The Dark Side Virtual Instrument Manual
Contents
1. The knob lets the user determine the spread of the signals how far apart the ear per ceives the stereo channels to be A value of 0 brings the two channels together at the center unless the Pan knob positions the output differently and is the equivalent of turning off the controls with the Power button at the right A value of 100 calls for the maximum spread available Select between the left and right signal with the L and R buttons respectively Chapter 3 The Dark Side User Interface 13 THE DARK SIDE VIRTUAL INSTRUMENT The Master Button in the Reverb Controls In some libraries including The Dark Side the Reverb controls in the UI include an extra button called Master Turning on this feature feeds the audio signals from all the open instruments in this instance of PLAY through a single Reverb Turning this on can save on processing power by running only one instance of the Reverb software instead of each instrument process ing its own Reverb effect But if you turn Master on you then cannot run different reverb spaces for different patches or different settings for the Pre Delay and Amount knobs The parameters for the Reverb space named in the instrument with Master turned on are the space and the values that will apply to all instruments in this instance of PLAY Reverb Master On will make all other instruments share this reverb and its settings This is designed to conserve DSP resources by using one reverb for a2. Bass and others with the Fuzz Bass While it s possible to put all the Destroyer Bass notes in one MIDI track all the Fuzz Bass notes in another track and then assign those separate instruments to the separate tracks there are many reasons that s awk ward Keyswitch instruments can often though not always simplify the work ii HIE A__ Destr N wmina sun lt maA z SS n So A E n E E ae If you look at The Dark Side Bass Keyswitch you ll see these notes among the switches e C 0 assigned to Destroyer Bass e D O assigned to Fuzz Bass Sustain e EO assigned to Fuzz Bass Short Then you can set up your tracks to look like the diagram above This drawing above is of a Piano Roll a view available in most sequencers The short notes at the bottom are the keyswitches They sit below the range of the instru ment so they do not make any sound Notice that these notes are slightly before the note they are intended to affect The first note in the melody an A is preceded by the note that specifies Fuzz Bass Sustain that s the very short D 0 near the beginning Then before the B flat plays in the melody there s a C 0 near the bottom that means Play the next note s with Destroyer Bass That s followed in the melody by two notes to be played with Fuzz Bass Short as indicated by the short EO keyswitch note The second C 0 near the
3. Z SSS O Big Broken Ben Big Broken Ben Extreme Bumblebee 01 Non Tonal Bumblebee 02 Non Tonal Earthquake Ethereal FX Madness 01 13 Horror 01 Non Tonal Horror 02 Non Tonal continued Chapter 4 Instruments Articulations and Keyswitches 22 THE DARK SIDE VIRTUAL INSTRUMENT THE DARK SIDE INSTRUMENTS OC Notes OC refers to the Omnichord OC Notes Kaoss Perc Bells Perc Sci Fi Static Supertabla Timp Explosion OC Chords Arp Keyswitch C0 E0 29 OC Chords Kaoss Keyswitch CO E0 29 OC Chords Arp Kaoss Keyswitch CO A0 29 The Dark Side Misc FX Keyswitch C1 B1 29 The Dark Side Perc Tonal Keyswitch C0 F0 29 Mod Wheel Cross Fades Within the subfolders called _KS and Mod XFD are two types of instrument collections Keyswitches are described in a section below The other files are cross fades that open two articulations at once and use the Mod Wheel to modify the sound continuously by adding successively more of a second articulation as you push the Mod Wheel up These cross fades always include MOD at the end of the name The two included instruments are stated in the name of the cross fade For example the cross fade called Eleanor Keys_Electric Medieval MOD ewi loads both of the named samples e Eleanor Keys e Electric Medieval Using the Mod Wheel or CC 1 when using an envelope inside a host you can control how much of the second sound you want to hear With the Mod Wheel at its lowe
4. bottom causes not only the G above it to play with the Destroyer Bass but also the first 4 D s in a row A keyswitch remains in effect until another key switch is set in this case the final D O stops the Destroyer Bass and causes the last D and G to play with Fuzz Bass Sustain The exact position in time and the duration of the keyswitches are not important And their note off events are ignored Just make sure the start of the keyswitch is before the first note it is supposed to affect but after the start of the last note of the previous articulation if any Try to work with these collections when you can but sometimes you have to break a mu sical line across two separate MIDI channels and assign a different instrument to each track Chapter 5 Usng PLAY s Features 35 THE DARK SIDE VIRTUAL INSTRUMENT Creating a Soundscape Whether listening to a band live on a stage or from a stereo recording we re all used to hearing the sounds of the various instruments coming at us from different directions In one common arrangement of the instruments we might expect the drummer to be in the center with the bass and the keyboard on opposite side of the stereo field There are two reasons we might want to continue this practice The first is to trick the listener s ear into perceiving a recording of a live performance Even when everyone understands that the piece was created inside a computer emulating a traditional sound can have its
5. different enough from the basic ver sion and usable enough to be worthy of standing on their own e The sounds provide examples of how you can create your own variations on any and all of The Dark Side patches with the controls in the Player view Feel free to experiment with these controls by adjusting the parameters and or by layering multiple effects together to achieve new and unique sounds to include in your own compositions And when you hit upon a combination of patch and effects that you like save your new sound to the file system as a new instrument with a new name e as a new ewi file Where these wFX instruments appear in the table below the second column lists the effects applied These effects include Delay Artificial Double Tracking ADT and any one of the Reverbs the phrase in quotation marks The number that follows the names of the keyswitch files in the table is a hyperlink Click on this number to be taken to a table that lists the articulations within the file Chapter 4 Instruments Articulations and Keyswitches 16 THE DARK SIDE VIRTUAL INSTRUMENT For more information about these instruments see details after the table Uses of the Mod Wheel in The Dark Side There are two ways that The Dark Side library allows you to use the Mod Wheel also called CC 1 when referred to as a MIDI control code e For those instruments in the _KS and Mod XFD folder that have MOD in the name the Mod Wheel a
