 and Quantum Leap has Since grown to be the world s top producer of high end virtual instruments A 10 year partnership with Doug Rogers and East West has yielded countless award winning soft ware titles such as Stormdrum Symphonic Orchestra Symphonic Choirs RA Voices of Passion Ministry of Rock Gypsy QL Pianos VOTA QL Brass QL Guitar and Bass Hardcore Bass Goliath and Colossus Nick s studio is located in Venice California and is 100 solar powered www nickphoenix com Chapter 1 Welcome 3 QUANTUM LEAP RA VIRTUAL INSTRUMENT Credits Producers Nick Phoenix Tony Austin and Pacemaker Executive Producer Doug Rogers Engineering and Mastering Nick Phoenix Programming Pacemaker Jared Selter Tony Austin Justin Harris and Nick Phoenix Editing Pacemaker Tony Austin Jared Selter Justin Harris Jonathan Marmor Arne Schulze Claudia Phoenix Nick Phoenix and James Rickabaugh Art Direction Steven Gilmore and Doug Rogers Photography Claudia Phoenix and Tony Austin Software Doug Rogers Nick Phoenix Klaus Voltmer Klaus Lebkucher Patrick Stinson Stefan Kersten Toine Diepstraten Thomas Merkle Ezra Buchla David Kendall Nick Cardinal and Jonathan Kranz Manual John Philpit Claudia Pho
90. of articulations starting on page 78 Instruments of India Bansuri Origins Being a transverse flute the bansuri is one of the most ancient of musi cal instrument designs In India the bansuri has a rich history of the folk musics of India both sacred and secular It has a special connec tion to Lord Krishna as the legend goes Krishna is a sheepherder with magical powers who plays the flute In modern Indian times it is used in folk popular religious and classi cal music Panna Lal Ghosh earned a great deal of credit for making the bansuri flute popular this century in Indian classical music and also in aie his additions to the design of the modern bansuri The name bansuri comes from two Hindi words banse which means bamboo and sur which means melody Construction It is made of bamboo or occasionally of reed and sealed on one end with six uniformly placed holes Due to its ability to create overtones where a metal flute cannot bamboo Chapter 4 The Quantum Leap RA Instruments 49 QUANTUM LEAP RA VIRTUAL INSTRUMENT is the preferred source of material Traditionally close to 33 centimeters in length lon ger lengths create lower pitches In more modern times many bansuris have an added seventh finger hole which adds fllexibilitiy and control as well as extending the upper registers into a third octave Techniques In Hindustan music the range is two octaves Essential elements of flute t
91. omputer screen you can zoom in to see more detail in the images or zoom out to see more of the page at once If an included picture of the user interface or a diagram seems fuzzy or illegible then zoom in using one of several means provided in the Acrobat Reader software Note that images are clearest and screen shots most legible at 200 and next best at 100 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 Gypsy library and need to open the manual for the PLAY System as well go to any chap ter title page and click on the link that says Click on this text to open the Master Navi gation Document It will open in a new window on the screen In that document click on the icon for the PLAY System and its manual will open in the same window hiding the MND You now have both the Gypsy library manual and the PLAY System manual Open in separate windows so you can ref
92. ongs are polished and then decorated with paint and embroidery Techniques The basic technique for playing a gong is quite simple Striking its center with a large soft mallet produces the most recognizable sound However many extended techniques have been developed in order to produce sound effect timbres These techniques include scraping the gong with a metal claw or striking it with various odd shaped mallets Articulations See the table of articulations starting on page 6 Chapter 4 The Quantum Leap RA Instruments 45 QUANTUM LEAP RA VIRTUAL INSTRUMENT Koto Origins The koto was Introduced into Japanese culture in the 7th or 8th century probably from China Repertoire was passed down by apprenticeship Originally reserved for the royal court Yatsu hashi Kengyo a blind koto player made the effort to Increase the instrument s accessibility among the common people Construction The koto is an table zither of approximately 180 centimeters i with 13 strings The hollow body is made of paulownia wood TZ a deciduous tree native to Asia Sound resonates from sound y holes carved on the side at each end of the body All strings are the same length They are connected to each end of the body with anchored bridges while adjustable bridges for every string called ji elevate each string from the body Tuning is created by adjusting positions of the ji along the body to create variations in fundamental pitch for each string
