Home

Hollywood Orchestral Woodwinds Manual - Soundsonline

1. EastWest has done extensive testing in which PLAY 3 running with solid state drives for the samples and instruments was able to reproduce over 700 concurrent voices without any pops clicks or other artifacts that can occur when the same sequence streams from a traditional hard drive This data indicates that it is not the PLAY 3 software that provides the bottleneck in the data flow but rather the seek time required to locate the many hundreds of samples on a traditional hard drive when they need to be streamed to the CPU all at once For those composers and orchestrators looking to build large projects using the kinds of instru ments that add realism through the use of complex cross fades solid state drives along with more than 8 GB of RAM can help make that happen Requirements for Sample Storage The available space on the hard drive required for an installation of Hollywood Orchestral Woodwinds Diamond Edition is approximately 145 GB Gigabytes Chapter 2 Hollywood Orchestral Woodwinds An Overview 8 HOLLYWOOD ORCHESTRAL WOODWINDS PLAY 3 The Orchestral Woodwinds User Interface 11 Performance 12 Round Robin Reset Button 13 Stereo Double Controls 13 The Master Button and Pre Delay Knob in the Reverb Controls 14 The Graphical Representation of the Envelope 14 The Browser View 14 Performance Scripts 16 The Articulations Control and Keyswitches Click on this text to open the Master Navigation Documen
2. Click on this text to open the Master Navigation Document 1 HOLLYWOOD ORCHESTRAL WOODWINDS Welcome About Hollywood Orchestral Woodwinds This extensive library is the third installment of the very popular Hollywood series from EastWest Like the two libraries that preceded it to market it was recorded engineered and produced with the superior level of quality for which the EastWest brand is known And like its predecessors it was recorded in Studio 1 at EastWest Studios giving all three libraries consistent sound and ambience Hollywood Orchestral Woodwinds was designed from the start to be the most detailed collection of orchestral woodwind instruments ever assembled And the finished library lives up to the aspiration of its original design Like the two earlier releases in the EastWest Hollywood series this library was sound en gineered by Academy Award C A S Cinema Audio Society BAFTA and Emmy award winning sound engineer Shawn Murphy He has recorded and mixed the scores for more than 300 feature films including Indiana Jones and the Kingdom of the Crystal Skull Star Wars Episode Il Attack of the Clones Star Wars Episode III Revenge of the Sith Star Wars A Musical Journey Jurassic Park Jurassic Park The Lost World Harry Potter and the Prisoner of Azkaban Titanic Minority Report The Bourne Ultimatum Saving Private Ryan Munich The Passion Of The Christ X Men The Last Stand Ice Age and many
3. Legato Slur The basic slur legato patch creates a slur between notes as long as there is no delay between the end of the first note and the start of the following note Plus the interval between the two notes has to be no more than an octave Because these patches always start playing 3 sustain samples in addition to cross fade between them based on the Mod Wheel and also use separate samples to provide the slurs be aware that the patches use more computer resources than most of the simpler instruments Some Legato Slur articulations include the text Auto Tempo or Velocity Speed in the name These names refer to the two different ways mono legato scripts can work Auto Tempo adjusts interval start times and envelopes based on how fast notes are played In contrast Velocity Speed adjusts these parameters based on the MIDI Velocity parameter of the notes Depending on which one you use either the higher the note s velocity or the faster the speed of the passage the further the interval start times get pushed in and therefore the shorter the envelope attack setting becomes Full and Full Niente Patches Those patches with Full in the name include independent control over vibrato and loudness The higher the value of the Mod Wheel CC 1 the more vibrato is heard The higher the value of MIDI Expression CC 11 the louder the sound of the instrument This behavior is similar to what s available with the Sus Full
4. Trill HT Y Y 28 Trill WT Y Y Repetitions Slow Y 29 Effects FX Long Y Y 29 Effects FX Short Y 04 Keyswitch Clarinet Eb Clar Bass Clar ChsClar 29 Keyswitch Sus Short CO A 0 CO A0 Keyswitch Runs FX C0 G0 05 Legato Clarinet Eb Clar Bass Clar Cbs Clar 32 Legato Slur Auto Tempo Y Y Y Y Legato Slur Velocity Speed Y Y Y 4 Legato Slur Accent Y Y Y Y Legato Slur Runs Y Y 33 Legato Slur Staccato Runs Y Y Chapter 4 Instruments Articulations and Keyswitches 23 HOLLYWOOD ORCHESTRAL WOODWINDS INSTRUMENT OVERVIEW DOUBLE REEDS Page 01 Long Oboe Eng Hrn Bassoon Chassoon 25 Sus Vibrato Y Y Y Y 25 Sus Non Vibrato Y Sus Expressive Y Y Y Y Sus NV VB Y Y Y Y Sus NV VB Full Y Y Y Y Sus NV VB Full Niente Y Y Y Y Sus Accent Y Y Y Y Legato Repetitions RRx4 Y Y Y Y 26 02 Short Oboe Eng Hrn Bassoon Chassoon 27 Marcato Short Double Tongue RRx4 Y Y Y Y 2 Staccato Double Tongue RRx5 Y 21 Staccato Double Tongue RRx9 Y Y Y Staccatissimo Double Tongue RRx5 Y Staccatissimo Double Tongue RRx9 Y Y Y Shorts MOD SPEED Y Y Y Y 27 03 Effects Oboe Eng Hrn Bassoon Chassoon 28 Run Up Octave Chromatic Y Y 28 Run Down Octave Chromatic Y Y Run Up Major Scale Y Y Run Down Major Scale Y Y Run Up Minor Scale Y Y Run Down Minor Scale Y Y Run Up Whole Tone Scale Y Y Run Down Whole Tone Scale Y Y Trill HT Y Y Y 28 Trill WT Y Y Y Repetitions Medium Y Y 29 Repetitions Slow Y Y 04 Keyswitch Oboe Eng Hrn Bassoon Chassoon 29 Keyswitch Sus Short C
5. FX Long Y Effects FX Short Y 04 Keyswitch Flute Flute 2 Piccolo Alto Fl BassFl 29 Keyswitch Sus Short CO C 1 CO Ci C0 C1 CO F 0 CO EQ Keyswitch Runs FX CO GO C0 G0 C0 G0 05 Legato Flute Flute2 Piccolo AltoFl BassFl 32 Legato Slur Y 33 Legato Slur Auto Tempo Legato Slur Auto Tempo Full Legato Slur Auto Tempo Full Niente Legato Slur Velocity Speed Full Y Legato Slur Velocity Speed Full Niente Legato Slur Velocity Speed Legato Slur Accent Y Legato Slur Accent Full Legato Slur Accent Full Niente Legato Slur Runs Legato Slur Staccato Runs SPSS S S S S SS SIS SPSS SI S S S SS SIS SPSS SS SPSS SIS SIS S S SS SIR SN INSTRUMENT OVERVIEW CLARINETS 01 Long Clarinet Eb Clar Bass Clar Cbs Clar 25 Sus Non Vibrato Y Y Y Y 25 Sus Expressive Y Y Sus Accent Y Y Y Y Legato Repetitions RRx4 Y Y 26 02 Short Clarinet Eb Clar Bass Clar ChsClar 27 Marcato Short Double Tongue RRx4 Y Y 21 Staccato RRx5 Y 27 Staccato Double Tongue RRx5 Y Staccato Double Tongue RRx9 Y Y continued Chapter 4 Instruments Articulations and Keyswitches 22 HOLLYWOOD ORCHESTRAL WOODWINDS Staccatissimo Double Tongue RRx5 Y Staccatissimo Double Tongue RRx9 Y Shorts MOD SPEED Y Y 27 03 Effects Clarinet Eb Clar Bass Clar Cbs Clar 28 Run Up Octave Chromatic Y 28 Run Down Octave Chromatic Y Run Up Major Scale Y Run Down Major Scale Y Run Up Minor Scale Y Run Down Minor Scale Y Run Up Whole Tone Scale Y Run Down Whole Tone Scale Y
6. and not in the General Discussion forum Chapter 1 Welcome 4 HOLLYWOOD ORCHESTRAL WOODWINDS PLAY 2 Hollywood Orchestral Woodwinds An Overview 6 7 7 7 The Woodwind Section for the Hollywood Orchestral Series Comparison of the Diamond and Gold Editions What s Included Hardware Requirements Click on this text to open the MasterNavigationDocument 5 HOLLYWOOD ORCHESTRAL WOODWINDS Hollywood Orchestral Woodwinds An Overview The Woodwind Section for the Hollywood Orchestral Series This EastWest virtual instrument contains a selection of woodwinds heard in both tradi tional and modern orchestras The 13 included instruments fall into three families e Flutes e Clarinets e Double Reeds The most common members of these families are of course included but so are a few less familiar members such as the Eb Clarinet and the Bass Flute in order to pro vide unique timbres and or to extend the range of a family See the tables starting on page 21 for more detail on the individual instruments Each instrument has been sampled in a solo performance Of course you can use mul tiple instances of any articulation file to create polyphonic writing or parallel lines The instruments were recorded in a wide variety of articulations from staccatissimo to sustained notes to several kinds of realistic legato with sampled slurs between notes The library also includes recorded performances of runs and unique wood
7. but that discussion is out of scope in this section Volume Velocity Expression and the Mod Wheel There are at least three ways to make any given sampled instrument sound louder or at least make the real instrument seem to have been played louder The skilled MIDI orchestrator uses all three Volume CC7 is simply the increase or decrease in loudness of the audio output Changing volume is the same as turning the volume knob on your stereo system The horns played softly can be cranked up a loud trumpet section can be turned way down Volume can be adjusted mid note that is the listener can experience a crescendo or diminuendo for a held note Even un natural sounds can be created such as a quick crescendo for a single hit on a drum One limitation of using only Volume is that in a live orchestra the various instruments are changing their loudness independently something you cannot do with the stereo s loudness knob But as was mentioned in the section on setting up templates on page 36 it is not recommended that the MIDI volume parameter be used in this way It is recommended Chapter 5 Orchestral Technique 40 HOLLYWOOD ORCHESTRAL WOODWINDS that there be one Volume MIDI event on each track to set the starting loudness for the whole track es ol oe Velocity a term based on how strongly a keyboard player hits the keys controls how forcefully the 7 note is played Adding force changes not only the loudn
8. the airflow alternately with the tip of the tongue and with the back of the tongue against the palate The tongue moves in the same pattern as when saying tiki tiki tiki Marcato When used in a score the term marcato indicates that every note is to be accented This articulation contains notes of a short duration that begin with a strong accent These are Round Robin instruments with 4 sets of samples in rotation Shorts MOD SPEED Each one of these instruments allows you to use the Mod Wheel to move continuously among several short articulations As you push the Mod Wheel up from the bottom the articulations you hear proceed from the shortest staccatissimo to longer to marcato Near the top of the Mod Wheel s range the generated notes play a short attack and a sustained note Use this patch when you need a variety of note lengths most of which are short Chapter 4 Instruments Articulations and Keyswitches 27 HOLLYWOOD ORCHESTRAL WOODWINDS Each of the four included articulations sits in about a quarter of the Mod Wheel s 128 value range As you move from O to 127 you pass through e Staccatissimo e Staccato e Marcato Short Marcato Short played simultaneously with a Sustain 03 Effects The instruments in this folder fall into several types e runs on several different scales trills flutter tongue repetitions special effects FX Runs These patches are scales recorded to a single MIDI note Four
9. 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 often representing separate articulations Within some instrument files may be several articulations that can be selected in one of several ways e through the on screen Ul e with keyswitch notes e by moving the Mod Wheel The Categories of Articulations For all instruments in this library the list of instruments is divided into categories In the Browser they appear as separate folders e Ol Long 02 Short 03 Effects 04 Keyswitch 05 Legato The number at the start of each category name is there to make sure this list always appears in this order within the Browser These categories appear as section headers within the following table to help you find instrument files in the tables and in the Browser Note that not every instrument has articulations files in every folder It is especially for the less common instruments where you may find missing folders And the E flat Clarinet and Contrabass Clarinet actually use no subfolders collecting all the articulation files in a single folder each A Note on Dynamics in Hollywood Orchestral Woodwinds Instruments As discussed in multiple places within EastWest manuals there are several ways you can affect with MIDI parameters how loudly an instrument should play e MIDI Velocity e the Mod Wheel CC 1 e Volume CC 7 e Expr