6. s convention of call ing Middle C by the name C3 the lowest note on an 88 key keyboard is A 1 The Dark Side Choirs KS C 1 F 1 C 1 Granular C 1 Leslie Choir D 1 Toxic Choir 1 D 1 Toxic Choir 2 E 1 UFO Choir F 1 2 Bit Choir Keyswitches for the Miscellaneous and Percussion Instruments The first table below applies to any of 3 Chords keyswitches in this folder e OC Chords Arp Kaoss KS CO EO e OC Chords Arp KS CO EO e OC Chords Kaoss KS CO EO In each case the keyswitch notes control the chords played by the instrument instead of the more usual selection of specific distortions Chapter 4 Instruments Articulations and Keyswitches 28 THE DARK SIDE VIRTUAL INSTRUMENT OC Chords Arp Kaoss KS CO A0 co Major C 0 Minor DO Dominant7 D 0 Major7 E0 Minor7 The next table in the Miscellaneous Instruments folder follows the more common pattern of selecting the overall sound The Dark Side Misc FX KS C1 B1 Cl FX Madness Full 01 C 1 FX Madness Full 02 D1 FX Madness Full 03 D 1 FX Madness Full 04 El FX Madness Full 05 F1 FX Madness Full 06 F 1 FX Madness Full 07 G1 FX Madness Full 08 G 1 FX Madness Full 09 Al FX Madness Full 10 A 1 FX Madness Full 11 B1 FX Madness Full 12 While the instruments included within this keyswitch file do include pitched notes in some cases the distortion adds complexity to the sounds that can modify the pitches to sound different than those in the familiar Western c
7. text to open the Master Navigation Document 33 THE DARK SIDE VIRTUAL INSTRUMENT Using PLAY s Features in The Dark Side This chapter discusses ways you can use the features and capabilities within the PLAY software to get a better sound or more efficient playback in your The Dark Side projects Opening Multiple Instances of PLAY With the PLAY 2 software it s possible to open more than one instrument in each in stance you run and this is true whether running PLAY in standalone mode or within a host But there are often compelling reasons for spreading instruments across multiple instances An instance is each open window running PLAY So if for example you see exactly 3 PLAY windows inside your sequencer or on your desktop when running standalone then you have opened 3 instances The main reason for opening the PLAY software more than once especially when using PLAY as a plug in within a sequencer or other host is to be able to take full advantage of the multiple cores available in today s high end computers If for example your computer s CPU has 4 cores then each of the 4 cores can be independently running separate parts of the software each part called a thread Sequencers typically assign all the processing in any given instance of a plug in to a single core So in one case if you load all your instruments into a single instance of PLAY the work of running all those instruments will be restric
8. Big Room FO Open Mics Distorted Keyswitches for the Basses Bass Snatchers KS CO D 0 CO Sustain C 0 Legato DO Slide Up D 0 Slide Down Relatively Clean Bass KS CO FO co Sustain C 0 Legato DO Slide Up D 0 Slide Down E0 Harmonics FO FX Chapter 4 Instruments Articulations and Keyswitches 25 THE DARK SIDE VIRTUAL INSTRUMENT In the Dark Side Basses keyswitch file two of the basses Fuzz Bass and Perc Bass are included for both the Sustain and the Short versions These variants also appear as key switch options within the main Fuzz Bass and Perc Bass instruments The Dark Side Basses KS CO A0 co Bass Hemorrhage C 0 Destroyer Bass DO Distorted Attack Bass D 0 Fuzz Bass Sustain E0 Fuzz Bass Short FO Mean Synth Bass F 0 Perc Bass Sustain GO Perc Bass Short G 0 Radioactive AO Rattly Bass Keyswitches for the Guitars The Dark Side Guitars KS CO BO co Dirt Boy Guitar C 0 Distorted Lead DO Freak Shimmer Solo D 0 Freak Shimmer E0 Freak Full FO Guitars on Mars F 0 Insanity GO Organic Guitar G 0 Relatively Clean String A0 Synth Guitar wFX A 0 Tunnel Lead BO Guitar Orchestra Freak Shimmer KS CO DO co Freak Shimmer Dry C 0 Freak Shimmer EFX DO Freak Shimmer Combo Chapter 4 Instruments Articulations and Keyswitches 26 THE DARK SIDE VIRTUAL INSTRUMENT Keyswitches for Keyboards and Strings This Dark Side Keys file uses keyswitches that start below the lowest note on an 88 key
9. Clap Your Hands Say Yeah MGMT OK Go and Tame Impala As a musician David was the bassist and a founding member of Mercury Rev He gave up his role as a touring member of the band in 1993 to concentrate on producing other artists He generally produces engineers and mixes his projects In 2001 Dave was included on MOJO s 100 Sonic Visionaries list and was described as the Phil Spector of the Alt Rock era In 2007 he received a Grammy for The Flaming Lips At War With The Mystics at the 49th Annual Grammy Awards Best Engineered Album Non Classi cal In 2010 three Fridmann produced albums were listed on the Rolling Stone 100 Best Albums of The Decade MGMT s Oracular Spectacular The Flaming Lips Yoshimi Battles The Pink Robots and Sleater Kinney s The Woods Numerous albums that David has worked on have received sales certifications MGMT s Oracular Spectacular Platinum in the U K Gold in the U S Canada and Australia The Flaming Lips s Yoshimi Battles The Pink Robots Gold in the U S and U K The Flaming Lips Soft Bulletin Gold in the U K Mercury Rev s Deserter s Songs Gold in the U K Jane s Addiction s Kettle Whistle Gold in the U S Weezer s Pinkerton Gold in the U S and The Flaming Lips At War With The Mystics Silver in the U K In ad dition three MGMT singles Time To Pretend Kids and Electric Feel were all certified Gold in the U S Chapter 1 Welcome 3 THE DARK S
10. Distorgan Freak Show Fuzzy Keys Grand Dist Strings LFO Strings Morse Code Psycho Psycho Shimmer Keys Underwater Piano Short Underwater Piano Sustain Amadeus Organ_Brain Damage MOD Amadeus Organ_Broken Jaw Harp MOD Bent Funeral Organ_Brain Damage MOD Bent Funeral Organ_Freak Show MOD Broken Jaw Harp_Chaos MOD ClockworkO PercAttack_Bent Funeral MOD ClockworkO PercAttack_Chaos MOD The Dark Side Keys Keyswitch C 1 D 0 27 The Dark Side Strings Keyswitch CO D 0 27 2 Bit Choir Regular amp Wide Eleanor Keys Electric Medieval Ethnic Dulcimer Furry Ethnic Orch Granular Regular amp Wide Leslie Choir Regular amp Wide Mandamadness Old Bombay Snake Charmer Toxic Choir 1 Regular amp Wide Toxic Choir 2 Regular amp Wide continued Chapter 4 Instruments Articulations and Keyswitches 20 THE DARK SIDE VIRTUAL INSTRUMENT THE DARK SIDE INSTRUMENTS UFO Choir Regular amp Wide Whirly Keys Zitherland Eleanor Keys_Electric Medieval MOD Eleanor Keys_Old Bombay MOD Eleanor Keys_Zitherland MOD Furry Orch Guitar_Electric Medieval MOD Granular_Leslie Choir MOD Regular amp Wide Granular_Toxic Choir 1 MOD Regular amp Wide Granular_Toxic Choir 2 MOD Regular amp Wide Granular_UFO Choir MOD Regular amp Wide Leslie_Toxic Choir 1 MOD Regular amp Wide Leslie_Toxic Choir 2 MOD Regular amp Wide Leslie UFO Choir MOD Regular amp Wide Mandamadness_Ethnic Dulcimer MOD Wh
11. IDE VIRTUAL INSTRUMENT Credits Created and Produced by Doug Rogers and David Fridmann Production Assistance Rhys Moody Programming and Editing by Justin Harris and Michael DiMattia Art Direction Steven Gilmore Doug Rogers Shaun Ellwood Julian Ringel Software Doug Rogers Nick Phoenix Rhys Moody Klaus Voltmer Klaus Lebkucher Julian Ringel Patrick Stinson Adam Higerd Ezra Buchla David Kendall Nick Cardinal Jonathan Kranz Manual John Philpit Chapter 1 Welcome 4 THE DARK SIDE 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 secti