93. ons Cedar Flute Alpenhorn Gadulka Irish Low Whistle Bag Pipe Ensemble Hardanger Fiddle Launeddas Bass Recorder Highland Pipes Uilleann Pipes Frame Drums Hurdy Gurdy FAR EAST Dizi Koto Shamisen Erhu Rag Dung Taiko Drums Gamelan Ensemble Gongs Shakuhachi Vietnamese Jawharp Chapter 2 Quantum Leap RA An Overview 10 QUANTUM LEAP RA VIRTUAL INSTRUMENT Bansuri Sarangi Tablas Baritone Violin Electric Esraj Sitar Tambura MID EAST amp TURKISH EMPIRE Armenian Duduk Mid East String Section Ney Flute Turkish Duduk Bulgarian Duduk Oud Yali Tambur Mid East Fiddle Qandahar Dumbek Santoor Zourna What s Included This Quantum Leap RA library you purchased includes all the following e acomplete set of sample based instruments enumerated later in this manual e approximately 13 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 RA Virtual Instrument 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 s
94. op down list of the 12 note names This choice tells the PLAY engine which note is the lowest note in the scale called the root All inter vals for the other scale notes are relative to this fixed pitch In RA PLAY there are dozens of scales available that can be rooted to any of the 12 keys This makes them very flexible There are 2 types of scales available e Scale Type 1 includes all 12 notes in the octave and applies microtuning to all the notes e Scale Type 2 limits the notes that you can play in the octave giving you the authentic scale intended Microtuning is also applied When you play notes that are not in the intended scale only correct notes are heard This is a great feature which helps the user to quickly learn about ethnic music in general Also the notes that are not part of the scale are doubles or alternate takes for the notes that are part of the scale Al ternate takes make this approach a useful way to play interesting repetitions ADT Controls Artificial Double Tracking is a technique invented at Ab bey Road when the Beatles were recording there that ap proximates the effect of double tracking recording two nearly identical takes of a vocalist or instrument on the Same part and laying one on top of the other without ac tually taking the time to record two takes And some would say ADT improves on actual double tracking even beyond the savings in time The original ADT process was based on magnetic tape
95. or way In 1651 by Olav Jonsson Jaastad There are over 1000 documented songs for the hardanger fiddle Each tune is individual and has a lineage as well preserved as the melody itself Construction Construction is similar to a violin additionally there are four to five additional sympathetic strings and a slightly flatter fingerboard Each fiddle is typically a great art piece detailed inlays cover the body mother of pearl inlays cover the fingerboard and the scroll is usually carved into the head of an animal or mythic being Techniques Tunings vary greatly and there are more than 20 ways to tune the instrument so there is no standard tuning Traditional technique is polyphonic Authentic technique is non vibrato For this library we also recorded vibrato for a Lord of the Rings sound Articulations See the table of articulations starting on page 69 Hurdy Gurdy Origins The first known mention of the hurdy gurdy was in the year 942 C E and It was first depicted in Europe in the 12th century The early designs were so large that it took two players to perform one cranking the wheel and one playing the keys In the 13th century it became popular in dance music and the size of the instrument began to decrease so flying solo was possible In the 18th century the French developed an interest in it and their design is e standard today Construction The wooden body is in the shape of a small cello Where
96. r sions have tuning pins for each string on the right side of the sounding board In the In dian design each bridge holds 3 strings which are tuned to the same pitch The frame is trapezoidal in shape so string length at the base are longer and therefore lower in pitch than strings at the top Light wood mallets are used to strike the strings Techniques Mallets are held by both the left and right hands They are used to strike the string lightly Playing the mallets in close or far proximity to the bridges can create very different timbres Muted tones are created when one hand mutes the strings in various positions while the other strikes the strings creating a different timbre at each position Articulations See the table of articulations starting on page 92 Yali Tambur or Yayli Tanbur Origins The yali tambur is a Turkish instrument of ancient origin Construction The soundbox is of a drum like banjo design a round met al body covered with an animal skin It is a stringed instru ment with sympathetic strings in addition to the playable strings Techniques fee The yali tambur is played with a bow and plucked Of jag ten the drone string is plucked repetitively while the other Strings are bowed Articulations See the table of articulations starting on page 90 Zourna Origin Ancient origins date back to the 9th century where the zourna is mentioned in the Armenia tale Da vid of Sasoun which has become symbo