10. WOODWINDS library manual and the PLAY System manual open in separate windows so you can refer to them both Separate Gold and Diamond Manuals The Hollywood Orchestral Woodwinds virtual instrument is available in separate ver sions Gold and Diamond And each has a manual slightly different from the other so it is important that you use the correct version of the manual This is the manual for the Diamond Edition If you have the incorrect version of the manual contact Technical Support at EastWest Online Documentation and Other Resources For the most up to date information visit the support pages at EastWest s web site There you can find e information made available after these manuals were written e FAQ pages that may already list answers to questions you have e suggestions from EastWest and other users of the EastWest PLAY System e news about upcoming releases The address is http support soundsonline com You can also visit the EastWest online forums There you can read comments and ques tions from others who use EastWest products and post your own The many forum par ticipants are a good source of helpful information about both the technical and musical aspects of this software The address of the forums is http Www soundsonline forums com If you visit the forums to receive support from EastWest instead of going directly to the support site listed above make sure you post your support request in the Support forum
11. different scales are in cluded e Chromatic e Major e Minor e Whole Tone All of these runs cover a full octave and are available in two directions upward and downward Note that the MIDI note always specified the lowest note in the scale wheth er going up or down The speed of the scale is fixed so if you need a scale at a specific tempo it s best to use one of the other patches and play the scale note by note Trills A trill is the rapid alternation between two notes either a half tone or a whole tone apart Any file with HT in the name contains a half tone trill And with WT in the name it contains a whole tone trill This instrument responds to the Mod Wheel to control the volume It does not respond to MIDI Velocity When you play a MIDI note the samples for all three dynamic layers start playing with the Mod Wheel controlling whether and how much of each layer is audible This approach allows you to increase or decrease the loudness during the trill Flutter Tongue When a flautist flutters his tongue while playing similar to the rolled R in some lan guages it produces a characteristic sound captured in the several Flutter Tongue files in this library The Mod Wheel affects the loudness allowing a continuous crescendo or decrescendo mid note Velocity does not control loudness for these instruments Chapter 4 Instruments Articulations and Keyswitches 28 HOLLYWOOD ORCHESTRAL WOODWINDS Repetit
12. given in the instrument name and perhaps its release trails on a separate line The im ew legato siur vin age at the right shows the control for a Legato Slur instrument The checkboxes at the left of the control allow you to deactivate any articulation turn it off while leaving its samples in memory or separately to unload the samples from memory The small knobs in the third column allow you to adjust the loudness of each articulation without affecting the loudness of the others Chapter 3 The Hollywood Orchestral Woodwinds User Interface 16 HOLLYWOOD ORCHESTRAL WOODWINDS PLAY 4 Instruments Articulations and Keyswitches 19 The Tables of the Instruments 21 Tables of Instruments 25 01 Long 27 02 Short 28 03 Effects 29 04 Keyswitch 32 05 Legato Click on this text to open the Master Navigation Document I7 HOLLYWOOD ORCHESTRAL WOODWINDS Instruments Articulations and Keyswitches The Hollywood Orchestral Woodwinds virtual instrument is a library designed to create orchestrations of the kind heard in movie soundtracks but of course it can be used for many other types of music as well And it mixes well with other virtual instruments from EastWest so feel free to add in strings guitars percussion voices whatever you can imagine This library and all other libraries in the same EastWest Hollywood series are designed to work together particularly well they include the same variety
13. illuminated the Reverb for this instru ment applies to all the other instruments in this instance of PLAY including instruments from libraries that do not include a Master button If the Master button is already engaged in another instrument in Revere the current instance of PLAY and the Master button is pressed in a new instrument then the settings in the user interface UI of the new instrument become the settings for all instruments in this PLAY a instance The processing of high quality reverb can be very CPU intensive and it is often the case that you want to use the same reverb on all the instruments in an audio track Engaging the Master Reverb button allows you to run a single instance of the reverb processor and have the effect apply to multiple instruments 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 all instruments OK When you engage the Master button PLAY puts up a warning message as shown above to remind you that the reverb settings in this instrument will now apply to all instruments in this instance The Pre Delay Knob Increasing this level delays the onset of the reverb so that the initial section of the sample is unaffected This feature allows the sound of each attack to maintain its true color while the rest of the note still gains the benefit of the reverb effect Chapter 3 The Hollywood Or
14. in our right ear approximately one ninth of a second sooner than in our left ear a significant difference And the other instruments all have their characteristic left right delay based on where they sit on the stage It is impossible for a single digital reverb to achieve that level of realism Proximity Clues Panning left or right is not the only way to separate instruments It is also possible to move them forward and backward This can be achieved in three ways 1 Dynamics relative to timbre 2 Delay 3 Presence Diamond Edition only 1 When most musical instruments change from being played louder to softer the timbre of the sound changes Even if you let someone else adjust the volume control on your stereo you can still tell whether the trumpet you re hearing was played loud or soft based on the instrument s tone most instruments have a harsher sound when played louder So in an orchestral mix if the trumpets seem to be played loud but the volume level of that instrument compared to others is softer then the ear assumes the trumpets are farther Chapter 5 Orchestral Technique 39 HOLLYWOOD ORCHESTRAL WOODWINDS away Adjusting independently the timbre with velocity parameters and or a cross fade using the Mod Wheel or CC 11 and the volume of the sound you can move individual instruments forward or backward 2 Because sound travels at a fixed speed of approximately 340 meters per second 1100 feet per second the ear
15. look for cross fades in articulations that can be held for a long time such as the Sustains and the Trills The only real reason not to use cross fade instruments as often as they d be useful in your projects is that they use significantly more of your computer s resources That s less of Chapter 5 Orchestral Technique 43 HOLLYWOOD ORCHESTRAL WOODWINDS a concern though for the woodwind articulations than for those in the string and brass sections Achieving a Legato Sound There are two different technologies available in Hollywood Orchestral Woodwinds for achieving a legato sound e the instruments in any of the Legato folders e the Legato and Portamento scripts The Legato instruments in Hollywood Orchestral Woodwinds include recordings of live musicians playing true legato transitions of up to an octave both upward and downward The PLAY engine combines these seamlessly with other notes to create very convincing legato passages These legato transitions are heard not only in instruments you might use for flowing legato phrases but also in the playable runs that are intended for very fast passage work Use the true legato instruments when you want a convincing legato sound in your phras es and you don t need some other articulation to predominate The individual legato instruments are described starting on page 32 The Legato and Portamento scripts can simulate legato transitions with scripts There fore they are us
16. many others Studio 1 at EastWest Studios during setup for the recording sessions Chapter 1 Welcome 2 HOLLYWOOD ORCHESTRAL WOODWINDS How to Use This and the Other Manuals All documentation for the EastWest PLAY Advanced Sample System and its libraries is provided as a collection of Adobe Acrobat files also called PDFs They can be viewed on the computer screen or printed to paper Each time you install one of the PLAY System libraries two manuals are copied to the file system on your computer e The manual that describes the whole PLAY System This the largest of the manuals ad dresses how to install and use all aspects of the software that are common to all libraries e The library specific manual such as the one you are currently reading This smaller document describes aspects that differ from one library to 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 words of the previous sentence Adobe web site to be taken directly to the Adobe site When reading this and other manuals on the com
17. section e away from the instrumentalists to capture the room s natural ambience All the recorded samples are phase locked meaning that when two or more of them are mixed into a stereo recording they are necessarily in phase and there will be no destructive interference The ability to combine the multiple auditory perspectives gives you the same kind of control that a recording engineer enjoys when recording a live concert performance from multiple micro phone feeds The preceding image shows the PLAY System interface that allow you to mix the various samples With the available knobs sliders and buttons you pan each mic separately change its dynamics to suit your needs load unload the samples from RAM mute and solo each mic to achieve the sound you want both while composing and when mixing the final output And as shown in the drop down menu at the bottom of the image you can assign the audio output from each set of microphones to its own output channel Chapter 5 Orchestral Technique 45 HOLLYWOOD ORCHESTRAL WOODWINDS The photo above taken during the setup at EastWest Studios in Hollywood California gives you some idea of how many microphones were capturing the sound simultaneously The controls in the Player view allow you to turn on or off the various mics adjust their relative volume and pan them however you want You do need to be aware that the samples for each microphone occupy their own space in
18. the PLAY audio engine The image above shows the output control open to reveal the drop down list of possible audio outputs Using these controls you can direct the audio to separate tracks in the sequencer or separate tracks in the sound card when running in standalone mode Se lecting Default sends the audio to whichever track is selected in the Master controls selecting anything different sends the audio to that stereo pair of outputs In the se quencer or sound card you can specify which outputs should be captured in each audio track See the documentation for your sequencer or sound card to learn how to do that Note that it is possible to send multiple instruments and even mic positions to the same track and the PLAY engine will mix them For example you can send the Close mics from the staccato oboe the marcato english horn and as many more as you want to the 3 4 outputs and they will all get bounced down to the same audio track This approach gives you the ability to spread out your audio outputs any way you want up to the maximum number of outputs your system can handle Note that when run as a plug in each instance of PLAY has its own set of outputs That means that if the staccato oboe and the marcato english horn are running in separate instances of PLAY and they are both assigned to outputs 3 4 they will end up in sepa rate audio tracks in the sequencer If Using Only One Microphone Position
19. 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 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 The Articulations Control and Keyswitches In the center of the Player view is a control that lists the articu lations available in the current window Often this list is short Pii containing only the one articulation
20. uses very small time delays to judge relative distance If two oboes play staccato notes simultaneously and one is 15 meters 50 feet further away the note from the more distant oboe arrives 0 044 seconds later That s about one twenty third of a second a short time but noticeable to the ear It s very easy in a sequencer to delay a track by a specific time either with a Delay plug in or by shifting the notes in the sequencer s Piano Roll view and thereby achieve this effect 3 As discussed in the section covering the 5 mic positions not available in the Gold Edition the farther you are from an instrument in a concert hall the more the natural re verberation of the hall contributes to what you notice You still hear the echoes from the walls when you re close by you notice them less because of how loud the instrument is It s harder to hear the crinkle of a cough drop wrapper standing near a roaring jet engine than in a hushed concert hall even though the wrapper makes the same sound This presence of the sound is another distance clue Mixing in more of the Close samples for an instrument makes it seem closer to the listener By combining all three principles you can achieve quite convincing front back position ing in your orchestral mix Giving the ear contradictory signals can confuse it achieving either a good or bad effect depending on your intentions And then of course there s multi channel surround sound