12. IDI Envelopes and Control Data Most modern sequencers let you draw an envelope for MIDI control codes The diagram below with the yellow curve is an example of an envelope for CC11 Notice how the val ues are constantly changing the same way a bass player adds musicality and interest to a phrase by changing the the force with which he plays moment to moment The dark horizontal lines near the top are the notes CC 11 40 0 When saved as MIDI data this same envelope appears as a finite set of commands In a sequencer track these often appear as vertical lines each line being a command to change the value in this case to change CC11 The other way and many Say it s the better way to send CC11 events to the sample player is with a MIDI controller either a keyboard or a control surface As long as you or your group has an extra hand or foot if you use a pedal you can enter these control codes while playing the notes into the sequencer This allows you to hear the interchange among the notes their velocities how hard you re hitting the keys and the expression being added with CC11 Chapter 5 Usng PLAY s Features 38 THE DARK SIDE VIRTUAL INSTRUMENT This process can also be done in two passes notes first then control data if your setup allows you to record automation data to a track that already contains other MIDI data Everything written about CC11 in this section also applies to CC1 Mod Wheel and all oth
13. MIDI keyboard You either need to use a control on the MIDI keyboard to shift all notes by an octave or else trigger these keyswitch notes within a sequencer Using EastWest s convention of calling Middle C by the name C3 the lowest note on an 88 key keyboard is A 1 The Dark Side Keys KS C 1 D 0 C 1 Amadeus Organ C 1 Bent Funeral Organ D 1 Brain Damage D 1 Broken Jaw Harp E 1 Chaos F 1 ClockworkO Perc Attack F 1 ClockworkO G 1 Demonic G 1 Distorgan A 1 Freak Show A 1 Fuzzy Keys B 1 Morse Code CO Psycho Shimmer Keys C 0 Psycho DO Underwater Piano Sustain D 0 Underwater Piano Short The Dark Side Strings KS CO D 0 CO Chorus Strings C 0 Dist Org String Thing DO Grand Dist Strings D 0 LFO Strings Chapter 4 Instruments Articulations and Keyswitches 27 THE DARK SIDE VIRTUAL INSTRUMENT Keyswitches for the Ethnic and Choirs Instruments The Dark Side Ethnic KS CO A0 C0 Eleanor Keys C 0 Electric Medieval DO Ethnic Guitar Sustain D 0 Ethnic Guitar Short E0 Funny Orch Guitar FO Mandamadness F 0 Old Bombay G0 Snake Charmer G 0 Whirly Keys A0 Zitherland Note that the Choirs all contain such a wide range of playable notes that the keyswitch notes are actually below the bottom most note of a standard 88 key MIDI keyboard You either need to use a control on the MIDI keyboard to shift all notes by an octave or else trigger these keyswitch notes within a sequencer Using EastWest
14. PLAY The Dark Side Virtual Instrument Users Manual THE DARK SIDE 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 PLAY is a trademark of East West Sounds Inc East West Sounds Inc 2010 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 THE DARK SIDE VIRTUAL INSTRUMENT 2 3 4 5 5 5 6 Producer Doug Rogers Producer David Fridmann 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 1 THE DARK SIDE VIRTUAL INSTRUMENT Welcome Producer Doug Rogers With over 30 years experience in the audio industr
15. Sus Destroyer Bass Distorted Attack Bass Fuzz Bass Mean Synth Bass Nuclear Bass Perc Bass Radioactive Rattly Bass Relatively Clean Bass FX Relatively Clean Bass Harmonics Relatively Clean Bass Legato Relatively Clean Bass Slide Up amp Down Relatively Clean Bass Sus Slightly Dirty Bass Slightly Dirty Bass Light Keyswitch and Mod Wheel Cross Fades Fuzz_Rattly Bass MOD Hemorrhage_Fuzz Bass MOD Rattly_Perc Bass MOD Bass Snatchers Keyswitch CO D 0 25 Relatively Clean Bass Keyswitch C0 F0 25 The Dark Side Basses Keyswitch CO A0 26 continued Chapter 4 Instruments Articulations and Keyswitches 18 THE DARK SIDE VIRTUAL INSTRUMENT THE DARK SIDE INSTRUMENTS Backwards Distorted Guitar Dry Backwards Distorted Guitar wEFX Dirt Boy Guitar Distorted Lead Regular amp Short Freak Shimmer Combo Freak Shimmer Dry Freak Shimmer EFX Ghost Guitar Guitar Orchestra Guitars on Mars Down Guitars on Mars Up Guitars on Mars RR Insanity Organic Guitar Organic Guitar wGlissando Relatively Clean Strings Tunnel Lead Tunnel Lead Clean End Freak Shimmer Keyswitch CO D0 26 The Dark Side Guitar Keyswitch CO BO 26 Amadeus Organ Bent Funeral Organ Brain Damage Broken Jaw Harp Chaos Chorus Strings ClockworkO ClockworkO PercAttack Demonic Dist Org String Thing continued Chapter 4 Instruments Articulations and Keyswitches 19 THE DARK SIDE VIRTUAL INSTRUMENT THE DARK SIDE INSTRUMENTS
16. TRUMENT The Dark Side An Overview The Concept For The Dark Side From Producer Doug Rogers This collection of instruments got its start when was mentoring a young alternative group about some demos they sent me To my ears their tracks didn t sound tough enough for their intended market so advised them they needed to toughen up their sound To that they replied Well what should we use Since they use a lot of virtual instruments in their music looked around and found nothing even in our own vast 1 terabyte collection Then and there decided to make it my next project after recent orchestral projects a complete aural turn around My first choice as a production partner for The Dark Side was David Fridmann had much admired his unconventional work for many years and asked him to join me in producing this collection His no rules style of recording and mixing was exactly what was looking for to help produce The Dark Side instruments Many of these instruments have been purposely and skillfully mangled distorted or effected out of all recognition Some individual instruments went through 5 or 6 effects units including many rare vintage tube units that David and have collected There is also a large selection of dark and eerie sounding instruments and FX you won t find anywhere else perfect for film TV and especially games music production you probably won t find any collection more suitabl
17. age and click on the link that says Click on this text to open the Master Navigation Docu ment 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 Dark Side library manual and the PLAY System manual open in sepa rate windows so you can refer to them both Chapter 1 Welcome 5 THE DARK SIDE VIRTUAL INSTRUMENT Online Documentation and Other Resources For the most up to date information visit the support pages at EastWest s web site There you can find information made available after these manuals were written FAQ pages that may already list answers to questions you have suggestions from EastWest and other users of the EastWest PLAY System news about upcoming releases The address is http support soundsonline com You 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 THE DARK SIDE VIRTUAL INSTRUMENT 8 The Concept For The Dark Side 9 What s Included 9 Hardware Requirements Click on this text to open the Master Navigation Document 7 THE DARK SIDE VIRTUAL INS
18. benefits The second reason is that it s easier for the human ear to hear two similar sounds as separate when it perceives them as arriving from different locations If a rhythm guitar and lead guitar are playing notes in the same range they will stand out from each other better when they seem to be in separate locations in the soundscape that surrounds us Panning To prevent all the instruments from sounding as if they Na are coming from a single point in space it s best to pan RIF them to their own separate locations within the stereo field Most of the instruments sound as if they come from the midpoint of the stereo file before they are panned to one side or the other The main exception is that in the drum kits the various drums within each kit are already spread out for example the kick drum the snare and the high hat can each be heard to come from distinct locations In the image above the instrument has been panned about 86 of the way to the left The levels in the green stereo meters show that the output to the left channel is signifi cantly higher than to the right channel This difference give listeners the perception of the instrument being played near the left side of the stage Volume Velocity and Expression There are at least three ways to make a sampled instrument sound louder or at least make the real instrument seem to have been played louder The skilled MIDI composer uses all three Volume is just t