97. r East India the Middle East and the Turkish Empire So what is so special about RA compared to other ethnic collections For a start think you will really love these sounds for the same reason that Rare Instruments was so popular every instrument or ensemble was sampled extensively so the character of the instrument was preserved Ethnic or world music is all about expression and how the instrument is played To sample a Turkish wind instrument and not capture the bending Swelling and wavering of the notes Is to miss the point completely We made a big effort to keep things very organized consistent and intuitive which is necessary with a col lection of this size Every instrument has many articulations and effects that range from very controlled to very expressive This allows you to actually play the instrument with authentic results We also came up with some innovative ideas for achieving realistic legato which we call QLegato Chapter 2 Quantum Leap RA An Overview 8 QUANTUM LEAP RA VIRTUAL INSTRUMENT You will find RA has amazing sound quality This is the famous Ocean Way sound an amazing collection of vintage mics and a custom API console RA was captured with a phase accurate 8 mic setup that gives a complete 3 dimensional image of the instru ment It is this type of sound that takes to artificial or sampled reverb extremely well The sound is clear and broad Mics used were Neumann U67 U4 s as alternates Neuma
98. ree to rest As he was drifted asleep he heard an enticing musical sound from the forest Leaving his shady resting spot he sought out to find the source of this sound After travelling into the forest for a while the physician came upon the skin of a dead monkey gently caressing the branch of a tree in the breeze Inspired by the soulful nature of this phenomenon the physician created the sarangi Another tales replaces the physician with Boo Ali Ibn Sina an Egyptian disciple Whatever the ancient origin the sarangi is the most famous bowed instrument of Indian music Today It is played in North Indian Hindustani music Construction The sarangi has a neck and body constructed from tun wood a resonator made from animal skin 3 playable metal strings and 30 40 sympathetic strings It is played with a bow that looks similar to a violin bow but the horse hair tapers towards the wood as it gets closer to the tip and Is also heavier at that end Techniques Traditionally played seated the instrument rests on the thigh While the left hand holds the neck and plays melodies the right hand holds the bow palm upwards The left hand plays the playable strings with the top of the fingernails talcum powder is used to ease the friction of sliding up and down the string Chapter 4 The Quantum Leap RA Instruments b QUANTUM LEAP RA VIRTUAL INSTRUMENT Articulations See the table of articulations starting on page 84 Sitar Origins The s
99. relative of the oud Instruments of the lute lineage begin to appear in 2 000 B C E in Mesopotamia They are small fret less stringed instruments used with a plectrum There are even depictions of lute like instruments in cave paintings dated be tween 15 000 and 8 500 B C E They depict a man playing a one Stringed instrument with a bow In Europe the mandolin has a 250 year history where it was used prominently in Italy Even Antonio Stradivari the famous violin maker made man dolins for a time Italian immigrants brought the mandolin to America where it gained popularity as both a folk and classical instrument It was quite popular in the vaudeville circuit Orville Gibson is responsible for giving the mandolin its current widespread pop ularity in America His designs were of such quality that they inspired investors to create a company in his name called the Gibson Mandolin Guitar Mfg Co Ltd known today as Gibson Guitars In 1940 the mandolin began to be used in bluegrass and country And it was Bill Monroe who popularized the instrument for a whole new audience Construction Traditionally the mandolin is a small bodied instrument with a short neck and 4 pairs of Strings The pairs of strings are duplicated in octaves Sound holes or F holes similar to those used on a violin are located to either side of the strings on the body of the guitar to project the sound Techniques The standard tuning is the same as a violin