21. ASTWEST SOFTWARE unless such upgrade is accompanied by a separate license in which case the terms of that license will govern Title and intellectual property rights in and to any content displayed by or accessed through the EASTWEST SOFTWARE be longs to the respective content owner Such content may be protected by copyright or other intellectual property laws and treaties and may be subject to terms of use of the third party providing such content License Agreement License 1 EASTWEST END USER LICENSE AGREEMENT 2 Permitted License Uses and Restrictions You are granted a limited non exclusive license to use the EASTWEST SOFTARE as follows subject to all other terms and condi tions of this License A You may install and use one copy of the EASTWEST SOFTWARE on one computer You will be required to purchase authorize and use a Pace iLok security key not included or other security protection EASTWEST includes to access the EASTWEST SOFTWARE You may not make the EASTWEST SOFTWARE available over a network where it could be used by multiple computers or users at the same time You may make one copy of the EASTWEST SOFTWARE in machine readable form for backup purposes only provided that the backup copy must include all copyright or other proprietary notices contained on the original B You may use the EASTWEST SOFTWARE to create your own original music composi tions or soundtracks for your film video music and audio projects and yo
22. CLUDING BUT NOT LIMITED TO THE IMPLIED WARRANTIES OF MERCHANTABILITY OF SATISFACTORY QUALITY AND OF FITNESS FOR A PARTICULAR PURPOSE ARE LIMITED IN DURA TION TO NINETY 90 DAYS FROM THE DATE OF ORIGINAL PURCHASE SOME JU RISDICTIONS DO NOT ALLOW LIMITATIONS ON HOW LONG AN IMPLIED WARRANTY LASTS SO THE ABOVE LIMITATION MAY NOT APPLY TO YOU THE LIMITED WARRAN TY SET FORTH HEREIN IS THE ONLY WARRANTY MADE TO YOU AND IS PROVIDED IN LIEU OF ANY OTHER WARRANTIES IF ANY CREATED BY ANY DOCUMENTATION OR PACKAGING THIS LIMITED WARRANTY GIVES YOU SPECIFIC LEGAL RIGHTS AND YOU MAY ALSO HAVE OTHER RIGHTS THAT VARY BY JURISDICTION 7 Disclaimer of Warranties YOU EXPRESSLY ACKNOWLEDGE AND AGREE THAT TO THE EXTENT PERMITTED BY APPLICABLE LAW USE OF THE EASTWEST SOFTWARE IS AT YOUR SOLE RISK AND THAT THE ENTIRE RISK AS TO SATISFACTORY QUAL ITY PERFORMANCE ACCURACY AND EFFORT IS WITH YOU EXCEPT FOR THE LIM ITED WARRANTY ON MEDIA SET FORTH ABOVE AND TO THE MAXIMUM EXTENT PERMITTED BY APPLICABLE LAW THE EASTWEST SOFTWARE IS PROVIDED AS IS WITH ALL FAULTS AND WITHOUT WARRANTY OF ANY KIND AND EASTWEST AND EASTWEST S LICENSORS COLLECTIVELY REFERRED TO AS EASTWEST FOR THE PURPOSES OF SECTIONS 7 AND 8 HEREBY DISCLAIM ALL WARRANTIES AND CONDITIONS WITH RESPECT TO THE EASTWEST SOFTWARE EITHER EXPRESS IM PLIED OR STATUTORY INCLUDING BUT NOT LIMITED TO THE IMPLIED WARRAN TIES AND OR CONDITIONS OF MERCHANTABILITY OF SATISFACTORY QUALI
23. EASTWEST SOFTWARE that you in turn license as an original composition or soundtrack to third parties for use in film television radio or other media subject to the following terms and conditions 1 the Audio Loops must be used in a musical context with at least two other instruments that contribute significantly to the composition and 2 The entire Audio Loop cannot be left exposed at any time in the composition If you have any doubt a composition or soundtrack by you meets the foregoing criteria you may submit the composition to licensing eastwestsounds com for written approval Please do not send audio or MP3 files send us a link to your composition on your web server License Agreement License 2 EASTWEST END USER LICENSE AGREEMENT F You may not and you agree not to or to enable others to copy except as and only to the extent permitted in this License decompile reverse engineer disassemble attempt to derive the source code of decrypt modify or create derivative works of the EAST WEST SOFTWARE or any part thereof except as and only to the extent any foregoing restriction is prohibited by applicable law 3 Transfer Restriction A right to use the EASTWEST SOFTWARE is granted to the origi nal end user of the product Licensee and is NOT transferable You may not rent lease lend sell redistribute or sublicense the EASTWEST SOFTWARE Updates and Upgrades If an EASTWEST SOFTWARE update completely replaces full
24. ENT NOT PROHIBITED BY LAW IN NO EVENT SHALL EASTWEST BE LIABLE FOR PERSONAL INJURY OR ANY INCIDENTAL SPE CIAL INDIRECT OR CONSEQUENTIAL DAMAGES WHATSOEVER INCLUDING WITH OUT LIMITATION DAMAGES FOR LOSS OF PROFITS LOSS OF DATA BUSINESS IN TERRUPTION OR ANY OTHER COMMERCIAL DAMAGES OR LOSSES ARISING OUT OF OR RELATED TO YOUR USE OR INABILITY TO USE THE EASTWEST SOFTWARE HOWEVER CAUSED REGARDLESS OF THE THEORY OF LIABILITY CONTRACT TORT OR OTHERWISE AND EVEN IF EASTWEST HAS BEEN ADVISED OF THE POSSIBIL ITY OF SUCH DAMAGES SOME JURISDICTIONS DO NOT ALLOW THE LIMITATION OF LIABILITY FOR PERSONAL INJURY OR OF INCIDENTAL OR CONSEQUENTIAL DAM AGES SO THIS LIMITATION MAY NOT APPLY TO YOU In no event shall EASTWEST s total liability to you for all damages other than as may be required by applicable law in cases involving personal injury exceed the amount of fifty dollars 50 00 The forego ing limitations will apply even if the above stated remedy fails of its essential purpose 9 Export Control You may not use or otherwise export or reexport the EASTWEST SOFT WARE except as authorized by United States law and the laws of the jurisdiction in which the EASTWEST SOFTWARE was obtained In particular but without limitation the EASTWEST SOFTWARE may not be exported or reexported a into any U S embargoed countries or b to anyone on the U S Treasury Department s list of Specially Designated Nationals or the U S Department of Co
25. ERE ACCESSED ELECTRONICALLY AND YOU DO NOT AGREE TO THE LICENSE SIMPLY CLICK DECLINE IMPORTANT NOTE The software audio content and other intellectual property pro vided by EastWest to you may be used by you to create your own original works pursuant to the terms and conditions of this License You may not use distribute or broadcast any of the software audio content or other intellectual property in any manner not expressly permitted by this License If you are uncertain about your rights to use the software au dio content or other intellectual property you should contact your legal advisor before proceeding 1 General The EASTWEST SOFTWARE without limit the software scripts audio con tent audio loops sound files samples impulse responses audio processing tools im ages formulas designs inventions works documentation fonts and other intellectual property whether on disk in read only memory on any other media or in any other form provided to you is licensed not sold to you by EAST WEST SOUNDS Inc EAST WEST for use only under the terms of this License and EASTWEST reserves all rights not expressly granted to you You own the media on which EASTWEST SOFTWARE is recorded but EASTWEST and or EASTWEST s licensor s retain ownership of the EAST WEST SOFTWARE itself The terms of this License will govern any EASTWEST SOFT WARE upgrades provided by EASTWEST that replace and or supplement the original E
26. It is certainly possible to create a piece with only a single microphone position Usually the Main mics are a good choice though in some cases the Close or Mid mics might be the right choice It s unlikely but not impossible you will want to use exclusively the Surround or Vintage mics because they give such weight to the hall s ambience Chapter 5 Orchestral Technique 51 EASTWEST END USER LICENSE AGREEMENT EASTWEST SOUNDS INC END USER LICENSE AGREEMENT THE EASTWEST SOUNDS INC END USER LICENSE AGREEMENT GOVERNS THE USE OF EASTWEST EASTWEST QUANTUM LEAP AND QUANTUM LEAP SOFTWARE AUDIO CONTENT AND OTHER INTELLECTUAL PROPERTY PROVIDED BY EASTWEST TO THE END USER PLEASE READ THIS LICENSE AGREEMENT LICENSE CARE FULLY BEFORE USING THE EASTWEST SOFTWARE AUDIO CONTENT AND OTHER INTELLECTUAL PROPERTY AS IT GOVERNS THE TERMS AND CONDITIONS OF YOUR USE BY USING THE EASTWEST SOFTWARE AUDIO CONTENT OR OTHER INTELLECTUAL PROPERTY YOU ARE AGREEING TO BE BOUND BY THE TERMS OF THIS LICENSE IF YOU DO NOT AGREE TO THE TERMS OF THIS LICENSE DO NOT USE THE EASTWEST SOFTWARE AUDIO CONTENT OR OTHER INTELLECTUAL PROPERTY IF YOU DO NOT AGREE TO THE TERMS OF THE LICENSE YOU MAY RETURN THE EASTWEST SOFT WARE AUDIO CONTENT AND INTELLECTUAL PROPERTY TO THE PLACE WHERE YOU OBTAINED IT FOR A REFUND YOU MUST RETURN THE ENTIRE PACKAGE IN ORDER TO OBTAIN A REFUND IF THE EASTWEST SOFTWARE AUDIO CONTENT OR INTELLECTUAL PROPERTY W
27. LAY and you open multiple instruments in this instance then all the instruments will be mixed in the PLAY audio engine and written to the track as a single stereo signal If instead you ve selected to set up multiple tracks then you can select the track for each individual instrument and possibly each individual microphone position Outputs that share the same channel are mixed in the PLAY audio engine and written out as a single track Outputs on different channels are written independently to different se quencer tracks and available to be mixed within the sequencer at a later time ADVANCED Note that the sequencer may be able to generate a monophonic track from the stereo output but that will happen in the sequencer PLAY always outputs a stereo signal See the sequencer s documentation if you want to generate a monophonic track The 5 Microphone Positions in Hollywood Orchestral Woodwinds Hollywood Orchestral Woodwinds contains 5 mic positions that can be controlled from the Player view as shown in the image at the right All the instruments in Hollywood Orchestral Woodwinds were re corded simultaneously from multiple locations in the studio The photograph on the next page gives you an idea of the number of different positions the sound of the orchestra was captured from including e at the front of the room and high above using a Decca tree e other locations at the front of the ensemble e directly in front of each
28. O A 0 CO A 0 CO G 0 C3 G 3 Keyswitch Runs FX C0 G0 0 60 continued Chapter 4 Instruments Articulations and Keyswitches 24 HOLLYWOOD ORCHESTRAL WOODWINDS INSTRUMENT OVERVIEW DOUBLE REEDS Page 05 Legato Oboe Eng Hrn Bassoon Cbassoon 32 Legato Slur Y 33 Legato Slur Auto Tempo Legato Slur Auto Tempo Full Legato Slur Auto Tempo Full Niente Legato Slur Velocity Speed Legato Slur Velocity Speed Full Legato Slur Velocity Speed Full Niente Legato Slur Accent Legato Slur Accent Full Legato Slur Accent Full Niente Legato Slur Runs Legato Staccato Runs SPSS SS S S S S S S KT STN PNR PRPS SIS SISISISISISISISIS SIESTISISISISISISISISIS lt Instrument Types The following paragraphs explain many of the various types of instruments ewi files available in Hollywood Orchestral Woodwinds The principles described here apply across all instruments where the described articulation is available 01 Long The instrument types in this folder include various types of e Sustain abbreviated Sus e Legato Repetitions abbreviated LegRep Sustain All Sustain instruments continue to play audibly as long as the note is held They are a good choice for slow moving lines that need a consistent sound no matter how long the notes are held The dynamics of the Sustain patches are controlled with the Mod Wheel The further you push it up the louder the sound By using the Mod Wheel instead of Velocity to control loudness y
29. PLAY Hollywood Orchestral Woodwinds Virtual Instrument Diamond Edition Users Manual HOLLYWOOD ORCHESTRAL WOODWINDS 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 except for the purpose of copying the data to the personal computer system hard drive of the licensed user No part of this publication may be copied reproduced or otherwise transmitted or recorded for any purpose without prior written permission by East West Sounds Inc All product and company names are or trademarks of their respective owners PLAY is a trademark of East West Sounds Inc C P Copyright East West Sounds Inc 2012 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 August 2012 BWW WwW DN HOLLYWOOD ORCHESTRAL WOODWINDS PLAY About Hollywood Orchestral Woodwinds How to Use This and the Other Manuals Using the Adobe Acrobat Features The Master Navigation Document Separate Gold and Diamond Manuals Online Documentation and Other Resources