19. ch sample should be played the next time the note sounds If for example a round robin patch contains two samples A and B and a piece uses that note 7 times the PLAY Engine plays AB A B A B A If the piece is played again from the beginning the engine will play starting with B because that s next in order The second rendition will be subtly different Being able to reset all round robin articulations to the beginning of the cycle allows for consistent playback You can use this button to reset all round robin articulations on demand Or use your choice of a MIDI note or MIDI control code to reset them one instrument at a time from a MIDI keyboard or the data stored in a sequencer project See the description of the Settings dialog in the main PLAY System manual for more information about this articulation specific approach Most of the instruments in The Dark Side library take advantage of round robin technol ogy even though unlike some other EastWest libraries the instruments do not include RR in their names So be sure to use either this button of the MIDI code for resetting the round robin sequencing if a consistent performance is important to you in the given project 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
20. contain a keyswitch See page 30 for more details on where this occurs The tables below list all the instruments within each keyswitch file and the corresponding keyswitch note Keyswitches for the Drums The Drums folder contains 3 separate keyswitches corresponding to 3 types of drum col lections Chameleon KS CO G 0 CO Dry C 0 Open Mics DO Dry Distorted 1 D 0 Roomy E0 Big Room FO Open Mics Distorted F 0 Dry Distorted 2 G0 Roomy Distorted G 0 Big Room Distorted The Articulation control in the Slap Kit displays the individual component drums instead of only the keyswitches Use this control to deactivate specific drums or to change their vol umes relative to other drums in the kit The image at the left shows the toms turned off deactivated and the snares lowered in volume by 3 3 dB in the 24 inch drumkit See page 31 for a meaning of the distances used in the names of the instruments within the following keyswitch file Chapter 4 Instruments Articulations and Keyswitches 24 THE DARK SIDE VIRTUAL INSTRUMENT Slap Kit KS CO D0 CO 24 inch C 0 50 inch DO 106 inch The Verb Kit Keyswitch includes an entry at the bottom of the Articulations control called Crash Highs that do not have the multiple verb effects you hear on the other compo nents so these sounds remain the same no matter which keyswitch note is selected Verb Kit KS C0 F0 Dry c0 C 0 Verb 1 DO Verb 2 D 0 Verb 3 E0
21. e for games music production Of course anyone can distort an instrument but it s not easy to distort it with the right combination of tube processing so it still sounds musical With today s brick wall limiting to get tracks as loud as possible distortion may be the only trick left to get an instrument to jump out of a track and gain the listeners attention a production tool that Muse Nine Inch Nails Radiohead and many others have used successfully In some cases we used MIDI velocity to specify the playback of different sounds at dif ferent velocity ranges For example in Chameleon Morpher drum kits instead of a higher velocity triggering a louder version of the same sound the sound character changes completely you get a different sound character depending on how hard you hit the key This produces unusual and disturbing results We have also used the Mod Wheel to cross fade one sound into another These program names end in mod and are really inspiring Chapter 2 The Dark Side An Overview 8 THE DARK SIDE VIRTUAL INSTRUMENT Our objective was to create a large collection of unique instruments that would work for everything from alternative to symphonic rock and of course film TV and game music production Once we got started we were like bulls in a china shop mass aural destruction was the name of the game and we had so much fun doing it We amassed 40 gigabytes of instru ments all organized into instrum
22. en assigns the pp samples to say velocities 0 25 the p samples to velocities 26 45 and so on Because each dynamic level of a guitar has its own timbre a note s velocity can affect not only its loudness but also its timbre Velocity changes are therefore a much better way than volume changes to achieve natural sounding dynamics The disadvantage of velocity is that it cannot be changed mid note Using loudness and velocity together gives the orchestrator more control over all aspects of dynamics In MIDI velocity is an attribute of the Note On message it can only be transmitted at the onset of a note Volume in contrast is a control code CC7 it can be transmitted at any time Expression is represented by another MIDI control code CC11 The usual way to use CC11 is for continuous control of the loudness That is while Velocity cannot change mid note and it is recommended that CC7 be set only once at the beginning of the piece or at least only at the start of major sections CC11 can provide the kind of dy namic shaping of notes that give music its expressive life hence the name Expression for this Control Code Use it to create swells in the middle of a note or of a phrase With CC11 you create the crescendos and fluid dynamics of expressive music It is possible to shape the dynamics of a line either by playing a CC11 controller in real time or by drawing an envelope in a sequencer Most MIDI keyboards and cont
23. ental groups for convenience Of course feel free to use these instruments any way you want but our intent was to have users mix the more distorted and mangled instruments with clean instruments of which there aren t many included in this library to make these sounds really stand out or disturb the senses Have fun What s Included The Dark Side library you purchased includes all the following e a complete set of sample based instruments enumerated later in this manual e approximately 40 Gigabytes of 24 bit 88 2 kHz samples e the EastWest PLAY 2 Sample Engine e the unique authorization code that identifies the license you bought e manuals in Adobe Acrobat PDF format for both the EastWest PLAY System and The Dark Side Virtual Instrument e an installation program to set up the library software and documentation on your computer e an Authorization Wizard for registering your license in an online database One required item not usually included is an iLok security key If you already have one from an earlier purchase of software you can use it Otherwise you need to acquire one They are available from many retailers that sell EastWest and Quantum Leap products or you can buy one online at www soundsonline com Hardware Requirements See the Play System manual for a complete list of the Hardware and Software Require ments for installing and running any PLAY System library The available space on the hard drive req