100. rument so that it can play only one note at a time whenever the script is turned on If a note is still playing when a new note starts the first note will end at that moment This behavior allows for no ambiguity in how the notes form a phrase One consequence of this behavior is that if you want two concurrent legato lines or one legato and one non legato line played with the same articulation you need to open the Same articulation file more than once and turn on the Legato script where appropriate Of course the same rule holds for the Portamento script Repetition Script When playing consecutive notes of the same pitch the use of a single sample over and over in quick succession can sound mechanically identical which is called the ma chine gun effect The Round Robin patches are one way to fix this problem The Repeti tion script solves the same problem in another way For any articulation this script uses One or more of three randomly selected options to keep the sound a little different on each repetition e Use the sample for a nearby note for example a half step higher or lower and retune it to the needed pitch e Start the note a tiny amount before or after the specified start time e Detune the sample a few cents hundredths of a semitone higher or lower This variability gives the sound a more human less robotic feel After all what human instrumentalist plays every note exactly on pitch and at exactly the
101. s e Origins e Construction e Techniques e Articulations Most of the instruments can be played in multiple ways to create different sounds called the instrument s articulations A ii list of the articulations for each instru ment can be found in the tables in the next chapter Each description provides a link to the table of that instrument s articulations Click on the page number to be taken directly to the table Instrument Types As seen in the PLAY Browser view the articulations can be opened in multiple ways e A Keyswitch program with KS in the name contains two or more articulations The choice of which articulation to play for any given note is controlled by the keyswitch notes See the complete description on keyswitches in the PLAY System manual In the tables in the next chapter you can read which keyswitch note Is assigned to each articulation e A Live program contains two or more articulations in one of two different configura tions The groupings are called Live because they are designed for playing the instrument in real time on a keyboard but can also work very well in a sequencer gt A Velocity Switch uses each note s velocity to determine which articulation to play Usually a common articulation is assigned to all the low and mid range velocities while the higher velocities are assigned to characteristic ornaments such as a trill or a bend In the next chapter s tables the articu
102. sign of each recorder is most important Techniques This end blown flute has the range of two to two and a half octaves Both left and right hands play the finger holes and the mouth is placed on the recorder s lip Articulations See the table of articulations starting on page 72 Frame Drum Origins Frame drums are amongst the oldest and most cultur ally represented drums of the world The existence of the frame drum dates back well before recorded his tory and is depicted in sculptures and painting by a multitude of artists throughout the world throughout Chapter 4 The Quantum Leap RA Instruments 38 QUANTUM LEAP RA VIRTUAL INSTRUMENT the history of humankind For this library we have sampled the style of frame drum that was influenced by Western European culture Construction The frame drum is very simple in its basic form It is constructed of a wooden hoop or frame with a drumhead fastened on one end of It Frame drums vary in size typically from around 10 to 20 Inches in diameter A common embellishment to the construction of the frame drum is a gut string fastened to the inside of the head to produce a raspy vibrating sound to the sustain of the Instrument Technique Typically the frame drum is held upright by the performer Classical frame drum tech nique relies heavily on the dominant hand the one not holding the drum while the second hand uses only a couple of fingers to aid in filling and or subdividin