30. RAM memory If your computer doesn t have enough RAM to load all the samples you need at once you may want to use only one set of mics most likely the Main mics when composing You can then add in any other mics when you re ready to work on the sound of the performance Understanding the Five Microphone Positions To understand how the five mic positions can help you let s perform a quick thought experiment Imagine yourself in a concert hall with a woodwind ensemble on the stage We ll use a hall instead of a recording studio to make the various locations relative to the instruments easier to write about First you re invited to sit directly in front of the oboe player who plays a melody What you hear approximates the sound recorded in the Close mic position The sound coming directly from the instruments is so much louder than the reflections off the walls and other surfaces that these reverberations make up a very small part of what you hear Next you re placed in a seat in the fifth row of the house and you listen to the same oboe melody Now you hear more of the natural reverberation of the hall because your ears are not so overpowered by the sound coming directly from the oboe This sound is captured by the Main mics a cluster of microphones called a Decca Tree above the front of the whole orchestra Note that the Decca tree together with its outriggers is in an ideal posi tion to balance the sound from all the section
31. TY OF FITNESS FOR A PARTICULAR PURPOSE OF ACCURACY OF QUIET ENJOYMENT AND NON INFRINGEMENT OF THIRD PARTY RIGHTS EASTWEST DOES NOT WARRANT AGAINST INTERFERENCE WITH YOUR ENJOYMENT OF THE EASTWEST SOFTWARE THAT THE FUNCTIONS CONTAINED IN THE EASTWEST SOFTWARE WILL MEET YOUR REQUIREMENTS THAT THE OPERATION OF THE EASTWEST SOFTWARE WILL BE UNINTERRUPTED OR ERROR FREE OR THAT DEFECTS IN THE EASTWEST SOFT WARE WILL BE CORRECTED YOU FURTHER ACKNOWLEDGE THAT THE EASTWEST SOFTWARE IS NOT INTENDED OR SUITABLE FOR USE IN SITUATIONS OR ENVIRON MENTS WHERE THE FAILURE OF OR ERRORS OR INACCURACIES IN THE CONTENT DATA OR INFORMATION PROVIDED BY THE EASTWEST SOFTWARE COULD LEAD TO DEATH PERSONAL INJURY OR SEVERE PHYSICAL OR ENVIRONMENTAL DAM AGE INCLUDING WITHOUT LIMITATION THE OPERATION OF NUCLEAR FACILITIES AIRCRAFT NAVIGATION OR COMMUNICATION SYSTEMS AIR TRAFFIC CONTROL LIFE SUPPORT OR WEAPONS SYSTEMS NO ORAL OR WRITTEN INFORMATION OR ADVICE GIVEN BY EASTWEST OR AN EASTWEST AUTHORIZED REPRESENTATIVE SHALL CREATE A WARRANTY SHOULD THE EASTWEST SOFTWARE PROVE DEFEC TIVE YOU ASSUME THE ENTIRE COST OF ALL NECESSARY SERVICING REPAIR OR CORRECTION SOME JURISDICTIONS DO NOT ALLOW THE EXCLUSION OF IMPLIED License Agreement License 4 EASTWEST END USER LICENSE AGREEMENT WARRANTIES OR LIMITATIONS ON APPLICABLE STATUTORY RIGHTS OF A CONSUM ER SO THE ABOVE EXCLUSION AND LIMITATIONS MAY NOT APPLY TO YOU 8 Limitation of Liability TO THE EXT
32. 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 instrument 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 Chapter 3 The Hollywood Orchestral Woodwinds User Interface 15 HOLLYWOOD ORCHESTRAL WOODWINDS 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
33. applies to CC1 Mod Wheel and all other MIDI control codes Learning to shape musical lines the same way an instrumen talist does will give your work a more natural musicality By combining velocity control expression Mod Wheel and volume you change digital samples into real living music Using Cross Fades The EastWest Hollywood libraries make extensive use of cross fading more than any EastWest library that was created before this series The basic idea of a cross fade is that 2 or more samples of the same instrument but that differ in some aspect such as loudness timbre and or vibrato are played back simultaneously And the mix of how much of each sample makes it into the audio output is controlled by Control Code 1 the Mod Wheel For example when the Mod Wheel is at the bottom of its range only the p sample is audible and as you push the Mod Wheel up the sound of the p is reduced while the sound of the mp sample is increased Eventually the p drops to inaudibility while the f samples begin to be heard Part of the reason for using more cross fades is that they provide a more continuous and gradual change from one sound to another Also they modify timbre along with loud ness even mid note just like an acoustic instrument And a third reason for using more cross fades in this library is that recent improvements in hardware and software make this much more realistic approach possible In Hollywood Orchestral Woodwinds
34. atch you run the risk of PLAY making inappropriate slurs from one melodic line to the other 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 Any articulation with RR in its name uses round robin technology Those with an x3 x4 or the like in the name use 3 4 or more different samples for each note PERFORMANCE There s one potential problem with round robin technology and one way to solve it is LM the Round Robin Reset button The PLAY Engine remembers which sample should be played the next time the note sounds If for example a round robin patch contains two samples A and B anda piece uses that note 7 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 deman
35. c Positions The Diamond Edition includes samples from 5 independent microphone positions that can be mixed together to achieve control over both acoustic vantage and spaciousness of the sound the Gold Edition provides a single mic position The list of articulations for the two libraries are the same What s Included This Hollywood Orchestral Woodwinds library Diamond Edition you purchased includes all the following e a complete set of sample based instruments enumerated later in this manual e approximately 145 Gigabytes of 24 bit 44 1 kHz samples e the EastWest PLAY 3 Advanced 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 3 System and the Hollywood Orchestral Woodwinds 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 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 Because bo
36. can be held for a long time such as sustains and trills When playing a real instrument the instrumentalist often chooses to change the dynamics mid note which may also result in a change in timbre mid note None of the controls described in this section can change both loudness and timbre mid note except for the Mod Wheel Once you learn to use the Mod Wheel whether playing live or in a sequencer you will find it to be an excellent means of controlling the continuous dynamics of the notes Expression is represented by another MIDI control code CC11 The usual way to use CC 11 is for continuous control of the loudness That is while Velocity cannot change mid note and it is recommended that CC7 be set only once at the beginning of the piece or at least only at the start of major sections CC11 can provide the kind of dynamic shap ing of phrases that give music its expressive life hence the name Expression for this Control Code Use it to create swells in the middle of a note or of a phrase With CC11 you create the crescendos and fluid dynamics of expressive music Chapter 5 Orchestral Technique 41 HOLLYWOOD ORCHESTRAL WOODWINDS 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 control sur faces have programmable knobs and or sliders that can be set to send CC11 messages to a specific MIDI channel Slider
37. chestral Woodwinds User Interface 13 HOLLYWOOD ORCHESTRAL WOODWINDS The Graphical Representation of the Envelope 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 in cluded in the manuals for those libraries only 659 81 ms 34408 349 38ms Note that the total width of the graph represents the total length TN CN O gt z CA Q gt a E of all phases of the envelope Therefore when you change some thing in one part of the graph for example the length of the decay you may see the slopes of other components the attack and the release change as well because those phases become a larger or smaller percent of the whole this is as expected The Browser View The Browser behaves identically among all PLAY System libraries Read the main PLAY System manual for information about how to use that view Performance Scripts The Hollywood Orchestral Woodwinds Virtual Instrument includes three user modifiable built in scripts that can provide extra realism to phrases that take advantage of their benefits e The 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 am instrumentalist uses his breath to bend a note a little at the beginning or end of a sounding note
38. cially in the middle of multi part writing The page numbers in the last column are hyperlinks to descriptions and features avail able for that instrument file click on any number when the manual is viewed on a screen to jump to that page Chapter 4 Instruments Articulations and Keyswitches 20 HOLLYWOOD ORCHESTRAL WOODWINDS Tables of Instruments INSTRUMENT OVERVIEW FLUTES Page 01 Long Flute Flute2 Piccolo AltoFl BassFl 25 Sus Vibrato Y Y Y Y 26 Y Sus Non Vibrato Sus Expressive Sus Accent Sus NV VB Sus NV VB Full Sus NV VB Full Niente Legato Repetitions RRx4 Y Y 26 02 Short Flute Flute 2 Piccolo AltoFl BassFl 27 Marcato Short Double Tongue RRx4 Y Y 21 Staccato RRx4 Y 27 Staccato Double Tongue RRx5 Y Staccato Double Tongue RRx9 Y Y Y Staccatissimo Double Tongue RRx9 Y Y Y Shorts MOD SPEED Y Y 27 03 Effects Flute Flute 2 Piccolo Alto FI BassFl 28 Run Up Octave Chromatic Y Y 28 Run Down Octave Chromatic Run Up Major Scale Run Down Major Scale Run Up Minor Scale Run Down Minor Scale Run Up Whole Tone Scale Run Down Whole Tone Scale Trill HT Trill WT Flutter Tongue Repetitions Fast Repetitions Medium Repetitions Slow Sing RR continued v v SISISISISISIS SISISISISISIS a ee es SIATSTSTSISISIS KTS NENT NISSEN NNER NISSEN XT NP NPN PERT SS SR SR S SIS S KP NP NEN ESRI SISI SISISISISIS Chapter 4 Instruments Articulations and Keyswitches 2i HOLLYWOOD ORCHESTRAL WOODWINDS Effects FX Y 29 Effects
39. d 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 Chapter 3 The Hollywood Orchestral Woodwinds User Interface 12 HOLLYWOOD ORCHESTRAL WOODWINDS Stereo Double Controls This knob with its three buttons gives the user the option of using stereo DOUBLE AN exclusively the left stereo signal or right when Stereo is selected o e from the Channel Source drop down For any other setting this con trol has no effect The knob lets the user determine the spread of the signals how far apart the ear per ceives the stereo channels to be A value of 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 button to the left of the knob A value of 100 calls for the maximum spread available Select between the left and right signal with the L and R buttons respectively The Master Button and Pre Delay Knob in the Reverb Controls The common features of the Reverb Controls are explained in the main PLAY System manual but the Hollywood Orchestral Woodwinds user interface includes two features not in all PLAY libraries The Master Button When this button is pressed and the On light is
40. 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 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 perrormance but important parameters can be adjusted using MIDI C Rono rosm reser control codes See details of how to use the control eotnewo su eereuon sw uo tosin 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 Legato script turned off and the other two scripts turned on 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 Chapter 3 The Hollywood Orchestral Woodwinds User Interface 14 HOLLYWOOD ORCHESTRAL WOODWINDS 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
41. each set of more distant mics This latency is part of the natural reverb of the hall and it produces a pleasing fullness to the sound when the samples are mixed correctly If you want to tighten up the reverb from the Surround or Vintage samples it is possible with modern sequencers and mixers to adjust the audio track from the Surround samples a little forward in time Either perform a calculation using the speed of sound at sea level approximately 340 meters second 1100 feet second if you prefer or let your ears de cide what works best If you do plan to micro adjust the audio as in the previous paragraph be aware that you will need to record the output from the individual mics to separate audio tracks You can not have the PLAY engine mix the audio tracks in a single plug in instance or standalone instance That is you need to record one track with for example only Main mics and a different track with only Surround mics Chapter 5 Orchestral Technique 48 HOLLYWOOD ORCHESTRAL WOODWINDS The Close mics of course have virtually no latency only a small amount necessary to re tain the sonic perspective of the woodwind ensemble in the concert hall If you don t use the Close mics and you play something that requires very quick and punchy attacks you may notice some small delay which can be cured by adding in some of the Close mics In most cases you would want to use the Close mics to add definition to an instrument or section T
42. eful when you want a touch of legato sound between notes for some other articulation such as between consecutive trills or marcato notes See more about these scripts where Performance scripts are described on page 14 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 First Synth Audio Output If you are using PLAY as a plug in in a host you can usually _ Al Synth Audio Outputs Stereo specify whether you want the output audio to be captured in a Abat tudo Dub ere single track or maintained as separate tracks The image at the left shows how one sequencer Sonar gives you a choice The first checkbox creates a single track to hold all the audio output with the assumption it will be the first stereo pair 1 2 The second checkbox creates 9 audio tracks one for each of the stereo pairs in the drop down list shown at the right The third creates 18 mono tracks in case you want to keep the left and right tracks separate See the documentation for your se quencer to learn how that selection is made in the host software you use Chapter 5 Orchestral Technique 44 HOLLYWOOD ORCHESTRAL WOODWINDS If you ve selected to set up a single track to hold all the audio output from one instance of P