24. er s documentation if you want to generate a monophonic track Chapter 5 Usng PLAY s Features 40 THE DARK SIDE VIRTUAL INSTRUMENT EASTWEST LICENSE AGREEMENT EASTWEST END USER LICENSE AGREEMENT Please read the terms of the following audio samples License Agreement before using these audio samples By opening the packaging and installing these audio samples you agree to become bound by the terms of the License Agreement If you do not agree with the terms of the License Agree ment do not open the packaging or use these audio samples East West Sounds Inc Licensor guarantees that all of the samples with these discs have been created and recorded specially for this project and any similarity to any other recording is uninten tional 1 The audio samples recorded with these discs remain the property of Licensor and are licensed not sold to you for use with your sampling software or equipment 2 A right to use the enclosed sounds is granted to the original end user of the product Licensee and is NOT transferable 3 The Licensee may modify the sounds LICENSEE MAY ONLY USE THE SOUNDS FOR COMMERCIAL PURPOSES WITHIN MUSICAL COM POSITIONS 4 This license expressly forbids resale relicensing or other distribution of these sounds either as they exist on these discs or any modification thereof You cannot sell loan rent lease assign upload to or download from any server or transfer all or any of the enclosed sounds to another
25. er MIDI control codes Learning to shape musical lines the same way an instrumen talist does will give your work a more natural musicality By combining velocity control expression Mod Wheel and volume you change digital samples into real living music Using Cross Fades The Dark Side makes use of cross fading in the Mod XFD instruments See the descrip tion of these patches starting on page 23 The basic idea of a cross fade as used in The Dark Side is that 2 somewhat similar sam ples but that differ in the kind of distortion applied are played back simultaneously And the mix of how much of each sample makes it into the audio output is controlled by the Mod Wheel At the bottom of the range you hear only one sound and at the top of the range only the other sound In between you hear gradually less of the first sound and more of the second sound as you push the Mod Wheel up Look for these cross fade instruments in the folders named _KS and Mod XFD Directing the Audio Output The output from PLAY is one or more stereo audio signals The image at the right shows 9 stereo pairs of outputs in the drop down list from the Master Output control Each instance of PLAY has its own outputs separate from those of every other instance IZ First Synth Audio Output If you are using PLAY as a plug in in a host you can ae e PAE S usually specify whether you want the output audio to be MEARE O captured in a single track or main
26. he loudness of the generated sound Changing volume is basically the same as turning the volume knob on your audio system The guitar played softly can be cranked up even when the bass player plays as loud as he can the sound can be turned way down Volume can be adjusted mid note that is the listener can experience a crescendo or diminuendo for a held note And as with a live band the various instruments are changing their loudness indepen dently something you cannot do with the stereo s loudness knob Chapter 5 Usng PLAY s Features 36 THE DARK SIDE VIRTUAL INSTRUMENT Es tl os LS Velocity a term based on how strongly a keyboard player hits the keys controls how forcefully the note is played Adding force changes not only the loud ness of the notes but can also change the notes timbre With a piano s action the velocity cannot affect what happens to the sound after the ham mers hit and leave the strings and velocity works the same way here In the current implementation of MIDI velocity is usually designated by a number between O and 127 Many software sequencers display velocity as vertical bars some thing like those at the bottom of the image at the left Most modern sample players PLAY included can play different samples for different ranges of velocity For example the team creating the samples recorded Middle C with any given guitar at pp p mp mf etc The team th
27. hey are non tonal in the sense that the pitches do not conform to any standard chromatic scale If you play a scale in Horror 01 the pitches jump around apparently at random If you hold any note for a long time the pitch and timbre remain generally constant In contrast a scale in Horror 02 starts out on the played pitch but then each note modu lates drastically over time Even though each MIDI note seems to distort in random ways the output is repeatable Be aware that some notes continue unchanged for more than 10 seconds before the weird changes begin Omnichord The Omnichord abbreviated as OC in the instrument names is an electronic instru ment manufactured by Suzuki Musical Instrument Corporation It allows you to play in dividual notes as though picking virtual strings and to press buttons to generate chords Suzuki has rebranded more recent versions as the QChord The notes are available in the main Misc folder and the chords are available in any one of three keyswitch files where you can select one or both of Kaoss and Arpeggiated See page 29 for more details about the keyswitches Chapter 4 Instruments Articulations and Keyswitches 32 THE DARK SIDE VIRTUAL INSTRUMENT 34 Opening Multiple Instances of PLAY 35 Keyswitch Instruments 36 Creating a Soundscape 36 Volume Velocity and Expression 38 MIDI Envelopes and Control Data 39 Using Cross Fades 39 Directing the Audio Output Click on this
28. hromatic scale The Dark Side Perc Tonal KS CO FO co Backwardspell C 0 Big Broken Ben Extreme DO Big Broken Ben D 0 Ethereal E0 Perc Bells FO Perc Sci Fi Chapter 4 Instruments Articulations and Keyswitches 29 THE DARK SIDE VIRTUAL INSTRUMENT Descriptions of Selected Instruments Many of the instruments in The Dark Side library describe themselves fairly well in their names and no further description is required And even when the name doesn t imme diately invoke a sound in your mind a description in words wouldn t pin down the sound for you anyway you just have to audition the sounds and learn what the instruments sound like Those that require some further information are described below Non KS Files That Contain Keyswitches A few files that do not name themselves as keyswitch files do nonetheless provide a keyswitch for selecting articulations Sustain and Short Notes In each of these cases the keyswitch selects between a short version and a sustained version of the same instrument The instruments that give you this control are listed here e Fuzz Bass e Perc Bass CO is always the Sustained version and C 0 is the Short version String Selection in Slightly Dirty Bass The two instruments Slightly Dirty Bass ewi and Slightly Dirty Bass Lite ewi give you the choice of what string you want to play the note on as follows e CO _ on the E string e C 0 on the A string e DO onthe D string e D 0 on the G s