103. tar Wars Episode 2 Spiderman 3 Pirates of the Caribbean 3 Blood Diamond Night at the Museum and The Da Vinci Code Quantum Leap has now firmly established itself as one of the world s top producers of high end sample libraries and virtual instruments In 2006 EastWest purchased the legendary Cello Studios formerly United Western Re corders on Sunset Boulevard in Hollywood re naming it EastWest Studios The 21 000 sq ft facility since remodelled by master designer Philippe Starck houses five record ing studios and is the world headquarters for EastWest Chapter 1 Welcome 2 QUANTUM LEAP RA VIRTUAL INSTRUMENT Producer Nick Phoenix Nick began scoring film trailers and television commercials in 1994 To date he has el ther scored or licensed music for the ad campaigns of over 1000 major motion pictures Star Trek Harry Potter 6 Tales of Despereaux The Dark Knight Valkyrie The Hulk Rendition Spider Man 3 Golden Compass The Assassination of Jesse James Pirates of the Caribbean 3 Babel Hitman Am Legend 300 No Country For Old Men Harry Potter 5 The Brave One Wall E Blood Diamond Speed Racer and Night at the Museum are a few recent examples Nick and Thomas Bergersen founded the ultimate trailer music company Two Steps From Hell in 2006 www twostepsfromhell com Nick has als
104. the guitar can point out towards the top of the guitar or towards the back The spider bridge is an eight legged support which spans the disc and helps in string vibration Six strings are common Techniques Traditional dobro technique is to rest the guitar horizontally either on the lap or with a Strap to position the guitar at such an angle The right hand uses finger picks and the left hand holds a steel slide Open tunings are the most common One standard is the Open G tuning GBDGBD String gauges are lighter and so a lighter touch is required to play the guitar Articulations See the table of articulations starting on page 64 First Nations Cedar Flute Origins This flute was traditionally used by the Plains Indians tn courting ceremonies so it has been given the name of the love flute A man serenaded his intended bride in a ritual Construction This cedar flute contains two handcrafted chambers the first chamber which is blown into and the second sectioned off from the first contains the finger holes The blown air travels from the first chamber to the second through a joining totem animal carved on top of the flute which guides the air through a passage The totem animal compresses the air giving the unique tone to the flute Techniques Because no embouchure is needed the flute Is fairly simple and can be played by almost anyone Each flute is tuned to a specific key so a different flute is req
105. ticulation of the instrument Simulates a performance of more players than sampled An adjustment of the fundamental note without pause A ceremonial shaker worn on the body in performance Stringed instrument performance with bow direction down or up Performed close to the bridge to give a more nasal or harsh timbre Pitched percussive performance or where pitches are stretched to accommodate twelve tones in an octave Doubled articulation A stringed instrument s bow or pick direction J9 QUANTUM LEAP RA VIRTUAL INSTRUMENT TERMS amp ABBREVIATIONS Abbreviation Drn Exp f Fall Flutter Fast FX Gliss Grace Groove Harm Leg Live Lng Low Lyrical Med mf Maj 3rd Min 3rd continued Definition Drone Expressive Forte Fall Flutter tongue Fast Effects Glissando Grace note Looped Phrase Harmonic Hi Hard Half Tone Semitone Keyswitch Legato Live Long Low Lyrical Medium Mezzo Forte Major 3rd Minor 3rd Chapter 5 Articulations and Keyswitches Notes or Examples A looped fundamental performed by a string or wind An exaggerated crescendo followed by a decrescendo An Italian term used to describe a louder dynamic An expressive drop in pitch at the end of phrase An expressive vibration created by a fast moving tongue A shorter phrase Characteristic or uncharacteristic performance of the non musical qualities of the instrument An Italian term used to describe an
106. ticulations starting on page 91 Santour Origins Santoor is a Persian word meaning one hundred strings its Sanskrit name shata tantri veena means a hundred Stringed lute Ancient origins can be traced back to the Sufi mystics who used the 100 stringed instrument as an accompaniment to the sacred hymns of the music they called Sufiana Mausiqi The early Persian origins date back to the 16th century and depict a plucked Instrument By the 17th century the modern design still in use today is the 2 string santour as it is called in Iran Iraq and Turkey Being a member of the hammer dulcimer family of instruments derivatives found around the globe Include the 45 stringed Chinese yang qin the 135 stringed German Hackbrett the Greek santoori the Finnish kentele the Hungarian cimbalon and the Indian santoor Chapter 4 The Quantum Leap RA Instruments 57 QUANTUM LEAP RA VIRTUAL INSTRUMENT Construction The santour is a wooden instrument with steel strings The frame is most commonly constructed from walnut or maple while the top and bottom consist of veneer or plywood Most commonly 29 wood bridges although 31 and 33 bridged santours exist rest on the sounding board top of the instrument and support the strings Strings are attached to either side of the sounding board by pins The Persian santour has adjustable bridges to aid in tuning while others such as the Indian Santoor have fixed bridges Other ve