43. el time MIDI Envelopes and Control Data Most modern sequencers let you draw an envelope for MIDI control codes The diagram below with the yellow curve is an example of an envelope for CC11 Notice how the val ues are constantly changing the same way a trumpet player adds musicality and interest to a phrase by changing the pressure of her breath moment to moment The dark hori zontal lines near the top are the notes CC 11 40 0 When saved as MIDI data this same envelope appears as a finite set of commands as in the next image In a sequencer track these often appear as vertical lines each line being a command to change the value in this case to change CC11 Chapter 5 Orchestral Technique 42 HOLLYWOOD ORCHESTRAL WOODWINDS 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 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
44. en appropriate to change volume and breathe life into your compositions This way CC7 acts as a limiter and keeps everything from getting out of whack Also at a later time you can easily change the prominence of an entire track in the mix by adjusting this single CC7 level at the start of the track You should save the sequence before moving on Then go to your matrix editor or what ever it s called in your sequencer to set up windows that display CC7 CC11 and CCl Mod Wheel information You will be editing these last two a lot so it s a good idea to make these windows easy to access Label your saved templates and you re ready to go Opening Multiple Instances of PLAY With the PLAY 3 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 If for example you see exactly 4 PLAY windows inside your sequencer or on your desktop when running stand alone then you have opened 4 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 eac
45. ents included in Hollywood Orchestral Woodwinds For information on how the Legato script compares with the Legato instruments see the discussion starting on page 44 Portamento Sim 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 available with this script is usually a short anticipatory movement between the pitches of two adjacent notes Chapter 3 The Hollywood Orchestral Woodwinds User Interface 11 HOLLYWOOD ORCHESTRAL WOODWINDS Turning on the Portamento script in a phrase is a subtle way to increase a sense of real istic playing Repetition Sim 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 See a more complete description of the repetition script starting on page 16 for more on how to use this feature Monophonic True Legato Button Turning on this button causes a legato instrument to become monophonic That is if one note is still playing when another note starts the first note will be terminated even though the MIDI note has not yet reached the Note Off event If you choose to turn off this behavior so that you can have more than one melodic line at once in a single in stance of a legato p
46. epetitions Medium Cl BO A 0 Repetitions Slow C 1 Cl BO Effects FX Cl Flute Flute 2 Piccolo Alto Fl Bass FI KS Runs FX C0 G0 C0 60 C0 60 Run Down Octave Chromatic C0 CO CO Run Up Octave Chromatic C 0 C 0 C 0 Run Down Major Scale DO DO DO Run Up Major Scale D 0 D 0 D 0 Run Down Minor Scale E0 E0 E0 Run Up Minor Scale FO FO FO Run Down Whole Tone Scale F 0 F 0 F 0 Run Up Whole Tone Scale GO GO GO Chapter 4 Instruments Articulations and Keyswitches 30 KEYSWITCHES CLARINETS HOLLYWOOD ORCHESTRAL WOODWINDS KS Sustain Short Sustain Non Vibrato Sustain Expressive Sustain Accent Legato Repetitions RRx4 Staccatissimo Double Tongue Staccato Double Tongue Marcato Short Double Tongue Trill HT Trill WT Effects FX Long Effects FX Short KS Runs FX Run Down Octave Chromatic Run Up Octave Chromatic Run Down Major Scale Run Up Major Scale Run Down Minor Scale Run Up Minor Scale Run Down Whole Tone Scale Run Up Whole Tone Scale Clarinet Eb Clar CO A 0 C0 C 0 DO D 0 E0 FO F 0 GO G 0 AO A 0 Clarinet C0 60 co C 0 DO D 0 E0 FO F 0 GO Eb Clar Chapter 4 Instruments Articulations and Keyswitches Bass Clar Cbs Clar CO A0 C0 C 0 DO D 0 E0 FO F 0 GO G 0 AO Bass Clar Cbs Clar 31 HOLLYWOOD ORCHESTRAL WOODWINDS KEYSWITCHES DOUBLE REEDS Oboe EngHrn Bassoon Chassoon KS Sustain Short CO A 0 CO A 0 CO G 0 C3 GH3 Sustain Non Vibrato CO co C0 C3 Sustain Vibrat
47. es are doubled or even playing an octave apart they will stand out from each other better when they seem to be in separate locations in the soundscape that surrounds us Panning As was done with EastWest s ground breaking Symphonic Orchestra Hollywood Orches tral Woodwinds is different from most other collections of orchestral samples in that the panning of the various instruments to the traditional locations on the sound stage is built in to the stereo samples The French Horns for example are already louder in the left channel Therefore one can leave the panning level at center for all instruments and they will be correctly placed on the stage in the final mix Of course if you want to adjust the panning to achieve your own sound and or a non traditional placement of instru ments that can be accomplished either in the PLAY interface or in the host sequencer Chapter 5 Orchestral Technique 38 HOLLYWOOD ORCHESTRAL WOODWINDS ADVANCED The previous paragraph has one exception the Close microphones These samples were recorded with the stereo mics directly in front of each instrumental section The Close mic articulations use the Pan control to move the playback of those samples to the same perceived space as the Main Mid and Surround samples The image at the right shows the 4 microphone specific Pan controls for one of the MICROPHONES Clarinet articulations The clarinet player sits on stage to the audi O ence s left This
48. ess of the notes but usually also changes the notes timbre With a piano s action the velocity cannot affect what happens to the sound after the hammers hit and leave the strings and velocity works the same way here In the current implemen tation of MIDI velocity is usually designated by a number between O and 127 Many software sequencers display velocity as vertical bars something like those at the bottom of the image above Most modern sample players PLAY included can select different samples for different ranges of velocity For example the team creating the samples recorded Middle C on the Bass Clarinet Staccato patch at p mp and f The team then assigns the p samples to say velocities 0 74 the mf samples to velocities 75 109 and so on Because each dynamic level of a bass clarinet 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 The Mod Wheel CC1 replaces Velocity for many instruments in the Hollywood Orchestral Woodwinds library that is those articulation files do not respond to the Velocity param eter of a MIDI note at all This is true mostly for articulation files that
49. ession CC 11 Volume and Expression work on any and all instruments Volume should be used to set a loudness level relative to other instruments And Expression should be used to shape the continually changing dynamics timbre and expressiveness of each instrument Neither Volume nor Expression change the timbre of the instruments only the loudness Chapter 4 Instruments Articulations and Keyswitches 19 HOLLYWOOD ORCHESTRAL WOODWINDS Hollywood Orchestral Woodwinds instruments use either MIDI Velocity or the Mod Wheel or occasionally both to affect the sound of the instruments when they are played louder or softer As a general rule in this library e Staccato and Marcato use Velocity e Sus Accent uses both Velocity and the Mod Wheel to affect different parts of the sound e the rest use the Mod Wheel For more detail see the description of specific instruments later in this chapter Many Hollywood Orchestral Woodwinds instruments rely on the Mod Wheel to cross fade between samples instead of selecting which sample to play based on the MIDI Veloc ity parameter of each note This approach gives the composer much more in the way of continuous control over both the loudness and the timbre But this control comes with a price greater use of the computer s resources especially the RAM and the processors As is mentioned in some of the instrument descriptions below PLAY might be playing up to 6 concurrent samples for each note
50. fic to Hollywood Orchestral Woodwinds that can control performance parameters e Portamento Sim e Repetition Sim e Legato Sim Sim is short for Simulation that is these buttons control scripts that help to simulate the named feature PERFORMANCE MONOPHONICTRUE LEGATO PORTAMENTO SIM usarosia_ y A fourth button turns on or off the restriction that a legato instrument should interpret all notes as monophonic even when the notes overlap in time e Monophonic True Legato The fifth button in the group Round Robin Reset is described in its own section below See the section on Performance Scripts starting on page 14 for information on how to use the three scripts that have user modifiable parameters Portamento Legato and Repetition You can also read there about using MIDI control codes to turn these scripts on and off When you first open an articulation there are default settings On or Off for each of these 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 each time you need it Legato Sim 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 This script based effect is separate from the numerous actual Legato instrum
51. g about the same number of voices as the other instances then you re likely using your instances efficiently Prepping the MIDI Controllers It is recommended that you tell PLAY what MIDI Control Codes to look for by sending some Control Code messages after loading the patches and before the first notes are played When playing live that can mean tweaking each of the knobs sliders and wheels enough to send some data to PLAY In a sequencer you can draw a short sloped envelope for each controller before the first notes This advice applies to the Mod Wheel CC 1 CC 7 CC 11 and any other Control Codes in your project Creating a Soundscape Whether listening to an orchestra live on a stage or from a stereo recording we re all used to hearing the sounds of the various instruments coming at us from different direc tions In a traditional symphonic layout for an entire orchestra for example we expect the violins to be on our left and the cellos and basses on our right There are two rea sons we might want to continue this practice The first is to trick the listener s ear into perceiving a recording of a live performance Even when everyone understands that the piece was created inside a computer emulating a traditional sound can have its ben efits The second reason is that it s easier for the human ear to hear two similar sounds as separate when it perceives them as arriving from different locations If the trumpets and the trombon
52. governed by the United Nations Convention on Contracts for the International Sale of Goods the application of which is expressly excluded If for any License Agreement License 5 EASTWEST END USER LICENSE AGREEMENT reason a court of competent jurisdiction finds any provision or portion thereof to be unenforceable the remainder of this License shall continue in full force and effect 12 Complete Agreement Governing Language This License constitutes the entire agree ment between the parties with respect to the use of the EASTWEST SOFTWARE licensed hereunder and supersedes all prior or contemporaneous understandings regarding such subject matter No amendment to or modification of this License will be binding unless in writing and signed by EASTWEST Any translation of this License is done for local requirements and in the event of a dispute between the English and any non English versions the 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
53. h a set of mathematical algorithms that use known reflection times of a set of test tones and apply that data to generate artificial reflections in real time PLAY includes such a reverb and the data called impulse responses or IRs with which to recreate many different sizes of rooms The IRs built into Hollywood Orchestral Woodwinds in clude the exact EW Studio 1 in which the Hollywood series recording sessions took place as well as the different hall in which the Symphonic Orchestra library was re corded for those who want to use the two libraries together You will have to decide in what way to use each of these technologies for each project As long as you understand how each of these three components contributes to the sound you are hearing and the limitations of each technology you can use your ear to deter mine how to get exactly the sound you want Chapter 5 Orchestral Technique 49 HOLLYWOOD ORCHESTRAL WOODWINDS Mixing Microphones From Separately Bounced Tracks versus Mixing in PLAY Because mixing 2 or 3 of the mic positions in the right proportions can add dimension to a stereo or surround sound recording you need to understand the various approaches to combining them into the final mix The following three cases describe some basic setups to show how you can use the Out put controls with emphasis on the individual microphone positions When considering the possibilities of multiple instruments each with its own