29. irly Keys_Furry Ethnic Orchestra MOD The Dark Side Choirs Keyswitch C 1 F 1 Regular amp Wide 28 The Dark Side Ethnic Keyswitch CO A0 28 Bass Hemorrhage wFX ADT EW Chamber 2 Destroyer Bass wFX Delay Fuzz Bass wFX ADT EW Hall LR Slightly Dirty Bass wFX ADT Hollywood Scoring Drums S Bone Crunch wFX Fat Drums LR Broken Circuit wFX Delay Dark Dirt wFX Fat Drums LR Slap Kit 24 inch wFX Delay continued Chapter 4 Instruments Articulations and Keyswitches 21 THE DARK SIDE VIRTUAL INSTRUMENT THE DARK SIDE INSTRUMENTS 2 _2 BitChoirwFX Choral Hall LR Choir wFX Choral Hall 1 LR Electric Medieval wFX Delay Electric Medieval WFX Delay Hollywood Scoring Scoring Ethnic Guitar wFX EW Sinatra Chamber Leslie Choir wFX ADT Delay Snake Charmer wFX ADT S Cal Hall Strings UFO Choir wFX ADT Delay Zitherland wFX Large Church Guitars WK Distorted Lead wFX EW Hall RL Guitars on Mars wFX ADT Live Cathedral Insanity wFX Delay Hollywood Scoring Tunnel Lead wFX EW Chamber 2 Keys and Strings WX Bent Funeral Organ wFX ADT Large Church Brain Damage wFX Delay Broken Jaw Harp wFX ADT Delay Chorus Strings wFX Carlsbad Caverns 6 Dist Org String Thing wFX Choral Hall 1 LR Freak Show wFX St Mary LR PereTonalwK o Super Tabla wFX HDIR Cathedral 4 0 LR 7 Misc and Pere o _Backwardspell
30. kit bass drum snare high hats etc so the difference between the various instru ments within The Dark Side is in the distortion that has been applied But do be aware that some instruments in the Drums folder contain more playable notes than other in struments You will need to open these patches and play with them to determine which instruments fit best within your style of music and your requirements Slap Kits The Slap drum kits come in three variations labeled e 24 inch e 50 inch e 106 inch These distances refer to how far away the microphones were placed from the drums The greater the distance the more distortion can be heard For those users more accustomed to the metric system here are those same 3 distances in centimeters approximately e 60cm e 125cm e 270 cm Chameleon Morpher ewi amp Verb Kit Morpher ewi The term Morpher in these two instruments refers to the ability to change the sound of any note using the MIDI Velocity parameter Usually Velocity affects the loudness and timbre of a note that is hitting the keys of a MIDI keyboard with more force generates the sound of the sampled instrument played louder However for these two instruments Velocity does not affect loudness Instead playing with different Velocities generates sounds that differ in the nature of the sound and of the distortion For these two drums you can affect the kind of sound you get by the amount of force you use whe
31. ll instruments Note then when you turn on the Master option the message above appears to remind you of the consequences of this action The Graphical Representation of the Envelope The Envelope Controls are described in the main PLAY System manual because they are common to all PLAY System libraries Only some libraries include the graph as shown here so it is included in the manuals for those libraries only For more information about the En velope controls see that topic in the main PLAY System manual Note that the total width of the graph represents the total length of all phases of the envelope Therefore when you change something in one part of the graph for example the length of the decay you may see the slopes of other components the attack and the release change as well because those phases become a larger or smaller percent of the whole this is as expected The Browser View The Browser behaves identically among all PLAY System libraries Read the main PLAY System manual for information about how to use that view There s one difference in The Dark Side Browser though When opening an instrument the Abort button appears in a different place than for other libraries temporarily replac ing the Add and Replace buttons as shown below Click on this button to stop the instru ment from opening Chapter 3 The Dark Side User Interface 14 THE DARK SIDE VIRTUAL INSTRUMENT 16 Instruments with Effect
32. llows you to adjust how much of two different instruments in a cross fade are audible at any time This feature is described in more detail for the various cross fade instruments starting on page 23 e For all other instruments e those that do not have MOD in the name the Mod Wheel controls a 2 Pole Low Pass Filter With the Mod Wheel at the bottom of its range all frequencies are heard because the filter is all the way open As you push up the Mod Wheel or increase CC 1 in a sequencer the filter closes cutting off high end frequencies at a progressively lower and lower point This feature allows you to do filter sweeps on the fly The Table of All The Dark Side Instruments THE DARK SIDE INSTRUMENTS 1 Drums Arena Kit Bone Crunch Broken Circuit Chameleon Big Room Regular amp Distorted Chameleon Dry Regular amp Distorted 1 amp Distorted 2 Chameleon Morpher Chameleon Open Mic Regular amp Distorted Chameleon Roomy Regular amp Distorted Dark Dirt Demolition Dungeon Slamming Slap Kit 24 inch amp 50 inch amp 106 inch Underground Verb Kit Dry Verb Kit Morpher Verb Kit Verb 1 5 continued Chapter 4 Instruments Articulations and Keyswitches 17 THE DARK SIDE VIRTUAL INSTRUMENT THE DARK SIDE INSTRUMENTS Chameleon Keyswitch CO G 0 24 Slap Kit Keyswitch C0 D0 25 Verb Kit Keyswitch CO F0 25 Bass Hemorrhage Sus Bass Snatchers Legato Bass Snatchers Slide Up amp Down Bass Snatchers
33. n playing the keys of by adjusting the Velocity parameters in your sequencer Arena Kit This drum kit includes a reverb from Acousticas of 2 2 secs The user can adjust the length of the reverb in the Player view by selecting a different IR from the dropdown list This instrument does not include multiple velocity layers That means you re playing the same samples when playing with high or low velocity the Arena kit is designed for full volume in the style of Floyd Muse Chapter 4 Instruments Articulations and Keyswitches 31 THE DARK SIDE VIRTUAL INSTRUMENT Guitars Guitars on Mars Down Up and Round Robin These 3 versions of the Guitars on Mars instrument provide access to e all down strokes e all up strokes e around robin alternation between down and up strokes Use whichever suits the project you re working on Note that in the Guitars keyswitch only the round robin version is included Miscellaneous Instruments Bumblebee 01 amp 02 Non Tonal These two patches are non tonal in the sense that the pitches do not conform to any standard chromatic scale Instead as you play a scale the pitches jump around appar ently at random In both of these patches the audio output can modulate significantly over time with some changes happening more than 10 seconds into the playback of the note Horror 01 amp 02 Non Tonal These patches are meant to capture the sounds sometimes heard in horror and sci fi movies T
34. nes Star Wars Episode I Revenge of the Sith Star Wars A Musical Journey Jurassic Park Jurassic Park The Lost World and more e Symphonic Orchestra awarded Keyboard Magazine Key Buy Award EQ Magazine Exceptional Quality Award Computer Music Magazine Performance Award and G A N G Game Audio Network Guild Best Sound Library Award e Symphonic Choirs awarded Electronic Musician 2006 Editor s Choice Award G A N G Best Sound Library Award and Keyboard Magazine Key Buy Award Most recently his productions have included EastWest Quantum Leap Pianos the most detailed virtual piano collection ever produced Fab Four inspired by the sounds of the Beatles and M P A Winner judged most innovative virtual instrument by 100 inter national music magazines and now The Dark Side Producer David Fridmann David Fridmann is an American record producer and musician He often brings a dis tinctive expansive open sound to the albums he produces From 1990 onwards he co produced all releases by Mercury Rev and The Flaming Lips with the exception of Transmissions from the Satellite Heart by The Lips Other bands he has worked with include Weezer Saxon Shore Ammonia Ed Harcourt Sparklehorse Caf Tacuba Elf Power Mogwai Thursday The Delgados Low Phantom Planet Gemma Hayes Goldrush Tapes n Tapes Hopewell Black Moth Super Rainbow Number Girl Zazen Boys Sleater Kinney