107. torical design consists of an air bag made of sheepskin with five pipes bound into it a bass drone two tenor drones the mouthpiece and a melody chanter The chanter is a short pipe with eight finger holes and a thumb hole Techniques The bag is filled with air by the player through the blow pipe Pressure from the left arm on the bag controls the flow of air to the melody chanter and the drones The range of the melody chanter is a ninth The tonic is around a B flat and the scale includes a flat seventh Articulations See the table of articulations starting on page 72 Villean Pipes Origins The uilleann pipes are known to date back to the beginning of the 18th century when they appeared in Ireland though their true origin is probably mainland Europe possibly France Construction Modern uilleann design consists of the chanter three drones and three regulators seven actual pipes in all The chanter plays the melody The three drones which can be toggled on or off are each an octave apart The three regula tors have 4 to 5 keys which play notes that harmonize with the drone and chanter Chapter 4 The Quantum Leap RA Instruments 42 QUANTUM LEAP RA VIRTUAL INSTRUMENT Techniques Traditionally played seated and indoors uilleann pipes are played in all sorts of social Situations and styles of music Improvisation of tunes and ornamentation is par for the Style of the music The range is two full octaves on the cha
108. uction Typically from 1 1 2 to 3 meters in length the alpenhorn is a wind instrument made of thin strips of birch wood fashioned into a tube The thin strips are placed in water and soaked until they are tender and can be shaped into the tube they are then meticulously covered with bark The mouthpiece is wooden and cup shaped Techniques Because the only openings for the alpenhorn are at the mouthpiece and horn end when blown the resulting tone will be a natural harmonic series to the fundamental of the horn Ranz des Paches is the most famous melody of the alpenhorn popularized by Beethoven in his Pastoral Symphony Articulations See the table of articulations starting on page 1 Bass Recorder Origins Origins are the subject of a very passion ate academic debate The end blown flute is as old as civilization itself but om el ee it is not known specifically when the re corder itself came into existence Solid evidence in the form of actual playable record ers dates from the 16th century Renaissance Construction Recorders are considered members of the fipple flute family A fipple is a block in the blowing ending which creates a narrow passageway compressing a stream of air into the bore this gives the recorder its characteristically clear sound When crafted from the finer aged woods the material used is dependent upon the maker all sorts of exotic woods are used But ultimately the bore and windway de
109. uggest The ngoni is probably the oldest of the Jaliya instruments older than the balafon and the kora Construction The ngoni come in various sizes and ranges e Ngoni Ba the big deep one e Ngoni Micin the small high pitched one The number of strings varies between 1 and 7 The most common type has 4 strings 2 long ones and 2 short ones The long ones are shortened with left hand fingers like a guitar each short one is tuned to a given note of the scale depending on the song being played Instruments with more than 4 strings have additional short strings to extend the tonal range Techniques The playing technique especially for the right hand is very complicated and uses a lot of ornamentation sound variations and percussive knocking For every typical song there Chapter 4 The Quantum Leap RA Instruments 28 QUANTUM LEAP RA VIRTUAL INSTRUMENT IS a special tuning with separate fingering The ngoni has a huge repertoire of songs both pentatonic e g Bambara music in Mali and heptatonic e g Jaliya music compatible to kora and balafon As it is a fretless lute there are many exotic microtonal modes be ing used that can be played without retuning the strings for the second third sixth and seventh intervals The fourth is either pure or sharp the fifth and the octave are always pure Some players use finger picks for right thumb and forefinger Articulations This instrument has only a single articulation file