54. h of the 4 cores can be independently running separate instances Sequencers typically assign all the processing in any given instance of a plug in to a single core So in one case if you load all your instruments into a single instance of PLAY the work of running all those instruments will be restricted to a single core which is less efficient than spreading the work across all the cores But in another case if you create at least as many instances of PLAY as there are cores in the CPU the sequencer can assign the instances across all the cores which most likely means you can open more instruments and play them back without problems As a general rule if you re using more PLAY instruments than you have cores in your computer then it s best to open at least as many instances 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 Chapter 5 Orchestral Technique 37 HOLLYWOOD ORCHESTRAL WOODWINDS 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 usin
55. he idea is to experiment until you find a combination that works Microphone Positions Release Trails and Digital Reverb All three of these technologies can be used to control the apparent ambience of your audio output It is important to understand the effect of each and to use them wisely Microphone Positions The way you choose to mix the microphones in your project can result in a sound that varies from small and dry to large and wet What you are adding in or leaving out to some degree is the natural ambience of the room exactly as it occurred during the recording sessions This ambience is heard as long as the samples are playing and that includes the release trail samples but cannot extend past the end of the samples Release Trails These are samples that begin at the moment the instrumentalist stopped playing each note and capture the sound that continues to ring in the natural reverberation of the recording studio It is possible to turn off release trails for any instrument but doing so only removes the room s ambience after the note ends not while it is being played Turning them off can result in unnaturally abrupt endings to the notes but that can be effectively hidden by turning on the Reverb effect Note that staccato and other short articulations do not as a rule include release trails Digital Reverb Convolution Reverb is a digital effect that simulates the sound of a room s ambience throug
56. image shows the way the file opens with no user Me PART pme p changes Note that the Main Mid and Surround Pan controls are in the center because those samples were recorded with the stereo mics centered at the center of the studio no panning adjustment is necessary The Pan control for the Close mics the left most knob is turned to the left so that when all four sets of samples are played together the sound cues position the clarinet in a consistent location In this library the Close mics for all the instruments are panned to the left because that s where the woodwind section usually sits when the entire orchestra is on stage The spread of the sections in Hollywood Orchestral Woodwinds is smaller than in Symphonic Orchestra If you want a wider feel you can pan the instruments a little to achieve that effect Note that the natural panning within all the samples in the whole EastWest Hollywood series has one subtle feature that reverb plug ins do not offer correctly timed reflections from all surfaces To understand this concept consider a double bass player who is 5 meters from the wall to our right and 45 meters from the wall to our left We are seated half way between the walls The reflection from the right wall which will be louder in our right ear travels 30 meters 5 plus 25 the reflection from the left wall louder in our left ear travels 70 meters 45 plus 25 That 40 meter difference means that the reflection arrives
57. install a previously licensed version of the EASTWEST SOFTWARE you may not use both versions of the EASTWEST SOFTWARE at the same time nor may you transfer them separately Not for Resale NFR Copies Notwithstanding other sections of this License EASTWEST SOFTWARE labeled or otherwise provided to you for development or on a promotional basis may only be used for development demonstration testing and evaluation purposes and may NOT be used for any revenue generating activity that includes the use of the EASTWEST SOFTWARE without the written consent of EASTWEST If you are not sure which license type you own LICENSE NFR please check your iLok or other identified security account or contact licensing eastwestsounds com Educational Copies You must be an Eligible Educational End User to use the EAST WEST SOFTWARE Eligible Educational End Users means students faculty staff and administration attending and or working at an educational institutional facility i e col lege campus public or private K 12 schools EASTWEST SOFTWARE provided for this purpose may NOT be used for any revenue generating activity that includes the use of the EASTWEST SOFTWARE without the written consent of EASTWEST 4 Consent to Use of Data You agree that EASTWEST and its subsidiaries may collect and use technical and related information including but not limited to technical infor mation about your computer system and application software and periphe
58. ions Each MIDI note in these patches is the sound of the instrument playing a single note repeatedly If you need fewer repetitions than available in the whole sample then end the MIDI note after the number of repetitions you re looking for In some cases the re peated notes are available at different speeds slow medium and fast The advantage of using one of these patches over just repeated MIDI notes is that the transitions between repetitions are exactly correct for the sampled instrument Starting with update 1 0 1 of the instruments repetitions synch with the host tempo Effects FX A few 03 Effects folders contain patches that feature recordings of the instrument play ing sounds beyond the usual diatonic notes including squawks breathy sounds glis sandi and the like It s best just to listen to the range of sounds and see whether you can use any of them In some cases these effects are divided into separate files for sounds or phrases of long and short duration Sing The Flute contains an articulation called Sing RR This is the sound of the flautist vocal izing into the flute while also blowing across the mouthpiece This creates a sound which is a mixture of the human voice and the usual flute timbre 04 Keyswitch If you are not familiar with how to use a keyswitch instrument in PLAY see more informa tion in the main PLAY System manual The three tables below spell out which articulation is assigned to each key
59. microphone positions the ways of setting up the outputs are too numerous to list here Use the principles de scribed here to define your own approach 1 Creating separate audio tracks for each microphone one at a time In this approach you can set up one or more instruments with a single mic position and the output going to one or more audio tracks in the sequencer Usually you will work with either the Mid or the Main mics during the composition phase especially if it is the mic position that will dominate in the final mix Once you re ready to commit the composi tion to the audio track s you can bounce down the track s to create a final single mic recording Then go into every instrument in PLAY that contributed to those audio tracks so you can unload the Main mics and replace them with a different set for example the Close mics Bounce down new audio track s making sure you name your tracks to indicate which mic position was used Don t worry about the loudness of this track relative to the first audio track you will adjust that in the final mix down If you re using more than 2 mic positions repeat the process to create the rest of the tracks Once you have all the tracks you can mix them into a single track adjusting the relative volumes to achieve the sound you want There are two principal advantages to this approach First it requires a smaller computer system or network than trying to load multiple sets of sam
60. mmerce Denied Person s List or Entity List By using the EASTWEST SOFTWARE you represent and warrant that you are not located in any such country or on any such list You also agree that you will not use the EASTWEST SOFTWARE or any purposes prohibited by United States law including without limita tion the development design manufacture or production of missiles nuclear chemical or biological weapons 10 Government End Users The EASTWEST SOFTWARE and related documentation are Commercial Items as that term is defined at 48 C F R 2 101 consisting of Com mercial Computer Software and Commercial Computer Software Documentation as such terms are used in 48 C F R 12 212 or 48 C F R 227 7202 as applicable Consistent with 48 C F R 12 212 or 48 C F R 227 7202 1 through 227 7202 4 as applicable the Commercial Computer Software and Commercial Computer Software Documentation are being licensed to U S Government end users a only as Commercial Items and b with only those rights as are granted to all other end users pursuant to the terms and conditions herein Unpublished rights reserved under the copyright laws of the United States 11 Controlling Law and Severability This License will be governed by and construed in accordance with the laws of the State of California as applied to agreements entered into and to be performed entirely within California between California residents This License shall not be
61. not including release trails Use the guidelines elsewhere in this section to learn whether to use Velocity the Mod Wheel or both but if you find that an instrument is not responding to one of the ways of specifying loudness investigate using other means to get the dynamics you re looking for Overview of the Instruments in Hollywood Orchestral Woodwinds The following 3 tables which extend over several pages list the instrument files avail able for each instrument A check mark in a cell indicates that an ewi file as named at the left of the row is available for the solo instrument named at the top of the column These tables do not explore the articulations available within each instrument file that level of detail is provided later in this chapter When one orchestral instrument for example the Alto Flute does not include an articu lation you re looking for you may be able to try one of the following approaches to get an approximation of the sound you want e Use that same patch from a different section You may be able to mask differences in timbre with the use of EQ and or by doubling with a different patch from the correct section e Use a similar patch from the correct instrument Then experiment with changing the AHDSR envelope and or other parameters to bring the sound more into line with the sound you want You may find that the sound is close enough to what you wanted in the first place that no one will notice espe
62. ns of the Close mics in front of each instrumen talist The mics were near enough to capture the presence of the instrument but far enough away to allow the sound of the instrument to breathe The center T represents the approximate position of the Decca Tree a cluster of mics at the front of the ensemble These Main mics are positioned high enough and far enough forward to capture a well ee a ra balanced sound Note that these Main mics also C Close mics S Surround mics V Vintage mics include a pair of outriggers which are the left and right T s in the diagram The M is the location of the Mid mics which are a smaller version of a Decca tree positioned a little closer to the instruments so that more definition is captured without creating a close sound The V s and S s have been placed in the auditorium in this diagram to convey that they capture the full ambient sound of the room In the recording studio which has no auditorium they are placed around the studio at a distance from the instruments Two separate sets of Surround mic samples were created for the Hollywood Orchestral Woodwinds library You can switch between them with the use of the Vintage button in the lower right of the Microphones controls Adjusting the Delays Because all three sets of samples were recorded simultaneously for each note in the library there are predictable and natural delays in the time it take the music to reach