35. on names Note that some older versions of Acrobat Reader might not support all such features The latest Acrobat Reader can be downloaded and installed at no cost from the Adobe web site As an example of a hyperlink you can click on the last words of the previous sentence Adobe web site to be taken directly to the Adobe site When reading this and other manuals on the computer screen you can zoom in to see more detail in the images or zoom out to see more of the page at once If an included picture of the user interface or a diagram seems fuzzy or illegible then zoom in using one of several means provided in the Acrobat Reader software Note that images are clearest and screen shots most legible at 200 and next best at 100 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 Dark Side library and need to open the manual for the PLAY System as well go to any chapter title p
36. raphical representation of the Envelope Filter Controls The Filter controls take the sound of the instrument and modify __ it by filtering out some of the sound above a certain frequency This type of effect is commonly called a Low Pass Filter The Frequency knob determines where the sound starts to be filtered out The Resonance knob specifies how much the filter rings at the dialed frequency The higher the resonance knob is set the more focused this ringing becomes The graph gives you visual cues about the frequency distribution you are creating with the settings you select ADT Controls Artificial Double Tracking is a technique invented at Abbey i Road when the Beatles were recording there that approx z imates the effect of double tracking recording two nearly 4 identical takes of a vocalist or instrument on the same part and layering one on top of the other without actually taking the time to record two takes And some would say ADT improves on actual double track ing even beyond the savings in time The original ADT process was based on magnetic tape in the PLAY Engine the effect is created digitally The software programmers how ever added a tape simulator to mimic the slight speed variations of the two analog tape machines that created the ADT effect 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 of
37. rol sur faces have programmable knobs and or sliders that can be set to send CC11 messages to a specific MIDI channel Sliders are generally more sensitive for real time control If your sequencer supports automation it can record the movements of the knob or slider and save them as part of the project Such manual and real time control over the shape of an instrumental line is usually more efficient than drawing in an envelope and often achieves more convincing results Chapter 5 Usng PLAY s Features 37 THE DARK SIDE VIRTUAL INSTRUMENT EastWest s choice to use CC11 allows CC7 volume to be used in other ways The usual convention is to use the volume slider in your sequencer to adjust the overall volume level of each track in the mix Although the volume and expression controls can be adjusted separately the volume setting does change how expression af fects perceived volume Think of CC7 as setting an upper limit on the dynamics at any moment Expression like most con tinuously changeable values in MIDI takes values between O and 127 CC7 specifies how loud a sound to generate for the CC11 50 maximum expression 127 The diagram seen here shows that when volume decreases the fixed changes in expression repre sent smaller changes in perceived loudness Changing from an expression level of 50 up to 100 represents a smaller change in loudness when the volume control CC7 is reduced CC11 100 perceived volume level M
38. s 17 Uses of the Mod Wheel in The Dark Side 17 The Table of All The Dark Side Instruments 23 Mod Wheel Cross Fades 24 Keyswitches 30 Descriptions of Selected Instruments Click on this text to open the Master Navigation Document 15 THE DARK SIDE VIRTUAL INSTRUMENT Instruments Articulations and Keyswitches The instruments in The Dark Side library are divided into 9 categories based on the type of physical instrument that was sampled before the distortion was added These instru ments were then grouped into these 6 folders e 1 Drums e 2 Basses e 3 Guitars e 4 Keys and Strings e 5 Ethnic and Choirs e 7 Miscellaneous and Percussion These types of instruments form 6 of the 7 folders visible in the PLAY Browser From these folders you can select the various and diverse instruments created specifically for The Dark Side The numbers at the beginning of each folder name are there only to keep them in this order Instruments with Effects To create the seventh folder 6 Instruments wFX the producers collected a selection of instruments from the other folders and applied to each patch one or more of the ef fects available in the Player view of PLAY For example the instrument called Guitars on Mars wFX adds to the basic Guitars on Mars patch the Live Cathedral convolution reverb and the ADT processing There are two reasons for including such a folder e The inclusion of these effects generates sounds
39. st point only the first named sound Eleanor Keys is heard As you push the Mod Wheel up you hear progressively more of the second named sound in this case Electric Medieval until at the top of the Mod Wheel s range both articulations are playing at full volume This continuous mixing of the combined sounds can be done at any point including in the middle of a long held note Note that this approach is a little different than cross fades in other PLAY libraries where they re available Specifically the volume of the second articulation does not decrease as the Mod Wheel moves up Chapter 4 Instruments Articulations and Keyswitches 23 THE DARK SIDE VIRTUAL INSTRUMENT Keyswitches A keyswitch is an instrument that loads into memory the samples for more than one in strument and then responds to the playing of specialized notes called keyswitch notes to change between the loaded instruments For more information about keyswitches see page 35 and also the information in the main PLAY System manual The Dark Side contains at least one keyswitch file for every category of instruments ex cept that there is none in the Instruments wFX folder In the table above the number after the name of the keyswitch is a page number and clickable hyperlink where the list of instruments within the keyswitch file is described Note that several of the instruments that are not specifically named as keyswitches do nonetheless
40. tained as separate tracks The image at the left shows how one sequencer Sonar gives you a choice The first checkbox creates a single track to hold all the audio output with the assumption it will be the first stereo pair 1 2 The second checkbox creates 9 audio tracks one for each of the stereo pairs in the drop down list shown at the right The third creates 18 mono tracks in case you want to keep the left and right tracks separate See the documentation for your se quencer to learn how that selection is made in the host software you use If you ve selected to set up a single track to hold all the audio output from one instance of PLAY and you open multiple instruments in this instance then all the instruments will be mixed in the PLAY audio engine and written to the track as a single stereo signal If instead you ve selected to set up multiple tracks then you can select the track for each individual instrument Outputs that share the same channel are mixed in the PLAY audio engine and written out as a single track Outputs on different channels are writ Chapter 5 Usng PLAY s Features 39 THE DARK SIDE VIRTUAL INSTRUMENT ten independently to different sequencer tracks and available to be mixed within the sequencer at a later time Apnvancen Note that the host may be able to generate a monophonic track from the stereo output but that will happen in the sequencer PLAY always outputs a stereo signal See the sequenc