110. uired for each key Articulations See the table of articulations starting on page 67 American Jaw Harp Origins Being a member of the plucked idiophones family of instruments the jaw harp s ori gins are unclear It is a folk instrument common in many cultures throughout the world Among early American settlements it was commonly bartered and became a popular in strument among those voyaging west In many countries it has significance as a ceremo nial and religious instrument In England it is called Gewgaw in Norway Munnharpa Chapter 4 The Quantum Leap RA Instruments 34 QUANTUM LEAP RA VIRTUAL INSTRUMENT in Italy Scacciapensieri in France Guimbarde in Germany Maultrommel in Rus sia Vargan in Siberia Khomus and in Ball Gengong Throughout the ages the most common name is the Trump Construction The key shaped frame is traditionally made from iron or silver and occasionally bamboo A metal stem protrudes from the tip of the key Techniques The base of the key shaped frame is placed in the mouth and the tip Is left out of the mouth The stem protruding from the key is plucked while manipulation of the size and Shape of the mouth changes the pitch The mouth cavity amplifies the sound of the harp Articulations See the table of articulations starting on page 64 Mandolin Origins The mandolin ts a distant relative of the lute which is in turn a distant
111. ves as a bridge the other to provide a means for the dowel to hold the keys tongues in place The free ends of the keys are positioned at different lengths to produce the variety of pitches The length of the vibrating end of the keys determines the pitch a shorter key produces a higher pitch Ai Techniques The kalimba produces a haunting fluid percussive sound that Is considered tranquil and enchanting It can be a solo instrument or as an accompaniment to singers musicians and dancers The keys or tongues are plucked with the thumbs or with combinations of thumbs and fingers Since you can play either simultaneously or alternating between both thumbs harmonic and rhythmic effects are possible Many effects can be em ployed by plucking up or down on the keys The treble kalimba has the same seventeen Chapter 4 The Quantum Leap RA Instruments 29 QUANTUM LEAP RA VIRTUAL INSTRUMENT note range but it also has a sound box that provides deep resonance that distinguishes it from the celeste kalimba The alto kalimba features the same sound box as the treble kalimba but has a more limited fifteen note range Articulations There are multiple articulation files for the kalimba but they do not appear in their own folder See page 62 for a list of the articulation files Udu Origins The udu is a vessel drum originally from the Igbo people of Nigeria Traditionally it was a water jug with another hole in the side played by
112. ves it its characteristic mournful sound Techniques The instrument is diatonic in its scale and has the range of one octave Notes outside of the pentatonic range are achieved with special fingering techniques The width of the reeds demands more breath from the player An adjustment in pressure from the lips and adjustment in finger position create variations in dynamics Most commonly the duduk is performed in pairs One player performs the melody of the song while another player called the damkash uses circular breathing to perform the dam a constant tonic drone Articulations For the Armenian duduk see the table of articulations starting on page 93 The Bulgarian duduk starts on page 95 The Turkish duduk starts on page 97 Middle Eastern Fiddle and String Section Origins European strings were first introduced to the Middle East during Napoleon s failed attempt at capturing Egypt in 1798 Construction The construction is the same as Euro pean violins and cellos Techniques Violin techniques include the European under the chin style of playing and E a knee held style called the gamba style Turkish tuning for the violin GDAD dif fers slightly from the European GDAE tuning Arabic tuning differs slightly still being GDGD Characteristic performance techniques are very decorative with melismas slurs and slides trills wider vibrato and double stops Because of the fretless design of the Chapter 4 The Qua
113. women for ceremonial music The origins of the drum have been traced back to central and southern Nigeria Although we re using the term udu the side hole pot drum is known by many different names depending on the tribal areas and particular ceremonies in which it is used Construction The traditional method for making an udu is to pound a lump of soft earthen clay over a firm spherical form known as a lump mould The lump of clay is placed on the mould and tempted into shape around it with a large flat stone It is then carefully beaten to uniform thickness with handmade paddles a little like huge wooden spoons or ping pong bats Following this it is cut down to a half sphere on the mould This half sphere becomes the bottom halt of the drum The top half is then constructed using the coil method which involves building up long lengths of clay one upon another before squeezing paddling and shaping them up and into the sides of the drum What follows is an elaborate drying and polishing process that is said to take at least one month Techniques The drum can be played in a number of ways for example by sitting cross legged on the floor one can put the drum in one s lap with one hand over each hole The hand on the top controls the pitch while the other plays over the hole on the side One can use the palms or finger tips slap in the fashion of conga playing or even play them with mallets or brushes It is also possible to stand