63. o C 0 C 0 C 0 C 3 Sustain Expressive Vibrato DO DO DO D3 Sustain NV VB D 0 D 3 Sustain Accent E0 E3 Legato Repetitions RRx4 D 0 FO D 0 F3 Staccatissimo Double Tongue E0 F 0 E0 F 3 Staccato Double Tongue FO GO FO G3 Marcato Short Double Tongue F 0 G 0 F 0 G 3 Trill HT GO AO GO Trill WT G 0 A 0 G 0 Repetitions Medium AQ Repetitions Slow A 0 Oboe Eng Hrn Bassoon Chassoon KS Runs FX C0 G0 CO G0 Run Down Octave Chromatic C0 CO Run Up Octave Chromatic C 0 C 0 Run Down Major Scale DO DO Run Up Major Scale D 0 D 0 Run Down Minor Scale E0 E0 Run Up Minor Scale FO FO Run Down Whole Tone Scale F 0 F 0 Run Up Whole Tone Scale GO GO Because the Contrabassoon extends down below C1 the keyswitch notes are situated at a higher octave starting at C3 Even when you do not have these tables open you can always use the blue notes in PLAY s on screen keyboard or the names in the Articula tions window to find the correct octave 05 Legato For most woodwind instruments a legato sound is created with a slur that joins the two consecutive notes without a fresh attack at the start of the later note This slur occurs only when there is no significant gap between the end of the earlier note and the start of the later note In addition the two notes have to be at most an octave apart Moving from D3 to D4 generates a legato slur moving from D3 to D 4 does not Chapter 4 Instruments Articulations and Keyswitches 32 HOLLYWOOD ORCHESTRAL WOODWINDS
64. of microphone positions and other features that help them blend into a unified sound For the purpose of the tables in this chapter the library can be grouped into three sets of instruments based on how the sound is generated e Flutes no reed gt Flute Flute 2 Piccolo Flute Alto Flute Bass Flute e Clarinets single reed gt Clarinet gt Eb Clarinet gt Bass Clarinet gt Contrabass Clarinet e Double reeds gt Oboe gt English Horn gt Bassoon Contrabassoon The various articulations of these 13 instruments are enumerated in the three tables that follow You might want to print out the pages containing these tables as a reference vv x x The characteristics of these orchestral instruments are not described in this manual be cause they are members of standard instrumental families A few such as the Bass Flute and Contrabass Clarinet are uncommon though their usage can be easily extrapolated from the more common members of the family The one instrument that needs some explanation is the one called Flute 2 It is a stan dard transverse flute just like Flute but it was played by a different flautist who sat in a slightly different position on stage In other words no samples are shared between Chapter 4 Instruments Articulations and Keyswitches 18 HOLLYWOOD ORCHESTRAL WOODWINDS Flute and Flute 2 so if played together in unison they will not collapse into a single performance The
65. ou can create a realistic crescendo and or decrescendo during a held note When you play any note in one of the patches all 3 dynamic layers start to play simul taneously but only one or two of them are audible at any one time as controlled by the Mod Wheel This approach increases the voice count in PLAY and makes more demands on the computer processor but produces much more realistic dynamics There are several variants for the Sustain patches described below Chapter 4 Instruments Articulations and Keyswitches 25 HOLLYWOOD ORCHESTRAL WOODWINDS Vibrato Non Vibrato NV VB You have a choice between using vibrato a subtle wavering of the pitch that provides extra warmth or not If you intend to use one or the other approach consistently then the Vibrato or Non Vibrato patch provides the right sound If you need the ability to control the amount of vibrato in a line even changing mid note the various NV VB patches lets you use the Mod Wheel to control how much vibrato is heard Note that the NV VB patches with Full in the name work a little differently from those that do not have Full in the name Without Full When the Mod Wheel is in about the bottom half of its range the sound moves from pp up to mf and always with no vibrato Then at about the midpoint of the range while the volume continues to increase toward f the sound uses more and more vibrato That is vibrato is heard only in the l
66. ouder half of the dynamic range With Full In these patches the vibrato and loudness are controlled independently Vi brato is still controlled with the Mod Wheel CC 1 but the loudness is controlled with the MIDI Expression controller CC 11 Pushing the Mod Wheel to a higher values gives you more vibrato Pushing the CC 11 controller to a higher value gives you a higher volume Niente Some of the Full patches include Ni in the name which is short for the Italian phrase al niente meaning to nothing indicating that the loudness can be reduced to very very soft Sus Expressive This patch adds an expressive feel to the notes with a slower attack and a gently increas ing vibrato Sus Accent In this patch each note starts with a separately controlled attack giving each note the sound of being accented Like other Sus patches The Mod Wheel controls the loudness of the sustain but here the Velocity of the MIDI note controls the strength of the attack Legato Repetitions This patch provides retongued repetitions to create the sound of repeated notes within a sustained phrase For each note this patch plays both a sustained non vibrato note and a short note to act as the retongued attack It is this start of each note that participates in the 4 way round robin as indicated by RRx4 in the name This patch is designed for repeated notes within an otherwise legato phrase but you may find othe
67. ound of instruments in an orchestra The information in this chapter applies equally well to all the various EastWest libraries Setting Up Templates The simplest way to work with any large orchestral ensemble is to set up templates once you have gotten to know the sounds and how all the features of PLAY work You might for instance have a comedy template that has a lot of staccato articulations effects and crescendos and or an epic template that includes a lot of legato patches Obviously the more computers you have and or the more capable the computers the bigger your templates can be Once you have decided what patches will go inside each template and have made sure they will all fit into your available RAM you should load everything and save the setup for each instance of PLAY to its own ewi file or if you have multiple instances of PLAY loaded inside a sequencing program or VST host it is as simple as saving the sequence or VST host file This will remember everything inside If you are using multiple comput ers make sure you have created a track in your sequence for every program on every computer One last thing to consider when deciding which computer will load which sounds is the amount of work each computer will have to do Make sure to spread the sounds that you use most onto different computers so one computer doesn t end up carrying a majority of the load Remember that if you re running Hollywood Orchestral Woodwind
68. patches in the 01 Long folder In the Full Niente patches it s possible to reduce the loudness down to almost silence the phrase al niente in Italian Legato Slur Repetitions This patch is similar to the basic Legato Slur except that it also uses separate samples to handle repeated notes For example if in a phrase 3 notes of the same pitch are played consecutively without space between the notes the second and third occurrences use a retongued version of the note to achieve the correct sound Slur Runs These patches provide a slur legato sound with a lot of portamento that works well in very fast runs Each note can be held indefinitely so if you want to for example run up to a last note and hold it you can use this patch for both the run and the held note The characteristic sound occurs only when the interval between consecutive notes is either a minor second or a major second Larger intervals do not create the strong slur Dynamics for this instrument are controlled with the Mod Wheel not Velocity And as with the basic Legato Slur patch this one uses a lot of resources because each note uses 3 voices for the 3 dynamic levels playing concurrently plus another 3 voices for the samples of the slurs When playing a fast run the voice count can easily exceed 40 for only this one patch Chapter 4 Instruments Articulations and Keyswitches 33 HOLLYWOOD ORCHESTRAL WOODWINDS Monophonic Behavior in Legato Inst
69. ples into RAM at once Sec ond you have separate audio tracks for the three mic positions which you can use to create a wetter or drier remix or to create a surround sound version either right away or at a later time And you can do so with the confidence that you will have no phasing issues to contend with 2 Creating ready mixed audio tracks all at once It is also possible to work with more than one mic position at a time though this requires a more capable computer setup to handle the extra samples in RAM and the extra con current processing In this approach before bouncing down to audio tracks you can load multiple mic positions in all instruments You will need to adjust the individual volume sliders for the various microphone positions at this time to achieve the balance you want This approach works best when you want to get a final mix quickly without working through multiple mix downs Chapter 5 Orchestral Technique 50 HOLLYWOOD ORCHESTRAL WOODWINDS 3 Creating parallel audio tracks from a single instrument file If you want to create the separate audio files described in the first approach and have a very capable computer system that will allow you to process mul tiple mic positions simultaneously then you can use this approach Set up y your instruments as in case 2 above but use the individual output controls for the mic positions you re using to send the audio to separate tracks in stead of mixing them within
70. puter 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 As one example if you re reading some chapter in this documentation for the Hollywood Orchestral Woodwinds library and need to open the manual for the PLAY System as well go to any chapter title page and click on the link that says Click on this text to open the Master Navigation Document It will open in a new window on the screen In that document click on the icon for the PLAY System and its manual will open in the same window hiding the MND You now have both the Hollywood Orchestral Woodwinds Chapter 1 Welcome 3 HOLLYWOOD ORCHESTRAL
71. r circum stances in which it works in your compositions Chapter 4 Instruments Articulations and Keyswitches 26 HOLLYWOOD ORCHESTRAL WOODWINDS 02 Short Articulations included in the 02 Short folder include varieties of e Staccato e Staccatissimo e Marcato Important Note on Reverberation and Short Articulations Be aware that in general short articulations do not include release trails But there is some reverberation at the end of the main sample once the instrument stops playing This approach allows you to play fast passages without building up a lot of overlapping reverberations Therefore when playing a phrase of staccato notes be sure to hold the MIDI notes long enough to hear the natural reverberation of the recording studio in the short rests between the sounding notes if your tempo allows it Even when there are no rests between short notes be sure to hold the last note of the phrase long enough to let the reverberation of that last note ring Staccato and Staccatissimo The term staccato refers to any note of short duration that is not connected legato to the following note Staccatissimo is like Staccato but with notes of even shorter dura tion In the names of the articulation files Staccatissimo is abbreviated StacSs Double Tongue Some short articulation files indicate that they use the technique known as double tonguing This lets the instrumentalist achieve a faster sequence of notes by stopping
72. rals that is gathered periodically to facilitate the provision of software updates security product support and other services to you if any related to the EASTWEST SOFTWARE and to verify compliance with the terms of this License EASTWEST may use this information as long as it is in a form that does not personally identify you to improve our products or to provide services or technologies to you 5 Termination This License is effective until terminated Your rights under this License will terminate automatically without notice from EASTWEST if you fail to comply with any term s of this License Upon the termination of this License you shall cease all use of the EASTWEST SOFTWARE and destroy all copies full or partial of the EASTWEST SOFTWARE 6 Limited Warranty on Media EASTWEST warrants the media on which the EASTWEST SOFTWARE is recorded and delivered by EASTWEST to be free from defects in 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 IN
73. ruments By default all legato instruments in this library are monophonic By allowing only one note to play at a time PLAY makes sure that there is no ambiguity about what two notes should have a legato transition between them It is possible to turn off the monophonic behavior with MIDI Control Code 22 When in the top half of its range 64 127 the controller preserves the default behavior But whenever CC 22 is in the range 0 63 polyphonic behavior is turned on You do need to listen to the output carefully to see whether there are unwanted legato slurs between notes in different polyphonic voices If so one remedy is to move those two voices to separate MIDI tracks Chapter 4 Instruments Articulations and Keyswitches 34 HOLLYWOOD ORCHESTRAL WOODWINDS PLAY 5 Orchestral Technique in Hollywood Orchestral Woodwinds 36 Setting Up Templates 37 Opening Multiple Instances of PLAY 38 Prepping the MIDI Controllers 38 Creating a Soundscape 40 Volume Velocity Expression and the Mod Wheel 42 MIDI Envelopes and Control Data 43 Using Cross Fades 44 Achieving a Legato Sound 44 Directing the Audio Output 45 The 5 Microphone Positions in Hollywood Orchestral Woodwinds Click on this text to open the MasterNavigationDocument 35 HOLLYWOOD ORCHESTRAL WOODWINDS Orchestral Technique in Hollywood Orchestral Woodwinds This chapter discusses ways to use Hollywood Orchestral Woodwinds to achieve the tra ditional s