41. ted to a single core which is less efficient than spreading the work across all the cores But in another case if you create at least as many instances of PLAY as there are cores in the CPU the sequencer can assign the instances across all the cores which most likely means you can open more instruments and play them back without problems As a general rule if you re using more PLAY instruments than you have cores in your computer then it s best to open at least as many instances as you have cores Let s say you have a 4 core computer and are planning to open 10 PLAY instruments You could open 4 instances of PLAY and spread out the patches 3 3 2 and 2 per instance Or you could open 10 instances with one instrument each Or some arrangement in between The exact arrangement that s best for you depends on which instruments how consis tently each is heard through the piece the complexity of the instruments cross fades are often using more CPU resources at once than other patches and other factors If you come up with an arrangement in which each instance is using about the same number of voices as the other instances then you re likely using your instances efficiently Chapter 5 Usng PLAY s Features 34 THE DARK SIDE VIRTUAL INSTRUMENT Keyswitch Instruments Sometimes one instrument needs to play the sounds of different distortions within a single phrase For example some of the notes might sound best with the Destroyer
42. ten 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 an 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 Chapter 3 The Dark Side User Interface 12 THE DARK SIDE VIRTUAL INSTRUMENT The Power button allows you to kill the ADT effect instantly and then reinstate it with the same settings as needed 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 Roun Rosin reser There s one potential problem with round robin technology and one way Ms A to solve it is the Round Robin Reset button The PLAY Engine remem bers whi
43. tring All notes in the guitar s range can be played when any of the keyswitch notes is active but the notes are played on the specified string when possible For example if you select the A string with the C 0 keyswitch the lowest notes are still played on the E string as they have to be but once you get to A the rest of the notes are played on the A string Selecting a lower string E or A provides a fatter sound and selecting the higher D or G string provides a thinner sound Slightly Dirty Bass Lite This patch give you the same control over string selection as is described above but in an instrument played with less dirt and less aggression You will hear a lighter and thin ner sound Choirs Wide Choirs All of the instruments in the Choirs folder include both a regular and a Wide version and that includes the Choirs instruments in the _KS and Mod XFD folder In the Wide instruments the Stereo Double control is on by default and the Amount knob is set to a non zero value 50 This gives the perception of a large choir that fills the stereo field in the regular version the choir seems more localized within the field Chapter 4 Instruments Articulations and Keyswitches 30 THE DARK SIDE VIRTUAL INSTRUMENT As always feel free to experiment with this control to achieve the exact effect you want Drums For the most part the drum instruments include the same range of sounds from a drum
44. uired for an installation of The Dark Side is ap proximately 40 GB Gigabytes Chapter 2 The Dark Side An Overview 9 THE DARK SIDE VIRTUAL INSTRUMENT Filter Controls ADT Controls Round Robin Reset Button Stereo Double Controls The Master Button in the Reverb Controls The Graphical Representation of the Envelope The Browser View Click on this text to open the Master Navigation Document 10 THE DARK SIDE VIRTUAL INSTRUMENT The Dark Side User Interface Overview Each PLAY library presents its own interface when one of its instruments is the current one as specified in the Instruments drop down in the upper right corner The image at the bottom of the page provides an overview of the entire window in Player View when the current instrument is from The Dark Side library Much of this interface is shared by all PLAY System libraries and the common features are described in the PLAY System manual The Dark Side specific controls described later in this section are those listed on the next page If you don t see a control described in this chapter look at the PLAY System manual fi PP e JPOWER 2ms 69 2 Chapter 3 The Dark Side User Interface 11 THE DARK SIDE VIRTUAL INSTRUMENT Here are the controls described in this manual and not in the PLAY System manual e Filter e Artificial Double Tracking ADT e Round Robin Reset e Stereo Double The Master button in the Reverb controls The g
45. user or for use in any competitive product 5 Li censor will not be responsible if the contents of the hard drive does not fit the particular purpose of the Licensee If in doubt over usage please contact East West Sounds Inc by fax USA 323 957 6966 or email licensing eastwestsounds com ALL RIGHTS RESERVED 2010 EAST WEST SOUNDS INC Windows XP Vista 7 are registered trademarks of Microsoft Corporation Pentium is a registered trademark of Intel VST Instruments is a registered trademark of Steinberg Media technologies AG OS X Audio Units and Core Audio are registered trademarks of Apple Inc All other product and company names are trademarks of their respective holders All specifications are subject to change without notice License Agreement 41
46. y EASTWEST founder and producer DOUG ROGERS is the recipient of many industry awards including Recording Engineer of the Year The Art of Digital Music named him one of 56 Visionary Artists amp Insiders in the book of the same name In the late eighties he founded EASTWEST the most critically acclaimed virtual soft ware instrument developer in the world and recipient of over 60 international indus try awards His uncompromising approach to quality and innovative ideas has enabled EASTWEST to lead the industry for more than 20 years Producers left to right Doug Rogers and David Fridmann He released the very first commercial Drum Samples CD in 1988 and followed it with the multiple award winning Bob Clearmountain Drums In the years that followed he practically reinvented the sound ware industry introducing loop sample libraries to the market in the early nineties followed closely by the first MIDI driven loops collection Dance Industrial the first sample library to include multiple dynamics followed by the first sample library to stream from hard disk an innovation that led to the detailed col lections users expect today Chapter 1 Welcome 2 THE DARK SIDE VIRTUAL INSTRUMENT His recent productions are e Hollywood Strings co produced with Nick Phoenix and Thomas Bergersen engi neered by Shawn Murphy Indiana Jones and the Kingdom of the Crystal Skull Star Wars Episode Il Attack of the Clo
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