114. x Hits Thunder Chapter 5 Articulations and Keyswitches 76 QUANTUM LEAP RA VIRTUAL INSTRUMENT Koto 46 Koto CO Sus Vib KS CO F 0 C 0 Exp Vib DO Non Vib D 0 HTUP E0 Pick Scrape FO DBL Hit F 0 Trem Koto Vell Non Vib Live 1 Vel2 Sus Vib Vel3 HT UP Vel4 DBL Hit Koto Vell Non Vib Live 2 Vel2 Sus Vib Vel3 HT UP Vel4 Pick Scrape Koto Arp Elements DBL Exp Vib HT UP Non Vib Pick Scrape Sus Vib Trem Shamisen 4 Shamisen CO Pick Soft KS CO E0 C 0 Sus DO Vib Fast D 0 Soft Vib E0 Slur Shamisen Vel 1 Pick Soft Live 1 Vel2 Sus Vel 3 Slide Up continued Chapter 5 Articulations and Keyswitches 77 QUANTUM LEAP RA VIRTUAL INSTRUMENT FAR EAST PLUCKED Shamisen Elements Vietnamese Jawharp Jawharp RR Jawharp Pick Soft Slur Vib Fast Slur Sus Vib Fast Vib Soft 49 FAR EAST WINDS Dizi Dizi KS CO A 0 Dizi Live 1 continued 43 CO Sus Vib C 0 Exp Vib 1 DO Exp Vib 2 D 0 Legato E0 Non Vib FO Stac Trill F 0 Trill GO Trem G 0 Flutter A0 Melody 1 A 0 Melody 2 All Trem All Legato Chapter 5 Articulations and Keyswitches 78 QUANTUM LEAP RA VIRTUAL INSTRUMENT FAR EAST WINDS Dizi Veli Sus Vib Live 2 Vel2 Stac Trill Dizi Exp Vib 1 Elements Exp Vib 2 Flutter Legato Midy 1 Midy 2 Non vib Stac Trill Sus Vib Trem RagDung o y yY OB Rag Dung CO Non Vib 1 2 3 KS C0 D0 C 0 Sus Vib Slow DO Sus Vib 1 2 3 Rag Dung Non Vib 1 Elements Non Vib 2 Non Vib 3 Non Vib 4 NV 4 Way
115. yed to Speak certain phrases or passages in the Yoruban tongue For the purpose of this sample library we have included two basic articulations that are most common to the bata The most basic articulation is the Open Tone This is accomplished by striking the head of the drum with a bare flat hand and letting the sound sustain When played correctly the Open Tone produces a sound that is mostly composed of the fundamental pitch of the drum The second most common articulation is the Open Slap This is accomplished by Striking the head of the drum with a slightly curved bare hand When played correctly this articulation produces a brighter higher pitched sound Articulations These instruments do not have separate articulation files PLAY uses separate notes to sound the various articulations Berkete Origins The Berkete also known as the Gungon is from the West African country Ghana It can mostly be found in the central and northern regions of Ghana The Berkete is usually played in medium size ensembles and is accompanied by an ensemble of African talking drums Construction The wood shell carved Berkete is shaped like a bass drum and varies in size but mostly about 14 inches in diameter The thin goatskin head is strung with a medium gauge gut string on the outside to produce a sustained raspy sound Techniques There are two basic articulations played on the Berkete e Striking the head with a stick while letting the drum ful
116. yswitches 71 QUANTUM LEAP RA VIRTUAL INSTRUMENT EUROPE WINDS amp REEDS Alpenhorn Exp Fast Elements Exp Solw Exp Non Vib Slide Octave DN Slide Octave UP Stac Sus Vib Sus Bagpipe Ensemble Bag Pipe Ensemble VS Untuned Bag Pipe Ensemble VS Bass Recorder 38 Bass Recorder CO Sus Vib KS C0 G 0 C 0 Exp Vib Fst DO Exp Vib Bass Recorder Exp Fst Elements Exp Vib Sus Vib Highland Pipes 43 Highland Pipes VS Irish Low Whistle 41 Irish Low Whistle CO Irish Vib KS CO BO C 0 Western Vib DO Non Vib D 0 Bend WT UP E0 Bend HT UP FO Short F 0 Stac 3RR GO Exp Melody 1 G 0 Exp Melody 2 A0 Exp Melody 3 A 0 Exp Melody 4 BO Exp Melody 5 continued Chapter 5 Articulations and Keyswitches 72 QUANTUM LEAP RA VIRTUAL INSTRUMENT EUROPE WINDS amp REEDS lrish Low Whistle Vel1 Sus Vib Fast Live 1 Vel2 Bend WT UP lrish Low Whistle Vell Sus Vib Fast Live 2 Vel2 Exp Melody 1 lrish Low Whistle Vell Sus Vib Fast Live 3 Vel2 Exp Melody 5 Irish Low Whistle Bend HT UP Elements Bend WT UP Exp Melody 1 Exp Melody 2 Exp Melody 3 Exp Melody 4 Exp Melody 5 Irish Vib Non Vib Sht Stac 1 Stac 2 Stac RR Sus Acc Western Vib Launeddas 41 Launeddas CO Non Vib KS CO DO C 0 Grace DO Exp Melody Launeddas Vell Non Vib Live Vel2 Grace Vel3 Exp Melody Launeddas Exp Melody Elements Grace Non Vib continued Chapter 5 Articulations and Keyswitches 73 QUANTUM LEAP RA VIRTUAL INSTRUMENT EUROPE WINDS amp REEDS

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