74. s 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 The Mod Wheel and the Expression control achieve similar mid note dynamic results But do remember that only some instruments respond to the Mod Wheel Expression works for all instruments in PLAY and may therefore be a better choice for changing dynamics over the length of a phrase or whole piece You should decide which dynamic controls work best for your style and become accustomed to using them consistently Although the volume and expression controls can be adjusted separately the volume setting does change how expression af fects perceived volume Think of CC7 as setting an upper limit on the dynamics at any moment Expression like most con tinuously changeable values in MIDI takes values between O and 127 CC7 specifies how loud a sound to generate for the CCNI 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 lev
75. s for a big and unified sound Chapter 5 Orchestral Technique 46 HOLLYWOOD ORCHESTRAL WOODWINDS ADVANCED A Decca tree for those interest ed is an arrangement of three microphones originally designed at the English Decca Re cords and still used for orchestra recordings especially when recording movie scores The mics are arranged as in the diagram at the right Because of the 2 meter spacing between the left and right mics the audio provides the inten sity cues necessary for detailed stereo imaging while including sufficient phase information to produce an open and spacious sound In addi tion the middle microphone generates a solid central image For the next position you are seated right at the edge of the stage approximately at the midpoint of the first row What you hear is similar to what s captured by the Mid mics You get a little more individual definition than in the Main mics but without the effect of the proximity achieved with the Close mics I la I 2 meters gt Finally you re asked to sit anywhere closer to the back of the house and high up per haps in the balcony The same oboe melody is played again From this perspective the full acoustics of the hall are most evident because you hear clearly the sound bouncing off the ceiling the walls all the reflective surfaces in front of you and even behind It can be a very lush sound though perhaps lacking in the immediacy of a closer posi
76. s on more than one computer concurrently you will need an iLok security key and a license for each com puter The next stage is crucial and highly subjective All PLAY libraries responds to three dif ferent volume controllers CC7 volume CC11 expression and the Mod Wheel CC1 It is highly recommended you record a CC7 message at the beginning of every track Spend some time to set the initial volume of every track at a level in natural balance with the rest of the ensemble This is tricky and will never be perfect but the more time you spend on the setup the more time you ll save later If you will be using Hollywood Orches tral Woodwinds exclusively the balance of instruments is easier than if you re bringing in instruments other than only woodwinds If for example you re using Hollywood Strings Chapter 5 Orchestral Technique 36 HOLLYWOOD ORCHESTRAL WOODWINDS Hollywood Brass and other EastWest libraries in addition to Hollywood Orchestral Wood winds then start by playing the french horns some big string ensembles and your noisi est percussion really loud and at the same time that will give you a reference of what the loudest passages will be like Together they should be at least 3 dB below O Then adjust the other instruments to blend with these loudest instruments It s recommended you not use MIDI volume CC7 for any other purpose than this volume setting at the start of each track Use CC11 or the Mod Wheel wh
77. 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 change 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 The image at the left shows two envelopes affecting the Portamento script in a host The nine white horizontal bars are the notes
78. switch note If no articulation is available on a specific note using that keyswitch note results in no sound being produced until a working keyswitch note is played There are two types of keyswitches in the Hollywood Orchestral Woodwinds library though some instruments may have only one or even none available Those with Sus_ Short in the name provide a selection of the most commonly used articulations from the 01 Long 02 Short and 03 Effects folders Each instrument has different useful articulations for example the contrabassoon is rarely called on to play trills therefore the Sus_Short keyswitch files for different instruments feature different articulations See the tables below for specifics The range at the top of each column such as CO EO specifies the range of pitches used as keyswitch notes Chapter 4 Instruments Articulations and Keyswitches 29 HOLLYWOOD ORCHESTRAL WOODWINDS KEYSWITCHES FLUTES Flute Flute 2 Piccolo Alto FI Bass FI KS Sustain Short CO C 1 C0 C1 C0 C1 CO F 0 CO E0 Sustain Non Vibrato CO co co co Sustain Vibrato C 0 C 0 C 0 C 0 co Sustain Expressive Vibrato DO DO DO C 0 Sus NV VB D 0 Sustain Accent DO E0 DO Legato Repetitions RRx4 D 0 D 0 D 0 FO D 0 Staccato RRx4 F 0 Staccatissimo Double Tongue E0 E0 E0 Staccato Double Tongue FO FO FO E0 Marcato Short Double Tongue F 0 F 0 Sing RR GO Flutter Tongue G 0 GO F 0 Trill HT AQ G 0 GO Trill WT A 0 A0 G 0 Repetitions Fast BO A 0 AQ R
79. t 9 HOLLYWOOD ORCHESTRAL WOODWINDS The Orchestral Woodwinds User Interface Each PLAY library presents its own interface when one of its instruments is the current one as specified in the Instruments drop down in the upper right corner See below Much of this interface is shared by all PLAY System libraries and the common features are described in the PLAY System manual The controls specific to Hollywood Orchestral Woodwinds as described later in this section are those listed on the next page If you don t see a control described in this chapter look at the PLAY System manual that s the other manual installed on your hard drive during program setup Ca seine Caos es Sus Non vi 0 A RFP STEREO DOUBLE wioi Porr AT canne GD w rranspose QD ama sus i VEL MIN CA AA Cin res VEL MAX LE Sad legato siur Vib y Jew Hollywood Hal PERFORMANCE ROUND ROBIN RESET TRUE LEGATO Chapter 3 The Hollywood Orchestral Woodwinds User Interface MASTER CHANNEL SOU O 0 0 com sa coarse rne 10 HOLLYWOOD ORCHESTRAL WOODWINDS Here are the controls described in this manual and not in the PLAY 3 System manual e Performance 4 buttons e Round Robin Reset e Stereo Double e the graphical representation of the Envelope Performance There are five buttons grouped together in the Perfor mance section They include three buttons for turn ing on and off scripts speci
80. th the size and complexity of many of the Hollywood Orchestral Woodwinds instruments are greater than in some other PLAY libraries you will likely need an even more capable system than is recommended for those other libraries e Intel or AMD quad core processor or higher running at a minimum of 2 66 GHz e 8 GB of RAM or more e a 64 bit operating system and a 64 bit host when running PLAY 3 as a plug in Note that this is a recommended system and is more powerful than the minimum of what is required Chapter 2 Hollywood Orchestral Woodwinds An Overview 7 HOLLYWOOD ORCHESTRAL WOODWINDS Solid State Drives There is no doubt solid state drives SSDs are a revolution for storing and streaming samples While currently more expensive than traditional hard drives the seek and re trieval times are almost instantaneous which means you may be able to create even larger projects and or to use lower latencies without needing workarounds to avoid dis ruption of the audio output When using multiple products from the EastWest Hollywood series SSDs may be your only option in some cases light programs are provided for other users and the number of mic positions that can be accessed simultaneously may also be dependent on solid state drives Installing 2 or more smaller SSDs with a true hardware RAID O solution offers the best performance For professional users we recom mend consulting computer system specialists to achieve the best performance
81. tion however adding in a little of this sound either in a stereo mix or in the rear speakers of a surround sound recording can add dimension to the recording This mic position was used to create the Surround samples Leaving the thought experiment there is still another sets of microphones to discuss The Vintage mics are an alternative to the Surround mics They capture si the same perspective but use RCA44 ribbon mics similar to what P Ir was used when making soundtracks for classic Hollywood movies The switch to the right of the Surround button in the PLAY inter face lets you select whether to use the more modern mics pushed up or the vintage mics pushed down Microphone Placement The schematic below gives you an idea of where the various mics captured their sound in the recording studio but a diagram of a typical concert hall to correspond to the description above The semicircular area at the top is where the orchestra sits The rest of the diagram is where the audience would sit but is not there in the actual EastWest Studio where Hollywood Orchestral Woodwinds was recorded Note that this is not an accurate map of where the mics actually stood the diagram s goal is to help you under stand what each mic is intended to capture A photo of the actual studio and its mics is on page 2 Chapter 5 Orchestral Technique 47 HOLLYWOOD ORCHESTRAL WOODWINDS All the C s in the diagram represent the various po sitio
82. u may broad cast and or distribute your own original music compositions or soundtracks that were created using EASTWEST SOFTWARE C You may not use the EASTWEST SOFTWARE to create sounds or other content for any kind of synthesizer virtual instrument sample library sample based product musical instrument or competitive product You may not license sell or distribute commer cially or otherwise either the EASTWEST SOFTWARE or any portion or component parts of the EASTWEST SOFTWARE on a standalone basis or repackage and sell license or distribute either the EASTWEST SOFTWARE or any portion or component parts of the EASTWEST SOFTWARE on a standalone basis D You may use the EASTWEST SOFTWARE to compose original music compositions or soundtracks or for a Production Music Library also known as stock music or library mu sic original compositions or soundtracks created entirely by you using the EASTWEST SOFTWARE that you in turn license as an original composition or soundtrack to third parties for use in film television radio or other media provided the completed compo sition or soundtrack is created solely by you E You may use any included EASTWEST SOFTWARE Audio Loops compositions that contain a combination of sound samples that can be repeated to form a continuous piece of music for a Production Music Library also known as stock music or library mu sic original compositions or soundtracks created entirely by you using the
83. wind style effects These instruments can be used on their own or they can be integrated into a larger or chestral framework with other members of the EastWest Hollywood series Hollywood Strings and Hollywood Brass and once it s released Hollywood Orchestral Percussion All these members of the EastWest Hollywood series have been designed to work together to create an integrated orchestral sound e They were all recorded in the same studio e They were all recorded with the same microphones in the same positions within the recording space e They were all engineered by Sound Engineer Shawn Murphy e They were all programmed using the same practices and software So even though they are sold as separate products and were released over the course of a few years they form a single platform for orchestration and music realization Chapter 2 Hollywood Orchestral Woodwinds An Overview 6 HOLLYWOOD ORCHESTRAL WOODWINDS Comparison of the Diamond and Gold Editions The Gold Edition is mostly a subset of the Diamond Edition It is intended for those with smaller or less capable computer systems and for those looking for most of the features and power of the Diamond Edition but at a smaller price Here are the differences e Bit Depth the samples in the Diamond Edition are 24 bit those in the Gold Edition are 16 bit e Delivery the Diamond Edition is provided on a hard drive the Gold Edition is provided on a set of DVDs e Mi

Hollywood Orchestral Woodwinds Manual - Soundsonline

Contents

Download Pdf Manuals

Related Search

Related Contents